At 8:35 AM -0700 5/27/03, Chuck Israels wrote:
Smart people:
I wrote an arrangement of All Blues and scored it in 6/4. There
is general agreement that the piece ought to be notated in 6/8, and
I seem to remember that one can do this conversion without too much
difficulty in recent versions of
...makes sense..? I'm surprised to hear you say that. The appearance of
anything resembling a key signature means that the old key signature is
cancelled and the new one begins. What key has only E-flat in it?
However, this could be done graphically. (Maybe that's the workaround you
meant.) Just
At 11:35 AM 5/27/2003, Chuck Israels wrote:
I wrote an arrangement of All Blues and scored it in 6/4. There is
general agreement that the piece ought to be notated in 6/8, and I
seem to remember that one can do this conversion without too much
difficulty in recent versions of Finale. Anyone have
Somehow, I just can't understand all this desire to do everything
differently, just for the sake of making a change or developing an
individual engraving style!
If music is tonal, it needs a key signature. Printing it with no key
signature, and with accidentals, only provides an obstacle to
Thanks for good advice, Philip, Aaron and Chris.
I can see that this is doable - but a little fussy, and I think that
I agree with Chris that my first instinct was right (notating the
piece in 6/4, the way jazz bass players are used to seeing the
pulses). So I'm going to leave it alone.
Hi, Jim -- do I understand you correctly: that you would naturalize the
outgoing key signature in addition to the new key signature? That is, going
from Bb to G you'd naturalize the Bb Eb and put F#?
I'm not trying to be argumentative -- just trying to get a professional
opinion on common
From: Andrew Stiller [EMAIL PROTECTED]
I was recently looking thru my copy of the Doors _Waiting for the
Sun_ printed anthology, and noticed a variant of this that I don't
think Finale can currently do w.o a workaround: when changing from F
to Bb at the end of a line, the cautionary key sig.
At 1:12 AM -0800 5/27/03, Mark D. Lew wrote:
At 9:01 AM 05/25/03, Christopher BJ Smith wrote:
It's my understanding that cancelling outgoing key signatures with
naturals is archaic, kind of like separate beaming of eighths on each
syllable was popular a century ago. I never do it.
It is my
Hi all,
Berio has died. There is a crack in the musical landscape for some of us.
Dennis
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At 3:56 PM 05/27/03, Giz Bowe wrote:
Hi, Jim -- do I understand you correctly: that you would naturalize the
outgoing key signature in addition to the new key signature? That is, going
from Bb to G you'd naturalize the Bb Eb and put F#?
Jim can speak for himself, but yes, what you describe is
At 8:41 AM 05/27/03, Christopher BJ Smith wrote:
[answering me]
I would add one point, though. The rule I've often seen, and which I
prefer, is that when you're switching from sharps to flats or vice versa,
you do not cancel the outgoing signature, but if you're switching from
several sharps to
At 5:56 PM 05/27/03, John Howell wrote:
I could be wrong, but the change I think I've seen between late 19th
century orchestral engraving and 20th century engraving is not a
change in whether to cancel accidentals, but in where to put the
cancelation. Cancelling before the bar line gives a
Now this looks interesting! I'm on Windows 2003 with Tritton17 monitor.
Anybody advise me of the equiv Windows command for (Mac) 'Command-option-1'
and 'Command- 1'
Sincere thanks for all the interest, advice- and condolences!
Cheers, Keith in OZ
- Original Message -
From: Lawrence David
At 06:31 PM 5/27/2003, helgesen wrote:
Now this looks interesting! I'm on Windows 2003 with Tritton17 monitor.
Anybody advise me of the equiv Windows command for (Mac) 'Command-option-1'
and 'Command- 1'
I don't think the preceding post applies to Windows (or to Finale, for that
matter). The Get
Giz Bowe wrote, in part:
do I understand you correctly: that you
would naturalize the outgoing key signature
in addition to the new key signature? That is,
going from Bb to G you'd naturalize the Bb
Eb and put F#?
Yes.
Some of the other posts here suggest that
using courtesy
At 6:31 PM -0400 5/27/03, Dennis Bathory-Kitsz wrote:
Hi all,
Berio has died. There is a crack in the musical landscape for some of us.
Yes indeed. I really liked the way he thought about music, and what
he showed us of his thoughts. And a great sense of humour, too!
At 4:43 PM -0700 5/27/03, James O'Briant wrote:
Giz Bowe wrote, in part:
I do like courtesy accidentals for notes, and
I like to see them in parens.
What's your house style here?
I prefer them in parentheses as well, but since Finale doesn't
automatically put them in
parentheses, that's OK
Christopher BJ Smith wrote:
Huh? Finale doesn't automatically put
in courtesy accidentals at all, with
or without parentheses, unless you
invoke the Cautionary Accidentals
plugin, ...
Or are you referring to something else?
I do my note entry in standard entry. When I see the need
[Mark D. Lew:]
There are certainly publishers still using the old style today. Oxford,
for example.
Publishers? - not composers? This leads me to wonder whether a publisher
would impose their method in this (whether the old or new one) on any music they
published, overriding what the
[Giz Bowe:]
Hi, Jim -- do I understand you correctly: that you would naturalize the
outgoing key signature in addition to the new key signature? That is, going
from Bb to G you'd naturalize the Bb Eb and put F#?
[Mark D. Lew:]
Jim can speak for himself, but yes, what you describe is the
[John Howell (on newer tendency to omit naturals in key signature change):]
I could be wrong, but the change I think I've seen between late 19th
century orchestral engraving and 20th century engraving is not a
change in whether to cancel accidentals, but in where to put the
cancelation.
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