His point was asking if there were a way he could use the TAB to figure
out what fingerings he wanted, I think. That told me he was not a
violinist and to such people I would STILL suggest that they leave
fingerings off the music, except in rare instances where a very specific
effect is desire
David H. Bailey wrote:
>You should only put the fingerings in for those places where you
>actually are demanding a very specific sound, such as third-space C
>played up high on the D string.
>
>Otherwise, string players are going to go for whatever fingerings work
>best for them and ignore your fi
You should only put the fingerings in for those places where you
actually are demanding a very specific sound, such as third-space C
played up high on the D string.
Otherwise, string players are going to go for whatever fingerings work
best for them and ignore your fingerings. So it is usually
PROTECTED]>
To: helgesen <[EMAIL PROTECTED]>
Cc: Finale <[EMAIL PROTECTED]>
Sent: Sunday, February 09, 2003 9:26 AM
Subject: Re: [Finale] Mirror, mirror, on the wall!
It allows you to effectively copy one section of your composition to
another section, without having to actually
On 09.02.2003 7:00 Uhr, helgesen wrote
> Well, asbestos suit back in wardrobe! Thanks, Johannes, Dennis, David- and
> the lovely Linda!
> I only have one more query- you say that after "mirroring" any alt'ns to
> A(1) also appear in A(2)- fine, burt what about alts I make to A(2) are they
> recipr
Again, a vote (in action!) for changing the default "reply" behavior on
the list.
On Sunday, February 9, 2003, at 02:08 AM, d. collins wrote:
I'm forwarding this back to the list, because I don't think it was
meant for me personally.
Dennis
From: "Steve Schow" <[EMAIL PROTECTED]>
Date: Sat,
ds, Keith in OZ
- Original Message -
From: David H. Bailey <[EMAIL PROTECTED]>
To: helgesen <[EMAIL PROTECTED]>
Cc: Finale <[EMAIL PROTECTED]>
Sent: Sunday, February 09, 2003 9:26 AM
Subject: Re: [Finale] Mirror, mirror, on the wall!
> It allows you to effectively cop
On 09.02.2003 0:00 Uhr, Linda Worsley wrote
> At 11:38 PM +0100 2/8/03, Johannes Gebauer wrote:
>
>> I actually never use it for that. I use it for a situation very typical for
>> 18th century orchestral music: doubling parts. Say you have a flute part
>> that doubles the violins, instead of maki
You should see them trying to interpret the down-bows and up-bows!
Bobbing flutes make for a great visual! ;-)
Linda Worsley wrote:
At 11:38 PM +0100 2/8/03, Johannes Gebauer wrote:
I actually never use it for that. I use it for a situation very
typical for
18th century orchestral music: d
At 11:38 PM +0100 2/8/03, Johannes Gebauer wrote:
I actually never use it for that. I use it for a situation very typical for
18th century orchestral music: doubling parts. Say you have a flute part
that doubles the violins, instead of making real copies, I simply mirror it,
and every piano or st
On 08.02.2003 23:14 Uhr, d. collins wrote
> helgesen écrit:
>> Wearing my flameproof suit, I ask- please what is mirror tool used for? All
>> info on usage is just that- info "on usage". Obviously lots of folk use it-
>> so it must be useful! But what- (cringe, duck, whimper) does it do?
>
> You
It allows you to effectively copy one section of your composition to
another section, without having to actually copy it or to ever edit it,
as long as you want it to remain exactly as the original section it
mirrors is.
So if you have an ABBA work (that is as in sections, not as in the
Swedis
Wearing my flameproof suit, I ask- please what is mirror tool used for? All
info on usage is just that- info "on usage". Obviously lots of folk use it-
so it must be useful! But what- (cringe, duck, whimper) does it do?
Cheers, Keith in (at last) RAINING, OZ
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