[Finale] combining files
I'm working on a Mac OS 10, with Finale 2004. I would like to combine two files (parts for movements 1 2) into one. I couldn't find information under combine or under merge. How can i do this? Thanks for the help, Katherine Hoover ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] ASIO, Finale 2010 and EMU 1616m HELP!
Howdy! I am a new member to this list, so please forgive in advance if this question has been answered. I am running finale 2010 on Dell XP box: dual processors, 4 gigs of ram, EMU 1616m audio. About a month ago, playback got REALLY weird: sometimes playback would continue after the end with sounds from a random section, during playback layered sounds would occur, and sometimes playback would not start at all! OK, I contacted Finale and tech support said the problem was the ASIO driver: change it to direct sound. However, even though I have deleted the old configuration files, the ASIOMME.dll driver still loads and the weird MIDI playback persists. This is driving me insane-I have eight big band charts I HAVE to finish for a client with the reference audio files in a couple of weeks. This setup worked great for months and then something changed! SAVE ME!! Mike McGowan ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] ASIO, Finale 2010 and EMU 1616m HELP!
Mike McGowan wrote: First, welcome to the list. Regarding your playback problem, check to see if you have multiple staves assigned to the same MIDI channel. In Finale 2010, if you have multiple staves assigned to the same channel, playback does work correctly, and presents exactly the situation you describe. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Can Finale do this?
These two responses have to do with my question about placing a clef between a grace note and the following note. 1. Rich Caldwell wrote on Feb 27: Here's what I would do: I often enter grace notes as real notes to avoid Finale's graceless spacing disasters. Doing that will be even more useful here. So make the grace note a real one, and make the existing triplet as 3 in the space of 1 *eighth*. Break the beam between the grace and the triplet. Reduce the first notes's size with the % tool, adjust the stem (you might have to shorten it with the special tool) add a slash (expression shape) if necessary. Now, the right hand won't line up, so you can either move the notes over with the special tool, or if you want the beat to line up forever without worry, insert a hidden 8th rest before the first note in the right hand as well, and make the first note fit into one 8th less. For example, in the second bar in that sample file, insert an 8th rest before the half note, and make a tuplet of the half note to be one half note in the space of a dotted quarter or 3 eighths, choosing not to show the bracket and number. Now you can put the clefs in. Almost everything's a workaround in Finale. At least it keeps you thinkin' Rich Wow! Thanks very much for the detailed suggestion. It's even more involved than my solution! It's amazing the hoops we have to jump through to do something this simple. 2. jef chippewa wrote on Feb 28: if you aren't concerned with playback you can insert clefs as expressions and transpose certain notes to look right Yeah, I definitely think this is the way to go. Especially since I do all my sequencing in Digital Performer. Paul Hayden Magnolia Music Press www.paulhayden.com Voice Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: blowing air through brass instruments
IIRC Ligeti calls on his brass players in Atmosphères to blow air through the instruments without any definite pitch or characteristic brass instrument sound. Does anyone here know of others who have done this, and what the limits are? (You'd think having been a brass player I'd know this, but nothing comes to mind at the moment.) Aaron J. Rabushka arabus...@austin.rr.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
This is not that unusual an effect for brass players. What composers (including Ligeti) seem not to realize is that brass instruments are designed *not to make noise* when you blow air through them, which tends to defeat the purpose. The proper way to get the desired effect is to remove the mouthpiece, invert it, and blow the air thru the inverted mouthpiece across the opening of the mouthpipe. The only caveat is you have to give the player time to take the mouthpiece out and invert it. Any dynamic from pp to ff is possible, but playing ff requires lots of air, so there is no way for a single player to sustain a note for very long. On Fri, Mar 12, 2010 at 12:55 PM, Aaron Rabushka arabus...@austin.rr.com wrote: IIRC Ligeti calls on his brass players in Atmosphères to blow air through the instruments without any definite pitch or characteristic brass instrument sound. Does anyone here know of others who have done this, and what the limits are? (You'd think having been a brass player I'd know this, but nothing comes to mind at the moment.) Aaron J. Rabushka arabus...@austin.rr.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] OT: blowing air through brass instruments
