Re: [Finale] Scanning printed music into Finale
Hmm, funny, I remember reading this on the Finalemusic.com site. http://www.finalemusic.com/finale/features/enteringnotes/scanning.aspx Stephen Ellis wrote: Is there a third-party software that will actually allow you to scan music and use it in Finale? Sees like I heard about one some time ago for Windows (but not for Macs). Any thoughts? Steve ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Scanning printed music into Finale
Is there a third-party software that will actually allow you to scan music and use it in Finale? Sees like I heard about one some time ago for Windows (but not for Macs). Any thoughts? Steve ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Removing alternate clefs indications
At 8:25 PM -0400 8/25/07, Lora Crighton wrote: I also include the range when I do an incipit - it is especially useful to let me know if the altos will run into trouble. Very good point! Although if you know the original clefs, those clefs were chosen in the first place to keep each part mostly within the staff, so that always gives you a quick idea. John -- John R. Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Removing alternate clefs indications
--- Stephen Ellis <[EMAIL PROTECTED]> wrote: > I have downloaded a public domain piece from the > Composers Public > Domain Library: > > http://www.cpdl.org/wiki/index.php/Sitivit_anima_mea_% > > 28Giovanni_Pierluigi_da_Palestrina%29 > > I am not sure of the proper terminology, but the > finale version > (1998) shows the Soprano, Alto, Tenor, and Bass > clefs to the left of > the first staff system on Page One. I would like to > remove that, but > since I don't know how it was added, I can't. > It was created with the Ossia Measure Designer. I found this by double-clicking on the object with the selection tool. You don't actually need to know how an object was added to delete it: just click on it with the selection tool and then hit delete. > Please advise! > Don't do it! You will be deleting useful information. -- Io la Musica son, ch'ai dolci accenti So far tranquillo ogni turbato core, Et or di nobil ira et or d'amore Poss'infiammar le più gelate menti. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Removing alternate clefs indications
--- John Howell <[EMAIL PROTECTED]> wrote: > > That is a perfectly ordinary "Incipit," showing the > original clefs, > key signature and mensuration sign. That > information is important, > and I'm not sure why you want to delete it. I would > always include > that in any edition of mine, if I knew how to insert > it. There are probably better ways, but I did a lot of music with the incipit as system one, and the music starting in system two, which I dragged up to be beside the incipit. I get this very strange first chord if I play the file back - if I ever want to save a midi file, I will have to figure out how to make it not start on the first measure. I hadn't thought of using the ossia - next time I will try that. > > Unfortunately it is an incomplete incipit, because > it fails to > include the first note in each part, which gives > important > information not only about the transposition but > about the original > note values, also important information, especially > if the piece > breaks into triple time and you have to figure out > the original > proportion. > I also include the range when I do an incipit - it is especially useful to let me know if the altos will run into trouble. -- Io la Musica son, ch'ai dolci accenti So far tranquillo ogni turbato core, Et or di nobil ira et or d'amore Poss'infiammar le più gelate menti. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Removing alternate clefs indications
You are absolutely correct on both counts. I am more interested in the mechanics of how it was added to the score, and how it could be removed. I was told how to remove it off-list (selection tool, click on the object and press delete), so now my question has transformed to how it could be created. On Aug 25, 2007, at 6:12 PM, John Howell wrote: That is a perfectly ordinary "Incipit," showing the original clefs, key signature and mensuration sign. That information is important, and I'm not sure why you want to delete it. I would always include that in any edition of mine, if I knew how to insert it. It tells you, for instance, that this edition has transposed the original up a minor third, which would make it quite difficult if you were to want to use renaissance instruments on it, but was probably done to accommodate female altos, always a problem with music originally sung by all male voices. Unfortunately it is an incomplete incipit, because it fails to include the first note in each part, which gives important information not only about the transposition but about the original note values, also important information, especially if the piece breaks into triple time and you have to figure out the original proportion. If you just want to perform it, forget the incipit and download the PDF. I got it in seconds. John -- John R. Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Removing alternate clefs indications
