[Finale] Anti-spam white list nonsense.

, they would surely add to their white list any mailing list they subscribe to. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] C-flat/C-sharp

major. This section is a massive fugue in about 10 voices, and it includes a triple-sharp at one point. It was notated either "#x" or "x#" - I don't remember, since it's a long time since I saw this. Regards, Michael Edwar

Re: [Finale] C-flat/C-sharp

when I posted earlier. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] C-flat/C-sharp

Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Another tuplet question

es, not the value that happens to appear as the first note. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Accidentals Q

lat key signature to a sharp one or vice-versa, I always include cancelling naturals for the old signature. Regards, Michael Edwards. P.S. Oops - I've just noticed I accidentally sent my previous message to the old address for this list

Re: [Finale] White out problem

unless you want to add an extra staff. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] TAN: Cautionary accidentals and repeated notes, octaves - error correction.

Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] TAN: Cautionary accidentals and repeated notes, octaves.

sn't ambiguous, that I can't foresee. However, if you depart from the traditional rule, and try to cover all ambiguities, it inevitably moves you to the strict rule I mentioned. I did use parentheses at one time for cautionaries, but I later abandoned that as unneces

Re: [Finale] TAN: Cautionary accidentals and repeated notes, octaves.

;t seem to get into the feel of it.) (In the name "Vojtísek", the "s" also has an accent like an inverted circumflex, but I couldn't find out how to type it.) Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] TAN: Cautionary accidentals in non-tonal music

ould rather go overboard than not far enough. I would rather be clear and unambiguous than to reduce notation at all costs. I don't believe fewer accidentals necessarily makes the music easier to read. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

[Finale] Full-bar notes (previously: rests, long notes...].

way - I have a bit of reluctance to invent new conventions like this, no matter how clear they are. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] rests, long notes, in 18/8; and in 5/8, 5/4, etc.

e only beat subdivision used in a passage - but all the ties and complicated rests that tend to get required in compound metres are a bit off-putting. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Being prescriptive (and Horowitz going over the top).

in that sense - they just sounded bombastic, and it was done again and again - not just occasionally here and there for expressive purposes. (I think I heard a few wrong notes amongst some of those thickened up octaves or chords, too, which didn't help matters.) Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Being prescriptive.

re are no doubt benefits in the form of a dedicated proponent of the piece (for a time, at least), effective and idiomatic performances, and the like. I'm just making the point that all the points are not necessarily in favour of writing for a particular performer - there are negatives,

Re: [Finale] Being prescriptive - but CAN the composer be wrong occasionally?

a slip of the pen or a misjudgement, and override it? (This being a solo piano piece, there are no considerations here of having to balance weight or texture with other performers - issues which, if present, might clarify the matter.) Regards, Micha

Re: [Finale] TAN: Notation, ideology, self-expression (previously: Extension ranges on ... Bass Clarinet).

tainment vs. self-expression? But I don't see why you can't do all of these at the same time, or any combination of them that you desire and are temperamentally suited for. Just a few thoughts prompted by recent discussion. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Key signature question

e, if the music had a major feel to it, and didn't seem to be based on a system of different modes. >And be prepared to argue with some people about it. ... As seems to be the case with most notational practices, no matter how obvious one method may seem to one. I wonder why people (

Re: [Finale] Pedal markings

[Richard Huggins:] >Just for the record, as a pianist I can't agree with Michael Edwards' rather >global criticism of the pedalling decisions and techniques of the pianists >he has heard. Well, I see nothing wrong with saying what I like or don't, and whether I want

Re: [Finale] Pedal markings

, I was not talking about music intended for educational use - just general use. I routinely use extensive pedal markings in music not intended for educational use. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] OT System of time signatures

wing rhythms - namely that swing is almost always notated in straight notes - the middle section in this piece is notated mostly in dotted rhythms. Brubeck's scores - at least the piano versions I have - often use dotted rhythms in this manner.)

