Re: [Finale] berlioz notation programme

[M. Perticone]

hello,

strange isn't it? in most latin american countries lots of folks think their
culture is threatened by the ever growing use of english language.

just my 2 cents (of devaluated peso)
marcelo

> Yeah, well there are lots of folks here who think that American culture
> is threatened by the Spanish language. I don't think much of that
> reasoning no matter where it comes from.
>
> Andrew Stiller
> Kallisti Music Press
> http://www.kallistimusic.com/
>
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[Finale] garritan full and winfin2k6

[M. Perticone]

hello listers,

a friend has installed garritan full version. then he installed winfin 2k6
(i'm not sure which update) but he can't see garritan listed in the native
instruments vst setup. has someone run into this?
any advice is welcome. please reply privately if this topic was previously
discussed.
thanks,
marcelo

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Re: [Finale] OT: "fort." in baroque manuscripts versus modern "F"

[M. Perticone]

hello patrick,

fort in french may mean as in italian molto. so pp fort probably means molto
pianissimo.
any francophone please confirm this.
thanks,
marcelo

- Original Message -
From: "Kim Patrick Clow" <[EMAIL PROTECTED]>
To: 
Sent: Friday, October 13, 2006 1:59 PM
Subject: [Finale] OT: "fort." in baroque manuscripts versus modern "F"


> Good Day.
>
> In the Baroque scores I am working on, quite frequently I will see a
"fort."
> At first I just assumed this was a plain jane "forte." But this marking
> seems to follow immediately after a "pp" marking. So, I was speculating
that
> "fort" really meant "ff" since I have yet to encounter this in Graupner's
> music. Since Darmstadt (as all of Germany during the early 18th century)
had
> such a heavy influence of French, I was told that the marking "fort."
could
> be the French for "loud."
>
> The dynamic markings in scores and parts seems to be very inconsistent.
>
> What would your advice be on this?
> Should I just insert a "F" for all instances of "fort"?
>
>
> Thanks so much & have a great weekend!
>
> Kim
>
>
>
> --
> Kim Patrick Clow
> "There's really only two types of music: good and bad." ~ Rossini
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[Finale] testing new isp - please ignore

[M. Perticone]

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[Finale] noteheads on the 'wrong' side

[M. Perticone]

hello finalisters,

i'm writing a piece where the there's a solo part and another second very
complementary less demanding part. as some notes are played with the same
duration i put both notes on the first staff and then i cross-staff the
bottom note. no problems with that. but as i'm recurrently using a major
second, and the upper note shifts to the right of the stem, it looks odd. i
know it can be adjusted manually, but as there are lots of those intervals i
wonder if it can be somehow adjusted globally.
please visit http://personales.ciudad.com.ar/mperti/ where you can see an
example of this.

please excuse my wording, it's late, i'm exhausted, and my deadline is near.
thanks in advance for any info,
regards,
marcelo



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Re: [Finale] loudspeaker font

[M. Perticone]

thanks dennis for the info. i just needed a loudspeaker glyph for a piece
for instruments and electronics. i was on a deadline, and the one in
texier's concreta font was ok for me. it would be nice to know of other
options for my next piece.
thanks again,
marcelo

- Original Message -
From: "Dennis Bathory-Kitsz" <[EMAIL PROTECTED]>
To: 
Sent: Saturday, April 29, 2006 9:36 PM
Subject: Re: [Finale] loudspeaker font


> At 04:11 PM 4/29/06 -0300, M. Perticone wrote:
> >sometime ago i came across a font which included some little
loudspeakers.
> >anyone remembers or knows it? or any other font that includes such
symbol?
>
> Not sure exactly what you need, but Texier's free "Concreta" font has all
> sorts of specialized symbols, including a speaker, tape recorder,
> headphones, etc. Google it or I can send a copy.
>
> Dennis
>
>
>
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[Finale] loudspeaker font

[M. Perticone]

hello fin-listers,

sometime ago i came across a font which included some little loudspeakers.
anyone remembers or knows it? or any other font that includes such symbol?
thanks in advance,
marcelo


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Re: [Finale] Very OT: what is this

[M. Perticone]

hello,

it resembles albinoni's concerto in g minor for organ and strings - adagio.
remo giazotto credited as arranger and sometimes as composer. it seems
giazotto found a fragment of a trio-sonata by albinoni, while working in a
dresden library (after the allies's air-raid bombings in 1945). he composed
an entirely new piece based in the found fragment, in a more modern style
than that of baroque. originally published in 1958, i think. giazotto was
albinoni's biographer.
hope this helps,
marcelo


