Did you know that it [The Grand Unified Music Theory] has already been
started?
The mathematical expression for the first 7 right hand notes of the Mozart
Sonata in C is:
sin(2^((48*(step(t-0)-step(t-.8))+52*(step(t-.8)-step(t-1.2))+55*(step(t-1.2
)-step(t-1.6))+47*(step(t-1.6)-step(t-2.2))+48*(s
At 8:18 AM -0400 6/03/03, Dennis Bathory-Kitsz wrote:
At 12:28 PM 6/3/03 +0100, Steven D Sandiford wrote:
Musicality - it's a hard thing to define, but such an easy thing to
identify.
Sometimes I think I've wandered into the alt.finale.romantic-notions
newsgroup. :)
Yesterday it was music too fancy
At 11:35 PM -0400 6/02/03, Darcy James Argue wrote:
Notating swing rhythms in 12/8, or as dotted-eighth-sixteenth
figures (especially) is about as close to genuine swing as the
following notation would be to a genuine Viennese waltz feel:
quarter - eighth rest - eighth note - quarter note.
Oop
At 10:05 PM +0200 6/02/03, Klaaschello wrote:
>> That would be ridiculous, wouldn't it, being able to place it only once!
You can use it a thousand times, without 'incomprehensible moving
around' by
using metatools, a important subject in the manual.
Good luck,
Klasius.
Hmm, not in my manu
At 3:36 PM -0400 6/02/03, David W. Fenton wrote:
But if we interperet Beethoven and Mendelssohn's metronome markings
as having an implied "circa" in front of them, is there really a
difference here?
Nope. That's what I was arguing, I just prefer not to create the
argument for my own pieces by st
At 5:07 AM +1000 6/03/03, Michael Edwards wrote:
I can't, off the top of my head, think of an alternative way to notate
Viennese waltz rhythm more accurately than based on even beats;
maybe one could
be devised, but I suspect it would be far more complicated that a
simple triplet
or dotted r
I've had this experience too, but not a rather pleasant one. It was about
five years ago, when I was in high school. We were performing "Anything
Goes" (the Cole Porter musical). Great show, but our dancers were learning
from the CD recording which had some rather lengthy sections cut for time
At 12:28 PM 6/3/03 +0100, Steven D Sandiford wrote:
>Musicality - it's a hard thing to define, but such an easy thing to
>identify.
Sometimes I think I've wandered into the alt.finale.romantic-notions
newsgroup. :)
Yesterday it was music too fancy to be notated, today it's mysterious
musicality.
on 31/5/03 11:04 pm, Mark D. Lew at [EMAIL PROTECTED] wrote:
> At 1:41 PM 05/31/03, David W. Fenton wrote:
>
>> I'm using the term "musical" in the same sense that you would when
>> you say "well, he may have a conservatory degree, but he's just not
>> very musical." Obviously, that wasn't clear,
At 01:30 AM 6/3/2003, Ray Horton wrote:
>Ah yes - "Play it like the record"...
Better: "Play it *exactly* like the record. Except we really would like it
just a shade faster here and maybe a hair slower here and not so choppy
here"
>"And there's a big _scratch_ coming up, in a few bars."
Br
Step 3's done in OS X... <<
Ok, here's a specific question: I am going to be running in the Classic
Mode. Do I perform this installation in that mode, or in OSX?
Also, whenever I think I have completed the configuration, I get a message
that the system is expecting to see whatever I have selec
On 02.06.2003 19:15 Uhr, Andrew Stiller wrote
> The transposing notation recommended by another respondent was indeed
> standard during the glory days of scordatura in the 17th c., but
> later (rarer) uses tend to show the sounding pitch and assume the
> player will adjust the fingers appropriatel
On 02.06.2003 0:10 Uhr, Taris L Flashpaw wrote
> I have this niggling feeling that this has already been discussed on this
> list, but I'm curious about how to notate violin scordatura. In a work that
> I'm working on at the moment, I'd like the second violins to tune the G
> string down to F-shar
Ah yes - "Play it like the record"...
Years ago (before CDs became the norm) we had a ballet conductor say in
rehearsal "I hate doing it, but the record the ballet company has been using
has a big corny ritard right here ..."
I got a nice laugh when I continued, from my chair in the trombone sect
From: Daniel Dorff:
> Prokofiev is the best known of those who put the Tpts on top, and he
> certainly knew about orchestration.