[Finale] OT System of time signatures (previously: Beat vs. pulse).

just saw it once in a score, and was curious to know if there were any arguments in favour of it.) Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

[Finale] OT: (verification)

hink you've got to change your strategy if you want to receive all your normal e-mail. >You will only need to do this once per Spam Arrest customer. Bob, I think you're going to have a quiet time, e-mail-wise, if you require everyone to verify themselves. Perhaps that's

Re: [Finale] OT - Beat vs. pulse (previously: 3/8 time sig).

he "tre battuti" section. What would be the arguments against using a triple or quadruple time signature? (That is, apart from the tradition that says you don't notate scherzi in this manner.) Regards, Michael Edwards. ___

[Finale] 3 in denominator for dotted crotchet (previously: OT - Beat vs. pulse).

here something to be said for it? Is there any kind of logic that can actually justify it, beyond my comment above that it is clear in a funny kind of way? Regards, Michael Edwards. ___ Finale mailing

Re: [Finale] TAN: SPAM

automatically. Is it as simple as this? If anyone can shed light on this, or at least point me to a site that explains all this further, I would be grateful. Thanks. Regards, Michael Edwards. ___

RE: [Finale] OT - Beat vs. pulse (previously: 3/8 time sig).

[Brad Beyenhof:] >On Wednesday, June 11, 2003 11:17 PM, Michael Edwards wrote: > >>I learned that the "beat" was the primary unit of rhythm, and >>that you could term subdivisions of that "pulses". >> Am I wrong on this? Or can you have it eithe

Re: [Finale] OT - 3/8 time sig

st,... I would not dare raise anything on this list that I *didn't* want to become a huge discussion. :-) Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] OT - 3/8 time sig

[Liudas Motekaitis:] >... you almost never use a dotted note as a beat... Not even in 6/8 or 9/8 or 12/8? Surely the beat there is a dotted note? Or have I misinterpreted your comment, Liudas? Regards, Michael Edwa

Re: [Finale] OT - Beat vs. pulse (previously: 3/8 time sig).

hat "pulses". Am I wrong on this? Or can you have it either way? Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] Program closed without(!) asking to save

o me the cause is likely to be a shortage of either empty disk space or memory. In any case, whatever the cause, I would completely reboot the computer before resuming work on any important operation. Regards, Michael Edwards. __

[Finale] Swing rhythm notation (previously: Notational conventions...).

osers such as Ravel, Debussy, Stravinsky, John Ireland, Cyril Scott, and a few others. I suppose it's a hybrid style, really. I don't know if that helps clarify the kind of context within which I would be notating this kind of music. I have always mainly worked within a broadly &

Re: [Finale] Score Order

f descending pitch, isn't there an argument for putting trumpets above horns? Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] Score Order

r triangle were placed *above* the bass drum or tamtam, and it always jarred somehow, although it can't be actually called incorrect if there is no standard ordering of these instruments. Regards, Michael Edwards. _

Re: [Finale] Notational conventions in new and old music (previously: Do house styles...).

[Christopher B. J. Smith:] >At 11:40 PM +1000 5/31/03, Michael Edwards wrote: >> This thread is becoming so involved, and going in different >>directions, that my thoughts are starting to fragment a little. > >Yeah, mine, too! > >Bob F, (if you're still list

[Finale] Notational conventions in new and old music (previously: Do house styles...).

This thread is becoming so involved, and going in different directions, that my thoughts are starting to fragment a little. But, for what it's worth, are a few reactions to some of the things David Fenton said recently. [David W. Fenton:] >On 30 May 2003 at 2:12, Michael Edwar

[Finale] Musical meaning (or not) of clefs.

[David W. Fenton:] >>>Clefs have always been considered as having no musical meaning. [Michael Edwards:] >> What is "musical meaning"? . . . [David:] >Well, what I mean is that a clef does not tell you anything about how >to play the notes -- it just tells you

[Finale] Appoggiatura notation (previously: Do house styles...).

[Andrew Stiller:] >Michael Edwards: > >> I agree that one is getting into murky areas if one decides editorially >>to change Mozart's notation, and update it to modern conventions generally; >>but, as a composer, I would every time prefer the modern notation,

Re: [Finale] Do house styles override what composer wrote?

[Mark D. Lew:] >At 7:12 AM 05/30/03, Michael Edwards wrote: > >> Given your situation, and that you explain in the score the changes >>you've made, at least briefly, this is, I suppose acceptable. If I were doing >>this, I would also put "edited by..."

Re: [Finale] Do house styles override what composer wrote?

rdon me if I've misspelled Granados's Spanish title.) However, these pieces are intended for skilled pianists who practise before performing them, and are probably not casual sight-reading material. I guess things are a bit different with educational music, piano versions of op

Re: [Finale] Importance of score (previously: house styles...).

[Mark D. Lew:] >At 2:12 AM 05/30/03, Michael Edwards wrote: > >>Careful notation is, to me, so much a part of the total >>compositional process (although not necessarily a very early part of it) that >>I just took it for granted that other composers would feel similarly.

RE: [Finale] Do house styles override what composer wrote?

sume it wouldn't be correct, strictly speaking, if you had a genuine Bartók style of irregular groups of notes that was not simple syncopation, but a genuine irregular metre. In this case I would probably use the 3+3+2 style of numerator. Regards,

Re: [Finale] Do house styles override what composer wrote?

[Ray Horton:] >>>Michael Edwards wrote: >>> >>>>(a) The use or non-use of naturals in key-signature changes should (in my >>>>opinion) be determined by the composer (especially if he or she definitely >>>>wants a particular method), and not ov

RE: [Finale] Do house styles override what composer wrote?

ate on me, and I wouldn't want to be responsible for promoting clearly wrong usage; but I am not temperamentally inclined to try to make others do anything against their will.) Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] Do house styles override what composer wrote?

owing a composer's original notation, I wasn't thinking of situations like this, but of more modern music where the notation is quite understandable, but just with certain mannerisms: things like note-beaming, style of key-signature change - the things we were talking about before.

Re: [Finale] Do house styles override what composer wrote?

[David W. Fenton:] >On 29 May 2003 at 8:10, Michael Edwards wrote: > >> I guess the situation is a bit difficult for older music, where notation >>has changed sufficiently that older music might be difficult for modern people >>to read. I suppose we have to ac

Re: [Finale] Do house styles override what composer wrote?

at counts the most. But do it, I do - sooner or later, usually before tweaking my ideas further, for which I need the clarity of thought that clear and precise notation gives me. [Daniel Dorff:] >From: "Michael Edwards" <[EMAIL PROTECTED]> >>...But as long as a >>n

Re: [Finale] Do house styles override what composer wrote?

Szymanowski's composing. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] Do house styles override what composer wrote?

[Ray Horton:] >Michael Edwards wrote: > >>(a) The use or non-use of naturals in key-signature changes should (in my >>opinion) be determined by the composer (especially if he or she definitely >>wants a particular method), and not overridden by the engraver or publish

Re: [Finale] Do house styles override what composer wrote?

er ways in which house styles might change what a composer wrote. I don't mind that in the least. Lots of interesting questions can come up that way. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] Do house styles override what composer wrote?

dards that are any more than a particular house style can be achieved while there are so many opinions on what practices are best. Who's going to decide what the universal standards are going to be? And on what grounds? I suspect everyone who's commented on notation here recently wou

[Finale] Odd key signatures.

most intertwine with one another to produce spiky, intricate textures. Just one of those oddities I've found over the years in shops selling second-hand music. Regards, Michael Edwards. ___ F

Re: [Finale] Changing key sigs without courtesy naturals - a good idea?

ey signature). Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

RE: [Finale] Accidentals and Key Changes

tice started in the first place. But the use of computers eliminates that reason, and, in engraving an orchestral score, I would keep the naturals. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

[Finale] Do house styles override what composer wrote?

m? - and presumably refuse to publish the music if the composer didn't accept this? In matters of notation, where is the line drawn between honouring what the composer has written, and following a publisher's house style, used for all publications? Regard

Re: [Finale] Notation Question (Augmetation dots)

used confusing descriptions myself, I'll try to depict crudely in ASCII art what I was trying to describe: | | xxx| . (C) xxx| | | xxx| . (F) xxx xxx |xxx . (E) | | Regards, Micha

Re: [Finale] Notation Question (Augmetation dots)

ots for the F and C to the right a bit so that they line up vertically exactly with the dot for the E? (Which would, of course, be below the E line rather than above.) Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] 5/4

unds like it *belongs* in 5/4, not in some other metre bent into 5/4. (I'm not a Witness - but I do happen to have a copy of the songbook.) Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] 5/4

;"Take Five" might ring a bell. There's also "Mars, the Bringer of War", the first movement from Holst's "The Planets" suite; I think it's quite well known now. Not sure if it's public domain - is that important, for any reas

Re: [Finale] Transposed vs. concert pitch.

below, and the C-clefs in various positions. These are never used with octave-transposition, as far as I know. So what octave clefs are being referred to here? What do they look like, and how (if at all) do you transpose from the "obvious&qu

[Finale] Avoidance of bass clefs.

misinformed by someone who believes those instruments should be notated in treble clef. Someone of a different opinion would just see it as one of the exceptions, though. Regards, Michael Edwards.

