Re: [Finale] Turn-of-the-century Band Music

[Patrick Sheehan]

Agree with you, John!  "Every part is independent"!

- Original Message - 
From: "John Howell" <[EMAIL PROTECTED]>

To: 
Sent: Saturday, August 25, 2007 4:37 PM
Subject: 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

Re: [Finale] Turn-of-the-century Band Music

[Patrick Sheehan]

I agree with you, David.  When I orchestrate or arrange, and want a specific 
sound from an instrument family, I'll have no qualms about using an alto 
clarinet (non-doubled) or a couple flugelhorns, or whatever.  I mandate that 
the ensemble find the instrument or don't play the piece; I'm that adamant 
about it.  Glad some people out there feel the same way.


- Original Message - 
From: "dhbailey" <[EMAIL PROTECTED]>

To: 
Sent: Saturday, August 25, 2007 7:19 AM
Subject: 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

[Andrew Stiller]

On Aug 26, 2007, at 8:07 PM, John Howell wrote:



But you still wouldn't have, and couldn't have, without permission, 
the text, so the logic of what your suggest escapes me.  What would be 
the point?


If I write a purely musical piece, with the instruction "to be sung to 
the words of [poem] by [poet]" I am not in violation of copyright 
because I have not actually used the text. If someone, following my 
instructions, performs the piece with the prescribed text, then they 
are no more (and no less) in violation of copyright than if they had 
read the poem aloud without music. Since people read copyrighted poems 
aloud all the time, I assume the copyright regulations regarding such 
things are relatively relaxed.


I wrote a piece in 1980 that used a poem by Vachel Lindsay, which the 
Lindsay estate (wh. of course was a corporation) demanded an 
exhorbitant fee to use. In response to this, I reset the music using 
only the vowels from the poem, together with an instruction that, upon 
expiry of the copyright, the full text was to be used instead. I also 
instructed that *prior* to the expiry of copyright, any performance 
using the vowels must have a  program note explaining the copyright 
issue involved, and/or present a printed copy of the text.


Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/

___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] OT permission to set poems

[dhbailey]

John Howell wrote:

At 3:09 PM -0600 8/26/07, Noel Stoutenburg wrote:

Dennis Bathory-Kitsz wrote:

Back in my cute-but-dumb days, I set several "forbidden" texts, and the
compositions are now not publishable or even performable (technically,
anyway). Good pieces, too.
It seems to me that there is a creative way around this, though 
finding a publisher might be a challenge. I conceived of this scheme 
in reference to strophic texts, inspired by 19th century U.S. hymnals, 
where it was quite common to include words with no music, the 
accompanist being obliged to supply the music from a tune book, which 
contained mostly lyrics, but few words. I note that hymns are almost 
all strophic, and that the scheme I describe may not  work as well for 
texts in other forms.


Now, since copyright prevents is your making a copy of the covered 
material without permission, don't include most of the words of the 
text of the copyright material in your setting. Rather, you music 
everything else that would be in the printed score: notes, performance 
directions, tempi, dynamics, &c. Where the lyric would customarily be 
printed, include only the punctuation, and perhaps the occasional word 
or short phrase from the intended text, as these are explicitly not 
copyrightable. You could apparently link your music to the text by 
giving it the same title as the text which inspired it, as titles are 
not copyrightable in the U.S.


But you still wouldn't have, and couldn't have, without permission, the 
text, so the logic of what your suggest escapes me.  What would be the 
point?


John




People would buy your music, people would buy a book with the poems in 
it, and would combine the words and music on their own for performance.


I wonder what sort of hot water that would land them in, though, public 
performance of copyrighted poetry for which no public performance 
permission was sought and no public performance royalty was paid.


The music might be covered by ASCAP or BMI but the poetry probably 
wouldn't be.


--
David H. Bailey
[EMAIL PROTECTED]
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Sibelius demo in the MD public schools

[Matthew Hindson fastmail acct]

From: Lawrence David Eden <[EMAIL PROTECTED]>
Subject: [Finale] Sibelius demo in the MD public schools
To: FinaleList 
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

The boys from Sibelius ran a marketing demo for the General Music 
teachers in the public schools.  I teach Instrumental Music at 4 
elementary schools and did not see the demo, but EVERY general music 
teacher I run into can't stop talking bout how cool Sibelius is.


During my 30+ years of public school teaching, I have seen this kind 
of thing before.  Commodore used to dominate the educational 
profession in my schools.  They lost out to Apple, who in turn, lost 
out to Dell.  In each case, the newcomer was better at marketing and 
more interested in cornering the market.


Now I am seeing Sibelius stick it to Finale.  I have not used 
Sibelius, nor do I intend to, but I am concerned to see MakeMusic 
take a back seat to any other notation software.  On this list, I 
hear mostly complaints about Finale.  Why is MakeMusic willing to 
take this kind of beating?  For my purposes, (small ensembles), 
Finale is just fine and I have no complaints.   It used to be that I 
could endorse Finale without reservation.  Now, I am not so sure. 
Is Sibelius as good as it appears to be?


