On 15.07.2004 4:52 Uhr, Eric Dannewitz wrote
> Wow. Sound like you have some serious issues there. Check your fragmentation
> on the hard drive. That would probably be the most likely thing that is
> causing this.
You never know, but I really don't think fragmentation has anything to do
with this
Wow. Sound like you have some serious issues there. Check your fragmentation on the
hard drive. That would probably be the most likely thing that is causing this.
My lowly G4 450 cube doesn't take more than 30 seconds to load and play
something
I have updated from Finale 200
Rocky Road writes:
I have updated from Finale 2002 to 2004c on my desktop machine
(G4/400). When I open a new document it sits for 4-6 minutes (!)
while displaying this message:
"Finale Is Allocating Instruments for internal speaker playback"
Then everytime I press the play button it sits for 1:
OS9 or OSX?
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf
Of Rocky Road
Sent: Wednesday, July 14, 2004 6:53 PM
To: Finale List
Subject: [Finale] FinMac 2004c - Taking too long to allocate instruments
I have updated from Finale 2002 to 2004c on my desktop mac
On Jul 14, 2004, at 4:52 PM, Rocky Road wrote:
I have updated from Finale 2002 to 2004c on my desktop machine
(G4/400). When I open a new document it sits for 4-6 minutes (!) while
displaying this message:
"Finale Is Allocating Instruments for internal speaker playback"
Then everytime I press th
I have updated from Finale 2002 to 2004c on my desktop machine
(G4/400). When I open a new document it sits for 4-6 minutes (!)
while displaying this message:
"Finale Is Allocating Instruments for internal speaker playback"
Then everytime I press the play button it sits for 1:30 while
displayin
At 4:59 PM -0400 7/14/04, Andrew Stiller wrote:
Oh good! That spares me from the rant I was going to send in reply
to some of the other responses. :-)
Dang! On the wrong side of Andrew twice in the same day! First,
functional harmony, then harp pedallings! I'd better keep my nose
clean! 8-)
C
I haven't read the entire thread, so this may have been advanced
already; Schenker would have us remember that , melodically speaking,
3-2-1 is the keystone of tonality, just as 5-1 defines it
harmonically. Of course, that particular melodic progression implies
the I-V-I phenom.
Dean
t
At 4:48 PM -0400 7/14/04, Andrew Stiller wrote:
On Jul 14, 2004, at 1:11 PM, Christopher BJ Smith wrote:
if you consider that atonal means with no discernable key centre at
all, then there is a big gap between tonal and atonal, which
includes a lot of modal music (like a lot of rock and pop, and
On 14 Jul, 2004, at 12:57 PM, Allen Fisher wrote:
You'll need to use the MIDI tool.
Set the swing in the playback controls to NONE.
Click the MIDI tool
Select the first section that needs swing.
MIDI Tool Menu-->Alter feel
Alter backbeats by 171
Set to absolute
Click OK
Repeat with the other sectio
On 14 Jul, 2004, at 11:56 AM, Christopher BJ Smith wrote:
From what harpists have told me, it is seldom necessary to mark
pedalling,
I suspect this was what Andrew was about to rant about.
But I also suspect Chris and Andrew are dealing with different batches
of harpists -- or possibly, the same
Title: Shaped note font
Richard,
There is another and preferable way to write music in shaped note
notation. Use a shaped note font such as Karen Willard's
Doremi.
If you would like
to see an example, some of my class assignments are still on the web
at:
http://www.goshen.edu/~lonhs/Practical_
On Jul 14, 2004, at 3:46 PM, Javier Ruiz wrote:
Thanks to Christopher and Jari for their answers. I also have found
that the
Andrew Stiller´s Book has a lot of information on the subject.
Oh good! That spares me from the rant I was going to send in reply to
some of the other responses. :-)
And
On Jul 14, 2004, at 1:11 PM, Christopher BJ Smith wrote:
if you consider that atonal means with no discernable key centre at
all, then there is a big gap between tonal and atonal, which includes
a lot of modal music (like a lot of rock and pop, and jazz, too!)
The word "atonal" was coined at a
Thanks to Christopher and Jari for their answers. I also have found that the
Andrew Stiller´s Book has a lot of information on the subject.
> Dear all,
> I believe that sometimes the harp pedalling is easy using enharmonic notes
> (like F flat) but:
>
> Should I use them both in the score and in
And the 8 types left?
LOL!
Javier
> There are 10 types of people in the world - those who understand
> binary, and those who don't.
