Re: [Finale] TAN: Henle-style beams in Sibelius?

[Johannes Gebauer]

On 28.02.2008 Darcy James Argue wrote:

Anyone found any good settings for getting Henle-style beams in Sib 5.1?

(Probably best asked over at the Sibelius list, I know, but... )


If you find an answer there, please let us know here, too.

Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
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[Finale] TAN: Henle-style beams in Sibelius?

[Darcy James Argue]

Anyone found any good settings for getting Henle-style beams in Sib 5.1?

(Probably best asked over at the Sibelius list, I know, but... )

Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



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Re: [Finale] Deleting unused lyrics

[David W. Fenton]

On 27 Feb 2008 at 17:38, Noel Stoutenburg wrote:

> David W. Fenton wrote:
> > I'm making some quick-and-dirty viol parts and re-using each file as 
> > a template (I'm doing the parts to fix the clefs, because the music 
> > is all viols and voices, so the parts are in inappropriate clefs for 
> > viols). I started from an older piece with lyrics and then added 
> > lyrics in the new piece, but forgot to delete the old lyrics before 
> > adding new ones.
> >
> > Is it possible to delete the old lyrics without screwing up the new 
> > ones?
>
> Maybe. In some cases, if the old lyrics are visible in "type into score" 
> mode, they can be deleted there without disrupting the new lyrics, as 
> type into score mode maintains the binding between the lyric syllable 
> and the note. If deleting the lyrics in the "edit lyrics" dialog box, 
> then no.

The music the original lyrics were attached to was deleted long 
before anything new was entered into the new file, so, no, there's 
nothing there.

> Faced with the problem you have, my most likely course of action would 
> be to copy the lyrics from "edit lyrics" dialog window to a text editor; 
> edit the lyrics to remove the unwanted syllables, delete all the lyrics 
> from your score,  and copy the lyrics back into the document a  part at 
> a time, and use "click  assignment" to establish the bindings between 
> the appropriate notes and syllables.

I think I'll just have to live with the unused lyrics -- that kind of 
trouble is simply not worth it.

And this kind of thing really ought to be much, much easier to 
manage. There's too much "invisible" behind-the-scenes stuff going on 
with the way lyrics interact with music, and it's way too easy to 
mess things up.

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/


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Re: [Finale] Deleting unused lyrics

[Noel Stoutenburg]

David W. Fenton wrote:
I'm making some quick-and-dirty viol parts and re-using each file as 
a template (I'm doing the parts to fix the clefs, because the music 
is all viols and voices, so the parts are in inappropriate clefs for 
viols). I started from an older piece with lyrics and then added 
lyrics in the new piece, but forgot to delete the old lyrics before 
adding new ones.


Is it possible to delete the old lyrics without screwing up the new 
ones?
  
Maybe. In some cases, if the old lyrics are visible in "type into score" 
mode, they can be deleted there without disrupting the new lyrics, as 
type into score mode maintains the binding between the lyric syllable 
and the note. If deleting the lyrics in the "edit lyrics" dialog box, 
then no.


Faced with the problem you have, my most likely course of action would 
be to copy the lyrics from "edit lyrics" dialog window to a text editor; 
edit the lyrics to remove the unwanted syllables, delete all the lyrics 
from your score,  and copy the lyrics back into the document a  part at 
a time, and use "click  assignment" to establish the bindings between 
the appropriate notes and syllables.


ns

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Re: [Finale] Re: Chord Tool as Graphic Designer; Was: Inf Loop

[Noel Stoutenburg]

A couple questions about :


I wish! Here is what I need to do (or attempted to do but you can see
the ugly boundary)

  


Are you perchance acquainted with font editors (or do you know someone 
who is)?