- Original Message -
From: "David Froom" <[EMAIL PROTECTED]>
To: 
Sent: Wednesday, April 19, 2006 8:22 PM
Subject: [Finale] Very OT: what is this


> Hello,
>
> I feel like a dope for asking this, but someone asked me to identify a
very
> familiar tune, and I can't bring it to mind.  Here it is, in email
notation,
> in a minor (but it might be in a different key):
>
> E  D C B A |   A  G#   |(up to)FE  D  C  B
> 1/2  (eighths) 1/2   1/2 1/2(eighths)
>
>
> B A   | A up an octave   G A FGE |
> 1/2   1/2   1/2   1/8's (triplets)
>
>
> F |G F G   EFD  | E
> whole 1/2   1/8's  (triplets)  whole
>
> (etc.)
>
> Hope someone can help.
>
> It is similar but isn't the Marcello d minor oboe concerto slow movement.
> Could it be a movement from a different Baroque oboe concerto?
>
> Thanks,
> David Froom
>
>
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Re: [Finale] hyphenation in portugese

[M. Perticone]

hello éric,

that is probably a ancient portuguese or a dialect. perhaps something near
galego, the galician language, or other spanish dialect, as there are ñ's, a
letter from the spanish alphabet.
in modern portuguese you'll find "desconhecido" (unknown) and "tenho" (I
have).

hope this helps,
marcelo


- Original Message -
From: "Éric Dussault" <[EMAIL PROTECTED]>
To: 
Sent: Monday, March 06, 2006 10:09 PM
Subject: [Finale] hyphenation in portugese


> I am currently working on a renaissance project involving lyrics in
> different language for different songs.
> Is there someone on the list who's confortable enough with portugese
> to tell me what would be the correct hyphenation for these words:
>
> teñyo : te-ñyo or teñ-yo
> descoñyo : des-co-ñyo-ci-da or des-coñ-yo-ci-da
>
> I really prefer the second choice, but still have a slight hesitation.
>
> second question:
> In spanish (or castellan in this case), would the words with 2 ll's
> (for example senzillo) separate between the two “l” like it normally
> does?
>
> Thank you,
>
> Eric Dussault
> Finale 2006d for Mac
> PowerMac G5 Dual 1.8GHz
> 2 GB Ram
>
>
>
>
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Re: [Finale] US copyright question

[M. Perticone]

ok, i checked it out. here's what you'll find in the full score of this
masterpiece, written for and commissioned by the new york philharmonic. and
it's dedicated to leaonard bernstein.

-
We would like to express our cordial thanks to the following publishers and
persons for allowing the use of quotations:
Boosey & Hawkes Ltd., London (Stravinsky Agon, Sacre du Printemps, Strauss
Der Rosenkavalier for all countries with the exception of Germany, Italy,
Portugal and USSR);
Durand & Cie., Paris (Debussy La mer, Ravel Dapnis et Cloe, La valse);
Furstner Ltd., London (Strauss Der Rosenkavalier for the territories of
Germany, Italy, Portugal and USSR);
B. Schott's Sohne, Mainz (Hindemith Kammermusik IV)
Dr. Franz Strauss
Igor Strawinsky

We also thank Mr. Claude Levi-Strauss for permitting the use of an excerpt
from his work Le cru et le cuit.
-

hope this helps,
best,
marcelo





> Is collaging fair usage? Specifically, consider Berio's *Sinfonia*,
> which quotes numerous copyrighted works without any notice of written
> permission to use any of them.
>
> I'm  not talking about outright parody, wh. is definitely fair usage in
> the US, but merely the use of recognizable fragments of copyrighted
> works in a patchwork to make something new. The various court cases
> involving sampling would strongly suggest that such practices are *not*
> fair usage--but then how explain the Berio?
>
> Andrew Stiller
> Kallisti Music Press
> http://home.netcom.com/~kallisti/
>
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Re: [Finale] US copyright question [ot]

[M. Perticone]

hello mr. stiller and listers,

if i recall well, there's a notice acknowledging permission from various
publishers. i don't have it at hand, but i'll check it tomorrow at my
studio.
regards,
marcelo

From: Andrew Stiller

> As long as we're talking about this, there's a question I've wondered
> about for years that maybe someone on this list knows the answer to:
>
> Is collaging fair usage? Specifically, consider Berio's *Sinfonia*,
> which quotes numerous copyrighted works without any notice of written
> permission to use any of them.
>
> I'm  not talking about outright parody, wh. is definitely fair usage in
> the US, but merely the use of recognizable fragments of copyrighted
> works in a patchwork to make something new. The various court cases
> involving sampling would strongly suggest that such practices are *not*
> fair usage--but then how explain the Berio?
>
> Andrew Stiller
> Kallisti Music Press
> http://home.netcom.com/~kallisti/
>
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Re: [Finale] Hey! What's wrong with Creston's 12/12?

