on 3/5/03 3:15 PM, Matthew Hindson Fastmail Account at
[EMAIL PROTECTED] wrote:
>> Subject: [Finale] Finale Wishes etc.
>>
>> staff optimizations were toast. For example, 46 measures from the
> beginning
>> were cut completely so an excerpt could be created for rehearsal
>> preparations. This m
On Wednesday, March 5, 2003, at 08:41 PM, John Bell wrote:
For goodness' sake is it necessary to debate this at such length?
If this discussion has gone on too long for your taste, than why on
earth did you quote *the entire thread* in your reply?
Musicians who see the old two-eights-equals thi
On Wednesday, March 5, 2003, at 11:25 PM, David Stonestreet wrote:
If i remember it was earlier in the year than I had expected.
I have 2002 and am waiting for 2004 and am trying to guess when in the
year it might raise its head.
New versions of Finale are always released in the summer, and the
If i remember it was earlier in the year than I had expected.
I have 2002 and am waiting for 2004 and am trying to guess when in
the year it might raise its head.
--
David Stonestreet - Coming to you from Sydney Australia.
[EMAIL PROTECTED]
"Fleeing from the Cylon tyranny, the last Battlestar, G
On Wednesday, March 5, 2003, at 05:12 PM, Mark D. Lew wrote:
I'm in agreement with some of the sentiments, but I'm still very much
in
disagreement with the conclusion.
It seems to me that the heart of our disagreement is your assumption
that
putting the eighths-equals-triplet indication on the
For goodness' sake is it necessary to debate this at such length?
Musicians who see the old two-eights-equals thing or see the word
Swing either know immediately what it means, or else they don't. No
amount of instructions will ever make a classically trained string
section sound anything other
On Wednesday, March 5, 2003, at 04:54 PM, Andrew Stiller wrote:
My concern is with revivals of classic musicals (the only ones worth
attending, in my recent experience) which were written for full string
sections that are just not to be heard on Broadway anymore. I went to
see _On the Town_ wh
> Subject: [Finale] Finale Wishes etc.
>
> staff optimizations were toast. For example, 46 measures from the
beginning
> were cut completely so an excerpt could be created for rehearsal
> preparations. This meant all the staff optimization was lost since what
was
> system 12, was now system 1.
F
At 1:29 PM 03/05/03, Chuck Israels wrote:
[Answering Darcy Argue]
>>Even in an amateur situation -- *especially* in an amateur situation --
>>my experience is that the triplet indication just makes things worse.
>>IMO, you would be better to tell them *not* to try to swing the eighth
>>notes in a
On 5 Mar 2003 at 22:30, Mr. Liudas Motekaitis wrote:
> - Original Message -
> From: David W. Fenton <[EMAIL PROTECTED]>
> To: <[EMAIL PROTECTED]>
> Sent: Wednesday, March 05, 2003 8:12 PM
> Subject: Re: [Finale] TAN Blessing or Curse in disguise?
> > On 5 Mar 2003 at 10:46, Tim Thompson wr
On 5 Mar 2003 at 16:07, Dennis Bathory-Kitsz wrote:
> At 01:40 PM 3/5/03 -0500, David W. Fenton wrote:
[]
> >My basic objection is that a composer controlling a MIDI performance
> >with the latest controllers, and using the finest envelopes for the
> >instrumental sounds, is still only a singl
I heard an interview with a Broadway producer who said that since the
orchestra is amplified anyway, it's not a far step to use an amplified MIDI
performance.
I realize that the logistics of modern Broadway shows are what they are, ...
Tim
My concern is with revivals of classic musicals (the onl
Darcy Argue wrote:
Even in an amateur situation -- *especially* in an amateur situation --
my experience is that the triplet indication just makes things worse.
IMO, you would be better to tell them *not* to try to swing the eighth
notes in an exaggerated manner. The only thing they should worry
Darcy Argue wrote:
Even in an amateur situation -- *especially* in an amateur situation --
my experience is that the triplet indication just makes things worse.
