For anyone interested in the complexities of orchestral seating
plans, there's an excellent book by Daniel J. Koury: "Orchestral
Performance Practices in the Nineteenth Century" (UMI Research Press,
ISBN O-8357-2051-9). It's true that the 1st and 2nd violins were
mostly seated on opposite sides
I'm always interested in good piano sounds so I took a listen, but just to
"You Needed Me." (I'm relieved that I picked right as to which was
acoustic!) The sampled sound is very good, though, and either one certainly
would be fine inside a mix. Exposed piano always is the kicker, and kudos to
them
Brad Beyenhof wrote:
On Wednesday, June 11, 2003 11:17 PM, Michael Edwards wrote:
[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 pri
I accidentally sent this only to Michael this morning (6/12).
Here it is again for the list:
On Wednesday, June 11, 2003 11:17 PM, Michael Edwards wrote:
> [Brad Beyenhof:]
>
> > Compound meters have three beats per pulse: 6/8, 9/8, 6/4
> (sometimes)...
>
> I would have thought proper ter
Well, I just spent several hours that I should have spent arranging
instead auditioning soft synth piano collections on the web. I found
an interesting site that features MP3's of the same pianist playing the
same two compositions, once on a real piano and once a MIDI instrument
triggering
At 9:20 PM -0400 6/12/03, Darcy James Argue wrote:
Hi David,
Thanks for your comments and your suggestion of the Kurzweil PC2R.
However, I checked out the recorded demos on Kurzweil's web site
(http://www.kurzweilmusicsystems.com/html/pc2_demos.html), and based
on the solo piano piece represent
At 06:04 PM 6/12/03 -0500, Richard Huggins wrote:
>Just a wild thought here but you might try this (if you haven't already):
>change the clef in the preceding measure but include the bad measure in the
>range of measures to be affected. Then apply the clef tool to the first
>measure (only) again an
Hi David,
Thanks for your comments and your suggestion of the Kurzweil PC2R.
However, I checked out the recorded demos on Kurzweil's web site
(http://www.kurzweilmusicsystems.com/html/pc2_demos.html), and based on
the solo piano piece represented there, I don't feel that the PC2R is
*that* mu
on 6/12/03 6:42 PM, David H. Bailey at [EMAIL PROTECTED]
wrote:
> Kurzweil has some of the best sounds on the market, and they have a
> single-rack-space module, the PC2r, which has room for two expansion
> modules inside.
Darcy, I was going to say this, but David did it so well.
Tim Price
Fai
Just a wild thought here but you might try this (if you haven't already):
change the clef in the preceding measure but include the bad measure in the
range of measures to be affected. Then apply the clef tool to the first
measure (only) again and change it to what it was, to see if the bad measure
You mean the alto clarinet wasn't invented just so failed Bb clarinet
players would have something to play in band class? ;-)
I love having a full clarinet choir available (wish I had one in my
community band right now!) from Eb through normal 1st, 2nd, 3rd Bb, ALTO
and Bass clarinet. I'ld lo
When somebody got the foolish notion that the direction the violin is
facing actually impacts the sound the audience hears.
In the opposites seating, the 2nd violins are facing the rear of the
stage, so if you hold with the directional-sound bit, it would be
counterproductive to seat them that
A soft synth is not the only way to go.
Kurzweil has some of the best sounds on the market, and they have a
single-rack-space module, the PC2r, which has room for two expansion
modules inside.
Right now they are shipping with the Orchestral Rom installed, which
also allows the unit to be put i
Andrew Stiller wrote:
Just remember this: the often-demanding flute, recorder, oboe, and
oboe da caccia parts in all (well, most) of Bach's Leipzig cantatas
were written for a single pair of woodwind players who were expected
to perform on every treble woodwind at the highest professional
standard
<>
The same thing happened to me when I first started working with Finale.
Sorry to say I never figured out why, but just worked around it. Maybe
someone can shed some light now.