The marketing to education here in Australia has been extensive and 
fabulous, to the extent that Sibelius basically runs in every school and 
just about every University.  It may prove to be a model of what is to 
come in the US if it hasn't already.


Students use Sibelius in schools, then go home and buy it or use cracked 
copies.  The cracked copies have basically negated any advantage offered 
by Finale Notepad.  Through observation and anecdote, very few people in 
the education sector seem use Finale any more (though the ex-distributor 
tells me that the Finale sales in the last year were higher than ever, 
so maybe I'm wrong).  The education sector is the beachhead to the wider 
community.


Personally I find Sibelius difficult to use and am full of admiration 
for those who manage to scores with it.  I still consider Finale to be a 
superior product than Sibelius in many ways, however the thousands of 
musicians/students/educators/composers who use Sibelius in this country 
prove me wrong every day.


Matthew

___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Scanning printed music into Finale

[A-NO-NE Music]

I just checked, and it still works with FinMac2k8:
File > Scanning >Import and Existing TIFF File...

Note that Finale can't read compressed TIFF file.  I also don't know why
FinMac doesn't recognize my HP scanner's kernel extension.

-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
 


___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Sibelius demo in the MD public schools

[John Howell]

At 4:32 PM -0600 8/26/07, Noel Stoutenburg wrote:


Further, I noted that Sibelius is marketing to 
"General Music teachers" in public schools. I 
don't know how titles work in MD (or in most 
places, actually) but when I read the title 
"General Music Teacher", I think of a grades 1-3 
or 1-4, where music education is mostly singing, 
with the occasional percussion or perhaps a few 
weeks of instruction on recorder. SmartMusic is 
mostly an instrumental product, and therefore 
mostly marketed to teachers later, I suspect 
Sibelius is marketing to general Music teachers 
because they are at a substantial disadvantage 
with music teachers of the later years who teach 
instruments. I also wonder how many general 
music teachers are really going to use Sibelius? 
I know several, and based upon what I know of 
Sibelius, while the ones I know would rave about 
how cool it is, it is not a product that they 
would ever buy or use, as it is far more 
horsepower than they can use


Noel, with respect, I think you're comparing 
apples and hamburgers.  You're thinking only 
about the notation programs, but a very brief 
visit to the Sibelius.com website will show you 
that they have been VERY busy developing 
educational suites specifically aimed at general 
music classes in the elementary and middle 
schools, and these materials are specifically 
designed to help general music teachers teach 
what they SHOULD be teaching and probably WANT to 
be teaching, but in fact are NOT teaching.  I'm 
not promoting the products because I'm not 
familiar with them, but they go far beyond simple 
notation or whatever it is that SmartMusic is 
supposed to do.


They are doing, in fact, what Apple was canny 
enough to do back in the '80s, when they 
deliberately targeted the educational market with 
the original Apple II and its successors while 
IBM concentrated on their business customers. 
They are creating product specifically for the 
educational market, and putting a lot of 
resources into selling that product.


I didn't search the website thoroughly enough to 
say whether there are "Sibelius lite" products 
like the Finale products, but I seem to recall 
that there are.  The feeling I get, though, is 
that MakeMusic is concentrating on marketing 
limited versions of the full program, while 
Sibelius are expanding into new areas where they 
see great future potential, WITHOUT disturbing 
development of the notation program itself.


And all general music teachers are not as 
incompetent as you seem to believe, especially 
those with advanced Kodály and Orff training and 
certification.  There are some bad ones, of 
course, but there are a lot of very good ones as 
well, and I hope that our own graduates are among 
them.


I would note, too, that in the several music 
lists in which I participate in, that since the 
first of the year I've noticed about twice as 
many users commenting that they are switching 
away Sibelius to Finale than mentioned they were 
switching from Finale to Sibelius.


On the several lists I'm active on, I find that 
rather than people making either statement, they 
are more likely to be asking for advice on which 
notation product to get, and the honest answers 
usually say something like, it depends on what 
your needs are, but Sibelius is much easier to 
work with.  If there's any consensus at the 
moment, that seems to be it.


What does anyone know about the European program 
called something like "Harmony Assistant"? 
Someone on another list has been singing its 
praises and saying it's much more widely used 
than either Finale or Sibelius.  Makes me wonder 
whether it only runs on a specific OS, like 
Sibelius in the beginning with the Acorn.


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] OT permission to set poems

[John Howell]

At 3:09 PM -0600 8/26/07, Noel Stoutenburg wrote:

Dennis Bathory-Kitsz wrote:

Back in my cute-but-dumb days, I set several "forbidden" texts, and the
compositions are now not publishable or even performable (technically,
anyway). Good pieces, too.
It seems to me that there is a creative way around this, though 
finding a publisher might be a challenge. I conceived of this scheme 
in reference to strophic texts, inspired by 19th century U.S. 
hymnals, where it was quite common to include words with no music, 
the accompanist being obliged to supply the music from a tune book, 
which contained mostly lyrics, but few words. I note that hymns are 
almost all strophic, and that the scheme I describe may not  work as 
well for texts in other forms.


Now, since copyright prevents is your making a copy of the covered 
material without permission, don't include most of the words of the 
text of the copyright material in your setting. Rather, you music 
everything else that would be in the printed score: notes, 
performance directions, tempi, dynamics, &c. Where the lyric would 
customarily be printed, include only the punctuation, and perhaps 
the occasional word or short phrase from the intended text, as these 
are explicitly not copyrightable. You could apparently link your 
music to the text by giving it the same title as the text which 
inspired it, as titles are not copyrightable in the U.S.


But you still wouldn't have, and couldn't have, without permission, 
the text, so the logic of what your suggest escapes me.  What would 
be the point?


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] Sibelius demo in the MD public schools

[Noel Stoutenburg]

John Howell wrote:
Given a good product with low key marketing, and a poor product with 
aggressive marketing, it seems to get a lot more complicated.  The 
aggressive marketing is going to gain market share at first, but the 
customers it gains will become disillusioned by the poor product and 
will not only switch, but will never come back to a company that has 
burned them.  I think.
There are a couple of considerations not mentioned here, though. eMedia 
Music resells Finale Allegro and Finale PrintMusic and Finale 
Songwriter,  but includes no titles whatsoever from Sibelius, and there 
is a major price advantage between these titles, for which Sibelius has 
no direct analogue, and the full Sibelius package. And while I suspect 
most of us on this list have given only cursory glances at Finale 
Notepad, Sibelius doesn't offer anything like this, either, and nif you 
are willing to acquire it through download, Notepad is free! If your 
competitor has product you don't which might divert part of your future 
customer base, you have to have a more aggressive marketing program.


Further, I noted that Sibelius is marketing to "General Music teachers" 
in public schools. I don't know how titles work in MD (or in most 
places, actually) but when I read the title "General Music Teacher", I 
think of a grades 1-3 or 1-4, where music education is mostly singing, 
with the occasional percussion or perhaps a few weeks of instruction on 
recorder. SmartMusic is mostly an instrumental product, and therefore 
mostly marketed to teachers later, I suspect Sibelius is marketing to 
general Music teachers because they are at a substantial disadvantage 
with music teachers of the later years who teach instruments. I also 
wonder how many general music teachers are really going to use Sibelius? 
I know several, and based upon what I know of Sibelius, while the ones I 
know would rave about how cool it is, it is not a product that they 
would ever buy or use, as it is far more horsepower than they can use


The concern expressed on this list has been that Finale is well on its 
way to becoming a poor product, riddled with unfixed bugs and with an 
unrealistic marketing plan, and that truly does seem to be the case.  
At the moment Sibelius is not only marketing more aggressively, but 
they are clearly ahead
I'm not sure Sibelius IS ahead. While there has been comment on this 
list about how it is perceived to be ahead, I'm not sure how widely this 
perception is in the larger set of users of music notation products. For 
example, you may remember that several years ago, when Finale was owned 
by Net4Music, Hal Leonard chose Sibelius' scorch to use for Sheetmusic 
direct, and still uses the product there.  I don't know whether there 
was any impact on HL's decision to adopt Scorch by the fact that 
Net4Music had a capability like the Finale Showcase, which allowed 
composers to post their own music, but which had the added capability of 
allowing the owner to charge money for the download. At this time, there 
was a Finale Music Viewer browser plug-in. Well, around the time that 
Hal Leonard adopted Scorch, the Finale Music Viewer was dropped in favor 
of opening files with Notepad, and the capabilities of Net4Music were 
divided; the Net4Music website redirects to MakeMusic, and the download 
was sold to another entity, but I don't remember now exactly which one.


Interestingly enough, I was reviewing the Finale website earlier this 
year, and found that the Finale Music Viewer was back, and that there 
was at testimonial about the product from none other than the President 
of Hal Leonard. A little later, I learned that S~ now has an on-line 
music store wherein composers can offer for sale their own work. More 
recently, I learned another interesting fact which may or may not be 
related: if one goes to purchase music through the Hal Leonard related 
site, "www.sheetmusicdirect.us", one still uses Sibelius' scorch viewer 
to download scores. If one visits the _other_ Hal Leonard related sites, 
"BandMusic direct", "Orchestra music direct", and "Choral Music direct", 
one finds they do not use Scorch technology; instead they use the new 
Finale Music Viewer (cf: 
)!  
One wonders how much Hal Leonard had to do with the development of 
Linked parts.


I would note, too, that in the several music lists in which I 
participate in, that since the first of the year I've noticed about 
twice as many users commenting that they are switching away Sibelius to 
Finale than mentioned they were switching from Finale to Sibelius.


ns




___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Sibelius demo in the MD public schools

[dhbailey]

Lawrence David Eden wrote:
The boys from Sibelius ran a marketing demo for the General Music 
teachers in the public schools.  I teach Instrumental Music at 4 
elementary schools and did not see the demo, but EVERY general music 
teacher I run into can't stop talking bout how cool Sibelius is.


