Re: [Finale] Violin Ties
On Sep 21, 2009, at 1:22 PM, Owain Sutton wrote: Maybe not harmonics, but just open strings? Owain -- Sorry, I didn't see this reply before. (Apple Mail sorting is truly suck-o-matic compared to Eudora, and I still haven't figured out how to cope.) I think that this may be the answer. There are fingering suggestions throughout and, though these circles appear alone, so too do some of the other circles that must indicate open strings. Thanks, -=-Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TAN: More Acrobat problems under Snow Leopard
In case any of you are using Acrobat and plan to update to Snow Leopard - don't do it, at least for the moment. You will be asking for problems. I have just discovered that direct scanning is no longer possible from Acrobat 9. As far as I can tell this is true for any scanner, although I haven't been able to confirm this. At least for my Epson it doesn't work, although it works fine from Photoshop Elements 6. This is bad, as it complicates my work flow enormously. I am still hoping that somewhere this will be fixed, but for the moment I really hate Snow leopard. There are also numerous problems with the new way Acrobat uses Distiller. Basically it doesn't work nearly as reliably as it used to. This means that I now have to make PDF/X files to be compatible with Lulu. These files are much larger than they would have to be for the purpose, but Lulu cannot cope with the font embedding otherwise. In case someone is interested: Scanning is now supported from within Preview. This does work, but the scanning window seems rather badly suited to mass scanning of music, which is what I need to do most. Also, the scans seem to always end in separate documents, and are being saved in the ancient Acrobat 3 format (which takes a lot of space for images). Anyway, just though some may find this useful. Johannes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Trumpet question
At 9:06 PM +0200 9/22/09, Howard Weiner wrote: At 19:57 22.09.2009 +0200, Barbara Touburg wrote: On Youtube there are clips of the Brandenburg concertos by the Freiburg Baroque. In this clip http://www.youtube.com/watch?v=6jtk4ETAx8g the trumpet player moves his right hand fingers in a special way. What does he to? Are there tiny holes in the tube? That's Friedemann Immer and he using a Baroque trumpet with vent holes. A natural trumpet, i.e., one without vent holes, only provides the notes of the harmonic series, of which several are rather out of tune and/or instable. Opening a vent hole (there are generally three) basically puts the instrument in a different key with a different harmonic series, thus providing other possibilities for playing the otherwise out-of-tune or instable notes. Unfortunately, the extra security that the vent holes provide also make it possible for trumpeters to play louder than they otherwise could on the old trumpets. In recent years, a number of European trumpet players, above all Jean-Francois Madeuf, have started playing without holes with increasing success. I really hesitate to disagree with Howard on a technical point, since he's played the instruments, but my understanding is a little different. The vent holes (as he properly calls them) are not big enough to actually throw the instrument into a different key, as the later keyed bugle and keyed trumpet did. Instead they just stabilize specific nodes in the tubing, making certain notes more stable. (That would be easy enough to test, if I had an instrument in my hands, since there would either be a different harmonic series or there would not be. I've played a keyed trumpet, but never a coiled trumpet with vent holes.) The trumpet shown in the famous portrait of Gottfried Reiche, Bach's trumpeter in Leipzig, is of this tightly coiled type, although I don't think the portrait shows whether or not it had vent holes. But in any case, yes, that's exactly what you observed. With the longer natural trumpet I don't think vent holes were used, because reaching them would have been more difficult, although the modern instrument Immer is playing obviously does have them. It's also pretty strong for the other three solo instruments, of course, with no recording studio trickery evident. (But man, that's one heck of a band! And a nice ballroom, to boot.) Of course the mystery of the proper instrument for Brandenburg 2 remains. There's no theoretical reason why a trumpet in high F couldn't have been built, but I don't believe anything similar has survived, and I don't think there's any other music for such an instrument, unless more recent research has turned up either a surviving instrument or surviving music. And since that was written (and presumably performed) at Köthen, and not Leipzig, Reiche wouldn't have played it, so the player it was written for is also a mystery. John -- 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] Trumpet question
There's a fascinating reading of the Bach Brandenburg 3rd from 1953 on the DG-Archiv label with the Konzertgruppe der Schola Cantorum Basiliensis Conducted by: August Wenzinge. I am not sure if these are period instruments though. EMI Recordings has released some recordings dating from the 1920s that are even more fascinating to hear. I think in some peformances, a saxophone was used because trumpet players couldn't handle the difficult part? BTW: I LOVE the font used on the Archiv sleeve during this period, it reminds me a lot of Barenreiter's elegant fonds used in their Urtext editions. http://www.youtube.com/watch?v=FxWjGjmSIWEfeature=related Thanks Kim ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Trumpet question
