At 10:13 PM 2/8/06 -0500, David W. Fenton wrote:
>Note names are too, but they are just abstract, and don't carry with
>them the same tonal structural implications.
Again, all background and learning. I came to music late (early 1960s) and
right into composing, and was not interested in tonality
On 8 Feb 2006 at 13:53, Christopher Smith wrote:
> You DO know that not all languages, and not even all Western
> languages, use the same alphabet as English, don't you? And some
> cultures don't even use a 12-semitone chromatic scale?
I've had students from non-Western cultures in my class who h
On 8 Feb 2006 at 12:58, Phil Daley wrote:
> At 2/8/2006 12:30 PM, David W. Fenton wrote:
> >Put another way, when you know you need a fifth, you think "Do-Sol",
> >when you need a fourth, "Sol-Do" (upward), or any other diatonic
> >occurrence of the particular intervals.
>
> Only if you learn
Just sent this to Scott Yoho, who always responds respectfully and
cordially.
Dear Scott,
I don't know Jim Bruce's email address, or I'd have sent this to
him. Feel free to forward it.
Jim explained (in a phone conversation some time ago) how the new web
based support system was suppose
Hi Darcy,I navigated the web to get to the support form and did as you requested. You are right, this new system seems designed to discourage communication. I will write the person I know at MM who will respond and let him know how we feel about this development.ChuckOn Feb 8, 2006, at 3:31 PM, D
One other thing I noticed -- Setup Wizard ignores the "Distance From
Top" value in Page Format for Score. The Distance from Top is always
zero. You can get around that by using First Page Top Margin instead,
but it's not ideal behavior.
- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.t
FYI, here's a copy of the bug report I just sent:
Using the Setup Wizard causes the Page Format for Parts information
from the Maestro Font Default to be overwritten with the left margin
from "pagesizes.txt", even on extracted parts. The result is that
there is a 1" left margin on the parts
Hey Johannes,
Good tip. I found that you can also add the "distance between
systems" to the system margins and set the system margins to zero,
but that has its own set of drawbacks.
- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
On 08 Feb 2006, at 10:08 AM,
More thanks
Dean
On Feb 8, 2006, at 1:22 PM, Fisher, Allen wrote:
Hi Dean--
Try this:
Click the tuplet tool *on the simple entry pallette* before you enter
the first note on the 4th beat. This will add the first note and then
filler rests for the next two notes to be entered. Or hit the
Thanks again.
Dean
On Feb 8, 2006, at 1:11 PM, Michael Cook wrote:
One more thing: if you use Simple Entry, you're better off using
the Simple Tuplet tool that is found on the Simple entry palette.
If you use this tool, instead of the tuplet tool on the main
palette, you will be able to e
Whoa ... I never noticed the prob before, after years of usage.
Thanks for the Work-around.
Dean
On Feb 8, 2006, at 12:59 PM, Noel Stoutenburg wrote:
Dean M. Estabrook wrote:
Ok, this I truly don't understand. Today I was just playing
around, seeing how two against three would sound.
Hi Dean--
Try this:
Click the tuplet tool *on the simple entry pallette* before you enter
the first note on the 4th beat. This will add the first note and then
filler rests for the next two notes to be entered. Or hit the "9" key on
your number pad...
--Allen
-Original Message-
From: [E
One more thing: if you use Simple Entry, you're better off using the
Simple Tuplet tool that is found on the Simple entry palette. If you
use this tool, instead of the tuplet tool on the main palette, you will
be able to enter tuplets at the end of a measure without the need to
turn off "check
A brief further elaboration on part of what I wrote, to wit:
Sorry, this is not new behavior at all.
I have only rarely, used simple entry, and then as little as possible.
The behavior Dean described has always (or at least since 2000) been
part of the functionality of speedy entry, so I a
Dean M. Estabrook wrote:
Ok, this I truly don't understand. Today I was just playing around,
seeing how two against three would sound. So, I set up the Piano
staves in GPO (Steinway Grand) and tried to write a measure or two of
8th note triplets in the bass clef in Common Time using the tri
With a lot of Renaissance music, through the Baroque, it was typical to use clefs that are no longer used regularly. Or in the case of some woodwinds or brass instruments, composers would write scores using a clef that today's musicans wouldn't find typical (
e.g. horn parts with a bass clef).
My
Chuck:
I was using Simple Entry when I found the problem. I just tried your
first option with Speedy Entry and had no problem. Hm.
Either Way, Thanks.
Dean
On Feb 8, 2006, at 11:50 AM, [EMAIL PROTECTED] wrote:
Hi Dean,
Not enough information here. We don't know if you were using the
Hi ... I used the 2nd option ... put in the one eighth note, clicked
on it with the tuplet tool and chose the correct definition. the
values were correct, and worked perfectly for the first 3 bts. Why
not the fourth, I wonder?
