On Mar 6, 2004, at 1:51 PM, John Howell wrote:
I assume that was a typo, Crystal. A minor 3rd down from Eb would be
C. But choosing between C# and Db I would take Db every time.
Not me. Not every time.
I would tend to prefer Db, but you've got to consider the specifics of
the song. Suppose it
But choosing between C# and Db I would take Db every time. (Trivia: What
key did Andrew Lloyd Webber write most of his most important songs in?
Db.) <<
I chose Db as well, but for what this client wants to pay, he will have to
take it in C# or pay more to have me take out all the double accide
At 9:37 PM -0500 3/5/04, Crystal Premo wrote:
The piece I'm talking about specifically today is "More" from Dick
Tracy. This is a piece with no guitar chords. It started out in
Eb, and taking it down a minor third (which is what women usually
want) by putting it in C# left only one double shar
For example, in C major, if you have an E with a natural in parens, when
you transpose to D major you get an F with the sharp in parens<<
Thanks to both you and Johannes for this enlightenment!
Crystal Premo
[EMAIL PROTECTED]
_
Creat
Why do you place them as articulations? Speedy "P" does this.<<
For no other reason than because this is the first time it occurred to me.
I will henceforth avail myself of the Speedy "P" method.
Crystal Premo
[EMAIL PROTECTED]
_
Ge
At 09:09 AM 3/6/2004, Crystal Premo wrote:
Ummmlast time I checked, Eb down a minor third makes C, not C#.<<
>
>You're absolutely right. It wasn't down a minor third which was requested,
>but down a whole step.
Okay, then Db would make for a better key signature than C#, wouldn't it?
>Her
On 06.03.2004 15:09 Uhr, Crystal Premo wrote
> Here's another thing about transpositions: if the piece contains
> accidentals in parentheses and one places them as articulations, those
> articulations stay there in the new key whether they are wanted or not.
Why do you place them as articulation
Ummmlast time I checked, Eb down a minor third makes C, not C#.<<
You're absolutely right. It wasn't down a minor third which was requested,
but down a whole step.
Here's another thing about transpositions: if the piece contains
accidentals in parentheses and one places them as articulatio
At 09:37 PM 3/5/2004, Crystal Premo wrote:
>The piece I'm talking about specifically today is "More" from Dick Tracy.
>This is a piece with no guitar chords. It started out in Eb, and taking it
>down a minor third (which is what women usually want) by putting it in C#
>left only one double sharp,
First of all, you should be able to avoid most of that my simply choosing
the right transposition interval. For example, if a piece is in Ab and the
singer says she wants it taken down a major 3rd, you really want to make
that a diminished 4th. If the piece has a modulated section, you may need
On Mar 5, 2004, at 2:51 PM, Crystal Premo wrote:
I do a lot of transpositions of Broadway and pop tunes for people to
use at auditions, and I have a question about what happens with
accidentals. Sometimes the new key is rife with double flats and
double sharps. Is it acceptable to simplify th
I do a lot of transpositions of Broadway and pop tunes for people to use at
auditions, and I have a question about what happens with accidentals.
Sometimes the new key is rife with double flats and double sharps. Is it
acceptable to simplify those accidentals. If so, is there a way to have
F
[Richard Huggins:]
>Due to the use of 8va in the earlier case but not in the
>latter, the second occurance would be played at a different point on the
>keys. Because of this, is there any precedent for repeating the accidentals
>on the second occurance?
I've seen it both ways, but repeating
I can't think of a specific example, but I'm almost certain I've seen a
repeated accidental after a shift to/from 8va. Probably where the
second occurence was an upbeat to a new phrase. IMO, not to give a new
accidental when the visual position of the note has changed would be a
confusing app
I would advise leaving the second accidental, since it is in a different
octave to remove any doubt.
Richard Huggins wrote:
I'm doing a piano score. I have a situation where the displayed notation on
beat 4 is identical to beat 1 in the same measure, notes which have
accidentals. Due to the use
I'm doing a piano score. I have a situation where the displayed notation on
beat 4 is identical to beat 1 in the same measure, notes which have
accidentals. Due to the use of 8va in the earlier case but not in the
latter, the second occurance would be played at a different point on the
keys. Becau
Dennis Collins writes:
Is there any way, with speedy entry, to have all the accidentals I
enter appear, and only those? For example, if I enter an F sharp, I
don't want an F natural afterwards. And if I enter a second F sharp
in the same measure, I want to see it also. I know how to force it
t
d. collins wrote:
> Is there any way, with speedy entry, to have all the accidentals I enter
> appear, and only those? For example, if I enter an F sharp, I don't want an
> F natural afterwards.
Don't understand what you want here - just play another F sharp.
> And if I enter a second F sharp in
In a message dated 28/05/2003 05:47:37 GMT Daylight Time, [EMAIL PROTECTED] writes:
in matters where an old practice and a new one are equally clear, I
often prefer the older or more traditional method.
I'm sorry, I don't find the two methods equally clear.