I think the way I would approach this is to make a custom font 
containing the repeat bracket and desired arrowhead defined as font 
characters. Then, I would use the custom smart line tool to define the 
line, so that it begins with the closing bracket character (defined as a 
shape), and ends with the arrowhead (again defined as a shape); I'd 
probably define a third font character for your infinity sign. In use, 
applying the repeat notation would consist of selecting the appropriate 
custom line, drawing it in place, and applying the infinite repeat 
designator as an expression at the desired point.


ns

If you did

I think, if it were me, the way I'd go about it is to define a couple of 
custom font characters, the winged repeat sign, and the arrowhead

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Re: [Finale] Re: Chord Tool as Graphic Designer; Was: Inf Loop

[Christopher Smith]

On Feb 27, 2008, at 4:43 PM, A-NO-NE Music wrote:


Christopher Smith / 08.2.27 / 2:28 PM wrote:


The repeat would use opt-sh semicolon,


On Maestro?  Opt+Shift+[;] gives me "quoter =", tho.  I was actually
trying to find one character to show the repeat bar line but to no
avail, and concluded there is none and you must build it with each  
parts.


Sorry, I thought you were using the JazzFont.

Apparently, Finale constructs repeats out of individual parts. We  
have lines, we have dots, but I wonder what the character is for the  
wings?


Christopher



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Re: [Finale] Re: Chord Tool as Graphic Designer; Was: Inf Loop

[Barbara Touburg]

A-NO-NE Music wrote:



On Maestro?  Opt+Shift+[;] gives me "quoter =", tho.  I was actually
trying to find one character to show the repeat bar line but to no
avail, and concluded there is none and you must build it with each parts.



You could use char.# 146 from the Opus font and add the dots. Only the 
left repeat barline...



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Re: [Finale] Re: Chord Tool as Graphic Designer; Was: Inf Loop

[Christopher Smith]

On Feb 27, 2008, at 1:35 PM, A-NO-NE Music wrote:


Randolph Peters / 08.2.27 / 0:43 PM wrote:


The short answer is to make your shapes in the chord tool!


Interesting!  Thanks for your response.


You can take font characters from a variety of fonts and place them
precisely by using the chord definition subtool within the Chord
Tool.


OK, so it is only possible to compose with characters?  I need repeat
wings and an arrow in a special shape I design.  I don't think they  
can

be used in Chord Definition Editor, right?


Sure they can! Any font character that you can type (in Mac with opt  
keys; in WIndows with alt numbers) will go in the window.


Brilliant solution, Randolph!

Christopher



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Re: [Finale] Re: Chord Tool as Graphic Designer; Was: Inf Loop

[A-NO-NE Music]

Christopher Smith / 08.2.27 / 2:28 PM wrote:

>The special arrow, no. But there are  
>plenty of arrows available in a ton of fonts that might serve the  
>purpose.

I wish!  Here is what I need to do (or attempted to do but you can see
the ugly boundary)


Thanks for trying to help!
:-)

-- 

- Hiro

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



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Re: [Finale] what does a copyist do? now scordatura

[John Howell]

At 10:37 AM -0600 2/27/08, [EMAIL PROTECTED] wrote:

Hmm--would be interesting to see who (if anyone) uses the 78-rpm disc for
that Respighi specified for the "Janiculum" section. (Are you listening,
Roger Norrington?)


According to Daniels IV, the recording is supplied with the 
(presumably rental) parts.  What the recording format is, in this day 
and age, is a good question, but I doubt that it is still the 
original 78 rpm shellac disc (which very few people would actually be 
able to play any more).  On the other hand, I once received some 
Riccordi rental parts on age-yellowed paper that looked as if they 
dated from the same time as that 78 recording!!!


John


--
John R. Howell
Virginia Tech Department of Music
College of Liberal Arts & Human Sciences
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
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Re: [Finale] Re: Chord Tool as Graphic Designer; Was: Inf Loop

[A-NO-NE Music]

Christopher Smith / 08.2.27 / 2:28 PM wrote:

>The repeat would use opt-sh semicolon,

On Maestro?  Opt+Shift+[;] gives me "quoter =", tho.  I was actually
trying to find one character to show the repeat bar line but to no
avail, and concluded there is none and you must build it with each parts.