That's very interesting. I had never taken a notice of that, and I seem to
have no Prokofiev scores here at home. ALL the other mid-20th century
greats that I have l
On Monday, Jun 2, 2003, at 21:10 America/Vancouver, Crystal Premo wrote:
Step 3: Go to Applications/Utilities/Audio MIDI Setup and configure
your USB interface. <<
This is what I do not understand.
Step 3's done in OS X...
Philip Aker
http://www.aker.ca
On Monday, June 2, 2003, at 03:43 PM, David W. Fenton wrote:
I am actually in the camp that the only appropriate re-tuning is to
get a lower note on the lowest instrument in the ensemble. Any other
retuning reflects poor planning. I have little patience with the
composer/arranger who would say "b
Step 3: Go to Applications/Utilities/Audio MIDI Setup and configure your
USB interface. <<
This is what I do not understand.
Crystal Premo
[EMAIL PROTECTED]/[EMAIL PROTECTED]
_
Tired of spam? Get advanced junk mail protection with M
On Monday, June 2, 2003, at 03:07 PM, Michael Edwards wrote:
[Darcy James Argue:]
I suppose this would depend on whether you wanted a parody of how jazz
musicians play eighth notes (which is what you would get with 12/8 or
[worse] dotted eighth-sixteenth notation), or wanted some actual
reasonable
On Monday, June 2, 2003, at 10:25 PM, Tim Thompson wrote:
Just making sure that you know that if you use the USB connection for
the keyboard, then you don't have to connect it to the MIDIsport.
No, no, no.
Good try, Tim, but Crystal was talking about her Mac keyboard, not her
MIDI keyboard.
Just making sure that you know that if you use the USB connection for
the keyboard, then you don't have to connect it to the MIDIsport. It
does all of the MIDI communication with the computer through the USB
cable. That means that in your OMS configuration, you will have two
interface type de
On Monday, June 2, 2003, at 06:23 PM, Crystal Premo wrote:
I bought a MIDISPORT interface device to hook my keyboard up to my G4.
Its USB connector only fits the port on the keyboard.
Crystal,
USB cables only go in one way -- that is, there is a top and a bottom
to them. I can 100% guarantee
Hal is right. The keyboard ports do not carry sufficient power for
some devices, but you should have plenty of USB jacks in the rear of
the G4 tower, and, if you bought an Apple display, a couple in the rear
of that.
On Monday, June 2, 2003, at 07:22 PM, Crystal Premo wrote:
If your interfac
Are you sure you're not trying to put it into a FireWire (IEEE 1394) port?
They look remarkably similar to USB ports except are slightly different in
shape.<<
You are absolutely right, Brad. You must be psychic. It fits quite
nicely when you put it in the right place.
Crystal Premo
I just check
Hi Crystal,
Connect Your MidiSport directly to USB port 1 or 2 on the back of your
G4. It wont work satisfactorily attached in any other way,
unfortunately.
In OMS Setup go into the 'Studio' menu -> 'Midi Cards and Interfaces'
-> 'Update Setup' -> 'Search'. You should then see an icon
repre
Third try. (I'm getting senile far, far too young.0 Below I actually
corrected the
paragraph that starts "The Saint-Saens and Mahler..."
- Original Message -
From: "Ray Horton" <[EMAIL PROTECTED]>
To: "Taris L Flashpaw" <[EMAIL PROTECTED]>; "finale list"
<[EMAIL PROTECTED]>
Sent: Monday,
Sorry, I got interrupted while I was inserting a few words. Below I
corrected the paragraph that starts with
"The Saint-Saens and Mahler ..."
- Original Message -
From: "Ray Horton" <[EMAIL PROTECTED]>
To: "Taris L Flashpaw" <[EMAIL PROTECTED]>; "finale list"
<[EMAIL PROTECTED]>
Sent: Mon
I knew I would have to be patient with this, but I have become too
frustrated.
I have a new MAC that I have set to boot to Classic Mode.
I have a cute little digital piano and a MIDISPORT interface device that
does not plug into the wall.
I have installed the driver from the software that came
Are you sure you're not trying to put it into a FireWire (IEEE 1394) port?
They look remarkably similar to USB ports except are slightly different in
shape.<<
You are absolutely right, Brad. You must be psychic. It fits quite nicely
when you put it in the right place.
Crystal Premo
[EMAIL PROTE
If your interface plugs into an outlet with an adaptor for its power, it
should work OK.
It does not plug into an electrical outlet.
I understand that USB devices that depend on getting their power from a USB
port may not work properly when plugged into a port on the keyboard. You
will probably
Taris said (complete message below):
> Doesn't strike me as a very professional attitude.
