Jane Frasier wrote:
To my surprise I just got an email from them saying they don't give
permission to use their text. Oh well. I am not surprised that they
don't give permission,
Perhaps there is too little detail for this specific information, but it
occurs to me that there is a way to write a
On Oct 14, 2004, at 8:36 PM, Mark Q. Simos wrote:
Curiously, the responses to my query seemed split on which of the two
alternatives to my preferred scheme was better, and no one seemed to
see the need for what I actually was trying to do!
Perhaps I got so engrossed in the tangential discussion t
On Oct 14, 2004, at 8:04 PM, Darcy James Argue wrote:
In a nutshell: Russell believes that since the fifth is the most
powerful (non-octave) overtone, the chord/scale comprised of stacked
perfect fifths has special theoretical significance: C G D A E A B F#.
(That would be the lydian mode.)
I a
Hello from the OP (Original Poster!) of the question:
Thanks to all for the informative replies. I did not expect my query
to lead to debates about Rameau's quest for the harmonic overtone
origin of the major scale or Russell's Lydian chromatic theory, but
this is one list where the conversation
I've only heard of Russell's Lydian Chromatic theory in passing, but
I did want to share an interesting experience with some relevance. A
few years back, on a musical tour to Sweden visiting the folk music
museum in Falun, I got to hear some wonderful recordings of
shepherd's pipe music (a simp
Hi listers,
FinMac2k4c. OS 10.2.8
I currently have 4 systems on a page. They're layed
out towards the top of the page with 0 room between
the systems. I want to use Space Systems Evenly to,
well, uh, space out the 4 systems evenly across the
page.
When I do this, however, it only give me three sy
On 14 Oct 2004, at 10:19 PM, Richard Yates wrote:
In the series on C, don't the overtones go C, C, G, C, E, G ?
Yeah, but it doesn't stop there.
Continuing from where you left off: Bb, C, D, E, F#.
The Bb and F# are out of tune (by equal-tempered tuning standards).
And these upper partials are so
> > In the series on C, don't the overtones go C, C, G, C, E, G ?
>
> Yeah, but it doesn't stop there.
>
> Continuing from where you left off: Bb, C, D, E, F#.
>
> The Bb and F# are out of tune (by equal-tempered tuning standards).
And these upper partials are so remote that claiming that they 'e
On Oct 14, 2004, at 5:56 PM, Noel Stoutenburg wrote:
BTW, if you've not done so already it might be worth your time do an
internet search on the text, as you may find that the text you want to
use is in fact in the public domain. As I recall, they can put a
copyright notice on the card, even if
On Oct 14, 2004, at 12:22 PM, Jane Frasier wrote:
I want to use the text on a greeting card for a choral work. I have
contacted the greeting card company via email, but have not heard
anything. Is it legal to send them a certified letter that says
something like, "I would like to use this text f
On Oct 14, 2004, at 3:58 PM, Owain Sutton wrote:
It's an abstract creation.
(Show me a minor triad in the overtone series, and I'll concede)
Just because a minor triad doesn't occur in a single overtone series
doesn't mean that the Western scale isn't an inherent product of the
overtone series.
On Oct 14, 2004, at 8:48 PM, [EMAIL PROTECTED] wrote:
Continuing from where you left off: Bb, C, D, E, F#.
The Bb and F# are out of tune (by equal-tempered tuning standards).
- Darcy
This is where theories of overtone-based scales fall down. Actually
existing vibrating systems are not purely
harm
On Oct 14, 2004, at 11:54 AM, Mark Q. Simos wrote:
I, still a Finale novice, am, among other musical endeavors, a fiddler
(Appalachian/old time, Irish, other styles) and am starting to do a
lot of transcriptions of older fiddle music. For a number of modal
tunes, my preference is to use key sign
>All I'm suggesting is that if someone wants to comment on Russell's
theoretical work, they may want to actually read at least some of what
he has to say before dismissing everything he's written out of hand on
the basis of a one-sentence summary.
- Darcy
That's precisely why I didn't mention
Jane Frasier wrote:
To my surprise I just got an email from them saying they don't give
permission to use their text. Oh well. I am not surprised that they
don't give permission, but that I actually got a reply this quickly
from a Legal Assistant.
BTW, if you've not done so already it might be w
>If I say "A is derived from B," I am making a historical
statement: A came first, and B both came later and had its origins provably in A.
Oops! Of course I shoulda said B came first & A came later. But you knew that.
___
Finale mailing list
[EMAIL PR
Continuing from where you left off: Bb, C, D, E, F#.
The Bb and F# are out of tune (by equal-tempered tuning standards).
