Re: [Finale] so helpful!

[timothy price]

Thanks for this link. Didn’t knowing about this service. 

> On Sep 2, 2019, at 9:57 PM, Raymond Horton  wrote:
> 
> You can leave corrections if it misses a word.
> 
> Raymond Horton
> Composer/Arranger 
> Minister of Music, 
> Edwardsville (IN) United Methodist Church
> Retired Bass Trombonist,
> Louisville Orchestra, 1970-2016
> 
>> On Sep 2, 2019, at 9:19 PM, Chuck Israels  wrote:
>> 
>> Indeed, this is most helpful. You still have to check to make sure 
>> everything’s hyphenated. It skips some things occasionally, but it saves a 
>> lot of time. It has been offline for some time, but it’s back now.
>> 
>> Chuck
>> 
>>> On Sep 2, 2019, at 3:23 PM, Raymond Horton  wrote:
>>> 
>>> It's been shared before, but it is so helpful!!! :
>>> https://juiciobrennan.com/hyphenator/
>>> 
>>> 
>>> Raymond Horton
>>> Composer, Arranger
>>> Minister of Music, Edwardsville (IN) United Methodist Church
>>> Retired Bass Trombonist, Louisville Orchestra, 1971-2016
>>> Visit us at rayhortonmusic.com
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>> 
>> Chuck Israels
>> cisra...@comcast.net
>> (360) 201-3434
>> 
>> 6935 SW 45th Ave.
>> Portland OR 97219
>> 
>> 
>> 
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[timothy price]

This is a pretty trivial matter, but since it is being discused, might as well 
get it right😊

Interesting that you say MISSUS is the preferred form of the abbreviation 
“Mrs.”.  Please provide your reference source.

Missis and Missus are two different words with different uses: missis is the 
prefix, missus is a stand-alone slang noun.

Missus is used by itself in an inform reference to a man’s spouse. “Me and the 
missus are going out”. It is not the prefix in addressing a woman by name. “Mrs 
Delfin, isn’t here”... the predix is written out as “Missis Delfin”.

“Mrs., first recorded in the early 17th century, was originally, like Miss, an 
abbreviation of mistress.Mrs. and mistress were at first used interchangeably 
in all contexts, but by the second half of that century, the written form of 
the abbreviation was largely confined to use as a title preceding a woman's 
surname. By the early 19th century, reduction of the medial consonant cluster 
had contracted the usual pronunciation of the title from  [mis-tris] to  
[mis-is] or  [mis-iz] . The contracted pronunciation used other than as a title 
was not considered standard, and today, locutions like Let me discuss it with 
the missis are perceived as old-fashioned. Currently, two main types of 
pronunciation for the abbreviation occur in the United States;  [mis-iz] and 
sometimes [mis-is] are the common forms in the North and North Midland, while 
in the South Midland and South, the prevalent types are  [miz-iz] and  [miz] , 
the latter homophonous with the usual pronunciation of the abbreviation Ms.”. 
https://www.dictionary.com/browse/mrs


> On Aug 27, 2019, at 9:55 PM, Jon Delfin  wrote:
> 
> "Mis-sus" is the accepted spelling/syllabification in music and in text.
> There's also at least one movie title that uses it. It's not offensive (the
> dictionary's reference to "dialect" is not prohibitive or damning). If
> everyone refuses to accept a century of precedent, I have nothing further.
> 
> On Tue, Aug 27, 2019 at 9:03 PM Christopher Smith <
> christopher.sm...@videotron.ca> wrote:
> 
>> In “Me and Mrs. Jones” the publisher spells it “mis-sus”, which I am not
>> sure about. I would have spelled it as “miss-es”, since it is pronounced
>> the same as “hits and misses” with the last “s” voiced (“z”) and nobody has
>> to question whether it’s actually unvoiced the way they would if you
>> spelled it “mis-sus”.
>> 
>> The Paul Simon music I have seen (Mrs. Robinson) is variously spelled
>> “mis-sus” and “Mrs._” with a slur over two notes, which I think is dead
>> wrong.
>> 
>> Christopher
>> 
>>> On Aug 27, 2019, at 8:43 PM, Michael Edwards 
>> wrote:
>>> 
>>> [ Robert Patterson: ]
>>> 
 FWIW (joking aside) my copy of Merriam Webster correctly identifies
 "missus" as dialect in one of the definitions, and I would rather avoid
 that implication.
>>> 
>>>In that case, how would "Mr  -  s." go?  But that might cause the
>> singer to start pronouncing "Mister" - although surely as they got to know
>> the line they would realize it's not that, so it shouldn't be an issue.
>> (Nothing seems truly satisfactory.)  Maybe "mis-sus" or "miss-us" in
>> parentheses underneath the "Mr  -  s." would look like a pronunciation
>> guide rather than dialect.
>>>Or, alternatively, "Mrs.  -" (the hyphen acting as a syllable
>> extension and going under the second note).  That wouldn't need the
>> pronunciation guide underneath in parentheses.
>>> 
>>> Michael Edwards.
>>> 
>>> 
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[timothy price]

Sometimes spellings errors are there to match the rhyming patterns.  AWALNATION 
does “Bad Wolf” with:   
“Oh my God I think I might’ve made a mustake 
Waiting patiently was waiting taking up space 
We are waiting taking up space.”

But all I got was “how do you notate “Mrs.”, a one syllable word, over two 
notes? Well simple, you don’t want to abbreviate the word.  The proper word for 
the intent and purpose is “Mis-sis”.
English language is quite well developed.

best
tim


> On Aug 27, 2019, at 12:47 PM, Don Hart  wrote:
> 
> Or, along the lines of my earlier idea: "Mrs." centered under the notes and
> "missus" or the dictionary spelling of the pronunciation in parentheses,
> right below.  Wouldn't that avoid any sort of implication?
> 
> On Tue, Aug 27, 2019 at 11:23 AM Robert Patterson <
> rob...@robertgpatterson.com> wrote:
> 
>> FWIW (joking aside) my copy of Merriam Webster correctly identifies
>> "missus" as dialect in one of the definitions, and I would rather avoid
>> that implication.
>> 
>>> On Tue, Aug 27, 2019 at 11:12 AM Jon Delfin  wrote:
>>> 
>>> On Tue, Aug 27, 2019 at 12:08 PM timothy price <
>> timothy.pri...@icloud.com>
>>> wrote:
>>> 
>>>> Missus isn’t even a word. (What else could you expect from
>> composers?)🙄
>>> 
>>> 
>>> Or Merriam Webster. What do *they* know about words?
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[timothy price]

Missus isn’t even a word. (What else could you expect from composers?)🙄

> On Aug 27, 2019, at 12:05 PM, Jon Delfin  wrote:
> 
> For what it's worth, the sheet music for "Mrs. Robinson" uses "Mis-sus."
> 
> On Tue, Aug 27, 2019 at 11:54 AM Robert Patterson <
> rob...@robertgpatterson.com> wrote:
> 
>> Jennifer, I like the way you think. And I'm gonna do "Mr." that way as
>> well. "Mister" looks very fussy and the abbreviated form balances with
>> "Mrs.:
>> 
>>> On Tue, Aug 27, 2019 at 10:16 AM Jennifer Higdon  wrote:
>>> 
>>> When I've had to do this for opera (which, if you're adhering to a
>>> libretto, sometimes you must follow exactly)...I've started setting this
>>> typed out as one word, under 2 notes, and letting the singer do the
>>> placing. It seems to be clearer for them.
>>> 
>>> 
>>> 
>>> -Original Message-
>>> From: Robert Patterson 
>>> To: finale 
>>> Sent: Tue, Aug 27, 2019 9:28 am
>>> Subject: [Finale] OT: Vocal Underlay of "Mrs.:
>>> 
>>> Has anyone ever had to divide "Mrs." into two syllables for vocal
>> underlay?
>>> Any suggestions?
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[timothy price]

missis 
Also found in: Thesaurus, Wikipedia.
Related to missis: missus
missis
> wife; the mistress of a householdOn Aug 27, 2019, at 10:58 AM, Dalvin Boone 
>  wrote:
> 
> How about "Ms-es?"  "Ms" is an common sub for Mrs. and most know to pronounce 
> "Ms" "mizz."
> 
> Dalvin
> 
> -Original Message-
> From: Finale  On Behalf Of Robert Patterson
> Sent: Tuesday, August 27, 2019 9:54 AM
> To: finale 
> Subject: Re: [Finale] OT: Vocal Underlay of "Mrs.:
> 
> Technically, "Mrs." is the abbreviation of "Mistress", but no one says that 
> any more. Hence, there is no generally accepted way to spell it out how we 
> pronounce it.
> 
> On Tue, Aug 27, 2019 at 8:51 AM timothy price 
> wrote:
> 
>> Isn’t Mrs. the abbreviation of Missis?  Mis-sis.
>> 
>>> On Aug 27, 2019, at 9:28 AM, Robert Patterson <
>> rob...@robertgpatterson.com> wrote:
>>> 
>>> Has anyone ever had to divide "Mrs." into two syllables for vocal
>> underlay?
>>> Any suggestions?
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Re: [Finale] OT: Vocal Underlay of "Mrs.:

[timothy price]

Isn’t Mrs. the abbreviation of Missis?  Mis-sis.

> On Aug 27, 2019, at 9:28 AM, Robert Patterson  
> wrote:
> 
> Has anyone ever had to divide "Mrs." into two syllables for vocal underlay?
> Any suggestions?
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Re: [Finale] No success sending PDFs to Australia

[timothy price]

I generally put files into Dropbox, or Icloud, (large file site) and give the 
access privileges to anyone who has requested the files. Easy

tim 

> On May 14, 2019, at 7:28 AM, Raymond Horton  wrote:
> 
> An orchestra in Australia has purchased a copy of my orchestral transcription 
> of the Rimsky-Korsakov trombone concerto. I have twice sent I am email with 
> all the PDFs attached, and twice they write me back that the message arrives 
> with the PDFs no longer attached. I am no technical expert, does anyone have 
> a suggestion? Thanks for any suggestions!
> 
> Raymond Horton
> Composer/Arranger 
> Minister of Music, 
> Edwardsville (IN) United Methodist Church
> Retired Bass Trombonist,
> Louisville Orchestra, 1970-2016
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Re: [Finale] printing advice

[timothy price]

This printer maxes out at 8.5 x 14 in   just so people are aware... what 
composer would want it?

tim


  
On Apr 29, 2018, at 4:45 AM, Eric Dannewitz wrote:

> Ugh, why not just buy a new printer
> 
> https://store.hp.com/us/en/pdp/hp-laserjet-pro-m203dw-printer
> 
> 1200 dpi and can be bought for $120 or so. Probably would save on electricity 
> bills compared to that tank 5000 printer

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Re: [Finale] 9X12 paper

[timothy price]

For works that I intend to last, I have been using Mohawk Solutions 18" by 12"  
Soft White i-tone linen paper.
It is available from the www.thepapermillstore.com.   You will find that there 
is a large selection of papers to chose from.
It has been my experience that the best results are obtained by formatting the 
page in Finale,  on screen,  the exact size you intend to print.

Of course, you can print two-up and get scores that are 9x12 too.