-- 

- Hiro

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



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Re: [Finale] what does a copyist do? now scordatura

[arabushk]

Not to mention the low b-flat(s) for the basses in "Frau ohne Schatten."

ajr

> The basses have a low B. So he wants those with the low C extension to
> detune to B.
>
> Cheers,
>
> - Darcy
> -
> [EMAIL PROTECTED]
> Brooklyn, NY
>
>
>
> On 27 Feb 2008, at 6:07 AM, dhbailey wrote:
>
>> Darcy James Argue wrote:
>>> Ray,
>>> I don't see what the controversy is. Obviously it's better to have
>>> the instruments the composer actually calls for whenever possible.
>>> I would love to hear a performance with buccini.
>>> But it's not like cellos and basses aren't generally available for
>>> a performance of _Pines_. Respighi is just asking them to tune down
>>> their lowest string by a semitone for a specific effect in a
>>> specific spot. I am still not convinced that it ought to be such a
>>> big goddamn deal to follow the composers instructions in this
>>> instance.
>>
>> Interesting, if they're supposed to detune their lowest string by a
>> semitone, how do you feel about modern basses playing the part with
>> the extension on the low string?  It would certainly be a different
>> tone than a detuned string on a traditional bass, wouldn't it?
>>
>>
>>
>> --
>> David H. Bailey
>> [EMAIL PROTECTED]
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[Finale] Deleting unused lyrics

[David W. Fenton]

I'm making some quick-and-dirty viol parts and re-using each file as 
a template (I'm doing the parts to fix the clefs, because the music 
is all viols and voices, so the parts are in inappropriate clefs for 
viols). I started from an older piece with lyrics and then added 
lyrics in the new piece, but forgot to delete the old lyrics before 
adding new ones.

Is it possible to delete the old lyrics without screwing up the new 
ones?

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/


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Re: [Finale] Re: Chord Tool as Graphic Designer; Was: Inf Loop

[Christopher Smith]

On Feb 27, 2008, at 1:35 PM, A-NO-NE Music wrote:


Randolph Peters / 08.2.27 / 0:43 PM wrote:


The short answer is to make your shapes in the chord tool!


Interesting!  Thanks for your response.


You can take font characters from a variety of fonts and place them
precisely by using the chord definition subtool within the Chord
Tool.


OK, so it is only possible to compose with characters?  I need repeat
wings and an arrow in a special shape I design.  I don't think they  
can

be used in Chord Definition Editor, right?


Crap, I just read more closely. The special arrow, no. But there are  
plenty of arrows available in a ton of fonts that might serve the  
purpose. Open up the Character Palette in Mac to find some that are  
typeable (that is, don't use Unicode).


The repeat would use opt-sh semicolon, but you would have to put the  
wings on with another character. In your shoes, I might forgo the  
wings...


Christopher



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Re: [Finale] what does a copyist do? now scordatura

[Ray Horton]

"No matter what happens, I'll be OK."


Darcy James Argue wrote:
Nobody's blaming you for anything, Ray. The only thing under attack 
here is the idea that retuning a string or two by a semitone will harm 
someone's instrument, a belief that does not seem to be founded in 
reality. Nobody doubts that this belief exists -- that's why we are 
complaining about it.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 27 Feb 2008, at 1:27 PM, Ray Horton wrote:

I didn't know why people seemed to be blaming me for reporting and 
interpreting what string professionals told me on the subject.  It 
seems like people interested in writing and arranging music would 
want to know, without shooting the messenger.  This is an orchestra 
known worldwide for playing new music (somewhat in remission now, 
unfortunately), and not afraid of new techniques - check out the 
recording of _Suite for Symphonic Strings_ by Lou Harrison, for 
example, which has the cellos using guitar picks, etc., just for one 
example that comes to mind.


