[Liudas Motekaitis:]
>... you almost never use a dotted note as a beat...
Not even in 6/8 or 9/8 or 12/8?
Surely the beat there is a dotted note? Or have I misinterpreted your
comment, Liudas?
Regards,
Michael Edwards.
[Brad Beyenhof:]
> Compound meters have three beats per pulse: 6/8, 9/8, 6/4 (sometimes)...
I would have thought proper terminology would be "three pulses per beat".
I learned that the "beat" was the primary unit of rhythm, and that you could
term subdivisions of that "pulses".
Am I wro
I've been of the opinion that chords should be given their own "staff"
(zero lines?) and not be attached as if they were articuations to another
staff. They have their own rhythmic pattern, often independent of the other
staves, and they quite often (in what I do) are played/read by separate
instru
On Thursday, June 12, 2003, at 12:19 AM, John Howell wrote:
That's the long answer.
Thanks, John. Good stuff, very helpful.
The short answer is that sure, you can ask for what you want, but I'd
suggest exploring the potential problems carefully before you commit
yourself to doing so. You men
Okay,
In the pops orchestra project I'm currently working on, there's a
piece I'm arranging where I'd like to use a lot of low wind
instruments. I mean, a lot. The winds are 3/3/3/3. If I could get
away with it, I would probably want three contrabassoons and three
contrabass clarinets. Or
At 06:27 AM 6/11/2003 -0400, David H. Bailey wrote:
Tim Thompson wrote:
[snip]
Yes, I do this (1.) sometimes too, and have up M2 transposition
programmed as metatool 8, and up P5 as metatool 9 (6 and 7 are octave
transpositions). And, of course, the reason for doing it like this is to
hear it
On Wednesday, June 11, 2003, at 10:58 PM, James O'Briant wrote:
IMHO ("In My Humble Opinion"), you an write for whatever combination of
instruments you want to . But the chances of it ever being performed
will be reduced to near zero.
Well, I'm not writing this on a lark. It *will* be performed
Darcy James Argue wrote, in part:
> ... there's a piece I'm arranging where
> I'd like to use a lot of low wind
> instruments. ... I would probably want
> three contrabassoons and three contrabass
> clarinets. Or maybe a contrabass clarinet,
> a contra-alto clarinet, and a bass clarinet. .
Darcy, I'm a bass clarinetist, and I would ask the contractor about this
orchestra's specifics, since it will vary greatly between orchestras. I
think you can count on 2 bass clarinets (2nd and 3rd player) but in some
cities contrabass clarinets may be hard to locate. 1st-chair players might
resis
Okay,
In the pops orchestra project I'm currently working on, there's a piece
I'm arranging where I'd like to use a lot of low wind instruments. I
mean, a lot. The winds are 3/3/3/3. If I could get away with it, I
would probably want three contrabassoons and three contrabass
clarinets. Or
From PowerPoint, just go to Insert > Picture > From File... and find the
TIFF you've exported. I'm not certain that that's the correct path to
insert, but I'm sure you can figure it out if it's not.
Brad Beyenhof
Two things to be aware of. Once you've imported it, it can be
resized on the screen
On Wednesday, June 11, 2003, at 02:18 PM, Christopher BJ Smith wrote:
Or how about Major 7 sus4?
Hmm, I've used it before, though I usually would call it something
else, like G7/C instead of Cmaj7(sus4), but I wouldn't write out Major
like that.
Yeah, that's generally how it's used. I should h
On Wednesday, June 11, 2003, at 09:36 AM, [EMAIL PROTECTED] wrote:
C'mon Darcy - I can also cite many pages where there IS consistent size
proportions from page to page
Well, yeah. I considered that too obvious to mention. It's just a
given that most scores have a default staff height, which i
on 6/11/03 2:06 PM, Richard Huggins wrote:
> I am playing at a reading session of piano music in a couple of weeks and
> the meeting coordinator said something in a recent e-mail about scanning the
> selections that will be played and putting them into Powerpoint for members
> of the audience to w
At 4:53 PM -0400 6/11/03, Giz Bowe wrote:
It would be nice if Finale would let one attach chords to slash
notation, rather than using a hidden layer for anchors.
We were just discussing the problem of attaching chords when you have
to hide "anchors." Slash notation attachment only solves part o
On Wednesday, June 11, 2003, at 03:18 PM, David H. Bailey wrote:
Herman S. Gersten wrote:
Who said computers save time?
I do, every time I extract and print a concert band's worth of parts!
But however fabulous the end product, the road to Nirvana is filled
with potholes.
Of course I knew about
Then what is the meter of the third movement of Beethoven's Fifth Symphony?
