[EMAIL PROTECTED] wrote:
I'm not sure whether you mean you need help setting up a catalogue
system or a loan system. I am presuming the former.
I use a normal everyday database program to organise our library - (we
used to use the database program in Microsoft Works then changed to
John Howell wrote:
At 8:47 PM +0100 2/12/06, Johannes Gebauer wrote:
On 12.02.2006 Johan Vercruysse wrote:
Let me first introduce myself.
I'm a music teacher in Belgium.
We would like to set up a small musical library in our school.
Anybody have some tips how to organize it.
Anybody knows
Yes, but I *really* don't recommend the traditional notation.
- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
On 12 Feb 2006, at 5:56 PM, Cecil Rigby wrote:
Both Heussenstamm and Read show the equal sign centered on the
barline only
when arrows are being used
Andrew and/or John, I did some Web searching to see what I could find
about this renumbering, and the only thing I could find is that there is
no real Schubert 7th, that the original renumbering of 8 and 9 was
made to account for a missing symphony that was later determined to be
the Great C
me either, Darcy.
In a case not long ago, with a composer we eventually decided to publish,
this issue came up. In order to avoid all confusion we simply decided to
show the beat unit's metronome markings at the beginning of each of the two
affected sections. I'm still not sure the composer was
Maybe I'm missing something obvious.
I have an ossia measure which refuses to carry the slurs found in the source
measure.
Is this the expected behaviour?!
Thanks for any insights.
Cecil Rigby
[EMAIL PROTECTED] (personal)
www.harrockhall.com
[EMAIL PROTECTED]
Filemaker is cross platform, and really easy (although the page layout
tools are annoying) to set up.
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf
Of dhbailey
Sent: Monday, February 13, 2006 3:53 AM
To: finale@shsu.edu
Subject: Re: [Finale] OT Library
On Feb 13, 2006, at 8:09 AM, Raymond Horton wrote:
Andrew and/or John, I did some Web searching to see what I could find
about this renumbering, and the only thing I could find is that there
is no real Schubert 7th, that the original renumbering of 8 and 9
was made to account for a missing
Hi David,
It sounds like our systems are similar. I use the following fields
(all of which can be queried and listed/sorted):
Title; Composer; Arranger; Type; Grade; Cat. Number; Scoring;
Comments
For the orchestral database I also started to include fields for the number
of parts for
Collective Wisdom,
I am trying to take the piano accompaniment for a euphonium solo and score it
for band/wind ens. I know all the usual stuff about transpositions, ranges,
etc., so I am not a total novice. Is there a reference scoring text for BAND
only? Most of what I've been able to find
Let me first introduce myself. I'm a music teacher in Belgium. We would like to set up a small musical library in our school. Anybody have some tips how to organize it. Anybody knows about simple software or database for such a score library. I have tried this before and I always have problems
Williams, Jim wrote:
Collective Wisdom,
I am trying to take the piano accompaniment for a euphonium solo and score it for band/wind ens. I know all the usual stuff about transpositions, ranges, etc., so I am not a total novice. Is there a reference scoring text for BAND only? Most of what
At 11:15 AM -0500 2/13/06, Williams, Jim wrote:
Collective Wisdom,
I am trying to take the piano accompaniment for a euphonium solo and
score it for band/wind ens. I know all the usual stuff about
transpositions, ranges, etc., so I am not a total novice. Is there a
reference scoring text
I took the Musicanet database submission form (Excel) and altered it to suit
my needs. That's one of the most detailed forms I've ever seen!
best wishes-
Cecil Rigby
[EMAIL PROTECTED] (personal)
www.harrockhall.com
[EMAIL PROTECTED]
Subject: Re: [Finale] OT Library
At 2/13/2006 11:41 AM, dhbailey wrote:
For advice on doublings, my advice is simply use your imagination. In
an accompanying situation making sure that the band's tone color doesn't
overpower the soloist is the primary concern, and along with that is
being sure that the accompanying lines are
Hi Jim,You might find this text useful, “Arranging for the Concert Band” by Frank Erickson, published by Warner Bros.All the best,Greg Greg Hamilton Music Service 2980 Corona Drive Burnaby, BC V3J 1B8 Tel: 604.444.9218 www.greghamiltonmusic.com [EMAIL PROTECTED] On 13-Feb-06, at 10:00 AM, [EMAIL
TY, Dennis-
So I'm assuming the only decent workaround is use the scratch score, hiding
all unused measures, and then drag the staff to the right location,reduce,
etc. after I've optimized.