Very professional, in fact. A professional will strive to play in tune at
all times, and will strive to take care of his or her instrument so that it
plays well at all times. For these reasons, the profess
At 5:07 AM 06/03/03, Michael Edwards wrote:
> But in swing rhythms, even if a literally-played triplet rhythm doesn't
>swing, and even if *true* swing rhythm is very subtle, too much so to be
>notated
>exactly, it does strike me that triplet or dotted-rhythm notation is at least
>*closer* to t
At 3:28 PM 06/02/03, David W. Fenton wrote:
> [...] One should then make one's best effort at making a living,
>breathing, natural-sounding performance out of it.
>
>But if one cannot accomplish that, then discard the historical
>knowledge and make something that *does* live and breathe, historica
Dear Crystal,
If your interface plugs into an outlet with an adaptor for its power,
it should work OK. I understand that USB devices that depend on
getting their power from a USB port may not work properly when
plugged into a port on the keyboard. You will probably get the
definitive word from
At 06:11 PM 6/2/2003, Richard Huggins wrote:
>In the end, does any conductor see enough of a given order that he or she is
>"thrown" by a new one, or is it merely a matter of reorienting one's mind
>and soon no longer an issue?
I suppose I *could* get used to any score order, but why make it more
I bought a MIDISPORT interface device to hook my keyboard up to my G4. Its
USB connector only fits the port on the keyboard.
I know this will be a learning process, as I have never set this up on my
own. I know almost nothing about this, so let me start with the most
obvious:
Is there any re
I may not have been right to do so, but what orch's I have done I put horns
below trumpets and above trombones because of their range. Engraving as also
I arrange, it's easier conceptually for me to do that and keep my head
straight about who's playing what.
Granted, though, I certainly could swap
On 2 Jun 2003 at 16:55, David W. Fenton wrote:
> Well, this was modern dance (a piece written on texts of St. Teresa
> of Aguilar),
That should have read "St. Teresa of Avila."
Dunno where "Aguilar" came from!
--
David W. Fentonhttp://www.bway.net/~dfenton
David Fenton
On 02.06.2003 21:28 Uhr, David W. Fenton wrote
> I would tend to agree with you on all of the things you say.
Nice to hear
>
> But I'd add something else:
[snip]
And I'd tend to agree with your additions as well. Nothing worse than a
historically informed performance that is dead in every sens
On 2 Jun 2003 at 15:57, Aaron Sherber wrote:
> At 03:36 PM 6/2/2003, David W. Fenton wrote:
> >I've only once played for dancers, and we didn't worry about tempos
> >at all! The conductor just chose the tempos and went with it, and the
> >dancers never complained one bit!
>
> Dancers' opinion
Prokofiev is the best known of those who put the Tpts on top, and he
certainly knew about orchestration.
It is standard in band / wind ensemble music to put the Tpts first.
However look at Berlioz scores - he was prone to put the horns in the
woodwind choir rather than with the brass, and he also
The traditional order is horns above trumpets. The horns got there first,
and the trumpets, often playing along with timpani, followed. The order
remains that way because of tradition, and because the horns play more with
the WWS (esp. bssns) than do the trpts. No good reason to change it.
Oth
on 6/2/03 12:07 PM, Michael Edwards wrote:
>For that matter, haven't there been occasions when trumpets were put above
> horns in orchestral scores? Given that, within each division, instruments are
> listed in order of descending pitch, isn't there an argument for putting
> trumpets above ho
> From: Christopher BJ Smith <[EMAIL PROTECTED]>
> Date: Sun, 01 Jun 2003 22:37:58 -0400
> To: Klaaschello <[EMAIL PROTECTED]>, Stan Lord <[EMAIL PROTECTED]>, finale
> list <[EMAIL PROTECTED]>
> Subject: Re: [Finale] Chord Symbol font
>
> At 8:38 PM +0200 6/01/03, Klaaschello wrote:
>>> From: Ch
At 03:36 PM 6/2/2003, David W. Fenton wrote:
>I've only once played for dancers, and we didn't worry about tempos
>at all! The conductor just chose the tempos and went with it, and the
>dancers never complained one bit!