At 5:13 PM -0400 8/25/07, Stephen Ellis wrote: I am not sure of the proper terminology, but the finale version (1998) shows the Soprano, Alto, Tenor, and Bass clefs to the left of the first staff system on Page One. I would like to remove that, but since I don't know how it was added, I can't. Please advise! That is a perfectly ordinary "Incipit," showing the original clefs, key signature and mensuration sign. That information is important, and I'm not sure why you want to delete it. I would always include that in any edition of mine, if I knew how to insert it. It tells you, for instance, that this edition has transposed the original up a minor third, which would make it quite difficult if you were to want to use renaissance instruments on it, but was probably done to accommodate female altos, always a problem with music originally sung by all male voices. Unfortunately it is an incomplete incipit, because it fails to include the first note in each part, which gives important information not only about the transposition but about the original note values, also important information, especially if the piece breaks into triple time and you have to figure out the original proportion. If you just want to perform it, forget the incipit and download the PDF. I got it in seconds. John -- John R. Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
At 2:40 PM -0400 8/25/07, Andrew Stiller wrote: On Aug 24, 2007, at 10:29 PM, John Howell wrote: It's considered prestigious to be the person selected to play the Eb soprano. Same thing is true for the alto, bass, and lower clarinets. When I was in bands (admittedly a long time ago now) it was definitely *not* prestigious to play the alto clarinet, Sorry, out of context. The second sentence was intended to refer to an earlier sentence. But you're quite right about the alto. Directors assign less competent players to the instrument, and then complain that nobody plays alto well. Self-fulfilling prophesy! In my own case, for reasons known only to the gods of statistics, we always have one, often two, and occasionally three alto clarinets in our Community Band, and the ladies who play them are quite competent, so I do write real parts for them and don't just double 3rd clarinet or alto sax. John -- John R. Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Show Only On Screen
Ryan Beard wrote: > Hi All, > FinMac 2007c. I can't find where they moved the "Show > Only On Screen" command. It used to be in the Text > Menu. Please help! It's the Font Attributes -- Invisible. They took out the Show Only On Screen option. Amazing how they make this program "easier" isn't it? === It's actually a neat little thing, now that I know it's there, because I can take care of it with a keyboard shortcut rather than using the mouse. But, damn! why couldn't they document this somewhere? They still use the old text menu in the documentation for 2007. I'd gladly donate a few bucks to pay a professional indexer to fix all their documantation problems. Oh wait, I thought I did pay when I bought the program. Silly me! Thanks for your help, David! ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Removing alternate clefs indications
I have downloaded a public domain piece from the Composers Public Domain Library: http://www.cpdl.org/wiki/index.php/Sitivit_anima_mea_% 28Giovanni_Pierluigi_da_Palestrina%29 I am not sure of the proper terminology, but the finale version (1998) shows the Soprano, Alto, Tenor, and Bass clefs to the left of the first staff system on Page One. I would like to remove that, but since I don't know how it was added, I can't. Please advise! Steve ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
At 8:25 AM -0400 8/25/07, dhbailey wrote: It's a very tricky situation, and one that composers have always had to navigate carefully. John Cacavas sold an awful lot of band music. His arrangements have something for everyone and doublings/cues for those situations when the originally desired instrument for a passage isn't available. I think David makes a very important point here. When I write for band, it's usually for our Community Band (although the music is playable by any band or wind ensemble, of course). And I do make a very conscious effort, within my musical conception, to keep in mind every section and even individual players, and try to give them something satisfying and perhaps challenging to play. Maybe it's because I'm both a performer and a teacher, rather than a hard-core composer, but I LIKE the players to enjoy my music. I have a feeling that too many wannabe orchestral composer don't think like that at all, and then don't understand why there music doesn't get played. You have to compose for yourself, of course, but also for your players and for your audiences. John -- John R. Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
At 7:51 AM -0400 8/25/07, dhbailey wrote: Sousa's band didn't march more than a couple of times. At least his civilian band. The Marine Band marched, and the band he led in WWI at the Great Lakes Naval Training Center marched, but his civilian band mostly just played concerts. Hey, they marched through town playing "Dixie" to attract an audience! I saw the movie!!! John -- John R. Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