Crystal Premo
[EMAIL PROTECTED]/[EMAIL PROTECTED]
_
There is a difference between Eb clarinet, Bb
clarinet, and Bass Clarinet. Each one has its own
problems (and uniqueness) I know many players that do
not play Eb or Bass because they are not familiar
enough with it. They have a standard with which they
hold themselves to. The higher up the food
On Thursday, June 12, 2003, at 06:04 PM, Aaron Sherber wrote:
At 05:51 PM 6/12/2003, Linda Worsley wrote:
>and was too embarrassed to tell me). I'm told there are whole
>families in several African countries who are supporting themselves
>with this, and similar, Internet scams.
So you actually b
At 05:51 PM 6/12/2003, Linda Worsley wrote:
>and was too embarrassed to tell me). I'm told there are whole
>families in several African countries who are supporting themselves
>with this, and similar, Internet scams.
So you actually believe the people sending these emails are African? I
think it'
At 17:41 12/06/2003 -0400, David Fenton wrote:
Did everyone on the list receive this? I've not been reading closely
the last day or so (too busy), and didn't see it go through my inbox.
What it looks like is that SHSU is using Spam Assassin to scan mail.
And that it doesn't work, as it passed this
There was a discussion on setting up OMS in Classic last week. I
mentioned that what I did was just copy my OMS extensions and prefs
from the old OS 9 disk to the Classic OS 9 on the OS X disk. It
worked immediately smooth!
Maybe I was lucky?
Rich Caldwell
At 6:17 PM + 6/12/03, Rob
At 5:41 PM -0400 6/12/03, David W. Fenton wrote:
On 12 Jun 2003 at 21:36, Johannes Gebauer wrote:
I am sorry to go back to this subject...
> I just received a piece of SPAM (the usual African person with
lots of money
etc.
Did everyone on the list receive this? I've not been reading closely
on 6/12/03 2:41 PM, David W. Fenton wrote:
> On 12 Jun 2003 at 21:36, Johannes Gebauer wrote:
>
>> I am sorry to go back to this subject...
>>
>> I just received a piece of SPAM (the usual African person with lots of money
>> etc), and amazingly it seems to have come through the Finale list, tho
"Extreme doubling" is becoming increasingly common in the jazz
world. I know several first-rate saxophone players in New York who
have not just the standard doubles (flute and clarinet) but oboe and
English horn as well. No, Charles Pillow wouldn't win the audition
for the English Horn chair
On 12 Jun 2003 at 21:36, Johannes Gebauer wrote:
> I am sorry to go back to this subject...
>
> I just received a piece of SPAM (the usual African person with lots of money
> etc), and amazingly it seems to have come through the Finale list, though it
> is disguised. But it did have the [Finale]
Yes, VSC has bad latency, but with the better samplers running on today's
hardware, it is negligible, especially on OSX (which I know Darcy runs!).
On 6/12/03 4:52 PM, "Jim Williams" <[EMAIL PROTECTED]> wrote:
> Quoting Darcy James Argue <[EMAIL PROTECTED]>:
>
>> Hmm...
>>
>> I've been followin
Hi all,
My clef tool went dead on one measure.
I could change clef on the following, upper, and lower measures.
I could ask to change clef only on the previous measure, but it also
changed the clef on the 'dead' measure.
If I inserted a new measure and copied the contents, the new measure was de
Curiously, our orchestra almost always plays Mahler with opposing violin sections, and
when we do it is for the whole concert. But we almost never do it for anything else.
> -Original Message-
> From: Andrew Stiller [mailto:[EMAIL PROTECTED]
>
> Of course, I also think all orchl. music b
On Thursday, June 12, 2003, at 04:57 PM, Andrew Stiller wrote:
Of course, I also think all orchl. music before Mahler shd. be played
with the violin sections sitting opposite each other,
Not just *before* Mahler* but *including* Mahler, too, right? Zander
does it this way for his Mahler record
On Thursday, June 12, 2003, at 04:29 PM, Andrew Stiller wrote:
I deal most often with pickup orchestras, so I don't have to deal
with the first chairs agreements. But I know that if I ask a first
trumpet to pick up a piccolo trumpet, then I risk having him crack
the delicate solo in the next n
> What this is really about is turf protection. The first desk player
plays only one size not as a musically necessary requirement, but as
a mark of status. I regard this as grotesquely unprofessional--maybe
a cynic would say "grotesquely professional," I don't know. I do know
I wouldn't put u
Quoting Darcy James Argue <[EMAIL PROTECTED]>:
> Hmm...
