Re: [Finale] TAN: GPO Pitchwheel

Hey all, What am I doing wrong? Sorry, I shoulda RTFM: "In the following discussion, it’s useful to remember that when the pitch wheel is at rest, its value is 0; when it’s as far down as it can go, its value is -8192; and when it’s at the top of its range of movement, its value is 8191." So I g

[Finale] TAN: GPO Pitchwheel

Can anyone tell me how to define an expression for pitchwheel playback that will work in GPO? I'm trying to work around the fact that the bass clarinet in GPO -- for reasons that are still mysterious to me -- only descends to concert B1, instead of concert Bb1. (Concert Db1 I could understand,

Re: [Finale] TAN: GPO on Mac mini

Hi Steve et al., I was actually able to solve 95% of my problems by reducing the polyphony in the piano and harp parts in the score I'm working on. That's not a big deal for me -- in this piece, at least, I don't need anywhere near the 64-note polyphony GPO assigns those instruments by default

Re: Fw: [Finale] OT email formatting (was: Shutting the door on the Gates?....)

As noted earlier, attachments are not stripped, and for people that still use dial-up, binary attachments are a bear to download. Also, most listservs cannot handle formatting such as HTML. And, when the text formatting does come through, what you think is perfectly readable type may be interprete

Re: [Finale] OT Bass low B

Actually, in the most recent grammy awards, the first "Hawaiian Music" grammy went to "Slack Key Guitar, Vol 2" which an album consisting totally of what most call "drop tuning". In Hawai'i, we call it "slack key" or "ki ho'alu". Slack key playing is an art in itself, and tunings can be quite pers

Re: [Finale] TAN: GPO on Mac mini

Darcy, The playback ability of GPO on a mac vs that on a PC is just awful. The most I could ever get on my 867mhz 15" Powerbook was 6 instruments. So you could get 12. Maybe. I have a 2.2 ghz PC. It cost $350. I have not found a limit on GPO. There has been talk of improvement on the mac side bu

Re: [Finale] Chord symbol

Hi Darcy, thanks for your advice. In my own compositions I always write the piano part. I'm specially attracted by modal harmony and polychords, so I'd rather write all the piano part in stead of hoping that the pianist will understand the nomenclature! Besides writing that, I also add the chords

[Finale] TAN: GPO on Mac mini

Hi -- I crossposted this to the Northern Sound Forum: http://northernsounds.com/forum/showthread.php?p=268507#post268507 Okay, I've finally tried to get a moderately large score to play back in GPO via Finale 2005b on my 1.42 GHz Mac mini with 1 GB of RAM. The results, unfortunately, are not enc

Re: [Finale] Shutting the door on the Gates?....

> From: Darcy James Argue <[EMAIL PROTECTED]> > Les, no offense, but for gawd's sake don't send background image > attachments to the entire list! > > Plain text only, and no attachments, PLEASE. > I don't blame the listers, who routinely add attachments to their mails. However I was profoundl

Re: [Finale] Shutting the door on the Gates?....

On 05 Mar 2005, at 7:38 PM, Mariposa Symphony Orchestra wrote: My apologies to all; aren't attachments usually stripped and html automatically converted to plain text? Nope. That's why we rely on the sender not to send 'em, as a courtesy to the list. Cheers, - Darcy - [EMAIL PROTECTED] Broo

Fw: [Finale] Shutting the door on the Gates?....

My apologies to all; aren't attachments usually stripped and html automatically converted to plain text?   In any event, again: my apologies for being startling.     Les     Les MarsdenFounding Music Director and Conductor, The Mariposa Symphony OrchestraMusic and Mariposa?  Ah, Paradise

Re: [Finale] Shutting the door on the Gates?....

Les, no offense, but for gawd's sake don't send background image attachments to the entire list! Plain text only, and no attachments, PLEASE. - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mail

Re: [Finale] Shutting the door on the Gates?....

With all due respect: How comes, that the opening posting of this thread managed to carry through 2 attachments? Klaus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale

[Finale] Shutting the door on the Gates?....