Best,

tim

On Sep 7, 2017, at 7:58 PM, Chuck Israels wrote:

> I use 9.5 X 12.5.  Greg Hamilton uses 12 x 18 (9 x 12, 2 up).  I can ask Greg 
> where he get s his, if that works for you.
> 
> Chuck
> 
> 
>> On Sep 7, 2017, at 4:56 PM, Howey, Henry  wrote:
>> 
>> Does anyone have sources?
>> 
>> Printer settings?
>> 
>> Henry Howey
>> Sent from my iWhatever
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> Chuck Israels
> cisra...@comcast.net
> (360) 201-3434
> 
> 8831 SE 12th Ave.
> Portland OR 97202
> 
> 
> 
> 
> 
> 
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Re: [Finale] Percussion ghost sounds?

[timothy price]

Am at a disadvantage, never having heard a ghost, however, the sound of wind 
and thunder are sometimes thought of as scary. 
Easy to do with a sampling synthesizer, having these sound programmed in as 
many do, or more cumbersome, with a thunder sheet and a wind machine.

tim

On Aug 14, 2017, at 4:46 PM, Raymond Horton wrote:

> I would like to make some "ghost sounds" from the percussion section in a
> piece I am writing. I know about the single cymbal rolled on a timpani
> head, which might work, but does anyone have any other suggestions? Thanks!
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Re: [Finale] Custom Drum Maps

[timothy price]

Three thumbs up !

tim


On Apr 26, 2017, at 7:53 AM, Dennis Bathory-Kitsz wrote:

> It would be really great if Finale shipped with default percussion output that
> automatically matched the VSTs provided, or, even better, if they would switch
> to the system other programs use: drag this sound from this library and drop
> it on this line or space. Done.

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Re: [Finale] Different type barlines at a specific place

[timothy price]

Hi,

Am curious why you want to do this at all?  Am certainly no expert, but I 
cannot think of any "best practices" that would suggest this sort of staff 
change.
If you share what it is you need the players to do, then perhaps there will be 
some suggestions forthcoming that will do
what you need, player wise, but in a more conventional way.

thanks for telling us.

tim 



On Apr 16, 2017, at 9:14 AM, Barbara Touburg wrote:

> Well, I tried it after a good night's sleep and it still doesn't work.
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Re: [Finale] Finding Finale on your computer [was: Re: Finale Digest, Vol 165, Issue 1]

[timothy price]

As a Mac user I can only expect that if you click on "Applications" under 
"places" in your Finder window,  the newly installed program should appear in 
the alphabetical order, ie. after "Es".
You can also run "Spotlght", the little magnifying glass on the top right of 
your screen. Type in Finale and look for your program. 
If it isn't there, then perhaps you should do the installation one more time.

tim


On Apr 5, 2017, at 10:29 AM, David H. Bailey wrote:

> On 4/3/2017 1:19 PM, Kim Richmond wrote:
>> Hey guys,
>>  I just got the new Finale, downloaded it, installed it, but now can’t 
>> find it. How can I open it?
>> All the best,
>> KIM R
>> 
> 

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Re: [Finale] Break stem

[Timothy Price]

My deepest sympathy.

> On Feb 18, 2017, at 11:56 AM, Dennis Bathory-Kitsz  
> wrote:
> 
> It's 4 pianos, 90 pages, 11x17 landscape, with tons of little adjustments and
> changes because the composer's notation is idiosyncratic and often wrong


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Re: [Finale] 3/2 vs. 6/4

[Timothy Price]

3 measures of 2/4 is what you need.

> On Dec 7, 2016, at 2:39 PM, "j...@thomastudios.com"  
> wrote:
> 
> I agree with David and Raymond, 3/2.
> 
> 
> ***
> J D Thomas
> ThomaStudios
> 
> 
> 
>> On Dec 7, 2016, at 11:09 AM, Lee Dengler  wrote:
>> 
>> I have a theory question for all you theory buffs out there.  I am writing a
>> piece that is mostly in a slow 4/4 meter (quarter note =60).  Occasionally,
>> I have a measure of 6 beats where the quarter note remains consistent.  In
>> those measures, the stress of lyrics falls on beats 1, 3 and 5.  Should I
>> make those measures 3/2 or 6/4.   My uncertainty lies in that going to 3/2
>> makes it look like the half note gets the beat, but 6/4 is generally
>> considered to be a compound meter (3+3).  Any words of wisdom?
>> 
>> Lee Dengler
>> 
>> leedeng...@comcast.net  
>> 
>> 
>> 
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Re: [Finale] For playback purposes only

[timothy price]

If you make a tempo change of as little as one beat per minute, you can control 
the measure exactly by linking the tempo to each note. Very precise. Am pretty 
sure you can do as David suggests and make the tempo making invisible.

tim



On Nov 4, 2016, at 7:45 AM, Haroldo Mauro wrote:

> It shouldn’t sound as a tempo change at all and it is not intended for the 
> musicians/conductor to follow any indication, therefore I don’t want any 
> markings in the score. It’s for Finale "playback purposes only”. Thanks 
> anyway.
> 
> 
> On Nov 4, 2016, at 9:20, timothy price  wrote:
> 
>> Have asked that question myself and realized that having the tempo change 
>> visible in the score is helpful,  if you hope to hear it performed that way.
>> Conductors take liberties, as they might, but at least they would have a 
>> clear indication of YOUR intent first.  Like with jazz, it is best to know 
>> how to play
>> the original before you try to interpret a tune.
>> 
>> 
>> tim

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Re: [Finale] For playback purposes only

[timothy price]

Have asked that question myself and realized that having the tempo change 
visible in the score is helpful,  if you hope to hear it performed that way.
Conductors take liberties, as they might, but at least they would have a clear 
indication of YOUR intent first.  Like with jazz, it is best to know how to play
the original before you try to interpret a tune.


tim




On Nov 4, 2016, at 5:21 AM, Haroldo Mauro wrote:

> Finale Mac (Marvericks) 2014.d 
> I often use the Tempo Tool to slow down just one part of a measure, when I 
> feel that keeping a straight pulse sounds unnatural. For example, when the 
> whole orchestra stops for a rest on a last beat and resumes playing on the 
> following measure. It might sound rushed sometimes, even though the pulse is 
> kept. Then, say the metronome is 88, I change it to 75 just for that last 
> beat with the Tempo Tool, and back to 88 on he next beat. It makes me happy 
> and leaves no markings in the score. Now how would I do that one beat 
> slow-down without the Tempo Tool, in Finale 25? Thanks!
> 
> Harold
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Re: [Finale] Mac OS Sierra

[timothy price]

Something which I have found to be very useful:  I have partitioned my hard 
drive into 3 parts.  I have different OS versions on two of them, and on the 
3rd I have reserved exclusively to file storage.
You could keep your old system on one drive, and upgrade on the other as you 
get to it, and all files stored on the 3rd. Whenever one of my systems gets 
corrupted badly, I can reload the OS without disturbing my stored files.  
Course you can make as many partitions as you want.


tim



On Oct 24, 2016, at 9:58 AM, Lawrence David Eden wrote:

> Listers,
> 
> I run Finale 2K11 on a Mac Mini using El Capitan.  If I install the new OS 
> (Sierra) will Finale 2K11 still run?
> 
> Larry
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Re: [Finale] staff names

[timothy price]

Am now getting two copies from the Finale list of all posts.. one is fine, and 
one is a mess. Yes, it has to be something has changed with my provider.  It 
only occurs with the Finale list.

Thanks for your help.

tim


On Oct 12, 2016, at 10:08 AM, David H. Bailey wrote:

> Nor on mine either -- looks like it must be an e-mail client setting 
> that got changed for him.
> 
> David H. Bailey


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Re: [Finale] staff names

[timothy price]

lyPe0MhpMe3jPJe2f3KHFD32vTcAki2OjfElFYEHESQIlvVLcFGOGKr1/wFrMskRoYlPfiokqpeVjGAhNHzYKouh6JSwcwrJU7vCfR+O5He9HenD77Zz9y3CgkZ+0CPsNiEkQNlLvPJLFq8uQn6CuRC1I/CT/kZKPguD/nZGEUbzgDIrVOEG+9xlUWlAY7Q==
> X-OriginatorOrg: shsu.edu
> X-MS-Exchange-CrossTenant-OriginalArrivalTime: 12 Oct 2016 06:33:16.0733 (UTC)
> X-MS-Exchange-CrossTenant-Id: b153cbd8-b392-4744-9b39-e3cdb8677f00
> X-MS-Exchange-CrossTenant-OriginalAttributedTenantConnectingIp: 
> TenantId=b153cbd8-b392-4744-9b39-e3cdb8677f00;Ip=[158.135.3.176];Helo=[smtp.shsu.edu]
> X-MS-Exchange-CrossTenant-FromEntityHeader: HybridOnPrem
> X-MS-Exchange-Transport-CrossTenantHeadersStamped: MWHPR19MB0991
> X-Bayes-Prob: 0.0001 (Score 0, tokens from: @@RPTN)
> X-Spam-Score: 1.00 (*) [Hold at 5.00] 
> FREEMAIL_FROM,SINGLE_HEADER_2K,T_TO_NO_BRKTS_FREEMAIL
> X-CanIt-Geo: ip=104.47.40.96; country=US; region=Washington; city=Redmond; 
> latitude=47.6801; longitude=-122.1206; 
> http://maps.google.com/maps?q=47.6801,-122.1206&z=6
> X-CanItPRO-Stream: valleynet:timothy.key.pr...@valley.net (inherits from 
> valleynet:default,valleynet_base:default)
> X-Canit-Stats-ID: 05RSuxnxV - 250f38d2d4df - 20161012
> X-Scanned-By: CanIt (www . roaringpenguin . com)
> 
> Looks normal here.
> 
> Raymond Horton
> Composer, Arranger
> Minister of Music, Edwardsville (IN) United Methodist Church
> Retired Bass Trombonist, Louisville Orchestra, 1971-2016
> 
> 
> On Oct 11, 2016 11:39 PM, "timothy price"  wrote:
> 
>> Point of order:  Is anyone else receiving emails with an enormous amount
>> of header material?
>> Don't know what it for or why.
>> 
>> thanks
>> 
>> tim
>> 
>> On Oct 11, 2016, at 11:07 PM, Ryszard Pusz wrote:
>> 
>>> Hi,
>>> 
>>> I am running Finale 2014 on Mac 10.7.5. How can I change the staff names
>> from the default? I often combine a few different percussion instruments in
>> a single stave and usually in positions that are different from their
>> position in Finale. As a result I need a new name, even if it is only a
>> number.
>>> 
>>> cheers,
>>> 
>>> Ryszard
>> 
>> 
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Re: [Finale] staff names

[timothy price]

Point of order:  Is anyone else receiving emails with an enormous amount of 
header material?  
Don't know what it for or why.

thanks

tim

On Oct 11, 2016, at 11:07 PM, Ryszard Pusz wrote:

> Hi,
> 
> I am running Finale 2014 on Mac 10.7.5. How can I change the staff names from 
> the default? I often combine a few different percussion instruments in a 
> single stave and usually in positions that are different from their position 
> in Finale. As a result I need a new name, even if it is only a number.
> 
> cheers,
> 
> Ryszard


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Re: [Finale] Instrument List Volumes

[timothy price]

As I use an older version of Finale, v. 2011 which has been super for my needs, 
there may be newer ways to deal with your issue which has always been around, 
so far as I know.