>
> I've been following the soft synth thread with interest because I've
> been thinking of getting a decent sound module for my
> getting-long-in-the-tooth MIDI keyboard. But I gather from the
> comments here that getting an outboard bo
I deal most often with pickup orchestras, so I don't have to deal
with the first chairs agreements. But I know that if I ask a first
trumpet to pick up a piccolo trumpet, then I risk having him crack
the delicate solo in the next number, so I put it on second trumpet
(or third if I have one). T
On Thursday, June 12, 2003, at 04:22 PM, Robert Patterson Finale wrote:
Don't feel too sorry. He didn't spend a whole lot of time on it till
he got his new MIDI interface, which is the Roland UM-2. This model is
specifically identified on the Finale website as one that works in
Classic, wherea
Tim Thompson wrote:
Yeah, that too! And then there is the fraction of a percent who enjoy the
Eb alto...:-) [meaning clarinet]
There's been past discussion of this on the Bandchat list, and a good
many directors don't think the instrument is worth the trouble. My
feeling is otherwise. Those
Don't feel too sorry. He didn't spend a whole lot of time on it till he got his new
MIDI interface, which is the Roland UM-2. This model is specifically identified on the
Finale website as one that works in Classic, whereas his old interface (the MOTU
Fastlane USB) is specifically identified as
Hmm...
I've been following the soft synth thread with interest because I've
been thinking of getting a decent sound module for my
getting-long-in-the-tooth MIDI keyboard. But I gather from the
comments here that getting an outboard box is no longer a good way to
go -- that even for live perfo
On Thursday, June 12, 2003, at 02:17 PM, Robert Patterson Finale wrote:
A colleague of mine is trying to get MIDI working under classic. While
he hasn't succeeded yet, we are assuming he will by following the
procedures outlined at the Finale website.
Still? Ach, I feel for the guy.
However,
Why not just accept the person's transfer? Then he'll be happy and will no
longer write us with his problems.
Liudas
- Original Message -
From: "Johannes Gebauer" <[EMAIL PROTECTED]>
To: "Finale list" <[EMAIL PROTECTED]>
Sent: Thursday, June 12, 2003 9:36 PM
Subject: [Finale] TAN: SPAM
I am sorry to go back to this subject...
I just received a piece of SPAM (the usual African person with lots of money
etc), and amazingly it seems to have come through the Finale list, though it
is disguised. But it did have the [Finale] subeject and the sender was,
apparently, the list administra
In message <[EMAIL PROTECTED]>, Darcy James
Argue <[EMAIL PROTECTED]> writes
> I think I will ask, gently, about one contrabass clarinet (with one
> bass clarinet and one Bb clarinet) and two contrabassoons (with one
> bassoon). This at least avoids the problem of bruising the
> principals' eg
On 6/12/03 12:21 PM, Tammy wrote:
>
> Like some of you, I use Finale to help with arranging as well. I have gotten
> to the point where the cheesy sound from GM is no longer accceptable for
> auditioning my score.
>
> I am trying to upgrade my system so I can get an accurate portrayal of how
> t
A colleague of mine is trying to get MIDI working under classic. While he hasn't
succeeded yet, we are assuming he will by following the procedures outlined at the
Finale website.
However, the kicker is that the procedure requires the MIDI setup for Classic to be
configured under OS9. The whole
And yet we're supposedly champing at the bit to play basset horn? (Which is
just an alto clarinet in F with an extended range).
BTW, every major orchestra has an Eb/assistant principal position. Haven't
seen too many alto clarinet openings lately... ;)
Ronald M. Krentzman
R&M Music Preparation
Yeah, that too! And then there is the fraction of a percent who enjoy the
Eb alto...:-)
On 6/12/03 1:30 PM, "Ronald M. Krentzman" <[EMAIL PROTECTED]> wrote:
> Please don't generalize. Some of us prefer Eb to Bass!
>
> Ronald M. Krentzman
> R&M Music Preparation
>
>
>
> -Original Message
Please don't generalize. Some of us prefer Eb to Bass!
