And seeing the various replies after posting my rant a few minutes ago I
think makes the best point.
Music notation is an art not a science, and it's very subjective. What looks
good in Europe might not look good in the US. What looks good to a Finale
user might not look good to a Sibelius user. W
in some of the nicest-looking engravings around from
the early 20th century.
Daniel Dorff
Theodore Presser Company
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> My own printer is a 300 dpi non-postscript laser printer, 14 years old.
> That's why I don't know if I can trust it enough to use my eye.
Yes, but whatever is the final printer for your work is where it has to look
good. If you're using 300dpi for the final product, you would experiment to
see
It would also possibly matter whether you're printing to a 600dpi laser or a
1200dpi laser or something else. I find it takes different settings when I
print at home on an HP4MP and in the office on an HP5000.
The real answer though is to use your eye rather than to count on raw
numbers, and alwa
- Original Message -
> >> It's the old "The razor's free but the blades cost money" philosophy
> >> that made Gillette wealthy.
I think the greatest example in recent technology would be pdf files. Adobe
eagerly distributes the Acrobat Reader for free to make the Distiller worth
buying f
I just got this email which seems to be something like a worm inside
Yahoo?
- Original Message -
From: [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Saturday, November 01, 2003 2:40 AM
Subject: [patterson-plugins] New file uploaded to
patterson-plugins
Hello,This email message
In Tools | Message Rules | Mail | Mail Rules, define that filter to grab
anything with [Finale] in the Subject field. Then it doesn't matter what's
in the to: or cc: field.
- Original Message -
From: "Don Hart" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Tuesday, October 14, 2003 3:4
unless I right-click and tell it manually. That
seems like a double-whammy.
-DD
- Original Message -
From: "David H. Bailey" <[EMAIL PROTECTED]>
To: "Daniel Dorff" <[EMAIL PROTECTED]>
Cc: "Christopher BJ Smith" <[EMAIL PROTECTED]>; "F
- Original Message -
From: "Christopher BJ Smith" <[EMAIL PROTECTED]>
> Aha! I know what the problem is. It's the quarter-eighth triplet.
> When you create the triplet, the FIRST rhythmic value you enter tells
> Finale how big the grouping is going to be. So to enter a
> quarter-eighth trip
From: "David H. Bailey" <[EMAIL PROTECTED]>
To: "Daniel Dorff" <[EMAIL PROTECTED]>
Cc: "Finale list" <[EMAIL PROTECTED]>
Sent: Sunday, October 12, 2003 9:28 AM
Subject: Re: [Finale] Triplets in Speedy (was MM response to query about
non-transposingchor
How does one add three grace notes before each of those quarter-triplets and
eighth-triplets? I've been having a rough time doing this entering the
regular note and then turning it into a grace. F2003 decides it knows better
than I do what I really meant and assigns triplet values grouped how it
lo
I'm working on my first cross-staff beaming, using Finale 2003a for
Windows, and something surprising is up. I've got all the notes on the
upper piano staff, selected the Note Mover Tool with Cross Staff checked, and
clicked on a bar needing this work, which creates boxes over the notes.
S
en tent" attitude. That
means when young composers emulate Adams or Carter, they're doing so out of
attraction and curiosity more than from bullying and peer pressure, whereas
those factors were definitely going on a generation ago regarding serialism
and non-serial atonality.
My opi
Also try Steve Weiss Music in Willow Grove, PA (near Phila). They're a
leading source of percussion equipment.
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I've heard some editors point out that the piano keyboard looks the same in
each octave and requires the same eye/hand coordination patterns in any
octave, whereas wind and string instruments are fingered differently in the
highest registers compared to below. A flutist associates high high C abov
I'll add:
What European Boosey did for Bartok in the 1920s (or whenever) with one
metal-plate engraver has really nothing to do with what the NY office does
with different tools for different composers in the 2000s, and there's a
good chance their editor didn't really care about this subtlety as lo
them.
-DD
- Original Message -
From: "Andrew Stiller" <[EMAIL PROTECTED]>
To: "finale list" <[EMAIL PROTECTED]>
Sent: Monday, September 29, 2003 4:16 PM
Subject: Re: [Finale] TAN: Extension ranges on ... Bass Clarinet
> Daniel Dorff:
>
> >when t
Thank you all for such quick and clear advice!
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Help? I've just entered a passage of changing meters, mostly 5/8 and
7/8, using WinFin2003a, using Simple Entry to get the notes in.
All the 5/8 and 7/8 was displayed with individual flags, so I used the /
stroke in Speedy to group all the beams properly, and it worked fine, and the
extrac
on (a) in my own
writing. However one option I'd recommend avoiding is don't use bass clef
transposing at the 9th as an extension of the treble clef. That might seem
like a logical plan to non-bass-clarinetists, but bass clef is
automatically going to look like the old style and we&
should cost what MTC
suggests, but we'll be willing to write for x% of their suggestion because
we're so excited to write for your fine ensemble."
