Re: [Finale] OT: Ophecleide
On 4 Sep 2009 at 11:17, John Howell wrote: > I don't know what Biggs played, but I'd guess it was one of the > German factory models which were the only things available for quite > a while, and were heavily marketed to their niche market. While googling this earlier today, I encountered a reference to a recording of his and it said he used a Challis -- :( -- an instrument maker who was not very concerened with historical models at all. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Ophecleide
Pedal harpsichords existed in C18, although they were comparatively
rare, and served more as parctice instruments for organists. They
were separate instruments designed to be place on the floor under a
regular harpsichord. Some had connections to the upper instrument so
the strings could be coupled together; others didn't.
I don't know what Biggs played, but I'd guess it was one of the
German factory models which were the only things available for quite
a while, and were heavily marketed to their niche market.
John
At 8:17 AM -0400 9/4/09, 73357.3...@compuserve.com wrote:
o;?And while we're about it, what about E Power Biggs' pedal harpsichord ?
-- Original Message --
From: John Howell
To: finale@shsu.edu
Subject: Re: [Finale] OT: Ophecleide
Date: Tue, 1 Sep 2009 21:23:14 -0400
.
.
.
In the harpsichord revival, there were actually at least 3 stages:
Pleyel's plucked piano ("this is what the harpsichord SHOULD have
been, obviously!") much too heavy to sound above a pianissimo; the
factory "revival" instruments (mostly German, although at least one
Canadian maker followed this line) still much too heavy to sound and
with a miriad of modern "improvements" ("we're ever so much smar
ter
than the old guys were" which simply introduced new and more
wonderful problems); and instruments based on observing and
duplicating 16th-18th century designs and manufacturing methods ("the
old guys knew what they were doing and it's foolish to re-invent the
wheel--badly!").
.
.
.
-
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
--
John R. Howell, Assoc. Prof. of Music
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:john.how...@vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html
"We never play anything the same way once." Shelly Manne's definition
of jazz musicians.
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Mac OS X Snow Leopard Issues
On 4 Sep 2009 at 20:27, Eric Dannewitz wrote: > Dennis huh? Hmmm...and whom was talking about reading comprehension? I apologize for calling you Dennis -- I don't know how that happened, given that I recall when I wrote the line I thought "I'd better look at his name" and distinctly remember typing "Eric." My fingers have minds of their own, I guess. Again, my apologies for that -- there's nothing more insulting than someone calling you by the wrong name, and I should have been more careful. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Mac OS X Snow Leopard Issues
Dennis huh? Hmmm...and whom was talking about reading comprehension? "Apple is buying itself the same kind of problem here that Microsoft had with early implementations of the System Registry" Not sure how you can make the quantum leap from Apple compressing files to Windows Registry.that is all it is. Why would this be a problem? It isn't. There is a simple util to convert the file to non- binary format, and then back. So, not sure where this would be anything like the mess Windows has with the system Registry. So I fail to see the comparison. I guess I don't have the comprehension skills you have...Fred On Sep 4, 2009, at 8:10 PM, David W. Fenton wrote: On 4 Sep 2009 at 19:52, Eric Dannewitz wrote: On Sep 4, 2009, at 7:41 PM, David W. Fenton wrote: In regard to our recent discussion of the old "delete your preferences file" troubleshooting trick for Finale users on Mac, I was just reading Ars Technica's fascinating review of Snow Leopard and came across this: Images are PNGs or JPEGs, audio is AAC, video is MPEG-4, even preference files and other property lists now default to a compact binary format rather than XML. - http://arstechnica.com/apple/reviews/2009/08/mac-os-x-10-6.ars/3 I wonder if this is a good or bad thing? I'm partial to plain-text files for storing this kind of thing (as with INI files on Windows), and worry that Apple is buying itself the same kind of problem here that Microsoft had with early implementations of the System Registry (which predated Win95, BTW -- it was there in Win3.x if you had a version of MS Office installed). You must be joking right? Apple is certainly not heading towards a system registry like Windows. Um, just exactly where did I suggest that? What I cited was an example of Apple moving to a BINARY format for storing preferences. I compared this to plain-text files and the Windows System Registry (which is binary), and said that plain-text files (like the former XML format for Mac preferences) are my preference. Nowhere do I come close to suggesting that "Apple is...heading towards a system registry." Work on your reading comprehension, Dennis. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Henle engraving video