Ronald M. Krentzman
R&M Music Preparation
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Behalf Of Tim Thompson
Sent: Thursday, June 12, 2003 12:28 PM
To: finale list
Subject: Re: [Finale] Doubling for Pops Orc
Title: Re: [Finale] Most accurate performance package for auditioning?
On 6/10/03 12:47 PM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote:
Like some of you, I use Finale to help with arranging as well. I have gotten to the point where the cheesy sound from GM is no longer accceptable for auditi
Title: Re: [Finale] Most accurate performance package for auditioning?
Tammy,
IMO, in your situation, there is absolutely no reason to buy expensive sampling hardware! If you want hardware, the E-mu Virtuoso 2000 is not bad for under $1000 (and is 32-part).
Software is really the way to go th
On 6/12/03 8:18 AM, "Andrew Stiller" <[EMAIL PROTECTED]> wrote:
> As a clarinettist and bassoonist I can testify that this is hooey. I
> have played professionally on every size of clarinet from Ab piccolo
> to contrabass; it takes about 30 minutes to master any one of these
> if you play the regul
On this orchestration topic, I just noticed that the current online edition
of NewMusicBox (www.newmusicbox.org) focuses on the orchestra and issues
concerning composing for it.
Tim
On 6/12/03 12:19 AM, "John Howell" <[EMAIL PROTECTED]> wrote:
>> Okay,
>>
>> In the pops orchestra project I'm cu
Many thanks, Jari--
best to you et al
Cecil
> [Original Message]
> From: Jari Williamsson <[EMAIL PROTECTED]>
> To: <[EMAIL PROTECTED]>
> Date: 6/12/2003 7:42:06 AM
> Subject: Re: [Finale] new plugin?
>
> Cecil Rigby writes:
>
> > Anyone have the scoop on this?..
>
> Based
Title: Re: [Finale] Most accurate performance package for
aud
At 12:47 PM -0400 6/10/03, [EMAIL PROTECTED] wrote:
Like some of
you, I use Finale to help with arranging as well. I have gotten to the
point where the cheesy sound from GM is no longer accceptable for
auditioning my score.
I am tryin
Andrew said:
> What this is really about is turf protection. The first desk player
> plays only one size not as a musically necessary requirement, but as
> a mark of status. I regard this as grotesquely unprofessional--maybe
> a cynic would say "grotesquely professional," I don't know. I do know
>
I do, Cecil. Based upon my "Count Items" query last week, Tobias is
developing a plug-in to generate a HUC. Check out TGTools "Downloads &
Docs" page. Yay, Tobias!
-Michèle
- Original Message -
From: "Cecil Rigby" <[EMAIL PROTECTED]>
To: "Finale List" <[EMAIL PROTECTED]>
Sent: Thursd
The reading session is sponsored by the publisher, who either owns the
copyrights outright or has reprint permission securely in hand.
RH
> From: Noel Stoutenburg [mailto:[EMAIL PROTECTED]
>
> Keep in mind that this is a "copy", and that the necessary permissions will
> need to be obtained from
Hi,
actually, the Bells Used thing is currently under testing and it's in
TGTools 2.18i, the command is Parts->Pitches Used, Handbells, ...
Cheers,
Tobias
___
Finale mailing list
[EMAIL PROTECTED]
http://mail.shsu.edu/mailman/listinfo/finale
I believe that Noel meant this to go to the list...
-
Brad Beyenhof
[EMAIL PROTECTED]
-Original Message-
From: Noel Stoutenburg [mailto:[EMAIL PROTECTED]
Sent: Wednesday, June 11, 2003 11:12 PM
To: Brad Beyenhof
Subject: Re: [Finale] Finale to Powerpoint?
Richard Huggins, w
At 12:47 PM 6/10/03 EDT, [EMAIL PROTECTED] wrote:
> (1) Hardware: Buy a very expensive sampler, and use a sequencer to feed a
>Midi file into it. Then listen to and do a mix of the result.
No. This is not flexible. The main reason to use outboard boxes now is if
you perform regularly and need equi
Like some of you, I use Finale to help with arranging as well. I have gotten to the point where the cheesy sound from GM is no longer accceptable for auditioning my score.
