o on what exactly you scan to.
Thanks,
Phil Shaw - [EMAIL PROTECTED]
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.
Anybody know how to use Fin2003 without also
having Fin2002 installed?
It's been several releases since I had to install
JazzFont separately.
Thanks,
Phil Shaw - [EMAIL PROTECTED] - http://okshaw.com
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ople who use layers for other things.
I don't generally use layers, so this technique
is a workable and even almost convenient method
to anchor chords.
Ah, I recall my younger days, struggling to enter
chords over the melody layer, and having a chord
(unknown to me) anchored to e.g. an 8th n
27;ll find that you already know all the rules
of counterpoint, simply by osmosis from listening to
counterpoint lines.
Phil Shaw - [EMAIL PROTECTED] - http://okshaw.com
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eemingly needless 18 hour
session.
Phil Shaw - [EMAIL PROTECTED] - http://okshaw.com
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Can anybody tell me the tool or technique for
parenthesizing a note? E.g. to indicated
a ghosted note? And for parenthesizing a chord
symbol?
E.g. to indicate an optional variant?
THanks,
Phil Shaw - [EMAIL PROTECTED] - http://okshaw.com
thanks for any info.
Phil Shaw - [EMAIL PROTECTED]
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Howard,
Thanks! I neer heard of that TXT file technique.
Like the technique I describes, it's another
"secret" PDF feature. If I can make it work
it'll save me a lot of manual drag-and-dropping.
Phil Shaw
--- Howard Rigby <[EMAIL PROTECTED]> wrote:
> Hi Phil
prepare a cover page and TOC with a
word processor, generate PDF from it, and
drag and drop it into the emerging collective PDF.
So, for my education, where do the txt and prn
files enter your process?
Thanks,
Phil Shaw - [EMAIL PROTECTED]
--- Howard Rigby <[EMAIL PROTECTED]> wrote:
found any way to delete PDF pages,
so if I goof up the process, I just start over.
I have also not found any way to add composite page
numbers or heading lines.
So the technique isn't complete and perfect,
but it's simple and useful.
Phil Shaw - [EMAIL PROTECTED] - ht
that's what I should do before I try
it, lest I mess things up.
Thanks,
Phil Shaw - [EMAIL PROTECTED]
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t handles
in Page Layout view, but that yields sort of random
distortions of the spacing.
I have RTFM, and spent two evenings experimenting.
I'll be most grateful if anyone can shed light on any of the above.
Thanks,
Phil Shaw - [EMAIL PROTECTED]
P.S. I have the impres
ediments to macros. The
worst is toggle options. You can't write
a macro to positively set a toggle option
ON or OFF, because you don't know if it's
currently ON or OFF.
Anyway, check out WinBatch. I regard it as
an essential.
Phil Shaw - [EMAIL PROTECTED] - http://okshaw.
g, etc, that will be a big hassle to
do a document-at-a-time.
Warning: this is the sort of mechanism that
programmers will commonly say "can't be done",
but in fact turns out not to be a big deal.
Thanks for asking,
Phil Shaw - [EMAIL PROTECTED] - http://okshaw.com
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The bVII7 gets the leading tone from its b9.
I.e. bVII7b9 is exactly the same chord as V7b9.
That identity leads many (most?) of us to equate
bVII7 and V7 in all alterations.
Phil Shaw - [EMAIL PROTECTED] - http://okshaw.com
Christopher BJ Smith wrote:
>
> At 10:41 AM -0700 4/29/02
I find the chord in question generally called bVII,
but...in popular music I almost always see it as
bVII7 (pronounced 'flat 7 7'), used as an alternative
to V7. I.e. the progression bVII7-I is a common
substitute for V7-I.
Phil Shaw - [EMAIL PROTECTED] - http://
, if the latter I'll
drop out.)
Thanks,
Phil Shaw - [EMAIL PROTECTED] - http://okshaw.com
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-a-Box can save directly
as WAVE.
Phil Shaw
[EMAIL PROTECTED]
http://okshaw.com
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