[Finale] Re: pieces or sig. excerpts based on one or two chords
Doesn't the Brahms Requiem finish one movement with a huge fugue section that is essentially a D chord? -Steve S NYC Message: 3 Date: Wed, 7 Oct 2009 11:58:24 +1100 From: Matthew Hindson (gmail) mhindson2...@gmail.com Subject: [Finale] TAN: pieces or sig. excerpts based on one or two chords To: finale@shsu.edu Message-ID: 4acbe7b0.8080...@gmail.com Content-Type: text/plain; charset=ISO-8859-1; format=flowed Can anyone recommend some works or significant parts of works that are based on one or two chords only? So far I have: Monteverdi: Prelude to L'Orfeo (D major) Wagner: Prelude to Das Rheingold (Eb major) Ross Edwards: Maninya V (two chords) Stockhausen: Stimmung (1 chord) I'm sure there are many others I'm missing: any suggestions? Matthew ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] OT: goats in opera (was Can you spot the fake?)
When I did a Porgy Bess tour, Porgy said Bring me my cart! I guess good directors find ways to adapt to being goatless. -Steve S NYC In a message dated 5/11/07 1:01:56 PM, [EMAIL PROTECTED] writes: Subject: Re: [Finale] OT: goats in opera (was Can you spot the fake?) Toward the end of the show when Porgy finds out that Bess is gone and is determined to go after her he says rather loudly (at least in the version they did in Bloomington) Bring my goat! And in the Bloomignton production for which I was on the stage crew there was a real goat. Dinorah is a new one on me. Then again, most of the Meyerbeer I know is in excerpts. ** See what's free at http://www.aol.com. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] {Spam} Re: horn transposition question
___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Subject: Preferred Keys for Viola Trombone
___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: [Finale] key signatures
Thanks, I'll try it! In a message dated 10/14/06 1:01:58 PM, [EMAIL PROTECTED] writes: From: Jonathan Smith [EMAIL PROTECTED] Subject: [Finale] key signatures To: finale@shsu.edu Message-ID: [EMAIL PROTECTED] Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Steve, There is no need to do all this. You are working far too hard! Set everything up with the correct key and transpositions and then simply go to the Options menu and select Display in Concert Pitch (or not as you require). Have your brass quintet template set up with the transpositions for the 2 Tpts and Hn (you only ever need to do this once), after that it's easy to flip back and forth between concert pitch and written pitch from this menu item. (A good idea is to take a piece you've already done, clear all the notes and delete the measures leaving just 2 or 3 - then you'll have everything set as you wanted from a previous score and layout including all your 'default' settings. After that you can always save and load libraries for other items you've missed) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] key signatures
Hi, On my ancient Mac (using OS 9.2.2 and Finale 2003a) I mostly write arrangements for brass quartets from a variety of sources. Easiest for me is to Set Up the score with Bb Trumpets, and if I'm copying from non-trumpet sources, before entering the parts I use the Staff tool to select each tpt staff and turn off the Bb transposition. After entering the part I go back and turn on the transposition. That way no confusion when I'm entering the part. (Of course if the source copies are already in Bb transp. I leave the new staff as-is.) If the piece has no key signature but the tonal center obviously indicates a key other than C (or A minor) then I change the key after entering (with keep notes enharmonic option) and unfortunately then need to go through the part to tweak the notes that should be enharmonically flipped... -Steve S NYC --- In a message dated 10/13/06 12:14:01 PM, [EMAIL PROTECTED] writes: Subject: Re: [Finale] key signatures To: finale@shsu.edu Message-ID: [EMAIL PROTECTED] Content-Type: text/plain; charset=ISO-8859-1; format=flowed Lawrence David Eden wrote: Dear Listers, I am copying some old parts for my quintet. The music has no key signature showing, but it calls for trumpets in Bb. How should I set up the transposition so that I don't have to make too many adjustments when I extract the trumpet parts? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] Triplets question
Thanks for all the suggestions! I tried the first one first (see below), and it works very easily. (Also, I've been using Simple Entry and now I've learned something new about the advantages to Speedy Entry.) -Steve S NYC In a message dated 7/27/06 1:02:45 PM, [EMAIL PROTECTED] writes: From: A-NO-NE Music [EMAIL PROTECTED] Subject: Re: [Finale] Triplets question In my current arranging project, I'm in 4/4, and have some bars where I need quarter-note-triplets filling the bars (6 beats per bar), but... the first 2 beats of each triplet are a half-note. I can't seem to get Finale to accept that. Any help? (I want to stay in 4/4, not be in 6/4.) There are many ways. The way I do is, in speed entry, opt+3 to specify Triplets, enter quoter note so Finale knows it's a quoter note triplet, back the cursor then change the quoter value to half. I do this all the time, and it is fairly quick. - Hiro - ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Triplets question
