Thanks for posting my previous email correctly...apologies...
'sfz subito p' is a more sudden descent to piano than 'sfzp', as
indicated by the extra word. 'sfzp' is a more sudden attack than 'sfp',
or at least that's how I've always interpreted it. But my main point is
not how each one
On 28/01/04 01:26, Darcy James Argue [EMAIL PROTECTED] wrote:
I see the F5 next to the Mass Edit item in the Tool menu, and I see
the Tool menu flash when I press the F5 key, but the tool does not
change to Mass Edit.
It's the same with all of the keyboard shortcuts I have attempted to
On 28/01/04 01:04, Tim Thompson [EMAIL PROTECTED] wrote:
On the issue of Panther programmable keyboard shortcuts, I had no
trouble getting any custom mappings for menu items working with
FinMac04 and X.3.1. I tried several submenus, including changing
layers, selecting any particular Special
In the particular case I am working on, the original score was prepared in
Cubase, that probably does not have all the range of articulations that
Finale provides.
Since Sfp comes in the Maestro font I thought it was more common than
Sfzp...
Thanks to all for the answers.
¡De vuelta al
In my use the two terms are similar but different. Since your original post
I have been trying to remember where I have seen both in use. I know I've
seen them both in the same score but can not recall now where it was.
I deal primarily with band music so it must have been in a band work. It
Lon--
When a note is entered it stays active until the
next note is entered. This means that when I change
the cursor to the note value of the next note to be
entered, the note I just entered gets changed to the
new value!
How are you changing values? For me, I press 5 on the numpad, press A
Situation: Several voices in one staff. A middle voice is tied. The tie
collides with other notes. I would like to white out the tie around the
other notes. Unfortunately this doesn't seem to be possible. I can white out
the notes, but the tie will always show. I want it the other way round.
Is
If playback's not an issue perhaps you could use a slur instead of a tie?
Sometimes there's not enough space to do even that.
When there are loads of tied notes that all have the same duration you
could enter them as two different chords with opposing stems, add the
automatic ties and then move
Okay, I found the rub. For the custom shortcuts to work in FinMac04,
they must include the command key. Otherwise, they don't work, as
reported by others.
Tim
On Jan 28, 2004, at 7:06 AM, Éric Dussault wrote:
On 28/01/04 01:26, Darcy James Argue [EMAIL PROTECTED] wrote:
I see the F5 next
At 04:45 PM 1/28/04 +0100, Johannes Gebauer wrote:
Situation: Several voices in one staff. A middle voice is tied. The tie
collides with other notes. I would like to white out the tie around the
other notes. Unfortunately this doesn't seem to be possible. I can white out
the notes, but the tie
On 28.01.2004 17:03 Uhr, Cecil Rigby wrote
If playback's not an issue perhaps you could use a slur instead of a tie?
Sometimes there's not enough space to do even that.
In what way would a slur take less space than a tie?
When there are loads of tied notes that all have the same duration you
[Johannes Gebauer:]
Situation: Several voices in one staff. A middle voice is tied. The tie
collides with other notes. I would like to white out the tie around the
other notes. Unfortunately this doesn't seem to be possible. I can white out
the notes, but the tie will always show. I want it the
On 28 Jan 2004, at 11:39 AM, Tim Thompson wrote:
Okay, I found the rub. For the custom shortcuts to work in FinMac04,
they must include the command key. Otherwise, they don't work, as
reported by others.
Tim
Aha.
Well, that sucks. Requiring the command key in all combos makes this
feature
Very interesting argument but I was always under the impression that fp,
sf and sfz were *accents* not dynamics. Basically, you punch it and
get off of the punch as quickly as you can. That they look like
dynamics and use the same characters make them confusing.
Sfp and sfzp would not make
On 28 Jan 2004 at 13:56, Keef wrote:
Very interesting argument but I was always under the impression that
fp, sf and sfz were *accents* not dynamics.