To deal with it, I always reset volumes for each instrument in the score at the 
beginning of new sections... or even more often, as necessary.  Set he volume 
level with the midi tool. Each time that stack of measures appears, it will 
reset the volumes as you originally had them.


tim



On Sep 10, 2016, at 3:00 PM, Haroldo Mauro wrote:

> Why is it that every time, or most of the time, I start Finale to continue 
> working on a score the volumes are not the same as I left them before, even 
> though the volume settings are THE SAME? Is there a way to lock those volumes 
> settings? 
> Finale Mac 2014.d
> 
> Haroldo Mauro
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Re: [Finale] volume drop

[timothy price]

What I suggest is to make sure that you have located the measure where the 
volume reduction begins, and that you have a copy of that section in another 
file for reference.   Completely remove the measure stack in the section you 
are working with.  Try playing playing the piece and see if the reduction in 
volume continues to occur beyond the point where you deleted measures.  If the 
problem has been fixed, then add the measure stack as it was, without notation, 
and then copy in the notation or rewrite it, and check each time you complete 
each instrument staff in the new stack.  This will often show you where the 
problem is, or it simply fixes it.

This may seem time consuming, but it really is the fastest way, in my 
experience.

tim



On Apr 23, 2016, at 2:26 PM, Raymond Horton wrote:

  Now, at a certain point, sax
>> and
 trumpet volume drops considerably. I have no clue of what is causing
>> it. I


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Re: [Finale] Score Printing Question

[timothy price]

On Mar 24, 2016, at 5:54 PM, Lee Actor wrote:

>  tabloid
> (11x17) is unwieldy, tends to be floppy on many music stands, and doesn't
> fit in most briefcases.


Thank you Lee for telling us about your preferences.


Noticed this section of West Side Story recording session.

Watch, starting at 3:40 as Bernstein takes places his score.
Kiri Te Kanawa - The Making of West Side Story Documentary

https://www.youtube.com/watch?v=j3SEW63LsaM

He probably uses a separate case, as we use for architectural drawings and the 
like.

tim
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Re: [Finale] OT Music theory question

[timothy price]

This seems the most simple and correct, imo.
The Bb major chord is only altered by the tonic being raised a C. 
I think that this resulting chord, as a passing tone,
could unimaginatively resolve to an F maj. second inversion.

tim


On Mar 24, 2016, at 2:56 PM, Steven Larsen wrote:

> In a word, no. In a tonal context it could be analyzed in a couple of
> different ways, but I'd have to see what else was happening around it. As a
> chord symbol it would be:
> BbMaj/C
> 
> Steve Larsen
> 
> -Original Message-
> From: Marcello Noia [mailto:marcellon...@gmail.com] 
> Sent: Wednesday, March 23, 2016 2:41 AM
> To: finale@shsu.edu
> Subject: [Finale] OT Music theory question
> 
> Hi, due to my huge lackness in harmonical theory, I ask this:
> is there a technical term to define a chord formed by (starting from low
> note) perfect fourth-perfect fourth-major third (for example C-F-Bb-D).
> I see it often used in vocal arrangements (Jonathan Rathbone for Swingle
> Singers for example), sometimes also in progression for ascending or
> descending whole tones or half-tones. It creates a beautiful "suspended" and
> "misterioso" atmosphere.
> Thanks
> 
> 
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Re: [Finale] Score Printing Question

[timothy price]

For works that I intend to last, I have been using Mohawk Solutions 18" by 12"  
Soft White i-tone linen paper.
It is available from the www.thepapermillstore.com.   You will find that there 
is a large selection of papers to chose from.
It has been my experience that the best results are obtained by formatting the 
page in Finale,  on screen,  the exact size you intend to print.

Of course, you can print two-up and get scores that are 9x12 too.

Best,

tim



On Mar 24, 2016, at 11:43 AM, Linda Worsley wrote:

> Hi, Finale people,
> 
> I am getting some large orchestra scores ready for printing, and it
> has been a long time since I outsourced this and had scores printed
> and bound by an actual print shop.  This was in the 90s and
> pre-digital, ad I know everything has changed.
> 
> For the past few decades I have been writing and printing scores and
> parts for use in recording sessions, and both traditional legal and
> letter size paper, and printing in my own studio laser printer for
> that work.  When I have sent scores or parts out for others to print
> (other performer grips) I have sent out pdfs of my finale files, but
> they were always the usual 81/2 x 11 (or 14) format, and that was fine
> for studio work, and, to some degree, for performance.  Parts look
> fine in that format, but scores are better in the larger, wider
> format.
> 
> Now I have recently returned to writing (and re-issuing) some larger
> orchestral works, and "legal"-length paper, which is fine for legal
> work, is not the best for full orchestra scores.  My old, commercially
> printed scores, vary in size and shape, so I'm not sure what would be
> best for these new scores.
> 
> I wold love information for those of you who are in the U.S. and have
> had scores printed in a larger format.  What dimensions do you find
> best for large or fairly large full orchestra?  How do you go about
> getting them printed and bound.  If you have them done by a commercial
> printer, I would be particularly interested in sources in the New
> Yokr, L.A., or San Francisco areas.  That said, in this digital age,
> these things can be done anywhere, so any information about the
> successful procedures done anywhere would be much appreciated.
> 
> I suppose providing music for download and print, I will have to stick
> with legal-size paper for scores, but I'd like to have the option of a
> more usable, readable size and format to make physical scores.
> 
> Thanks in advance for any advice or information.
> 
> Linda Worsley
> Composer/arranger
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Re: [Finale] flat seventh chord

[timothy price]

>> “flat seventh” (a major triad with a flatted 7th.)

This is the most obvious assumption, imo.


On Mar 12, 2016, at 8:42 AM, Christopher Smith wrote:

> If the term is being used correctly, it would be bVII in Roman numerals 
> (pronounced “flat seven”), and it would indeed be B flat major in the key of 
> C. A pop example would be “Hard Day’s Night” on the lyric “workin’ like a 
> dog”, or the second chord in “Tequila."
> 
> Some people, however, make up their own terminology. One of my beginning 
> students might mean a dominant seven quality chord if he said “flat seventh” 
> (a major triad with a flatted 7th.)
> 
> What is the context?
> 
> Christopher


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Re: [Finale] Stray things on PDF that I can't find

[timothy price]

Graeme,

Thanks for mentioning the Mac feature. As you know, 90 plus % of the time we 
are reading snafus regarding Microsoft and PCs. For us Mac users it is a pretty 
unproductive time spent reading other people's endless hassles and shortcomings 
with Microsoft.  

Cheers,

tim


On Feb 13, 2016, at 6:05 AM, Graeme Gerrard wrote:

> Of course it doesn’t help with your immediate problem.  It’s a long term 
> thing.  When next you are buying a new system, you might make another choice.
> Probably not though.
> 
>> On 13 Feb 2016, at 9:09 pm, David H. Bailey  wrote:
>> 
>> On 2/12/2016 10:35 PM, Graeme Gerrard wrote:
>>> Mac people don’t have these problems.  Printing to PDF from any application 
>>> has been a built in feature for several years.
>> 
>> And your point is . . . ?  How does that comment help a Windows user who 
>> is asking for help with creating a PDF?
>> 
>> 
>> -- 
>> David H. Bailey
>> dhbai...@davidbaileymusicstudio.com
>> http://www.davidbaileymusicstudio.com
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Re: [Finale] OT: Laptop accessories

[timothy price]

Agree with Christopher, however, i was raised on trackballs, so prefer them,  
without a cord, a trackball requires no additional space to move precisely and 
fast. For all graphics work, think trackballs are easier on the hand and arm.  
Again, personal choice.

tim


On Feb 5, 2016, at 8:00 PM, Christopher Smith wrote:

> I carry a full-sized keyboard with me, because the numeric keypad doesn’t 
> have a Clear key, among other reasons. I also can work more ergonomically on 
> the full-sized keyboard. 
> 
> Also a mouse. I am ever so much more comfortable with a mouse than with a 
> trackpad. Your mileage may vary.
> 
> Christopher


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Re: [Finale] chord spelling

[timothy price]

Christopher,  your #4 was what I was thinking would be most accurately 
reproduced.

thanks again,

tim



On Jul 20, 2015, at 11:20 AM, Christopher Smith wrote:

> I was doing some more thinking about the chord, and for some people, saying 
> #11 necessarily implies that a 7th is present. Maybe Em(#4) would cause the 
> least confusion among musicians of all stripes (which is usually my goal, 
> rather than notating for a select audience).
> 
> Christopher


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Re: [Finale] chord spelling

[timothy price]

Great. Thanks, Christopher. 
I live on the boarder between Vermont and New Hampshire in Fairlee, VT.
Yes, each locomotive has its unique horn.  They change over time. Wonder who 
comes up with them. 

tim



On Jul 20, 2015, at 11:04 AM, Christopher Smith wrote:

> Wowee! Not a standard chord, but yes, Virginia, we CAN come up with a name 
> for it. Em(#11) would do it.
> 
> Where do you live? All the trains around me sound the same.
> 
> Christopher
> 
> 
> On Mon Jul 20, at MondayJul 20 11:00 AM, timothy price wrote:
> 
>> Asking for some help as I am not very familiar with this: 
>> 
>> I live about a mile from a rail line. Each engine has its own particular 
>> horn sound... some major, some 7th, some minor, diminished, etc..
>> But one in particular intrigues me:  would describe it as being a G 
>> signature, but one of the E minors.  The notes are E, G, A#, and B.
>> How would you notate and describe this chord?
>> 
>> thanks,
>> 
>> tim
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[Finale] chord spelling

[timothy price]

Asking for some help as I am not very familiar with this: 

I live about a mile from a rail line. Each engine has its own particular horn 
sound... some major, some 7th, some minor, diminished, etc..
But one in particular intrigues me:  would describe it as being a G signature, 
but one of the E minors.  The notes are E, G, A#, and B.
How would you notate and describe this chord?

thanks,

tim
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Re: [Finale] StaffPad (for Windows Surface Pro 3)

[timothy price]

On Apr 7, 2015, at 4:08 PM, Darcy James Argue wrote:

> If there was a way I could instead just sit down at any piano and reach into 
> my bag and pull out a slim tablet computer with a stylus and just start 
> writing… 


Yes, Hayden, Mozart, Beethoven...et.c., were very proficient with quill, paper, 
and ink.
Would be a gas to be able to set one of these tablets in front of Mozi and 
watch him light up.