It looks like it is still there: http://www.henle.de/index.cfm?open=04&lang=en Andrew 2009/9/5 : > A couple of years ago, there was a video from Henle that showed the > process of engraving music on lead plates for offset press. It seems the > video is no longer available from Henle and I can't find it anywhere else. > > This video always fascinated my high school students and I would like to > use it in class again but I no longer have the complete video. Does anyone > have this video that could be sent to me or know of a link that works? > > Thanks, > Richard Smith > > ___ > 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] Sheet music rental license example
Hi Chris, Believe me, I have talked to the people at SOCAN about this multiple times. I've talked to BMI (my US affiliate) as well as a number of US- based jazz composers. I have always gotten the same answer: BMI and ASCAP do not compensate composers for live performances of non- classical music, except for the works performed on the top 200 grossing US tours. The type of venue has absolutely nothing to do with it. In fact, here's the specific email I got from SOCAN's Marc Fedak on this subject: Recently, you submitted several concert notices for 2006-2007 shows at Bowery Poetry Club in New York. Were your Bowery Poetry Club shows part of a major US tour or festival? The reason why I ask is because both BMI (your US rep) and ASCAP pay royalties only for the top 200 grossing US tours of the year, and therefore it would not be worthwhile reporting US concerts unless you believe these may be part of a major US tour or festival. (This only applies to the US. In Europe and elsewhere, it seems like the performing rights societies there will pay royalties even for small concerts as long as the promoter has paid the license fee.) In response to that, I asked: it is also my understanding that composers of "serious" music are always compensated for live performances of their music, even by ASCAP and BMI, even though none of those "serious" performances would remotely come close to being one of the top 200 highest- grossing anything. Is that also correct? His response: You are correct that BMI and ASCAP's rule about paying royalties only for the top 200 grossing US tours does not apply to "serious music", which is generally considered to be classical music. I then re-registered all of my compositions as "serious music" with SOCAN, but this does not appear to have made any difference whatsoever, as I have yet to receive a single penny from BMI (my US affiliate) for any US performance or radio broadcast of any kind. I've gotten royalties from performances and radio broadcasts in Canada, Germany, Austria, the Netherlands, the UK, and even Australia (where I have never been). But I've been in the US for almost ten years now, the vast majority of performances of my music take place in the US, and I've never gotten any kind of payment whatsoever from BMI. This isn't unusual -- most of my peers have never gotten a cent from BMI or ASCAP either. SESAC *does* in fact, compensate for live performances of all genres at SESAC venues -- this is one of their selling points, something they pushed hard at this year's Jazz Journalist Association Awards -- but good luck finding a SESAC venue. Basically, the US performance rights organizations appear designed to funnel money to the people who are already the top earners (top 200 grossing tours, those in heavy rotation on the radio, etc). They give the "serious" composers special treatment for historical reasons, and because there is prestige attached. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 9:16 PM, Christopher Smith wrote: I can't imagine how that would be true. ALL compositions are supposed to be eligible to get royalties, no matter what the "style", as it isn't up to ASCAP or BMI to make any kind of judgement about that at all. If you were a "classical" composer and one of your works was performed in a club, the performance wouldn't be logged, so you wouldn't get a royalty. If the performance WAS logged, you would get a royalty. I understand that club performances are not logged, so it is harder for composers whose works are ONLY performed in clubs to get royalties. But if you register the composition and report the performances in a concert hall, you should get royalties. What are they going to do, ask you, "Wait a minute, is this JAZZ? No way, then!" I've reported and gotten royalties on my jazz performances from SOCAN (the Canadian amalgam of ASCAP and BMI, for the non-Canadians reading this), even the US performances. Jazz had nothing to do with it; it was the kind of venue. If BMI is actually a party to this, you should call them on it. They in particular should be more sensitive to this issue, since they go out of their way to attract jazz composers with their Composers Workshop. Christopher On Sep 4, 2009, at 6:58 PM, Darcy James Argue wrote: Hi Terry, If I were a classical composer, I would (theoretically) get BMI or ASCAP royalties on all live performances. Because I'm a jazz composer, I get nada -- at least, for US performances. What's especially galling is that venues like the Jazz Gallery still have to pay for BMI and ASCAP licenses, even though *none* of that money actually goes to the composers whose work is actually presented there. Cheers, - Darcy ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo
[Finale] Henle engraving video
A couple of years ago, there was a video from Henle that showed the process of engraving music on lead plates for offset press. It seems the video is no longer available from Henle and I can't find it anywhere else. This video always fascinated my high school students and I would like to use it in class again but I no longer have the complete video. Does anyone have this video that could be sent to me or know of a link that works? Thanks, Richard Smith ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Mac OS X Snow Leopard Issues