Hi, In my current arranging project, I'm in 4/4, and have some bars where I need quarter-note-triplets filling the bars (6 beats per bar), but... the first 2 beats of each triplet are a half-note. I can't seem to get Finale to accept that. Any help? (I want to stay in 4/4, not be in 6/4.) I'm on a Mac G3, OS 9.2.2, running Finale 2003a. thanks, Steve S NYC ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] OT: Antique clarinet
Well I know a trombone player that has taken some old trombones and flattened them to be sculptures around his yard; one is mounted as a weather-vane on the roof. While they are not being used to their noble :-) purpose, some might say --they are still making an artistic statement --legions of viola players' ears are that much more safe --now the proof is there that trombones can actually reach an appropriate ppp volume -Steve S NYC In a message dated 7/4/06 1:01:04 PM, [EMAIL PROTECTED] writes: From: Andrew Stiller [EMAIL PROTECTED] Subject: Re: [Finale] OT: Antique clarinet On Jul 2, 2006, at 11:40 PM, Eric Dannewitz wrote: You'd probably be better off making it a art piece or a lamp or something...Old clarinets generally are not worth anything. Never! My first bassoon teacher had a floor lamp made from a 5-key bassoon. Even as a high school student I immediately understood that this was wrong, and for this and other reasons I only stayed w. him for a month or so. Musical instruments are meant to be played. Period. If one of them is beyond repair, then it should be discarded. Voilà tout. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: Subject: Re: [Finale] Kiss Me, Kate books
In a message dated 6/21/06 1:01:29 PM, [EMAIL PROTECTED] writes: From: David W. Fenton [EMAIL PROTECTED] Subject: Re: Subject: Re: [Finale] Kiss Me, Kate books On 20 Jun 2006 at 12:00, [EMAIL PROTECTED] wrote: Yes, 95% of the orchestration changes taking place in recent years on B'way are for the budget. But is it not quite obvious that the Kiss Me, Kate re-orchestration was *not* done for that reason? It reduced the number of players by ONE but added doublers. Since doublers are paid more, seems to me that budget-wise it would be pretty close to a wash on the budget. Yes, that is true. KMK must be in the 5% artistes category ! -Steve S NYC ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: trombone clefs
Every time I've played the Schumann or Schubert symphonies, the parts were 1st-Alto Clef, 2nd-Tenor Clef, and 3rd-Bass Clef. The copies I have at home of these parts are all like that. The score might lump the first 2 parts in 1 clef for space-saving or to suggest some kind of group-treatment, but that's just my speculation. -Steve S NYC In a message dated 6/19/06 1:01:39 PM, [EMAIL PROTECTED] writes: OK, I'll bite. 19th-c. orchl. piece. Only the score survives, in copyist's hand. Trombones (alto, tenor, bass) on two staves: A and T on one, in the alto clef, and bass on the other, in bass clef. When I extract the parts, should the tenor trombone part be: 1) in the alto clef, because that's what it is in the score. 2) in the tenor clef, because that's the norm for 19th-c. tenor trombone parts. 3) in bass clef, because that's what's usual today. NOTE: I am trying to be authentic here, so, e.g., the clarinets are getting parts for cl. in C, as per the score. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] Kiss Me, Kate books
In a message dated 6/19/06 1:01:39 PM, [EMAIL PROTECTED] writes: From: Christopher Smith [EMAIL PROTECTED] Subject: Re: [Finale] Kiss Me, Kate books In addition, as I have already said elsewhere, I don't think four strings and four brass really do the score of Kiss Me Kate justice, but that was a budgetary decision, not an artistic one. Yes, 95% of the orchestration changes taking place in recent years on B'way are for the budget. Part-reason for Don Sebesky's circus o' mute changes is to help give a small group a larger-group effect; the producer will sometimes have the arranger/orchestrator go back and make changes just to fatten up the sound for that reason, so the players are working twice as hard to make up for the choice of profit margin. (Yes, I'd agree for the other 5%, bringing aspects of the show more up-to-the-times, topical and stylistically workable.) It's understandable when struggling community productions must use fewer players; B'way is making profits hand-over-fist, and does not have that excuse. The misconception that it's OK to use the samplers etc. for audiences comes from not realizing, or not agreeing, that the effect of live players is a qualitatively different experience. Decades of less and less music education, covered orchestra pits (or music fed in from remote locations), horrible soundboard mixing, have taught audiences to hear shows that way as a norm. The answer is more public-awareness campaigns, in the schools and in professional settings, where the audience hears and sees more of the live music aspect of the show. Then they'll realize that the live music is an important component of the total B'way show experience, part of the sights, sounds, smells... smells? -Steve S NYC ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] Kiss Me, Kate books
