At 11:35 AM + 1/22/04, Colin Broom wrote:
-Original Message-
From: David H. Bailey [mailto:[EMAIL PROTECTED]
Sent: 22 January 2004 11:26
To: [EMAIL PROTECTED]
Cc: Finale List
Subject: Re: [Finale] Tubas and 8vb
Tubists are used to reading ledger lines, not 8va markings.
From: Eden
FWIW my solution to what to put in parts and score would be "optional" and
"play"
Cheers Keith in OZ
I like it! Especially since in some situations "ad lib" can easily
be taken as an instruction to improvise.
John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U
If I encountered this neologism I would take it to include all of
jazz, world music, roots music, and anything else not sold on the
ground floor of the record store.
--
Andrew Stiller
Kallisti Music Press
RECORD STORE? LOL! I haven't seen a record store in years! You mean like
"Tower Recor
At 2:01 PM -0500 1/10/04, Raymond Horton wrote:
John, you excerpted only part of my reply. You left out this:
In any commercial situation, Bb trumpets are the norm. Higher keys can be
asked of pros.
RH
No, I saw and understood it, but took it as a mixed message. The
first sentence is quite tru
Ray Horton wrote:
If you are writing for professional, serious players, C trumpet is the
standard instument. One could still write for Bb trumpet, and many do, but
players will normally play the part on C trumpet unless there is a good
musical reason in the part to do otherwise. Smaller trumpets
David Bailey wrote:
The trumpet transposition is so that a trumpet player doesn't have
to learn different fingerings for A, Bb, C, D, Eb, F, G trumpets --
one set of fingerings works for all (with some adjustments for
intonation, but that happens even between different trumpets of the
same pit
Christopher wrote:
Well, the problem with octave clefs is that those instruments DON'T
read in those clefs, they read in regular treble and bass clef, and
use of an octave clef for say, double bass, (or even worse, guitar
or glock, for which parts are routinely notated in wrong octaves)
would
At 6:47 PM -0500 1/6/04, [EMAIL PROTECTED] wrote:
In a message dated 06/01/2004 23:44:39 GMT Standard Time,
[EMAIL PROTECTED] writes:
The conductor (who is looking at the score) wants to know what the piece
SOUNDS likeso write everyting at sounding pitch. And emphasise this
on the cover "SCO
Barbara Touburg answered:
Hear, hear! I've sung in a specialized Renaissance choir for several
years and I can testify that *not* reducing note values makes all of
the difference! We need to see the original notation.
David W. Fenton wrote:
So, this all depends on your repertory and the audienc
At 11:41 PM -0600 1/4/04, Richard Huggins wrote:
There's such a breadth of experience here, I figure someone here will know
this answer: I saw two orchestra broadcasts over the holidays where two
harps were used. I'm wondering if someone can explain to me how two harps
are used, for example: doubli
At 5:25 PM +0100 1/4/04, d. collins wrote:
I'm doing some 17th century arias some of which have up to 7 or 8
verses with the same music. How many can one enter under the music
without making the whole illegible? Starting with how many would it
be preferable to add them separately after the music
On 04.01.2004 13:11 Uhr, d. collins wrote
Thanks, Johannes. This is indeed what I was wondering about (and, as I said
in another message, I made the mistake of quoting Ross from memory and
forgetting that he doesn't actually recommend the method he describes). But
I'm not sure the solution you
At how many measures should one start to convert to multimeasure
rests with numbers? I think Finale's default is 10. That sounds like
a lot. The Essential Dictionary of Music Notation says anything over
1 measure. Ted Ross gives a system with symbols for 2 to 8, and uses
numbers starting at 9.
Darcy wrote, in part:
Hmmm... I'm not sure what you mean by "an ordinary way" -- for me, at
least, the ordinary way of pronouncing "opening" *is* "ope-ning."
Can't go with you on that one. The only place I ever hear it as two
syllables is in "Kiss Me Kate," and it grates on me every time.
But I
Phil Daley wrote:
I think the Fred Waring arrangements used to have some "symbolic"
pronunciation guide below the text. I believe it has a name, but I
don't remember it.
Tone Syllables. His goal was to have his singers pronounce every
phoneme exactly alike at the same nanosecond. He couldn't s
Never seen a piece with a repeat barline in the middle of the measure? I am
sure you have.
Johannes
Sure, but on further reflection that isn't really a bar line, it's a
repeat mark. Problem is that it looks and acts like a bar line.
John
--
John & Susie Howell
Virginia Tech Department of Music
At 9:44 AM -0800 12/4/03, Harold Owen wrote:
John.Howell:
The Weimar cantatas like No. 106 are a problem all
their own because of the the difference in pitch standards between
the court organ and the court's woodwinds.