You must be joking right? Apple is certainly not heading towards a system registry like Windows. And all it's DLL mess. Or all the virus problems. Or malware. Or security issues. I suggest you check out roughlydrafted.com and enlighten yourself. Or just to debunk some of the things Windows pundits like to say about OS X. http://www.roughlydrafted.com/ On Sep 4, 2009, at 7:41 PM, David W. Fenton wrote: In regard to our recent discussion of the old "delete your preferences file" troubleshooting trick for Finale users on Mac, I was just reading Ars Technica's fascinating review of Snow Leopard and came across this: Images are PNGs or JPEGs, audio is AAC, video is MPEG-4, even preference files and other property lists now default to a compact binary format rather than XML. - http://arstechnica.com/apple/reviews/2009/08/mac-os-x-10-6.ars/3 I wonder if this is a good or bad thing? I'm partial to plain-text files for storing this kind of thing (as with INI files on Windows), and worry that Apple is buying itself the same kind of problem here that Microsoft had with early implementations of the System Registry (which predated Win95, BTW -- it was there in Win3.x if you had a version of MS Office installed). Anyway, the whole review starts here: http://arstechnica.com/apple/reviews/2009/08/mac-os-x-10-6.ars ...and so far as I can tell is TWENTY-THREE PAGES in length! That's my Friday evening fun! -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: Mac OS X Snow Leopard Issues
In regard to our recent discussion of the old "delete your preferences file" troubleshooting trick for Finale users on Mac, I was just reading Ars Technica's fascinating review of Snow Leopard and came across this: Images are PNGs or JPEGs, audio is AAC, video is MPEG-4, even preference files and other property lists now default to a compact binary format rather than XML. - http://arstechnica.com/apple/reviews/2009/08/mac-os-x-10-6.ars/3 I wonder if this is a good or bad thing? I'm partial to plain-text files for storing this kind of thing (as with INI files on Windows), and worry that Apple is buying itself the same kind of problem here that Microsoft had with early implementations of the System Registry (which predated Win95, BTW -- it was there in Win3.x if you had a version of MS Office installed). Anyway, the whole review starts here: http://arstechnica.com/apple/reviews/2009/08/mac-os-x-10-6.ars ...and so far as I can tell is TWENTY-THREE PAGES in length! That's my Friday evening fun! -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: Re(2): [Finale] Finale 2008 and new Mac Snow Leopard OS...update
No no, TGTools needs to be where it is. I'd rather have Tobias take his time and make sure it works before updating. Can you imagine MakeMusic breaking something in TGTools, and then NOT fixing it until Finale 2011.forget that! On Sep 4, 2009, at 6:53 PM, Leigh Daniels wrote: I consider TGTools essential, too. Especially the Transfer Layout tool for parts. I wrote Tobias a few weeks back and he said there would be an update "soon". If MakeMusic were smart (big if), they would just buy TGTools from Tobias and continue to update them along with Finale. Can Sibelius copy a layout from one part to another like the Transfer Layout tool does? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re(2): [Finale] Finale 2008 and new Mac Snow Leopard OS...update
I consider TGTools essential, too. Especially the Transfer Layout tool for parts. I wrote Tobias a few weeks back and he said there would be an update "soon". If MakeMusic were smart (big if), they would just buy TGTools from Tobias and continue to update them along with Finale. Can Sibelius copy a layout from one part to another like the Transfer Layout tool does? **Leigh On Fri, Sep 4, 2009, Eric Dannewitz wrote: >There is that, but if TGTools is not going to be updated then that >would be a deal breaker for meTGTools is essential for me to >continue to use Finale... > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
I can't imagine how that would be true. ALL compositions are supposed to be eligible to get royalties, no matter what the "style", as it isn't up to ASCAP or BMI to make any kind of judgement about that at all. If you were a "classical" composer and one of your works was performed in a club, the performance wouldn't be logged, so you wouldn't get a royalty. If the performance WAS logged, you would get a royalty. I understand that club performances are not logged, so it is harder for composers whose works are ONLY performed in clubs to get royalties. But if you register the composition and report the performances in a concert hall, you should get royalties. What are they going to do, ask you, "Wait a minute, is this JAZZ? No way, then!" I've reported and gotten royalties on my jazz performances from SOCAN (the Canadian amalgam of ASCAP and BMI, for the non-Canadians reading this), even the US performances. Jazz had nothing to do with it; it was the kind of venue. If BMI is actually a party to this, you should call them on it. They in particular should be more sensitive to this issue, since they go out of their way to attract jazz composers with their Composers Workshop. Christopher On Sep 4, 2009, at 6:58 PM, Darcy James Argue wrote: Hi Terry, If I were a classical composer, I would (theoretically) get BMI or ASCAP royalties on all live performances. Because I'm a jazz composer, I get nada -- at least, for US performances. What's especially galling is that venues like the Jazz Gallery still have to pay for BMI and ASCAP licenses, even though *none* of that money actually goes to the composers whose work is actually presented there. Cheers, - Darcy ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