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Re: [Finale] what does a copyist do? now scordatura

[Darcy James Argue]

Nobody's blaming you for anything, Ray. The only thing under attack  
here is the idea that retuning a string or two by a semitone will harm  
someone's instrument, a belief that does not seem to be founded in  
reality. Nobody doubts that this belief exists -- that's why we are  
complaining about it.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 27 Feb 2008, at 1:27 PM, Ray Horton wrote:

I didn't know why people seemed to be blaming me for reporting and  
interpreting what string professionals told me on the subject.  It  
seems like people interested in writing and arranging music would  
want to know, without shooting the messenger.  This is an orchestra  
known worldwide for playing new music (somewhat in remission now,  
unfortunately), and not afraid of new techniques - check out the  
recording of _Suite for Symphonic Strings_ by Lou Harrison, for  
example, which has the cellos using guitar picks, etc., just for one  
example that comes to mind.


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[Finale] Re: Chord Tool as Graphic Designer; Was: Inf Loop

[A-NO-NE Music]

Randolph Peters / 08.2.27 / 0:43 PM wrote:

>The short answer is to make your shapes in the chord tool!

Interesting!  Thanks for your response.

>You can take font characters from a variety of fonts and place them 
>precisely by using the chord definition subtool within the Chord 
>Tool.

OK, so it is only possible to compose with characters?  I need repeat
wings and an arrow in a special shape I design.  I don't think they can
be used in Chord Definition Editor, right?

-- 

- Hiro

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



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[Finale] Chord Tool as Graphic Designer; Was: Inf Loop

[Randolph Peters]

What a great question!

I think there is a better way that gives you more consistent and 
controllable results. It takes a bit of work to set up the first 
time, but the result does copy between files. This has been working 
for me from Finale 3.x to 2008.


The short answer is to make your shapes in the chord tool!

You can take font characters from a variety of fonts and place them 
precisely by using the chord definition subtool within the Chord 
Tool. You have to turn off playback and italics and all those other 
options, but the advantage is that once you've built a graphic shape 
that you like (such as those moveable repeat brackets) you can assign 
them to a meta tool and every time you use one, it will be placed 
precisely on the staff where you need it.


If you want playback of the bracketed section, you can enter the 
notes in another layer and blank them out.


I will post to a web page a Finale file with examples of these 
graphic shapes made using the chord tool. People can use them or make 
their own based on these tricks.


I'm tied up right now, but I'll let this list know about the link in 
a day or so.


-Randolph Peters


A-NO-NE Music wrote:

This is kinda yet another graphic problem.  I am currently on
FinMac2008a on OSX10.5.2.

I often write a pattern for an instrument,
place repeat signs graphically to bracket the pattern,
then draw an arrow to the right to indicate infinity loop till cue.

This used to work very well back in Fin3.7-FinMac97 days but not
anymore.  Shape designer gives totally unexpected results, like the
object I created appears in a wrong place with handle misplaced far from
I clicked.  And it is almost impossible to align it to where I want to.

EPS import from Illustrator CS3 gives weird white block background to
cover music if I used Maestro font.  TIF import is better but, again,
placing and resizing will never work especially zooming won't work with
these imported images.  I can only resize in Shape Designer (correct?)
but it jumps all over the places when I touch it.  Trial and error,
trial and error.  Frustrating.

Is there any better way?

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Re: [Finale] what does a copyist do? now scordatura

[Ray Horton]

I read somewhere that Respighi had some instruments made for the piece, 
but I don't know where I read it.  The parts (3 pairs, sop, alto, 
ten/bass) say something like "Buccina (flicorno basso)" etc.  I believe 
the alto parts do give flugelhorn in parenthesis. The parts are usually 
played on trumpets and trombones, sometimes with flugel in the middle.  
I assume trombones on the lower parts because players are easier to find 
and projection is easier than with valve instruments. 



The nightingale sound in the third movement specified a certain 78 RPM 
record of the day (now on CD). 