I'm not sure if the paragraph below is about Kiss Me, Kate or Company. In Company, with Brooks on horn, was Jay Shanman on tenor trombone (who played that Side By Side solo 8 times a week for over a year!), still a great player, I play trombone trios with him almost every week. (If there was a bass trb for Company, I'm thinking it might have been Larry Benz.) The Kiss Me, Kate on B'way a couple of years back had 1 bone, Bruce Eidam, another fantastic player... both for playing the part and for speed-juggling the mute changes. -Steve S NYC In a message dated 6/18/06 1:01:26 PM, [EMAIL PROTECTED] writes: Subject: Re: [Finale] Kiss Me, Kate books My old friend Johnny Tunick orchestrated that show. There's a D. A. Pennebaker video of the recording session for that show in which you can see who is playing in the band. I recognize Joel Kaye in one of the reed chairs, Brooks Tillotson and Dick Berg in the horn section, and a couple of the trumpet players, but I don't recognize the trombone guys. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Finale Digest, Vol 35, Issue 1
Subject: Re: [Finale] Layout for ABA form There's really only two types of music: good and bad. ~ Rossini There's no bad music. Except Hawaiian ~ Pete Barbudi. This from a guy who played the BROOM? I've never heard anyone play the broom better than him!! He even included the use of the cup-mute for the appropriate passages... :-D ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] TAN: processional music, recommendation wanted
You might enjoy using parts of the Water Music. Also Mozart wrote a Church Sonata that you might like. Perhaps the Earl of Oxford March. Also music by Tylman Susato, or by Farnaby... In a message dated 5/15/06 1:02:15 PM, [EMAIL PROTECTED] writes: Subject: Re: [Finale] TAN: processional music, recommendation wanted Thanks for all the suggestions so far, and especially to John for identifying pavan and alman as the generic piece type. They're all on my list to try to track down. Keep 'em coming. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] music literacy
Yes, as I said previously, GS patter songs are notated pitches, and usually performed that way, or as close to that way as the performer can get (I play in the orchestra for NY Gilbert Sullivan Players)... Good example with My Fair Lady, but I wonder if the song was notated with pitches? I'm guessing yes and Rex Harrison just did not have the ear for it (or he chose to speak not sing pitches)... anyone know that score? -Steve NYC In a message dated 4/6/06 4:53:52 PM, [EMAIL PROTECTED] writes: From: "Peter Taylor" [EMAIL PROTECTED] Subject: Re: [Finale] music literacy To: finale@shsu.edu Message-ID: [EMAIL PROTECTED] Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original David W. Fenton wrote On 1 Apr 2006 at 0:05, Robert C L Watson wrote: And their origins are GS patter songs and Noel Coward. They are both words spoken rhythmically to musical accompaniment, where the delivery may have definite pitch contours at times and less definite at others. Not wishing to ignite any flames here, but I have been through all my GS scores and, without exception, all the patter songs have a written note for each syllable. What's more, in my (amateur) experience, the songs are always sung (pretty quickly, that's true), but never spoken. In the Major General's song the spoken words "lot of news, lot of news" etc, are actually not written in the score, just a grand fermata, so that may have been a later development. But of course, traditions may be different where you are. Whenever the "speaking" of songs instead of singing them is the topic, I'm always reminded of Rex Harrison as Professor Higgins in the London stage production of My Fair Lady. He had a wonderful speaking voice, but you get the definite impression he couldn't sing a note. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] music literacy
In a message dated 4/1/06 1:01:24 PM, [EMAIL PROTECTED] writes: From: Robert C L Watson [EMAIL PROTECTED] Subject: Re: [Finale] music literacy ...Thus, one might reasonably say that the parlato songs in The Music Man are a form of rap ... Nope. They came long before rap. And their origins are GS patter songs and Noel Coward. The GS patter songs are just that, songs: the patter is a line of tones, though so fast that it may sound sometimes like rapid speech. They could be played on a (pitched) musical instrument. The little I've heard of Noel Coward songs sounded spoken, but I wonder if they were written down in-pitch, but performed in his breathy conversational delivery... The Music Man had rap-like passages (i.e. parts of You've Got Trouble) which led to fully pitched-tone cadences as the climax... -Steve NYC ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: RE: [Finale] music literacy