Dancers' opinions about tempo generally have a lot to do with how much and
wh
On 2 Jun 2003 at 14:53, Ray Horton wrote:
> Notation is the least of the problem. It's been my experience that string
> players, especially violinists, detest this and will try to avoid messing up
> the tuning of their instruments just to play something the violas can do
> better. It's nearly im
On 2 Jun 2003 at 10:08, Christopher BJ Smith wrote:
> I've set this "safety net" for myself, and even mark the tempo into
> the piece, and yet, when I get it in front of live musicians, it
> almost NEVER "sits" well in the tempo I conceived it in! Sometimes it
> feels better slower, most often
On 2 Jun 2003 at 15:02, Johannes Gebauer wrote:
> To add just one value judgement: I think all the Grete Wehmayer (or however
> her name is spelled) theories about Beethoven's and other's metronome
> markings not meaning what they say is a whole lot of b*llsh*t.
I would tend to agree with you on
On 1 Jun 2003 at 18:29, Dennis Bathory-Kitsz wrote:
> So that is the problem I like to consider often -- why is it we work in
> notation? If breakdowns of oral/aural tradition did not happen (and
> recording technology doesn't make us immune to them), then we wouldn't have
> had (for example) the
This debate, while very interesting, seems to have focused on the notation
of swing music; but, using that as an example, it does seem to bring up many
different aspects of the purpose of notation and the broader philosophy behind
it. I do have a few more responses to various postings over th
[Ray Horton:]
>2) Any other order can be disputed. Standard orchestral order really can't
>be.
>
>For an example of what I mean by 2), look at brass trio scores (trp, hn,
>trb). Most will put the trpt above the horn, but a few (Poulenc is one, I
>believe) put the horn on top to follow orchestral
[Darcy James Argue:]
>I'm working on engraving a piece with the following instrumentation:
>
>Timp
>Bells/Chimes
>Perc
>Harp
>Piano
>Boy Soprano
>SATB chorus
>Strings
...
>The above order would be (I believe) the standard orchestral order,
>but -- call me biassed, but it looks odd to me to have th
Notation is the least of the problem. It's been my experience that string
players, especially violinists, detest this and will try to avoid messing up
the tuning of their instruments just to play something the violas can do
better. It's nearly impossible to get the off-tuned string in tune, and
d
[the following is part 2 of an edited-down version of a reply I sent
on
Saturday which was too big for posting without moderator approval; as
the moderator appears not to have approved it, I'm sending through
this shortened version, in two parts]
On 31 May 2003 at 23:40, Michael Edwards wrote
[the following is a two-art edited-down version of a reply I sent on
Saturday which was too big for posting without moderator approval; as
the moderator appears not to have approved it, I'm sending through
this first part of the shortened version]
On 31 May 2003 at 23:40, Michael Edwards wrote:
on 6/2/03 10:48 AM, Crystal Premo wrote:
> I bought a MIDI interface at Sam Ash, but the USB connector isn't as
> universal as it should be, because it is just slightly too wide to fit.
Are you sure you're not trying to put it into a FireWire (IEEE 1394) port?
They look remarkably similar to USB
Wow, that's great. I'm glad you got them to do everything you wanted them
to do.
Enjoy the new machine<<
Well, they provided me with the OS upgrade, but it was wildly easy to
install it myself, along with the RAM.
I bought a MIDI interface at Sam Ash, but the USB connector isn't as
universal
As a pianist who frequently does the vocal and choral preparation for works
with mixed ensemble, here is my version on the score order. This is based
on my frequent need to play chorus and/or solo parts along with the
accompaniment from open score.
Strings
Harp
Soprano and Alto chorus
Boy Sopran
I have this niggling feeling that this has already been discussed on
this list, but I'm curious about how to notate violin scordatura. In
a work that I'm working on at the moment, I'd like the second
violins to tune the G string down to F-sharp so that firsts, seconds
and violas can play in a t
The amp for my home stereo is dying, and I thought I'd tap the wisdom
of the list before getting a replacement. The old amp is an
integrated model (preamp built in) w. 40 watts power that is more
than enough to drive the 6 speakers scattered around my house. I'm
leaning toward a TEAC A-H500, av
- Original Message -
From: <[EMAIL PROTECTED]>
Subject: Re: [Finale] Score Order
> > Darcy James Argue wrote:
> >
> > > I'm working on engraving a piece with the following instrumentation:
> > >
> > > Timp
> > > Bells/Chimes
> > > Perc
> > > Harp
> > > Piano
> > > Boy Soprano
> > > SATB c
At 3:02 PM +0200 6/02/03, Johannes Gebauer wrote:
Ok, I'll try. First of all I honestly don't think that one can make the
assumption that if modern composers don't stick to their own markings that
this has any relevance to composers in the first half of the 19th century.
Just from my own experien
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