At 11:15 AM 06/23/02, Christopher BJ Smith wrote:
>I get that from my students a lot - "But it's what I WANT!" to which
>my response usually is, "Then DON'T want it, because it's bad! Want
>something GOOD instead." That usually gets a laugh out of them,
>because I'm not as tough as that answer ma
Mark D. Lew wrote:
> At 7:48 AM 06/23/02, David H. Bailey wrote:
>
>>There is not the ability to hide every element you might want to hide,
>>using a staff style. For instance if you wanted to hide every 8th rest,
>>you would have to do that manually using the speedy entry tool. That is
>>no
Christopher BJ Smith wrote:
[snip]
> Because of the way copyright laws are set up, the person who worked out
> those beautiful chords to all those Berlin tunes doesn't get a penny of
> royalties, as only lyrics and melodies are copyrightable. Yet, IMHO,
> those songs might not have been the
On 6/22/02 6:22 PM or thereabouts, Colin Broom <[EMAIL PROTECTED]>
intoned:
> Anyone happen to know of a font that includes the indications for registral
> stops for the accordion (little circles with two horizontal lines and dots
> in various positions)?
>
> Cheers,
>
> Colin.
Hi Colin,
A fe
At 7:48 AM 06/23/02, David H. Bailey wrote:
>There is not the ability to hide every element you might want to hide,
>using a staff style. For instance if you wanted to hide every 8th rest,
>you would have to do that manually using the speedy entry tool. That is
>not something you can do with a s
>From: Colin Broom
>...indications for registral stops for the accordion...
this is something i intend to incorporate into a font set i am currently developing.
i might do it sooner than intended if you are interested in a copy. contact me
privately.
jef
--
shirling & neueweise \...
At 10:41 AM 23/06/2002 -0500, Johannes Gebauer wrote:
> > Thanks Jari -- I'm in the market for a new printer, so high resolution,
> > here I come!
>
>Just be sure you get full resolution in both directions. In contrast to text
>fonts, beams and slurs do not benefit from 1200x600 resolutions.
Yes.
On Sunday, June 23, 2002, at 05:54 PM, John Howell wrote:
> Any suggestions gratefully accepted! (Also ISBNs, if available!)
Jamey Aebersold has some reference materials available as free downloads
from his web site. Not sure precisely what you're after, but you might
look at "The Scale Syl
If there's one available, I'd like to add a text on chord symbols to the
materials used in my vocal/choral arranging course. Preferably something
brief, clear, easy to understand. I wouldn't mind something that's on
line, as long as it is also brief, clear, and easy to understand. I've
made my
Thanks Richard,
I think my real link is actually just "http://www.aker.ca/";
which I mixed up with the site address for uploading and
downloading (i.e. what I was doing just before the post). Not
that any Windows users would have it, but the "homepage" address
also a synonym for the iDisk fac
On Sunday, June 23, 2002, at 11:27 AM, Christopher BJ Smith wrote:
> Because of the way copyright laws are set up, the person who worked out
> those beautiful chords to all those Berlin tunes doesn't get a penny of
> royalties, as only lyrics and melodies are copyrightable. Yet, IMHO,
> those
On 22 Jun 2002, at 17:20, John Howell wrote:
> In the
> long run, he'll have to learn by trial and error, just like everybody else.
> (Except, perhaps, Mozart. I'm not sure he EVER made any errors!)
Yes, Mozart made errors.
Lots of his earliest works were written down by his father, and it's
On 23 Jun 2002, at 6:43, Michael Edwards wrote:
> [David W. Fenton:]
>
> >As to Win95 crashing, well, what do you mean?
>
> Well, different things on different occasions. Sometimes WordPad or
> Outlook Express or (most of all) Internet Explorer crashes ("illegal operation"
> message). In
At 11:27 AM -0400 6/23/02, Christopher BJ Smith wrote:
>At 5:20 PM -0500 6/22/02, John Howell wrote:
>>
>>
>>Irving Berlin not only survived but flourished not being able to read or
>>write a note of music. He could play what he wanted (supposedly only in
>>the key of F#, and I guess the pianos r
That link did not work, but this one does:
http://homepage.mac.com/philip_aker/index.html
Richard Yates
> This announcement concerns Windows plugins only.
>
> The following have been updated for Finale 2003.
> Compatibility range is from Finale 2001 to Finale 2003.