Aren't the files produced with Staffpad compatible with Finale on a Mac.  Am 
sure they are.

tim


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Re: [Finale] Changing slurred 8ths to 8th-16th

[timothy price]

It is my understanding in reading his book, that it is not a question of 
whether or not to use proper notation, it is a question of clarifying the 
notation.  From the controversy here I would say a text explanation is in 
order;  no matter what notation might be chosen... there are plenty of informed 
opinions and that is confusing, a waste of time, for any conductor when a score 
is being performed.  Notate to the best of your knowledge,  and make text  
clarification wherever.  His point is to be overly thorough and do use text as 
a secondary source of instruction.

tim



On Mar 22, 2015, at 2:28 PM, Christopher Smith wrote:

> In my experience, when there is a way to indicate something with text or with 
> music notation, music notation wins every time. Musicians for some reason I 
> don't quite understand have more trouble understanding "cresc." than they do 
> understanding a hairpin, for example. Dots over the notes WILL be played 
> short 100% of the time, whereas the indication "stacc." may or may not be 
> correctly executed on sight reading. For that reason alone, i would choose a 
> musical notation over a text indication.
> 
> Christopher
> 
> 
> On Sun Mar 22, at SundayMar 22 12:00 PM, timothy price wrote:
> 
>> Just finished reading "Score Rehearsal Preparation" by Gary Stith in which 
>> he remarks about how composers might simply use text to clarify any possible 
>> ambiguity in the score. He invites text notes so that there is no time 
>> wasted in discussion of the intent of the score. .. simply tell us what you 
>> intended. This can be a few words on the staff of instrument notation, or at 
>> the end of the score in a section of issues about the score and how to play 
>> it.  Seems good to me.
>> 
>> tim
>> 
>> 
>> 
>> 
>> On Mar 22, 2015, at 11:49 AM, Darcy James Argue wrote:
>> 
>>>>> 
>>>>> Why not just say "non portato"  and leave it at that
>> 
>> 
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Re: [Finale] Changing slurred 8ths to 8th-16th

[timothy price]

Just finished reading "Score Rehearsal Preparation" by Gary Stith in which he 
remarks about how composers might simply use text to clarify any possible 
ambiguity in the score. He invites text notes so that there is no time wasted 
in discussion of the intent of the score. .. simply tell us what you intended. 
This can be a few words on the staff of instrument notation, or at the end of 
the score in a section of issues about the score and how to play it.  Seems 
good to me.

tim




On Mar 22, 2015, at 11:49 AM, Darcy James Argue wrote:

>>> 
>>> Why not just say "non portato"  and leave it at that


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Re: [Finale] Garritan sounds SUCK! (was "Garritan sounds just likeSmartMusic SoftSynth")

[timothy price]

Mentioned this to Brian Williams but should have included all.

"Garritan sounds are somewhat harsh, but there is lots of tweeking you can do. 
One thing that I found helped a lot was
recording the Finale file "dry" with Garritan, then loading that file into 
Garage Band and using that program for ambiance,
master volume controls, etc.. Way better."

tim



On Mar 6, 2015, at 7:02 PM, Lawrence Yates wrote:

> I was happy with the Garritan sounds I had with Finale 2008, less so with
> Finale 2012.  I think they possibly need some tampering with in the
> "ambience" department to make them sound okay.
> 
> Cheers,
> 
> Lawrence
> 
> On 6 March 2015 at 23:56, Brian Williams  wrote:
> 
>> No, I have 8GB of RAM and I'm not running anything else other than MS
>> Outlook and the Finder, so memory is not the issue. MakeMusic support has
>> confirmed that I am indeed hearing the Garritan sounds and they're "sorry
>> to hear I am not happy" with them. The keyboards and strings may be
>> passable, but the brass and saxes sound like middle schoolers that have
>> been autotuned. The SoftSynth sounds for those instruments are WAY better
>> IMO. I'm still using Garritan for the Drums staff, but that's about it.
>> -Brian
>> 
>> On 3/6/15, 3:08 PM,  wrote:
>> 
>>> Bad performance by the Garritan sounds could be a matter of insufficient
>>> access to RAM. Low amounts of RAM would be much less noticeable with the
>>> less demanding MIDI sounds.
>>> 
>>> Klaus
>> 
>> 
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> 
> 
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Re: [Finale] Garritan sounds SUCK! (was "Garritan sounds just like SmartMusic SoftSynth")

[timothy price]

On Mar 6, 2015, at 1:46 PM, Brian Williams wrote:

> How is this possible?

It isn't. 

Garritan is not the best, but way better than SoftSynth, imo.

tim

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Re: [Finale] Finale Digest, Vol 139, Issue 21

[timothy price]

Well, I learn something new every day.  

Yes, cmd 'R'  DOES produce the rulers, never noticed that while intent on 
dispelling ghosts, but it does 
remove them.  Check it out and let me know.

tim

On Feb 26, 2015, at 1:15 PM, Scott Jones wrote:

> I just opened Finale 2011 and command + R in the menu toggles the RULER.  To 
> update use Command + U and to draw/redraw the screen use Command + D.  That 
> is what is programmed in the drop down menus in Finale 2011 and newer.
> ___
> J. Scott Jones
> Band/Orchestra Director/Freelance Trumpet Player-Teacher/Music Engraver
> 
> 
>> On Feb 26, 2015, at 12:25 PM, timothy price  wrote:
>> 
>> Am running Finale 2011 and cmd "R" works fine for redraw.  Ummm.  Thanks for 
>> the info.
>> 
>> tim
> 

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Re: [Finale] Finale Digest, Vol 139, Issue 21

[timothy price]

Am running Finale 2011 and cmd "R" works fine for redraw.  Ummm.  Thanks for 
the info.

tim


On Feb 26, 2015, at 12:22 PM, Michael Dutka wrote:

> With my Mac, cmd 'R' did something weird, brought up a ruler bracket around
> the screen, but cmd 'D' worked great. Thanks for the suggestion,
> 
> Mike


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Re: [Finale] Hairpins and Articulations Leaving 'Ghosts'

[timothy price]

After repositioning, hit "command R" to redraw.

tim

On Feb 24, 2015, at 2:11 PM, Michael Dutka wrote:

> Hi, folks. Running 2010 on a Macbook Pro. I often have a problem when I
> want to reposition hairpins. I click the Smart Shapes tool, and either
> delete and re-enter them, or reposition them with the cursor. Often (but
> not always), I can see 'ghosts' of the old hairpins along with the new
> ones. Not a huge problem, using the Speedy Entry tool and clicking on the
> measure deletes them, but it's another step, and a it's little annoying.
> 
> It also happens with articulations, but less frequently.
> 
> Does anyone have the same problem? Is there a reason why it happens
> sometimes and not others? Is there anything that can prevent this? Does it
> happen in 2012 (planning to upgrade next week)? 2014?
> 
> Any advice and/or recommendations deeply appreciated. Thanks,
> 
> Mike Dutka
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Re: [Finale] Drum rolls (help)

[timothy price]

On May 31, 2014, at 3:39 PM, GERALD BERG wrote:

>  I have not had to go there lately -- so cannot vouchsafe further on the 
> matter.   I use to notate my drum rolls in full for playback and increase the 
> attack level throughout to get a reasonable sounding cresc.


This is what I do too, and put it in the 3rd or 4th layer, then hide it.

tim
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Re: [Finale] Spreadbury diary

[timothy . price]

I didn't imagine the extent of the problem. 
Like much of our society today, we are charged money for "services" of poor 
value.
I don't believe that my work would get this sort of criticism.

> Craig wrote:

> You would think that if a publisher is renting a piece for $10,000 
> revenue a year (or $400,000 for the big popular ones), it shouldn't be 
> too much to ask that they pay a professional copyist to bring it into 
> Finale and correct all the errors.


Is there no recourse available to bring charges against a publisher for 
delivering a bad product with costly mistakes?
Every other trade or service I know of must conform to standards, especially if 
specific flaws in their product can be shown.
A few successful court cases probably would help focus publishers. What else 
could change the situation?

tim.

On Feb 20, 2014, at 5:19 PM, David H. Bailey wrote:

> 
> But the orchestras are paying for this music, aren't they?  The 
> compositions which Craig complained about were published, 



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Re: [Finale] Spreadbury diary

[timothy . price]

Craig, you make an excellent point. But as a composer, it is nearly impossible 
to be confident that our manuscripts are what 
musicians are comfortable with.  There is lacking, imo, the interface between 
the good composer, and the musicians, when it
comes to the manuscript.

It would be greatly appreciated by some if we, as composers, were treated as a 
partner in a creative process, more than willing
to make adjustments, particularly to scores, as they may be pointed out to us.  

So, who in your orchestras, is responsible for making sure that the manuscripts 
are readably clear BEFORE you get the parts
and your are trapped into a schedule to performance?  If is is new work, not 
only is the composition new, but the manuscripts are
too.  It is the musician that has to be pleased, and it is not always possible 
for a composers to have their work reviewed by every
instrument player.

Orchestras, or at least an assigned member of the orchestra, could be of great 
service in furthering new music by engaging is the process of notation of the 
piece.  Just get the manuscript early and notify the composer of problem areas 
in time for them to be happily corrected.

thanks,

tim



On Feb 20, 2014, at 2:43 PM, Craig Parmerlee wrote:

> These 
> were not bad compositions.  And I am certain the composers were 
> excellent musicians.  But their notation was terrible,



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Re: [Finale] copying to layers

[timothy price]

Assuming that you have "active layer only" on, I have no idea.


On Mar 18, 2013, at 8:08 AM, Eric Fiedler wrote:

> FinMac 2012c
> This is embarrassing, as I used to do this all the time and it used to be 
> easy - but I haven't done it for a while.
> I have two oboe parts and want to paste them into one staff, ob1 into layer 1 
> with stems up, ob2 into layer 2 with stems down. But what I'm pasting keeps 
> replacing what's already there, no matter how I fiddle with the layers. Is 
> there some new trick in Finale ... or is this a sign of an early stage of 
> Alzheimer's? ;-(
> Eric

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Re: [Finale] OT: Selling PDFs (ot)

[timothy . price]

On Mar 28, 2012, at 12:03 AM, John Howell wrote:

> And I do think one has to realize that we ALL 
> have to learn to trust people to do the right 
> thing,

Am glad that this observation is voiced by a musician. ( notice: Goldman Sachs, 
et al )
Perhaps this is the core issue facing a society that wishes to practice freedom.
It is the loss of honorable behavior, and that assumed loss,  which is 
threatening our country, in many ways.

John illustrates how nice it will be when all people realize that honest 
behavior,
( even when stealing would be easy and without a chance of being caught) is key 
to their own freedom.
 People would seldom consider theft  sort of like the farm stands here, 
with lots of vegetables, flowers, 
honey, etc., a sign showing the cost of each, a box of money,   but no farmer 
to watch it all.

Reintroducing this code of conduct into our culture has been an interest for a 
while. Here is what I have discovered.

Our Flag
Created in 1789 
After the Constitutional Convention of 1787 had produced the Constitution for 
ratification by the thirteen colonies, 
two years went by without enough state ratifying it to make it law. They had to 
add the first 10 amendments and also 
adopt a code of conduct which would be a voluntary oath for all citizens to 
uphold.
It was their belief that for a nation to be free, it had to have trust, and to 
have trust, people had to uphold honor.
Without honor there is no freedom. To the degree that there is honor, there is 
untrammeled freedom. Honorable 
behavior created the atmosphere in which freedom can thrive. 
If any individual acts dishonorably, they are traitors to the dream of 
a free society and should not be tolerated.

Colors:
White: The background banner representing purity and innocence, lack of 
guile.
Red:  The stripes applied to the white banner:  Cheer, Hardiness and 
Valor (worthiness)
Blue: Honor, Vigilance, Perseverance, &  Justice
13 Stripes: 13 colonies
(7 red, 6 white)
A blue field with one white star for each state.
As in the Declaration of Independence: "We pledge our lives, our 
fortunes, and our sacred honor".

Old Glory (lyrics)
by
Timothy K. Price

Let me tell you a story,
About our flag, old glory,
The stars and stripes of red, white, and blue;
And of its creation,
ThIs symbol for our nation,
And what it mean to folks like me and you.

They took the purity of white, 
The brightly shining light
All the colors in the spirit of our souls
For our banner of trust,
Our pledge of good intention,
For all who live beneath her to uphold. 

They emblazoned her with red,
Stripes which clearly said 
With a boisterous, cheering humor, “Have no fear.
We are hardy souls of valor,
Worthy our intent, 
To do good  is the reason we are here". 