Robert: This is not that unusual an effect for brass players. What composers (including Ligeti) seem not to realize is that brass instruments are designed *not to make noise* when you blow air through them, which tends to defeat the purpose. Me: But just as the bumblebee that theoretically can't fly flies just fine, the effect seems to work. I suspect what's happening is that the players are making all the noise in their mouths/lips and using the instruments, in effect, as megaphones... But that's just my guess... As for others, one that comes to mind is Steve Winteregg, who uses it in his piece TGV to imitate the sound of a train's air brakes. Neal Gittleman ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
Some years ago I added that effect to the start of a piece we were performing in a concert. The concert was being recorded. The audience heard the effect, the cloth-eared recording engineer did not and failed to switch on his equipment until someone pointed out to him that we had started. Cheers, Lawrence -- Lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
The large orchestral piece I'm working on now calls for this effect through most of it, in all of the brass and woodwinds (w/o mouthpieces or reeds depending on instrument), mostly p or mp. He notated this in his manuscript with a clef (since it's large sections, not just a note here and there). I've never come across this before, so I simply followed his notation and created a custom clef as a vertical rectangle, sort of like a percussion rectangular clef, but larger. The notes just lie on the middle line, as there are no pitches specified. Since this has coincidentally come up today, I figure I should ask, is this is a notation others have seen? On Mar 12, 2010, at 1:55 PM, Aaron Rabushka wrote: IIRC Ligeti calls on his brass players in Atmosphères to blow air through the instruments without any definite pitch or characteristic brass instrument sound. Does anyone here know of others who have done this, and what the limits are? (You'd think having been a brass player I'd know this, but nothing comes to mind at the moment.) Aaron J. Rabushka arabus...@austin.rr.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
On Fri, Mar 12, 2010 at 3:29 PM, Neal Gittleman nealg...@sbcglobal.net wrote: Me: But just as the bumblebee that theoretically can't fly flies just fine, the effect seems to work. I suspect what's happening is that the players are making all the noise in their mouths/lips and using the instruments, in Speaking only from personal experience (which extends to no more than a handful of times having to do it), it worked because the brass players knew to invert their mouthpieces without being told. (Or rather, enough did so that the effect was audible in the audience.) I clearly remember what our principal trumpet said one time to a composer who had asked fro the effect (n the middle of rehearsal in front of the entire orch. and conductor). You know, I have spent a lot of money to have a trumpet that doesn't make any noise when I just blow air through it. There was awkward silence from the composer in return. I submit that no composer wants to be in that position, esp. with a professional orchestra. Later I suggested the inverted mouthpiece to the trumpeter and there was no more problem. If you want to look like you know what you are talking about, specify inverting the mouthpiece. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
I prefer the notation suggested in Kurt Stone's Music Notation in the 20th Century on p. 186 at the bottom. It's not particular convenient to render in Finale but it can be done. On Fri, Mar 12, 2010 at 4:56 PM, Rich Caldwell caldw...@shypuppy.net wrote: The large orchestral piece I'm working on now calls for this effect through most of it, in all of the brass and woodwinds (w/o mouthpieces or reeds depending on instrument), mostly p or mp. He notated this in his manuscript with a clef (since it's large sections, not just a note here and there). I've never come across this before, so I simply followed his notation and created a custom clef as a vertical rectangle, sort of like a percussion rectangular clef, but larger. The notes just lie on the middle line, as there are no pitches specified. Since this has coincidentally come up today, I figure I should ask, is this is a notation others have seen? On Mar 12, 2010, at 1:55 PM, Aaron Rabushka wrote: IIRC Ligeti calls on his brass players in Atmosphères to blow air through the instruments without any definite pitch or characteristic brass instrument sound. Does anyone here know of others who have done this, and what the limits are? (You'd think having been a brass player I'd know this, but nothing comes to mind at the moment.) Aaron J. Rabushka arabus...@austin.rr.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] OT: blowing air through brass instruments