Well, I would separate fp from the others.
It's quite clear from Mozart's autographs, for instance, that Mozart
often used f followed by p,
On 28.01.2004 19:56 Uhr, Keef wrote
Sfp and sfzp would not make any sense to me as a performer. What's the
word to describe these markings? What's the action intended? Wouldn't
fp suffice? Would they change the level in the dynamic realm or not?
Can you have an sfp at the mf level or
in my experience, many commercial composers/orchestrators use this
indication incorrectly for a fp effect - worse, they'll put sfz and
expect a fp from the performer.. it's almost as bad as using an
accent () when what they really want is a note held full value from a
wind player (happens
Sorry-
I completely misunderstood!
Cecil Rigby
___
Finale mailing list
[EMAIL PROTECTED]
http://lists.shsu.edu/mailman/listinfo/finale
Liudas,
your email address seems to be out of order, I got an error message
returned.
Anyway, your tip may well be the answer, thanks!
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
___
Finale mailing list
[EMAIL
On 28 Jan 2004, at 03:08 PM, tim-cates wrote:
in my experience, many commercial composers/orchestrators use this
indication incorrectly for a fp effect - worse, they'll put sfz and
expect a fp from the performer.. it's almost as bad as using an
accent () when what they really want is a
I was going to suggest Dennis's solution (shape expression, line thickness
=0, fill with white), but without trying also to create a slur to go with
it. You can create a shape of any size and shape, probably needing various
ones, and use them to white out various areas as needed. If the document
I'm doing a piano score. I have a situation where the displayed notation on
beat 4 is identical to beat 1 in the same measure, notes which have
accidentals. Due to the use of 8va in the earlier case but not in the
latter, the second occurance would be played at a different point on the
keys.
Well, I always assumed there to be a hierarchy of accents (much like a
hierarchy of dynamics -- if you only have two dynamic levels, f and p
will do, e.g.).
Basically I always thought of it this way:
sffz - strongest punch
sfz - almost strongest punch
sf (used if no sffz, but can be a level
By definition (Harvard Brief Dictionary of Music):
-- sforzando (abbreviated sfz or sf) - forced, with a strong accent on a
single note or chord. sfp means sforzando followed immediately by piano.
-- fp - forte-piano, ie., loud followed by soft.
sfzp wasn't in my dictionaries but if you use
On Jan 28, 2004, at 3:33 PM, Darcy James Argue wrote:
Also, Johannes said it makes a difference to string players whether
it's sfp or fp. Maybe he could elaborate on what that difference
is? I'm still not exactly clear what the audible distinction is
between all of the markings under
I would advise leaving the second accidental, since it is in a different
octave to remove any doubt.
Richard Huggins wrote:
I'm doing a piano score. I have a situation where the displayed notation on
beat 4 is identical to beat 1 in the same measure, notes which have
accidentals. Due to the use
On 28.01.2004 21:33 Uhr, Darcy James Argue wrote
Also, Johannes said it makes a difference to string players whether
it's sfp or fp. Maybe he could elaborate on what that difference
is? I'm still not exactly clear what the audible distinction is
between all of the markings under discussion
I can't think of a specific example, but I'm almost certain I've seen a
repeated accidental after a shift to/from 8va. Probably where the
second occurence was an upbeat to a new phrase. IMO, not to give a new
accidental when the visual position of the note has changed would be a
confusing
[Richard Huggins:]
Due to the use of 8va in the earlier case but not in the
latter, the second occurance would be played at a different point on the
keys. Because of this, is there any precedent for repeating the accidentals
on the second occurance?
I've seen it both ways, but repeating
Liudas,
I sent you a personal reply again, and got the same error again. Are you
receiving these? This really does not look like the worm/virus (I received
about fifty copies of it). Could it be that there is some overreacting SPAM
blocker at your end. That's what it looks like in the error.