Dean
On Feb 8, 2006, at 11:50 AM, [EMAIL PROTECTED] wrote:
H
Hi Dean,
Not enough information here. We don't know if you were using the tupet system
correctly or not. In "Speedy Entry" mode, press "opt - 3" before entering the
first triplet, and the entries will continue in the same value as the first one
entered. (If the first entry after selecting "o
At 2/8/2006 02:30 PM, Christopher Smith wrote:
>
>On Feb 8, 2006, at 2:03 PM, Phil Daley wrote:
>
>> At 2/8/2006 01:53 PM, Christopher Smith wrote:
>>
>> >You DO know that not all languages, and not even all Western
>> languages,
>> >use the same alphabet as English, don't you? And some cultures
Ok, this I truly don't understand. Today I was just playing around,
seeing how two against three would sound. So, I set up the Piano
staves in GPO (Steinway Grand) and tried to write a measure or two of
8th note triplets in the bass clef in Common Time using the triplet
tool. The first 3 be
On Feb 8, 2006, at 2:03 PM, Phil Daley wrote:
At 2/8/2006 01:53 PM, Christopher Smith wrote:
>You DO know that not all languages, and not even all Western
languages,
>use the same alphabet as English, don't you? And some cultures don't
>even use a 12-semitone chromatic scale?
I thought we w
At 2/8/2006 01:53 PM, Christopher Smith wrote:
>You DO know that not all languages, and not even all Western languages,
>use the same alphabet as English, don't you? And some cultures don't
>even use a 12-semitone chromatic scale?
I thought we were talking about Western Europe?
I did think the
On Feb 8, 2006, at 1:32 PM, Phil Daley wrote:
At 2/8/2006 01:03 PM, Michael Cook wrote:
>See above. The French never use the aglo-saxon letter names, so they
>only teach one system.
If I understand what you just said, music students do not learn
every-good-boy-does-fine and all-cows-eat-gras
At 2/8/2006 01:03 PM, Michael Cook wrote:
>See above. The French never use the aglo-saxon letter names, so they
>only teach one system.
If I understand what you just said, music students do not learn
every-good-boy-does-fine and all-cows-eat-grass? (Well, the French
equivalents).
This seems
On 8 Feb 2006, at 18:33, Phil Daley wrote:
I am having difficulty in understanding the "fixed do" school.
Is this taught instead of letters?
Yes, in France or Italy do, re, mi, fa, sol, la, si are simply the
names of the notes. The adepts of french "solfège", (fixed do) use this
system to t
At 2/8/2006 12:30 PM, David W. Fenton wrote:
>On 8 Feb 2006 at 12:10, Christopher Smith wrote:
>
>> On Feb 8, 2006, at 3:20 AM, Arkady wrote:
>> > SIMPLY PUT -- to ME it's about the INTERVALS (Relative Pitch?!) that
>> > comprise that melody!
>>
>> That's what movable do is all about.
>
>Huh? To
At 2/8/2006 12:10 PM, Christopher Smith wrote:
>Arkady,
>
>I agree with John Howell's assessment, and further to that:
I second that.
I learned solfege as a grad student in Music Theory. (Avo Somer - Eastman)
I am having difficulty in understanding the "fixed do" school.
Is this taught inste
On 8 Feb 2006 at 12:10, Christopher Smith wrote:
> On Feb 8, 2006, at 3:20 AM, Arkady wrote:
> > SIMPLY PUT -- to ME it's about the INTERVALS (Relative Pitch?!) that
> > comprise that melody!
>
> That's what movable do is all about.
Huh? To me movable Do is all about not *needing* to think in
i
Arkady,
I agree with John Howell's assessment, and further to that:
On Feb 8, 2006, at 3:20 AM, Arkady wrote:
Again, that Movable Do would be strange... Here is why --
If one is playing Yankee Doodle on Alto or Tenor Sax, in the Key of F (
"concert", on the piano) and his or her head is pron
At 3:20 AM -0500 2/8/06, Arkady wrote:
From: "David W. Fenton"
>> You don't say if the Russian system was movable or fixed Do.
Yankee Doodle in C major is --
do do re me do mi re, do do re mi do si, do do re mi fa mi re do si sol la
si do do
So, if I was asked to sing Yankee Doodle in F ma
PS:
I very much agree with you that the Setup wizard and the Page format for
parts is handled very badly in conjunction. I cannot tell you how many
times I have printed out parts at too small magnifications, just because
the wizard overwrites the system reduction with the one from the page
fo
On 08.02.2006 Darcy James Argue wrote:
So... am I correct in thinking the Setup Wizard automatically forces a "Space
Systems Evenly" operation?
I believe it does do that. There is one way to avoid this: Set up your
default file with only one measure. That way, when you go through the
Setup W
Darcy--
>>So... am I correct in thinking the Setup Wizard automatically forces
a "Space Systems Evenly" operation?<<
Yes.
>>I don't suppose there's any way to override this behavior?<<
This behavior is a new one on me. I'd send a report into macsupport. I
think what is happening is that the pa
You're quite right Noel, I did not see that plug-in in the "various" menu, a
lot of thanks.
This is far more easier than the one to go into lyrics > modify > text >
font and so on.
themark
- Original Message -
From: "Noel Stoutenburg" <[EMAIL PROTECTED]>
To:
Sent: Wednesday, February 08
Dear Finale List,
Thanks for all your replies, feedback, and not yelling at me for being off
topic:)
> Thanks for a thoughtful- and thought-provoking response!
>
> It has been a very interesting thread.
>
> Cheers Keith in OZ
>
Yes Keith, I agree. It's really fascinating to see how other mus
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