During my 30+ years of public school teaching, I have seen this kind of 
thing before.  Commodore used to dominate the educational profession in 
my schools.  They lost out to Apple, who in turn, lost out to Dell.  In 
each case, the newcomer was better at marketing and more interested in 
cornering the market.


Now I am seeing Sibelius stick it to Finale.  I have not used Sibelius, 
nor do I intend to, but I am concerned to see MakeMusic take a back seat 
to any other notation software.  On this list, I hear mostly complaints 
about Finale.  Why is MakeMusic willing to take this kind of beating?  
For my purposes, (small ensembles), Finale is just fine and I have no 
complaints.   It used to be that I could endorse Finale without 
reservation.  Now, I am not so sure. Is Sibelius as good as it appears 
to be?


You'll never find 100% agreement with any such statement, but I have 
been working very intensively with Sibelius on a project which is just 
about complete, and I can say that it sure is easier to work with than 
recent versions of Finale.


But I would balance that statement with "for my purposes and for the 
projects on which I have used it."


My recent discovery that ctrl-3 no longer initiates a triplet in speedy 
entry sure added another nail to the Finale coffin for me.


But I also would not encourage anybody to make a switch to Sibelius on 
my say-so -- it's not for everybody.  But the tenor of the threads on 
the two lists (this Finale list and the yahoogroups Sibelius list) are 
very different.  On the Sibelius list these days it's like my early days 
on the Finale list -- everybody helping everybody else with very few 
complaints about the program itself.  And interestingly enough, when I 
first joined the Sibelius list, it was like the Finale list is these 
days, many people complaining about what the program couldn't do or how 
it was hard to get it to do what it could do.  But all that is reversed 
these days, so that this Finale list is mostly complaints and the 
Sibelius list is mostly encouragement and assistance.


I really like working with Sibelius and was able to adapt to using midi 
keyboard for pitch and the numpad keys to specify duration much more 
quickly than I had imagined I would be able to.


If Finale works for you, there's no need (yet) to consider changing. 
But with the Finale reports of removing the Speedy Entry tool while 
moving it's various elements to other tools, I see a dim and fading 
future for Finale.  New users may have a great time with Simple Entry, 
but I find that it takes just a bit longer to get the same results in 
Simple Entry than in Sibelius' entry mode.


MakeMusic is willing to take this beating because they have set their 
sights on SmartMusic Accompaniment Software as their saving product 
which is where the bulk of their development money seems to be going 
(lack of promised levels of new smartmusic accompaniment files 
notwithstanding) and they are viewing Finale as a necessary evil to 
generate yearly upgrade fees to keep the company afloat.  They can't 
even keep their two main products (Finale and Smartmusic) at the same 
level, according to complaints on this list, so that 
Finale2008-generated SmartMusic accompaniment files can't work with the 
existing Smartmusic software.  Someone didn't think that through very 
carefully.



--
David H. Bailey
[EMAIL PROTECTED]
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Scanning printed music into Finale

[dhbailey]

A-NO-NE Music wrote:

Stephen Ellis / 2007/08/26 / 01:12 AM 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?


A few years ago, I scanned my own music as TIF then brought it to FinMac
natively without 3rd party app.  Has this been changed?



Well, the module of FinMac which imported it was what many people think 
of as "music scanning software" -- it's a separate module which 
interprets the TIF data and converts it into Finale notation data.


It's SmartScore Lite which does the interpreting of the TIF data and can 
control the scanner to get the music scanned to a TIF.


The full version of SmartScore supposedly does a better job than the 
Lite version which comes as part of Finale.


--
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

[Noel Stoutenburg]

Dennis Bathory-Kitsz wrote:

Back in my cute-but-dumb days, I set several "forbidden" texts, and the
compositions are now not publishable or even performable (technically,
anyway). Good pieces, too.
It seems to me that there is a creative way around this, though finding 
a publisher might be a challenge. I conceived of this scheme in 
reference to strophic texts, inspired by 19th century U.S. hymnals, 
where it was quite common to include words with no music, the 
accompanist being obliged to supply the music from a tune book, which 
contained mostly lyrics, but few words. I note that hymns are almost all 
strophic, and that the scheme I describe may not  work as well for texts 
in other forms.


Now, since copyright prevents is your making a copy of the covered 
material without permission, don't include most of the words of the text 
of the copyright material in your setting. Rather, you music everything 
else that would be in the printed score: notes, performance directions, 
tempi, dynamics, &c. Where the lyric would customarily be printed, 
include only the punctuation, and perhaps the occasional word or short 
phrase from the intended text, as these are explicitly not 
copyrightable. You could apparently link your music to the text by 
giving it the same title as the text which inspired it, as titles are 
not copyrightable in the U.S.


ns
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Turn-of-the-century Band Music

[Aaron Rabushka]

Sounds logical to me, but I wanted to double-check. Thanks!