In a message dated 3/31/06 1:01:50 PM, [EMAIL PROTECTED] writes: From: Phil Daley [EMAIL PROTECTED] Subject: RE: [Finale] music literacy Is rap music?I don't think so, only in the way that African drum beats are music. To which I would vote no . Maybe we need to back up another step and define music? I would also vote no. Rap may have some musical elements in the background (some very basic harmonies, usually playbacks from older recordings of other performers), but essentially it is poetry, with dance moves onstage. (Awful poetry, but maybe relevant/appropriate in the way protest songs had been conceived.) I've always believed that music means modulated tones, if not some toe-tapping melody, at least recognizable pitches... Just my humble opinion, Steve NYC ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Canzona for Gambas or Trombones
In a message dated 3/23/06 1:01:47 PM, [EMAIL PROTECTED] writes: From: Johannes Gebauer [EMAIL PROTECTED] I am working on a little Canzona for Gambas or Trombones, and I need exactly the kind of incipit that you have in your example. As a trombone player with a fair amount of duets, trios quartets etc etc that I enjoy playing whenever I can drag others into it, I'm interested in this! How many instruments is it scored for? Is this your composition, or...? Is this a job for a client, or might this piece be available? thanks, Steve Shulman NYC ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: FFFFF
Speaking as a trombone player, I can report that (more in years past, not so much these days) the trombone section's collective mind, seeing F, often includes: 1) Let the games begin! 2) Are we aiming directly enough at the viola section? 3) Looks like I won't have to clean out the instrument this week 4) Trumpets? We don't need no stinkin' trumpets... etc etc Of course the flip side of this, doesn't the section recognize the P symbol?... of course: it ends up being as TACET... In a message dated 2/15/06 1:01:25 PM, [EMAIL PROTECTED] writes: From: Christopher Smith [EMAIL PROTECTED] Subject: Re: [Finale] 8th = Q Dynamics are not even just volume of sound, like decibels are, as much as we composers might wish otherwise. They are also indications of intensity of timbre... imagine what goes through the trombone section's collective mind when they see Tchaikovsky's F. Whaah-hoo! Of course they can't really play five F's. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Schubert symphony E Major
Just curious: do you happen to know what the instrument lineup is for this symphony? Thanks, Steve S. NYC In a message dated 2/13/06 1:02:48 PM, [EMAIL PROTECTED] writes: Message: 3 Date: Mon, 13 Feb 2006 10:47:57 -0500 From: Andrew Stiller [EMAIL PROTECTED] And BTW, there really is a 7th sym., in E major. Schubert never finished the orchestration, is all. Several people, starting w. Weingartner, have offered completions of it, and it has even been recorded a few times. IMO it's a very fine symphony and should be much more widely known. Andrew Stiller ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] Re: Schubert symphony E Major
Les, Thanks: playing trombone in a couple of orchestras in the NYC area, I wanted to know if I'd be playing if I was successful in suggesting the piece to be performed! -Steve In a message dated 2/13/06 6:16:37 PM, [EMAIL PROTECTED] writes: From: Mariposa Symphony Orchestra [EMAIL PROTECTED] Subject: Re: [Finale] Re: Schubert symphony E Major Hi, Steve -- 2,2,2,2/4,2,3,0/timp/strings. The Newbould completion of #7, which is identical to the Weingartner scoring - both call for that orchestration; Schubert's original score had 14 staves - which was uncharacteristic for his usual piano-score-with-subsequent-orchestration style. Because this work calls for 4 horns it is the largest orchestra for which Schubert composed (the b-minor and 'Great' C both call for nearly the same-sized orchestra but with only 2 horns.) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Finale Digest, Vol 30, Issue 30
More instrument specific humour please- or even a source thereof! Cheers K Keith Helgesen. -- Never look at the trombones, it only encourages them. - Richard Strauss My sole inspiration is a telephone call from a producer. - Cole Porter Don't bother to look, I've composed all this already. - Gustav Mahler, to Bruno Walter who had stopped to admire mountain scenery in rural Austria. I write [music] as a sow piddles. - Wolfgang Amadeus Mozart I would rather play Chiquita Banana and have my swimming pool than play Bach and starve. - Xavier Cugat [Musicians] talk of nothing but money and jobs. Give me businessmen every time. They really are interested in music and art. - Jean Sibelius, explaining why he rarely invited musicians to his home. The amount of money one needs is terrifying... - Ludwig van Beethoven Only become a musician if there is absolutely no other way you can make a living. - Kirke Mecham, on his life as a composer I am not handsome, but when women hear me play, they come crawling to my feet. - Niccoló Paganini Of course I'm ambitious. What's wrong with