(Apologies if this is coming through non-ASCII; I can't tell from here, on
the road in A'dam using webmail access.)
My original comment, which has spawned several responses, was intended to
mean composers of the European tradition, not just those physically living
in Europe. That would include
- Original Message -
From: Mark D. Lew [EMAIL PROTECTED]
At 1:45 PM 11/12/02, David H. Bailey wrote:
Yes I will say that -- when I first began using Finale, with Speedy
Entry, I DID use the alpha keys as a three octave keyboard. It seemed I
always had to reset the octaves and then
At 10:37 AM 11/12/02, Patsy Moore wrote:
For a long time after we got Finale I didn't have access to a MIDI
keyboard, and I'm a fluent user of a QWERTY keyboard, so I got very
quick at using the alpha keys with the left hand and the number pad with
the right. However, if there are a few notes
When I run into this situation in my community band rehearsal I try hard
to remove all doubt by saying What WAS the quarter note of the 4/4
section will now be the half-note of the 2/2 section, so the beat will
remain constant but the type of note you give one beat to will change to
be the
THe Blue-Tailed Fly (Jimmy Crack Corn) by Stephen Foster has a great
tempo change for the faster. It can be done very well to demonstrate
your very problem -- the first part in 4/4, the second part in 2/2 where
the new half-note equals the old quarter-note.
Crystal Premo wrote:
When I run
Le mardi, 12 nov 2002, à 23:57 America/Montreal, Mark D. Lew a écrit :
On my current system (FinMac 2002), if the Speedy cursor is not over an
entry, typing the enter key does absolutely nothing. I want it to
add
the note to the previous entry. That is, I want enter to act on the
prior entry
At 11:19 AM +1100 11/13/02, Matthew Hindson wrote:
Appealing to the vast knowledge of this list:
I want to orchestrate a very short section in an orchestral piece in the
manner of one of those big Shirley-Bassey-type numbers (e.g. Hey Big Spender
etc.), but have no idea of the fundamentals of
Does anybody else wish you could attach chords to slashes, without having
to fill the measure with rests first?
Oh yes, absolutely.
Doug
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I must say this has been an illuminating debate with, unfortunately, more
differing opinions than concensus.
Back up a step and consider a slightly different case: a section in common
time followed by one in cut time. (Or, if you prefer, tempus imperfectum
followed by tempus imperfectum
THe Blue-Tailed Fly (Jimmy Crack Corn)
Thanks! I will use it!
Crystal Premo
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OK, if the subject is the ease of use of Finale
I've got to weigh in.
I just finished (I hope I hope) a project where
I transcribed a bunch (29) of jazz solos. Entering
the music into Finale is (for me) easy and
convenient. I like it I like it. But. I
just finished an editing cycle,
Back up a step and consider a slightly different case: a section in
common time followed by one in cut time. (Or, if you prefer, tempus
imperfectum followed by tempus imperfectum diminutum.) The very clear
meaning is that the note values decrease by half. I can't see any
situation in which
On 11 Nov 2002 at 15:14, Mark D. Lew wrote:
I'm not sure if it's available to the public, but I know that
Recordare has a routine that will display all sorts of detailed
statistics about which notes are used in a piece, calculated from the
MusicXML data. If you're on a Windows version of
A one-line hack solution to figuring out which individual notes are
used in a piece of music. Designed mainly to help quickly create a
handbell 'bells used' chart. This may not be for everyone but with a
bit of tweaking it will work under Windows (DOS command line). As it
is, it will work
Thanks for the responses to my query - they were exactly what I was after!
Now at least I know where I'm starting from...
Matthew
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On 13 Nov 2002 at 9:41, Phil Shaw wrote:
I contrast this Finale experience with any
word processor: after I enter a text document,
I can simply Print, and get an acceptable
copy. If I do the same with Finale, without
the final tweaking and editing, I get a
wretched unreadable copy, full
From: [EMAIL PROTECTED] (Mark D. Lew)
I know I'm probably one of the few here...
nope. furthest left or right point of the curves centred on the line, which of the
two depends on context, i choose it by eye, and by how the extremes sit compared to
the chord, how many accidentals, how the
Hi, David. I agree with your interpretations of compound vs. simple
subdivision. But,
Of course, in early music, you often must just make a guess. I think
all the people who try to make complex and exact conversions between
the old meters are making a huge mistake -- all you need to do is
On 13 Nov 2002 at 18:34, John Howell wrote:
Of course, in early music, you often must just make a guess. I think
all the people who try to make complex and exact conversions between
the old meters are making a huge mistake -- all you need to do is
absorb the feel of the music involved and the
On Wednesday, Nov 13, 2002, at 15:34 US/Pacific, John Howell wrote:
No, they were not simply theorists in the 20th century sense. There
was no job description for a Music Theorist, any more than there was
for a Composer. If you were a musician, you were first and foremost
a musician. You
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