I'm almost sorry to bring this erst-contentious subject back but far too perverse and morally weak to fight the urge:   There was in interesting piece in today's Times; interesting to me for two reasons: first -- that which was intended by the writer: trying to account for the $21 Million pr

Re: [Finale] OT contrasbass instruments (was String divisi)

John Howell wrote: Once again, terminology can be a trap. Corelli's church sonatas--at least some of the published ones, I believe--specify violone OR organ, if memory serves. I believe he distinguished carefully between 8' and 16' instruments, but I also believe that he would have worked wit

Re: [Finale] String divisi

At 11:50 AM -0500 3/5/05, Andrew Stiller wrote: On Mar 4, 2005, at 4:25 PM, Godofredo Romero wrote: Taken from Cecil Forsyth' book on orchestration "The name Violone, i.e "big Viola, was given to the Double-Bass, and in accordance with the accurate if somewhat limited principles of the Italian

Re: [Finale] Chord symbol

Hi John, The *notation* for compound chords isn't confusing, and your suggestion: C chord    - Bb7 chord is both redundant *and* confusing. It's only the fact that Roger's particular compound chord is functionally equivalent to a standard chord (and is better written as a standard cho

Re: [Finale] Chord symbol

Title: Re: [Finale] Chord symbol At 5:45 PM +0100 3/5/05, Roger =?UNKNOWN?Q?Juli=E0?= Satorra wrote: No, what I want is a Bb7 (9, +11, 13), it's easier to write C/Bb7, but not by finale! You've had some great advice, and what you want to write is, in fact, non-standard and confusing, as the conf

Re: [Finale] String divisi

There is interesting information on this subjet at Godofredo Johannes Gebauer wrote: I am by no means an expert, but the term violone is used for various instruments, including the cello itself (see for instance Corelli's violin sonatas original title), but

Re: [Finale] Re: Finale Digest, Vol 20, Issue 7

On Mar 5, 2005, at 1:48 PM, Ken Moore wrote: In message <[EMAIL PROTECTED]> Andrew Stiller writes: Scordatura is sometimes notated that way, and sometimes at the actual pitch, the convention varying with time, place, and circumstance. Any unorthodox tuning of a stringed instrument is scordatura r

Re: [Finale] OT Bass low B

Christopher Smith wrote: And of course everyone's favourite country-jazz guitarist, Pat Metheny. Some of his chords, too, are positively unplayable on a normally-tuned instrument. Nah - they'er *simple*! If you're double-jointed, and have 16 inch long fingers. :)

Re: [Finale] Chord symbol

On Mar 5, 2005, at 11:45 AM, Roger Julià Satorra wrote: No, what I want is a Bb7 (9, +11, 13), it's easier to write C/Bb7, but not by finale! Roger Darcy gave you good advice about getting what you want on paper. I would gently suggest that while C Bb7 might be easier for you, it might be ha

Re: [Finale] Chord symbol

Hi Roger, While I agree that Finale should have support for compound chords (and listed a few workarounds in previous posts), I can assure you that you that when most piano players see Bb13(#11), the voicing they will play is very likely to be a C triad over a Bb7 chord. In other words, I don'

Re(2): [Finale] Chord symbol

I'll second this recommendation. If you are doing much of this kind of music, Bill's Finale Productivity package is the way to go. It's saved me huge amounts of time and frustration and is well worth the $150 for the whole pack. At least check it out at

Re: [Finale] OT Bass low B

On Mar 5, 2005, at 1:47 PM, Darcy James Argue wrote: On 05 Mar 2005, at 11:18 AM, Chuck Israels wrote: And John Denver is alleged to have used a scordatura tuning for his guitar, allowing him to play figurations that would have been unplayable in normal guitar tuning. Not so unusual for guitarist

Re: Re: [Finale] Chord symbol

-- Darcy James Argue<[EMAIL PROTECTED]> wrote: > 1) Enter two separate chords on the same beat -- "C" and > "Bb7" -- > manually drag the "C" up, and draw a horizontal line > between them. > (There many options for this -- if you're not picky about > the > appearance, probably the easiest thin

