On 09.02.2004 1:23 Uhr, David W. Fenton wrote
Well, I don't know the piece in question, but you couldn't normally
notate a 6/8 piece in 3/8 either. The two are fundamentally different.
Yes, but the question is one of whether or not the music can be
conveyed in the modern meter in a fashion
Finale has out and out lied, if you think that advertising a feature
that doesn't work very well constitutes a lie (I do.)
Scanning, for instance -- Yes, it is possible to scan a perfectly
printed version of Mary Had a Little Lamb (as melody only) into Finale,
using its built-in scanning
Okay,
In 4/4, one normally shows beat 3 of a measure when it contains
eighth note values or smaller.
However, I've run into a situation where my source has the following
rhythm:
quarter rest - eighth rest - a triplet consisting of: two eighth notes
followed an eighth rest - eighth rest -
I think you can simply write the second eighth of the eighth note triplet as
a sixteenth tied to another sixteenth, and the second sixteenth will fall on
beat 3. Looks weird, but less weird than what you were suggesting.
Liudas
- Original Message -
From: Darcy James Argue [EMAIL
You could always try a fine dotted barline with a small (3) in parenthesis
above it just to show that it is written as intended.
Liudas
- Original Message -
From: David H. Bailey [EMAIL PROTECTED]
To: Darcy James Argue [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]
Sent: Monday, February 09,
At 08:06 AM 2/9/04 -0500, Darcy James Argue wrote:
However, I've run into a situation where my source has the following
rhythm:
quarter rest - eighth rest - a triplet consisting of: two eighth notes
followed an eighth rest - eighth rest - quarter rest
What say you all?
This doesn't strike me as
What is the standard way to notate a sixteenth quintuplet when only the
final note is played? What do you put under the bracket:
A quarter rest followed by the sixteenth note?
Two eighth rests followed by the sixteenth note?
Four sixteenth rests followed by the sixteenth note?
- Darcy
-
I sent a request in German to Klemm Musik and got a quick
and positive reply on the NOVEMBER font:
---
(a rouch translation:)
Good day, Mr Story.
The font November will soon, probably in February, also be available
for OS X. The updater is already in house; we shall offer
David W. Fenton écrit:
Then why is 3/2 completely unacceptable?
Well, it would involve cutting all the measures in two, and I don't
really see the point in it. The presence of a section in 6/4 isn't
the only reason against changing the 6/2 to 6/4. We've discussed
this here already, and I (and
He's also the author of FinaleScript and the Text Search and Replace
plug-ins...
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf
Of Williams, Jim
Sent: Saturday, February 07, 2004 3:05 PM
To: Rob Deemer; [EMAIL PROTECTED]
Subject: RE: [Finale] Re: November
On 09.02.2004 13:28 Uhr, David H. Bailey wrote
Scanning, for instance -- Yes, it is possible to scan a perfectly
printed version of Mary Had a Little Lamb (as melody only) into Finale,
using its built-in scanning capability. However for any serious
scanning of, say, a complex piano score for
I would put 4 16th-rests so the rhythm of the quintuplet is readily
apparent.
David H. Bailey
Darcy James Argue wrote:
What is the standard way to notate a sixteenth quintuplet when only the
final note is played? What do you put under the bracket:
A quarter rest followed by the sixteenth
At 10:35 AM 2/9/04 -0500, David H. Bailey wrote:
I would put 4 16th-rests so the rhythm of the quintuplet is readily
apparent.
There's my opinion as well.
That's only for rests, though -- note groupings are an entirely different
matter, and sometimes tough to decode, whether composer, engraver,
It may be better, but not much better -- I just tried to scan a
24-staff, finale-printed score and smartscore won't accept it. Reading
the documentation for Finale, it states right from the start, don't scan
anything with more than 16-staves in it. So anybody who bought the
program hoping to
On 9 Feb 2004 at 10:16, Andrew Stiller wrote:
David W. Fenton écrit:
Then why is 3/2 completely unacceptable?
Well, it would involve cutting all the measures in two, and I don't
really see the point in it. The presence of a section in 6/4 isn't
the only reason against changing the 6/2 to
David wrote:
I do notice nobody has jumped in to defend Micnotator at all. :)
I would have, except that I make it a matter of personal policy never to
defend something I don't know how to pronounce.
ns
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Lies is a strong word, and here, unjustified.
But I would have agreed with you on the scanning until last week. A friend
of mine (a viola player and user of WinFin2003) astounded me, just a few
days ago, by telling me that he has been having great success scanning.
After some trial and error, he
I do notice nobody has jumped in to defend Micnotator at all. :)
David H. Bailey
You're right there. I know I am more certain of the keyboard than my voice,
so why shouldn't I assume Finale would be? (In other words, I've never
tried it.)
RH
At 2/9/2004 12:17 PM, Raymond Horton wrote:
Lies is a strong word, and here, unjustified.