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: "Darcy James Argue" <[EMAIL PROTECTED]>
To: 
Sent: Sunday, August 26, 2007 2:58 PM
Subject: Re: [Finale] Turn-of-the-century Band Music


> Hey Aaron,
> 
> It will definitely be easier on the player to write for Bb trumpet  
> doubling fluegelhorn, so that the entire part is in Bb.
> 
> Cheers,
> 
> - Darcy
> -
> [EMAIL PROTECTED]
> Brooklyn, NY
> 
> 
> 
> On 26 Aug 2007, at 1:43 PM, [EMAIL PROTECTED] wrote:
> 
> > And while we're on the subject, my current project calls for three  
> > players
> > to alternate quite often between fluegelhorns and trumpets. Can any  
> > of the
> > trumpeters here enlighten me as to whether orchestral trumpters  
> > would have
> > preferences for the trumpet parts to be written in B-flat or C in  
> > these
> > circumstances?
> >
> >
> >
> > Aaron J. Rabushka
> > [EMAIL PROTECTED]
> > http://users.waymark.net/arabushk
> > ___
> > 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 mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Turn-of-the-century Band Music

[John Howell]

At 3:17 PM -0400 8/26/07, John Howell wrote:

Guy Hayden wrote:

I have found that trumpeters who do not play cornet will insist that there
is no difference between the two instruments.


I suspect that you would also find that those players use 
mouthpieces with the same cup, throat, and rim as their trumpet 
mouthpieces, the only difference being the smaller shank.  And the 
single most important difference in tone quality and flexibility is 
the difference between a true cornet mouthpiece and a true trumpet 
mouthpiece.


Trumpet mouthpieces have also tended to adopt smaller inside 
dimensions over the years.  I understand that Vincent Bach's own 
mouthpieces was the equivalent of the Bach 1C.  I played a 3C for 
many years, which was quite large enough for me, while my companions 
usually went for the 10 1/2 C.


Oops!  I just realized that I misread your sentence, but I think my 
comment is still valid


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

[John Howell]

Guy Hayden wrote:

I have found that trumpeters who do not play cornet will insist that there
is no difference between the two instruments.


I suspect that you would also find that those players use mouthpieces 
with the same cup, throat, and rim as their trumpet mouthpieces, the 
only difference being the smaller shank.  And the single most 
important difference in tone quality and flexibility is the 
difference between a true cornet mouthpiece and a true trumpet 
mouthpiece.


Trumpet mouthpieces have also tended to adopt smaller inside 
dimensions over the years.  I understand that Vincent Bach's own 
mouthpieces was the equivalent of the Bach 1C.  I played a 3C for 
many years, which was quite large enough for me, while my companions 
usually went for the 10 1/2 C.


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

[Christopher Smith]

On 26-Aug-07, at 1:43 PM, [EMAIL PROTECTED] wrote:

And while we're on the subject, my current project calls for three  
players
to alternate quite often between fluegelhorns and trumpets. Can any  
of the
trumpeters here enlighten me as to whether orchestral trumpters  
would have
preferences for the trumpet parts to be written in B-flat or C in  
these

circumstances?


The players I write for prefer modern parts notated in Bb (though of  
course they can read anything!) Most of the repertoire is written for  
Bb, and the ones that prefer to play C as their main instrument (most  
of them) are so used to reading Bb parts that anything else risks  
confusion, especially switching back and forth to Bb flugel.


There IS kind of a Bb splat that I miss sometimes when I hear certain  
music played on C trumpet, but that is so nit-picky that I shouldn't  
really say anything, and leave it up to the players.


Christopher



___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Sibelius demo in the MD public schools

[John Howell]

At 12:06 PM -0400 8/26/07, Lawrence David Eden wrote:


Now I am seeing Sibelius stick it to Finale.  I have not used 
Sibelius, nor do I intend to, but I am concerned to see MakeMusic 
take a back seat to any other notation software.  On this list, I 
hear mostly complaints about Finale.  Why is MakeMusic willing to 
take this kind of beating?  For my purposes, (small ensembles), 
Finale is just fine and I have no complaints.   It used to be that I 
could endorse Finale without reservation.  Now, I am not so sure. Is 
Sibelius as good as it appears to be?


I've never taken a marketing course, but some things seem clear. 
Given equally good products, aggressive marketing will take over 
market share.  Just look at the automobile companies, or the soft 
drink companies!  Yes, we really are dumb enough and predictable 
enough to develop "brand loyalty," just as males really are 
responsive to good makeup worn by females, and have been since 
Cleopatra and Marc Antony!!


Given a good product with low key marketing, and a poor product with 
aggressive marketing, it seems to get a lot more complicated.  The 
aggressive marketing is going to gain market share at first, but the 
customers it gains will become disillusioned by the poor product and 
will not only switch, but will never come back to a company that has 
burned them.  I think.


The concern expressed on this list has been that Finale is well on 
its way to becoming a poor product, riddled with unfixed bugs and 
with an unrealistic marketing plan, and that truly does seem to be 
the case.  At the moment Sibelius is not only marketing more 
aggressively, but they are clearly ahead in the matters of 
development time between releases, customer service and attention to 
customer wishes, and functionality right out of the box without 
needing a degree in computer programming.  That may, of course, 
change in the future, if Finale lasts long enough to recognize and 
fix their problems, and if Sibelius gets overconfident.  But neither 
is happening right now.