that? Otherwise you sleep all day. - Ringo Starr Flint must be an extremely wealthy town: I see that each of you bought two or three seats. - Victor Borge, playing to a half-filled house in Flint, Michigan. If one hears bad music it is one's duty to drown it by one's conversation. - Oscar Wilde Critics can't even make music by rubbing their back legs together. - Mel Brooks Life can't be all bad when for ten dollars you can buy all the Beethoven sonatas and listen to them for ten years. - William F. Buckley, Jr. You can't possibly hear the last movement of Beethoven's Seventh and go slow. - Oscar Levant, explaining his way out of a speeding ticket. Wagner's music is better than it sounds. - Mark Twain I love Beethoven, especially the poems. - Ringo Starr If a young man at the age of twenty-three can write a symphony like that, in five years he will be ready to commit murder. - Walter Damrosch on Aaron Copland There are still so many beautiful things to be said in C major. - Sergei Prokofiev I never use a score when conducting my orchestra... Does a lion tamer enter a cage with a book on how to tame a lion? - Dimitri Mitropolous God tells me how the music should sound, but you stand in the way. - Arturo Toscanini to a trumpet player Already too loud! - Bruno Walter at his first rehearsal with an American orchestra, on seeing the players reaching for their instruments. I really don't know whether any place contains more pianists than Paris, or whether you can find more asses and virtuosos anywhere. - Frederic Chopin When she started to play, Steinway himself came down personally and rubbed his name off the piano. - Bob Hope, on comedienne Phyllis Diller In opera, there is always too much singing. - Claude Debussy Oh how wonderful, really wonderful opera would be if there were no singers! - Gioacchino Rossini Movie music is noise. It's even more painful than my sciatica. - Sir Thomas Beecham I think popular music in this country is one of the few things in the twentieth century that have made giant strides in reverse. - Bing Crosby Theirs [the Beatles] is a happy, cocky, belligerently resourceless brand of harmonic primitivism...In the Liverpudlian repertoire, the indulgent amateurishness of the musical material, though closely rivaled by the indifference of the performing style, is actually surpassed only by the ineptitude of the studio production method. (Strawberry Fields suggests a chance encounter at a mountain wedding between Claudio Monteverdi and a jug band.) - Glenn Gould It's pretty clear now that what looked like it might have been some kind of counterculture is, in reality, just the plain old chaos of undifferentiated weirdness. - Jerry Garcia ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] OT: Christo's The Gates, NYC Central Park
Subject: Re: [Finale] OT: Christo's The Gates, NYC Central Park Thought this site was funny...done in good spirit of course: http://www.smilinggoat.com/crackers.html and another variation for your viewing pleasure: http://www.not-rocket-science.com/gates.htm -Steve S, NYC ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] Garritan and other stuff
snip: In a message dated 1/29/05 1:01:16 PM, [EMAIL PROTECTED] writes: Lon's point was NOT to be anti-technology, but anti-unfair-to-musicians and pro-artists. I agree! I see the line that should not be crossed as: Improved technology should be created and used to help us, not replace us. Samplers (virtual orchestra machines) take a level of live away from live performance. With new technology, artists in the pit are replaced, next artists singing chorus parts are replaced, and with money in their eyes, how long before producers try to develop holographic technology to replace people on stage? Too fantastic to imagine? How many people 30 years ago would have taken seriously the idea of virtual orchestras being marketed as part of live musical theater to audiences? Technology needs its place in our world. But not our place. Best wishes, Steve Shulman NYC musician ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Finale Digest, Vol 18, Issue 15
___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Audio editing
snip In a message dated 1/15/05 1:01:33 PM, [EMAIL PROTECTED] writes: There are plenty of free/shareware programs that can do this. If your friend has a disk for her soundcard or CD burner there may well be one on that. Otherwise, a neat little shareware program I use is CDWave www.cdwave.com which records wav files, displays the waveform, plays back, sets markers and can split the file into smaller files. I too need some audio software. I am on a Mac PowerPC running OS 9.2.2. I'm used to using SoundHack to record tapes or LPs, then using Peak to edit the sound files. But SoundHack has suddenly stopped working; while I fiddle with it to see if I can get it running again, I'm wondering if anyone knows of other freeware/shareware that can also record on my system? (The examples cited above look nice, but one seems to need OSX, and the other is non-Mac...) thanks, Steve Shulman NYC ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Audio editing