[Finale] Transposed vs. concert pitch.

clef changes in. That way, you can simplify score-reading (greatly, not just trivially), and yet satisfy players who wish to read parts that follow the various transpositions, traditional clefs, and the like. Regards,

Re: [Finale] Clef refuses to display

, and the one I would prefer. Is there a particular reason why the use of bass clef should be surprising? Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] URGENT RESPONSE

cking them completely would be too harsh and punitive. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] URGENT RESPONSE

to spend lots of time policing the content of every post. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] URGENT RESPONSE

on rare occasions when there is a justification for doing so).) Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] Divisi

Darcy asked, I suppose each violin section can at least be separately divided into three. Certainly *this* is common enough (I've seen it quite frequently in scores), and surely shouldn't cause confusion. Regards, Michael Edwards. _

Re: [Finale] Divisi

haps a bit unconventional, but perfectly clear: the only way you could read it was that the entire group of violins (I and II combined) were, for that movement, to be divided into three equal portions. I do grant, though, that this would not be a good solution for anything less than

Re: [Finale] Notepad and Finale compatible?

er you're replying to, I'm used to changing the "To:" heading to "Finale", and so it was easier to overlook the fact that it was a private letter.) Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] Notepad and Finale compatible?

fact it would be better just to wait until I can get Finale, and not bother using NotePad beforehand? Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] Notepad and Finale compatible?

files I create in NotePad be fully readable and useable in Finale - but I imagine this would be so, wouldn't it? Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shs

[Finale] Notepad and Finale compatible?

in Finale? How much hard disk space and memory would I need to install and use NotePad? Thank you. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] Size of quotation, and unintentionally quoting.

beer) came to Rossini with some of his recent music, and asked Rossini to give an opinion of it. Rossini said something along the lines of: "This music is both great and original. However, the parts that are great are not original, and the parts that are original are not great." Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

[Finale] Size of quotation, and unintentionally quoting.

and I didn't want my idea to be perceived as a quotation at all. But it kind of gave me a shock to realize just how easy it is to unintentionally steal ideas. And I am a bit purist about this, and never knowingly quote anything at all in any music I've ever composed.

[Finale] Starting on piano with black keys.

n white keys, I would have got it up to speed far more quickly. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

[Finale] Details of copyright.

es quite or even very different - and so on.) If you are dealing with small enough portions of melody, it would be almost impossible to compose a melody without bits of it being very similar to other melodies. It would be a bit like trying to write a novel making sure that no 3-

[Finale] Windows 95 crashing problems.

nk about that. The C.D.-ROM which came with my laptop is one of those ones that reformats the C: drive when you reinstall (a system which I *hate*), but perhaps there are tricks for reinstalling in other ways - I don't really know. Regards, Michae

[Finale] Ease of learning vs. ease of use.

tandard notational practice. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

[Finale] Tweaking bar-lines with staff styles.

bit too easy. Do these staff styles allow you to hide particular symbols individually, or only allow you to set a general rule which decides automatically what is hidden and what is not, and then you can't make exceptions? Regards, Michael Edwa

[Finale] 127 sharps or flats?

(127 being 1 less than a power of 2), and at least do no harm? Just curious. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

[Finale] Non-standard time-signature usages.

or bar-lines - as in some concerto cadenzas, for example? Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

[Finale] Non-standard key signatures.

[Johannes Gebauer:] >On 22.06.2002 16:20 Uhr, Michael Edwards wrote > >> I do occasionally need things like bitonal or custom key >> signatures, or bar-lines occurring in different places in different staves, >> or different time signatures in different staves > >

[Finale] Ease of use vs. ease of learning in Finale.