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Op 14-jul-04 om 20:43 heeft shirling & neueweise het volgende
geschreven:
From: dhbailey <[EMAIL PROTECTED]>
if not all people use it the same way, it can hardly be called a
convention or a standard, can it?
once past the initial arguments and obstinacy, all people do in fact
use and understan
shirling & neueweise wrote:
From: dhbailey <[EMAIL PROTECTED]>
if not all people use it the same way, it can hardly be called a
convention or a standard, can it?
once past the initial arguments and obstinacy, all people do in fact use
and understand it the same way. it is a convention for man
From: dhbailey <[EMAIL PROTECTED]>
if not all people use it the same way, it can hardly be called a
convention or a standard, can it?
once past the initial arguments and obstinacy, all people do in fact
use and understand it the same way. it is a convention for many.
although you certainly do
it is implied. but it is much simpler in cases to notate 2/4 with
quarter triplets (and many composers who use /5 etc. time sigs do
so...). one of the main values of using these time sigs is that
they can indicate a fraction of the whole (or of a binary division of
it), eg. 3/5, 7/12.
jef
Christopher BJ Smith wrote:
At 9:32 AM -0700 7/14/04, Brad Beyenhof wrote:
On Wed, 14 Jul 2004 12:13:22 -0400, Christopher BJ Smith
<[EMAIL PROTECTED]> wrote:
At 10:24 PM -0600 7/13/04, shirling & neueweise wrote:
>christopher, in all the cases i have seen using what are now
>commonly given the
A couple of days ago I got a test file with a damaged text expression
from Darcy. In that file, the text for one expression was pointing to a
raw text block in the "normal" text pool, instead of pointing to the
expression raw text pool.
If you're interested, here's my _guess_ to why that happen
Christopher BJ Smith writes:
> From what harpists have told me, it is seldom necessary to mark
> pedalling, as you should just notate the pitches and the harpist will
> take care of the pedalling. If you are writing an educational piece
> or an etude, then of course that is an exception.
But
At 9:32 AM -0700 7/14/04, Brad Beyenhof wrote:
On Wed, 14 Jul 2004 12:13:22 -0400, Christopher BJ Smith
<[EMAIL PROTECTED]> wrote:
At 10:24 PM -0600 7/13/04, shirling & neueweise wrote:
>christopher, in all the cases i have seen using what are now
>commonly given the unfortunate name of "irratio
At 11:56 AM -0400 7/14/04, Andrew Stiller wrote:
Well first of all, tonality and functional harmony are the same
thing, unless you want to say that the music of Machaut is tonal, or
that Balinese Gamelan music is tonal, and so on--wh. to me would
make the term virtually meaningless.
Beyond that
You'll need to use the MIDI tool.
Set the swing in the playback controls to NONE.
Click the MIDI tool
Select the first section that needs swing.
MIDI Tool Menu-->Alter feel
Alter backbeats by 171
Set to absolute
Click OK
Repeat with the other sections that swing. Tempo shouldn't matter
On 7/14/
On Wed, 14 Jul 2004 09:05:38 -0700 (PDT), Rob Deemer <[EMAIL PROTECTED]> wrote:
> "There are three types of conductors - those who can count and those who can't."
There are 10 types of people in the world - those who understand
binary, and those who don't.
--
Brad Beyenhof
[EMAIL PROTECTED]
http
On Wed, 14 Jul 2004 12:13:22 -0400, Christopher BJ Smith
<[EMAIL PROTECTED]> wrote:
> At 10:24 PM -0600 7/13/04, shirling & neueweise wrote:
> >christopher, in all the cases i have seen using what are now
> >commonly given the unfortunate name of "irrational" time signatures
> >(*), the "whole" val
At 10:24 PM -0600 7/13/04, shirling & neueweise wrote:
christopher, in all the cases i have seen using what are now
commonly given the unfortunate name of "irrational" time signatures
(*), the "whole" value implied is the whole note. 1/6 is indeed
one-sixth of a whole note (quarter note triple
Yes, you are right. I think Rob's math was a little off. A sixth note
is equal to one quarter in a quarter-note triplet. A twelfth note is
one eighth-note triplet.
And I think you meant to say "6 dotted EIGHTHS only gives you a
dotted half" instead of "6 dotted quarters only gives you a dotted
At 11:04 AM -0400 7/14/04, Eden - Lawrence D. wrote:
I have a chart that needs swing playback in some places, no swing in
others, and then swing again, but at a new tempo.