On Aug 25, 2007, at 1:10 PM, Dean M. Estabrook wrote: Hmm, sort of a compromise between Flug and Tpt. That's the problem right there: there isn't enough space between those two insts. to put in a third. Actually, those proclaiming the death of the cornet are off by a couple of decades. At the time I wrote my book (pub. 1983), the cornet had become virtually indistinguishable from the trp., but that has since reversed, because of the original-instruments movement. Nowadays cornets are often built in the old pattern and played with proper mouthpieces--which means they have moved well away from the trp., but are now in danger of sounding indistinguishable from the flghn. My _Procrustean Concerto for the Bb Clarinet_ calls for 2 flghn--an instrument I greatly love. When the piece was recorded in Poland, the Warsaw Orchestra couldn't get flugels, so I told them to use cornets, and the result was just right. Except that I had written (as I always do) for 4-valve flghns, and the cornets couldn't play the extra low notes. The trombones took 'em and made a reasonable stab at imitating the proper tone quality. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
On 25 Aug 2007 at 14:34, Christopher Smith wrote: > On Aug 25, 2007, at 2:14 PM, Andrew Stiller wrote: > > > There are also national variations, as I found to my surprise when > > presented with a piece scored for the standard Maltese band of > > today, which is so different from the American one that I felt > > compelled to add this note to the instrumentation page: > > > > This piece is scored for a standard Maltese band. With the > > composerÕs approval, additional parts for the full complement of an > > American concert band are included among the performance materials. > > > > Conductors wishing to play this piece with the forces for which it > > was conceived should use approximately the following numbers of > > players: 1+1 flutes, 2 E² clarinets, 12+10 B² clarinets, 2 alto > > sax, 2 tenor sax, 6+5 trumpets, 1+1+1 horns, 1+1+1 trombones, 6 > > baritones, 6 euphoniums, 6 tubas, 1+1+1 percussion. > > Whee! Six and five trumpets, 6 baritones, 6 euphs, 6 tubas, and only > two flutes one on a part and three horns one on a part! You know, > sometimes I say to myself, I sure would like to hear more bottom end, > well I might just like it in Malta! Yes, but that's somewhat balanced out by 22 Bb clarinets. The band is, pretty much, by definition, a low and middle range ensemble in comparison to the orchestra, with few instruments that can go as high as violins do regularly in orchestral music. The surprise for me in that instrumentation is the trombones, actually. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
And some of the Czech folk bands I saw in Moravia were also interesting--I don't know all of the ins and outs, but tenor tubas of some sort were always there (no problems finding one for my recordings) along wih clarinets, trumpets, tuba, slide trombones, and an occasional valve 'bone. When singers were there they were miked. Aaron J. Rabushka [EMAIL PROTECTED] http://users.waymark.net/arabushk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
On Aug 24, 2007, at 10:29 PM, John Howell wrote: It's considered prestigious to be the person selected to play the Eb soprano. Same thing is true for the alto, bass, and lower clarinets. When I was in bands (admittedly a long time ago now) it was definitely *not* prestigious to play the alto clarinet, Playing it was considered evidence that you were not good enough to play even 2d clarinet. Maybe 3d. Most band music, at least of that day, accordingly buries the alto clarinet line where it can't be heard, and never assigns it anything exposed. I suspect that the orchestral players who play Eb soprano on such things as "Symphonie Fantastique" might take offense. Chavez, Symphony #2 "Sinfonia India" has an absolutely gorgeous, and quite lengthy, solo for the instrument. Check it out. Your average professional orchestra includes a "utility clarinet" player who is expected to play (and own!) Bb/ACl, Bscl, Ebcl, Asax, Tsax, or Btsax whenever called upon to do so. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
On Aug 25, 2007, at 2:14 PM, Andrew Stiller wrote: There are also national variations, as I found to my surprise when presented with a piece scored for the standard Maltese band of today, which is so different from the American one that I felt compelled to add this note to the instrumentation page: This piece is scored for a standard Maltese band. With the composer’s approval, additional parts for the full complement of an American concert band are included among the performance materials. Conductors wishing to play this piece with the forces for which it was conceived should use approximately the following numbers of players: 1+1 flutes, 2 E≤ clarinets, 12+10 B≤ clarinets, 2 alto sax, 2 tenor sax, 6+5 trumpets, 1+1+1 horns, 1+1+1 trombones, 6 baritones, 6 euphoniums, 6 tubas, 1+1+1 percussion. Whee! Six and five trumpets, 6 baritones, 6 euphs, 6 tubas, and only two flutes one on a part and three horns one on a part! You know, sometimes I say to myself, I sure would like to hear more bottom end, well I might just like it in Malta! Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