- Darcy
This is where theories of overtone-based scales fall down. Actually existing vibrating
systems are not purely
harmonic. Above the 6th partial or so, real vibrators
On Oct 14, 2004, at 5:55 PM, Owain Sutton wrote:
Sure it's wrong, but only as wrong as the claims that western tonality
is some inherent product of the overtone series.
They're *all* abstract. How we *interpret* various musics is the
important difference.
Hmm. Russell claims that the "music
Hi Andrew,
Whatever one thinks of George Russell's Lydian Chromatic theory -- and
while I admire his music a great deal, I definitely have my
reservations about his analysis -- his ideas are, in fact, absolutely
grounded in "questions of human nature."
All I'm suggesting is that if someone want
Have you tried to save the file with a different name?
Something else that could be hapening is the existence in the file of
some measures with more notes than allowed but hidden.
Godofredo
Darcy James Argue wrote:
Hello,
I have a file in Fin2005 that seems to crash Finale with alarming
regulari
1) From a notation propriety point of view, any reactions to this
strategy? I understand that there are alternatives, such as notating
D mixolydian with one sharp; or 2) notating with two sharps and then
using naturals throughout where alteration is required. A problem
with (1) is that classic
Owain,
It's a different theoretical model. Of course it's "wrong" according
to the standard theoretical model -- it's an alternative theory of
tonality, modality, harmony, etc. If it didn't reject the norms of the
standard model it wouldn't be an alternative theory, would it?
- Darcy
That,
At 7:48 PM -0400 10/14/04, dhbailey wrote:
John Howell wrote:
At 11:58 PM +0100 10/14/04, Owain Sutton wrote:
Sure it's wrong, but only as wrong as the claims that western
tonality is some inherent product of the overtone series.
Isn't it? Where else did it come from?
It's an abstract crea
At 4:44 PM -0700 10/14/04, Richard Yates wrote:
> >But Bartok was doing exactly what the OP is describing ?!
What is "OP"?
Original Poster
OH. Makes sense once you know the answer!
But no, transcribing old fiddle tunes may be an analog to what Bartok
was doing in collecting folk songs, but isn'
On Oct 14, 2004, at 4:47 PM, dhbailey wrote:
Chuck Israels wrote:
On Oct 14, 2004, at 2:55 PM, Owain Sutton wrote:
Darcy James Argue wrote:
Owain,
It's a different theoretical model. Of course it's "wrong"
according to the standard theoretical model -- it's an
alternative theory of tonality, mod
On 14 Oct 2004, at 07:48 PM, dhbailey wrote:
In the series on C, don't the overtones go C, C, G, C, E, G ?
Yeah, but it doesn't stop there.
Continuing from where you left off: Bb, C, D, E, F#.
The Bb and F# are out of tune (by equal-tempered tuning standards).
- Darcy
-
[EMAIL PROTECTED]
Brook
John Howell wrote:
At 11:58 PM +0100 10/14/04, Owain Sutton wrote:
Sure it's wrong, but only as wrong as the claims that western
tonality is some inherent product of the overtone series.
Isn't it? Where else did it come from?
It's an abstract creation.
Well, I haven't read Rameau (1722) i
Chuck Israels wrote:
On Oct 14, 2004, at 2:55 PM, Owain Sutton wrote:
Darcy James Argue wrote:
Owain,
It's a different theoretical model. Of course it's "wrong"
according to the standard theoretical model -- it's an
alternative theory of tonality, modality, har
> >But Bartok was doing exactly what the OP is describing ?!
>
> What is "OP"?
>
Original Poster
___
Finale mailing list
[EMAIL PROTECTED]
http://lists.shsu.edu/mailman/listinfo/finale
At 12:25 AM +0100 10/15/04, Owain Sutton wrote:
John Howell wrote:
At 2:54 PM -0400 10/14/04, Mark Q. Simos wrote:
Hello, gurus:
I, still a Finale novice, am, among other musical endeavors, a
fiddler (Appalachian/old time, Irish, other styles) and am
starting to do a lot of transcriptions of olde
At 11:58 PM +0100 10/14/04, Owain Sutton wrote:
Sure it's wrong, but only as wrong as the claims that western
tonality is some inherent product of the overtone series.
Isn't it? Where else did it come from?
It's an abstract creation.
Well, I haven't read Rameau (1722) in the original, or i
Hello,
I have a file in Fin2005 that seems to crash Finale with alarming
regularity. I've run a data check on it and such, but still no luck --
I can barely make two edits without Finale crashing.