[M. Perticone]

Christopher Smith wrote:

 and I would put a bracketed 3 tuplet over
> the first group, and the same over the second group (even though there
> are only TWO notes in it) for clarity.

while i certainly agree with your post i think that tuplets are redundant
here, as the /12 is meaning that already.
i've used some fractionary time signatures like 2/3-over-quarter with an
incomplete bracketed 3-tuplet, which is the same as 2/12. it worked really
well. it took less than a minute to the performers to sort it out. it should
be mentiones that those fractionary time signatures where in a context of
pulse, all instruments playing staccato quarter notes. i've never tried with
/12, though.

marcelo


>
>
> > There must be a good cause to write something that most accomplished
> > musicians may have difficulty sight reading because of some obscure
> > meter.
> >
>
> Yes. One would only use it if it clarified the musical gesture. If I
> could accomplish it with an ordinary metric modulation instead, I would
> do it.
>
> But let's say again, in the same happily honking 4/4, that you are
> constantly doing this odd-triplet thing, but at one point actually have
> 4 pulses worth of triplets. Rather than switch back to 4/4 with tuplets
> for one measure, I might be tempted to make that measure 12/12. "Might
> be" is the operative word. 12/12 is not really in my vocabulary (12/8
> barely is!) and I would do my darndest to find a conventional solution
> first.
>
> But that's how it would work.
>
> Christopher
>
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Re: [Finale] Re: BBC

[M. Perticone]

you need realplayer (old versions won't work) if you're a windows user.
however you'll see the 'bbc radio player', which is only a sort of front end
for realaudio.
http://www.bbc.co.uk/radio/aod/radio3_aod.shtml?radio3/hearandnow   will
take you to it and to 'hear and now'.
programme for this week starting today night will include sciarrino,
haubenstock-ramati, and lots of olga newirth. available daily.

regards,
marcelo


> Further, with a program like Wiretap (Mac -- don't know the Windows ones),
> you can time-shift for offline listening.
>
> So you don't have to hate anyone. :)
>
> David Froom
>
>
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Re: [Finale] Garritan and other stuff

[M. Perticone]

hello mr. fenton and listers,

> But if there's no dissonance, there's also no consonance.
> You can't change the definition of one without altering the
> definition of the other, [snip]

of course i understand what you say it's true from a musical syntax
standpoint. but from a more acoustical approach, it might be seen as
consonance/dissonance is a 'degree' property. so any interval or chord
(meaning any simultaneity) have a certain degree of consonance/dissonance.
indeed, the same interval or chord depends on timbre, dynamics, and register
(i'm not sure this is the proper word, maybe tessitura? range?). just
imagine the 'rite of spring' most famous chords being played by a treble
recorder consort. or just the e major chord notes by trombones, and the eb7
notes by pizz. strings.

please excuse my fuzzy wording,
regards,
marcelo

> But if there's no dissonance, there's also no consonance.
>
> You can't change the definition of one without altering the
> definition of the other, as they are simply two sides of the same
> coin.
>
> --
> David W. Fentonhttp://www.bway.net/~dfenton
> David Fenton Associateshttp://www.bway.net/~dfassoc
>
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Re: [Finale] Garritan and other stuff

[M. Perticone]

hello lon,

i mean no offense to you either, really, but what do you think about all
those real engravers that lost their job?
and what about algorithmically composed music? should be banned in favor of
flesh-and-bone composers?
should i turn off my pc and hire two or three secretarial workers? should i
stop using my e-mail program so the post office increments its income?

peace,
marcelo

> As to Hiro's story about losing his gig because the company got sued by
> the union for replacing players with sequenced parts--all I can say is
> that they deserved to get sued, and I hope the union won.  I'm sorry
> you lost work, Hiro, but however great your sequences were, they
> couldn't have been as good as having real players, and what about
> putting those players out of work?  Our union here in LA is currently
> picketing the Pantages Theatre for using a "virtual orchestra."  I mean
> no offense to you, Hiro.  I just hate to see musicians losing work to
> samplers.  Perhaps in the (hopefully very far!) future people will
> forget what real instruments sound like.  I hope I'm dead and gone by
> then, because that will be a very sad day.
>
> All the best to all,
>
> Lon
>
> 
> Lon Price, Los Angeles
> <[EMAIL PROTECTED]> <[EMAIL PROTECTED]>
> 
>
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Re: [Finale] was Looking for a Jazz Font Substitute. now: dim and halfdim

[M. Perticone]

hello,


my teacher also insisted on that (and we concurred). we used to called them
dominant ninth chords with tacit root.