Re: [Finale] Chord symbol

Oh, wait, I forgot one (actually not a bad option at all): 4) Enter the chord as: C --- Bb Then, on the same beat, enter just the chord suffix (the "7"), and drag it into position. That's probably the best solution outside of buying the Bill Duncan font (which I actually highly recommend.) - Da

[Finale] Re: Finale Digest, Vol 20, Issue 7

In message <[EMAIL PROTECTED]> Andrew Stiller writes: >Scordatura is sometimes notated that way, and sometimes at the actual >pitch, the convention varying with time, place, and circumstance. Any >unorthodox tuning of a stringed instrument is scordatura regardless of >the notation. OK, but sin

Re: Re: [Finale] Chord symbol

Yes, that's exactly what I mean. I know Bb13 (#11) would be appropriate, but specially when writing for big band, the piano part should be written C --- Bb7 I guess it's something that MUST be corrected by finale. I'm curious about how Sibelius deals with it. I'll ask arround, jazz people prefer

Re: [Finale] Chord symbol

Okay, there have been some confused responses here. What Roger wants to do is create a compound chord, also known as a polychord. Compound chords are extremely common in jazz, but Finale doesn't directly support them, which has been a longstanding source of frustration for jazz musicians usin

Re: [Finale] OT Bass low B

On 05 Mar 2005, at 11:18 AM, Chuck Israels wrote: And John Denver is alleged to have used a scordatura tuning for his guitar, allowing him to play figurations that would have been unplayable in normal guitar tuning. Not so unusual for guitarists. Yes -- as Chuck said, that's a wee bit of an under

Re: [Finale] Chord symbol

Roger, /X is only for a bass note, as in Bb/C (Bb over C = Csus). Do you mean: C    ? Bb7 Then a Bb13 (#11) should be appropriate. Kurt At 17:22 05.03.2005, you wrote: Hello, How can I write a chord such as C/Bb7 ? When doing so, finale removes the 7 of the Bb. Thanks, Roger __

Re: [Finale] Chord symbol

That seems to be a problem with Finale. When ever I have polychords that I can't teach Finale (such as C7/Bb7 or C/Bb7), I write it in Score Ex. JIm - Original Message - From: "John Howell" <[EMAIL PROTECTED]> To: Sent: Saturday, March 05, 2005 10:37 AM Subject: Re: [Finale] Chord symbo

Re: [Finale] Chord symbol

my approach would be to write it as Bb13(#11) - or make up a score expression if you don't need playback (I would indicate this as C triad/Bb7 to avoid anyone thinking you put the bass note on the wrong side) On Mar 5, 2005, at 10:45 AM, Roger Julià Satorra wrote: No, what I want is a Bb7 (9, +

Re: [Finale] OT Bass low B

On Mar 4, 2005, at 4:53 PM, Ken Moore wrote: I don't think of all cases of tuning a lower string down as scordatura. I associate that with notation that tells you where to put your fingers, but because the string is tuned in a non-standard manner, the pitch that comes out is not the one notated.

Re: [Finale] String divisi

On Mar 4, 2005, at 4:25 PM, Godofredo Romero wrote: Taken from Cecil Forsyth' book on orchestration "The name Violone, i.e "big Viola, was given to the Double-Bass, and in accordance with the accurate if somewhat limited principles of the Italian laguage, the intermediate instrument was christene

Re: [Finale] Chord symbol

No, what I want is a Bb7 (9, +11, 13), it's easier to write C/Bb7, but not by finale! Roger -- Guy Hayden<[EMAIL PROTECTED]> wrote: > Your chord is written incorrectly. If you want a Bb7 over a > C bass then you > must reverse the order to Bb7/C > > Guy Hayden > > - Original Message

Re: [Finale] Chord symbol

At 5:22 PM +0100 3/5/05, Roger =?UNKNOWN?Q?Juli=E0?= Satorra wrote: Hello, How can I write a chord such as C/Bb7 ? When doing so, finale removes the 7 of the Bb. I that a polychord (i.e. C major triad over Bb7 chord)? The program is obviously reading it as C major over a Bb bass note. (You could

