I looked and found them all over the place. Sorry for the very misinforming
statement.
Liudas
> This isn't rare at all: operas are full of words that go across rests
> (have a look at a score of "Il Barbiere di Siviglia" or "La
> Traviata"). It's normal to keep the hyphens going under the rests.
Thanks, Robert,
it looks like that fixes it.In this particular score, I don't remember
by what method I tried thisbefore. Something, that to my mind, should
have worked (and pretty nearly,did).It could be a bit
clearer.RH- Original Message - From: "Robert Patterson"
<[EMAIL PROTECT
Thanks, Robert, it looks like that fixes it.
In this particular score, I don't remember by what method I tried this
before. Something, that to my mind, should have worked (and pretty nearly,
did).
It could be a bit clearer.
RH
- Original Message -
From: "Robert Patterson" <[EMAIL PROTE
Raymond Horton wrote:
> And, of course, Finale REALLY SHOULD be able to handle it.
>
Erm. Finale *does* handle it, in an elegant although not obvious way.
For music in a key, you should use key based transposition. So:
1. Set the key(s) of the piece as a whole.
2. Open the staff attributes for th
Matthew Hindson wrote:
> Also on horns, when helping a friend the other day we found that if you
> enter notes using Simple Entry tool in a transposing score, the
application
> thinks you're entering sounding pitch and subsequently transposes them up
a
> fifth or whatever, whereas if you enter the
I always agreed with you, but horn players generally don't, and the
experience I mentioned was enough to make me give up on it. It's just not
worth it. The horn players rationale is something along the line of: they
play a horn in two keys (occasionally 3 keys) and read parts transposed in
12 dif
At 1:23 PM -0800 2/22/04, Mark D Lew wrote:
Hyphens continuing under the rest is correct. I wouldn't call it
rare. I've even seen it in pop music.
mdl
"Rocky Horror Picture Show", opening number, lyric at one point is
"antici-"
bar or so rest
"pation!"
Very effective.
Well, perhaps I don't count as old, although I'm old enough that I could
plausibly have been a grandpa by now. Anyway, this old pro sees horn
parts with key signatures quite frequently. I can just imagine what our
conductor would say if I openly announced I couldn't read such a part.
I have tw
On Feb 22, 2004, at 9:18 AM, d. collins wrote:
I have a word that begins with a melisma on the first syllable,
followed by a rest before the second syllable. The hyphens continue to
run under the rest. Is that how things should be, or should the
hyphens stop after the last note, before the rest
Dear folks,
Knowing that many will disagree with me, but IMHO I think it's time
for horn players to get used to reading key signatures in their
parts. Younger players are more likely to find signatures often
enough to be comfortable with them. The "old pros" should get with it
and learn to pla
This is extremely rare. Asking a singer to cut off a word in the middle of
it is not anything I've ever seen in any music. ...
Liudas
It's commonplace in Mediaeval music, and not all that rare in
operatic melismata.
--
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
__
> Anyway. In WinFin 2003, when I get done with the score and turn the key
> sigs off on the horn staves on one particular score , a few of the sharps
> (mainly written C# as I recall) didn't show in the score or parts (it
still
> plays OK, on the computer, anyway.) I had to go back through it and
This isn't rare at all: operas are full of words that go across rests
(have a look at a score of "Il Barbiere di Siviglia" or "La
Traviata"). It's normal to keep the hyphens going under the rests.
Best wishes,
Michael Cook
At 21:54 +0200 22/02/2004, Mr. Liudas Motekaitis wrote:
This is extreme
This is extremely rare. Asking a singer to cut off a word in the middle of
it is not anything I've ever seen in any music. But if you're sure that the
notation is correct, I would vote to keep the hyphens going under the rest
to emphasise the fact that the word (the thought) continues through the
p
You have to check Smart Shapes in the Measure Attached area of the
dialog. Otherwise what you described should have worked. Make sure that
your target region is the same metrical size or larger than the source
region. For hairpins, you must select a big enough target region to hold
it, or it wo
> I am engraving some exercises that have all eighth notes with
> crescendo-diminuendo hairpins on each. Is there any to copy the first
> hairpins to the other eighth notes so that they will all be the same?
Complete one measure containing hairpins, attaching the hairpins to your
measure. Then:
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