> Also, Mr Seiffert complained "that people may think that Henle was using
> Finale software, which is only true for a fraction of our titles" - don't
> you think this is a slight contradiction in terms? Since Henle is (and was
> at the time, which I didn't know then, and never suggested on the
on 6/5/02 3:25 PM, Paul Delcour at [EMAIL PROTECTED] wrote:
> you are forgetting that all
> composers started with the lyrics, were inspired by them and set their
> music according to the meaning of the words.
What??!!
This just is not the case. Perhaps you're speaking from a "classical"
perspec
>>Ours had Sid Caesar <<
Nah. David Frost.
>>as the MC, and occasional songs by Tom Lehrer. <<
Crystal Premo
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>>In the late 60s there was a TV show in the UK called That Was The
Week That Was -- a satirical review of the week's news. <<
We had that here, too. David Frost, wasn't it?
Crystal Premo
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At 3:29 AM +0100 6/6/02, John Bell wrote:
>>At 07:14 pm -0700 05.06.2002, Carl Dershem wrote:
>>>In the late 60s there was a TV show in the UK called That Was The
>>>Week That Was -- a satirical review of the week's news.
>>
>>
>>Heh. It sounds like the US show from the late 50's and early 60's
At 6:18 PM -0800 6/5/02, Mark D. Lew wrote:
>[answering Paul Delcour]
>>>Apart from this: adding lyrics to existing music is much harder than
>>>the other way round.
>
>At 3:31 PM 06/05/02, Chuck Israels wrote:
>
>>This seems usually true to me, but there's a remarkable exception -
>>Jon Hendricks
>At 07:14 pm -0700 05.06.2002, Carl Dershem wrote:
>>In the late 60s there was a TV show in the UK called That Was The
>>Week That Was -- a satirical review of the week's news.
>
>
>Heh. It sounds like the US show from the late 50's and early 60's
>with the same title. Ours had Sid Caesar as t
At 03:31 pm -0700 05.06.2002, Chuck Israels wrote:
>This seems usually true to me, but there's a remarkable exception -
>Jon Hendricks' enormous output of brilliant lyrics written to
>existing jazz tunes, and even more remarkably, to scores of
>difficult jazz solos. They are often hard to unde
At 5:30 PM 06/05/02, Joel Sears wrote:
>BTW, does any one know how to set articulations and slurs to always go
>above the notes.
Sure, it's right there in the Articulation Designer (which you get to by
clicking "Edit" from the other Articulation dialogue). There's an entry
called "Position", an
[answering Paul Delcour]
>>Apart from this: adding lyrics to existing music is much harder than
>>the other way round.
At 3:31 PM 06/05/02, Chuck Israels wrote:
>This seems usually true to me, but there's a remarkable exception -
>Jon Hendricks' enormous output of brilliant lyrics written to
>ex
At 5:30 PM -0500 6/5/02, Joel Sears wrote:
>Yes, of course, you're right. Being a Jazzer, I was assuming above
>the note, I shouldn't have.
>
>BTW, does any one know how to set articulations and slurs to always
>go above the notes.
>
Sure Joel,
Go into the editing dialog for the articulation i
At 12:17 am +0200 06.06.2002, Paul Delcour wrote:
>My essential point: what's the point of singing if you have no
>words? You can bla bla and la la all you want, but you cannot build
>many compositions on that for long.
The human voice _is_ a musical instrument. Many other instruments
seek to
At 11:04 PM 06/05/02, Jari Williamsson wrote:
>Also, if an Engraver Slur is manually tweaked, it become an "old slur"
>automatically.
That's not really true -- unless your only definition of "old slur" is that
it doesn't adjust itself on the fly.
When an engraver slur is first drawn, the algori
>I was able to reproduce this just a couple of weeks ago, and got it
>confirmed, so [hopefully] tech support now at least knows what bug you're
>referring to. It seems like it's a chain of events that produce it. If you
>encounter it, do like this to be able to send more reproducible files to
>Cod
On 05.06.2002 20:39 Uhr, Norbert Gertsch wrote
> The orchestra material on Haydn's secular cantatas, mentioned by Johannes
> Gebauer, was _not_ produced using Finale, it was Amadeus. This material was
> never intended for publication.