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

[Darcy James Argue]

Hey Aaron,

It will definitely be easier on the player to write for Bb trumpet  
doubling fluegelhorn, so that the entire part is in Bb.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 26 Aug 2007, at 1:43 PM, [EMAIL PROTECTED] wrote:

And while we're on the subject, my current project calls for three  
players
to alternate quite often between fluegelhorns and trumpets. Can any  
of the
trumpeters here enlighten me as to whether orchestral trumpters  
would have
preferences for the trumpet parts to be written in B-flat or C in  
these

circumstances?



Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
___
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

[arabushk]

And while we're on the subject, my current project calls for three players
to alternate quite often between fluegelhorns and trumpets. Can any of the
trumpeters here enlighten me as to whether orchestral trumpters would have
preferences for the trumpet parts to be written in B-flat or C in these
circumstances?



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

[Carl Dershem]

Guy Hayden wrote:

I have found that trumpeters who do not play cornet will insist that there
is no difference between the two instruments.  OTH, cornetists will insist
that a marked difference exists.  As both a band and orchestra conductor I
do recognize a difference in the sound.  Mind you, I grew up (mid-50s)
playing in bands with large contingents of both instruments.

The comment about Tschaikovsky's use reminds me that "Capriccio Italien"
calls for both cornets and trumpets.  For a guest conducting gig a while
back I asked for both instruments in Berlioz' orchestration of von Weber's
"Invitation to the Dance".  None of the regular trumpeters owned cornets so
auxiliary players were engaged for the parts, causing bit of grumping by the
trumpeters!

I have heard that Clarke commented that he could not understand why anyone
would want to play cornet parts on the trumpet.  Maybe he knew something
about the different sound from the two? 

Guy Hayden 


As a trumpet player, I find the difference between the trumpet and 
cornet to be very pronounced, though some players do what they can to 
minimize the differences.  A lot can be done with mouthpiece selection 
to make the difference more or less pronounced, but ideally a cornet 
should have a warm, round sound, while a trumpet should have a bright, 
clear sound.  Also, as has been said before, trumpets project much 
better than cornets.


When I get a call for a gig that calls for cornet, I bring one, and when 
I play jazz in small intimate settings I prefer to play cornet, but the 
vast majority of calls are for trumpet.


And flugelhorn is a whole other can of worms.

cd
--
http://www.livejournal.com/users/dershem/#
http://members.cox.net/dershem

___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

RE: [Finale] Turn-of-the-century Band Music

[Guy Hayden]

I have found that trumpeters who do not play cornet will insist that there
is no difference between the two instruments.  OTH, cornetists will insist
that a marked difference exists.  As both a band and orchestra conductor I
do recognize a difference in the sound.  Mind you, I grew up (mid-50s)
playing in bands with large contingents of both instruments.

The comment about Tschaikovsky's use reminds me that "Capriccio Italien"
calls for both cornets and trumpets.  For a guest conducting gig a while
back I asked for both instruments in Berlioz' orchestration of von Weber's
"Invitation to the Dance".  None of the regular trumpeters owned cornets so
auxiliary players were engaged for the parts, causing bit of grumping by the
trumpeters!

I have heard that Clarke commented that he could not understand why anyone
would want to play cornet parts on the trumpet.  Maybe he knew something
about the different sound from the two? 

Guy Hayden 

 

-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Raymond Horton
Sent: Sunday, August 26, 2007 10:28 AM
To: finale@shsu.edu
Subject: Re: [Finale] Turn-of-the-century Band Music

dhbailey wrote:
> Ken Moore wrote:
>> John Howell <[EMAIL PROTECTED]>  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.
>>
>> It's not just the wind band that needs it.  Lots of French music of 
>> the 19th C., from Berlioz to Dukas (some demanding passages in 
>> "Sorcerer's Apprentice"), has both cornet and trumpet parts, and 
>> differentiates them markedly; it is specified in some Tchaikovsky 
>> ballets and Prokofiev's "Lieutenat Kijé" also.  I would expect 
>> historically informed conductors like Norrington (who did the Brahms 
>> symphonies with a near approximation to the original instruments 
>> about 10 years ago) and Rattle to insist on having the right instrument.
>>
>
>
> I would expect that with cornets fairly common these days that more 
> than just specialty conductors would request the accurate 
> instrumentation, just as they do for all the other instruments.
>
> Smaller college, high school and community orchestras would be where I 
> would expect to find all the parts played on trumpets.
>

With pro orchestras cornet use varies a lot according to preferences of 
players and conductors.  It is common to see all the parts played on 
trumpets. 


