RE: [Finale] Clef problem
Many more sophisticated folks on this list than me, but just in case, would it possibly be appropriate to simply have both hands in two parts in the treble clef for a few bars? Left hand part stems down, right hand up. You see that sort of thing all the time, but maybe you are implying something more involved than I can picture. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] metrical change notation question
No, I should have indicated that I'm on WinFin 2006. Thanks, though - > Are you using Finale 2009? If that's the case, this is easy to do > with the Expression Tool: > > Choose the Tempo Marks category and click on "Create Tempo Mark". In > the Expression Designer for tempo marks, you'll see "insert note" on > a drop-down menu. Just choose the dotted quarter from the menu, type > the equal sign and choose the quarter from the menu. > > Michael > > > On 25 Nov 2008, at 19:58, Stu McIntire wrote: > > > In a piano piece, at the transition of a 6/8 section to one in 4/4, > > I want > > to put a [dotted quarter note] = [quarter note] indication above > > the staff, > > using the actual notes, obviously, not descriptive text as I did > > here. Do I > > have to find the symbols in a font and put them in a text box or is > > there an > > easier way? > > > ___ > 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] metrical change notation question
In a piano piece, at the transition of a 6/8 section to one in 4/4, I want to put a [dotted quarter note] = [quarter note] indication above the staff, using the actual notes, obviously, not descriptive text as I did here. Do I have to find the symbols in a font and put them in a text box or is there an easier way? Thanks all - Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] tuple over a barline
I thought I had done this before but now I'm not so sure. In 6/8, the last eighth note in the measure is the first note of a 3:2 triplet, and I can't figure out how to do it. I don't care about correct playback. Thanks all Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT - fee SACD cd
Folks, I wound up with a used SACD cd and can't play it. Hilary Hahn playing Mendelssohn's Concerto for Violin and Orch in E minor, and the Shostakovich Concerto for Violin and Orch., No. 1 in A minor, with the Oslo Phil. . I will send to anyone on the list in the US that would like to have it. Feel free to reply offline. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Kontakt limited time offer
I have Kontakt 2, and it is a great sampler, a really amazing tool. More about the upgrade, Kontakt 3, here: http://www.native-instruments.com/index.php?id=kontakt3 Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] swing feel in non-jazz piece?
> Darcy's suggestion is the best for me, too, but explaining it to > someone who doesn't understand swing is the problem. I suggest a note > accompanying the work, either as a footnote or an incipit before the > body of the work starts (I know that's not a traditional incipit, but > I think the concept works!) Then a bracket with "swing" indicating > the passage is all that is needed. I like Smart Lines for this, as I > can start a bracket with a word or two. Thanks for the ideas and related comments. I tried just indicating what I wanted with words but the two note motive, which always appears in the right hand, is embedded in a bunch of other stuff and I found it hard to indicate that this direction applies only to those notes. And yes, if I'm lucky enough to not be the only person who plays this thing, the victim will most likely not be at home with "swing". Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] swing feel in non-jazz piece?
I'm working on a piano piece that has a recurring two eighth note motive that has a slight swing to it. Definitely not a quarter/eighth triplet feel; an accurate representation might be an eighth tied to a 32nd note, followed by a 32nd tied to a 16th, but that looks precious to me, esp. in context with the way the rest of the piece looks. Any notation suggestions? Thanks Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] OT, theremin played by Pamelia Kurstin
Cool enough, but the piano player is killer Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] (was Partial tuplets in Finale) now the state of musicin academia
> > My theory (and I really miss being able to discuss it with Andrew) is > > that the return to simplicity and melody in the early 20th century was > > in reaction to the increasing complexity of late romantic harmony, and > > that 20th century American popular music was and is the result of that > > stylistic change, while all the 20th century experimental stylistic > > movements are simply an unnatural late outgrowth of post-romantic > > excess which survive precisely because academia has nourished and > > protected them from the influence of public opinion. John, I'm so used to the narrative of the late 19th century breakdown of tonality leading to free atonality then on to serialism that I don't even know what return to simplicity and melody in the *early* 20th C you are referring to. What composers/salient pieces are you thinking of? Thanks much, Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] layer problem
Thanks, Darcy and Richard. I should've figured that out... ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] layer problem
After using Finale mostly as a scratch pad for years, I now need to create some professional looking scores and am digging into areas I've never worried much about. I'm working on a contrapuntal piano score and am running into a problem that must have a solution I'm missing. In the treble clef, I have two parts, each in its own layer. The two parts are frequently a M or m second apart. Finale always puts the note with the stem down to the left, so that the two stems are on the outside of the note-heads, rather than aligned together on the inside of the two heads. I've been manually moving the heads and stems, but I would rather not have to if there's a better way. In light of many other things Finale automatically does correctly, this behavior seems odd. Pardon me if the answer is right there in the manual and I'm just missing it - Thanks Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] The last day of Thanksgiving Weekend
> Happy end of the season of Pentacost, and the beginning of Advent, to > all who observe the liturgical calendar rather than the stock > exchange! 'Not necessarily an either/or... Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] very OT notation (burn before reading!)