- Original Message -
From: "Richard Huggins" <[EMAIL PROTECTED]>
To: "Daniel Dorff" <[EMAIL PROTE
y sizes; the smallest standard one (in the US) goes down to the
low C matching the viola's bottom pitch, sounding as notated. The next size
continues down a 3rd to the A you mentioned, and the big one goes all the
way down to the cello's low C.
Daniel Dorff
_
is the biggest
name there.
Daniel Dorff
- Original Message -
From: "Andrew Stiller" <[EMAIL PROTECTED]>
To: "finale list" <[EMAIL PROTECTED]>
Sent: Tuesday, September 16, 2003 4:57 PM
Subject: Re: [Finale] commissions
> Thanks to all who ansered my qu
Hi, I've been off the list for awhile and hope I'm not asking a
question that's just been dealt with.
I'm working on a piece for tenor sax & piano and have been
inputting with concert pitch displayed. Parts of the piece are
with standard key signatures, and parts are in free non-tonality.
you could engrave the updated
draft without the detailed bowings, then pencil them in lightly on the
printed set.
The best advice I can offer is to subscribe to [EMAIL PROTECTED]
and ask the same question; you might get a performance or two out of it
since there are many conductors on that list.
-Da
While it's always better for the software to have more flexibility, I'd
recommend not spreading out this type of instruction.
i f y o u w a n tt oc o m m u n i c a t
e w e l lthen standard peripheral vision is the best way to go to
the performers' eyes
One sees a wide variety of pedal notations and degrees of how much to
indicate or just imply, but I'd like to recommend not using lines any more
than necessary. The pianist's eye must flow through a lot of symbols and
keep thinking about feeling the music, not the notation, so seeing 5
parallel li
I like Cool Edit 2000 ( www.syntrillium.com ) for cut and paste of
wav/au/mp3 files, and a whole lot more features for only $69 USD, and you
can download the software from their website directly.
- Original Message -
From: "LGS-Europe" <[EMAIL PROTECTED]>
To: "Finale list" <[EMAIL PROTEC
- Original Message -
From: "Johannes Gebauer" <[EMAIL PROTECTED]>
> Well, probably not exactly what you are after, but there is a really
> brilliant ascending minor 6th in Mozart, G minor string quintet,
DD: Speaking of Mozart G minor, the opening theme of the Symphony 40 in G
Minor has a
Major 7th:
Ascending: Bali Hai (from South Pacific) taking the 1st and 3rd note
Descending: Hut of the Baba Yaga, from Pictures at an Exhibition
Minor 6th ascending:
Fascinating that this interval is so rare as a melody starter. When I was
in school, the suggestion was always the theme song from
Awesome costumes!
Ray, what is new with the Louisville Orchestra? I've heard some scary news
reports.
- Original Message -
From: "Ray Horton" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Saturday, June 21, 2003 8:26 PM
Subject: [Finale] The most off-topic message I've ever posted
I'd compare it to preserving traditional but now-irrational spelling.
Everyone on this list would spell the word "night" correctly, even though
"nite" makes more sense. In a sung text, even though nite would take less
width and be easier to fit in, we'd spell it as night because that's simply
the
Pardon the OT -
My thanks to those who recommended Spam Assassin a few days
ago. It's filtering out about 80% of my incoming spam, and the only false
positives are mass commercial mailings from businesses whose promos I do
want.
However, I can't figure out how to lower the cutoff thresho
g quirks,
like san-ctus.
BTW, a scan-to-pdf of that MPA brochure is available at
http://www.mpa.org/notation.pdf or email me your street address off-list if
you want a hard copy.
Daniel Dorff
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There were a bunch in the 70's, but I'd say Hey Jude for the 60s.
- Original Message -
From: "Ken Durling" <[EMAIL PROTECTED]>
To: "Finale List" <[EMAIL PROTECTED]>
Sent: Saturday, June 14, 2003 8:40 PM
Subject: Re: [Finale] $US0.99 - your cut
> On Sat, 14 Jun 2003 19:23:09 -0500, you
Darcy, I'm a bass clarinetist, and I would ask the contractor about this
orchestra's specifics, since it will vary greatly between orchestras. I
think you can count on 2 bass clarinets (2nd and 3rd player) but in some
cities contrabass clarinets may be hard to locate. 1st-chair players might
resis
Not to be a wise guy, but I call it 3/8. Why disguise it with jargon? It
doesn't help students conceive it differently.