Thanks for your reply. Actually I'm not sure if I have the full version! I'm not sure how to tell; it's been several years since I bought it, and probably my use of it is fairly basic. I have Peak LE 3.21 for OS9. My computer is a Beige PowerMac G3, OS 9.2.2. (I first got Peak 3.2, then upgraded to 3.21. Both are on the computer.) I installed a sound card on my Mac (M-Audio Delta); the software that came with it put a sound control panel in my Control Panels submenu, which shows a mixing-board kind of appearance with different controls for input/output. (I've also found it to be very unstable, freezing/crashing my Mac when experimenting with the settings to find the correct path for input/output; so once I found it, I tried never to touch it again...) I actually ended up plugging the cables into the Sound In ports, not the sound card jacks, but it's worked for 2 years this way...: when plugging my turntable into my amp, and from there into the Mac, the Audio Delta mixing-board shows activity on its meters. but recording in SoundHack no longer shows activity on the SoundHack screen, and produces a flat-line empty sound file. Looking in Peak after reading your email, I notice a menu for Recording, but shortly after I click Record, Peak crash-quits with an error message citing Error Type 12... ? I don't know what kind of problem this is. A missing or incorrectly installed driver? Or something else? I'd love to eliminate the middleman and both record and edit in Peak. Any ideas? Thanks, Steve S. NYC - In a message dated 1/16/05 7:00:57 PM, [EMAIL PROTECTED] writes: At 6:46 PM -0500 1/16/05, [EMAIL PROTECTED] wrote: I too need some audio software. I am on a Mac PowerPC running OS 9.2.2. I'm used to using SoundHack to record tapes or LPs, then using Peak to edit the sound files. But SoundHack has suddenly stopped working; while I fiddle with it to see if I can get it running again, I'm wondering if anyone knows of other freeware/shareware that can also record on my system? Peak can record as well as import audio. You already have the software! (Unless, of course, you don't have the full version.) Give us more details about your setup and versions of software that you have. -Randolph Peters ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Broadway
Hi again, Broadway composers/orchestrators are given direction from the producers; I believe they are told about the style and the number of players. I don't know if producers get into exactly which instruments to use. The AFofM contract specifies only the *number* of players, which relates to the particular (size of) theater. Every few years when the contract is re-negotiated, the producers try (and succeed) in reducing the minimum-number requirements. Also they can prepare a show and cite a special situation clause to try to go below the minimum, and argue it in arbitration (some cases won, some lost). And yes, there is often a cut list so after the reviews are in and the album recorded, some players are let go. The largest problem is the increasing use (or desire of the producers for the use) of the virtual-orchestra-machine which is a combination of a sampler, hard disk to record, and variable playback. Producers want to use this instead of paying for live musicians. The AFofM is trying to keep musi cians working, naturally, and also see this machine as a perversion of the artform (musical theater) to be disallowed: musical theater is live actors and live musicians, the 2 basic components. Outside of this, I believe the union has no problem with other choices in orchestration. Unfortunately, the public has had years of listening to canned music and less and less music education in the school systems; also they go to shows where the orchestra is no longer in an open orchestra pit but covered or even in another room, and the sound is mangled through a sound-board and the ineptness of incompetent sound-technicians. snip: Message: 10 Date: Thu, 30 Dec 2004 13:46:05 -0500 From: Michael O'Connor [EMAIL PROTECTED] Subject: RE: [Finale] Broadway pit orchestras Ah, but here's the other side of the question. Do Broadway composers still have to write for a set ensemble? I recall that there was a union action about this some time ago when composers were leaning more towards electric instruments (not the orchestra in a box, but guitars, keyboards, etc.). Mike ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Broadway pit orchestras
In a message dated 12/30/04 12:13:25 PM, [EMAIL PROTECTED] writes: The practice of Broadway pit orchestras including walkers who filled out the roster but did not have to play, or sometimes show up, is a thing of the past: it ended decades ago. The collective bargaining agreement between the producers and the musicians' union reflects this... Message: 33 From: dhbailey [EMAIL PROTECTED] snip I recall hearing of some such jobs in Broadway pit orchestras, where certain individuals were always hired for each show and very often didn't have to play a single note, sometimes didn't even have to show up! -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