But I would have agreed with you on the scanning until last week. A friend
of mine (a viola player and user of WinFin2003) astounded me, just a few
days ago, by telling me that he has been having great
Sorry for any multiple reception of this message,
Send an email with REMOVE on the subject
Cheers,
Pierfrancesco Bellini, Bernhard Steffen, Shawn Bohner
Paolo Nesi, Alessandro Fantechi, José-Luis Fernández-Villacañas
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IEEE
Sorry for any multiple reception of this message,
Send an email with REMOVE on the subject
Cheers,
Pierfrancesco Bellini, Bernhard Steffen, Shawn Bohner
Paolo Nesi, Alessandro Fantechi, José-Luis Fernández-Villacañas
_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°_°
IEEE
I believe he said 97%, but I don't recall the percentage with 100 %
accuracy, or something like that. All I know is my violist friend, who has
been using Finale for years, is now scanning rather than any of his other
note entry choices, when it comes to entering a clean printed work. Enough
said.
Sure--Chord Tool, Chord Menu, choose 1-staff or 2-staff analysis. If
your score is one part per staff, then you will have to implode first.
I don't know how accurate it would be--I'm sure it depends on the
degree of correlation between the harmonies in the piece and the
contents of your
hello,
i'd prefer de original notation, that is a triplet starting at the second
half oh the second beat. i used that kind of rhythms a lot, and in my
experience the mentioned solution was the best one. i feel this applies to
moderate to fast tempi. if it's to slow, say m.m.40, probably your
I have seen a quarter rest, followed by a sixteenth, with a bracket over
both, on occasion. As long as the bracket is obvious, it is clear enough.
Raymond Horton
Louisville Orchestra
- Original Message -
From: Darcy James Argue [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Monday,
This has probably been discussed before, but I'll ask anyway:
a composer I work with has some old files of a piece that was engraved using
Score. Is there any way for me to translate these over into Finale?
Matt Naughtin
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On Feb 9, 2004, at 6:12 AM, Darcy James Argue wrote:
What is the standard way to notate a sixteenth quintuplet when only
the final note is played? What do you put under the bracket:
A quarter rest followed by the sixteenth note?
Two eighth rests followed by the sixteenth note?
Four sixteenth
On Feb 9, 2004, at 5:06 AM, Darcy James Argue wrote:
In 4/4, one normally shows beat 3 of a measure when it contains
eighth note values or smaller.
However, I've run into a situation where my source has the following
rhythm:
[...]
In other words, an eighth-note triplet starting on the and of
On Feb 9, 2004, at 4:28 AM, David H. Bailey wrote:
There's actually FOUR kinds of lies, to paraphrase Mark Twain (I think
he originated it): 1) Lies, 2) Damn Lies, 3) Statistics and
4) Marketing.
The line appears in Twain's autobiography, but he himself attributes it
to Benjamin Disraeli. More
On 09 Feb 2004, at 03:55 PM, Mark D Lew wrote:
On Feb 9, 2004, at 5:06 AM, Darcy James Argue wrote:
In 4/4, one normally shows beat 3 of a measure when it contains
eighth note values or smaller.
However, I've run into a situation where my source has the following
rhythm:
[...]
In other
At 11:11 AM -0500 2/09/04, Darcy James Argue wrote:
There's still all of Sibelius's blatant claims along the lines of
Finale can't do this, or Sibelius is the *only* music notation
program that does that.
There are a couple of unique features that caught my eye when I saw
the Sibelius 2 demo
At 8:06 AM -0500 2/09/04, Darcy James Argue wrote:
Okay,
In 4/4, one normally shows beat 3 of a measure when it contains
eighth note values or smaller.
However, I've run into a situation where my source has the following rhythm:
quarter rest - eighth rest - a triplet consisting of: two eighth
On 09 Feb 2004, at 06:59 PM, Christopher BJ Smith wrote:
There are some good reasons I can think of for his notation, for
example, if another instrument somewhere IS covering that last eighth
note triplet,
Nope.
I guess you know better than I do, but I would still go with the
triplet normally
I would think that proofing by playback, at least in most cases, would make
95% accuracy work pretty well, as opposed to reentering everything. Even if
both methods were a wash timewise, scanning would break the routine, and
that can sometimes be its own blessing.
Don Hart
on 2/9/04 4:46 PM,
At 09:43 PM 2/9/2004, Don Hart wrote:
I would think that proofing by playback, at least in most cases, would
make
95% accuracy work pretty well, as opposed to reentering
everything. Even if
both methods were a wash timewise, scanning would break the routine, and
that can sometimes be its own
I've never scanned any music to work with in Finale, so I guess I was
envisioning more rhythm and pitch errors than the type that you mention. I
realize that if elements are showing up in the wrong tool (ties
misinterpreted as slurs and tempo markings misinterpreted as song verse)
different
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