I also second Rob Deemer's point about the significant difference between
fast 3/8 counted in 1 and slow 3/8 counted in 3. Creston's book "Principles
of Rhythm" delves into thi
DL: 314721279
--Boundary_(ID_I3265fKI9g0mMiEwqyO+pA)Content-type: text/plain;
charset=us-asciiContent-transfer-encoding: 7BIT
On 09.06.2003 3:35 Uhr, Daniel Dorff wrote
> Has anyone had a strange problem with systems repeating from the
bottom of one> page to the top of the next page?
Tuesday, June 10, 2003 11:34 AM
Subject: Re: [Finale] layout bug?
> On 09.06.2003 3:35 Uhr, Daniel Dorff wrote
>
> > Has anyone had a strange problem with systems repeating from the bottom
of one
> > page to the top of the next page?
> >
> > In Finale 2003a for Window
Motekaitis" <[EMAIL PROTECTED]>
To: "Daniel Dorff" <[EMAIL PROTECTED]>; "Finale"
<[EMAIL PROTECTED]>
Sent: Monday, June 09, 2003 9:02 AM
Subject: Re: [Finale] Some Considerations about fonts
> Sure, it's called Tracking: the distan
ayout Options..., or does it
matter which option is selected, or do I need to select Mass Edit Tool and
ctrl+A first?
- Original Message -
From:
Christopher BJ Smith
To: Herman S. Gersten ; Daniel
Dorff
Cc: finale list
Sent: Monday, June 09, 2003 8:19 AM
Subject: Re: [F
Another solution that could be very useful is character-width spacing
controls. This is available in Score which makes it easy to use an
open-looking font like New Century Schoolbook for lyrics while condensing
the characters' widths by any percentage, to help with spacing. Word
(character spacin
Original Message -
From:
Herman S.
Gersten
To: Daniel
Dorff
Cc: finale
list
Sent: Sunday, June 08, 2003 9:35 PM
Subject: Re: [Finale] layout bug?
On Sunday, June 8, 2003, at 09:35 PM, Daniel Dorff
wrote:
Has anyone had a strange problem with systems
repeating
m of page 2 and the same system again at
the top of page 3. This occurs on screen and in printing, but the midi
playback is correct.
I wonder if there's a prevention trick I don't know about, or
if this is a known bug?
Thanks for any suggestions,
Daniel Dorff
Prokofiev is the best known of those who put the Tpts on top, and he
certainly knew about orchestration.
It is standard in band / wind ensemble music to put the Tpts first.
However look at Berlioz scores - he was prone to put the horns in the
woodwind choir rather than with the brass, and he also
- Original Message -
From: "Ronald M. Krentzman" <[EMAIL PROTECTED]>
> One thing to keep in mind is that is very difficult for a conductor to
turn
> any page much larger than 11X17 in performance. Also, it is difficult for
> them to scan such a large vertical space.
Taking this one ste
Are you using Maestro Wide for the music font?
- Original Message -
From: "Glenn Adams" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Sunday, June 01, 2003 12:29 AM
Subject: [Finale] Page layout problem
> Hello everyone,
>
> I just finished a orchestral score with 44 staves, 533 mea
True, but only symbols that are in the character set. Thanks
for the tip about Ansgar Krause.
- Original Message -
From:
Ronald M.
Krentzman
To: Finale
list
Sent: Wednesday, May 28, 2003 8:04
PM
Subject: RE: [Finale] 8vb
In the
smart shape options yo
On the topic of composers compromising on notation, I'm new to
hands-on use of Finale, having worked only with the other programs until this
month, and I'm wondering about the surprising standardization by Coda of the 8vb
symbol.
Looking through all the music I own from all different style
- Original Message -
From: "gRegoRy" <[EMAIL PROTECTED]>
> Do you still publish Netty Simons? Now there was a woman who enters into
> the unconventional !!!
Good point, she often was totally graphical and sometimes in color.
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r Italian is spelled "lirico" and "misterioso"
without the y? I want to be true to their intent, but I also want to protect
them from misspellings that don't help their music communicate.
Daniel Dorff
Theodore Presser Company
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haring how one known publisher works
shoulder-to-shoulder with composers to get results they like better than
their original draft. That seems valuable to the Finale-list dialog and I
hope it is interesting to many people who wonder about these things.
Sincerely,
Daniel Dorff
Theodore Presser C
I can answer on behalf of Presser, including Elkan-Vogel, Merion, and
affiliates Coronet Press and Tritone-Tenuto.
Our house philosophy is to follow evolved standards which seem to be most
transparent and automatic for performing musicians to play from; ironically
for engravers, the best notation
Please post, share, forward, and
distribute:HADDONFIELD SYMPHONY YOUNG COMPOSERS' COMPETITION
2003-04PRIZE INCLUDES:§ Performance of the winning work by the
Haddonfield Symphony, conducted byMaestro Rossen Milanov, on December 6,
2003.§ Professional archival recording of the performance.§ Ro
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