BF
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED] Behalf Of [EMAIL PROTECTED]
> Sent: Wednesday, June 11, 2003 2:04 PM
> To: [EMAIL PROTECTED]
> Subject: [Finale] Re: OT - 3/8 Time Sig
I am playing at a reading session of piano music in a couple of weeks and
the meeting coordinator said something in a recent e-mail about scanning the
selections that will be played and putting them into Powerpoint for members
of the audience to watch as they are played.
I know nothing about how P
It would be nice if Finale would let one attach chords to slash notation,
rather than using a hidden layer for anchors.
At 03:15 PM 6/10/03, you wrote:
The problem of pitches used for rhythmic notation also playing back is a
unrelated problem, isn't it? With rhythmic notation, you don't have to
Christopher BJ Smith writes:
> Then how come S works for
> slurs for Patty? Were they built-in metatools?
The hard-coded metatools 'S', '>' and '<' were added in Fin2000, I believe.
Best regards,
Jari Williamsson
ICQ #: 78036563
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At 12:06 AM 06/12/03, Peter Younghusband wrote:
>With the usual apologies for OT.have a question regarding
>description of time signature. We all know 2/4 is simple duple, 6/8 is
>compound duple etc..can anybody describe 3/8 please?
"Simple triple"?
mdl (who isn't familiar wit
At 6:48 AM 06/11/03, Brad Beyenhof wrote:
[answering me]
>> I once wrote a choral piece (well, started to write
>> anyway...) that began
>> with a tight C-D-F# that remained harmonically ambiguous for
>> a few bars
>> until the bass G joined and the suspension came down.
>
>How were you able to ke
There were non programmable "metatools" starting in Finale 2000b I think.
They didn't become programmable until 2k2 or 2k3--I'm kinda fuzzy on when
that came about.
-Original Message-
From: Christopher BJ Smith [mailto:[EMAIL PROTECTED]
Sent: Wednesday, June 11, 2003 3:01 PM
To: [EMAIL PR
At 8:56 PM +0200 6/11/03, Jari Williamsson wrote:
Christopher BJ Smith writes:
That has been added to the default file supplied with 2003, but there
is no reason why you couldn't program it yourself in an earlier
version, assuming the shape exists in 2000 (which I think,
unfortunately, it does
Herman S. Gersten wrote:
Thank you Tim, Brad, Dan, Liudas, and those yet to respond, for all your
suggestions.
I guess the bottom line is you have to redraw to clean up the screen.
Who said computers save time?
I do, every time I extract and print a concert band's worth of parts!
--
David H. B
At 09:30 PM 6/11/03 +0200, Mr. Liudas Motekaitis wrote:
>Does anyone have their 'wonderfully smooth and quick results'
>story? Would be interesting to hear.
My story is generally one of 'wonderfully smooth and quick results'.
Crashes are practically unknown on my system with well-behaved applicati
ctrl-d redraws the screen.
Herman S. Gersten wrote:
An annoying result of deleting and re-positioning various objects such
as expressions and hairpins, is that a "ghost" of the deleted and/or
moved object remains on the screen until a redraw.
Is this par for the course? If not, how can it be
Christopher BJ Smith writes:
> That has been added to the default file supplied with 2003, but there
> is no reason why you couldn't program it yourself in an earlier
> version, assuming the shape exists in 2000 (which I think,
> unfortunately, it doesn't)
Despite the fact that programmable me
Herman S. Gersten writes:
> I guess the bottom line is you have to redraw to clean up the screen.
> Who said computers save time?
Historically, drawing directly onto the screen (which is causing the visual
mess) instead of buffering the display is a one of the things that Finale
has been doing
At 9:37 PM -0400 6/10/03, Giz Bowe wrote:
There's no "7 (b9b13)", just "(b9b13)". There are 2 "7(b13 nat9)"s, though.
Wacky. Why not 9(b13)?
Chord symbol 15 is a 13th chord;
What's wrong with that?
There's a Maj6
I agree, just dumb. C6 is plenty; major is assumed.
, but no Maj9 -- just M
At 8:21 AM +0100 6/11/03, Patsy Moore wrote:
In message <[EMAIL PROTECTED]>, Christopher BJ Smith
<[EMAIL PROTECTED]> writes
If you
hold down G in the Smart Shape Tool, no matter what tool you have
selected, then double-click and drag, you will get a gliss WITH text,
I got a bit excited about this
At 1:03 PM -0400 6/11/03, Herman S. Gersten wrote:
An annoying result of deleting and re-positioning various objects
such as expressions and hairpins, is that a "ghost" of the deleted
and/or moved object remains on the screen until a redraw.
Is this par for the course? If not, how can it be elim
At 12:06 AM +0800 6/12/03, Peter Younghusband wrote:
With the usual apologies for OT.have a question regarding
description of time signature. We all know 2/4 is simple duple, 6/8 is
compound duple etc..can anybody describe 3/8 please?
Simple triple?
Compound triple being like
> Who said computers save time?
