2005/7/2, keith helgesen <[EMAIL PROTECTED]>:
In Simple Entry, is there a way to;
1) Break or create beam between two notes (Speedy
= /)§
2) Show 'diatonic'
accidental.
(Speedy= *)
Ctrl-Shft- -
You may find these shortcuts (and some others, too)
On Jul 1, 2005, at 12:08 PM, Andrew Stiller wrote:
On Jun 30, 2005, at 9:55 PM, David W. Fenton wrote:
And "hemiolated" sounds like something you'd need Preparation H for!
;)
Well I do confess it is a googlewhackblat (the first I ever personally
encountered)--but you had no trouble under
On Jul 1, 2005, at 1:35 PM, David W. Fenton wrote:
Well, I'm concerned about the idea that you would assume that Lully
wrote anything at all in 3/4. I don't know of any French music from
that period in which modern 3/4 occurs in the original sources, nor
any time signature with a 6 in it.
It'
On Jul 1, 2005, at 2:54 PM, Lee Actor wrote:
[snip]
lone 6/8 bar immediately
before rehearsal G in the first mvt. of Hindemith's _Symphonische
Metamorphosen_.
I agree that there is a potential metrical ambiguity in the passage you
cite, though musically I think it's clear that the eighth
Since GPO has been the subject on this list a lot recently, I would like
to voice my own opinion: Not nearly as good as I hoped.
I am particularly disappointed with the solo strings, which are in fact
worse than Finale's own soundfont. I think I may go back to that, even
putting up with the dr
Has anyone mentioned the term "sesquialtera"?
_New Grove_ again, article "Hemiola":
from Gk. hemiolios: 'the whole and a half'; Lat. sesquialtera). In early music theory, the ratio 3:2. In terms of musical pitch, when the string of the monochord was divided in this ratio the two lengths sounded
On Jul 1, 2005, at 6:14 PM, Darcy James Argue wrote:
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.
It used to be absolute
Interesting coincidence.
I went to the Boston Pops concert last night.
One of the numbers (Burt Bacharat) was in a fast 4. It had some
obvious 6/4 (3/2) measures in it (with 3 half notes as the predominate
rhythm).
But Keith Lochart conducted right through them in 3/4, as though there
were 3 beat
> > [snip]
> >> lone 6/8 bar immediately
> >> before rehearsal G in the first mvt. of Hindemith's _Symphonische
> >> Metamorphosen_.
>
> >
> > I agree that there is a potential metrical ambiguity in the passage you
> > cite, though musically I think it's clear that the eighth note stays
> > the
>
Brian Williams wrote:
On my Mac, I can't find "Advanced" in the program options. Is this a
windows-only thing?
Sorry, I was looking at an older version user interface.
Select
Options > Program options > open.
The parameter "Number of recent files to open" is about 1/3 down the
dialog bo
Hi all,
Is there an easy way to convert measures in 12/8 to
4/4?
I need the eighth-notes in 12/8 to convert
automatically to triplets in 4/4. I'd rather not have
to create all the triplets after I change the meter.
Hope someone can help - Thanks!
Ryan
__
Wow. I don't agree with that at all.
I do feel the solo violins in GPO are not as strong as they could be,
but they are still far, far superior to the one in Finale's soundfont.
And while the soundfont cello is adequate, I don't think it holds a
candle to the GPO cello. And, of course, noth
I am listening with headphones or occasionally speakers. I am not sure
how you get much benefit from the variety of bow strokes in Finale. My
main problem is that fast notes simply don't work well at all, there is
not enough attack on each note, too lush for using them in a string
quartet or si
Johannes,
You need to use the keyswitched instruments and download the library of
keyswitching Finale expressions from the GPO website. This makes it
very easy to switch from legato, sustained articulations (default) to
the "alternating bows" articulations (which you need for fast or
detache
On 2 Jul 2005 at 17:11, Darcy James Argue wrote:
> You need to use the keyswitched instruments and download the library
> of keyswitching Finale expressions from the GPO website. This makes
> it very easy to switch from legato, sustained articulations (default)
> to the "alternating bows" articul
Thanks Bernard- but I guess I should have
mentioned- I’m on Win Fin 2001 (The old steam version!)
All I have in Simple Menu is “Check
for extra notes”, and “Playback”
Any other thoughts- or anyone else??
Cheers anyway.
K
Keith Helgesen.
Director of Music, Canberra Cit
On Jun 30, 2005, at 2:44 PM, David W. Fenton wrote:
On 30 Jun 2005 at 0:14, Christopher Smith wrote:
On Jun 29, 2005, at 11:34 PM, David W. Fenton wrote:
I don't know of anyone who uses "subdominant" to refer to ii, for
instance. They may talk about "subdominant function" chords, or the
gro
On Jun 30, 2005, at 6:45 PM, Harold Owen wrote:
For some time I have used the term "pre-dominant" (I think the hyphen
is helpful) for a number of harmonies that can precede the dominant -
N6, A6, V/V, vi, ii, Vo7/V, bVII, etc. (including the addition of
7ths). The term "subdominant" really sh
I'm looking for a Mac font Type 3 to Type 1 converter.
I'm reviewing some old Finale files where I had used some Type 3
fonts (eg Newport etc) and a particularly useful home brew of
Petrucci 71pt using Fontographer 3.0.2 where I created a composite
Type 3 font.
Unfortunately, Mac OSX doesn't
From Christopher:
On Jun 30, 2005, at 6:45 PM, Harold Owen wrote:
For some time I have used the term "pre-dominant" (I think the
hyphen is helpful) for a number of harmonies that can precede the
dominant - N6, A6, V/V, vi, ii, Vo7/V, bVII, etc. (including the
addition of 7ths). The term "sub
I agree with the original poster and I gave the same comment the day I
received GPO. Solo instruments are not usable, while ensemble is quite
good and usable. Tho I was not instantiating in Finale but just
sequencing for my audition purpose.
I used to do MIDI orchestra sequencing for large chun
Hi guys,
My 2c on this matter. I teach my students that the ii7 chord that
precedes a V7 is functioning as the V7 with a suspended 4th and the
5th of the V chord in the bass, and that it's part of the dominant
function.
Barry Harris teaches improvisers to ignore "going from ii to V." He
On Jul 2, 2005, at 11:01 PM, Harold Owen wrote:
Dear Christopher,
I'm with you completely. I think classical theory has made too much of
the IV-V-I cadential formula when there are so many other
possibilities owing to the many ways there are to approach the
dominant. Bach, for example, ve
On Jul 2, 2005, at 9:02 PM, Christopher Smith wrote:I have often suspected that jazz musicians as a group are agnostic Schenkerians. That is, they would probably agree with a lot of what Schenker had to say if they had it explained to them credibly.Bill Evans studied Shenkerian analysis at Mannes a
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