In Simple Entry, is there a way to;
1) Break or create beam between two notes (Speedy
= /)
2) Show ‘diatonic’
accidental.
(Speedy= *)
As you see- I am aware that I can go into Speedy to do
these- but I’m one of the weird mob who habitually uses Simple. (
In 1974, in a 'flea market' in Sydney I picked up a book entitled
"Everything you need to know about Music Theory" Published 1922.
It was the size of a paperback, by a bloke called E Danson- and had exactly
12 pages!!
Talk about "Explain the Meaning of Life in 15 minutes!!"
I still have it somewh
Gerald Berg wrote:
The N(ew)D(iatonic)M(odal) Principle of Relative Music
Forward by Joseph Yasser with an introduction by Nicolas Slonimsky
A good friend of mine gave me that a year ago as he didn't
understand it. I must say, after reading it a couple of times, I am not
too sure the au
Noel Stoutenburg wrote:
>
> Brian Williams wrote:
>
>> Is there some way to clear out the "Open Recent..." list in the File menu of
>> Finale 2005 (Mac) without trashing all of the global preference settings?
>>
>>
> Try selecting options > program options > advanced, and setting the
> value to
Darcy James Argue wrote:
Hi Owain,
I agree, but there are lots old editions out there with the order
reversed (new value = old value). I don't know why *anyone* ever
thought that was a good way of indicating tempo shifts, but
unfortunately, it's not uncommon.
Interesting - I'll look ou
On 1 Jul 2005 at 23:02, Owain Sutton wrote:
> David W. Fenton wrote:
>
> > I don't agree that it's problematic to indicate something like E = E
> > when there's a change of time signature whose interpretation is
> > ambiguous. The hard part is when it's something like Q = H, where it
> > may be t
Hi Owain,
I agree, but there are lots old editions out there with the order
reversed (new value = old value). I don't know why *anyone* ever
thought that was a good way of indicating tempo shifts, but
unfortunately, it's not uncommon.
Putting the "=" directly above the barline is good pract
David W. Fenton wrote:
I don't agree that it's problematic to indicate something like E = E
when there's a change of time signature whose interpretation is
ambiguous. The hard part is when it's something like Q = H, where it
may be that the old quarter equals the new half, or the old half
e
On 7/1/05, David W. Fenton <[EMAIL PROTECTED]> wrote:
>
> Of course, iTunes is like that, too -- I am not going to use it for
> burning CDs, so I've turned off the system service it insists on
> installing. This means iTunes complains every time I start it that
> the CD burning service is not runni
[snip]
> Some
> passages are simply insoluble, such as the lone 6/8 bar immediately
> before rehearsal G in the first mvt. of Hindemith's _Symphonische
> Metamorphosen_. The prevailing meter is 2/4; is the beat to be held
> constant through the 6/8 measure (compound meter), or the note values
> (s
On 1 Jul 2005 at 12:28, Andrew Stiller wrote:
> On Jun 30, 2005, at 9:55 PM, David W. Fenton wrote:
>
> > I'm puzzled by why one would want to "rationalize" 6/8 to 6/12,
>
> While I agree that 6/12 is a bad solution, that does not mean there is
> no problem. Composers for at least a century have
From Technoid:
On 6/30/05, Harold Owen <[EMAIL PROTECTED]> wrote:
Hello folks.
Has anyone mentioned the term "sesquialtera"? One source i have says
"IIn Hispanic Music, it may refer to the mixture of duple and triple
time within groups of six quavers (eighth notes)."
Sesquialtera is also
At 7/1/2005 12:08 PM, Gerald Berg wrote:
>Just thought I'd re-title for those pursuing other gambits.
>
>Jerry
>
>On 1-Jul-05, at 11:38 AM, Gerald Berg wrote:
>
>> Unfortunately i could not down load the mp3 file
David.
If you put <> around a URL, it will be less likely to be split up
by a mail
On 1 Jul 2005 at 11:38, Gerald Berg wrote:
> Unfortunately i could not down load the mp3 file David.
Probably it wasn't clear that there was a space between "Coperario-
Fantasy" and "à3". If you go to
http://www.dfenton.com/Collegium/SideBySideViols/ you can then click
on the file from there (i
On 1 Jul 2005 at 11:19, Andrew Stiller wrote:
[I wrote:]
> > I *do* see a problem with calling something a hemiola that is
> > EXACTLY THE OPPOSITE of what a hemiola actually is.
>
> Of two examples given in the relevant _New Grove_ article, the second
> (from Lully) is of the type you call "reve
On 1 Jul 2005 at 4:57, Richard Yates wrote:
> > > MusicMatch JukeBox
> >
> > No way! That's a horrid program that I've seen pre-installed on a
> > lot of Windows PCs. It takes over and won't let you control it.
>
> I use it only for converting files. I run it, use it, close it. No
> problems. Wha
This talk of Paul Creston has giving me a hankering for talking of
further books.
I admit to having had a Borgesian bent of mind before I really knew
what it meant.
For instance I've always preferred Hauer's vision of 12 tone over
Schoenberg's. Persuing that line of thought is what eventua
Just thought I'd re-title for those pursuing other gambits.
Jerry
On 1-Jul-05, at 11:38 AM, Gerald Berg wrote:
Unfortunately i could not down load the mp3 file David.
Awfully naked score! i don't think I could resist mucking it up more
if it were mine. The idea is very familiar to me... my
On Jun 30, 2005, at 9:55 PM, David W. Fenton wrote:
I have the score in front of me. He writes it as "6/8 (3/4)" with the
header "Tempo di Huapango (fast)." The beaming of the hemiolated (3/4)
measures is inconsistent.
Ack!!! Andrew! How can someone who is so particular about terminology
get
On Jun 30, 2005, at 9:55 PM, David W. Fenton wrote:
I'm puzzled by why one would want to "rationalize" 6/8 to 6/12,
While I agree that 6/12 is a bad solution, that does not mean there is
no problem. Composers for at least a century have found the traditional
notation of compound meters to
On 6/30/05, Harold Owen <[EMAIL PROTECTED]> wrote:
> Hello folks.
>
> Has anyone mentioned the term "sesquialtera"? One source i have says
> "IIn Hispanic Music, it may refer to the mixture of duple and triple
> time within groups of six quavers (eighth notes)."
Sesquialtera is also an organ stop
Unfortunately i could not down load the mp3 file David.
Awfully naked score! i don't think I could resist mucking it up more
if it were mine. The idea is very familiar to me... my music wouldn't
exist without it. I do like the idea of using a bracket to delineate
internal phrasing --
Cres
I *do* see a problem with calling something a hemiola that is EXACTLY
THE OPPOSITE of what a hemiola actually is.
Of two examples given in the relevant _New Grove_ article, the second
(from Lully) is of the type you call "reverse hemiola," and is
characterized in the text as "an instance of
Title: Re: [Finale] Subdominant-was half rests in
6/4
At 9:31 AM -0400 6/30/05, dr.a.s. weinstangel wrote:
Regarding
"...Subdominant (used to mean the
4th of the scale, or the chord built on it. Now means ANY chord that
can lead to a dominant (though it doesn't invariably have to)...etc."
From:
> > MusicMatch JukeBox
>
> No way! That's a horrid program that I've seen pre-installed on a lot
> of Windows PCs. It takes over and won't let you control it.
I use it only for converting files. I run it, use it, close it. No problems.
What do you mean by 'take over'?
Richard Yates
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