Hi David, It's a jazz trumpet competition, so no band -- military or not -- would ever pay any performance royalties for a performance of a jazz work. That just doesn't happen. The venue -- a university theatre -- is still responsible for paying royalties to ASCAP and BMI, but that money is never distributed to the composers whose work was actually performed. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 9:21 PM, dhbailey wrote: terry cano wrote: I'm not much up on this subject but if you own it and it is published by you you get royalities on any performance correct? May not be big bucks though. You could write up the document for one time performance yourself it would be very straight forward Terry I believe the U.S. Military bands are exempt from paying performance royalties, which may be why the organizers of the competition got them to come be the house band. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ 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] Sheet music rental license example
terry cano wrote: I'm not much up on this subject but if you own it and it is published by you you get royalities on any performance correct? May not be big bucks though. You could write up the document for one time performance yourself it would be very straight forward Terry I believe the U.S. Military bands are exempt from paying performance royalties, which may be why the organizers of the competition got them to come be the house band. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
Hi Dean, Some of my pieces are published via Really Good Music, the rest I self- publish. But that's got nothing to do with live performance royalties from BMI or ASCAP! Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 7:12 PM, Dean M. Estabrook wrote: Darcy ... I'm just curious ... have you published any pieces, and if so, have any been bought? If so, I assume you have received, or will receive your 10 or whatever percent of said sales. Dean On Sep 4, 2009, at 3:58 PM, Darcy James Argue wrote: Hi Terry, If I were a classical composer, I would (theoretically) get BMI or ASCAP royalties on all live performances. Because I'm a jazz composer, I get nada -- at least, for US performances. What's especially galling is that venues like the Jazz Gallery still have to pay for BMI and ASCAP licenses, even though *none* of that money actually goes to the composers whose work is actually presented there. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 6:27 PM, terry cano wrote: I'm not much up on this subject but if you own it and it is published by you you get royalities on any performance correct? May not be big bucks though. You could write up the document for one time performance yourself it would be very straight forward Terry ___ 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 Canto ergo sum And, I'd rather be composing than decomposing Dean M. Estabrook http://deanestabrook.googlepages.com/home ___ 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] Sheet music rental license example
Darcy ... I'm just curious ... have you published any pieces, and if so, have any been bought? If so, I assume you have received, or will receive your 10 or whatever percent of said sales. Dean On Sep 4, 2009, at 3:58 PM, Darcy James Argue wrote: Hi Terry, If I were a classical composer, I would (theoretically) get BMI or ASCAP royalties on all live performances. Because I'm a jazz composer, I get nada -- at least, for US performances. What's especially galling is that venues like the Jazz Gallery still have to pay for BMI and ASCAP licenses, even though *none* of that money actually goes to the composers whose work is actually presented there. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 6:27 PM, terry cano wrote: I'm not much up on this subject but if you own it and it is published by you you get royalities on any performance correct? May not be big bucks though. You could write up the document for one time performance yourself it would be very straight forward Terry ___ 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 Canto ergo sum And, I'd rather be composing than decomposing Dean M. Estabrook http://deanestabrook.googlepages.com/home ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
Hi Terry, If I were a classical composer, I would (theoretically) get BMI or ASCAP royalties on all live performances. Because I'm a jazz composer, I get nada -- at least, for US performances. What's especially galling is that venues like the Jazz Gallery still have to pay for BMI and ASCAP licenses, even though *none* of that money actually goes to the composers whose work is actually presented there. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 6:27 PM, terry cano wrote: I'm not much up on this subject but if you own it and it is published by you you get royalities on any performance correct? May not be big bucks though. You could write up the document for one time performance yourself it would be very straight forward Terry ___ 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] Sheet music rental license example