Only the ones selling the computers, I suppose. Everyone has their deadly
crash story. Does anyone have their 'wonderfully smooth and quick results'
story? Would be interesting to hear.
Liudas
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[EM
Not to be a wise guy, but I call it 3/8. Why disguise it with jargon? It
doesn't help students conceive it differently.
I also second Rob Deemer's point about the significant difference between
fast 3/8 counted in 1 and slow 3/8 counted in 3. Creston's book "Principles
of Rhythm" delves into thi
I've got to concede that this is indeed a recognizable and oft-used chord.
I just hadn't run across it in my jazz playing; Darcy says Randy Newman
uses it quite a bit. When playing it on the keyboard, I recognize it as a
sound Chicago has used also.
At 09:48 AM 6/11/03, you wrote:
> >Or how abo
Thank you Tim, Brad, Dan, Liudas, and those yet to respond, for all
your suggestions.
I guess the bottom line is you have to redraw to clean up the screen.
Who said computers save time?
Herman
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[EMAIL PROTECTED]
http://mail.shsu.
Herman,
I have created a one key macro that does a hard redraw and then switches to
the speedy tool. This clears the screen of blur and boxes at the same time.
Dan Carno
At 01:03 PM 6/11/2003 -0400, Herman S. Gersten wrote:
An annoying result of deleting and re-positioning various objects suc
Peter,
Not wanting to start up a huge discussion of metrical opinions on the list, I
would suggest that 3/8 can be described either with "compound single" (a
little unorthodox perhaps, but understandable) and "simple triple", depending on
what tempo the meter is performed at. If it is a fast te
When that happens to me, all I have to do is think: "What a mess--I wish my
screen would redraw," and I blink, and it's done. It could be my super
mental powers, or maybe that my left hand does a Command-D without telling
my brain, like it does with Command-S from time to time. There's automatic
on 6/11/03 11:23 AM, Mr. Liudas Motekaitis wrote:
>Herman S. Gersten wrote:
>
>> An annoying result of deleting and re-positioning various objects such
>> as expressions and hairpins, is that a "ghost" of the deleted and/or
>> moved object remains on the screen until a redraw.
>>
>> Is this par
on 6/11/03 9:06 AM, Peter Younghusband wrote:
> With the usual apologies for OT.have a question regarding
> description of time signature. We all know 2/4 is simple duple, 6/8 is
> compound duple etc..can anybody describe 3/8 please?
There are three classifications of meter:
Short answer: I keep one hand on the CTRL-D function almost always. Or when
using the mouse, a quick right-click-drag of 1 mm redraws automatically.
Longer answer: I have experimented with various video cards and have seen
some differences as to how they deal with redrawing things. Take for exampl
An annoying result of deleting and re-positioning various objects such
as expressions and hairpins, is that a "ghost" of the deleted and/or
moved object remains on the screen until a redraw.
Is this par for the course? If not, how can it be eliminated?
Herman
__
In message <[EMAIL PROTECTED]>, Johannes Gebauer
<[EMAIL PROTECTED]> writes
>On 11.06.2003 9:21 Uhr, Patsy Moore wrote
>
>> At one time subject lines nearly all included "Win" "Mac" "Tan" (related
>> to Finale but not about actually using the programme) or OT. I would
>> really appreciate it if we
Triple
Peter Younghusband wrote:
With the usual apologies for OT.have a question regarding
description of time signature. We all know 2/4 is simple duple, 6/8 is
compound duple etc..can anybody describe 3/8 please?
Peter
Karratha, Western Australia
___
Peter asked:
> > With the usual apologies for OT.have a question regarding
> > description of time signature. We all know 2/4 is simple duple, 6/8 is
> > compound duple etc..can anybody describe 3/8 please?
Liudas replied:
> I would call it Simple meter. There is much terminol
I would call it Simple meter. There is much terminology in this field (of
rythmic subdivisions).
The description: you almost never use a dotted note as a beat and for that
reason the 3/8 time signature is indivisible into a subordinate rhythmical
grouping (which would not be the case for 6/8, sinc
With the usual apologies for OT.have a question regarding
description of time signature. We all know 2/4 is simple duple, 6/8 is
compound duple etc..can anybody describe 3/8 please?
Peter
Karratha, Western Australia
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On 6/11/03 6:27 AM, "David H. Bailey" <[EMAIL PROTECTED]>
wrote:
>
>
> Tim Thompson wrote:
>>
> [snip]
>>
>> Yes, I do this (1.) sometimes too, and have up M2 transposition
>> programmed as metatool 8, and up P5 as metatool 9 (6 and 7 are octave
>> transpositions). And, of course, the reason
To be fair, Dover merely reprints from original sources, so don't diss
Dover per se, diss the original engravers, who are probably long dead.