Re: [Finale] Chord symbol

Your chord is written incorrectly. If you want a Bb7 over a C bass then you must reverse the order to Bb7/C Guy Hayden - Original Message - From: "Roger Julià Satorra" <[EMAIL PROTECTED]> To: Sent: Saturday, March 05, 2005 11:22 AM Subject: [Finale] Chord symbol Hello, How can I writ

Re: [Finale] OT Bass low B

> "...In a few cases the actual sounding notes in a > scordatura piece are given by the composer, and the player must work > out his own fingering [examples given], but 'sounding-notation' is > impractical for the player, and consequently it has seldom been used." 'Actual sounding notes' is the mo

Re: [Finale] OT contrasbass instruments (was String divisi)

At 3:06 PM +0100 3/5/05, Johannes Gebauer wrote: I am by no means an expert, but the term violone is used for various instruments, including the cello itself (see for instance Corelli's violin sonatas original title), but was also in wide use for a double bass instrument. A violone could be an 8

[Finale] Chord symbol

Hello, How can I write a chord such as C/Bb7 ? When doing so, finale removes the 7 of the Bb. Thanks, Roger ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] OT Bass low B

Six-string or five-string electric basses are now common in pop music, and I wonder how they are tuned. Low B, high C- 4ths all the way. And John Denver is alleged to have used a scordatura tuning for his guitar, allowing him to play figurations that would have been unplayable in normal guit

Re: [Finale] OT Bass low B

John Howell wrote: Six-string or five-string electric basses are now common in pop music, and I wonder how they are tuned. And John Denver is alleged to have used a scordatura tuning for his guitar, allowing him to play figurations that would have been unplayable in normal guitar tuning. My reg

Re: [Finale] OT Bass low B

At 9:53 PM + 3/4/05, Ken Moore wrote: In message <[EMAIL PROTECTED]> Roger Satorra writes: You're talking about a scordatura. I don't think of all cases of tuning a lower string down as scordatura. I associate that with notation that tells you where to put your fingers, but because the string i

Re: [Finale] String divisi

I am by no means an expert, but the term violone is used for various instruments, including the cello itself (see for instance Corelli's violin sonatas original title), but was also in wide use for a double bass instrument. A violone could be an 8' or 16' instrument, or a mixture of both (the "

Re: [Finale] String divisi

On 4 Mar 2005 at 17:32, John Howell wrote: > At 3:46 PM -0500 3/4/05, David W. Fenton wrote: > > > >Also, keep in mind that Bach's gamba sonatas assumed a 7-string gamba > >with a low A string (because two of the three sonatas require low B), > > Hmm. The only one I'm really familiar with is the

Re: [Finale] OT Violone tuning in Bach

On 4 Mar 2005 at 22:14, Ken Moore wrote: > In message <[EMAIL PROTECTED]> John Howell > writes: >>IIRC, there is also a low B in Brandenburg 3, but that may > have been >>intended for a six-string violone. > > >I with I had a score at hand to check this, but it seems kinda > >questionable. Coul

Re: [Finale] String divisi

On 4 Mar 2005 at 17:25, Godofredo Romero wrote: > Taken from Cecil Forsyth' book on orchestration "The name Violone, i.e > "big Viola, was given to the Double-Bass, and in accordance with the > accurate if somewhat limited principles of the Italian laguage, the > intermediate instrument was christ

Re: [Finale] OT Violone tuning in Bach

Just as an asside: I am in the finishing stages of engraving an edition of Rebel's Chaos. Here the bottom part (to be played by Basses de violon, Contrebasse and Clavecin) goes down to a bottom A below the normal Cello C string. I am by no means an expert on Basses de violon etc but apparently

Re: [Finale] OT Violone tuning in Bach

As I said before, the 6th Brandenburg concerto has a low Bb for the violone (last note of last movement). The part is marked "Violone e Cembalo" so maybe Bach was thinking keyboard here. But it's interesting to note that the cello part, which in the few preceding measures is identical to the vi