On 28 Jan 2004, at 05:01 PM, Brad Beyenhof wrote:
On Wednesday, January 28, 2004, at 01:50 PM, Darcy James Argue wrote:
Okay, this is bad...
In the text tool in FinMac2004, I highlight the Font menu, which
should cause the appropriate submenu (i.e., the listing of all fonts)
to display. But
I've been stumped by the MIDI aspect of OSX for the 3 weeks that I've
been twiddling around. Knock on wood, and thanks to a quick reply to
makemusic tech- things are now working for me.
I have had little to no problem with the MIDI output using Sibelius,
but had no success with Digital
At 10:01 pm +0100 28.01.2004, d. collins wrote:
I have an 8th, followed by a 16th rest, and then a 16th, beamed
together. The secondary beam over the last 16th is too long. How can
I shorten it? I would like to get the same thing I get with a dotted
8th followed by a 16th.
You could write a
Gah.
Does anyone know how to assign QuicKeys shortcuts to the buttons
measure forward, measure back (scroll view), page up, page
down, first page, and last page? This was always a difficult
trick to pull off in OS 9, and despite all of the fancy new features in
QuicKeys X2, it doesn't seem
Hi guys,
It is customary in OS X applications to be able to hold down the shift
key and use the scroll wheel (on 3rd-party mice) to scroll
horizontally. In fact, this works in every OS X application I own
(including Apple's own apps -- Safari, Preview, TextEdit) except
Finale. I believe
Try to press the wheel and move to the right and left...
Hi guys,
It is customary in OS X applications to be able to hold down the shift
key and use the scroll wheel (on 3rd-party mice) to scroll
horizontally. In fact, this works in every OS X application I own
(including Apple's own
On Jan 28, 2004, at 10:56 AM, Keef wrote:
Very interesting argument but I was always under the impression that
fp, sf and sfz were *accents* not dynamics. Basically, you punch it
and get off of the punch as quickly as you can. That they look like
dynamics and use the same characters make
On Jan 28, 2004, at 12:33 PM, Darcy James Argue wrote:
For instance, if you had a long note with an accent () and an fp
indication below, how is that different from sfp or sfzp?
In my mind, this question has the same answer as the same question with
the p revmoved from both sides of the
On Jan 28, 2004, at 1:01 PM, d. collins wrote:
I have an 8th, followed by a 16th rest, and then a 16th, beamed
together. The secondary beam over the last 16th is too long. How can I
shorten it? I would like to get the same thing I get with a dotted 8th
followed by a 16th.
Sounds to me like you
On Jan 28, 2004, at 8:42 AM, Dennis Bathory-Kitsz wrote:
You're going to hate this solution! I do, because it doesn't play back!
[...]
1. Create staff expression, shape. [...]
I think Dennis's solution is the only one that works for what you need,
Johannes.
There are various ways to kludge
Apologies for the slight hijack...but thanks for pointing out the option
you describe, it's there on PC 2k3.
It's what I wanted for one particular case in something I'm copying, but
it also alters a huge number of other beamings. In particular,
16th-note tuplets which are 'note-rest-note'
Looking at one piece which sprung to mind while following this
conversation, I find markings including sffz sub.p, sub. ffp,
sfzp, mfzp. As a performer, I view these as hybridstake each
element in turn... sfz + subito + piano, and perform them in that order.
And yes, 'mfzp' is
On Jan 28, 2004, at 4:25 PM, Owain Sutton wrote:
It's what I wanted for one particular case in something I'm copying,
but it also alters a huge number of other beamings. In particular,
16th-note tuplets which are 'note-rest-note' take a split second beam,
where the composer (who wants things
Just my luck. I'm set to buy a new printer, and had decided on this one,
only to find out it's been discontinued. Does anyone out there know of a
comparably priced tabloid (11x17) printer? It was priced in the high
$500's. Seems like a great deal. This gives new meaning to the phrase
strike while
44 matches
Mail list logo