At 5:30 PM -0600 3/12/10, Robert Patterson wrote: I prefer the notation suggested in Kurt Stone's Music Notation in the 20th Century on p. 186 at the bottom. It's not particular convenient to render in Finale but it can be done. One has to wonder about some composers, whether they actually know the special effects they ask for, having heard them; whether they are willing to ask for something impossible and risk making fools of themselves out of ignorance; or whether they just think they're too important for anyone to question. My only helpful advice: If in doubt, ask someone who plays the instrument to try it. I suspect that discovering a really new and neat special effect will be more serendipitous than planned. 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] OT: blowing air through brass instruments
Without wishing to appear contrarian, but speaking again from personal experience -- having written multiple pieces that employ this effect -- it is perfectly possible to make pitchless, audible (if faint) sounds by blowing air (usually augmented by a slight whistling effect) through a brass instrument without buzzing the lips. The instruction blow air usually suffices. It's a very common effect. It sounds like the trumpet player in Robert's anecdote was being deliberately difficult/obtuse. I've never seen anyone invert the mouthpiece as Robert suggests. That seems like it would generate a different kind of sound, but now I'm eager to have my band try it out! Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 12 Mar 2010, at 6:27 PM, Robert Patterson wrote: On Fri, Mar 12, 2010 at 3:29 PM, Neal Gittleman nealg...@sbcglobal.net wrote: Me: But just as the bumblebee that theoretically can't fly flies just fine, the effect seems to work. I suspect what's happening is that the players are making all the noise in their mouths/lips and using the instruments, in Speaking only from personal experience (which extends to no more than a handful of times having to do it), it worked because the brass players knew to invert their mouthpieces without being told. (Or rather, enough did so that the effect was audible in the audience.) I clearly remember what our principal trumpet said one time to a composer who had asked fro the effect (n the middle of rehearsal in front of the entire orch. and conductor). You know, I have spent a lot of money to have a trumpet that doesn't make any noise when I just blow air through it. There was awkward silence from the composer in return. I submit that no composer wants to be in that position, esp. with a professional orchestra. Later I suggested the inverted mouthpiece to the trumpeter and there was no more problem. If you want to look like you know what you are talking about, specify inverting the mouthpiece. ___ 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: blowing air through brass instruments
On 3/12/2010 10:55 AM, Aaron Rabushka wrote: IIRC Ligeti calls on his brass players in Atmosphères to blow air through the instruments without any definite pitch or characteristic brass instrument sound. Does anyone here know of others who have done this, and what the limits are? (You'd think having been a brass player I'd know this, but nothing comes to mind at the moment.) Aaron J. Rabushka arabus...@austin.rr.com heck - half of the brass players I know do this. The hard part is getting them to play *on* pitch! Seriously, though, the limits depend on the player. I can recall seeing Bill Watrous speak through his trombone. cd -- http://members.cox.net/dershem/index.html http://dershem.livejournal.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] OT: blowing air through brass instruments
Not being a brass player, I find this suggestion difficult to understand. Can you describe it a bit more clearly? Do you blow across the wrong end of the mouthpiece like blowing across a beer bottle? What I cannot figure is the idea of inverting the mouthpiece. Aren't they the same all the way around? Do you mean reverse the mouthpiece? Guy Hayden -Original Message- From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of Robert Patterson Sent: Friday, March 12, 2010 3:41 PM To: finale@shsu.edu Subject: Re: [Finale] OT: blowing air through brass instruments This is not that unusual an effect for brass players. What composers (including Ligeti) seem not to realize is that brass instruments are designed *not to make noise* when you blow air through them, which tends to defeat the purpose. The proper way to get the desired effect is to remove the mouthpiece, invert it, and blow the air thru the inverted mouthpiece across the opening of the mouthpipe. The only caveat is you have to give the player time to take the mouthpiece out and invert it. Any dynamic from pp to ff is possible, but playing ff requires lots of air, so there is no way for a single player to sustain a note for very long. On Fri, Mar 12, 2010 at 12:55 PM, Aaron Rabushka arabus...@austin.rr.com wrote: IIRC Ligeti calls on his brass players in Atmosphères to blow air through the instruments without any definite pitch or characteristic brass instrument sound. Does anyone here know of others who have done this, and what the limits are? (You'd think having been a brass player I'd know this, but nothing comes to mind at the moment.) Aaron J. Rabushka arabus...@austin.rr.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] OT: blowing air through brass instruments