On Sep 4, 2009, at 3:37 PM, dhbailey wrote: Chuck Israels wrote: How do these people think composers are supposed to survive? Nuts! Remember, it's not the Army Band who is asking for the music, but rather the competition organizers. Why aren't they paying for the music? The other person person who is participating in the competition. In many such competitions, the competitor is expected to provide the accompaniment. I'm surprised that's not the case in this competition. But don't start ragging on the Army Band since they may well not even want the music in their library. I know, our daughter sang with the Soldiers Chorus and travelled with the Army Field band for 6 years, and, as far as I know, they paid for everything they used. Chuck -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
I'm not much up on this subject but if you own it and it is published by you you get royalities on any performance correct? May not be big bucks though. You could write up the document for one time performance yourself it would be very straight forward Terry ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
arabu...@cowtown.net wrote: Didn't you know that that's why God gave us computers? So that composers could have jobs! Q. What's a performance major say? A. Would you like fries with that? -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
Chuck Israels wrote: How do these people think composers are supposed to survive? Nuts! Remember, it's not the Army Band who is asking for the music, but rather the competition organizers. Why aren't they paying for the music? The other person person who is participating in the competition. In many such competitions, the competitor is expected to provide the accompaniment. I'm surprised that's not the case in this competition. But don't start ragging on the Army Band since they may well not even want the music in their library. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
Didn't you know that that's why God gave us computers? So that composers could have jobs! > How do these people think composers are supposed to survive? Nuts! > > Chuck > > > On Sep 4, 2009, at 2:01 PM, Darcy James Argue wrote: > >> Hi Klaus, >> >> They aren't willing to pay a rental fee at all! Obviously, if it >> weren't for the fact that a player in my band really wants to >> perform this piece in the competition, I would not be sending them >> the music. >> >> I may take the trouble to watermark the score and parts, though, as >> you suggest. >> >> Cheers, >> >> - Darcy >> - >> djar...@earthlink.net >> Brooklyn, NY >> >> >> >> On 4 Sep 2009, at 4:24 PM, Klaus Smedegaard Bjerre wrote: >> >>> Solve the problem by setting the licensing fee at $70. >>> >>> Mark the score & each part with an expiration date for the rental >>> license. >>> >>> Will cost you some work, but should teach the band a lesson. If >>> they like the music, they will have to buy it from you once more. >>> >>> Klaus >>> >>> --- On Fri, 9/4/09, Darcy James Argue wrote: >>> From: Darcy James Argue Subject: [Finale] Sheet music rental license example To: finale@shsu.edu Date: Friday, September 4, 2009, 9:51 PM Hi all, Is there a boilerplate sheet music rental license available online anywhere I could take a look at? I never thought I'd be in a situation where I would want to license my music for a specific performance only, but there's a trumpet player in my band who wants to perform one of my bigband works at the Carmine Caruso jazz trumpet competition. However, the competition's house band (one of the US Armed Services bands) is too damn cheap to actually purchase the piece (which, incidentally, is only $70). The trumpet player in my band still wants to perform the piece, and of course I'm willing to oblige him. The competition has requested that I send PDFs of the piece to the military band -- I'm okay with that too. But what I DON'T want is for the military band to keep the piece in their library after they've performed it at the Caruso competition. So I need to send them some kind of license that precludes additional performances. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY ___ 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 > > Chuck Israels > 230 North Garden Terrace > Bellingham, WA 98225-5836 > phone (360) 671-3402 > fax (360) 676-6055 > www.chuckisraels.com > > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Copying guitar tab
in the items to copy box you can specify "Notehead , accidental and tablature string alterations" Mark McCarron --- On Thu, 9/3/09, Stephen Lamb wrote: > From: Stephen Lamb > Subject: [Finale] Copying guitar tab > To: finale@shsu.edu > Date: Thursday, September 3, 2009, 8:03 PM > I have a friend working on a project > using Finale Allegro. He came across a bug regarding > TAB notation, and since I haven't used guitar notation, I > wondered if anyone here had found a way around this. > > = > Two staves, guitar notation and the associated TAB. Edit > the TAB to proper strings and fret #'s and save. > Copying a bar or more of both staves and pasting to another > location on the same staves in the same doc. The notes are > fine, the TAB reverts to the default low fret, undoing my > saved edits. > And it's not just Allegro. On the site re: Finale 2010 > "Specify the lowest fret to use as you paste." > That defeats the purpose of copy/paste. > > Sibelius First works fine for this, and has no trouble > recognizing and naming "5" chords (power chords with no 3rd) > either. > == > > Thanks, > Stephen Lamb > > ___ > 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] Sheet music rental license example