I'm sorry I got fairly defensive on the scordatura issue.  I didn't know 
why people seemed to be blaming me for reporting and interpreting what 
string professionals told me on the subject.  It seems like people 
interested in writing and arranging music would want to know, without 
shooting the messenger.  This is an orchestra known worldwide for 
playing new music (somewhat in remission now, unfortunately), and not 
afraid of new techniques - check out the recording of _Suite for 
Symphonic Strings_ by Lou Harrison, for example, which has the cellos 
using guitar picks, etc., just for one example that comes to mind. 



Raymond Horton
Bass Trombonist
Louisville Orchestra




John Howell wrote:

At 1:46 PM -0500 2/26/08, Ray Horton wrote:
And you ignored my question about the buccini, which is a much bigger 
case of ignoring the composer's wishes!


That's very valid, Ray, but it really breaks down into two separate 
questions (at least!).  (1) What, exactly, was the Roman Buccina; and 
(2) What, exactly, did Respighi want, expect, or intend.  (Assuming, 
of course that (a) there was no Italian Historic Brass Society 
building and playing Roman brass instruments in Respighi's day, and 
(b) he wasn't serious about the instruments themselves, but wanted a 
certain distinctive sound.)


Stolba, in "The Development of Western Music: A History," says briefly:

"A variety of instruments existed in ancient Rome.  Aerophones 
included the animal-horn bucina and several instruments made from 
bronze: the tuba, a type of long, straight trumpet (made in sections 
that it together) equipped with a conical mouthpiece; the large 
G-shaped cornu, also with a conical mouthpiece; and the J-shaped 
lituus.  Both the cornu and the lituus were of Etruscan origin."


On the other hand, the Wikipedia article (citing the 11th edition of 
the Encyclopaedia Britannica) says:


"The Buccina (also Bucina) is a brass instrument used in the ancient 
Roman army.


It was originally designed as a tube measuring some 11 to 12 feet in 
length, of narrow cylindrical bore, and played by means of a 
cup-shaped mouthpiece. The tube is bent round upon itself from the 
mouthpiece to the bell in the shape of a broad C and is strengthened 
by means of a bar across the curve, which the performer grasps while 
playing, in order to steady the instrument; the bell curves over his 
head or shoulder.


The buccina was used for the announcement of night watches and various 
other purposes in the camp.


The instrument is the ancestor of both the trumpet and the trombone. 
The German word for trombone, Posaune, is linguistically derived from 
Buccina.


In the final section of his orchestral work Pines of Rome (The Pines 
of the Appian Way), Respighi calls for six instruments of different 
ranges notated as "Buccine" (Italian plural), although he expected 
them to be played on modern saxhorns or flugelhorns.


So we've got two descriptions, one of an animal-horn (i.e. conical) 
shape and the other of a narrow cylindrical bore.  Not much help!!


And was Britannica reading Respighi's mind regarding saxhorns or 
flugelhorns (conical or semi-conical), or did he actually indicate 
this in writing or conversation somewhere?  And of course the eternal 
question, could valveless instruments of whatever bore, dependent on 
the natural harmonic series, have played the notes Respighi wrote?! 
(Actually the description of an 11' or 12' instrument with a narrow 
bore does suggest that it could be played in the upper partials.)


As I see it, the call for 6 buccinae (Latin plural) was never meant to 
be more than allegorical, while the instructions to the cellists to do 
something he knew they were entirely capable of doing was a specific 
request.  And isn't this the piece that also calls for a nightingale 
as an "original instrument," or am I thinking of some other piece?


How are the buccinae parts usually played?  Saxhorns?  Wagner tubas? 
(That would be kind of a neat sound!)