I am completely fascinated by Atmospheres. I think my chances of ever having the opportunity to conduct this work are very slim. Nevertheless I want to know about it. I welcome comments for anyone and everyone who has ever performed it. Guy Hayden -Original Message- From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of dershem Sent: Friday, March 12, 2010 9:05 PM To: finale@shsu.edu Subject: Re: [Finale] OT: blowing air through brass instruments On 3/12/2010 10:55 AM, Aaron Rabushka wrote: IIRC Ligeti calls on his brass players in Atmosphères to blow air through the instruments without any definite pitch or characteristic brass instrument sound. Does anyone here know of others who have done this, and what the limits are? (You'd think having been a brass player I'd know this, but nothing comes to mind at the moment.) Aaron J. Rabushka arabus...@austin.rr.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
Darcy is correct, both about the ability to make sounds through a brass instrument with air, when one desires to, and about the probable intent of the trumpet player in question. Back when the Louisville Orchestra was in the forefront of performance of new music for orchestra (days past, unfortunately), we would see this indication fairly often. It is quite easy to make a variety of different sounds through the horn with breath alone. It is easier to make louder sounds with the inverted mouthpiece.With either, a long sustained sound is not practical by one player, but is by a section. I have seen players automatically attempt to invert the mouthpiece to do this, but there often isn't time in the music to do so. One of my favorite works for good, effective orchestral application of a variety of brass techniques is Donald Erb's The Seventh Trumpet. Raymond Horton Bass Trombonist Louisville Orchestra Darcy James Argue wrote: Without wishing to appear contrarian, but speaking again from personal experience -- having written multiple pieces that employ this effect -- it is perfectly possible to make pitchless, audible (if faint) sounds by blowing air (usually augmented by a slight whistling effect) through a brass instrument without buzzing the lips. The instruction blow air usually suffices. It's a very common effect. It sounds like the trumpet player in Robert's anecdote was being deliberately difficult/obtuse. I've never seen anyone invert the mouthpiece as Robert suggests. That seems like it would generate a different kind of sound, but now I'm eager to have my band try it out! Cheers, - DJA - ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
I've done this a lot, and all I and my colleagues do is make a hissing sound with our tongue or lips when blowing. It's true that the instrument itself does not make much noise unless you do something other than blow air. Robert's other points stand, but nobody I know takes off or inverts the mouthpiece unless the directions say to do that. Christopher On 12-Mar-10, at 12-Mar-10 3:41 PM, Robert Patterson wrote: This is not that unusual an effect for brass players. What composers (including Ligeti) seem not to realize is that brass instruments are designed *not to make noise* when you blow air through them, which tends to defeat the purpose. The proper way to get the desired effect is to remove the mouthpiece, invert it, and blow the air thru the inverted mouthpiece across the opening of the mouthpipe. The only caveat is you have to give the player time to take the mouthpiece out and invert it. Any dynamic from pp to ff is possible, but playing ff requires lots of air, so there is no way for a single player to sustain a note for very long. On Fri, Mar 12, 2010 at 12:55 PM, Aaron Rabushka arabus...@austin.rr.com wrote: IIRC Ligeti calls on his brass players in Atmosphères to blow air through the instruments without any definite pitch or characteristic brass instrument sound. Does anyone here know of others who have done this, and what the limits are? (You'd think having been a brass player I'd know this, but nothing comes to mind at the moment.) Aaron J. Rabushka arabus...@austin.rr.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 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