I can get Finale 2K3(Mac) to swing for the first section, but I don't know
how to define the next section of swing.
The first s
At 3:52 PM +0100 7/14/04, Javier Ruiz wrote:
Dear all,
I believe that sometimes the harp pedalling is easy using enharmonic notes
(like F flat) but:
Should I use them both in the score and in the part?
Also any advice regarding notation of pedalling will be most appreciated.
Muchas gracias, thanks
- Original Message -
From: "Eden - Lawrence D." <[EMAIL PROTECTED]>
To: "Finale List" <[EMAIL PROTECTED]>
Sent: Wednesday, July 14, 2004 4:04 PM
Subject: [Finale] swing
> I have a chart that needs swing playback in some places, no swing in
> others, and then swing again, but at a new te
At 10:37 PM +0100 7/12/04, Owain Sutton wrote:
I'd hazard a guess that 99.9% of music in the Western European and
American tradition written in the past 20 years has been tonal, has
used functional harmony, and has used clear metric patterns. That
includes art music, educational music, worship
I have a chart that needs swing playback in some places, no swing in
others, and then swing again, but at a new tempo.
I can get Finale 2K3(Mac) to swing for the first section, but I don't know
how to define the next section of swing.
The first section swings at Quarter = 102
The second section s
>On 14.07.2004 15:08 Uhr, Giovanni Andreani wrote
>
>> I tumbled in this today: the following characters "= 126" within
>> Adobe Garamond Pro 10 pt font turned out to look as a staff portion like
>> the "=" key within Maestro font, when exported in EPS
>> Does this apply to you to?
>
>Window
Dear all,
I believe that sometimes the harp pedalling is easy using enharmonic notes
(like F flat) but:
Should I use them both in the score and in the part?
Also any advice regarding notation of pedalling will be most appreciated.
Muchas gracias, thanks a lot.
Javier.
_
On 14.07.2004 15:08 Uhr, Giovanni Andreani wrote
> I tumbled in this today: the following characters "= 126" within
> Adobe Garamond Pro 10 pt font turned out to look as a staff portion like
> the "=" key within Maestro font, when exported in EPS
> Does this apply to you to?
Windows or Mac
I tumbled in this today: the following characters "= 126" within
Adobe Garamond Pro 10 pt font turned out to look as a staff portion like
the "=" key within Maestro font, when exported in EPS
Does this apply to you to?
Giovanni Andreani
___
Fina
I've been quietly watching this thread on unusual time signatures, and
learning from the collective wisdom. The piece by Thomas Ades that was
referred to before, might it have been "Living Toys"? I have seen the score
for this work and in it, I was educated as to the meaning of 11/5 time.
Appar
There was a wonderful example of "modern notatation" in a journal a couple
of years ago. Just about every perversion the avant garde could imagine
was featured in this one tiny excerpt. When (if??) one took the trouble to
work it all out, it was actually the melody to "God Save the Queen (D
shirling & neueweise wrote:
[snip]
(*) indian musicians would never complain about having to perform such
"irrational" values, would not even consider them irrational, having
been trained in a variety of rhythmic contexts right from their earliest
lessons and musical experiences, while the weste
Aaron Sherber wrote:
At 10:43 PM 07/13/2004, Christopher BJ Smith wrote:
>I think Rob's math was a little off. A sixth note
>is equal to one quarter in a quarter-note triplet. A twelfth note is
>one eighth-note triplet.
Ah, yes, that makes more sense. Thanks.
And in that case, a simple metric ch
Aaron Sherber wrote:
At 09:15 PM 07/13/2004, Mark D Lew wrote:
>> And from what I know of math and music, that doesn't seem right to me.
>
>It's not supposed to match normal math.
A quarter note is 1/4 of a whole note. Isn't a sixth note 1/6 of a whole
note? And if not, why not? (I'm not being
I have updated from Finale 2002 to 2004c on my desktop machine
(G4/400). When I open a new document it sits for 4-6 minutes (!)
while displaying this message:
"Finale Is Allocating Instruments for internal speaker playback"
Then everytime I press the play button it sits for 1:30 while
displayin
Does anyone know the best way to copy optimized systems from one document to
another? Is there anyway to copy the optimization?
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
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htt
Given all this argument back and forth about 2/10 time sigs etc, it would
seem an argument against using it. I like the "new E = old " that
was previously mentioned: obvious, concise, and the musicians will not
spend hours arguing about it during rehearsal.
Whatever. Can't stop progress, I
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