[Robert Patterson:] >On Sat, 22 June 2002, "Michael Edwards" wrote >> I've heard comments from various people >> which seem to indicate that Finale is not easy to use; > >We should draw a distinction here between easy to use and easy to learn. I guess

[Finale] Macro program for Finale (with Windows 95).

dows, what are the options for a macro program? Jari mentioned TGTools and Forza! Quick Navigator. Would those be the main ones you had in mind for Windows? Or is a macro program something quite different from those programs I just named? Rega

[Finale] Macintosh; plug-ins; macro programs.

ioned before, I don't especially like using the mouse, and would ideally like to do everything (or as much as possible) from the keyboard. So would something like QuickKeys be useful there, even in Windows? Regards, Michael Edwards.

[Finale] Igor vs. Sibelius vs. Finale.

ut various computer problems I have; but I must admit I have less faith in it than I used to. Purchasing Finale looks more likely now than it has done before, although I've been considering it for some time. Regards, Michael Edwards.

Re: [Finale] a piano question

oubt about what was intended, if strict usage were not always followed by the composer. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

[Finale] Virus?

d infect anyone? Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

Re: [Finale] O.T. - E-mail style: paragraph style, empty lines.

... And another issue I'd like right of reply on, please - perhaps a touch more contentious, as I do have differing views on this: [Michael Edwards:] >> They are the only specific things Patrick said. He made other vague >> references to "established style", but

Re: [Finale] O.T. - E-mail style: attributions, quote indicators.

he greater-than signs by hand if it will make life easier for people, although it can be a slight nuisance if it causes some lines to exceed 80 characters, because I then need to reformat the whole paragraph in question. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale

[Finale] O.T. - E-mail style.

Michael Edwards. [Philip Aker:] > If you were inclined in the area I suggest that you would have > noticed how most people format their email and quote replies on this list and > adjusted your posts to the norm accordingly. > &

Re: [Finale] O.T.: Jumped upon, and holy wars.

Michael Edwards. [Myself:] >> Oh no - not *another* platform war! :-) I'm not buying into that. I don't >> like Windows, but a whole history of circumstances has led to me using that >> system - mainly learning co

Re: [Finale] O.T.: E-mail style.

Michael Edwards. [Keith Helgesen:] >Michael- remember the Aussie expression "come in spinner"! Never heard of it before, and I don't know what it means. >I suspect your indignant reactions to some of the points made

Re: [Finale] O.T.: E-mail style.

Michael Edwards. [Lawrence Yates:] >One of the things I like about Edwards style is that he puts his name at the >top of the e-mail so that we can see imediately from whom the message is sent >rather than having to scroll up to the d

[Finale] O.T.: Jumped upon, and holy wars.

Michael Edwards. [Jari Williamsson:] If you are being jumped upon by Philip, your error is that you aren't using a Mac. :-) Oh no - not *another* platform war! :-) I'm not buying into that. I don't like Windows, but a w

[Finale] O.T.: E-mail style.

Michael Edwards. [Johannes Gebauer:] >Sorry, Edward, I did not mean to offend you. That's okay. I wasn't really offended, but felt a need to clarify what I said (or intended to say). And thanks for your advice about engra

Re: [Finale] TAN: Prospects for engraving: suitability of thiswork.

Michael Edwards. [Johannes Gebauer:] >However, the point that Philip is making is perhaps the same that Jari was >making earlier: You claim you have a lot of knowledge and are careful with >details, yet you make it quite obvious that yo

Re: [Finale] TAN: Prospects for engraving: suitability of this work.

Michael Edwards. [Philip Aker:] If you were inclined in the area I suggest that you would have noticed how most people format their email and quote replies on this list and adjusted your posts to the norm accordingly. [My respone:] I don&#

Re: [Finale] Choice of Igor as reflection of (lack of) precision.

Michael Edwards. [Jari Williamsson:] What I've said is that Igor's slurs and ties does not have the ability to conform to any publisher's style. The replies I got are the usual "I think they look good". If you ca

Re: [Finale] TAN: Prospects for engraving: thanks; duplicate files.

Michael Edwards. [David H. Bailey:] >I didn't mean to imply that if you gave the files to the client that you >wouldn't keep a copy. ... >But I think you should keep a copy of all the files so that you can >always do furth

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