We are many joined as one,
Honest folk, and fair,
For honor is the air that we breathe;
So to represent our nation,
Took a patch of blue sky
And placed in it a starry constellation.

With a star for every state
Each joining in its fate, 
A union which no one will leave,
Finding happiness in freedom,
This flag is our dream
  That none who live among us shall deceive.

Our flag is made from scraps,
For frugal is our way.
Simple living lets others simply live.
We will shame you for your riches,
Scorn your vanity,
If greed should get the better of your soul.

There’s salvation in compassion,
Poverty in greed,
So what we have we share with loving care.
We understand hard work,
Have no tolerance for cheats,
Politician in their office should beware.

When we pledge our allegiance,
We pledge a way of life,
To be true to the meaning of our flag.
We pledge a life of honor, 
To be truthful and fair,
This is our way... here in the USA. 

So this is my story,
About our flag, old glory,
The stars and strips of red, white, and blue.
And of its creation,
ThIs symbol of our nation,
and what it mean to folks like me and you

_

Would like to see this taught in schools to return content to the Pledge of 
Allegiance.


timothy.price
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Re: [Finale] (OT) ... I Pod question

[timothy . price]

Have purchased through Ebay in the past and have saved a lot of money 
gotten excellent results.

http://www.ebay.com/sch/i.html?_from=R40&_trksid=p5197.m570.l1313&_nkw=ipod+batteries&_sacat=See-All-Categories


tim


On Nov 10, 2011, at 5:05 PM, Dean M. Estabrook wrote:

> So, I've had my iPod for quite a while now  as of late, it  
> doesn't seem to  hold a charge for very long  does the battery  
> wear out in your experience ... if so, does one replace it somehow,  
> or (and I fear to read the responses to this),  does one have to buy  
> a new one?
> 
> Thanks for responses in advance ...
> 
> Dean
> 
> 
> The perfect drive..a diminishing sphere of white impaling the azure
> heavens in a graceful ellipticheight and distance vying for
> supremacy..compatriot's jowls lax, eyes huge, their raucous paeans
> thinly veiling jealousy..one stroke justifying a capricious  
> investment
> in the titanium industry.
> 
> Dean M. Estabrook
> 
> http://sites.google.com/site/deanestabrook/
> 
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Re: [Finale] [OT] f-hole or F-hole / f-Loch oder F-Loch

[timothy . price]

Here is a pic. of the letter in Lucida Calligraph font.

original post:



f  in Lucinda font.pdf
Description: Adobe PDF document



Good points, John.  As for the correct placement of the cross stoke,
it does not seem to be in the precisely correct location with this font.  My 
association 
with the "f-hole" designation is a bit simplistic,  but it does carry with it 
the general meaning 
I thought was behind the name, or referenced letter.
What IS it called in 17th Century Italian? Anyone know?

tim


On Oct 4, 2011, at 12:30 PM, John Howell wrote:

> At 8:00 AM -0400 10/4/11, timothy.price wrote:
>> On Oct 3, 2011, at 5:23 PM, John Howell wrote:
>> 
>>> books that show plates of
>>> top quality museum violins and have written
>>> descriptions of them.
>> 
>> Does the name have anything to do with the shape if the letter? 
>> If so, then in English we would use "f " a lower case scripted
>> character.  This is Lucida Calligraph and looks appropriate to me.
> 
> Of course it does, just as the term C-hole has to 
> do with the shape of the letter when that cutout 
> is used on violas da gamba, but it specifically 
> does in English, and the early violin family 
> makers were working for the most part in northern 
> Italy.  So I wonder what the Italian term was or 
> is.
> 
> But that was exactly the original question:  does 
> the shape of the icon as it is carved control the 
> shape of the letter to be used in typescript? 
> Your Lucida Calligraph did not come through, 
> possibly because I might not have that font on my 
> computer, or because I have my email configured 
> to use Chicago for display.
> 
> I brought up the long ess incorrectly, since the 
> difference between that and the f is whether 
> there is a projection to the right of the letter 
> or not.  And on a violin family instrument there 
> is.  In fact those projections (the cross stroke) 
> are used to line up the placement of the bridge.
> 
> John
> 
> 
> -- 
> John R. Howell, Assoc. Prof. of Music
> Virginia Tech Department of Music
> School of Performing Arts & Cinema
> College of Liberal Arts & Human Sciences
> 290 College Ave., Blacksburg, Virginia 24061-0240
> Vox (540) 231-8411  Fax (540) 231-5034
> (mailto:john.how...@vt.edu)
> http://www.music.vt.edu/faculty/howell/howell.html
> 
> "Machen Sie es, wie Sie wollen, machen Sie es nur schön."
> (Do it as you like, just make it beautiful!)  --Johannes Brahms
> 
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Re: [Finale] [OT] f-hole or F-hole / f-Loch oder F-Loch

[timothy . price]

On Oct 3, 2011, at 5:23 PM, John Howell wrote:

>  books that show plates of 
> top quality museum violins and have written 
> descriptions of them.

Does the name have anything to do with the shape if the letter?  
If so, then in English we would use "f " a lower case scripted
character.  This is Lucida Calligraph and looks appropriate to me.



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Re: [Finale] New desktop computer suggestions?

[timothy . price]

On May 24, 2011, at 8:17 AM, David W. Fenton wrote:

> But that's no different from a Mac (for which you don't have the 
> choice of building your own, BTW).


FYI, here is one of my long time favorite Mac stores, and their "build your 
own" page.

http://www.powermax.com/bto/

best,

timothy.price
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Re: [Finale]Check range

[timothy . price]

The difference between "intermediate" and "advanced" became a bit restrictive, 
most notably with the f french horns.  The lowest written note permitted was a
F in the base clef  below middle C when I would like to take it down to the B.  
Actual pitch lowest sound would be, in "intermediate" ,  C ... but the advanced 
setting allows another full octave  bellow to the low B.  

So, as the horns are important here... the trombones have other business,  I 
would like to keep the lower range in the french horns, but I do 
not want to make the music too difficult to produce a good tone with a 
community orchestra. I have heard them play the overture to Candide,
but I have no idea of their range in that piece.

t



On May 13, 2011, at 7:41 PM, Lee Actor wrote:

> Are there specific instruments you're worried about?
> 
> -Lee
> 
>> From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu]On Behalf
>> Of timothy.price
>> Sent: Friday, May 13, 2011 4:22 PM
>> 
>> When we use "check range" when writing for a competent community 
>> orchestra, is there any problem with setting the
>> parameter to "advanced" for all instruments ?
>> 
>> thanks,
>> 
>> tim
>> 
>> 
>> 
>> On May 13, 2011, at 7:09 PM, John Howell wrote:
>> 
>>> At 2:53 PM -0700 5/13/11, Mark D Lew wrote:
 
 Mahler writes the chorus down to Bb2 in his Symphony #2 (the 
>> basses are divisi, with the others on the next octave up).
>>> 
>>> I didn't know that, but he and Strauss also wrote some piccolo 
>> parts down to low C and flute parts down to low Bb.  The key, I 
>> think, is that he DID know who he was writing for, and knew that 
>> it would be sung, just as he knew that some flutemaker in Vienna 
>> was experimenting with extra-low flutes and piccolos and that his 
>> flute players could get them.
>>> 
>>> You write for what's available.  It's that simple.  Every time 
>> Broadwood shipped a new piano with an extended range to 
>> Beethoven, he started using the extra high and low notes 
>> immediately.  The difference with Stravinsky is that I'm not sure 
>> he could have known in advance that the extremes he wrote COULD 
>> be played.  Josquin (or Pierre de la Rue) also wrote the bass 
>> down to a low Bb at the end of "," but again we don't know 
>> what pitch standard he was writing for.  I assume that Mahler was 
>> writing for somewhere around 435 to 450, if not necessarily 440.
>>> 
>>> 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.
>>> ___
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>> 
>> timothy.price
>> timothy.pr...@valley.net
>> 
>> 
>> 
>> 
>> 
>> ___
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Re: [Finale]Check range

[timothy . price]

When we use "check range" when writing for a competent community orchestra, is 
there any problem with setting the
parameter to "advanced" for all instruments ?

thanks,

tim



On May 13, 2011, at 7:09 PM, John Howell wrote:

> At 2:53 PM -0700 5/13/11, Mark D Lew wrote:
>> 
>> Mahler writes the chorus down to Bb2 in his Symphony #2 (the basses are 
>> divisi, with the others on the next octave up).
> 
> I didn't know that, but he and Strauss also wrote some piccolo parts down to 
> low C and flute parts down to low Bb.  The key, I think, is that he DID know 
> who he was writing for, and knew that it would be sung, just as he knew that 
> some flutemaker in Vienna was experimenting with extra-low flutes and 
> piccolos and that his flute players could get them.
> 
> You write for what's available.  It's that simple.  Every time Broadwood 
> shipped a new piano with an extended range to Beethoven, he started using the 
> extra high and low notes immediately.  The difference with Stravinsky is that 
> I'm not sure he could have known in advance that the extremes he wrote COULD 
> be played.  Josquin (or Pierre de la Rue) also wrote the bass down to a low 
> Bb at the end of "," but again we don't know what pitch standard he was 
> writing for.  I assume that Mahler was writing for somewhere around 435 to 
> 450, if not necessarily 440.
> 
> 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.
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Re: [Finale] Cowbell

[timothy . price]

On Apr 30, 2011, at 5:27 PM, Dennis Bathory-Kitsz wrote:

> Thanks for locating the cowbell for me.

Mercy, Dennis, how long have you been living in Vermont ? :-)

t

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Re: [Finale] Cowbell

[timothy . price]

For me, using a single line staff, it shows a 5 lines staff in that measure 
when you enter the note with speedy entry, and it sets it where a the map 
places it, if you have it mapped to cow bell, patch 88; that should be preset 
for you all ready. (mine shows it placed on b natural; don't know how that 
works yet.)

t



On Apr 30, 2011, at 4:25 PM, timothy.price wrote:

> If you are getting sound at all now, using channel 10, Aria Player. Set the 
> bank selection to Tap Space Percussion,  and under that is 
> VDL Combo Instruments, and under that is VDLite General MIDI Percussion Map.  
> That gives me a cow bell.
> 
> t
> 
> 
> 
> On Apr 30, 2011, at 4:12 PM, Dennis Bathory-Kitsz wrote:
> 
>> On Sat, April 30, 2011 3:46 pm, Aaron Sherber wrote:
>>> I've got a fever...
>> 
>> Oh no oh no oh no oh no oh no oh no oh no oh no this was JUST GONNA HAPPEN!
>> 
>> (Whine)
>> 
>> 
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> timothy.pr...@valley.net
> 
> 
> 
> 
> 
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Re: [Finale] Cowbell

[timothy . price]

Hey Dennis,  Have you set the channel to #10?  Then, with my mac, i have no 
problem with cow bell using
smartmusicsoftsynth. However, using the Gerritan Aria Player,  set to Basic 
Orchestral Percussion, Channel 10,
and under the Menu Bar,  Midi/audio you should/might find Device Setup, then 
Edit Percussion Midi Map.
Choose Device, Gerritan instruments.. ,  then it should give you Basic 
Orchestral Percussion under "Map"
set note type to cow bell, ..   

When you see the Instrument list in the Audio Viewer, the staff should show 
Basic Orchestral Percussion if you assigned it.
The odd thing is, the keyboard at the bottom of the view, when you click the 
sounds, none sound like a cow bell.  ??? The sounds
seem more like a range from "old steamer trunk" to "1958 Studebaker Wheel Rim". 