Thanks much for this history lesson. Regarding "Greensleeves", does this mean that it is always historically incorrect to perform it with the fifth note NOT lowered? Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Re: Finale '08
> It seems that some big-wig at MakeMusic has as his pet hobby-horse > SmartMusic Accompaniment system ... The Boston Globe has a front page story today about how schools all over MA are now using SmartMusic: http://www.boston.com/news/education/k_12/articles/2007/10/11/harried_school s_trumpet_digital_music_teacher/ Made me wonder if the article was written in response to a press release. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] typical default modifications?
Hello all, Seems like I've seen a list or discussion several times of basic changes to Finale defaults that many or most users typically make to create more professional looking scores. If I'm not making this up, I would appreciate if someone could direct me to where I might find such a thing in the archives. I've been using the program for just my own purposes for years but now I need to prepare scores for others. . Thanks, Stu McIntire ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] OT permission to set poems
Thanks much, Dennis and Carolyn - Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT permission to set poems
I would appreciate someone pointing me to a resource that tells how best to go about getting permission to set a published poem to music, with the expectation that the resulting piece will be performed and published eventually, even if just by me. Thanks, all - Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT - Longy School of Music
A friend of mine asked me if I knew anything about the Longy School of Music, particularly their early music program. Her son is completing an undergrad cello performance degree next year and has expressed interest in going to grad school at Longy. I told her I would find out anything I could. Any input would be appreciated; off list is fine. Thanks all, Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Conducting in 12/8
Don Cherry, I think Stu > Who was that jazz tpt. player, prominent back in the late sixties, > who used to do charts with meters like 87/4, etc? I think his first > name was Don . ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] hard disk
I would take the PC as-is to a good repair shop and have them check it out before doing anything. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] TAN: LP-->CD
> Can anyone suggest a cheap way to get these > analog sounds into my computer &/or directly onto a CD? I've had good results with the inexpensive MAGIX Audio Cleaning Lab (http://site.magix.net/english-us/home/music/audio-cleaning-lab-11/). Beware that some alternatives require you to manually be involved with each track, which adds enormously to the difficulty of doing this. This software detects the pauses between tracks automatically. I've only copied pop and jazz stuff, and it works fine with music that doesn't have dramatic dynamic changes. With some classical music, I'm guessing it may incorrectly cut a track at a point when the volume gets very low, which would require some manual cleanup. It also has some basic tools to edit hissing and crackling, and you can burn a CD right from the app. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Kontakt question
> Here's an entirely naive question: If I upgrade to Kontakt 2 from the > Kontakt player, will it still integrate as well with Finale? Yes; see http://www.finalemusic.com/finale/features/hearyourmusic/nativeinstruments.a spx Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Re: [OT] Nucular [was:Finale eggcorn]