That recording is very interesting, Kim. An Archiv 45 single! I think the recorder is much closer to the mic than the trumpet (and everybody else, for that matter) - it has an unusual presence. I hope I can find an old 78 set I have, somewhere, of a Brandenburg 2nd that is a period instrument devotee's worst nightmare. At the start of the first movement the (probably Bb) trumpet player starts out an octave low, then jumps up to the run to the high C which he holds it out ff with no trill... and it goes on from there. The last movement is classic, with most of the trumpet part an octave down Quite a fun listen. I'll try to look for it in the catacombs. Raymond Horton Kim Patrick Clow wrote: There's a fascinating reading of the Bach Brandenburg 3rd from 1953 on the DG-Archiv label with the Konzertgruppe der Schola Cantorum Basiliensis Conducted by: August Wenzinge. I am not sure if these are period instruments though. EMI Recordings has released some recordings dating from the 1920s that are even more fascinating to hear. I think in some peformances, a saxophone was used because trumpet players couldn't handle the difficult part? BTW: I LOVE the font used on the Archiv sleeve during this period, it reminds me a lot of Barenreiter's elegant fonds used in their Urtext editions. http://www.youtube.com/watch?v=FxWjGjmSIWEfeature=related Thanks Kim ___ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Trumpet question
On Wed, Sep 23, 2009 at 4:01 PM, Ray Horton rayhor...@insightbb.com wrote: That recording is very interesting, Kim. An Archiv 45 single! I think the recorder is much closer to the mic than the trumpet (and everybody else, for that matter) - it has an unusual presence. It's funny you mentioned the recorder-- there's another clip with Maurice Andre, and instead of a recorder, a modern flute is used, which to my ears, doesn't have the same snap or sizzle or bite a recorder gives the music, which seems odd. Have fun going through the catacombs ;) Kim ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: More Acrobat problems under Snow Leopard
Johannes, You might try VueScan: http://www.hamrick.com/ I use it for multi-page scans to PDF. There's a free trial and there's mention of fixes for Snow Leopard as of September 21, 2009. On Wed, Sep 23, 2009, Johannes Gebauer li...@musikmanufaktur.com wrote: In case any of you are using Acrobat and plan to update to Snow Leopard - don't do it, at least for the moment. You will be asking for problems. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Trumpet question
On 23 Sep 2009 at 15:20, Kim Patrick Clow wrote: There's a fascinating reading of the Bach Brandenburg 3rd from 1953 on the DG-Archiv label with the Konzertgruppe der Schola Cantorum Basiliensis Conducted by: August Wenzinge. I am not sure if these are period instruments though. EMI Recordings has released some recordings dating from the 1920s that are even more fascinating to hear. I think in some peformances, a saxophone was used because trumpet players couldn't handle the difficult part? BTW: I LOVE the font used on the Archiv sleeve during this period, it reminds me a lot of Barenreiter's elegant fonds used in their Urtext editions. http://www.youtube.com/watch?v=FxWjGjmSIWEfeature=related As much as I feel honored to respect Wenzinger's contributions to the early music movement (as an Oberlin grad), I'm afraid this is more a modernist Bach peformance than what would later be found in the Early Music movement. The detached style of playing is very close to one of the most annoying aspects of conventional Baroque performance by players of modern instruments not trained in historically-informed performance, and that's the playing of all non-slurred/non-bowed notes portato. Just because a string of notes has no slurs or bowings over it doesn't mean all the notes should be played played an equal length, as seems to be the assumption operating in much of this recording (and in so many of the workaday Bach recordings on modern instruments up to the 80s, at least). You still hear it in professional pickup orchestras, too (I've listened on WNYC to recordings of Bach from Carnegie Hall where pickup orchestras or St. Luke's was playing and it drives me crazy; I also had to grit my teeth through it when I played continuo for a performance of Handel's Alcina at The California Music Festival back in 2004). It's so lacking in any subtlety, and, I think, reflects that positivistic view of Baroque style so popular in the postwar period. -- 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] harp pedal diagram
I think it's the composer's responsibility to WORK OUT the pedaling to ensure that all the enharmonics are spelled in a way that works for the harp. I don't think it's a crime to include a single diagram at the beginning, but would never indicate pedal changes, because precisely how those changes are marked and where they occur varies according to performer's preferences. On Fri, Sep 18, 2009 at 10:00 AM, Andrew Stiller kalli...@ix.netcom.comwrote: I disagree. IMO it is absolutely the composer's responsibility to indicate the pedalling in any harp part, whether by diagram or by the older method of writing in the pitch names. As for harpist's preferring to do it themselves, I can only cite the example of Lejaren Hiller, whose music I publish and who never bothered with pedalling diagrams. On one extracted harp part, the harpist pencilled in the note Jerry, harps have pedals! I add pedalling diagrams to the harp parts in all my editions of his work. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/ On Sep 18, 2009, at 1:41 AM, toronado...@gmail.com wrote: On Sat, Sep 12, 2009 at 1:56 PM, John Howell john.how...@vt.edu wrote: There are at least 2 active harpists (and teachers) on the SibList, and their consensus is that harpists would much prefer to enter their own diagrams, in the forms they prefer, and put them where they want them. Unless you are an experienced harpist yourself, the better part of valor might be to avoid putting in your own. John I agree. ___ 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] Trumpet question
When I was in grad school back in the '70s, Tarr gave a lecture demonstration on the Bq. trumpet. He was at that time developing non-vented replicas of historical trumpets, *using historical construction methods*. He explained that early trumpeters did not need the vents, because the trumpets they used were hammered out on a form, and were thus slightly imperfect in their internal contours; this irregularity provided the player with just enough wiggle room to play all notes securely without the vents that, ironically, a mathematically perfect valveless trumpet requires. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