I am trying to upgrade my system so I can get an accurate portrayal of how the score would actually sound. This would normally
This is addressed on the FAQ page at my website.
Brad Beyenhof wrote:
I recently started getting an "Error Type 7" every time I close Finale
manually, and even sometimes it crashed in the middle of work.
I traced it down to the Lugert plug-in (Add Pitch Names) and the Patterson
Page Mover plug-in.
Good day,
I have to first of all apologise for taking unawares
by
the contents of this message. I had to send the
message
straightaway because of the short time involved in
what
I demand of you. Please treat this message with
utmost
seriousness and swiftness.
Apart from the fact that you will be
Hi, all.
The "Count Items" plug-in is pretty useful, but I'm wondering if any of you
know of a plug-in that goes one step further and will tell you what specific
notes you've used in the piece - perhaps even per staff?
I am a composer/arranger who works mostly with handbell music. Handbell
music
Andrew stiller wrote:
As a clarinetist and bassoonist I can testify that this is hooey. I
have played professionally on every size of clarinet from Ab piccolo
to contrabass; it takes about 30 minutes to master any one of these
if you play the regular clarinet well, and once you have mastered
them
At 8:18 AM -0400 6/12/03, Andrew Stiller wrote:
As a clarinettist and bassoonist I can testify that this is hooey. I
have played professionally on every size of clarinet from Ab piccolo
to contrabass; it takes about 30 minutes to master any one of these
if you play the regular clarinet well, and
Cecil Rigby writes:
> Anyone have the scoop on this?..
Based on "Count Items" thread, I think it's this:
http://www.recordare.com/good/max2002.html#Figure3
Best regards,
Jari Williamsson
ICQ #: 78036563
___
Finale mailing list
[EMAIL
At 10:16 PM -0400 6/11/03, Darcy James Argue wrote:
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
At 9:55 PM -0400 6/11/03, Darcy James Argue wrote:
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
The parts may all be fingered alike, but every instrument in a
family is a different instrument, and it will only be played WELL by
someone who has put considerable time and effort into mastering it.
Bass clarinet is NOT just a big soprano clarinet, and a soprano
clarinetist holding a bass cla
certainly *a lot* more than the +/-3% Andrew allows. And sometimes, yes,
- Darcy
Actually I never gave a specific figure. I seldom have a problem w. a
5% reduction, and when forced can sometimes accept up to 10%.
Actually, I find that what is acceptable in one score may not be
acceptable in
Anyone have the scoop on this?..
Thanks-
Cecil Rigby -- [EMAIL PROTECTED]
HarrockHallMusic
[EMAIL PROTECTED]
Date: Wed, 11 Jun 2003 13:27:12 -0700
From: "Michele Sharik" <[EMAIL PROTECTED]>
To: "Multiple recipients of list HANDBELL-L" <[EMAIL PROTE
At 06/11/2003 05:06 PM, Richard Huggins wrote:
>I know nothing about how Powerpoint works, so can someone tell me if it
>would be possible to directly import Finale files into Powerpoint, no
>scanning needed? I presume a complete page of music would not fit onto the
>projetion screen AND be legibl
[Peter Younghusband:]
>... 2/4 is simple duple, 6/8 is compound duple etc..
>can anybody describe 3/8 please?
Depending on the tempo, the feel of the music, and other imponderables, I
would think it could be either compound single or simple triple. In this I
agree broadly with co
Craig Parmerlee writes:
> But that misses the point. Why would anybody ever want to hear the wrong
> pitch? And why should it be necessary to go through a convoluted
> workaround to do something as simple as hear the right pitch? This isn't a
> "characteristic". It is a long-standing bug, a
On Wednesday, Jun 11, 2003, at 19:55 America/Vancouver, Bruce K H Kau
wrote:
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 ot
Of course you use a dotted quarter in 6/8 and 9/8 etc as the primary beat.
My wording was unclear. What I meant to say is that you almost never use the
dotted note value of the time signature's beat value itself as the primary
pulse or beat by which you will calculate the lengths of all the other
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