> The usage is obviously acceptable, but nevertheless it fits, I think, into the > class of regional/local/ethnic terms and usages that are best not > flaunted before outsiders of brief acquaintance. Agreed; on the order of "fixin'", as in "we were fixin' to go inside when the hounds started barking at a truck turning in the drive." First dibs on Outsiders of Brief Acquaintance as a book or album title if opportunity ever presents itself. Confession: I didn't stop using that pronunciation until I was in college when, still in the South, my girlfriend/future wife/future ex-wife, who as a child deliberately expunged her southern accent, successfully shamed me to adopt the more universal pronunciation. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Re: [OT] Nucular [was:Finale eggcorn]
And, I meant to say, the offending pronunciation is one of two given in the entry for "nuclear". The other words in the earlier email don't have a similar pronunciation. I bet that after this administration, with all the focus on this word, this usage will plummet and will, in fact, become "incorrect." Fine by me, but for now it isn't, grump about it all you like. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Re: [OT] Nucular [was:Finale eggcorn]
> > There's a very large body of -cular words pulling the pronunciation in > > that direction, against virtually none that end with a sound like > > -cle-ar. > > > > This makes me wonder: do people who say nucular also say nuculus? > Nuculotide? Enuculated? Nuculons? Nuculic acids? No, not in my considerable experience in the South, because there isn't a tradition of pronouncing those words in a comparable way. Those words never came close to getting the amount of airplay, I expect, with the general public that "nuclear" did. "Nucular" is all I heard growing up in small town Mississippi in the late 50's and early 60's. Everyone said that: my dad, who was an educated newspaper editor, the local college professors, including one who worked on the Manhattan Project, all of my teachers, the local TV new folks; it was the only pronunciation current at least at that time in that region. In Webster's Ninth Collegiate Dictionary, the entry for "nuclear"has the following usage note: “Though disapproved of by many, pronunciations ending in \-kyə-lər\ have been found in widespread use among educated speakers including scientists, lawyers, professors, congressmen, U.S. cabinet members and at least one U.S. president and one vice president. While most common in the U.S., these pronunciations have also been heard from British and Canadian speakers.” None of the other words listed above has such a usage note in my edition. Not to give anyone in particular a break (absolutely!), but the president referred to above was Jimmy Carter; my dictionary was printed in 1986. He was, of course, in the nuclear submarine program and did graduate work in reactor technology and nuclear physics. I have heard him pronounce the word that way myself on TV, although he may have updated his locution in recent years to avoid guilt by association. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Finale/Sibelius as sequencer/sampler?
> So, in fact both are sophisticated notation packages with pseudo > composition capabilities. Why do they cost 500-600 dollars apiece? I am > NOT looking for loop software, but composition software with good > sequencing and sound font editing capabilities, doubled by notation as a > natural complement. In my opinion these two should have come together > with notation software some time ago, as Microsoft has integrated its > discrete Office packages already in the early '90s. > > John. What these programs do is not trivial; considering the relatively small potential user base, as compared with MS Office, I think they are priced fairly. I understand that Logic, a MAC-only DAW, has the best notation functionality of all such programs; at least they claimed that as late as the last Win version before Apple bought them out. Maybe that program would be more appropriate for you, if you're a MACie. Many folks think it has the best sequencing functionality. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] OT: names of kids
Any of you who have spent any time in Texas know about the former governor's daughter and noted philanthropist, Ima Hogg. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Happy 250th Birthday Mozart - now Finale list vs D. F.
