I agree with John on the trumpet issue. In my quintet, I write the more
classical arrangements for C trumpets, but occasionally, I need the darker
timbre of the Bb. Also, the Bb offers another step lower in terms of what
I can write.
I write jazz and pop charts for Bb trumpets, but sometimes my
I make the middle line stems go down all the time unless the notes are
beamed to other notes and then the predominating stem direction takes over.
Stems-up quarter and half notes on the middle line look wrong to my
eyes. I move the ends of slurs to make them look better than the
default
At 12:19 AM -0500 1/11/04, Raymond Horton wrote:
But, even in commercial and quintet
gigs I do see players with C trumpets somewhat more than Carl describes.
Also, many commercial players I see will have a Bb/A piccolo and, often, one
other high trumpet (perhaps a convertible F, Eb, sometimes
At 7:48 AM -0500 1/11/04, David H. Bailey wrote:
I make the middle line stems go down all the time unless the notes
are beamed to other notes and then the predominating stem direction
takes over.
. . . I wouldn't think of making the stem of the C be an upstem
just to make the slur look better.
On 11.01.2004 12:55 Uhr, d. collins wrote
What's your opinion on this rule? And how do you get the slurs to look
good if the stems are in opposite directions?
If you have several notes with single stems in a row, and most of them are
below the middle staff line and there is the occasional one
Dennis wrote:
Ted Ross, on the direction of single note stems: Some engravers
consider the middle line neutral and take the option of using either
up-
or down-stems for note that fall on it. However, more up-to-date
engraving no longer permits an option; now a down-stem is always
At 09:14 AM 1/11/04 -0500, Linda Worsley wrote:
I record
mostly serious or :classical music... I call it art music, but
honestly there is no good word for it, is there?
Art music and serious can apply to many genres, and classical carries
too much baggage.
Try nonpop as your meta-genre.
Some
Johannes wrote:
As a side note: Older English publication often show the middle line notes
stem up (ie in the old Purcell complete edition).
That reminded me to look at my 1st editions of Sir Thomas Moore's volumes
of Irish Melodies. Many times in these books the stems are up on the
center-line
Nonpop goes a certain distance, but it ultimately fails as
nomenclature because it only says what it is not rather than what it
is. As a non-insect I believe we can do better!
-Randolph Peters
P.S. Is new music so bad?
Dennis Bathory-Kitsz wrote (in a different subject thread):
Art music and
On 11 Jan 2004, at 10:17 AM, Randolph Peters wrote:
P.S. Is new music so bad?
If that isn't a setup for a punchline, I don't know what is.
- Darcy
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Brooklyn NY
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On 11.01.2004 16:17 Uhr, Randolph Peters wrote
P.S. Is new music so bad?
New Music was a term used by TW Adorno to refer to post-modern(ist) music.
Particularly Twelve-Note Music. Unfortunately his book Theorie der Neuen
Musik was translated as Theory of Modern Music which is very misleading.
I don't know of a way to do exactly what you describe. It would be
like the rhythmic subdivisions plug-in, but with the possibility of
replacing an entry with a specified rhythmic figure instead of just
subdividing it into a number of equal parts. I bet one of the plug-in
developers could make
At 09:17 AM 1/11/04 -0600, Randolph Peters wrote:
Nonpop goes a certain distance, but it ultimately fails as
nomenclature because it only says what it is not rather than what it
is. As a non-insect I believe we can do better!
But we haven't done so since classical began to fail as a useful term
At 1:04 PM -0500 1/11/04, Dennis Bathory-Kitsz wrote:
...[clip] Now, after 436 additional shows at two hours each,
it's become well known. Also, our 100-plus show IDs done for us by
composers all use it.)
Well, whatever works. But non-pop strikes me as horrible... for a
number of reasons,
At 1:04 PM -0500 1/11/04, Dennis Bathory-Kitsz wrote:
And for those who *do* know, the baggage new music carries is huge and
nasty -- there's no term worse, in fact, from a marketing/audience
invitation standpoint because new music has caused people to run for the
exits for some 90 years now.
I'm
Randolph Peters wrote:
Nonpop goes a certain distance, but it ultimately fails as
nomenclature because it only says what it is not rather than what it is.
As a non-insect I believe we can do better!
-Randolph Peters
P.S. Is new music so bad?
Some of the stuff I've heard is. But than again,
From: Johannes Gebauer
Does anyone know whether there is a simpler way to enter a repeating rhythm
in Finale, than to enter every note? The rhythm is half a measure long, that
half measure has the same pitches. Then it repeats, with the pitches
changing with every repeat.
Is there a way to enter
I like the german: they have U-Musik and E-Musik. (Unterhaltungsmusik and
Ernste Musik, which would roughly translate to music for entertainment and
serious music).
The attractive thing is that they shorten it to U-Musik and E-Musik. That
takes away nearly all the baggage, everyone knows what
At 11:01 PM 1/11/04 +0200, Mr. Liudas Motekaitis wrote:
I like the german: they have U-Musik and E-Musik. (Unterhaltungsmusik and
Ernste Musik, which would roughly translate to music for entertainment and
serious music).
The attractive thing is that they shorten it to U-Musik and E-Musik. That
Exactly. What I meant was that it seems that the shortening of the words is
a result of such an impossible task as to name and categorize all pieces of
music into white and black. Even more so if you're dealing with a composer
or group that has created a lot of different pieces of music. It's the
The thing about the term nonpop is that despite all evidence
suggesting that it just ain't gonna happen, I don't have a big
problem if my music becomes wildly popular. I suspect that other
composers may feel the same way about their music.
How about
Dear list,
The New York City based S.E.M. Ensemble needs a professional computer engraver immediately for a notation job.
Please contact me off-list for additional information.
Thanks.
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On Jan 11, 2004, at 3:14 AM, Johannes Gebauer wrote:
Does anyone know whether there is a simpler way to enter a repeating
rhythm
in Finale, than to enter every note? The rhythm is half a measure
long, that
half measure has the same pitches. Then it repeats, with the pitches
changing with every
On Jan 11, 2004, at 6:27 AM, Johannes Gebauer wrote:
As a side note: Older English publication often show the middle line
notes
stem up (ie in the old Purcell complete edition).
I just finished copying a late 19th century French song in which middle
line notes had upstems. I'm pretty sure the
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