On Aug 24, 2007, at 9:29 PM, David W. Fenton wrote: Now, in college-level bands, surely the tenor sax majors and many of the altos also double on soprano, so I don't see how that would be incredibly difficult to come by one player for it Any saxophonist worthy of the name can play every size of the instrument at a moment's notice. There is no such thing as an "alto saxophonist." To an only slightly lesser extent, the same is true of clarinetists, flutists, oboists; and all college/pro bassoonists are taught to master the cbn at some point. It's true that the first chair WW in most major orchestras refuse to play anything but their main ax, but that's just a tolerated unprofessionalism. Which IMO should not be tolerated any longer. When the Haydn Symphony 22 is played, the first oboe actually sits it out because both parts are for English horns! Totally daft. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
On Aug 24, 2007, at 7:26 PM, Raymond Horton wrote: When playing works of the early and mid-nineteenth century, historical modern performances can and should try to reproduce the instrumentation of the time, and some colleges and whatever pro performances occur, will do that, time to time. But the tradition of band music, (the changing personnel on these recordings even gives us a hint), is pretty much 'whoever shows up gets to play', There are also national variations, as I found to my surprise when presented with a piece scored for the standard Maltese band of today, which is so different from the American one that I felt compelled to add this note to the instrumentation page: This piece is scored for a standard Maltese band. With the composer’s approval, additional parts for the full complement of an American concert band are included among the performance materials. Conductors wishing to play this piece with the forces for which it was conceived should use approximately the following numbers of players: 1+1 flutes, 2 E≤ clarinets, 12+10 B≤ clarinets, 2 alto sax, 2 tenor sax, 6+5 trumpets, 1+1+1 horns, 1+1+1 trombones, 6 baritones, 6 euphoniums, 6 tubas, 1+1+1 percussion. In Malta, the baritone horn is known as “alto horn in B≤.” To avoid confusion, we have adopted the more familiar terminology for this publication. The extra parts I added were for piccolo, 2 oboes, 2 bassoons, alto and bass clarinets, baritone saxophone, and 4 horns in F. The low WW and 4th horn would hopefully make up for the lack of massed baritones and euphoniums in an American band. The picc. reinforces the EbCl; I forget what I did w. the oboes. The extra instruments appear as parts only; they are not cued in the score. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: Re: [Finale] Turn-of-the-century Band Music
At 10:56 PM -0400 8/24/07, David W. Fenton wrote: On 24 Aug 2007 at 22:29, John Howell wrote: Yes, I understand exactly what you're saying, and of course it's possible to delete instruments from a given ensemble, but you'd have to have a conductor who believes in doing so, and players who accept that it is a good idea to have a few minutes off. Yes, but it's mostly not done, right? Correct. It's mostly not done. One way I can describe the difference between the orchestra and band worlds is this: the orchestra exists to serve the music; the music exists to serve the band. Aaron's suggestion that it might be time for a HIP approach to earlier band music might be just the ticket, for those interested in that kind of thing, but that will always be a small minority. Seems like a given to me. It could make programming easier, too, though scheduling of rehearsals would be harder. That is, make up a performance from different groups of players in different ensembles -- with less music for some of the players, perhaps the groups overall could play harder music prepared in a shorter time. That's the approach we take in the NYU Collegium, where hardly anyone performs in everything (well, I almost always do, but that's because I'm a continuo and viol player both). And that's exactly the approach I take with our Early Music Ensemble, as well, and you're right, it makes scheduling rehearsals a zoo! The difference might be that I encourage people to do more than one thing, if they're interested and capable. So that in the course of a single concert I might have one student singing soprano on one piece, playing violin on another, recorder in one set, and treble viol in another. On the other hand I also welcome students who do just one thing, and pick music to fit their capabilities. Probably never happen, but I think it would be great fun to play with you, David. John -- John R. Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
Hmm, sort of a compromise between Flug and Tpt. Dean On Aug 24, 2007, at 10:58 PM, Darcy James Argue wrote: Cornets are actually enjoying a bit of a renaissance on the NYC jazz scene. Dave Douglas, one of the most influential and critically acclaimed trumpet players of the past ten years, has switched from trumpet to cornet as his primary instrument. He was following in the footsteps of a lot of lesser-known but well- regarded local players -- guys like Taylor Ho Bynum, who made the switch several years ago. Of course, jazz has always had a few cornet holdouts (like Thad Jones), but I've seen a big increase in the number of dedicated jazz cornet players in NYC just over the past 4 years. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 24 Aug 2007, at 9:03 PM, John Howell wrote: The problem is actually that the trumpet has become the all- purpose instrument, needed for orchestral work, jazz band work, and marching band work. The cornet, especially one played with the proper mouthpiece and technique, is a vanishing voice out of choice, and not because instruments are not available. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook http://deanestabrook.googlepages.com/home Why do they sterilize the needle for lethal injections? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