I've seen X heads for solid rhythmic values and diamonds for half and whole notes, with cresc. and dim. wedges. No need for a special clef, and it usually happens on the middle line of whatever clef we already happen to be in (trombones!) Christopher On 12-Mar-10, at 12-Mar-10 5:56 PM, Rich Caldwell wrote: The large orchestral piece I'm working on now calls for this effect through most of it, in all of the brass and woodwinds (w/o mouthpieces or reeds depending on instrument), mostly p or mp. He notated this in his manuscript with a clef (since it's large sections, not just a note here and there). I've never come across this before, so I simply followed his notation and created a custom clef as a vertical rectangle, sort of like a percussion rectangular clef, but larger. The notes just lie on the middle line, as there are no pitches specified. Since this has coincidentally come up today, I figure I should ask, is this is a notation others have seen? On Mar 12, 2010, at 1:55 PM, Aaron Rabushka wrote: IIRC Ligeti calls on his brass players in Atmosphères to blow air through the instruments without any definite pitch or characteristic brass instrument sound. Does anyone here know of others who have done this, and what the limits are? (You'd think having been a brass player I'd know this, but nothing comes to mind at the moment.) Aaron J. Rabushka arabus...@austin.rr.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] OT: blowing air through brass instruments
dershem wrote: Seriously, though, the limits depend on the player. I can recall seeing Bill Watrous speak through his trombone. cd None of these effects are as resonant as actually _playing_ the instrument, though, and can fool the player, and possibly the conductor, as to how far the sound carries. Years ago we performed, then recorded a work called Forest Music by Paul Chihara. In the middle of the work the brass players, unaccompanied, individually recite various overlapping poems about trees through their instruments. (I remember the tubist is directed to recite I think that I shall never see / a tuba lovely as a tree, but most were more serious, as if that makes any difference.) During that section my parents in the audience said they could hear nothing. One of our members caught the radio broadcast of the concert - nearly a minute of dead air in the middle of the piece. We recorded the work - I assume the recording engineer (Andy Kazdin from Columbia Records) got some sound down. Raymond Horton Bass Trombonist, Louisville Orchestra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
On 3/12/2010 7:26 PM, Ray Horton wrote: dershem wrote: Seriously, though, the limits depend on the player. I can recall seeing Bill Watrous speak through his trombone. cd None of these effects are as resonant as actually _playing_ the instrument, though, and can fool the player, and possibly the conductor, as to how far the sound carries. Years ago we performed, then recorded a work called Forest Music by Paul Chihara. In the middle of the work the brass players, unaccompanied, individually recite various overlapping poems about trees through their instruments. (I remember the tubist is directed to recite I think that I shall never see / a tuba lovely as a tree, but most were more serious, as if that makes any difference.) During that section my parents in the audience said they could hear nothing. One of our members caught the radio broadcast of the concert - nearly a minute of dead air in the middle of the piece. We recorded the work - I assume the recording engineer (Andy Kazdin from Columbia Records) got some sound down. Raymond Horton Bass Trombonist, Louisville Orchestra That could be fun, but Bill did more of a ... controlled vowel movement, changing the timbre of the sounds he played to sound like speech. He was creating the buzz, but the pitch was highly variable, and very strongly modulated. He did the beginning of MacArthur's retirement speech. cd -- http://members.cox.net/dershem/index.html http://dershem.livejournal.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
dershem wrote: Seriously, though, the limits depend on the player. I can recall seeing Bill Watrous speak through his trombone. cd .. That could be fun, but Bill did more of a ... controlled vowel movement, changing the timbre of the sounds he played to sound like speech. He was creating the buzz, but the pitch was highly variable, and very strongly modulated. He did the beginning of MacArthur's retirement speech. cd Yeah, played vowel sounds are a different deal entirely. Stuart Dempster and Vinko Globokar are the pioneers. The assumption is that the basic brass sound is ah (or oh), and that one can, with change of mouth shape, produce all the vowel sounds. Watrous was playing for you a few bars of this classic work: http://artofthestates.org/cgi-bin/piece.pl?pid=11 My guess, is, that like me, Bill has only mastered a few bars of the piece, as his priorities are elsewhere. But I could be wrong. I heard him do a nice bit of multiphonics, years ago. Here is a 2006 article on my good friend Stuart Dempster at age 70. Stu commissioned (really co-composed, from what I understand) and championed General Speech back in the late 60's: http://www.thestranger.com/seattle/SavageLove?oid=31594 RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