Thank you for clarification. This just shows that Amadeus sho
Yes, of course, you're right. Being a Jazzer, I was assuming above the
note, I shouldn't have.
BTW, does any one know how to set articulations and slurs to always go
above the notes.
JS
At 04:27 PM 6/5/02, Christopher BJ Smith wrote:
>At 12:29 PM -0500 6/05/02, Joel Sears wrote:
>>Here goes
At 11:59 PM +0200 6/5/02, Paul Delcour wrote:
>That may be the case, but as a conductor it is impossible to learn a
>choir a piece without knowing something of the intention of the
>piece which comes both from the words and the choral sound. Teach a
>choir a piece in a language they have no clu
What I mean is: if there are obvious lyrics with a clear meaning, this
meaning has to be conveyed, ie used in the expression of the piece. But
even children using nonsense lyrics show an intention. And it's this
intention I mean. So meaning is a wrong word I admit.
But doesn't knowing the mean
That may be the case, but as a conductor it is impossible to learn a
choir a piece without knowing something of the intention of the piece
which comes both from the words and the choral sound. Teach a choir a
piece in a language they have no clue what ever it means and they will
be lost, be it
To each his own! But I don't believe that composers always started with
lyrics. I think the earliest melodies eons ago might have been sung to
words, syllables, or vocables that were just interesting or rhythmic in
themselves. Think how much children (ontogeny begets phylogeny?) like to
sing no
At 10:25 PM +0200 6/05/02, Paul Delcour wrote:
>You are entitled to what ever way you enjoy and make music, but in
>placing the notes before or over the lyrics you are forgetting that
>all composers started with the lyrics, were inspired by them and set
>their music according to the meaning of
At 12:29 PM -0500 6/05/02, Joel Sears wrote:
>Here goes the start of another thread. I don't recall seeing an "v"
>shaped accent in Jazz writing. A sideways "v" I always heard called
>an accent. At school, in Texas, we Jazzers called an upside down
>"v" a "housetop." I got into trouble, though
Norbert Gertsch writes:
> Unfortunately I am not the technician but to my understanding it had to do
> with a automatism for adding slurs that is installed in the new version. The
> engraving studio wanted to go back to the way slurs were handled in the old
> version, or at least have the possibi
You are entitled to what ever way you enjoy and make music, but in
placing the notes before or over the lyrics you are forgetting that all
composers started with the lyrics, were inspired by them and set their
music according to the meaning of the words. You must always try and
convey the mean
> > Oh, and finally: Although Coda is happy to use our Trademark for
advertising
> > purposes, they have not yet reacted on some serious demands on the
software
> > that were stated by the engraving studio. Quid pro quo? ;-))
>
> Can you name some specific demands that your engraving studio has
>
Norbert Gertsch writes:
> Oh, and finally: Although Coda is happy to use our Trademark for advertising
> purposes, they have not yet reacted on some serious demands on the software
> that were stated by the engraving studio. Quid pro quo? ;-))
Can you name some specific demands that your engravi
I offer a different perspective. I am not a choral director, but I write
choral music and I only set English lyrics. The meaning of the words is not
as important to me as the overall effect. I only speak English, but I enjoy
tremendously choral music in Latin, German, Italian, French, etc., and
Dear all,
Only by chance I came across a discussion thread on this mailing list that
startet around April 27th and dealt with some questions regarding Henle's
use of Finale. As I am editor at G. Henle Publishers and was (mis)quoted
(see below) in a recent "newsletter" by Coda's Tom Johnson, MakeM
Just as a matter of interest: as a choir conductor and choral
composer/arranger, meaning of the lyrics comes very high on my list. I
sometimes don't care if notes are off pitch, not in beat and all the
other aspects, but meaning has to be conveyed to the audience no matter
what. No meaning, an
Here goes the start of another thread. I don't recall seeing an "v" shaped
accent in Jazz writing. A sideways "v" I always heard called an accent. At
school, in Texas, we Jazzers called an upside down "v" a "housetop." I got
into trouble, though, in LA, at a recording session, for calling it t
I agree with Chuck here -- I list for my students what order I (and I am
very careful to point out that this is my personal order of importance)
I feel musical elements should be thought of:
1) rhythm
2) pitch
3) tempo variations
4) articulations
5) dynamics
I tell them that, of course, we are
At 11:37 AM -0500 6/05/02, Stokes, Randy wrote:
>Better yet, like the old prison joke story, you could refer to each possible
>piece of music by number. It'd be a pretty *long* number, granted, but
>still...
>
>1657328773647892873
Wow, that last number is GORGEOUS! Can I use it, or have you alre
At 11:53 AM -0400 6/05/02, Charles Small wrote:
> A question of terminology for the Collective Wisdom:
>
> Whaddya call the accent mark that looks like a little v (sometimes
>inverted)?
>One place to see it is Bartok, Str.Quartet #5, 3rd mvt (Scherzo), cello
>parrt, meas.30-41, but of course it
Christopher BJ Smith wrote:
> However, I'm working on my Grand Unified Music Theory, which explains
> all aspects of every style of music in one simple formula. One of the
> marvelous advantages of my Theory is that you won't have to actually
> listen to the piece, as you will get everything y
At 10:40 PM +1000 6/5/02, Kenneth Kuhlmann wrote:
> > From: "Chuck Israels" <[EMAIL PROTECTED]>
>>
>> The three most important things in music are: rhythm, rhythm, and
>> rhythm, in that order.
>>
>
>Chuck:
>Surely rhythm, melody and harmony are the eternal musical trinity
>- allowing, of cou
A question of terminology for the Collective Wisdom:
Whaddya call the accent mark that looks like a little v (sometimes
inverted)?
One place to see it is Bartok, Str.Quartet #5, 3rd mvt (Scherzo), cello
parrt, meas.30-41, but of course it occurs all over the place.
My question is not how to
At 3:38 AM -0700 6/05/02, Philip Aker wrote:
>>>On Monday, June 3, 2002, at 08:34 PM, Christopher BJ Smith wrote:
>
>>I guess I am more of a Schenkerian than is fashionable these days
>>(like many jazzers), but in my ears, metre trumps everything - thus
>>the difference between an ornamental V-
[EMAIL PROTECTED] wrote
> how does one cope with lyrics?
Apply the lyrics before applying the plugin. If this does not work, please let
me know.
--
Robert Patterson
http://RobertGPatterson.com
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[EMAIL PROTECTED] wrote
> how does one cope with lyrics?
Apply the lyrics before applying the plugin. If this does not work, please let
me know.
--
Robert Patterson
http://RobertGPatterson.com
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Mark D. Lew writes:
> The reason the note appears up high is because Finale somehow gets the
> false idea that the bass clef is a treble clef, so it places the note
> accordingly (ie, way up in the ledger lines).
I was able to reproduce this just a couple of weeks ago, and got it
confirmed, so
> From: "Chuck Israels" <[EMAIL PROTECTED]>
>
> The three most important things in music are: rhythm, rhythm, and
> rhythm, in that order.
>
Chuck:
Surely rhythm, melody and harmony are the eternal musical trinity
- allowing, of course, that the relative importance of each element
may var
At 03:08 AM 6/5/02 -0800, Mark D. Lew wrote:
>Unfortunately, when I send it to Coda,
>they say they can't reproduce it on any of their systems and it must have
>something to do with my computer being so old.
Ah. My system is an optimized DAW with 1.4GHz Athon and 512MB memory
running Win98SE, an
You mean to tell me there's a harmonic meter?
Wow, when they finally read mine and send me the bill, I'm gonna have to
remortgage the house to pay it. Does anybody know what the fee per
chord use is? Or is it measured in kilo-chord-hours? Is there a
reduced fee if I just use roots and third
Chuck Israels:
> The three most important things in music are: rhythm, rhythm,
> and rhythm, in that order.
Two comments:
1. Tell that to the Three Fivers wouldja. ;-)
2. What's happened to harmonic meter?
Philip Aker
http://www.aker.ca
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On Monday, June 3, 2002, at 08:34 PM, Christopher BJ Smith wrote:
> David Froom:
>>> And my answer for him was to relate the Pachelbel to the
>>> standard sequential harmonic pattern generated from descending
>>> 10ths (or, if you insist, 3rds).
>> I don't disagree entirely but this is a dif
>Is that deliberate or related to the bug where the note comes out in the
>wrong in place? I still can't reproduce the exact circumstances, but the
>first note of the next measure appears up a few octaves. If I have the
>sound turned off and I'm not watching, this is a very messy thing.
I was tol
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