But at least you should be getting sound, if you put some notes on the staff.

It is easier maybe to stick with Musicmakersynth. :=)

Hope this moves you ahead.  Fill us in on your progress please.


t



On Apr 30, 2011, at 1:50 PM, Dennis Bathory-Kitsz wrote:

> Hi all,
> 
> I've never mastered Finale percussion outside of occasional General Midi use.
> I tend to use whatever default stuff shows up for demos, and hope my old
> percussion settings work in current scores (which mostly they don't, ending up
> on a dozen ledger lines up or down).
> 
> But for this I really need a cowbell on a separate one-line staff. I'm using
> the Garritan instruments, Finale 2010, Windows.
> 
> I have a staff definition for cowbell, notation set for percussion, cowbell
> selected from one of the map drop downs, and notes dragged to show up the
> center line.
> 
> Now matter what I try to choose from the percussion lists, no cowbell plays.
> In fact, nothing plays.
> 
> I'm still totally flummoxed by the percussion system. In my DAW, I use sampled
> instruments so every track has its own percussion instrument. Finale's map
> system and instrument sets from different manufacturers make no sense to me
> and never have.
> 
> Please, one cowbell on a one line staff? Help?
> 
> Dennis
> 
> 
> 
> 
> 
> 
> 
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Re: [Finale] Cowbell

[timothy . price]

If you are getting sound at all now, using channel 10, Aria Player. Set the 
bank selection to Tap Space Percussion,  and under that is 
VDL Combo Instruments, and under that is VDLite General MIDI Percussion Map.  
That gives me a cow bell.

t



On Apr 30, 2011, at 4:12 PM, Dennis Bathory-Kitsz wrote:

> On Sat, April 30, 2011 3:46 pm, Aaron Sherber wrote:
>> I've got a fever...
> 
> Oh no oh no oh no oh no oh no oh no oh no oh no this was JUST GONNA HAPPEN!
> 
> (Whine)
> 
> 
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Re: [Finale] Re: OT What Makes Music Expressive

[timothy . price]

Back to this subject for a moment:


http://www.nytimes.com/interactive/2011/04/18/science/20110419- 
music-expression.html?nl=todaysheadlines&emc=thab1




The page that comes up for me has a test of pieces performed by human  
and machines, and the mixture of the two.  We are asked to
pick the most expressive... probably corresponding to the human  
playing the piece.   It seemed pretty obvious to me which was the human
playing.  There was expressiveness because there was a logic to the  
variation in loudness, tempo, and all the subtleties within these  
over time.

Expressiveness is only possible with cognizance.

In a funny convergence of events, I happen to have just read that  
Bradley Manning was deeply intrigued in Kant's book,  Critique of  
Pure Reason,
(available to read here )
in which Kant in essence makes the argument that all of humans  
failings are due to his inability to perceive the truth, to tell the  
truth, and to act upon the truth.
It is a challenge to readers to change the way they experience in  
order to convey truth to others and thereby improve man's condition.   
it is no wonder that
Manning chose to expose raw data in order that the world might see  
first hand that they were being fed massive quantities of  
misinformation.. but that is another topic.


So, back to the article on expressive music:  Here is what Kant has  
to say about representation.


Understanding is, to speak generally, the faculty Of cognitions.  
These consist in the determined relation of given representation to  
an object. But an object is that, in the conception of which the  
manifold in a given intuition is united. Now all union of  
representations requires unity of consciousness in the synthesis of  
them. Consequently, it is the unity of consciousness alone that  
constitutes the possibility of representations relating to an  
object, and therefore of their objective validity, and of their  
becoming cognitions, and consequently, the possibility of the  
existence of the understanding itself.




So this is another way of saying that it only in understanding that  
representation can occur,  real expression of an object, or in this  
case, the musical object.  Superficial application of variations is  
not comprehension, is not understanding, and


cannot be expressive.

Anyway, I don't know how others did on the test. but I found all this  
very informative.



best,

t

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Re: [Finale] VOCAL PART on top

[timothy . price]

With the STAFF tool selected, go to the bar at the top of the screen, and under 
STAFF you should find "reorder staves".
Open it. If the voice part is by itself, then highlight the "voice" staff by 
clicking on it, using the arrows 
to the right side of the window, click the up arrow till the voice part is on 
top, then click okay.  If you cannot get
the voice part out of its "subfolder" (if it is in one) , click the subfolder 
instead and the part should be placed on top.

tim


On Apr 12, 2011, at 1:36 PM, jazz...@kimrichmond.com wrote:

> 
>   Can someone help me resolve this. It 's different in Finale 2011 than was
>   in previous versions.
>   I have a score done and have added a staff for vocal (the chart is a
>   vocal with big band backg round). When I added the vocal staff, it appeared
>   at the bottom, below drum s. In the Manage Parts menu I moved it UP to the
>   top, but it still does not appear there on the score, even in scroll or
>   page view.
>   How can accomplish  this?
>   All the best,
>   KIM R
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Re: [Finale] [OT] keyboard and mouse dying / suggestions for new devices?

[timothy . price]

On Apr 7, 2011, at 8:46 PM, David W. Fenton wrote:

> If you're using a conventional mouse properly



Who on this list would think of using a conventional mouse improperly :-)


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Re: [Finale] [OT] keyboard and mouse dying / suggestions for new devices?

[timothy . price]

Question about Magic Track Pad

For my architectural work, as well as for all graphic and music programs, I 
agree, and have used the Turbo Mouse for many years,  and 
currently use a wireless version. The greatest benefit to me,  besides economy 
of movement, is that it supports all of the weight of my hand very restful.
My question about the Magic Track Pad is that this might be lost. My laptop pad 
is not nearly as easy.  Can anybody please speak to this?


On Apr 6, 2011, at 9:56 PM, Richard Huggins wrote:

> i vote for MacAlly kb... wonderful feel .. for mouse I vote for the 
> Kensington turbo trackball- very programmable and smooth movement
> 
> Sent from my iPhone

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Re: [Finale] notation for synthesizer

[timothy . price]

Where the synth is not used extensively, I have placed it near the percussion 
staves, (similar to 
the piano part) but expecting a percussionist would be able to play the part.  
The score indicates
the patch number, the note and duration,  an indication of what the patch 
represent,  and the volume which you want the sound to be heard:  eg,  bird 
calls, a babbling brook, wind, bells, explosion, whatever it is that you want 
the synth to do.
The player watches his score, sets the patch, plays the note 
accurately, and all is well.

tim



On Apr 4, 2011, at 11:53 AM, Eric Dentremont wrote:

> 
>   This is one topic I can't seem to find on the internet (without revealing a
>   million sites about either notation software or hindi music). How does one
>   write a part for synthesizer in a score with more traditional instruments?
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Re: [Finale] [OT] plural of rubato = rubati?

[timothy . price]

On Mar 26, 2011, at 10:16 PM, Dennis Bathory-Kitsz wrote:

> ("between you and me" as "between you and I").

Object form in place of subject.

> 
> The American tendency to overcorrect especially applies to foreign placenames,
> perhaps out of a sense of respect, political correctness, or fear of
> embarrassment.



"You haven't a real appreciation of Newspeak, Winston," he said almost sadly. 
"Even when you write it 
you're still thinking Oldspeak, with a its vagueness and its useless shades of 
meaning. You don't grasp 
the beauty of the destruction of words, Do you know that Newspeak is the only 
language whose vocabulary
gets smaller every year?"... "Every year, fewer and fewer words, and the 
range of consciousness always
a little smaller."

George Orwell, 1984

t

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Re: [Finale] [OT] plural of rubato = rubati?

[timothy . price]

On Mar 26, 2011, at 2:27 PM, Chuck Israels wrote:

>  "He took a picture of my brother and I" so often that I am forced to accept 
> that it has become common usage, and I can't wrap my brain around that.  
> Makes me want to scream the correction at the offending parties. 

But not understanding the difference between the personal pronoun as a subject 
or as an object is simply ignorance.  Explaining that
takes time and might embarrass the speaker, but then, it might be the thing to 
do.  The effect might be awesome.



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Re: [Finale] OT: Darcy Argue

[timothy . price]

Perhaps some on the list would enjoy this video of the
Secret Society, "On Canvas"

   http://video.whyy.org/video/1383585488/

tim


On Nov 21, 2010, at 6:26 PM, Randolph Peters wrote:

There is a nice article (and video) of Finale List member Darcy  
Argue in Saturday's Globe and Mail.


http://www.theglobeandmail.com/news/arts/music/darcy-argue-low- 
profile-canadian-jazzman/article1805941/


For those of you not familiar with the newspaper, The Globe and  
Mail is Canada's national Toronto paper.


Slight Finale content:
The video shows actual music parts most likely done using Finale.

-Randolph Peters
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Re: [Finale] Elegant way of working with hidden staves in score?

[timothy price]

When you think that you are finished with all the parts, ie.  
orchestra, choir, and piano reduction, I find it simpler to "save as"  
for each score that you wish to finally have.  You will need a "full  
orchestra and choir",  a "choir with rehearsal piano", and then  
probably "Choir".  That is 3 scores.  Works fine for me.


tim



On Aug 31, 2010, at 5:04 PM, Dan Tillberg wrote:


All,



I am working with a piece for mixed choir and orchestra. This is the  
first

time I have this combination and I am not sure how to handle a piano
reduction that I want to have with the choral score. I need to have  
this in
the score while working with it, but when finalizing and printing  
the parts,
choral score with the piano reduction and the full score I of course  
do not
want to have the piano reduction in the final version of the "full"  
score.




The most obvious way, I guess, would be to hide the piano reduction  
staves
in the score prior to printing. But just use Staff Attributes and  
check
"Hide staff" creates a hole in the score (if it is not on top or  
bottom) and
I then need to rearrange the other staves which is not a  
straightforward
thing, especially if you need to unhide the piano reduction staves  
again for

additionali editing..



Another way would be to define a part with all parts except for the  
desired
ones and use this as the full score. But I just have a feeling this  
won't be

so easy to work with as a score.or am I wrong?



Is there a more elegant and professional way of working with this?



Using Fin2010 on Win.



Thanks
/D

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Re: [Finale] Organ music page size

[timothy price]

On Jul 3, 2010, at 1:18 AM, Ryan wrote:

Thanks for all your great advice. Now that I'm actually at the point  
of
laying out the music, I wonder if it's permissible to optimize out  
the pedal

staff if it helps fit music onto the page. Likewise, if there's a long
passage for pedal only, can I optimize out the manual staves?


Having no experience with organ concerti, it is easy for me to  
respond:-)

As long as it is clearly indicated, and am sure you would do that,
 dropping staves over extended numbers of measures seems fine. The
performer will certainly be well rehearsed in performing from the score.

Your concern with page turns is delightful, as they often fall in  
difficult
passages in many scores.  Unless the pedal passage is very fast,  
requiring
great dexterity, balance and accuracy, then having a page turn there  
is good,

not a problem, as far as I am concerned.

The same with the single staff for long multimeasure rests; it seems  
equally

logical and fine.  Be very considerate and cautious as to the cuing for
the organ entrance once it is to resume.

What have you decided as to portrait or landscape orientation?
I also generally prefer landscape and it seems to lend itself well to  
the 3 staff systems.