Raymond Horton
___
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] Sibelius demo in the MD public schools

[Eric Dannewitz]

What I don't get is why some schools are using Sibelius, like pushing it 
hard in arranging classes, yet at the same time using SmartMusic in 
class..it is like they forget totally about Finale..I'm 
surprised that MakeMusic doesn't offer some sort of incentive program 
for schools to buy SmartMusic and Finale at the same time for a 
discount


Lawrence David Eden wrote:
The boys from Sibelius ran a marketing demo for the General Music 
teachers in the public schools.  I teach Instrumental Music at 4 
elementary schools and did not see the demo, but EVERY general music 
teacher I run into can't stop talking bout how cool Sibelius is.


During my 30+ years of public school teaching, I have seen this kind 
of thing before.  Commodore used to dominate the educational 
profession in my schools.  They lost out to Apple, who in turn, lost 
out to Dell.  In each case, the newcomer was better at marketing and 
more interested in cornering the market.


Now I am seeing Sibelius stick it to Finale.  I have not used 
Sibelius, nor do I intend to, but I am concerned to see MakeMusic take 
a back seat to any other notation software.  On this list, I hear 
mostly complaints about Finale.  Why is MakeMusic willing to take this 
kind of beating?  For my purposes, (small ensembles), Finale is just 
fine and I have no complaints.   It used to be that I could endorse 
Finale without reservation.  Now, I am not so sure. Is Sibelius as 
good as it appears to be?


___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

[Finale] Sibelius demo in the MD public schools

[Lawrence David Eden]

The boys from Sibelius ran a marketing demo for the General Music 
teachers in the public schools.  I teach Instrumental Music at 4 
elementary schools and did not see the demo, but EVERY general music 
teacher I run into can't stop talking bout how cool Sibelius is.


During my 30+ years of public school teaching, I have seen this kind 
of thing before.  Commodore used to dominate the educational 
profession in my schools.  They lost out to Apple, who in turn, lost 
out to Dell.  In each case, the newcomer was better at marketing and 
more interested in cornering the market.


Now I am seeing Sibelius stick it to Finale.  I have not used 
Sibelius, nor do I intend to, but I am concerned to see MakeMusic 
take a back seat to any other notation software.  On this list, I 
hear mostly complaints about Finale.  Why is MakeMusic willing to 
take this kind of beating?  For my purposes, (small ensembles), 
Finale is just fine and I have no complaints.   It used to be that I 
could endorse Finale without reservation.  Now, I am not so sure. 
Is Sibelius as good as it appears to be?

___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] OT permission to set poems

[Dennis Bathory-Kitsz]

At 11:06 PM 8/23/2007 -0600, Noel Stoutenburg wrote:
>Section (h) (8) (A) explicitly defines "source country" for the purposes 
>of of Title 17 Section 104, as "A nation other than the United States". 
>Accordingly, (h) (6) (B) specifically applies to items in the public 
>domain in the United States, but subject to copyright in some other 
>place. Furthermore, even if the United States were a source country for 
>purposes of these sections, (h) (6) (B) limits applicability of the 
>section to works which are "not in the public domain in [their] source 
>country through expiration of term of protection". But until 1963, in 
>order for the term of protection to be extended, the copyright had to be 
>renewed, and if it was not renewed, the copyright expired and the work 
>entered the public domain through expiration of term of copyright, and 
>therefore are ineligible because they fail to meet the test of (h) (6) (B).

What a difference a conjunction makes. Most of the tests of that law are
joined by "or". The next to last item on the (h)(6)(C) list ends with
"and". You're absolutely right, and I've been wrong about that for years.
Yikes. At least I was wrong in a more strict direction, and didn't get my
own work into hot water because of it.

Back in my cute-but-dumb days, I set several "forbidden" texts, and the
compositions are now not publishable or even performable (technically,
anyway). Good pieces, too. Now I search only for older texts with a
contemporary feel because it's too much hassle to use new ones ...
discouraging to have the creative process underway, and then navigate the
permissions cycle only to receive a "no" -- or worse, to receive no answer.
The same goes for thematic source material. (Anyone who has followed the
James Joyce saga knows how insane the whole copyright protection business
can become in the hands of a psychotic heir.)

What a sad state of affairs that artists and composers and writers can't
grow the culture with cross-references from recent experiences -- at least
unless that have a handsome bank account to pay exploitive copyright owners
or defend against the lawsuits. Remixes and mashups and plunderphonics have
made incredible contributions to the musical art. From Tenney's "Blue
Suede" onward through 2 Live Crew to Danger Mouse, the crazy legal
situation has been constantly tested. Maybe being on the legal fringes
contributes to the excitement of the creativity. My own sampling pieces
from the early 1970s are probably illegal now, but were thrilling to write
then.

Argh.

Thanks much,
Dennis


___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Scanning printed music into Finale

[A-NO-NE Music]

Stephen Ellis / 2007/08/26 / 01:12 AM 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?

A few years ago, I scanned my own music as TIF then brought it to FinMac
natively without 3rd party app.  Has this been changed?

-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
 


___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Scanning printed music into Finale

[Stephen Ellis]

I have read that as well.  Have you any experience with it?  I am  
interested in actual use, not company hype!


On Aug 26, 2007, at 2:57 AM, Eric Dannewitz wrote:


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 mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Turn-of-the-century Band Music

[Raymond Horton]

dhbailey wrote:

Ken Moore wrote:

John Howell <[EMAIL PROTECTED]>  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.