On 3/12/2010 8:12 PM, Ray Horton wrote: dershem wrote: Seriously, though, the limits depend on the player. I can recall seeing Bill Watrous speak through his trombone. cd .. That could be fun, but Bill did more of a ... controlled vowel movement, changing the timbre of the sounds he played to sound like speech. He was creating the buzz, but the pitch was highly variable, and very strongly modulated. He did the beginning of MacArthur's retirement speech. cd Yeah, played vowel sounds are a different deal entirely. Stuart Dempster and Vinko Globokar are the pioneers. The assumption is that the basic brass sound is ah (or oh), and that one can, with change of mouth shape, produce all the vowel sounds. Watrous was playing for you a few bars of this classic work: http://artofthestates.org/cgi-bin/piece.pl?pid=11 My guess, is, that like me, Bill has only mastered a few bars of the piece, as his priorities are elsewhere. But I could be wrong. I heard him do a nice bit of multiphonics, years ago. Here is a 2006 article on my good friend Stuart Dempster at age 70. Stu commissioned (really co-composed, from what I understand) and championed General Speech back in the late 60's: http://www.thestranger.com/seattle/SavageLove?oid=31594 RBH Bill gave full credit to Stu when he did the schtick. He spent a couple of minutes of a clinic talking through the horn to answer questions, and then had to stop to crack up. cd -- http://members.cox.net/dershem/index.html http://dershem.livejournal.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
You take the mouthpiece out of the receptacle and invert it so that the small end is pointing at your lips and the large end is covering the end of the leadpipe (but not touching it). Then you close your lips over the small end of the mouthpiece and blow through it. You basically get the same effect as blowing through the instrument but with much more volume possibility. At soft dynamics it is pretty much the same effect (but with projection), but then you also can bring it up fortissimo. Speaking about French horns, which is what I play, you could probably get a nice effect by blowing through the instrument normally, provided it is a very small room with an instrumentation like horn and harp. (Or if, as I wonder if Darcy does, the instruments have microphones.) In an orchestra, the sound will never carry past the stage (at least on French horns), unless you invert the mouthpiece. Our principal trumpet has been known to express opinions. What principal trumpet doesn't? But his point was extremely well taken. In an orchestral setting without microphones, simply blowing through the instruments does not project any sound off the stage. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
In this score X noteheads and diamonds are used for other things in both the brass and woodwinds, so that might be confusing. I don't have the Stone (gasp), so I don't know what he shows. On Mar 12, 2010, at 8:56 PM, Christopher Smith wrote: I've seen X heads for solid rhythmic values and diamonds for half and whole notes, with cresc. and dim. wedges. No need for a special clef, and it usually happens on the middle line of whatever clef we already happen to be in (trombones!) Christopher On 12-Mar-10, at 12-Mar-10 5:56 PM, Rich Caldwell wrote: The large orchestral piece I'm working on now calls for this effect through most of it, in all of the brass and woodwinds (w/o mouthpieces or reeds depending on instrument), mostly p or mp. He notated this in his manuscript with a clef (since it's large sections, not just a note here and there). I've never come across this before, so I simply followed his notation and created a custom clef as a vertical rectangle, sort of like a percussion rectangular clef, but larger. The notes just lie on the middle line, as there are no pitches specified. Since this has coincidentally come up today, I figure I should ask, is this is a notation others have seen? On Mar 12, 2010, at 1:55 PM, Aaron Rabushka wrote: IIRC Ligeti calls on his brass players in Atmosphères to blow air through the instruments without any definite pitch or characteristic brass instrument sound. Does anyone here know of others who have done this, and what the limits are? (You'd think having been a brass player I'd know this, but nothing comes to mind at the moment.) Aaron J. Rabushka arabus...@austin.rr.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
Hi Robert, (Or if, as I wonder if Darcy does, the instruments have microphones.) Depends on the room. But granted, when we are playing unamplified, the room is generally pretty small. Blow air works fine, unamplified, in a space like the Jazz Gallery (which seats 75). Probably less well in a large concert hall. The Kronos Quartet concert I saw last night at Zankel Hall (all Terry Riley's music) opened with a new piece written for Kronos and the Young People's Chorus of New York City. The opening gesture had the chorus scratching the covers of their folders with their fingernails in a circular motion. This was audible! (Granted, it's possible the effect was slightly reinforced via Zankel's room mics. The amplification in that hall is very transparent, and Kronos's engineer is very good.) Cheers, - DJA - WEB: http://www.secretsocietymusic.org ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