How do these people think composers are supposed to survive? Nuts! Chuck On Sep 4, 2009, at 2:01 PM, Darcy James Argue wrote: Hi Klaus, They aren't willing to pay a rental fee at all! Obviously, if it weren't for the fact that a player in my band really wants to perform this piece in the competition, I would not be sending them the music. I may take the trouble to watermark the score and parts, though, as you suggest. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 4:24 PM, Klaus Smedegaard Bjerre wrote: Solve the problem by setting the licensing fee at $70. Mark the score & each part with an expiration date for the rental license. Will cost you some work, but should teach the band a lesson. If they like the music, they will have to buy it from you once more. Klaus --- On Fri, 9/4/09, Darcy James Argue wrote: From: Darcy James Argue Subject: [Finale] Sheet music rental license example To: finale@shsu.edu Date: Friday, September 4, 2009, 9:51 PM Hi all, Is there a boilerplate sheet music rental license available online anywhere I could take a look at? I never thought I'd be in a situation where I would want to license my music for a specific performance only, but there's a trumpet player in my band who wants to perform one of my bigband works at the Carmine Caruso jazz trumpet competition. However, the competition's house band (one of the US Armed Services bands) is too damn cheap to actually purchase the piece (which, incidentally, is only $70). The trumpet player in my band still wants to perform the piece, and of course I'm willing to oblige him. The competition has requested that I send PDFs of the piece to the military band -- I'm okay with that too. But what I DON'T want is for the military band to keep the piece in their library after they've performed it at the Caruso competition. So I need to send them some kind of license that precludes additional performances. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY ___ 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 Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
Hi Klaus, They aren't willing to pay a rental fee at all! Obviously, if it weren't for the fact that a player in my band really wants to perform this piece in the competition, I would not be sending them the music. I may take the trouble to watermark the score and parts, though, as you suggest. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 4:24 PM, Klaus Smedegaard Bjerre wrote: Solve the problem by setting the licensing fee at $70. Mark the score & each part with an expiration date for the rental license. Will cost you some work, but should teach the band a lesson. If they like the music, they will have to buy it from you once more. Klaus --- On Fri, 9/4/09, Darcy James Argue wrote: From: Darcy James Argue Subject: [Finale] Sheet music rental license example To: finale@shsu.edu Date: Friday, September 4, 2009, 9:51 PM Hi all, Is there a boilerplate sheet music rental license available online anywhere I could take a look at? I never thought I'd be in a situation where I would want to license my music for a specific performance only, but there's a trumpet player in my band who wants to perform one of my bigband works at the Carmine Caruso jazz trumpet competition. However, the competition's house band (one of the US Armed Services bands) is too damn cheap to actually purchase the piece (which, incidentally, is only $70). The trumpet player in my band still wants to perform the piece, and of course I'm willing to oblige him. The competition has requested that I send PDFs of the piece to the military band -- I'm okay with that too. But what I DON'T want is for the military band to keep the piece in their library after they've performed it at the Caruso competition. So I need to send them some kind of license that precludes additional performances. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY ___ 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] Sheet music rental license example
Solve the problem by setting the licensing fee at $70. Mark the score & each part with an expiration date for the rental license. Will cost you some work, but should teach the band a lesson. If they like the music, they will have to buy it from you once more. Klaus --- On Fri, 9/4/09, Darcy James Argue wrote: > From: Darcy James Argue > Subject: [Finale] Sheet music rental license example > To: finale@shsu.edu > Date: Friday, September 4, 2009, 9:51 PM > Hi all, > > Is there a boilerplate sheet music rental license available > online anywhere I could take a look at? > > I never thought I'd be in a situation where I would want to > license my music for a specific performance only, but > there's a trumpet player in my band who wants to perform one > of my bigband works at the Carmine Caruso jazz trumpet > competition. However, the competition's house band (one of > the US Armed Services bands) is too damn cheap to actually > purchase the piece (which, incidentally, is only $70). > > The trumpet player in my band still wants to perform the > piece, and of course I'm willing to oblige him. The > competition has requested that I send PDFs of the piece to > the military band -- I'm okay with that too. But what I > DON'T want is for the military band to keep the piece in > their library after they've performed it at the Caruso > competition. So I need to send them some kind of license > that precludes additional performances. > > Cheers, > > - Darcy > - > djar...@earthlink.net > Brooklyn, NY > > > > ___ > 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] Sheet music rental license example