I mostly just lurk around here, but I get a lot out of the list and I'd like to comment on this thread. I've come around from an initial petulance to appreciating David's contributions because I like the clarity of his thought and the care he takes in framing his arguments and in dissecting the opinions of others. Regarding lists in general, after I decided that I don't have to let posts get to me, reminding myself that I'm unlikely to run into offenders in the park, to have to worry about them marrying into the family, need them for a reference, etc., like magic they did just stop bothering me. It's proven to be a recipe for sanity, particularly on other lists that frequently veer into politics. YMMV. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] OT: Guitar MIDI Controller
> Thanks very much for the offer. If it's not too much trouble, I would > be interested to hear how it functions with hyperscribe. > > Do you find the MIDI data to be accurate? I would imagine things like > tuning, etc. would become much more of a problem versus a keyboard-based > controller. Scott, I'll do it tonight, and get back to you with the results and some comments about the accuracy, tuning, etc., tomorrow. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] OT: Guitar MIDI Controller
Scott, I do everything in Finale with a midi keyboard, but I have a guitar controller and use an earlier Roland module. The guitar controller works fine with my sequencer and other hardware synths. Since midi data is a universal standard, once the data is formatted and transmitted down a midi cable, I would think that whatever receives and uses that data would be agnostic about its origin, including Reason and Finale. I could try it with Finale tonight and let you know how it works, if you like. Stu > -Original Message- > From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf > Of Scott Amort > Sent: Monday, August 29, 2005 9:02 PM > To: finale@shsu.edu > Subject: [Finale] OT: Guitar MIDI Controller > > Hi All, > > Sorry for the off-topic post, but I thought someone on list may have > some knowledge about MIDI controllers. Specifically, I have a client > interested in using a guitar-based controller, like the Roland GI-20 > (http://www.rolandus.com/products/details.asp?catid=6&subcatid=0&prodid=GI > -20). > I don't use MIDI very much at all, so I wasn't able to offer much > advice. He intends to use it with some sequencing software (Reason) and > notation software (i.e. hyperscribe with Finale) as both a means to > input music, as well as a MIDI controller. Does anyone on list have any > experience with this particular piece of equipment, or the notion of > guitar-based MIDI controllers in general? My advice to him was to learn > to play the piano, but he wasn't too keen on that! > > Best, > Scott > > ___ > 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] Garritan and other stuff
Regarding physics and music, can I walk out on the ice and suggest that a distinction needs to be made between physics as a discipline of study, on the one hand, and the term being used to refer to the actual forces, etc., that function in the universe? After parsing through these interesting emails I feel like this ambiguity is somehow at the root of the issue. Kind of one of those "the map is not the terrain" deals, the field of study being the map. Having said that, would anyone argue that musical compositional practice and/or performance techniques since Perotin, or the cave dwellers in Lascoux for that matter, have ever been changed directly because of some breakthrough in the field of physics? The underlying principles, discovered or not, not having changed much, I assume. Can anyone show that some specific parameter of musical composition or performance changed because of the work of Kepler or Newton, for example? I don't think so, so I think I'm with David. On the other hand, I expect it would be easy to find how specific discoveries in the field of physics changed the way performance halls were built, metals used to make instruments were, the construction and design of instruments, etc. I'm guessing that David would agree with that, because these things are not THE MUSIC. However, the net effect of such changes has, I expect, opened the way for actual changes in the music. I can imagine one of James Burke's PBS Connections series installments tracing a new way of composing for a particular instrument back through an enhancement that made that new expressivity possible that was, in turn, brought about by some discovery in the natural sciences. The composer taking advantage of the increased flexibility and range of the pfosucophone is dealing with a real, physical object, not thinking about physics. However, that someone's thinking about physics, mixed in with an assortment of fortuitous accidents, did eventually lead to changes in the pfosucophone, and therefore the music written for it, seems likely to me. Stu, not weighing in on The Magic Flute or Janacek, except to say that I get a kick out of The Glagolitic Mass, without vouching for it's everlasting greatness ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Garritan and other stuff
>What modern composer IS known outside of academic circles? Steve Reich, John Adams, and, in particular, Phillip Glass. Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Garritan and other stuff
In his book, 1910: The Emancipation of Dissonance, published in 96, Thomas Harrison attributes the phrase to Shoenberg, for what it's worth. Interesting discussion, all - Stu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT - free ear training software?
Someone from another list is looking for free or nearly free PC (not Mac) ear training software, just for himself, not a classroom situation. I see several out there; anybody recommend one in particular? Thanks Stu ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT - PBS - was ITunes and Josh Groban
As long as Frontline, American Experience, and the American Masters series are on PBS, along with a few other shows, I'm glad the network is still around, with all of its faults. Frontline, in particular, often knocks me out. Tonight I plan to watch the American Masters show on Julia Child, a personal hero of mine. By the way, she never did drop that fish. But she could've. Stu ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