From: "Christopher Smith"

> when I was a classical undergraduate, one of my theory teachers
> insisted that we call these chords "incV7b9" and "incV9" (incomplete
> dominants missing the root, with the third in the bass) so that we
> understood the function.

but i would extend the mentioned concept to this. i wouln't call an "altered
m7" as an "altered" since it became a dominant of the V (or II, VI or
whatever), and now it presents a dominant chord structure (that is, maj3rd
and min7th). so, just as an example, i would call II7/9(tacit root) to
F#halfdiminshed in a C major context. of course, that II7/9(tacit root) is
"working" as secondary (or auxiliary, you name it) dominant.

> But in jazz, while the viidim7 often resolves up a half step to I, the
> half diminished chord usually shows up as a predominant, moving down a
> fifth to a dominant7, so we prefer to think of it as an altered m7
> chord (from the predominant area), rather than as a diminished triad
> with a m7 (from the dominant area.)

granted.
> Yet old habits die hard, and many people from jazz still call it a
> half-diminished chord, and everyone understands, even if it is not
> functioning that way.

regards,
marcelo



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Re: [Finale] RE: was MIDI transcriptionism now John Williams

[M. Perticone]

not two but three: john williams, guitar legend.

regards,
marcelo

From: "Williams, Jim"


> BE CAREFUL!!
> There are two John Williamses IIRC--one a jazz pianist and one a movie
composer.
> Likewise with John Eaton-one jazz pianist, one composer.
> Jim "no relation to either" Williams
>
> -Original Message-
> From: [EMAIL PROTECTED] on behalf of John Howell
> Sent: Mon 03-Jan-05 15:56
> To: finale@shsu.edu
> Cc:
> Subject: Re: [Finale] RE: MIDI transcriptionism
>
>
> At 1:14 PM -0500 1/3/05, Andrew Stiller wrote:
>
> Drafted in 1952, Williams was assigned to the United States Air Force, and
as a part of his tour of duty he conducted and arranged music for service
bands. After his discharge in 1954, he spent a year at the Julliard School
of Music as a piano student of Rosina Lhevinne.
>
>
> I had no idea he was so old! I thought he was of our generation--largely
because I never heard of him prior to _Star Wars_.
>
>
> Well, it seems from the bios posted to the list that we cover a good many
generations.
>
> What I find interesting in the above bio is how much things changed in
just a few years.  My draft number came up in 1957, and I spent 4 years in
the USAF Band.  There were no 2-year enlistments by that time; you had to go
into the army for 2 years or opt to enlist in the navy or air force for 4
(both with reserve commitments stretching the total to 8 years; it was
called Universal Military Training).  And I wonder about the "conducting"
credit.  By 1957, at least, service bands were conducted only by officers
(Glen Miller was either a captain or a major in the Army Air Corps), and not
enlisted men.  (Well, I can think of one exception.  The Airmen of Note was
conducted by a seargent, so the associated jazz bands may have been handled
differently.)  Arranging I can certainly believe.  Sam Nestico was in the
USAF band when I was, and I believe had transferred from the Marine Band
when his previous enlistment was up, so he is probably of an age with JW.
>
> We just graduated a talented young man in music education.  He was in our
Corps of Cadets and ROTC, and was commissioned an Air Force 2nd Liutenant
when he graduated, but he was caught in a Catch 22.  He couldn't PLAY in a
service band because he was an officer, but he couldn't CONDUCT a service
band because he didn't have a masters degree in music!
>
> Anyway, it's nice to learn that JW was just a regular guy and did the same
things a lot of us did before he became a celebrity.
>
> John
>
>
> --
> John & Susie Howell
> Virginia Tech Department of Music
> Blacksburg, Virginia, U.S.A 24061-0240
> Vox (540) 231-8411  Fax (540) 231-5034
> (mailto:[EMAIL PROTECTED])
> http://www.music.vt.edu/faculty/howell/howell.html
>
>






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Re: [Finale] scroll wheel works during playback!

[M. Perticone]

hello mr. bailey and listers,

you can do that in cakewalk or sonar while in score view.

best regards,
marcelo

> I think we'll all need much faster computers, by the order of several 
> magnitudes of speed, or we'll all need parallel processors, to 
> accomplish what you're asking.



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