can anyone confirm these? i am using the OS9 version, but perhaps
they happen in the OSX version also?
ARTICULATION TOOL: periodically following group-drag articulation
metatool assignment, redraw is necessary to be able to apply new
articulations (because all handles have disappeared).
LAYOU
forgot one: when i open a document, it fills only half my screen,
even if i just saved prefs before closing it and reopening it.
anyone else?
jef
--
shirling & neueweise \/ new music notation specialists
mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com
F2004c, OS9.
From: Jonathan Smith <[EMAIL PROTECTED]>
Page setup is now lost in extracted part files and is coming out as
a default US letter size.
my part page format (9.5 x 12.5") was retained in extraction.
The Hide/Show message bar option under preferences doesn't work, it
defaults back to sh
Thanks Tobias, but I'm on about the page setup from the file menu.
Whatever was set here (and saved) would be the same in the extacted
parts, but this seems to have gone adrift in 2004. Maybe I could use an
apple script to batch process all the files once extracted?
This is going to be a pain a
Thanks Jari, that has certainly helped but now of course we must all
remember to keep updating the exts and hyphens. Seems that the trade
off of automation has been speedrather pointless.
Jonathan Smith
Have you turned OFF the new automatic lyric update stuff? I think
that could resolve many
On 16.07.2004 4:12 Uhr, [EMAIL PROTECTED] wrote
> This has changed since 2003. The new behavior is that every document defaults
> to the printer page set up contained in the default file. I have learned to
> work with this, but I don't think it's a particularly elegant decision.
I haven't check
Owain Sutton wrote:
Without wanting to disrupt the talk of modes, scales and all elsebut
should I take it that a 2/10 signature isn't possible in Finale?
I thought we had answered that a long time ago -- You are correct, the
easy use of a 2/10 time signature is NOT possible in Finale.
Workar
although it is significant, i'm not sure that the time saved with the
new expression tool features is greater than time lost to the
programme's overall response (in OS9).
From: Johannes Gebauer <[EMAIL PROTECTED]>
On 08.07.2004 20:46 Uhr, Randolph Peters wrote
> If you have the option, I would
On 16.07.2004 16:21 Uhr, shirling & neueweise wrote
> although it is significant, i'm not sure that the time saved with the
> new expression tool features is greater than time lost to the
> programme's overall response (in OS9).
I haven't tried the OS 9 version, but the general consensus seems to
there are few, if any, possible successions of diatonic chords that
can fail to find a functional definition. More to the point is the
relationship of a given function to a real repertoire or tradition.
For example, it is a commonplace in music theory that a "classical"
repertoire work using on
At 11:09 AM -0400 7/16/04, Andrew Stiller wrote:
The most obvious and prominent repertoire featuring the V-IV
retrogression is the blues, where it is fact mandatory at the
beginning of the tenth of twelve bars. But is this functional? Is it
even proper to assign the numbers I, V, and IV to the t
OK, folks,
Debussy (in pieces like "Maid with the Flaxon Hair") uses a cadence
that would be F/G (F major in the right hand, G in the bass) to the
tonic in C Major. Is that plagal or authentic? Is the F/G chord a
V11? How would Schenkerian scholars view it?
I love the falling fourth ("Hey, Jude
> Debussy (in pieces like "Maid with the Flaxon Hair") uses a cadence
> that would be F/G (F major in the right hand, G in the bass) to the
> tonic in C Major. Is that plagal or authentic? Is the F/G chord a
> V11? How would Schenkerian scholars view it?
>
> Hal
Hey, Hal, I'm not a Schen
Hello, Bob
I have two laser printers that cannot be used with OSX, old HP & OKI.
Fortunatele my G4 is TCP/IP-connected to PC with centronics via ADSL router.
So I download GhostScript for windows which is shareware and allows Mac to acc
ess the PC as if it were a postscript prin
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Christopher:
is a plagal cadence in a situation like this [the blues] tonal?
If you end with a seventh chord it's neither plagal (except in the
same very broad sense by wh. a ii-I cadence could also be so called)
nor tonal.
Or do you absolutely require a functioning leading tone to be able
to
At 11:50 AM -0700 7/16/04, Harold Owen wrote:
OK, folks,
Debussy (in pieces like "Maid with the Flaxon Hair") uses a cadence
that would be F/G (F major in the right hand, G in the bass) to the
tonic in C Major. Is that plagal or authentic? Is the F/G chord a
V11? How would Schenkerian scholars v
At 4:56 PM -0400 7/16/04, Andrew Stiller wrote:
Christopher:
is a plagal cadence in a situation like this [the blues] tonal?
If you end with a seventh chord it's neither plagal (except in the
same very broad sense by wh. a ii-I cadence could also be so called)
nor tonal.
OK, I guess we're runn
At 7:04 PM -0500 7/15/04, Richard Huggins wrote:
I have a certain 5-measure choral section that involves the choir singing
from one stave one time and another stave on the repeat. Because there is a
1st and 2nd ending, that means some measures have nothing in them.
Use rests. But from bitter exper
dhbailey wrote:
Owain Sutton wrote:
Without wanting to disrupt the talk of modes, scales and all
elsebut should I take it that a 2/10 signature isn't possible in
Finale?
I thought we had answered that a long time ago -- You are correct, the
easy use of a 2/10 time signature is NOT possible
HI Richard,
I absolutely agree with John. I read your explanation (w/diagram) and
still couldn't make head nor tail of it. I can't imagine this section
going well in rehearsal if you leave it as you describe. Just write it
out for everyone, without the repeat.
- Darcy
-
[EMAIL PROTECTED]
Owain Sutton wrote:
It really isn't a workaround when every bar is a measure change, two
thirds of them being x/10 or x/12. I can't claim to understand the
intricacies of how Finale works, but I'm sure it can't be too
difficult for me to replace one symbol for another,
Well, if it were me, I'd
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