Hi Johannes,
I've heard that rumor repeated frequently, but so far I've seen no
"official" mention of it from Apple. Have you?
If not, I guess we'll find out for sure in a few weeks!
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 20 Apr 2005, at 2:26 AM, Johannes Gebauer wrote:
Apparently scree
Apparently screen rotation is going to be a feature of Tiger.
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
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Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
ATI released their latest Mac drivers today -- ATI Displays 4.5.
Unlike previous releases, this version of ATI Displays supports *all*
Macs with ATI video cards, including OEM ATI cards (previously, this
was recommended only for users with retail ATI cards).
https://support.ati.com/ics/supp
On 19 Apr 2005 at 12:32, Andrew Stiller wrote:
> I might point out as well that the range of the trombone is exactly
> the same as that of the horn, yet it is entirely possible, and
> commonplace, to notate its full range w.o resort to either a
> transposition or any C clef, much less the alto cle
On 19 Apr 2005 at 8:54, dhbailey wrote:
> David W. Fenton wrote:
> >
> >> But they don't override tempos tool alterations that occur
> >> literally 100s of measures after the tempo expressions.
> >>
> >> In the present piece, there is one tempo expression, at the very
> >> head of the movement,
On 19 Apr 2005 at 14:19, Jari Williamsson wrote:
> David W. Fenton wrote:
>
> > But they don't override tempos tool alterations that occur literally
> > 100s of measures after the tempo expressions.
> >
> > In the present piece, there is one tempo expression, at the very
> > head of the movement
His American colleagues were the ones having trouble playing with him
when he was playing the Euro-tuned piano. I think it might have been some
brass or wind players.
**Leigh
On Tue, Apr 19, 2005, John Howell <[EMAIL PROTECTED]> wrote:
>>As part of a conversation with a pianist friend today, we
Don Robertson wrote:
On Apr 19, 2005, at 12:00 PM, [EMAIL PROTECTED] wrote:
Send Finale mailing list submissions to
finale@shsu.edu
[snip]
Please don't quote the entire digest. We're not about to wade through
the whole thing just to see if you added any comments.
Snip it so that just the per
Hi all:
This has probably been covered.
I am using MacFin 2005b, OS 10.3.9, an HP 5100 printer and Adobe 7.
I usually print my parts at 9 1/2 x 12 1/2. If I save to pdf, I can
print at 9 1/2 x 12 1/2. But when I quit everything defaults back to
8 1/2 x 11.
how can I make the larger setting the de
On Apr 19, 2005, at 12:00 PM, [EMAIL PROTECTED] wrote:
Send Finale mailing list submissions to
finale@shsu.edu
To subscribe or unsubscribe via the World Wide Web, visit
http://lists.shsu.edu/mailman/listinfo/finale
or, via email, send a message with subject or body 'help' to
At 6:00 PM -0400 4/18/05, Leigh Daniels wrote:
Hello Knowledgeable Finale-ists,
As part of a conversation with a pianist friend today, we both were
wondering why Concert Pitch A in America is 440 Hz and different in
Europe. He said when he was touring in Europe, he had to request the
American 440 H
Matthew Hindson Fastmail Account wrote:
For what it's worth, here's a feature request I've sent to Makemusic:
that we be able to enter hairpins from within the Expression tool.
The process of entering dynamics with occurrences of dynamics-text and
hairpins requires changing the tool all the time
On Apr 19, 2005, at 4:41 PM, Allen Fisher wrote:
I'd rather have custom smart shape hairpins that I could attach text
to. (A
mezzo di voce < > tool is on my list too)
That sounds like a minor feature to implement. They already have the
hairpin, they already have the text and a way of attaching
You can find more information here:
http://encyclopedia.lockergnome.com/s/b/
Pitch_(music)#Historical_pitch_standards
Michael Cook
On 19 avr. 05, at 21:12, Leigh Daniels wrote:
Andrew,
Thanks for the detailed information!
**Leigh
On Tue, Apr 19, 2005, Andrew Stiller <[EMAIL PROTECTED]> wrote:
Ok,
From: Robert Patterson
Does anyone know if it is still possible to use clip files?
used them extensively recently (mac 05), noticed no problems.
jef
--
shirling & neueweise \/ new music notation specialists
mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com
_
Good idea Matthew, I will send a similar request.
George Galway
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Matthew Hindson Fastmail Account
Sent: 19 April 2005 21:30
To: finale@shsu.edu
Subject: [Finale] FWIW: Feature suggestion
For what it's worth,
I'd rather have custom smart shape hairpins that I could attach text to. (A
mezzo di voce < > tool is on my list too)
On 4/19/05 3:29 PM, "Matthew Hindson Fastmail Account"
<[EMAIL PROTECTED]> saith:
> For what it's worth, here's a feature request I've sent to Makemusic:
> that we be able to en
From: Andrew Stiller
In my experience, the vast majority of copyists regard it as their duty
to literally copy exactly what they find in the score when extracting
parts. There are many places where a composer changes clefs merely to
save vertical space in the score, and you will never see those cha
For what it's worth, here's a feature request I've sent to Makemusic:
that we be able to enter hairpins from within the Expression tool.