John



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Re: [Finale] what does a copyist do? now scordatura

[Darcy James Argue]

The basses have a low B. So he wants those with the low C extension to  
detune to B.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 27 Feb 2008, at 6:07 AM, dhbailey wrote:


Darcy James Argue wrote:

Ray,
I don't see what the controversy is. Obviously it's better to have  
the instruments the composer actually calls for whenever possible.  
I would love to hear a performance with buccini.
But it's not like cellos and basses aren't generally available for  
a performance of _Pines_. Respighi is just asking them to tune down  
their lowest string by a semitone for a specific effect in a  
specific spot. I am still not convinced that it ought to be such a  
big goddamn deal to follow the composers instructions in this  
instance.


Interesting, if they're supposed to detune their lowest string by a  
semitone, how do you feel about modern basses playing the part with  
the extension on the low string?  It would certainly be a different  
tone than a detuned string on a traditional bass, wouldn't it?




--
David H. Bailey
[EMAIL PROTECTED]
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Re: [Finale] what does a copyist do? now scordatura

[David W. Fenton]

On 27 Feb 2008 at 11:47, John Howell wrote:

> As David pointed out, bass gamba players routinely tune their low D 
> strings down to C when necessary, just as classical guitarists often 
> tune their low E down to D, all without damaging the instruments or 
> even changing the pitch of the other strings.  This is not rocket 
> science!

The fact that both examples there are in the guitar family (and have 
frets) should not be taken as some kind of special case. The fact is, 
a gamba is much more unstable tuning-wise than a modern instrument 
(because of the all-gut strings and low string tension), but I have 
tuned down to C and back up more than once within a single concert. 
It just isn't an issue.

Of course, with gambas, one has to tune between every piece, anyway, 
and they are still out of tune. ;)


-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/


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[Finale] Inf Loop

[A-NO-NE Music]

This is kinda yet another graphic problem.  I am currently on
FinMac2008a on OSX10.5.2.

I often write a pattern for an instrument,
place repeat signs graphically to bracket the pattern,
then draw an arrow to the right to indicate infinity loop till cue.

This used to work very well back in Fin3.7-FinMac97 days but not
anymore.  Shape designer gives totally unexpected results, like the
object I created appears in a wrong place with handle misplaced far from
I clicked.  And it is almost impossible to align it to where I want to.

EPS import from Illustrator CS3 gives weird white block background to
cover music if I used Maestro font.  TIF import is better but, again,
placing and resizing will never work especially zooming won't work with
these imported images.  I can only resize in Shape Designer (correct?)
but it jumps all over the places when I touch it.  Trial and error,
trial and error.  Frustrating.

Is there any better way?

-- 

- Hiro

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



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Re: [Finale] what does a copyist do? now scordatura

[John Howell]

At 6:07 AM -0500 2/27/08, dhbailey wrote:


Interesting, if they're supposed to detune their lowest string by a 
semitone, how do you feel about modern basses playing the part with 
the extension on the low string?  It would certainly be a different 
tone than a detuned string on a traditional bass, wouldn't it?


Well, don't the extensions actually fret the string mechanically? 
(No, I've never actually look at one up close.)  If so, you'd still 
have the open string quality, and of course you'd have the pitch. 
What you wouldn't have would be the slight change in string tension, 
which might or might not be audible, and which R. probably did NOT 
make the basis of his request.


As David pointed out, bass gamba players routinely tune their low D 
strings down to C when necessary, just as classical guitarists often 
tune their low E down to D, all without damaging the instruments or 
even changing the pitch of the other strings.  This is not rocket 
science!


John


--
John R. Howell
Virginia Tech Department of Music
College of Liberal Arts & Human Sciences
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
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Re: [Finale] what does a copyist do? now scordatura

[arabushk]

Hmm--would be interesting to see who (if anyone) uses the 78-rpm disc for
that Respighi specified for the "Janiculum" section. (Are you listening,
Roger Norrington?)

