On 21.01.2006 Andrew Stiller wrote:
Query to the German speakers on this list: does "geschliffen" make sense in
this context, and if not, what other reading might you suggest?
That is correct, but very old-fashioned. A lot of people (like Jörg)
wouldn't even know the meaning of it today, thou
On 22.01.2006 Godofredo Romero wrote:
to me it makes more sense the word "schliessen" -which in german is not spelled with to "s" but with a sign i dont have
in my computer but that produces the sound of two "s"- which, among its many acceptations means to close, to conclude, to lock,
which is
Keep in mind, this is the guy who didn't take time to RTFM
sotake it with a grain of salt..
dhbailey wrote:
David W. Fenton wrote:
[snip]>
My original reply, which I edited, used the term "idiotic."
How kind of you. I feel ever so much better now.
___
On 21 Jan 2006, at 4:20 PM, Jim Mays wrote:
I understand recent Human Playback can simulate that. However, I'd
like to
do it manually.
No, actually -- trust me, you *really* don't want to do it manually.
I have WinFin 2006c, but I have a client who uses WinFin 2005 --
he's the
one who wa
Jim wrote:
Relative to your question about defining an expression or articulation
of "fp" so that it plays back, this can be done by defining the
expression as a text expresion, and defining playback. While I knew
what I would do to effect this, the defining shapes for playback is an
area I
David W. Fenton wrote:
[snip]>
My original reply, which I edited, used the term "idiotic."
How kind of you. I feel ever so much better now.
--
David H. Bailey
[EMAIL PROTECTED]
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except that there is no "geschliessen" the past particle is:
geschlossen.
Sorry
Thomas Schaller
On Jan 21, 2006, at 6:25 PM, Godofredo Romero wrote:
to me it makes more sense the word "schliessen" -which in german is
not spelled with to "s" but with a sign i dont have in my computer but
to me it makes more sense the word "schliessen" -which in german is not
spelled with to "s" but with a sign i dont have in my computer but that
produces the sound of two "s"- which, among its many acceptations means
to close, to conclude, to lock, which is what a slur does when it
"locks" or "
On 21 Jan 2006 at 16:20, Jim Mays wrote:
> I thought I'd ask this question again. No responses the first time
> around.
It has to be done with continuous data on the volume controller.
The results are not likely to be very good without a lot of fiddling,
and raise a lot of issues if you aren't
On 21 Jan 2006 at 17:07, dhbailey wrote:
> David W. Fenton wrote:
> > On 21 Jan 2006 at 6:21, dhbailey wrote:
> >
> >>If you're just placing the two meters beside each other at the start
> >>of the work, how will anybody know when a measure is supposed to get
> >>the 3/4 feeling instead of hemiol
Andrew Stiller schrieb:
I'm working on a 19th-c. score with instructions in both English and
German. At one point, the composer cautions that some triplets are to
be "slurred" (since the slur on a triplet does not by itself
necessarily imply that a slur is to be performed), and gives a German
Exactly. After all, he's ALWAYS right.
Who care what he thinks anyways? I think alternating 3/4 to 6/8 is just
fine, especially if it is some sort of jazz piece where the 6/8 is
played in a different feel. In fact, I know I have played something that
alternated like this fairly recently. Maybe
I'm working on a 19th-c. score with instructions in both English and
German. At one point, the composer cautions that some triplets are to
be "slurred" (since the slur on a triplet does not by itself
necessarily imply that a slur is to be performed), and gives a German
equivalent that looks lik
David W. Fenton wrote:
On 21 Jan 2006 at 6:21, dhbailey wrote:
If you're just placing the two meters beside each other at the start
of the work, how will anybody know when a measure is supposed to get
the 3/4 feeling instead of hemiolas in 6/8?
From my point of view this is not a very smart
On 1/21/06, Owain Sutton <[EMAIL PROTECTED]> wrote:
> Brad Beyenhof wrote:
>> On 1/21/06, Owain Sutton <[EMAIL PROTECTED]> wrote:
>>> David W. Fenton wrote:
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
> Yes, I'll admit that that was a silly example, since it can easily be
> adapted to
Brad Beyenhof wrote:
On 1/21/06, Owain Sutton <[EMAIL PROTECTED]> wrote:
David W. Fenton wrote:
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
Yes, I'll admit that that was a silly example, since it can easily be
adapted to make either signature clear. What about a dotted half?
This is a ludi
At 04:20 PM 1/21/06 -0500, Jim Mays wrote:
>I'd like to define either a note expression or articulation to playback
>"fp."
Not sure how HP does it, but you can create a shape expression that
represents this sort of 'envelope', and Finale will adjust the output
volume to follow it. It's like the s
On 1/21/06, Owain Sutton <[EMAIL PROTECTED]> wrote:
> David W. Fenton wrote:
>> On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
>>> Yes, I'll admit that that was a silly example, since it can easily be
>>> adapted to make either signature clear. What about a dotted half?
>>
>> This is a ludicrous ques
I thought I'd ask this question again. No responses the first time around.
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Jim Mays
Sent: Thursday, January 19, 2006 4:37 PM
To: finale@shsu.edu
Subject: [Finale] fp
I am having a brain cramp -- or maybe no
Le 06-01-21 à 16:05, John Howell a écrit :And another question: When one does change time signatures, is it proper always to use a double bar line, or never to use a double bar line? I've always used it, but I'm not sure why. Of course I use double bar lines at structural points as well, just to
At 8:42 PM + 1/21/06, Owain Sutton wrote:
David W. Fenton wrote:
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
Yes, I'll admit that that was a silly example, since it can easily be
adapted to make either signature clear. What about a dotted half?
I've stayed out of this particular food-f
David W. Fenton wrote:
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
Yes, I'll admit that that was a silly example, since it can easily be
adapted to make either signature clear. What about a dotted half?
This is a ludicrous question, seems to me, because there's no way
whatsoever for a pe
I'm using "show as" and handling the beaming etc. manually. The adjustments
are straight forward and hardly noticeable for this piece.
Don
on 1/21/06 12:25 PM, Brad Beyenhof at [EMAIL PROTECTED] wrote:
> On 1/21/06, dhbailey <[EMAIL PROTECTED]> wrote:
>
>> Am I misunderstanding the process?
This post provided a nice little nudge for me to explore the positioning of
expressions further than I had previously. I guess those of you who are
more serious about engraving are already on top of things, but those who
aren't should really check this out. I didn't realize that the Measure
Posit
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
> On 1/21/06, Christopher Smith <[EMAIL PROTECTED]> wrote:
> > On Jan 21, 2006, at 11:22 AM, Brad Beyenhof wrote: > >> Yes, but
> what if there are no beams (a half note and a quarter note, >> for
> example)? > > How would your example be performed diff
On 21 Jan 2006 at 8:22, Brad Beyenhof wrote:
> Yes, but what if there are no beams (a half note and a quarter note,
> for example)? . . .
Well, I don't know how someone could play that without it sounding
like it's in 3/4 not 6/8, but if you really wanted them to try, you'd
notate it as dotted
On 21 Jan 2006 at 6:21, dhbailey wrote:
> If you're just placing the two meters beside each other at the start
> of the work, how will anybody know when a measure is supposed to get
> the 3/4 feeling instead of hemiolas in 6/8?
>From my point of view this is not a very smart question. Hundreds of
I think that's where I originally saw this sort of thing. - Don
on 1/21/06 5:41 AM, Michael Cook at [EMAIL PROTECTED] wrote:
> I don't know what Don's piece looks like, but to take a well-known
> example: "I like to be in America" is notated this way, with 6/8(3/4)
> as time signature at the beg
This is an answer to David's question but it gets into a few of the other
ideas that have been brought up since. I was a little slow getting around
to the list today (it's Saturday after all!).
A recurring rhythmic figure in the piece is:
q e q e / q q q
- one measure clearly 6/8 and one 3/4.
Le 06-01-21 à 11:22, Brad Beyenhof a écrit :Yes, but what if there are no beams (a half note and a quarter note, for example)? in 6/8, a half plus a quarter note should be written as a dotted quarter tied to an eight note plus a quarter. This make it clear for the reader that he is in 6/8. Really
On 1/21/06, dhbailey <[EMAIL PROTECTED]> wrote:
> Am I misunderstanding the process? Is there really a way to enter the
> two different meters and have Finale automatically switch beaming
> between alternating measures?
Seems I was misremembering with the alternation thing. In any case,
giving t
Christopher Smith wrote:
On Jan 21, 2006, at 11:22 AM, Brad Beyenhof wrote:
On 1/21/06, Éric Dussault <[EMAIL PROTECTED]> wrote:
Le 06-01-21 à 06:21, dhbailey a écrit :
If you're just placing the two meters beside each other at
the start of the work, how will anybody know when a measure
is
On 21.01.2006 Brad Beyenhof wrote:
Yes, I'll admit that that was a silly example, since it can easily be
adapted to make either signature clear. What about a dotted half?
In what way would a dotted half be performed differently in 6/8 and 3/4?
Reminds me of Gerald Hoffnung (the GP in 3/4, whi
On 1/21/06, Christopher Smith <[EMAIL PROTECTED]> wrote:
> On Jan 21, 2006, at 11:22 AM, Brad Beyenhof wrote:
>
>> Yes, but what if there are no beams (a half note and a quarter note,
>> for example)?
>
> How would your example be performed differently in 6/8 or 3/4?
>
> However, the notation of it
On Jan 21, 2006, at 11:22 AM, Brad Beyenhof wrote:
On 1/21/06, Éric Dussault <[EMAIL PROTECTED]> wrote:
Le 06-01-21 à 06:21, dhbailey a écrit :
If you're just placing the two meters beside each other at
the start of the work, how will anybody know when a measure
is supposed to get the 3/4 fe
It's been years since I posted last, my technical deficiencies have induced
me to revisit. I recently purchased a M-Audio Oxygen 8 to use as to enter
music into Finale. I seem to have a latency problem. Using hyperscribe I'm
trying to record a line of music in 6/8 time into a treble staff. Countoff
> Yes, but what if there are no beams (a half note and a quarter note,
> for example)? Also, Finale might make it difficult to ensure correct
> beaming, since it will alternate its default beaming between 6/8 and
> 3/4 in each subsequent measure. That's what "adding" timesigs together
> is supposed
On 1/21/06, Éric Dussault <[EMAIL PROTECTED]> wrote:
> Le 06-01-21 à 06:21, dhbailey a écrit :
>
>> If you're just placing the two meters beside each other at
>> the start of the work, how will anybody know when a measure
>> is supposed to get the 3/4 feeling instead of hemiolas in 6/8?
>>
>> With
I never got a response to this question from last week so I am asking again:
In FinWin2006 has the staff percentage bug been fixed?
This occurs when a staff is reduced from 100%. When expressions are dragged
they do not stay with the cursor but lag behind in proportion to the amount
of reduction.
Le 06-01-21 à 06:21, dhbailey a écrit :If you're just placing the two meters beside each other at the start of the work, how will anybody know when a measure is supposed to get the 3/4 feeling instead of hemiolas in 6/8? With both meters allowing 6 8th notes (or 3 quarter notes) it may not be imme
I don't know what Don's piece looks like, but to take a well-known
example: "I like to be in America" is notated this way, with 6/8(3/4)
as time signature at the beginning, and I don't think there's any doubt
how to play or conduct this piece.
Michael Cook
On 21 Jan 2006, at 12:21, dhbailey w
Don Hart wrote:
Thank you to Johannes, Robert and Eric for the help on this.
There is one thing I discovered which seems to alleviate the need for
TGTools in this situation. I kept the 3/4 part of the signature in the Time
Signature tool and replaced the plus sign with an *option* space. This
Thank you to Johannes, Robert and Eric for the help on this.
There is one thing I discovered which seems to alleviate the need for
TGTools in this situation. I kept the 3/4 part of the signature in the Time
Signature tool and replaced the plus sign with an *option* space. This gave
me enough spa
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