I find the new method of not naturaliz
[Giz Bowe:]
>>Hi, Jim -- do I understand you correctly: that you would "naturalize" the
>>outgoing key signature in addition to the new key signature? That is, going
>>from Bb to G you'd naturalize the Bb & Eb and put F#?
[Mark D. Lew:]
>Jim can speak for himself, but yes, what you describe is t
Christopher BJ Smith wrote:
> Huh? Finale doesn't automatically put
> in courtesy accidentals at all, with
> or without parentheses, unless you
> invoke the Cautionary Accidentals
> plugin, ...
>
> Or are you referring to something else?
I do my note entry in standard entry. When I see the
At 4:43 PM -0700 5/27/03, James O'Briant wrote:
Giz Bowe wrote, in part:
I do like courtesy accidentals for notes, and
I like to see them in parens.
What's your "house style" here?
I prefer them in parentheses as well, but since Finale doesn't
automatically put them in
parentheses, that's OK w
Giz Bowe wrote, in part:
> do I understand you correctly: that you
> would "naturalize" the outgoing key signature
> in addition to the new key signature? That is,
> going from Bb to G you'd naturalize the Bb &
> Eb and put F#?
Yes.
> Some of the other posts here suggest that
> using courte
At 3:56 PM 05/27/03, Giz Bowe wrote:
>Hi, Jim -- do I understand you correctly: that you would "naturalize" the
>outgoing key signature in addition to the new key signature? That is, going
>from Bb to G you'd naturalize the Bb & Eb and put F#?
Jim can speak for himself, but yes, what you describe
Hi, Jim -- do I understand you correctly: that you would "naturalize" the
outgoing key signature in addition to the new key signature? That is, going
from Bb to G you'd naturalize the Bb & Eb and put F#?
I'm not trying to be argumentative -- just trying to get a professional
opinion on common p
Somehow, I just can't understand all this desire to do everything
differently, just for the sake of making a change or developing an
individual engraving style!
If music is tonal, it needs a key signature. Printing it with no key
signature, and with accidentals, only provides an obstacle to goo
nt: Friday, October 25, 2002 10:06 PM
Subject: [Finale] Accidentals placement
> I was going to gently chide an editor for the inconsistent placement of
> accidentals in an edition of his that I assumed was done with Sibelius,
then
> decided to double check the example in Finale. Oops! I
: Or did you find them in different measures and decide to
: put them into one measure for the example?
Yes, just for the example.
:
: Richard Yates wrote:
: > I was going to gently chide an editor for the inconsistent placement of
: > accidentals in an edition of his that I assumed was done with
Interesting! I just tried it, thinking that the accidental placement
might have to do with layers.
I got the same inconsistent placement of accidentals I am using
FinWin2003. I am right that it has to do with layers -- if you add the
second middle C# to the chord in layer 1 the accidentals li
I was going to gently chide an editor for the inconsistent placement of
accidentals in an edition of his that I assumed was done with Sibelius, then
decided to double check the example in Finale. Oops! It came out just like
his! Please look at the small gif at:
http://www.yatesguitar.com/misc/Acci
At 10:58 AM +0200 9/17/02, Pierre Bailleul wrote:
>Hi all,
>
>Do you know the way to align automaticaly and correctly accidentals on 2
>notes (like a chord) in 2 different layers ?
>
>Thanks
>
>Pierre.
No way to do it automatically, as far as I know. The Special Tool is
the only solution.
Sor
Hi all,
Do you know the way to align automaticaly and correctly accidentals on 2
notes (like a chord) in 2 different layers ?
Thanks
Pierre.
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helgesen writes:
> Someone answered this a couple of weeks ago- I either misread or
> misunderstood- sorry!
> Long measure (12/8) all quavers, all to be raised to #. Please remember I'm
> a simple entry retard!
> How do I avoid having to click EACH note. I thought I remembered
> 'shift-click' fir
At 12:42 AM -0400 5/11/02, Christopher BJ Smith wrote:
>At 11:33 AM +1000 5/11/02, helgesen wrote:
>>Someone answered this a couple of weeks ago- I either misread or
>>misunderstood- sorry!
>>Long measure (12/8) all quavers, all to be raised to #. Please remember I'm
>>a simple entry retard!
>>How
At 11:33 AM +1000 5/11/02, helgesen wrote:
>Someone answered this a couple of weeks ago- I either misread or
>misunderstood- sorry!
>Long measure (12/8) all quavers, all to be raised to #. Please remember I'm
>a simple entry retard!
>How do I avoid having to click EACH note. I thought I remembered
>Someone answered this a couple of weeks ago- I either misread or
>misunderstood- sorry!
>Long measure (12/8) all quavers, all to be raised to #. Please remember I'm
>a simple entry retard!
>How do I avoid having to click EACH note. I thought I remembered
>'shift-click' first one= all done!
>Obvio
Someone answered this a couple of weeks ago- I either misread or
misunderstood- sorry!
Long measure (12/8) all quavers, all to be raised to #. Please remember I'm
a simple entry retard!
How do I avoid having to click EACH note. I thought I remembered
'shift-click' first one= all done!
Obviously th
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