The process of entering dynamics with occurrences of dynamics-text and
hairpins requires changing the tool all the time: if there were
Expression metatools th
On Tue, 19 Apr 2005 12:36:26 -0400, Andrew Stiller
<[EMAIL PROTECTED]> wrote:
On Apr 18, 2005, at 2:42 PM, Darcy James Argue wrote:
if I find anything in the manuscript that is notationally unclear, or
looks like a mistake, or represents nonstandard practice, I will ask
about it.
That's pr
Andrew,
Thanks for the detailed information!
**Leigh
On Tue, Apr 19, 2005, Andrew Stiller <[EMAIL PROTECTED]> wrote:
>
>Ok, first of all, there is no different standard. The A-440 standard
>was adopted because in ages when instrumental music dominates, there
>is a constant pressure to raise t
At 4/19/2005 12:32 PM, Andrew Stiller wrote:
>If I had my absolute druthers (wh. of course I don't), both the viola
>and the clarinet would be treble-clef instruments that switched to bass
>clef for low-lying passages.
And, of course, as a clarinet major in college and a professional clarinet
play
On Apr 18, 2005, at 6:00 PM, Leigh Daniels wrote:
wondering why Concert Pitch A in America is 440 Hz and different in
Europe. He said when he was touring in Europe, he had to request the
American 440 Hz tuning and if the piano was tuned to the European
standard, the other performers had a hard time
On Apr 18, 2005, at 2:42 PM, Darcy James Argue wrote:
if I find anything in the manuscript that is notationally unclear, or
looks like a mistake, or represents nonstandard practice, I will ask
about it.
That's precisely my point: you ask about it. You don't go off on your
own and make a unilat
On Apr 17, 2005, at 6:28 PM, John Howell wrote:
Andrew is quite right, but other instruments whose normal range
crosses between the treble and bass clefs solve the problem through
transposed parts.
This is true in many cases but by no means all. Piano. Organ. Or if you
think grand-staff instrume
On Apr 17, 2005, at 6:35 PM, John Howell wrote:
At 3:28 PM -0400 4/16/05, Andrew Stiller wrote:
Certainly. But Rachmaninoff's use of the convention was by then no
more traditional than Hindemith's use of the viola d'amore.
Hindemith directed the Yale Collegium Musicum, and was a
vio
On Mon, 18 Apr 2005 19:52:16 -0400, Darcy James Argue wrote:
> For those of you in and around LA:
>
> The Symphonic Jazz Orchestra will be presenting a new work by me on
> Sunday, May 1 at UCLA's Schoenberg Hall. It's free. The band
> includes Peter Erskine and John Clayton. They'll also be do
I have 3-4 songs for a big male choir and piano to which I
wish to add arrangement for brass section of a symphony
orchestra as well as some percussion. If anyone is interested
or can point me in a more suitable direction please mail me
off list.
Cortez
_
David W. Fenton wrote:
But they don't override tempos tool alterations that occur literally
100s of measures after the tempo expressions.
In the present piece, there is one tempo expression, at the very head
of the movement, which sets the tempo that remains in effect until
either another tem
David W. Fenton wrote:
But they don't override tempos tool alterations that occur literally
100s of measures after the tempo expressions.
In the present piece, there is one tempo expression, at the very head
of the movement, which sets the tempo that remains in effect until
either another tempo
Martin,
As I just wrote to Andrew S. on this list, I'll have to get back to you
on this in a couple of days. I saw the book at the Music Fair here in
Frankfurt and ordered a copy, after spending a pleasant afternoon
browsing through it. As soon as it arrives I'll see what I can do.
Eric
Andrew,
I'll have to get back to you on this in a couple of days. I saw the
book at the Music Fair here in Frankfurt and ordered a copy (after
browsing in it for over an hour). As soon as it arrrives I'll take a
look ...
Eric
Habsburger Verlag Fra
On 19 Apr 2005, at 3:17 AM, Michael Cook wrote:
On 18 avr. 05, at 23:14, Christopher Smith wrote:
But back at you, in the key of C would YOU spell the bII7 chord as
Db-F-Ab-Cb when there is a perfectly good and functional leading tone
B in the key signature?
If the next chord is C major I'd certa
On 18 avr. 05, at 23:14, Christopher Smith wrote:
But back at you, in the key of C would YOU spell the bII7 chord as
Db-F-Ab-Cb when there is a perfectly good and functional leading tone
B in the key signature?
If the next chord is C major I'd certainly spell it with a B, since the
B would be fu
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