When I performed this, I transposed it a whole step higher, from Eb to
F
At 6:26 PM -0500 12/3/03, Darcy James Argue wrote:
I don't mean to pile on, but this struck me as odd as well. While I
know a number of people who are able to circular breathe on
woodwinds, my impression is that it is considerably more difficult
to do on brass instruments, especially trumpet.
hello list,
i would like to make public my gratitude to mr. andrew stiller for all his
advice. not to bother him again, and because there might be some brass
players on the list, i'm sending this asking for help.
the last note my first trumpet is playing is very long one. about 50 seconds
long, fo
Well, under normal circumstances I would of course write the altos
in the treble clef, ledger lines and all, in this case they are
doubling the tenors exactly for the entire movement, so I'm inclined
to make an exception. The altos may be fine with all those ledger
lines below the staff, but t
Darcy James Argue écrit:
The only oddity now is that the altos and tenors both have to share
an 8vb treble clef.
I raised this very question not long ago and was strongly advised
against using the tenor clef for an alto part. (Advice I've
followed.)
Dennis
It would throw your average, untrained
Hi gang,
Okay, so I'm faced with a movement of a piece for orchestra + chorus
where only the men sing. The (highly unreliable) manuscript has the
men divided three ways and calls them "tenor, baritone, and bass" --
but I'm not sure if that's the standard way of referring to that
subdivision i
David
John.Howell wrote:
I'm trying to enter some chants using a
5-line staff, no meter or barlines, and just solid noteheads and open
noteheads.
Any suggestions for an efficient way to do this with Finale? I've
entered a short piece with hidden barlines and time signatures, but
still had to ente
I'm trying to enter some chants using a 5-line staff, no meter or
barlines, and just solid noteheads and open noteheads.
Any suggestions for an efficient way to do this with Finale? I've
entered a short piece with hidden barlines and time signatures, but
still had to enter it in 4/4 and set ste
I don't think that is necessary anymore -- the standard copyright
notice is all that is required these days, I believe.
Don't think so. Check the law at LC.
John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411 Fax (540) 231-5
David Fenton wrote:
But how much will string players know to do already, simply because
they are familiar with the style?
If they are really familiar with the style it will certainly affect
their playing. Your anecdote about coaching young players in the
Mendelssohn trio demonstrates perfectly
David Fenton wrote:
I'm just finishing up a transcription of a Mozart Divertimento for
winds and have simply carried over the phrasings (i.e., tonguings)
from the original. These generally look like they'd end up as pretty
good bowings.
Comments?
You're talking about two different things, David:
At 5:12 PM -0500 11/08/03, David W. Fenton wrote:
Is there any kind of rule of thumb for when to switch to tenor clef
in a cello part? I'm used to writing for viola da gamba with
switching between bass and alto clef, and I know by gut instinct
where to switch there, but I'm not a cellist, so don't
Hi all:
I know the sign for cut time , a c with a line through it. Is there
anything like that when the time signature is
3/2? A friend drew a 3/4 time signature on a part and put a line through
it. Is there anything like this?
Thanks:
Bob Florence
No, and the reason has to do with the history of
Dennis Collins wrote:
Bearing in mind that is a series which I'd like to keep fairly
consistent, I've thought of different solutions.
1) use a smaller system reduction
Please, no! Bear in mind that not all your singers will have
18-year-old eyes. Some of us need tri-focals.
2) put two vocal p
David H. Bailey wrote:
Alto recorder sounds at written pitch, so it is going to sound the
same as the tenor recorder.
I realize that this is an awfully small nit to pick, David, but the
fact is that alto recorder is SOMETIMES notated at written pitch,
with the lowest sounding note the F above
Listsibs:
Working with a score modeled on the baroque "Concerto grosso" model.
In the ms., all instruments are in ordinary score order, falling
where they would in an ordinary "Orchestral score".
Nowever, should the "concertino" and "ripineo" groups be considered
separate ensembles, and ordered
I know some engravers on this list prefer to optimize the string
section as a group -- i.e., show the entire string section even if
only part of the section is playing.
Two questions:
1) Would you say this is standard practice?
Yes, absolutely. You help the conductor by keeping it consistent.
At 1:08 PM 10/16/03, d. collins wrote:
I'm also wondering if the rules are the same for a regular printed text and
for vocal music. In Latin, for instance, one sees in sacred music divisions
that don't correspond to normal "syllables". (e.g. no-stra rather than
nos-tra).
In Italian there's no need
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