A tricky situation indeed. While on the topic, what Band publishers are presently accepting submissions? Dean On Aug 25, 2007, at 5:25 AM, dhbailey wrote: [EMAIL PROTECTED] wrote: Very often in school bands there's an unspoken requirement that everyone be playing most of the time to keep them occupied. When I wrote my first wind ensemble piece my intent was NOT to write yet another John Cacavas-type excursion into razzle-dazzle, I was roundly criticized for not having everyone playing all the time. Can't please everyone. Indeed -- that's always been the composer's nightmare. How to find some path between the extremes on the one hand of writing exactly what you want to hear and expecting to hear exactly what you wrote and on the other hand of writing music which larger numbers of people will purchase and perform. It's a very tricky situation, and one that composers have always had to navigate carefully. John Cacavas sold an awful lot of band music. His arrangements have something for everyone and doublings/ cues for those situations when the originally desired instrument for a passage isn't available. I would be that every high school and most community and university band libraries have several John Cacavas works. He knew how to write what people wanted to play. Same for James Swearingen in more modern days. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook http://deanestabrook.googlepages.com/home Why do they sterilize the needle for lethal injections? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT permission to set poems
Hi, David. The confusion was probably caused by my not putting quotation marks around the material I was citing, though I said I was quoting from an online text. What you refer to comes from those three paragraphs quoted from a good summary article written by a lawyer at: http://www.copylaw.com/new_articles/PublicDomain.html Come to think of it, why would anyone would be baffled by anything Congress does? (grin) Cheers. Marilyn --- Forwarded Message From: "dhbailey" <[EMAIL PROTECTED]> To: finale@shsu.edu Date: Sat, 25 Aug 2007 08:15:08 -0400 Subject:Re: [Finale] OT permission to set poems Plain Text Attachment [ Scan and Save to Computer ] MB wrote: [snip]> In 1992, Congress enacted a law that made renewal automatic for works > published between 1964 and 1978. However, if a work was published [snip] This baffles me, since the 1978 rewrite of the U.S. Copyright law automatically extended the term for works which were then in their first or second copyright term to be a total of 75 years. so anything copyrighted after 1964 was still in its first copyright term and was thus automatically extended. So why would Congress have needed to pass an additional law to extend those terms? I realize that an additional 20 years was added on, but there was no need for a legislated automatic renewal since the 1978 act had already done that. Or did I misunderstand something? -- David H. Bailey [EMAIL PROTECTED] Luggage? GPS? Comic books? Check out fitting gifts for grads at Yahoo! Search http://search.yahoo.com/search?fr=oni_on_mail&p=graduation+gifts&cs=bz ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale has a mind of its own
Hi David, Option and the tuplet definition number still works on the Mac side in Speedy. I'd be surprised if it were missing on PCs. Alt and the number? Chuck On Aug 25, 2007, at 5:08 AM, dhbailey wrote: Chuck Israels wrote: I have a figure - two triplet 8ths on the downbeat of a 4/4 measure, and every time I copy it vertically (haven't tried horizontal) it changes the remaining rests from a quarter and a half to 2 8ths and a half. What's up with that? Sometimes in the past, changing the settings in the quantization dialog has helped. There's an option to soften syncopations -- check that box and see if it helps in this situation. On a side note, I just tried to recreate your example using Speedy Entry in Fin2008 and was chagrined to find that ctrl-3 didn't initiate a triplet. When I tried to open the help system to find how to initiate a triplet in Speedy Entry these days it froze and I was forced to use ctrl-alt-del to exit from Fin2008. Why would they remove a perfectly fine working key-combination from Speedy Entry? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT permission to set poems
dhbailey wrote: MB wrote: [snip]> In 1992, Congress enacted a law that made renewal automatic for works published between 1964 and 1978. However, if a work was published [snip] This baffles me, since the 1978 rewrite of the U.S. Copyright law automatically extended the term for works which were then in their first or second copyright term to be a total of 75 years. so anything copyrighted after 1964 was still in its first copyright term and was thus automatically extended. Based upon my experience, I interpret the 1992 as a misprint or typo. My recollection is that the automatic renewal was actually made part of US copyright law in 1962, taking effect for music which renewed in 1964. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Finale has a mind of its own