ajr

> At 1:46 PM -0500 2/26/08, Ray Horton wrote:
>>And you ignored my question about the buccini, which is a much
>>bigger case of ignoring the composer's wishes!
>
> That's very valid, Ray, but it really breaks down into two separate
> questions (at least!).  (1) What, exactly, was the Roman Buccina; and
> (2) What, exactly, did Respighi want, expect, or intend.  (Assuming,
> of course that (a) there was no Italian Historic Brass Society
> building and playing Roman brass instruments in Respighi's day, and
> (b) he wasn't serious about the instruments themselves, but wanted a
> certain distinctive sound.)
>
> Stolba, in "The Development of Western Music: A History," says briefly:
>
> "A variety of instruments existed in ancient Rome.  Aerophones
> included the animal-horn bucina and several instruments made from
> bronze: the tuba, a type of long, straight trumpet (made in sections
> that it together) equipped with a conical mouthpiece; the large
> G-shaped cornu, also with a conical mouthpiece; and the J-shaped
> lituus.  Both the cornu and the lituus were of Etruscan origin."
>
> On the other hand, the Wikipedia article (citing the 11th edition of
> the Encyclopaedia Britannica) says:
>
> "The Buccina (also Bucina) is a brass instrument used in the ancient
> Roman army.
>
> It was originally designed as a tube measuring some 11 to 12 feet in
> length, of narrow cylindrical bore, and played by means of a
> cup-shaped mouthpiece. The tube is bent round upon itself from the
> mouthpiece to the bell in the shape of a broad C and is strengthened
> by means of a bar across the curve, which the performer grasps while
> playing, in order to steady the instrument; the bell curves over his
> head or shoulder.
>
> The buccina was used for the announcement of night watches and
> various other purposes in the camp.
>
> The instrument is the ancestor of both the trumpet and the trombone.
> The German word for trombone, Posaune, is linguistically derived from
> Buccina.
>
> In the final section of his orchestral work Pines of Rome (The Pines
> of the Appian Way), Respighi calls for six instruments of different
> ranges notated as "Buccine" (Italian plural), although he expected
> them to be played on modern saxhorns or flugelhorns.
>
> So we've got two descriptions, one of an animal-horn (i.e. conical)
> shape and the other of a narrow cylindrical bore.  Not much help!!
>
> And was Britannica reading Respighi's mind regarding saxhorns or
> flugelhorns (conical or semi-conical), or did he actually indicate
> this in writing or conversation somewhere?  And of course the eternal
> question, could valveless instruments of whatever bore, dependent on
> the natural harmonic series, have played the notes Respighi wrote?!
> (Actually the description of an 11' or 12' instrument with a narrow
> bore does suggest that it could be played in the upper partials.)
>
> As I see it, the call for 6 buccinae (Latin plural) was never meant
> to be more than allegorical, while the instructions to the cellists
> to do something he knew they were entirely capable of doing was a
> specific request.  And isn't this the piece that also calls for a
> nightingale as an "original instrument," or am I thinking of some
> other piece?
>
> How are the buccinae parts usually played?  Saxhorns?  Wagner tubas?
> (That would be kind of a neat sound!)
>
> John
>
>
> --
> John R. Howell
> Virginia Tech Department of Music
> College of Liberal Arts & Human Sciences
> 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
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> Finale mailing list
> Finale@shsu.edu
> http://lists.shsu.edu/mailman/listinfo/finale
>


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Re: [Finale] Playback Problems

[A-NO-NE Music]

George Ports / 08.2.26 / 4:29 PM wrote:

>Am having trouble with playback sounding smooth with my WinFin 2006.
>Is 'latency' the correct term for the sound not being smooth?
>   Can anyone help me to fix this? The sound was delayed on the second
>note of an 1/8 passage. The rest of the page played fine.

That's not latency but a buffer glitch in my guesses.  Latency is for a
delay between input to output.

My guess is you have some dense info kicking in at the problem passage. 
Do you see CPU spike in your Task Manager?  Is your audio interface
allows you to adjust buffer?  If so, increase the buffer size.

Another possibility is that you don't have enough RAM.