Could I ask a favor -- could some try this file out on their machine
and see if they have the sam
John Howell wrote:
At 2:54 PM -0400 10/14/04, Mark Q. Simos wrote:
Hello, gurus:
I, still a Finale novice, am, among other musical endeavors, a fiddler
(Appalachian/old time, Irish, other styles) and am starting to do a
lot of transcriptions of older fiddle music. For a number of modal
tunes, m
At 2:54 PM -0400 10/14/04, Mark Q. Simos wrote:
Hello, gurus:
I, still a Finale novice, am, among other musical endeavors, a
fiddler (Appalachian/old time, Irish, other styles) and am starting
to do a lot of transcriptions of older fiddle music. For a number of
modal tunes, my preference is to u
At 7:14 AM +1000 10/15/04, Keith Helgesen wrote:
Please settle a bet.
What was relationship of George and Ira Gershwin.
Thanks Keith in OZ
Keith Helgesen.
Brothers, neh?
John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540
Chuck Israels wrote:
On Oct 14, 2004, at 2:55 PM, Owain Sutton wrote:
Darcy James Argue wrote:
Owain,
It's a different theoretical model. Of course it's "wrong"
according to the standard theoretical model -- it's an
alternative theory of tonality, modality, ha
On Oct 14, 2004, at 2:55 PM, Owain Sutton wrote:
Darcy James Argue wrote:
Owain,
It's a different theoretical model. Of course it's "wrong" according to the standard theoretical model -- it's an alternative theory of tonality, modality, harmony, etc. If it didn't reject the norms of the standa
At 04:29 PM 10/14/04 -0600, Jane Frasier wrote:
>To my surprise I just got an email from them saying they don't give
>permission to use their text. Oh well. I am not surprised that they don't
>give permission, but that I actually got a reply this quickly from a Legal
>Assistant.
A friend who wa
At 1:22 PM -0600 10/14/04, Jane Frasier wrote:
I want to use the text on a greeting card for a choral work. I have
contacted the greeting card company via email, but have not heard
anything. Is it legal to send them a certified letter that says
something like, "I would like to use this text for
To my surprise I just got an email from them saying they don't give
permission to use their text. Oh well. I am not surprised that they don't
give permission, but that I actually got a reply this quickly from a Legal
Assistant.
Jane
- Original Message -
From: "Ryan Beard" <[EMAIL PROTE
Is there any way to get ClearType to work in Windows Finale?
(I've only got the Finale 2005 demo but am impressed by Cleartype in other
applications)
---
Matthew Hindson
Composer http://www.hindson.com
Artistic Director, 2006 Aurora Festival
___
Final
Darcy James Argue wrote:
Owain,
It's a different theoretical model. Of course it's "wrong" according to
the standard theoretical model -- it's an alternative theory of
tonality, modality, harmony, etc. If it didn't reject the norms of the
standard model it wouldn't be an alternative theory, w
Owain,
It's a different theoretical model. Of course it's "wrong" according
to the standard theoretical model -- it's an alternative theory of
tonality, modality, harmony, etc. If it didn't reject the norms of the
standard model it wouldn't be an alternative theory, would it?
- Darcy
-
[E
Owain Sutton wrote:
Ouch. I'll stick my neck out here, and say that Russell is plain-and-simply wrong.
If you'd like the musical theory equivalent of a trip from Manhattan to Brooklyn by way of Cleveland, read Russell's theories.
George showed kindness to me years ago by hiring me to play in hi
Brothers
Chuck
On Oct 14, 2004, at 2:14 PM, Keith Helgesen wrote:
Please settle a bet. What was relationship of George and Ira Gershwin. Thanks Keith in OZ Keith Helgesen.Director of Music, Canberra City Band.Ph: (02) 62910787. Band Mob. 0436-620587Private Mob 0417-042171
---
Outgoing mail i
Brothers. Ever heard of Google? :)
Keith Helgesen wrote:
Please settle a bet.
What was relationship of George and Ira Gershwin.
Thanks Keith in OZ
Keith Helgesen.
Director of Music, Canberra City Band.
Ph: (02) 62910787. Band Mob. 0436-620587
Private Mob 0417-042171
---
Outgoing mail
Christopher Smith wrote:
As for the philosophical discomfort of presenting modes as altered major
or minor scales, I have no problem with that particular twist. According
to George Russell, ALL scales are altered versions of the overtone
(lydian-mixolydian) scale (major with flat 7, sharp 4),
Please settle a bet.
What was relationship of George and Ira Gershwin.
Thanks Keith in OZ
Keith Helgesen.
Director of Music, Canberra City Band.
Ph: (02) 62910787. Band Mob. 0436-620587
Private Mob 0417-042171
---
Outgoing mail is certified Virus Free.