It's not just the wind band that needs it.  Lots of French music of 
the 19th C., from Berlioz to Dukas (some demanding passages in 
"Sorcerer's Apprentice"), has both cornet and trumpet parts, and 
differentiates them markedly; it is specified in some Tchaikovsky 
ballets and Prokofiev's "Lieutenat Kijé" also.  I would expect 
historically informed conductors like Norrington (who did the Brahms 
symphonies with a near approximation to the original instruments 
about 10 years ago) and Rattle to insist on having the right instrument.





I would expect that with cornets fairly common these days that more 
than just specialty conductors would request the accurate 
instrumentation, just as they do for all the other instruments.


Smaller college, high school and community orchestras would be where I 
would expect to find all the parts played on trumpets.


One more thing - in Berlioz, and a few lessers of the time, the 
difference was more than sound.  The trumpets were natural, the cornets 
valved.That distinction was gone by Tchaikovsky. 



RBH
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Turn-of-the-century Band Music

[Raymond Horton]

dhbailey wrote:

Ken Moore wrote:

John Howell <[EMAIL PROTECTED]>  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.


It's not just the wind band that needs it.  Lots of French music of 
the 19th C., from Berlioz to Dukas (some demanding passages in 
"Sorcerer's Apprentice"), has both cornet and trumpet parts, and 
differentiates them markedly; it is specified in some Tchaikovsky 
ballets and Prokofiev's "Lieutenat Kijé" also.  I would expect 
historically informed conductors like Norrington (who did the Brahms 
symphonies with a near approximation to the original instruments 
about 10 years ago) and Rattle to insist on having the right instrument.





I would expect that with cornets fairly common these days that more 
than just specialty conductors would request the accurate 
instrumentation, just as they do for all the other instruments.


Smaller college, high school and community orchestras would be where I 
would expect to find all the parts played on trumpets.




With pro orchestras cornet use varies a lot according to preferences of 
players and conductors.  It is common to see all the parts played on 
trumpets. 



Raymond Horton
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Scanning printed music into Finale

[dhbailey]

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?




Sharpeye, available from www.recordare.com will produce MusicXML output 
which can then be imported into Finale.  In my opinion this is the most 
accurate music scanning software on the market (at least it was when I 
last tested it, which I haven't done in the past year or so) but still 
leaves problems which need to be corrected by hand.  It translates the 
most information, but with so much still to be done by hand, it is still 
(in my opinion) easier for most music to simply enter it from scratch 
into Finale.


For modern editions which are cleanly printed on paper with no 
extraneous marks, scanning works very well with Sharpeye. For older 
music on less clear printing, it's less accurate, and don't even think 
about it for handwritten music.


You are aware of the "lite" scanning software that comes with Finale, 
aren't you?  There is a more full-blown version available at a discount 
for Finale users.


--
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

[dhbailey]

Ken Moore wrote:

John Howell <[EMAIL PROTECTED]>  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.


It's not just the wind band that needs it.  Lots of French music of the 
19th C., from Berlioz to Dukas (some demanding passages in "Sorcerer's 
Apprentice"), has both cornet and trumpet parts, and differentiates them 
markedly; it is specified in some Tchaikovsky ballets and Prokofiev's 
"Lieutenat Kijé" also.  I would expect historically informed conductors 
like Norrington (who did the Brahms symphonies with a near approximation 
to the original instruments about 10 years ago) and Rattle to insist on 
having the right instrument.





I would expect that with cornets fairly common these days that more than 
just specialty conductors would request the accurate instrumentation, 
just as they do for all the other instruments.


Smaller college, high school and community orchestras would be where I 
would expect to find all the parts played on trumpets.


--
David H. Bailey
[EMAIL PROTECTED]
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Removing alternate clefs indications

[dhbailey]

Lora Crighton wrote:

--- 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 do such things by creating the clefs/notes in one file and then 
exporting exactly what I want as a graphic, then importing that graphic 
into the new score.  That way it has no effect on measure numbers nor on 
playback.


--
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

[dhbailey]

Noel Stoutenburg wrote:

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.




1962 makes much more sense.

--
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

[dhbailey]

Sure -- I'm always open to new possibilities and even if it won't be 
right for my community band, I speak with others for whom it might be a 
perfect fit.


Thanks!
David


Aaron Rabushka wrote:

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




--
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

[Ken Moore]

John Howell <[EMAIL PROTECTED]>  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.


It's not just the wind band that needs it.  Lots of French music of the 
19th C., from Berlioz to Dukas (some demanding passages in "Sorcerer's 
Apprentice"), has both cornet and trumpet parts, and differentiates them 
markedly; it is specified in some Tchaikovsky ballets and Prokofiev's 
"Lieutenat Kijé" also.  I would expect historically informed conductors 
like Norrington (who did the Brahms symphonies with a near approximation 
to the original instruments about 10 years ago) and Rattle to insist on 
having the right instrument.


--
Ken Moore

___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale