>I am not affiliated with the authors, publishers or sellers of these
great
tools.
Neither am I but also recommend Powell's book! A must for every
engraver.
Regards,
Mario.
MARIO ASCHAUER
Music Director
Ensemble NovAntique Linz
Teacher Training College
of the
Diocese
On Thursday, June 6, 2002, at 09:06 PM, David W. Fenton wrote:
> That is not to say, though, that great poetry necessarily generates
> great
> music. Many have argued quite the contrary, that bad poetry and bad
> librettos make the best songs and operas. But that's a different
> discussion!
I
On 5 Jun 2002, at 17:32, Christopher BJ Smith wrote:
> 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 inspi
Music Engraving Today is a new book by Steven Powell. I highly recommend this
book to any working (or hoping to be) music typesetter/engraver/editor.
Powell has a direct and appropriately sardonic writing style and an "eye for
layout" that makes the book a joy to hold and read. Comparisons of F
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At 06:06 PM 06/06/02, Noel Stoutenburg wrote:
>to which I might point out that it's probably not going to be in the
mail; Coda
>uses FEDex Ground rather than USPS
Okay, well, it wasn't brought to my house today by any of the various
people who might do so.
Aaron.
_
Responding to comments about ordering the FIN2003 upgrade, Aaron Sherber wrote:
> Nothing in Thursday's mail -- I *really* hope they're not holding things up
> for the t-shirts.
to which I might point out that it's probably not going to be in the mail; Coda
uses FEDex Ground rather than USPS..
I'm having problems copying composite time signatures, and was wondering
whether it is just my computer, or whether others can replicate the problem.
I have a composite time signature in one bar, say 3+2+2/8 which is set to
display as 7/8. Select Partial Bars is off, Mass Mover is set to copy
ev
Robert, your depth of knowledge of this program never ceases to amaze
me! I never would have thought of that solution. I would have created
a different instrument set to a different channel.
Thanks! I just tried your solution and it indeed works.
What a list! Without it I'd be lost!
Rob
It is all in how you define the jump for the BEGINNING bracket for the
first ending -- you have to set it to jump on total passes, set the
total passes to 1, set the target measure to the first measure of the
second ending. You have to set the repeat sign at the end of the first
ending to jum
Mark D. Lew writes:
> Now admittedly, it's nice to know that option exists -- it's essentially
> the same thing I get from the nudge bug, which I was afraid I'd lose if I
> ever got around to installing the patch -- but that's not really the point.
It's not a "bug". It's designed that way.
Also
[Brian St. John:]
>1)When "8va" is present above the top line, do both lines play an octave
>higher? Or just the top line?
I'm not quite sure whether this is a question about how Finale plays music
back, or whether it is about rules of notation. I will answer it as the latter,
as I do
[EMAIL PROTECTED] wrote
>
> 1)When "8va" is present above the top line, do both lines play an octave
> higher? Or just the top line?
I thought this was staff behavior rather than instrument behavior (see below),
but I haven't checked it recently.
>
> 2)I used the "8va" as a note exp
At 02:06 PM 06/06/02, David H. Bailey wrote:
>I ordered on Saturday, too, and am still waiting.
Nothing in Thursday's mail -- I *really* hope they're not holding things up
for the t-shirts.
Aaron.
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And, about this previously mentioned piano piece I am transcribing. . .
1)When "8va" is present above the top line, do both lines play an octave
higher? Or just the top line?
2)I used the "8va" as a note expression for the top line - but both lines
are playing an octave higher. How w
On Thursday, June 6, 2002, at 01:40 PM, Chuck Israels wrote:
> I have been following the discussion of this subject (dear to my heart,
> as I wait with the rest of you) with some disappointment. I was told
> by a Coda person that the plan was ( I hope I am not breaking a
> confidence) that F
Hi folks,
When I have a 1st and 2nd ending I am having trouble getting the playback to
skip over the 1st ending on the 2nd pass. (It plays the 1st ending both
times. . . then goes to the 2nd ending.) This is just a piano piece. The
1st ending is 2 bars long, I have bracketed the bars with
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Unfortunately, "carbonizing" is a little more complicated for MIDI and audio
programs than it is for, say, a word processor. It is worth noting that
Sibelius "announced" Sibelius 2.0 for Mac OSX in March, and they are still
only taking pre-orders for the program (they _released_ the Windows upgrad
On 06.06.2002 19:40 Uhr, Chuck Israels wrote
> I have been following the discussion of this subject (dear to my
> heart, as I wait with the rest of you) with some disappointment. I
> was told by a Coda person that the plan was ( I hope I am not
> breaking a confidence) that Finmac 2003 would be
On 06.06.2002 21:04 Uhr, Mark D. Lew wrote
> I'm actually reasonably happy with the slur situation as it is, so I don't
> mean to sound like I'm complaining. I'm just saying that it could be a lot
> more efficient in terms of input. Right now I use a lot of gimmicks to
> tweak everything how I
> When may we expect to see Finale for Mac OSX?
Officially announced for summer 2003. But who knows, I'm still hoping
for an earlier release date.
Cheers,
Tobias
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My guess would be a stuck key, since the 7 is the metatool key for both
p in the expressions list and the 16th-roll marking. Pop the 7 off your
keyboard (with the power off, of course) and make sure there isn't
anything under it. Check both 7s on the keyboard.
SCOTT GREEN wrote:
> (I'd ca
At 9:46 AM 06/06/02, Jari Williamsson wrote:
>It is NOT only a document-wide option. Using the contextual menu for the
>slur, you can turn Engraver Slurs on/off for each individual slur.
>[ ... etc]
I wasn't aware of the contextual menu. I'm glad to know about it; I can
see a few things there t
I ordered on Saturday, too, and am still waiting. I live in New
Hampshire, which is a bit of a hike from Minnesota, though, so I figure
possibly this afternoon or tomorrow.
Giz Bowe wrote:
> At 07:30 AM 6/6/02, you wrote:
>
>> At 07:17 AM 06/06/02, Richard Yates wrote:
>> >I have been away
Here's a link to Coda's official statement on Finale and Mac OS X:
http://www.codamusic.com/coda/faq_display_client.asp?faq%5Fid=19512
Michael
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At 6:36 PM +0200 6/6/02, Johannes Gebauer wrote:
>On 06.06.2002 17:27 Uhr, Alan Smith wrote
>
>> Dear List,
>>
>> (I have just re-subscribed after a couple of months' absence, so please
>> excuse me if this one has already been discussed.)
>>
>> When may we expect to see Finale for Mac OSX? Fi
On 06.06.2002 16:26 Uhr, Charles Small wrote
>
> Hello Collective Wisdom,
>
> In the Peters "Urtext" edition of the Bach trio sonatas, there is a
> "lozenge" mark (an open rhomboid) above some of the notes in the violin
> part.
> Does anyone know what this means?
> Expiring minds want to know!
On 06.06.2002 17:27 Uhr, Alan Smith wrote
> Dear List,
>
> (I have just re-subscribed after a couple of months' absence, so please
> excuse me if this one has already been discussed.)
>
> When may we expect to see Finale for Mac OSX? Finale 2002 is about the
> only program I still use in Classi
At 09:24 AM 06/06/02, Giz Bowe wrote:
>Has anyone received Fin2k3 yet? I ordered on-line Saturday and am watching
>for the mailman with my cat Mickey (whose daily high-point is watching mail
>come in the mail-slot!).
Also ordered Saturday, also still waiting. It seems that the last couple of
In a message dated 6/6/02 9:29:09 AM, [EMAIL PROTECTED] writes:
<< When I choose either the Articulation or the Expression tools, any mouse
click in the music results in either a "p" dynamic or a 16th-roll-flag (?)
marking. I can't get to any other details to choose another selection. I
can
Thanks for the quick reply. I'll give it a shot later today.
Scott
>>> "Jari Williamsson" <[EMAIL PROTECTED]> 06/06/02 09:52AM >>>
SCOTT GREEN writes:
> When I choose either the Articulation or the Expression tools,
> any mouse click in the music results in either a "p" dynamic or
> a 16th-ro
SCOTT GREEN writes:
> When I choose either the Articulation or the Expression tools,
> any mouse click in the music results in either a "p" dynamic or
> a 16th-roll-flag (?) marking. I can't get to any other details to
> choose another selection. I can right click on the newly-inserted
> item
(I'd call Coda support, but the problem is on my home computer...)
Setup: 2002b/Win
When I choose either the Articulation or the Expression tools, any mouse click in the
music results in either a "p" dynamic or a 16th-roll-flag (?) marking. I can't get to
any other details to choose another s
Hello Collective Wisdom,
In the Peters "Urtext" edition of the Bach trio sonatas, there is a
"lozenge" mark (an open rhomboid) above some of the notes in the violin
part.
Does anyone know what this means?
Expiring minds want to know!
TIA, Ch.S.
_
http://home5.swipnet.se/~w-52653/Finale/Fin2003Review/index.html
> What's the URL for his site? Thanks.
>
> At 07:30 AM 6/6/02 -0400, you wrote:
> >Jari also has a review up at his site that has much more useful
> >information than the Coda marketing drivel. There seem to be a whole
bunch
> >of
On Wednesday, June 5, 2002, at 07:59 AM, Christopher BJ Smith wrote:
>> A good question and I know better than to say "Nevah!" on this
>> list, but generally for analytical purposes of pitch content,
>> very little. I'd say this approach is in keeping with both
>> atonal and serial analysis.
At 07:30 AM 6/6/02, you wrote:
>At 07:17 AM 06/06/02, Richard Yates wrote:
> >I have been away and unsubscribed for three weeks so I do not know if
> >everyone already knows that Finale 2003 (Windows) has been released.
>
>Yes -- some of us are already awaiting our t-shirts!
Has anyone received F
Hammerstein always wrote lyrics to fit the music until he worked with
Rogers. This was common in that style of writing. Hammerstein talks about
this in the intro to his collected lyrics.
Stu
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]]On Behalf Of Mark D. Lew
S
What's the URL for his site? Thanks.
At 07:30 AM 6/6/02 -0400, you wrote:
Jari also has a review up at his
site that has much more useful information than the Coda marketing
drivel. There seem to be a whole bunch of improvements with TAB notation,
by the way.
Aaron.
__
In writing words or music, they often alternate: sometimes the words
come first, sometimes the tune. I usually write to existing words, so I
have to stick to their meaning.
Have you ever translated words? Phew. That's probably the most difficult
of all composing tasks.
I didn't intend to be h
It becomes worse when people write for voice as if it were an
instrument. Bach for one was good at this. You get the optimum usign the
instrument to its full capabilities but also to it's true identity and
possibilities.
:-)
Paul Delcour
John Bell wrote:
> At 12:17 am +0200 06.06.2002, Paul
At 07:17 AM 06/06/02, Richard Yates wrote:
>I have been away and unsubscribed for three weeks so I do not know if
>everyone already knows that Finale 2003 (Windows) has been released.
Yes -- some of us are already awaiting our t-shirts!
Jari also has a review up at his site that has much mo
I have been away and unsubscribed for three weeks so I do not know if
everyone already knows that Finale 2003 (Windows) has been released. See:
http://www.codamusic.com/finale/
Richard Yates
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>>Hendricks' fine work <<
I agree. Some of the best stuff in the world.
Crystal Premo
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Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp.
_
I think the original question had more to do with a global nature,
rather than having to adjust each individual articulation.
Other than adjusting each articulation, there is no global setting which
always places articulations above the note.
Mark D. Lew wrote:
> At 5:30 PM 06/05/02, Joel S
If there is anybody who is not aware of Hendricks' fine work, then they
should be! I am not given to "me too" posts usually, but I have to jump
in here and agree wholeheartedly with Chuck! Hendricks' ability to fit
the words to the lyrics at breakneck speed hearkens back to Gilbert &
Sulliva
On 06.06.2002 4:01 Uhr, Mark D. Lew wrote
> But since engraver slurs on or off is a document-wide selection,
> that's not really a completely feasible option.
But you can control click on any Engraver slur (Windows: right click) and
select "Engraver slur: off".
Isn't that exactly what you mean?
Mark D. Lew writes:
> When an engraver slur is first drawn, the algorithm that chooses its shape
> and position it is not the same as the algorithm that does so if engraver
> slurs are turned off. I have found that about 85% of the time, I prefer
> the engraver slur as a starting point; but abou
>Oh man, difficult and then some!
>
>I think that Ira Gershwin sometimes worked this way with George's
>music too, and the results are pretty uniformly great, no matter what
>the order of creation.
My favorite example is "Indian Summer". Al Dubin wrote the words to tune
which Victor Herbert had
At 11:47 PM 06/05/02, Doug Auwarter wrote:
[answering Paul Delcour]
>> 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 "clas
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