On PC, they made CTRL-3 a "view %," much to everyone's chagrin. You can use numpad 3 for now, but MM seems to understand their mistake & have "promised" to change it in the maint. release. From: dhbailey Sent: Sat 25-Aug-07 8:08 To: finale@shsu.edu Subject: Re: [Finale] Finale has a mind of its own Chuck Israels wrote: I have a figure - two triplet 8ths on the downbeat of a 4/4 measure, and every time I copy it vertically (haven't tried horizontal) it changes the remaining rests from a quarter and a half to 2 8ths and a half. What's up with that? Sometimes in the past, changing the settings in the quantization dialog has helped. There's an option to soften syncopations -- check that box and see if it helps in this situation. On a side note, I just tried to recreate your example using Speedy Entry in Fin2008 and was chagrined to find that ctrl-3 didn't initiate a triplet. When I tried to open the help system to find how to initiate a triplet in Speedy Entry these days it froze and I was forced to use ctrl-alt-del to exit from Fin2008. Why would they remove a perfectly fine working key-combination from Speedy Entry? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
I don't know yet--it's only been out a few weeks. The "wind ensemble" marking was MMB's idea rather than mine. Would you like me ot send you a promo-blurb, David? Aaron J. Rabushka [EMAIL PROTECTED] http://users.waymark.net/arabushk - Original Message - From: "dhbailey" <[EMAIL PROTECTED]> To: Sent: Saturday, August 25, 2007 8:10 AM Subject: Re: [Finale] Turn-of-the-century Band Music > [EMAIL PROTECTED] wrote: > > And, as one who can be excessively finicky about which instrument plays > > what, I swore a long time ago that the word "band" would never appear on > > any of my title pages precisely because of its imprecise meaning. It's > > interesting that MMB Music wrote "Wind Ensemble" on my recently published > > Haydn overture transcription (which, btw, includes a specially transposed > > oboe part for an obbligato clarinet to be used if no oboe is available). > > > > > Interesting -- how many copies have been sold? > > As the director of a community band I don't even bother looking at > scores marked "Wind Ensemble" because of the more finicky > instrumentation requirements. Which really doesn't matter much except > to me and my band, but I am curious about the sales figures (not > specifics, of course, but have you sold "a few" "some" "a lot" "enough > to retire on") since all the other community band directors I know feel > the same way. > > - > David H. Bailey > [EMAIL PROTECTED] > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Show Only On Screen
Ryan Beard wrote: Hi All, FinMac 2007c. I can't find where they moved the "Show Only On Screen" command. It used to be in the Text Menu. Please help! It's the Font Attributes -- Invisible. They took out the Show Only On Screen option. Amazing how they make this program "easier" isn't it? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
[EMAIL PROTECTED] wrote: Very often in school bands there's an unspoken requirement that everyone be playing most of the time to keep them occupied. When I wrote my first wind ensemble piece my intent was NOT to write yet another John Cacavas-type excursion into razzle-dazzle, I was roundly criticized for not having everyone playing all the time. Can't please everyone. Indeed -- that's always been the composer's nightmare. How to find some path between the extremes on the one hand of writing exactly what you want to hear and expecting to hear exactly what you wrote and on the other hand of writing music which larger numbers of people will purchase and perform. It's a very tricky situation, and one that composers have always had to navigate carefully. John Cacavas sold an awful lot of band music. His arrangements have something for everyone and doublings/cues for those situations when the originally desired instrument for a passage isn't available. I would be that every high school and most community and university band libraries have several John Cacavas works. He knew how to write what people wanted to play. Same for James Swearingen in more modern days. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
David W. Fenton wrote: [snip]> Am I misinterpreting the discussion here? Is my position basically what all y'all were advocating? Or do even university-level and professional bands seldom/never adapt their instrumentation to the music they are playing? I think you would find that the upper level university bands and professional bands will perform as close to the original instrumentation as possible, even to the use of Db piccolos. But the lower level university bands (at those colleges and universities which have more than one band) and all community bands are a lot like high school bands -- if you're a member you expect to play some in every piece. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT permission to set poems
MB wrote: [snip]> In 1992, Congress enacted a law that made renewal automatic for works published between 1964 and 1978. However, if a work was published [snip] This baffles me, since the 1978 rewrite of the U.S. Copyright law automatically extended the term for works which were then in their first or second copyright term to be a total of 75 years. so anything copyrighted after 1964 was still in its first copyright term and was thus automatically extended. So why would Congress have needed to pass an additional law to extend those terms? I realize that an additional 20 years was added on, but there was no need for a legislated automatic renewal since the 1978 act had already done that. Or did I misunderstand something? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale has a mind of its own
Chuck Israels wrote: I have a figure - two triplet 8ths on the downbeat of a 4/4 measure, and every time I copy it vertically (haven't tried horizontal) it changes the remaining rests from a quarter and a half to 2 8ths and a half. What's up with that? Sometimes in the past, changing the settings in the quantization dialog has helped. There's an option to soften syncopations -- check that box and see if it helps in this situation. On a side note, I just tried to recreate your example using Speedy Entry in Fin2008 and was chagrined to find that ctrl-3 didn't initiate a triplet. When I tried to open the help system to find how to initiate a triplet in Speedy Entry these days it froze and I was forced to use ctrl-alt-del to exit from Fin2008. Why would they remove a perfectly fine working key-combination from Speedy Entry? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
Christopher Smith wrote: On Aug 24, 2007, at 11:00 AM, Daniel Wolf wrote: There is a great deal of continuity between Sousa's instrumentation and that of contemporary bands, [snip] The band membership also included a female vocalist, a violinist, and a harpist as soloists, Heh, heh! My association of Sousa with marching bands made me spit my tea when the image of a marching harpist popped up in your discourse! I was already musing on marching bassoons, and how much I hate marching with a tuba, or the infinitely worse sousaphone, which is at least twice as heavy. Sousa's band didn't march more than a couple of times. At least his civilian band. The Marine Band marched, and the band he led in WWI at the Great Lakes Naval Training Center marched, but his civilian band mostly just played concerts. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
[EMAIL PROTECTED] wrote: And, as one who can be excessively finicky about which instrument plays what, I swore a long time ago that the word "band" would never appear on any of my title pages precisely because of its imprecise meaning. It's interesting that MMB Music wrote "Wind Ensemble" on my recently published Haydn overture transcription (which, btw, includes a specially transposed oboe part for an obbligato clarinet to be used if no oboe is available). Interesting -- how many copies have been sold? As the director of a community band I don't even bother looking at scores marked "Wind Ensemble" because of the more finicky instrumentation requirements. Which really doesn't matter much except to me and my band, but I am curious about the sales figures (not specifics, of course, but have you sold "a few" "some" "a lot" "enough to retire on") since all the other community band directors I know feel the same way. - David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Turn-of-the-century Band Music
Daniel Wolf wrote: I have a general aesthetic question for people involved in bands. Is there a rationale beyond the pedagogical for wanting band scores to meet some prescribed contemporary and standardized instrumentation? Might there not be some legitimate musical reasons for omitting certain instruments or requiring others, or for allowing or disallowing optional doublings or playing cue note? If someone has articulated a case for a particular standard for band instrumentation, I'd certainly be interested in reading it. At least in the U.S. the vast majority of bands are educational in purpose -- band directors don't want (and for behavior and discipline they CAN'T have) students sitting idle for large amounts of rehearsal time. The next largest number of bands are college/university bands -- many (most?) colleges have more than one band, some with as many as 3 or 4 (or more) where the "lowest" level band is really an extension of high school band and is open without audition to any student (or faculty member in many cases) to come participate in. As such, they don't want people who are there as a hobby to feel their time is being wasted by being told that they can't play for several works on the next concert. The upper level bands would be far more likely to program works which add extra instruments and/or omit some instruments, since the members are there by invitation (after passing an audition) to begin with. Then there are the community bands, where people come once a week (in most cases) to relax by making music in a band environment. Tell them they can't play for part of a concert and they'll go find another band where they're more needed. Doublings (or cues) are desirable so that band works are performable by more ensembles which might not have the original instruments those passages are scored for -- this allows many bands to perform works which otherwise they would have to pass on, selling more copies for the composer and making the performances more diverse. It's an entirely different world from orchestras, where everybody except the strings knows there will be works they aren't needed for, and they accept that gladly in exchange for the privilege of performing orchestral music. Two very different worlds, bands and orchestras, with two very different views of who should play and when. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