-- 

- Hiro

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



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Re: [Finale] what does a copyist do? now scordatura

[dhbailey]

Darcy James Argue wrote:

Ray,

I don't see what the controversy is. Obviously it's better to have the 
instruments the composer actually calls for whenever possible. I would 
love to hear a performance with buccini.


But it's not like cellos and basses aren't generally available for a 
performance of _Pines_. Respighi is just asking them to tune down their 
lowest string by a semitone for a specific effect in a specific spot. I 
am still not convinced that it ought to be such a big goddamn deal to 
follow the composers instructions in this instance.




Interesting, if they're supposed to detune their lowest string by a 
semitone, how do you feel about modern basses playing the part with the 
extension on the low string?  It would certainly be a different tone 
than a detuned string on a traditional bass, wouldn't it?




--
David H. Bailey
[EMAIL PROTECTED]
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Re: [Finale] what does a copyist do? now scordatura

[John Howell]

At 1:46 PM -0500 2/26/08, Ray Horton wrote:
And you ignored my question about the buccini, which is a much 
bigger case of ignoring the composer's wishes!


That's very valid, Ray, but it really breaks down into two separate 
questions (at least!).  (1) What, exactly, was the Roman Buccina; and 
(2) What, exactly, did Respighi want, expect, or intend.  (Assuming, 
of course that (a) there was no Italian Historic Brass Society 
building and playing Roman brass instruments in Respighi's day, and 
(b) he wasn't serious about the instruments themselves, but wanted a 
certain distinctive sound.)


Stolba, in "The Development of Western Music: A History," says briefly:

"A variety of instruments existed in ancient Rome.  Aerophones 
included the animal-horn bucina and several instruments made from 
bronze: the tuba, a type of long, straight trumpet (made in sections 
that it together) equipped with a conical mouthpiece; the large 
G-shaped cornu, also with a conical mouthpiece; and the J-shaped 
lituus.  Both the cornu and the lituus were of Etruscan origin."


On the other hand, the Wikipedia article (citing the 11th edition of 
the Encyclopaedia Britannica) says:


"The Buccina (also Bucina) is a brass instrument used in the ancient 
Roman army.


It was originally designed as a tube measuring some 11 to 12 feet in 
length, of narrow cylindrical bore, and played by means of a 
cup-shaped mouthpiece. The tube is bent round upon itself from the 
mouthpiece to the bell in the shape of a broad C and is strengthened 
by means of a bar across the curve, which the performer grasps while 
playing, in order to steady the instrument; the bell curves over his 
head or shoulder.


The buccina was used for the announcement of night watches and 
various other purposes in the camp.


The instrument is the ancestor of both the trumpet and the trombone. 
The German word for trombone, Posaune, is linguistically derived from 
Buccina.


In the final section of his orchestral work Pines of Rome (The Pines 
of the Appian Way), Respighi calls for six instruments of different 
ranges notated as "Buccine" (Italian plural), although he expected 
them to be played on modern saxhorns or flugelhorns.


So we've got two descriptions, one of an animal-horn (i.e. conical) 
shape and the other of a narrow cylindrical bore.  Not much help!!


And was Britannica reading Respighi's mind regarding saxhorns or 
flugelhorns (conical or semi-conical), or did he actually indicate 
this in writing or conversation somewhere?  And of course the eternal 
question, could valveless instruments of whatever bore, dependent on 
the natural harmonic series, have played the notes Respighi wrote?! 
(Actually the description of an 11' or 12' instrument with a narrow 
bore does suggest that it could be played in the upper partials.)


As I see it, the call for 6 buccinae (Latin plural) was never meant 
to be more than allegorical, while the instructions to the cellists 
to do something he knew they were entirely capable of doing was a 
specific request.  And isn't this the piece that also calls for a 
nightingale as an "original instrument," or am I thinking of some 
other piece?


How are the buccinae parts usually played?  Saxhorns?  Wagner tubas? 
(That would be kind of a neat sound!)


John


--
John R. Howell
Virginia Tech Department of Music
College of Liberal Arts & Human Sciences
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
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