IMO, you would be better to tell them *not* to try to swing the eighth
notes in an exaggerated manner. The only thing they should worry
To all,
There has been enough from me on this topic, that's for sure! I've
collapsed David's last three emails into one response. Then I'll leave the
topic behind -- unless you're all just too enthralled!
Dennis
At 01:40 PM 3/5/03 -0500, David W. Fenton wrote:
>But do the new controllers allow
> are means (electronic, mind you) to reproduce that sound. A single
> performance, frozen in time, is as unnatural in its way as electronic
> representations through midi.
>
>
>
> --
> David H. Bailey
We are talking about art. Art is unnatural. Of course. That's part of its
definition. It is unn
- Original Message -
From: David W. Fenton <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Wednesday, March 05, 2003 8:12 PM
Subject: Re: [Finale] TAN Blessing or Curse in disguise?
> On 5 Mar 2003 at 10:46, Tim Thompson wrote:
>
> > No matter what you do with a MIDI performance, the s
On 5 Mar 2003 at 10:48, Andrew Stiller wrote:
> >> Hogwash! Organs as large as any ever built were in existence by
> >> 1425--two centuries before the orchestra was even thought of.
> >
> >This statement is a bit of hyperbole; what would have been a very
> >large organ in
> >1425 would have bee
On 5 Mar 2003 at 10:46, Tim Thompson wrote:
> No matter what you do with a MIDI performance, the sounds are still
> electronically produced, and most importantly, must be electronically
> amplified through some sort of speaker system to be heard.
I'm not so certain about that. The room can greatl
On 4 Mar 2003 at 22:29, Dennis Bathory-Kitsz wrote:
> At 07:55 PM 3/4/03 -0500, David W. Fenton wrote:
> >But Dennis's argument seems to be that, for his music, at least,
> >there really is only one correct reading, and all others are mis-
> >readings, and that for lots of other music, there are
Mr. Liudas Motekaitis wrote:
- Original Message -
From: Tim Thompson <[EMAIL PROTECTED]>
The other point is that I, too, would always rather have a
not perfect live acoustic performance of music that was composed to be
heard
that way, and believe that the music is much less valuable with
On 4 Mar 2003 at 22:25, Dennis Bathory-Kitsz wrote:
> At 07:17 PM 3/4/03 -0500, David W. Fenton wrote:
> >It interests me a great deal how antithetical to Cage's philosophy
> >your comments truly are. You seem not to delight in fortuitous
> >"mutations" of your compositional efforts. That is, of
On 4 Mar 2003 at 21:56, Dennis Bathory-Kitsz wrote:
> At 12:47 AM 3/5/03 +0100, Mr. Liudas Motekaitis wrote:
> >I assert that Midi in its perfection is in effect an AD/DA processor with a
> >sampling rate of infinity. Anything less than that is watered down
> >compositional intent. So if you tell
- Original Message -
From: Tim Thompson <[EMAIL PROTECTED]>
> The other point is that I, too, would always rather have a
> not perfect live acoustic performance of music that was composed to be
heard
> that way, and believe that the music is much less valuable without the
> dimension of pe
Andrew:
Hogwash! Organs as large as any ever built were in existence by
1425--two centuries before the orchestra was even thought of.
This statement is a bit of hyperbole; what would have been a very
large organ in
1425 would have been considered to be a modest size in 1725, and would be
consid
Dennis, et al.,
I have to admit to only scanning through posts on this discussion, but I
want to weigh in with a point that I believe has been amplified by the
situation in NYC.
No matter what you do with a MIDI performance, the sounds are still
electronically produced, and most importantly, mus
On 04 Mar 2003, JD wrote:
> Coda has to
> redesign the dialog box and implement some
> kind of sorting/accessing to make it more
> functional.
Indeed, but I believe Tobias has already done this on the Windows side. (I don't use
TGTools Win so I'm not certain, but I believe I've seen an expressio
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