[EMAIL PROTECTED] wrote:
C'mon Darcy - I can also cite many pages where there IS consistent size
proportions from page to page - but you've missed the
In a message dated 6/11/03 8:16:22 AM, [EMAIL PROTECTED] writes:
<< I think that the examples that Darcy gives are more the rule than the
exception. Just glancing at some scores of large orchestral works and
operas from eminent publishers such as Schott, Boosey, Universal and
Bärenreiter, I
I think that the examples that Darcy gives are more the rule than the
exception. Just glancing at some scores of large orchestral works and
operas from eminent publishers such as Schott, Boosey, Universal and
Bärenreiter, I can't find a single one where the staff sizes don't
change. I think the
The important thing with ossia measures is to make sure that you
attach them to one of the existing staves, not to the new staff that
will be hidden. An ossia is attached to the staff on which you double
click: you are evidently double clicking on the new staff. Here's
what you should be doing:
On Wednesday, June 11, 2003 6:22 AM, Mark D. Lew wrote:
> At 9:37 PM 06/10/03, Giz Bowe wrote:
>
> >Or how about Major 7 sus4?
>
> I never write in any style that calls for chord symbols, but
> I do love that
> chord.
>
> I once wrote a choral piece (well, started to write
> anyway...) that
C'mon Darcy - I can also cite many pages where there IS consistent size
proportions from page to page - but you've missed the point - I consider your
examples to be the exception and not the rule and besides, I wouldn't make a habit
of emulating Dover scores as examples of fine music engraving.
Finale 2002
I think I have been following the instructions on how to create ossia
measures (create new stave, add ossia measures to this stave, then hide the
stave). The problem is: when I hide the stave, the ossia measures also
disappear. What am I doing wrong?
Michael Lawlor
The trick is to a
Title: Re: [Finale] Ossia Measures
I used the
advanced tools facility to create ossia measures for a trumpet part.
(Tools - advanced tools - create ossia)
However, the trumpet part is in Bb but the ossia measure is in concert
pitch. How do I transpose the ossia measure?
Thanks,
All the best,
Damn, this does look too good to be true.
Low price I found was $582.82.
- Darcy
I just spent more than that on *repairs* to my LaserJet 5000N!
--
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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[EMAIL PRO
You know, I got an odd piece of mail a while ago, which seemed to be
a virus report from my server, and I trashed it because it claimed
that it was sent by me at 4:30 that morning, but searching my
computer showed no trace of any activity at that time, period. I
concluded that it was a clever t
At 9:37 PM 06/10/03, Giz Bowe wrote:
>Or how about Major 7 sus4?
I never write in any style that calls for chord symbols, but I do love that
chord.
I once wrote a choral piece (well, started to write anyway...) that began
with a tight C-D-F# that remained harmonically ambiguous for a few bars
un
At 11:41 AM 06/10/03, Harold Owen wrote:
>I am writing a set of songs with harp accompaniment, and I want a
>reasonably good playback of the normally rolled (arpeggiated) chords
>that have four notes in each hand. [...]
>Here are some solutions I've tried: [...]
> 2) notate the complete chord in
At 10:23 AM 06/10/03, David W. Fenton wrote:
> [...] Also, the idea of specifying beats as numbers really does not
>make sense to me. Beat 1 is 0 to me, not 1.0. And figuring out where
>you want it to be requires calculating decimal fractions. This is not
>musically friendly.
I agree about number
On 11.06.2003 9:21 Uhr, Patsy Moore wrote
> At one time subject lines nearly all included "Win" "Mac" "Tan" (related
> to Finale but not about actually using the programme) or OT. I would
> really appreciate it if we could get back to that. It was particularly
> useful if you were trying with limi
Patsy Moore writes:
> In message <[EMAIL PROTECTED]>, Christopher BJ Smith
> <[EMAIL PROTECTED]> writes
> >If you
> >hold down G in the Smart Shape Tool, no matter what tool you have
> >selected, then double-click and drag, you will get a gliss WITH text,
>
> I got a bit excited about this and
Tim Thompson wrote:
[snip]
Yes, I do this (1.) sometimes too, and have up M2 transposition
programmed as metatool 8, and up P5 as metatool 9 (6 and 7 are octave
transpositions). And, of course, the reason for doing it like this is
to hear it correctly!
Why would you have to transpose?
You c
In message <[EMAIL PROTECTED]>, Christopher BJ Smith
<[EMAIL PROTECTED]> writes
>If you
>hold down G in the Smart Shape Tool, no matter what tool you have
>selected, then double-click and drag, you will get a gliss WITH text,
I got a bit excited about this and tried it, but it doesn't apply to
I used the advanced tools facility to create ossia measures for a trumpet part. (Tools - advanced tools - create ossia)
However, the trumpet part is in Bb but the ossia measure is in concert pitch. How do I transpose the ossia measure?
Thanks,
All the best,
Lawrence
http://lawrenceyates.co.
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