Hi all, Is there a boilerplate sheet music rental license available online anywhere I could take a look at? I never thought I'd be in a situation where I would want to license my music for a specific performance only, but there's a trumpet player in my band who wants to perform one of my bigband works at the Carmine Caruso jazz trumpet competition. However, the competition's house band (one of the US Armed Services bands) is too damn cheap to actually purchase the piece (which, incidentally, is only $70). The trumpet player in my band still wants to perform the piece, and of course I'm willing to oblige him. The competition has requested that I send PDFs of the piece to the military band -- I'm okay with that too. But what I DON'T want is for the military band to keep the piece in their library after they've performed it at the Caruso competition. So I need to send them some kind of license that precludes additional performances. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] no pitchwheel
I created a file back in FinMac 2K2 that had quartertones defined for playback as pitchwheel alterations. Now I find that under OS 10.3.9, these alterations do not play back in either 2K4 or 2K7. What can I do to get them back? 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: Ophecleide
On 4 Sep 2009 at 13:57, dhbailey wrote: > Certainly the start of the quoted blurb seems to indicate > that the people who put the webpage up thought it would have > been common during the Baroque. Just Googling around, I found these tidbits: 1. Bach's estate included a pedal clavichord: http://tinyurl.com/nk2rlu (http://books.google.com/books?id=4nlSus0xpqMC&pg=PA299&lpg=PA299&dq=i nventory+of+bach%27s+estate&source=bl&ots=FESx58LW5e&sig=eE1HYdWseTFgg QOq7jmMx439p30&hl=en&ei=MFehSobDB-KFmQer2- 3eDQ&sa=X&oi=book_result&ct=result&resnum=7#v=onepage&q=inventory%20of %20bach%27s%20estate&f=false) Scroll to p. 300, which transcribes the inventory, and is followed by a discussion of what it means. 2. Pedal harpsichords were common, but none have survived: http://www.harpsichord.org.uk/pedal/pedalharpsichord.htm That article is a hasty translation from the original French, and I would think one would need to check any passages that raise questions against the original, which is linked at the top of the translation. I would note that the translation captions the first picture in the article as "Pedal-harpsichord" but the original reads "clavicorde- pédalier", which makes much more sense, as the form of the pictured instrument would be called "spinet" and not "harpsichord" were it a plucked instrument (instead of struck, as is the case with the clavichord). 3. Biggs's pedal harpsichord was made by Challis, which is unfortunate, given that Challis was a modern maker who built harpsichords somewhat on the Pleyel model, with metal frames and such (though by the 1950s and 60s at much lower string tension than the Pleyels created for Landowska). I would speculate that the reason none of these instruments has survived is because the string tension for 16' registers would have been higher than for the regular harpsichords and there was little use of metal framing. The result of that is the pedal harpischords would have collapsed in on themselves. You can see the beginnings of this in many historical harpsichords and fortepianos, where the string tension has begun to buckle them in a shallow V shape, right at the join between the tuning block and the sounding board, i.e., something like _/ . -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Quickeys & Snow Leopard (Mac)
The beta seems to be working well. No problems on my end so far. Jeff Tanner Funky Bear Music www.funkybearmusic.com On Sep 4, 2009, at 12:11 PM, Randolph Peters wrote: I still find Quickeys to be an essential tool and that's especially true with Finale. (It is slightly less important now that Apple's customizable keyboard commands work so well.) If you are using Quickeys 4 with Snow Leopard, at this time there are incompatibilities that stop Quickeys from working properly. There is a beta version on this page that seems to alleviate the problem: http://www.startly.com/products/quickeys/mac/4/snowleopard/ If you haven't tried Quickeys, they offer a 30 day free trial that you can now keep renewing. -Randolph Peters ___ 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] OT: Ophecleide