Checked by A
On Oct 14, 2004, at 2:54 PM, Mark Q. Simos wrote:
Hello, gurus:
I, still a Finale novice, am, among other musical endeavors, a fiddler
(Appalachian/old time, Irish, other styles) and am starting to do a
lot of transcriptions of older fiddle music. For a number of modal
tunes, my preference is to
On Oct 14, 2004, at 4:07 PM, Lee Dengler wrote:
I am working on a score where I need to universally change several articulations to several new articulations. Is there an easy way to do this? In the Mass Edit menu there is a place to change articulations but you have to select a section of musi
Dear Lee,
How about this method:
Go to the articulation dialog box by clicking on a note with the articulation tool selected. Choose the articulation you want to replace and select "delete". Finale will then tell you that the articulation is in use in the piece and ask if you'd like to replace
No. If they don't respond, it means that they don't
want to grant you permission. You can still send a
certified letter, but as someone who deals with
permissions quite frequently, a certified letter isn't
going to get my attention any more than a regular
piece of mail would.
I would make a phone
I am working on a score where I need to universally
change several articulations to several new articulations. Is there an
easy way to do this? In the Mass Edit menu there is a place to change
articulations but you have to select a section of music that contains only that
particular articu
Jane Frasier wrote:
I want to use the text on a greeting card for a choral work. I have
contacted the greeting card company via email, but have not heard
anything. Is it legal to send them a certified letter that says
something like, "I would like to use this text for a musical work and if
I do
Mark Q. Simos wrote:
Hello, gurus:
I, still a Finale novice, am, among other musical endeavors, a fiddler
(Appalachian/old time, Irish, other styles) and am starting to do a lot
of transcriptions of older fiddle music. For a number of modal tunes, my
preference is to use key signatures such as (
I want to use the text on a greeting card for a choral work. I have
contacted the greeting card company via email, but have not heard anything.
Is it legal to send them a certified letter that says something like, "I
would like to use this text for a musical work and if I don't hear from you
by
Commenting as a editor of early music (17th century) where also modal
signatures are very common, it is most honest and correct to use the
modal signature (viz. one sharp for D Mixolydian). That is what we
do.
Some less informed performers may find this puzzling, but if they
play modal music (
Simon Troup wrote:
Does anyone know of a way to place measure numbers that show on screen but don't print or compile into EPS and PDF files?
As far as I can recall, in 2k3 and previous, the only way to get
something that would display on the screen and not print was to define
it as an expressi
Mark Q. Simos wrote:
Hello, gurus:
I, still a Finale novice, am, among other musical endeavors, a fiddler
(Appalachian/old time, Irish, other styles) and am starting to do a lot
of transcriptions of older fiddle music. For a number of modal tunes, my
preference is to use key signatures such as
Hello, gurus:
I, still a Finale novice, am, among other musical endeavors, a
fiddler (Appalachian/old time, Irish, other styles) and am starting
to do a lot of transcriptions of older fiddle music. For a number of
modal tunes, my preference is to use key signatures such as (F# C
natural) for a
There is a new recording of castello's works, though played on
cornettos and sacbuts.
It's called LA SACQUEBOUTE.
ambrosie AMB 9929
--
Henry Howey, D.M.A.
Professor of Music
Sam Houston State University
Box 2208
Huntsville, TX 77341
(936) 294-1364
http://www.shsu.edu/~music/faculty/howey.html
Ow
Simon Troup wrote:
Does anyone know of a way to place measure numbers that show on screen but don't print
or compile into EPS and PDF files?
It would be handy to put these in templates so I don't have to place them for working
and then remember to remove them for proofs.
thanks
Simon Troup
I beli
George Ports wrote:
Is there a way to force a key signature (the Bb in the key of F) to
print? I have a page with 2 systems (piano type with treble clef on top
and bass clef on the bottom)..4 measures in each. Everything shows
fine on the moniter but, the Bb on the bottom (Bass Clef) won't
George Ports wrote:
Is there a way to force a key signature (the Bb in the key of F) to
print? I have a page with 2 systems (piano type with treble clef on top
and bass clef on the bottom)..4 measures in each. Everything shows
fine on the moniter but, the Bb on the bottom (Bass Clef) won't
Does anyone know of a way to place measure numbers that show on screen but don't print
or compile into EPS and PDF files?
It would be handy to put these in templates so I don't have to place them for working
and then remember to remove them for proofs.
thanks
Simon Troup
_
Is there a way to force a key signature (the Bb in
the key of F) to print? I have a page with 2 systems (piano type with
treble clef on top and bass clef on the bottom)..4 measures in each.
Everything shows fine on the moniter but, the Bb on the bottom (Bass Clef) won't
print!
I ca
66 matches
Mail list logo