>
> Playback Utilities 1.1
At 1:14 PM -0400 6/23/02, Christopher BJ Smith wrote:
>The term "arranger' is hardly used any more, as his duties in the
>industry now seem to be covered by the title "producer", who used to
>be the guy who assembled the team and arranged financing and
>distribution, but now makes musical dec
>On Sun, 23 Jun 2002 11:27:43 -0400, you wrote:
>
>>Because of the way copyright laws are set up, the person who worked
>>out those beautiful chords to all those Berlin tunes doesn't get a
>>penny of royalties, as only lyrics and melodies are copyrightable.
>>Yet, IMHO, those songs might not have
Johannes Gebauer wrote:
> I have never ever been able to copy from one doc to another while preserving
> score expression staff assignments. Has anyone? I was under the impression
> this simply wouldn't work.
No, I haven't been able to either - I seem to remember there used to be a
version of Fi
This announcement concerns Windows plugins only.
The following have been updated for Finale 2003.
Compatibility range is from Finale 2001 to Finale 2003.
Playback Utilities 1.1
Position Notes 1.0 <--NEW
Position Rests 1.4
Update link is
At 5:20 PM -0500 6/22/02, John Howell wrote:
>
>
>Irving Berlin not only survived but flourished not being able to read or
>write a note of music. He could play what he wanted (supposedly only in
>the key of F#, and I guess the pianos rigged with movable keyboards to let
>him do this are right th
At 2:42 PM -0700 6/22/02, Linda Worsley wrote:
>
>Ah... we did that. We recorded some of the stuff live (with really
>good performers), and he was able to see many of the problems. That
>was the point where I was able to pull him back to the piano/vocal
>version... reducing each song to its b
At 2:49 PM +0200 6/23/02, Johannes Gebauer wrote:
>On 23.06.2002 14:09 Uhr, David H. Bailey wrote
>
>> I think the problem here is that if the staff names are different in the
>> different scores you are combining, the staff assignments are lost when
>> you combine.
>
>I don't think this is the
>
>I have to admit, it never even occured to me to try doing multiple time
>signatures with asynchronous barlines this way, but I just tried it and it
>works a treat! I set up three staves in 1/4, clicked "independent time
>signatures" on, and changed the the time signature "display as" to 5/4, 6
On Sunday, June 23, 2002, at 03:22 AM, Daniel Wolf wrote:
> If you want to work with an alternative tuning system, then the
> extra places for sharps or flats may well be useful.
That is correct. Each Finale "octave" can be subdivided into 100
parts. Accordingly, the number of accidental step
On Sunday, June 23, 2002, at 04:48 AM, David H. Bailey wrote:
> But Finale comes with the ability to use plug-ins, and you can
> learn how to program plug-ins. It is not for the faint of
> heart, though,
Actually, it's easier than you might think. There is a sample
plugin that shows how impl
On 23.06.2002 14:09 Uhr, David H. Bailey wrote
> I think the problem here is that if the staff names are different in the
> different scores you are combining, the staff assignments are lost when
> you combine.
I don't think this is the problem either, since both the source and the
target have b
David H. Bailey writes:
> Since nothing else could be done with the remainder of the bits in that
> byte (or else, more accurately, nothing else HAS been done with that
> byte) the ability to place far more than musically necessary is simply a
> relic of programming.
FWIW, the same byte is us
Johannes Gebauer wrote:
> On 22.06.2002 23:22 Uhr, Harold Owen wrote
>
>
>>Dear Johannes,
>>
>>Be sure to create a blank measure in all staves at the end of the
>>first document then use INSERT. This preserves spacing and staff
>>assignments.
>>
>
> That's what I have been doing, but it does
Michael Edwards wrote:
[snip]
> Do these staff styles allow you to hide particular symbols individually, or
> only allow you to set a general rule which decides automatically what is hidden
> and what is not, and then you can't make exceptions?
>
Staff styles don't have any particular
Michael Edwards wrote:
[snip]
>
> Yes, it does. I'm just curious (although it's not important, I
> suppose) why Finale caters for up to 127 sharps or flats. Although
> 7 is the theoretical maximum, and almost always the maximum found
[snip]
> top, in generosity of going beyond the standa
If you want to work with an alternative tuning system, then the extra
places for sharps or flats may well be useful. (BTW: this is one of the
features for which LIME has a nice interface).
Daniel Wolf
- Original Message -
From: "Dennis W. Manasco" <[EMAIL PROTECTED]>
To: "Finale" <[EMA
At 5:58 AM +1000 6/23/02, Michael Edwards wrote:
> So allowing more sharps or flats is reasonable up to a point,
>in view of this. But why up to as many as 127 sharps or flats? Is
>there a reason for this? - it does seem a bit over the top, in
>generosity of going beyond the standard li
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