David W. Fenton wrote: On 4 Sep 2009 at 8:17, 73357.3...@compuserve.com wrote: what about E Power Biggs' pedal harpsichord ? What about it? Mozart owned a pedal fortepiano, so it wouldn't surprise me if there were pedal harpsichords at the time. Biggs was a big promoter of Flentrop, the Dutch maker of tracker organs built on 18th-century models from the Bach era, so I'd doubt that he'd have picked a harpsichord design that was based on anything other than the historical instruments. Of course, our understanding today of the salient characteristics of those historical instruments has altered greatly as we've learned much more, so likely an instrument built at that time would not pass muster with our modern standards for historical recreations. But I strongly doubt he would have gone for an instrument that wasn't a real attempt at recreating historical models. Indeed, the following link: http://www.hubharp.com/musings_pedalharp.htm discusses the point that they were quite prevalent during the Baroque. I got a listing of another site but because the google search added the warning that it might harm my computer I didn't visit it: Baroque German Harpsichord This site may harm your computer. A pedal-harpsichord, that is, a harpsichord with an organ-type pedal-board, would have been found in the home of most German organists during the baroque ... www.baroquemusic.org/bargerhpschd.html - Similar Certainly the start of the quoted blurb seems to indicate that the people who put the webpage up thought it would have been common during the Baroque. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Quickeys & Snow Leopard (Mac)
I still find Quickeys to be an essential tool and that's especially true with Finale. (It is slightly less important now that Apple's customizable keyboard commands work so well.) If you are using Quickeys 4 with Snow Leopard, at this time there are incompatibilities that stop Quickeys from working properly. There is a beta version on this page that seems to alleviate the problem: http://www.startly.com/products/quickeys/mac/4/snowleopard/ If you haven't tried Quickeys, they offer a 30 day free trial that you can now keep renewing. -Randolph Peters ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Ophecleide
On 4 Sep 2009 at 8:17, 73357.3...@compuserve.com wrote: > what about E Power Biggs' pedal harpsichord ? What about it? Mozart owned a pedal fortepiano, so it wouldn't surprise me if there were pedal harpsichords at the time. Biggs was a big promoter of Flentrop, the Dutch maker of tracker organs built on 18th-century models from the Bach era, so I'd doubt that he'd have picked a harpsichord design that was based on anything other than the historical instruments. Of course, our understanding today of the salient characteristics of those historical instruments has altered greatly as we've learned much more, so likely an instrument built at that time would not pass muster with our modern standards for historical recreations. But I strongly doubt he would have gone for an instrument that wasn't a real attempt at recreating historical models. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2008 and new Mac Snow Leopard OS...update
There is that, but if TGTools is not going to be updated then that would be a deal breaker for meTGTools is essential for me to continue to use Finale... On Sep 4, 2009, at 6:00 AM, Johannes Gebauer wrote: On 03.09.2009 Martin Banner wrote: Amen, hence my initial post about the compatibility of Finale 2008. After years of using (quite happily) Finale 2003, I finally upgraded to 2008 two years ago. Plus I bought a 24" iMac. Kinda sad that I won't be able to upgrade to Snow Leopard since I plan to keep on using Finale 2008 for quite a while. Personally I think you are betting on the wrong horse. Personally I am preparing to switch to Sibelius. I have about had it with Finale. Half a year after I upgraded to 2k9 I bought a new computer with Leopard. Already there were compatibility problems, which MakeMusic refused to even look at because they had brought out 2k10. None of the new features of 2k10 has anything for me. Johannes ___ 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] Finale 2008 and new Mac Snow Leopard OS...update
On 03.09.2009 Martin Banner wrote: Amen, hence my initial post about the compatibility of Finale 2008. After years of using (quite happily) Finale 2003, I finally upgraded to 2008 two years ago. Plus I bought a 24" iMac. Kinda sad that I won't be able to upgrade to Snow Leopard since I plan to keep on using Finale 2008 for quite a while. Personally I think you are betting on the wrong horse. Personally I am preparing to switch to Sibelius. I have about had it with Finale. Half a year after I upgraded to 2k9 I bought a new computer with Leopard. Already there were compatibility problems, which MakeMusic refused to even look at because they had brought out 2k10. None of the new features of 2k10 has anything for me. Johannes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: no early music in Wikipedia!
The German Wikipedia has most of them, one or two are missing. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Ophecleide
o;?And while we're about it, what about E Power Biggs' pedal harpsichord ?
-- Original Message --
From: John Howell
To: finale@shsu.edu
Subject: Re: [Finale] OT: Ophecleide
Date: Tue, 1 Sep 2009 21:23:14 -0400
.
.
.
In the harpsichord revival, there were actually at least 3 stages:
Pleyel's plucked piano ("this is what the harpsichord SHOULD have
been, obviously!") much too heavy to sound above a pianissimo; the
factory "revival" instruments (mostly German, although at least one
Canadian maker followed this line) still much too heavy to sound and
with a miriad of modern "improvements" ("we're ever so much smar
ter
than the old guys were" which simply introduced new and more
wonderful problems); and instruments based on observing and
duplicating 16th-18th century designs and manufacturing methods ("the
old guys knew what they were doing and it's foolish to re-invent the
wheel--badly!").
.
.
.
-
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
