Re: [Finale] Win Fin2k9 expressions
No, you have to shift/click then delete staves without. As Robert has pointed out, MM have confiscated Staff List for expressions en bloc, the philosophy behind seems to be that it is more intuitive to work on the screen instead of consulting dialogue boxes, means also plugins. I have always liked to use TGTools and Pattersons plugs, but a more slim simple FINALE is always welcome. We can still do the same. With lesser effort. On Jul 30, 2008, at 12:47 PM, G GRIFFITHS wrote: When applying expressions (say dynamics) using the new drag method, is there a way to make it only apply to staves with notes in? Say the 2nd trombone isn't playing in a measure, but I want to ff to all the other brass, I use the metatool-drag to enclose all brass, and Finale puts an ff on the 2nd trombone part as well, in an empty measure. This doesn't seem right to me. I know I could just drag the brass above the empty measure and then drag those below, but surely it should be able to see that the empty measure does not need the dynamic. Gary Griffiths ___ 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] Re: New Question
Stravinsky had a dudka in mind...he designed the opening solo to depict the sounds of the graceful reed pipe that is most often associated with music played by shepherds. The orchestral introduction is a swarm of spring pipes (dudki) (Stravinsky 15 december, 1912). The first solo in Sacre du Printemps was played by Abdon Laus. Robert Craft mentions it in his monumental Stravinsky in pictures and document. Laus did receive his Ist prize from Paris Conservatory ca. 1910, - later when Mr. Monteux had a first bassoon vacancy in Boston, he received a phone call from a bassoon player who said, Maestro, I hear you are looking for a first bassoonist. I was your first bassoonist in the Ballet Russe, and I would like to play for you in Boston. Laus was given the job then and there. He was also the solo saxophonist. If you can find a recording made before 1937 with the Boston symphony orchestra and Sacre, it is probably Abdon Laus that play the solo. Besides, Stravinsky preferred the beginning to sound nice. But he was also aware that it also could be played frightful. Ole Buck On Jun 24, 2007, at 12:46 AM, Daniel Wolf wrote: John Howell wrote: As Andrew kindly pointed out, that bassoon altissimo E was possible on the bassoons of the time, but was hardly standard usage!! I have a question about the bassoon in Le Sacre: does anyone have a strong opinion as to whether the instrument Stravinsky had in mind was a French or German-style instrument? My old Monteux recording -- for all its faults, still the sonic image of Le Sacre I carry around with me -- definitely has a French Basson, with its characterist articulation and the contrasts between registers rather more pronounced than on a German instrument. That said, is this now a matter of historical performance practice? do some players play both styles of bassoon, choosing the particular instrument to fit the repertoire? Daniel Wolf ___ 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] O.T.: 2 Vivaldi movies slated to be released
Remind me a lot about the story of avant garde composer Claude Vivier (1948-1983) who was murdered by a young Parisian male prostitute. His last work was the unfinished Glaubst du an die Unsterblichkeit der Seele, which contains a disturbing premonition of his untimely death. His music was a not unsuccessful ultra modern french ligetianian styled spectral tapestries...if you know what I mean... On Mar 27, 2007, at 9:44 PM, David W. Fenton wrote: Well, also intriguing (and potentially scandalous) is Kotzwara (the composer of the famous Battle of Prague), who died by accidental hanging in a brothel. I'd bet a movie maker could come up with a pretty good story around *that*! ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] horn transposition question
The fact that french horns (corno) was originally written one octave above in soprano clef, and in actual pitch in basso, explain the difference from bas and clef transposition. To calculate from notation in a transposed part to actual sound: find the interval in relation to C (below) and add it to the instruments fundamental. From actual sound to notation: find the interval in relation to the instruments fundamental and add it to C (above). On Mar 21, 2007, at 12:11 AM, Robert Patterson wrote: Except that there are no worms in this case (an 18th cent composition). A top-line bass clef A is possible on a natural horn only if the bass clef is old notation. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