Best wishes,

tim




Regarding page turns, if the hands are silent, but the feet are  
playing, is
a page turn permissible if it's the only choice? I'm trying to put  
page
turns over multi-measure rests, but being an organ concerto, there  
aren't a

lot of them once things get going.

Oh, if there are systems with nothing but rests, is it permissible  
to show

only one staff so that more systems can fit on a page?

On Thu, May 13, 2010 at 8:08 AM, timothy key price <
timothy.key.pr...@valley.net> wrote:

Wow,  knowing how difficult it is to keep one's place in a normal  
sized

score, reducing the size to this extent would
make it very difficult for me, beyond just the challenge of the
performance.
   Because I seem to need a more normal staff size, I do not  
usually

reduce music, but equally, I
will copy it so that I can avoid any page turns. Often there are 4  
sheets

laid out in order across the organ stand.
Performance is the only thing that is important, so page turns  
often do

interfere with registration changes.
If the composer or editor wants to make the layout so that one hand  
is free

for a page turn, perhaps without the need for
a registration change too, that would be nice, particularly for music
organists play only occasionally, not memorized. :-)
But that is asking too much.

tim


On May 13, 2010, at 10:18 AM, Guy Hayden wrote:

When I play the Toccatta from Widor's Symphony No. 5 I use a HUGE  
sheet

with
all the pages glued together and greatly reduced in size.  No  
allowance

was
made in the engraving, nor is one possible, for page turns or  
registration

changes.



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Re: [Finale] indication of hands in keyboard music

[timothy . price]

Having never seen any other example of your 2nd notation, No. 1 looks  
like most of the keyboard literature I have.
Looks normal to me and easy to understand, especially with only one  
voice part.  Sometimes, with 4 or 5 voices,
it gets problematic and a "r.h." or "l.h." may be added ,  and then  
its whatever works for the player.


t



On May 28, 2010, at 7:47 AM, dc wrote:

I didn't get many (or any) replies to my first message on this  
subject, so I thought I'd try again with an example to make my  
question clear.


This is a question mainly for keyboard players.

Which of these two notations do you prefer?

www.collins.lautre.net/files/hands.jpg

1 makes the hands more apparent, but 2 makes the beats clearer, of  
course.


Amusingly, the preface to these pieces says that the composer has  
made things easier by using 1, though in the music itself he  
generally uses 2.


Thanks,

Dennis




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Re: [Finale] Hours of work lost -

[timothy price]

There is no exact type of error that I have positively identified, but  
I will give you some examples of what I think may have done it.


1.  For instance, if I am working in 4/4 and have occasional measures  
in 6/8.  I decide to insert these 15 or so measures into the piece  
later on.  I copy it
and inadvertently insert it into a section with 4/4 measures only, the  
results can be disasterous, especially if I have been negligent enough  
to have
partial measures selected.  (am way back on v. 2002).  I may not  
discover that the staves are now out of proper barring and can have
particularly misalignment between staves.  If I get it all corrected  
and save it,  I may then find that the file is corrupted. ( I can  
believe it, too)


2. Changes using partial measures seems to be an issue if the  
alignment between staves becomes out of sync. and I correct it.  I do  
not know

how this works in the newer versions of Finale.

3. Inadvertently having copied and pasted one meter into another  
meter, discovering the error later and restoring the proper barring,   
seems a possible problem

in file corruption.
4.  Anytime I copy, using partial measure, into another part of the  
score and have not copied the complete measure, it puts the stave out  
of alignment from then
 	on to the next black measure in that staff. Correcting this, can  
corrupt the file, IMHO.


There may be other things as well, but these are related operations I  
have done in the past and lost the file through -39.
But fortunately, going to the previous day's file, I can redo the  
score to the form I had finally arrive at, and do it quickly with no  
errors.



tim


On May 8, 2010, at 7:14 AM, Christopher Smith wrote:



On Fri May 7, at FridayMay 7 7:17 PM, timothy price wrote:

I have experience the same problem in the past and it has happened  
when I have somehow messed up by doing illegal commands, or simply  
made
unreasonable requests, I guess you could say, with tools or mass  
mover or such.



First of all Harold, so sorry to hear of your problems, and I am  
more sorry that I don't have anything to add to finding a solution.


But Tim, what would constitute an "illegal command" or an  
"unreasonable request" if you are using Finale commands from the  
menu and keyboard shortcuts? I would expect the program to treat my  
data with the utmost caution to preserve it. If there is a command  
or series of commands that you know of that causes data loss, I  
would take it upon myself to tell MakeMusic as soon as possible.


Can you let us know what has caused this for you?

Thanks

Christopher



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Re: [Finale] Hours of work lost -

[timothy price]

   Repeat:


I have experience the same problem in the past and it has happened  
when I have somehow messed up by doing illegal commands, or simply made
unreasonable requests, I guess you could say, with tools or mass mover  
or such.  The only thing that I could do was to go the most recent  
good file
and recopy it to a new template which I made to match the document as  
I had evolved it to be at the time I contaminated it.  Usually the  
reconstruction
process was not all that long or tedious as I knew exactly what I  
wanted to do.   Annoying, but in the end you will come out with a  
better product.


tim



On May 7, 2010, at 6:48 PM, Haroldo Mauro Jr. wrote:

Yes, I do have a copy "saved as". I said that on my post. It gives  
the same error. All three files give the same error: the main file,  
the ".asv" copy and the "saved as" copy. It seems as if although the  
file was still open, it was already corrupted when both copies were  
made.


Harold


At 18:37 -0400 07/05/10, timothy price wrote:
Did you not have a "copy" of the file also?  This is usually the  
case with Finale.   Also, I always do a save as, every time I close  
a file after working on it.
That way, I will always have a file that is very recent to revert  
to if I lose the present one.  I may not help your present  
situation, but it will never happen again

if you do this.

tim



On May 7, 2010, at 5:11 PM, Haroldo Mauro Jr. wrote:

This is the third score I've lost. I spent hours of work on this  
one, and when tried to open it I got this message:


"While attempting to open file [fileName] the File Manager  
reported an error. -39"


Is there any way of getting it back? I have the autosave on, but  
the file.asv.mus is gone, just the same, and another copy I made  
with the "save as" command is gone too.


Macbook, Finale 2009

I think this, as well as the others were originally 2008 files  
saved as 2009, erased and started anew.


Any hope here?
Thanks,
Harold
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Re: [Finale] Hours of work lost -

[timothy price]

I have experience the same problem in the past and it has happened  
when I have somehow messed up by doing illegal commands, or simply made
unreasonable requests, I guess you could say, with tools or mass mover  
or such.  The only thing that I could do was to go the most recent  
good file
and recopy it to a new template which I made to match the document as  
I had evolved it to be at the time I contaminated it.  Usually the  
reconstruction
process was not all that long or tedious as I knew exactly what I  
wanted to do.   Annoying, but in the end you will come out with a  
better product.


tim



On May 7, 2010, at 6:48 PM, Haroldo Mauro Jr. wrote:

Yes, I do have a copy "saved as". I said that on my post. It gives  
the same error. All three files give the same error: the main file,  
the ".asv" copy and the "saved as" copy. It seems as if although the  
file was still open, it was already corrupted when both copies were  
made.


Harold


At 18:37 -0400 07/05/10, timothy price wrote:
Did you not have a "copy" of the file also?  This is usually the  
case with Finale.   Also, I always do a save as, every time I close  
a file after working on it.
That way, I will always have a file that is very recent to revert  
to if I lose the present one.  I may not help your present  
situation, but it will never happen again

if you do this.

tim



On May 7, 2010, at 5:11 PM, Haroldo Mauro Jr. wrote:

This is the third score I've lost. I spent hours of work on this  
one, and when tried to open it I got this message:


"While attempting to open file [fileName] the File Manager  
reported an error. -39"


Is there any way of getting it back? I have the autosave on, but  
the file.asv.mus is gone, just the same, and another copy I made  
with the "save as" command is gone too.


Macbook, Finale 2009

I think this, as well as the others were originally 2008 files  
saved as 2009, erased and started anew.


Any hope here?
Thanks,
Harold
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Re: [Finale] Hours of work lost -

[timothy price]

Did you not have a "copy" of the file also?  This is usually the case  
with Finale.   Also, I always do a save as, every time I close a file  
after working on it.
That way, I will always have a file that is very recent to revert to  
if I lose the present one.  I may not help your present situation, but  
it will never happen again

if you do this.

tim



On May 7, 2010, at 5:11 PM, Haroldo Mauro Jr. wrote:

This is the third score I've lost. I spent hours of work on this  
one, and when tried to open it I got this message:


"While attempting to open file [fileName] the File Manager reported  
an error. -39"


Is there any way of getting it back? I have the autosave on, but the  
file.asv.mus is gone, just the same, and another copy I made with  
the "save as" command is gone too.


Macbook, Finale 2009

I think this, as well as the others were originally 2008 files saved  
as 2009, erased and started anew.


Any hope here?
Thanks,
Harold
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[Finale] Re: Question on performance

[timothy price]

FYI Robert Patterson:  In response to your question about Messiaen  
organ performance issue.


Dear Timothy,

I used to play that by having the hands on a higher manual, and  
playing the extra line with my thumbs on the lower manual. It only  
works if the manuals are adjacent, though.


Another alternative would perhaps be to remove the 16 feet registers  
from the pedal and play that line in the pedal, one octave lower, and  
then quickly add the 16 feet and continue playing in the pedal.



Hope it helps,
Pedro
drei...@gmail.com


On Fri, May 7, 2010 at 14:58, timothy price   
wrote:

Mr. Utrecht:

Perhaps you could offer some insight for a friend's inquiry.

I'm looking at Messiaen La Nativite Book 2, p. 3. (La Verbe).
In the third system, marked "Lentet puissant", there are three manual  
staves
(in addition to the pedal staff). I don't understand how you play the  
first measure in that

system, since it is above the pedal range. It seems like you would
need a third hand.  Do you have performance knowledge to
answer this?  Thank you.



timothy price
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Re: [Finale] Organ dynamics

[timothy . price]

Am adding the earlier email, John. It seems to suggest that dynamics  
not be included in writing for the organ today.
That was something I would like to make clear: that dynamics are  
important in indicating how a piece is to
be interpreted, according to the composer.  Have no idea why explicit  
dynamic writing should NOT be as important
to an organist as to any other instrument.   ???   Yes, consulting an  
organist about particulars would be a good idea

if you are not an organist of some experience.


best,

tim



On Apr 18, 2010, at 10:50 PM, John Howell wrote:


I don't believe I would have suggested not using dynamic markings  
at all, although I can't quote what I DID write.  Others have been  
much more clear on this point, as I figured they would be.  And I  
deliberately mentioned that I'm not an organist to allow the reader  
to judge whatever I did say.


The pipe organ and the harp are both terra incognita to me, and if  
I have to write for either I consult a player.  Understanding the  
mechanics is NOT the same as understanding the instrument.


All the best,
John
fo/finale



previously: John Howell wrote:

Yes, every organ is different.  If it has a swell box, all the  
pipes inside that box are equally affected by the volume control.   
But there are often other ranks of pipes outside the swell box as  
well. I think, although I'm not an organist, that the player  
adjusts balance by choice of stops, not by having a separate volume  
control for each manual and another for pedals.  Probably it's  
entirely different with an electronic organ, and you never know  
what the music will be played on.


Unless the composer is an organist and writing for a broad range of  
possible organs, everything is best left to the player.  And it  
isn't really something the engraver should worry about, EXCEPT that  
you should ask whether the inconsistent dynamic placement was  
actually done for a reason.