What a crock! I can imagine how frustrating this would be if there were many
ossias to deal with (as in
On Feb 13, 2006, at 11:15 AM, Williams, Jim wrote:
Collective Wisdom,
I am trying to take the piano accompaniment for a euphonium solo and
score it for band/wind ens. I know all the usual stuff about
transpositions, ranges, etc., so I am not a total novice. Is there a
reference scoring
Just curious: do you happen to know what the instrument lineup is for this
symphony?
Thanks,
Steve S.
NYC
In a message dated 2/13/06 1:02:48 PM, [EMAIL PROTECTED] writes:
Message: 3
Date: Mon, 13 Feb 2006 10:47:57 -0500
From: Andrew Stiller [EMAIL PROTECTED]
And BTW, there really is a 7th
Jonathan, and off course everybody else.
Thanks for your help.
I would love to get a clone copy.
We don't have filemaker yet but we are thinking about ordering it.
I would love to see your implementation.
Thank you,
You can use my email adres.
Johan,
I have set up a few sheet music and
On Feb 13, 2006, at 10:20 AM, Christopher Smith wrote:
It was also hard not to make everything REALLY BIG AND LOUD, which
is my weakness.
This just reminds me of an old recording I heard a few times (cannot
find it now - though I haven't searched extensively) of Sousa Marches
- played
Christopher Smith [EMAIL PROTECTED] wrote:
KCM:
I do need to know the note name to play it in tune. Of course, the
horn gives you multiple fingerings for many notes, and these can be
exploited to correct tuning without changing tone colour.
That's funny; I need to know the scale function
Hi all,
Can anyone supply step by step instructions for transferring playback
settings that are integrated with some of the Jazz Font articulations
so that Bill Duncan's new ones will playback the same way? (Fall-
offs, scoops up to pitch, and bends, are the ones I'd like.)
I believe
From: dhbailey [EMAIL PROTECTED] wrote:
Finally I point out that in order to get a great performance, both
pitch and rhythm need to be accurate, but if for any reason they can't
get both right at first, they should ALWAYS be sure to get the rhythm
right, then work on playing the correct
On 13 Feb 2006 at 8:14, Cecil Rigby wrote:
In a case not long ago, with a composer we eventually decided to
publish, this issue came up. In order to avoid all confusion we simply
decided to show the beat unit's metronome markings at the beginning of
each of the two affected sections. I'm
Jim:
If you are coming at this from the point of view of an orchestral
person, then my guess is that you'd benefit from some generalizations
in the differences bewteen the ensembles.
Clarity of lines is the biggest difference, I've noticed. When all
looks equal, the low voices are weaker than in
Hi, Steve --
2,2,2,2/4,2,3,0/timp/strings.
The Newbould completion of #7, which is
identical to the Weingartner scoring - both call for that
orchestration;Schubert's original score had 14 staves - which was
uncharacteristic for his usual piano-score-with-subsequent-orchestration
style.
At 03:04 PM 2/13/06 -0500, David W. Fenton wrote:
The reason is that I believe as a practice tool they are not useful,
since they encourage non-musical performance. The only purpose they
have is as a reference for identifying the general tempo, but I
believe that's only really necessary when
I want to extend sincere thanks to David Fenton, David Lawrence, David
Bailey, Dennis and Allen for your generous response to my inquiry about
desktops. You have been most helpful as I sort out what to do about going
to a new machine.
I do not remember seeing this post in my mail after I sent
My experience confirms this - and then some. However, since much of
learning in school seems designed to teach rule following and correct
answers without the limits of the kind of time constraints that make
up a critical part of the language of music, a great deal of my time
is taken up
Jim,1. Band Scoring : Joseph Wagner : Pub. McGraw-Hill (This is my 'Bible' for band stuff)2. Arranging For The Concert Band : Frank Erickson : Pub. Belwin-Mills3. If it's already in printed piano accomp. I'd wager it's already been arranged by someone, somewhere.Just out of interest (being a Euph
There is a good chance I may have some editions published in the UK; but I am a US citizen.I'm curious if anyone has suggestions or tips about doing this. The Hyperion case illustrates how differently UK laws are versus what we have in the United States. I know to copyright my own editions, I just
From: [EMAIL PROTECTED] on behalf of Chuck Israels
Sent: Mon 13-Feb-06 14:30
To: finale@shsu.edu
Subject: Re: [Finale] Scoring for Band
On Feb 13, 2006, at 10:20 AM, Christopher Smith wrote:
It was also hard not to make everything REALLY BIG AND LOUD,
On 13 Feb 2006 at 16:11, