On Jul 21, 2005, at 4:54 AM, Richard Yates wrote:
This may be of interest, although the score that as chosen as the
exemplar
is not complicated.
http://home.earthlink.net/~jfalbano/
Six%20Music%20Notation%20Programs.pdf
I'm coming into this discussion late. (This list is too busy, and I
What isn't: Catholicism's ban on females singing within it's walls or the
no female tenors rule?
Here's a brief off-topic story. The sax player in my band just returned from
a European vacation. He went to the Vatican, but was told that he couldn't
go in as his shorts revealed his knees. So he
Robert Patterson wrote:
[snip]
While I remain unconvinced that Notion will have the opportunity to
deliver on its promises, I was impressed by their representative. He
obviously believes passionately in the program. He literally thinks it
can change the world by bringing interest in and deep
Owain Sutton wrote:
Noel Stoutenburg wrote:
Adobe succeeded in persuading the court that a digital font is output
of a computer program
Case law suggests, that in the U.S., if you printed out all of the
characters of the revere font enlarged them with an analog pantagraph,
and scanned
The fact that Mr Spreadbury submitted the Sibelius entry, whereas the
Finale entry fell by default to the only person who volunteered, tells
me something about the difference between MakeMusic and Sibelius. The
latter saw an opportunity to show off their product and made sure that
Fiskum, Steve wrote:
Thanks for this unoffical review of Notion. I have been waiting to see a demo and find out more info.
From its website and some of the ads I've seen I have had the iimpression that
playback was a bit more important than notation. It is interesting to hear your
thoughts
Tyler Turner wrote:
--- David W. Fenton [EMAIL PROTECTED] wrote:
Of course, if men couldn't have sung it, it wouldn't
have been
written for them, so, we can see that the issue of
discrimination
doesn't have anything to do with the determination
of the validity of
the singing in the wrong
Mark D Lew wrote:
On Jul 21, 2005, at 4:54 AM, Richard Yates wrote:
This may be of interest, although the score that as chosen as the
exemplar
is not complicated.
http://home.earthlink.net/~jfalbano/
Six%20Music%20Notation%20Programs.pdf
I'm coming into this discussion late. (This
Neal Schermerhorn wrote:
What isn't: Catholicism's ban on females singing within it's walls or the
no female tenors rule?
Here's a brief off-topic story. The sax player in my band just returned from
a European vacation. He went to the Vatican, but was told that he couldn't
go in as his
Simon Troup wrote:
The fact that Mr Spreadbury submitted the Sibelius entry, whereas the
Finale entry fell by default to the only person who volunteered, tells
me something about the difference between MakeMusic and Sibelius. The
latter saw an opportunity to show off their product and
On Jul 23, 2005, at 4:47 AM, dhbailey wrote:
All the church choirs I know of around this area have female tenors,
not because the directors force this, but because the women's voices
are naturally in that range.
If by naturally, you mean the part of their voice that they're most
On Jul 23, 2005, at 4:04 AM, dhbailey wrote:
As I recall reading (no I can't remember nor cite where I read these
things) what Adobe did was to convince the courts that the electronic
files which describe the fonts is copyrightable, not the fonts that
were generated by the electronic files.
The fact that Mr Spreadbury submitted the Sibelius entry, whereas the
Finale entry fell by default to the only person who volunteered, tells
me something about the difference between MakeMusic and Sibelius. The
latter saw an opportunity to show off their product and made sure that
they
The quality of the engraving isn't in question here - the fact that the
company participated is. Look at the MakeMusic submission -- it's far
inferior to the Sibelius submission. I can't even see the notes or the
staves for the MakeMusic submission!
You are all reading far more into this
At 3:36 AM -0400 7/23/05, Neal Schermerhorn wrote:
It's not so bad, though. Plenty of kids make All-State in this country. It's
an honor, but I'd surely put more weight on an admission audition than a
claim that one sang alto with 100 others in All-State when picking college
freshman.
Hi,
The fact that Mr Spreadbury submitted the Sibelius entry, whereas
the Finale entry fell by default to the only person who
volunteered, tells me something about the difference between
MakeMusic and Sibelius. The latter saw an opportunity to show off
their product and made sure that they got
At 06:37 AM 7/23/2005, you wrote:
It's not a MakeMusic submission. Presonally I think they should stay out
of things as badly organised as this. There are far better way of
promoting their product than getting involved in badly thought out
competitions. This nothing but a mildly interesting
Ken Durling schrieb:
Something I'd like to see is at least a partial list of what editions by
what publishers are done in which program, especially major publishers.
Here is one of one company which uses Sibelius.
http://www.notation.de/german/referenzen.html
Johannes
--
Having become quite curious I downloaded the Sibelius 4 demo last night.
I haven't spent much time with it, but I noticed that it did install the
Helsinki font. I haven't attempted to use it in Finale, but I'd like to
know if I could and if that would be legal. Anyone?
Johannes
--
On 23 Jul 2005, at 00:33, Johannes Gebauer wrote:
However, what really needs to be improved is Finale's template
handling. There is absolutely no reason that the wizard can only have
two templates. If MM shipped Finale with, say, 5 different templates,
representing European, American, Jazz etc
Michael Cook schrieb:
I'm going to put that, with a bit more detail, into a feature request:
my two top priority feature requests are this and some form of house
styles. Maybe some people on the list would like to join me?
I believe that house styles should be part of the template system.
At 7:47 AM -0400 7/23/05, dhbailey wrote:
Come to think of it, of all the choruses and choirs I know of in
this area, only 4 or so out of 20 that I can think of, have the
women sing soprano and alto and men sing tenor and bass model.
Good post and good analysis, David. Maybe we'd be better
And i still don't understand the reason for pants roles!
John
Two reasons.
1) In Baroque opera, vocal range was a function of the age of the
character more than its sex. The young hero was a soprano, and so was
his love interest. Her duenna was a tenor. The king/philosopher/father
was a
On Jul 23, 2005, at 7:47 AM, dhbailey wrote:
Neal Schermerhorn wrote:
If the modern chorus is defined as female sopranos
and altos and male tenors and basses, then clearly a female tenor or a male
alto is not technically a member of the group. In a school group they could
pull it off, but in an
Well, last summer I heard Michael Manicaci, who lists himself as male
soprano, sing an easily lofted and poised high c that many sopranos would
envy (I'll bet he has range above that). His phrasing and tone in Handel's
Imeneo -- and Orlando the summer before -- were both stunning and beyond
On 23 Jul 2005, at 17:14, Johannes Gebauer wrote:
I believe that house styles should be part of the template system. It
would need some thinking about, but templates and house styles should
be aware of eachother.
I'm sure that's the way to go. There should be two-way communication
between
On 7/23/05, Richard Yates [EMAIL PROTECTED] wrote:
The quality of the engraving isn't in question here - the fact that the
company participated is. Look at the MakeMusic submission -- it's far
inferior to the Sibelius submission. I can't even see the notes or the
staves for the MakeMusic
I, too, was a Notion beta tester. My observations were similar. I have
not installed my free v.1 or downloaded any updates yet.
For those unfamiliar with Notion, I would not really call it a engraving
software as much as a notation based (as opposed to midi/keyboard based)
sequencer.
Its
On Jul 23, 2005, at 5:47 AM, Richard Yates wrote:
This is all pure fantasy. Do you actually read the posts in these
threads?
Well, I try, but it seems like there's about 70 posts a day lately, so
it's hard for me to keep up as well as I'd like.
Evidently, I didn't study hard enough and got
On Jul 23, 2005, at 8:29 AM, Andrew Stiller wrote:
1) In Baroque opera, vocal range was a function of the age of the
character more than its sex. The young hero was a soprano, and so was
his love interest. Her duenna was a tenor. The king/philosopher/father
was a bass.
2) In later operas,
On Jul 23, 2005, at 8:53 AM, Andrew Stiller wrote:
Oh come off it. If I publish a choral work, there are a limited number
of preset terms for the type of chorus it is:
mixed chorus (= SATB)
men's chorus (=TTBB)
women's chorus (=SSAA)
boy's choir (=TrTrAA)
A great deal of the non-mixed
On 22 Jul 2005 at 19:20, Tyler Turner wrote:
--- David W. Fenton [EMAIL PROTECTED] wrote:
Of course, if men couldn't have sung it, it wouldn't
have been
written for them, so, we can see that the issue of
discrimination
doesn't have anything to do with the determination
of the
On Jul 23, 2005, at 2:03 PM, David W. Fenton wrote:
I'm anaware of any opera roles written for castrati that are anything
other than major, adult male roles.
Castrati sang minor roles, too. Most of the Handel operas have
multiple castrato roles. In Rinaldo, for instance, in addition to the
On 23 Jul 2005 at 3:36, Neal Schermerhorn wrote:
[where's the attribution on this?]
What isn't: Catholicism's ban on females singing within it's walls
or the no female tenors rule?
[]
Someone put it well - is it a question of equality or a question of
traditional music roles? If the
At 1:08 PM -0700 7/23/05, Mark D Lew wrote:
On Jul 23, 2005, at 8:29 AM, Andrew Stiller wrote:
1) In Baroque opera, vocal range was a function of the age of the
character more than its sex. The young hero was a soprano, and so
was his love interest. Her duenna was a tenor. The
On 23 Jul 2005 at 7:21, dhbailey wrote:
Tyler Turner wrote:
--- David W. Fenton [EMAIL PROTECTED] wrote:
Of course, if men couldn't have sung it, it wouldn't
have been
written for them, so, we can see that the issue of
discrimination
doesn't have anything to do with the
At 02:39 PM 7/23/2005, you wrote:
Of course, last time I checked, the ERA was not part of the
Constitution.
Eh? What do you think it's an amendment TO?
Ken
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
At 1:23 PM -0700 7/23/05, Mark D Lew wrote:
When I sang with the SF Symphony Chorus, every chorister had two
identities -- one for the four/four split (SSAATTBB), and one for
three/three (HMLHML). A lot of pieces called for the
high-middle-low splits, either for the entire concert or for
On 23 Jul 2005 at 11:24, John Howell wrote:
The orchestra
world went through its own identity crisis around mid-20th century,
with more women very gradually being admitted to more orchestras and
better orchestras, even unto the exalted ranks of principals and
concertmasters, until parity
Michael Cook wrote:
- Of course it should be possible to override the automatic spacing. We
need an improved user interface for moving staves and systems: it
should be possible to move both staves and systems vertically using the
page layout tool, without going through extra steps like
On 23 Jul 2005 at 13:23, Mark D Lew wrote:
There are some sacred choral pieces that are written with three
women's parts and two men's throughout. Off the top of my head, the
only one I can think of is Bach's Magnificat, but I'm pretty sure
there are more. (Perhaps this is a throwback to
At 2:26 PM -0700 7/23/05, Mark D Lew wrote:
Castrati sang minor roles, too. Most of the Handel operas have
multiple castrato roles. In Rinaldo, for instance, in addition to
the title role, Eustazio was also a castrato originally. (I think
the part is cut altogether in later edition.)
I
On 23 Jul 2005 at 14:22, Mark D Lew wrote:
On Jul 23, 2005, at 2:03 PM, David W. Fenton wrote:
I can't think of any where the castrato is specified for a young
man's role.
Idamante in Mozart's Idomeneo (original version) is one example, but I
think you're on to something. . . .
On 23 Jul 2005 at 14:53, Ken Durling wrote:
At 02:39 PM 7/23/2005, [David Fenton] wrote:
Of course, last time I checked, the ERA was not part of the
Constitution.
Eh? What do you think it's an amendment TO?
Uh, the ERA was never ratified -- it failed to get the requisite
number of
At 2:53 PM -0700 7/23/05, Ken Durling wrote:
At 02:39 PM 7/23/2005, you wrote:
Of course, last time I checked, the ERA was not part of the
Constitution.
Eh? What do you think it's an amendment TO?
Congress did not pass it. Off with their 'eads!!
John
--
John Susie Howell
Virginia
On 23 Jul 2005 at 15:04, Tyler Turner wrote:
There are some notational elements that Notion loads
specific sound patches that Finale does not. But I
believe the reverse is also true.
I've been skimming the GPO-in-Finale discussions, trying to glean
what I could from them.
It seems that GPO
On 23 Jul 2005 at 18:13, John Howell wrote:
At 2:26 PM -0700 7/23/05, Mark D Lew wrote:
Castrati sang minor roles, too. Most of the Handel operas have
multiple castrato roles. In Rinaldo, for instance, in addition to
the title role, Eustazio was also a castrato originally. (I think
the
At 6:02 PM -0400 7/23/05, David W. Fenton wrote:
I remember reading somewhere recently about the change in orchestras
where someone entirely attributed the increasing hiring of women
entirely to the institution of blind auditions 10 or 15 years ago.
That may be correct in terms of the top
On 23 Jul 2005 at 18:22, John Howell wrote:
At 2:53 PM -0700 7/23/05, Ken Durling wrote:
At 02:39 PM 7/23/2005, you wrote:
Of course, last time I checked, the ERA was not part of the
Constitution.
Eh? What do you think it's an amendment TO?
Congress did not pass it. Off with their
Oh right. My faulty memory.