John


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Re: [Finale] Organ dynamics

[timothy . price]

On Apr 18, 2010, at 4:24 PM, David W. Fenton wrote:


On 18 Apr 2010 at 9:40, timothy.price wrote:


On Apr 17, 2010, at 7:50 PM, David W. Fenton wrote:

The player could tell from the content of the music what was
intended in regard to all of those parameters. So can any
properly-trained modern organist.


I've often thought that a good way to test musicianship is to give a
player a passage with no dynamics, tempo marking, articulations or
bowings and see what they make out of it.


From a performers perspective, what you have said is fine, no problem.
But the question about indicating performance markings was from a  
composer who'
apparently has ideas as to where he want dynamics.  If he wants to  
have the piece
performed with HIS interpretation, then he best place the marking in  
the score, IMHO.



That may be the problem with the academic world view of music,


Er, what? I stated FACTS. This isn't a matter of academia vs. the
real world (and let me remind you that academics live in the real
world, too).


thus
one might read a book during a properly trained performance.


This is complete malarkey, and betrays your personal prejudices.


YES, It does show my personal prejudices.   


Don't pay any attention to non-organist comments, they can be
misleading.


If that's referring to me,


No, I was not referring to you, but to John Howell's previous comment
about thinking it best not to include dynamic markings, but that he  
was not

an organist.


Like any music for any instrumentation, write what you want to hear
it sound like. Romantic period instruments may have swell boxes,
making the stops of  that manual capable of dynamics from p to f, and
many organ have been adapted. Stops may be applied to only one manual
or the pedals independently. There is usually a crescendo pedal which
adds stops up to full organ.


"Usually?" This sounds exactly like something a non-organist, or an
organist of every limited experience, would say. A large number of
instruments lack swell boxes and electronic assistance like pistons
and toe studs and the like.


Yes, in my experience organs usually do have a crescendo pedal. No?
As I said, they only sometimes have swell boxes.  Am not sure what
you are finding fault with.



You may indicate different dynamic
marking for each staff.  Organs  are closer to the nuances possible
with an orchestra.


I don't know any organists who would agree with this. It's a red
herring of the late 19th century. An exception, of course, would be
the Wurlitzer theater organ of the early 20th century. To hear what's
possible there, I'd recommend this program:

  http://pipedreams.publicradio.org/listings/2010/1014/


I do not know of any other solo instrument which compares in colors  
available
or the control which is possible with a pipe organ. (not including  
digital keyboards of course)

Do you?


The organist will be very creative in using the
manuals and stops to  get as close to your expression markings as he
or she can on any instrument, or chose not to. The serendipity is
often a pleasant surprise.  On simpler, or older  instruments, there
may be much less control so the only a general form may be obtained.


Why didn't you just leave out all the polemics and veiled insults and
post just this last passage? It's quite correct, and lacking details,
doesn't make any actual factual mistakes.

--
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Organ dynamics

[timothy . price]

On Apr 17, 2010, at 7:50 PM, David W. Fenton wrote:
The player could tell from the content of the music what was intended  
in regard to all of

those parameters. So can any properly-trained modern organist.

That may be the problem with the academic world view of music, thus  
one might read a book during a
properly trained performance.  But there is always the genius who  
comes along, like a Glenn Gould,  and makes something his own of it.

Bach is always open to interpretation, for sure.


Don't pay any attention to non-organist comments, they can be  
misleading.
Like any music for any instrumentation, write what you want to hear  
it sound like.
Romantic period instruments may have swell boxes, making the stops of  
that manual

capable of dynamics from p to f, and many organ have been adapted.
Stops may be applied to only one manual or the pedals independently.
There is usually a crescendo pedal which adds stops up to full organ.
You may indicate different dynamic marking for each staff.  Organs  
are closer to the

nuances possible with an orchestra.
The organist will be very creative in using the manuals and stops to  
get as close to your

expression markings as he or she can on any instrument, or chose not to.
The serendipity is often a pleasant surprise.  On simpler, or older  
instruments, there may be

much less control so the only a general form may be obtained.

tim


On Apr 17, 2010, at 6:30 PM, Ryan wrote:


Where is it necessary to place the dynamics when writing for organ?

The manuscript I'm working from isn't consistent in the placement of
dynamics. It also doesn't specify individual stops to use (for  
example, a
trumpet stop that would naturally sound louder than a flute stop),  
so can
one dynamic marking placed in between the top two staves suffice?  
Would the
performer know that the dynamic also applied to the pedals? Are the  
pedals
capable of playing at a different dynamic level than the manuals? I  
suppose
that each organ is built differently, so it would be nearly  
impossible to

prepare for every performance situation.
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Re: [Finale] OT: blowing air through brass instruments

[timothy . price]

On Mar 14, 2010, at 2:03 PM, Robert Patterson wrote:


 reversing the mouthpiece *definitely*
does.



As radical an idea as actual experimentation may be, I tried it on my  
trumpet, and by gosh, you get a much louder sound

using the reversed mouthpiece. Imagine that !

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Re: [Finale] OT: minor 6th

[timothy price]

On Oct 2, 2009, at 8:06 PM, Guy Hayden wrote:


You have ACEbG.  Half diminished in sound but
what came before it and what comes after it?




Correction,


Playing in the key of Eb:

BbCEbG:   ACEbG;  ACEbF;  etc.



timothy price
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Re: [Finale] OT: minor 6th

[timothy price]

On Oct 2, 2009, at 8:06 PM, Guy Hayden wrote:


You have ACEbG.  Half diminished in sound but
what came before it and what comes after it?


Playing in the key of Eb:

BbCE G:   ACEbG;  ACEbF;  etc.




timothy price
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Re: [Finale] OT: mutes for flügelhorns?

[timothy price]

On Aug 26, 2009, at 11:01 AM, John Howell wrote:

 Most of us would write for flugel as a double, specifically for its  
tone quality.



Was wondering if you might be able to give an example of this color  
quality in some well known musical work?  Is there such a famous piece  
where
flugel horn is used which would not sound satisfying with trombone or  
horn instead?



timothy price
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[Finale] Quarter-tone music

[timothy price]

timothy price
[EMAIL PROTECTED]



Hi Dennis,

	Was wondering if you had a site where I could stream or download  
(listen to) anything using quarter-tones?  Have never heard any music,  
to my knowledge, composed as such.
What is the basic tonality? I mean, does it mater, whether it is just,  
tempered, etc. tuning?

Any info would be appreciated.
	Any lack of sufficient anxiety now that the dam is gone? ;-)  We all  
need motivation, you know.


Best,

tim

PS.  any other type of music which you have taken a liking to?
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[Finale] the musicians had higher IQ scores than the non-musicians

[timothy price]

FYI

Musicians use both sides of their brains more frequently than average  
people



Vanderbilt University
Thu, 02 Oct 2008 06:11 UTC
Supporting what many of us who are not musically talented have often  
felt, new research reveals that trained musicians really do think  
differently than the rest of us. Vanderbilt University psychologists  
have found thatprofessionally trained musicians more effectively use a  
creative technique called divergent thinking, and also use both the  
left and the right sides of their frontal cortex more heavily than the  
average person.


The research by Crystal Gibson, Bradley Folley and Sohee Park is  
currently in press at the journal Brain and Cognition.


"We were interested in how individuals who are naturally creative look  
at problems that are best solved by thinking 'out of the box'," Folley  
said. "We studied musicians because creative thinking is part of their  
daily experience, and we found that there were qualitative differences  
in the types of answers they gave to problems and in their associated  
brain activity."


One possible explanation the researchers offer for the musicians'  
elevated use of both brain hemispheres is that many musicians must be  
able to use both hands independently to play their instruments.


"Musicians may be particularly good at efficiently accessing and  
integrating competing information from both hemispheres," Folley said.  
"Instrumental musicians often integrate different melodic lines with  
both hands into a single musical piece, and they have to be very good  
at simultaneously reading the musical symbols, which are like left- 
hemisphere-based language, and integrating the written music with  
their own interpretation, which has been linked to the right  
hemisphere."


Previous studies of creativity have focused on divergent thinking,  
which is the ability to come up with new solutions to open-ended,  
multifaceted problems. Highly creative individuals often display more  
divergent thinking than their less creative counterparts.


To conduct the study, the researchers recruited 20 classical music  
students from the Vanderbilt Blair School of Music and 20 non- 
musicians from a Vanderbilt introductory psychology course. The  
musicians each had at least eight years of training. The instruments  
they played included the piano, woodwind, string and percussion  
instruments. The groups were matched based on age, gender, education,  
sex, high school grades and SAT scores.


The researchers conducted two experiments to compare the creative  
thinking processes of the musicians and the control subjects. In the  
first experiment, the researchers showed the research subjects a  
variety of household objects and asked them to make up new functions  
for them, and also gave them a written word association test. The  
musicians gave more correct responses than non-musicians on the word  
association test, which the researchers believe may be attributed to  
enhanced verbal ability among musicians. The musicians also suggested  
more novel uses for the household objects than their non-musical  
counterparts.


In the second experiment, the two groups again were asked to identify  
new uses for everyday objects as well as to perform a basic control  
task while the activity in their prefrontal lobes was monitored using  
a brain scanning technique called near-infrared spectroscopy, or NIRS.  
NIRS measures changes in blood oxygenation in the cortex while an  
individual is performing a cognitive task.


"When we measured subjects' prefrontal cortical activity while  
completing the alternate uses task, we found that trained musicians  
had greater activity in both sides of their frontal lobes. Because we  
equated musicians and non-musicians in terms of their performance,  
this finding was not simply due to the musicians inventing more uses;  
there seems to be a qualitative difference in how they think about  
this information," Folley said.


The researchers also found that, overall, the musicians had higher IQ  
scores than the non-musicians, supporting recent studies that  
intensive musical training is associated with an elevated IQ score.

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Re: [Finale] Orchestre national de Lyon

[timothy price]

John, it was an effort at some humor in the sad case that bird flu has been
found near Lyon.  

Tim


on 2/26/06 8:10 PM, John Howell at [EMAIL PROTECTED] wrote:

> OK, I seem to have missed the antecedent post, so none of this makes
> any sense!  Could someone enlighten me (preferably off list)?
> 
> John
> 
> 
> At 11:43 PM + 2/25/06, John Bell wrote:
>> and Ma Mere l'Oye of course.
>> 
>> 
>> On 25 Feb 2006, at 17:29, John Bell wrote:
>> 
>>> Also the works of Byrd and Birtwhistle I suspect.
>>> 
>>> John
>>> 
>>> 
>>> On 25 Feb 2006, at 14:50, timothy price wrote:
>>> 
>>>> Alas, is it true then that "Le Coq d'Or", "Firebird" , "Turkey in the
>>>> Straw", and other such are now forbidden from public performance in and
>>>> around Lyon?
>>>> 
>>>> 
>>>> Tim
>>>> 
>>>> 
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Re: [Finale] Piano samples:

[timothy price]

on 4/16/04 10:37 PM, timothy price at [EMAIL PROTECTED] wrote:

more information about these 64 MB samples

available at:

http://www.sweetwater.com/store/detail/PianoCDv3/>



> Tim Price
> Fairlee, VT

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[Finale] new piano samples

[timothy price]

For those of you who are searching for more realistic piano sounds for your
sampler, you may want to look here.



http://www.sweetwater.com/store/detail/PianoCDv3/



Timothy

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