Ken
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
--- dhbailey [EMAIL PROTECTED]
wrote:
Compare this to MakeMusic, which has several
employees who monitor this
list on their own time (we do appreciate that), but
since there is no
official monitoring of this list we have to follow
official procedures
to submit feature requests or
The Notion rep. at the demo I saw said they are planning some level of support
for MusicXML. He was equivocal about whether that included import as well as
export. I told him import is more interesting to me than export. The problem
for Finale users is that (at least on Macs), saving a file as
This gets back to my original question. Can someone please explain exactly how
Finale triggers GPO? Is Kontakt involved, or is that something separate? Is it
a form of MIDI? The main thing interesting to me about Notion is the on-the-fly
combination of samples directly into an audio stream. I
On 23 Jul 2005 at 16:06, Tyler Turner wrote:
When I worked in customer support, I
computed the number of customer e-mails finished in
one response vs. those that took multiple e-mails to
resolve. I personally was resolving over 90% of the
issues to the satisfaction of the customer in the
On Jul 23, 2005, at 3:14 PM, David W. Fenton wrote:
I can't think of any where the castrato is specified for a young
man's role.
Idamante in Mozart's Idomeneo (original version) is one example, but I
think you're on to something. . . .
Idamante is not a teenager. He's a young man, no? In
--- David W. Fenton [EMAIL PROTECTED] wrote:
On 23 Jul 2005 at 15:04, Tyler Turner wrote:
There are some notational elements that Notion
loads
specific sound patches that Finale does not. But I
believe the reverse is also true.
I've been skimming the GPO-in-Finale discussions,
On Jul 23, 2005, at 2:37 PM, John Howell wrote:
If Mark is correct, then Andrew's equating youthfulness with vocal
range makes sense, even though WE would think of a treble (or mezzo)
voice as representing an unchanged boy's voice. It is not, then, a
literal statement that the character has
On 23 Jul 2005 at 17:02, Mark D Lew wrote:
On Jul 23, 2005, at 3:14 PM, David W. Fenton wrote:
I can't think of any where the castrato is specified for a young
man's role.
Idamante in Mozart's Idomeneo (original version) is one example,
but I think you're on to something. . . .
I'm saving my file as an audio file. The chord symbols
I've entered won't play back. However, chords have
played back on this same file in the past when saved
as an audio file.
Enable Chord Playback is checked in the chord menu.
And I've not changed any playback information other
than the
To my comments
Adobe succeeded in persuading the court that a digital font is output
of a computer program
and
Case law suggests, that in the U.S., if you printed out all of the
characters of the revere font enlarged them with an analog pantagraph,
and scanned and digitized the enlarged
On Jul 16, 2005, at 10:16 AM, Joel Sears wrote:
Wow! That's the first time I've heard that. There's a band on the West
Cost called Big Phat Band, I just thought they were being cute.
Yeah! Gordon Goodwin's band, honking hot!
This guy Gordon Goodwin has never written a bad chart. Or if he
On Jul 16, 2005, at 11:30 AM, [EMAIL PROTECTED] wrote:
Now that is a cool thing to have on your resume, Chuck. That's
great.
Ken
Cooler than playing WITH Bill Evans, John Coltrane, Herbie Hancock, and
directing the National Jazz Ensemble? I dunno, but I would have ranked
those
I will be out of the office until August 5, 2005. While I will have
periodic email access, I may not be able to reply to your message in a
timley manner. If you need immediate assistance, please email Rebecca Ott
at [EMAIL PROTECTED], or Christine Fry at [EMAIL PROTECTED]; or, you
may call the
Christopher Smith wrote:
Remember Lenny Bruce's schtick on What I don't understand is why
saying 'F%$# You' is a BAD thing??
I certainly do. I spent 6 weeks working opposite him at the Village
Vanguard some (how many!?) years ago.
Now that is a cool thing to have on your resume, Chuck.
On Jul 17, 2005, at 12:01 PM, John Howell wrote:
In the USAF band in the late '50s, one's instrument was referred to
as one's axe for no discernable reason
And today still, among jazz musicians, where it has become part of the
technical jargon. I'm not certain, but I think it used to be
Um, did I rank any of Chuck's achievements? Did I say cooler than? Do I
need a lecture on who the jazz greats are? Is Lenny Bruce a comedian?
Ken
At 08:57 PM 7/23/2005, you wrote:
On Jul 16, 2005, at 11:30 AM, [EMAIL PROTECTED] wrote:
Now that is a cool thing to have on your resume,
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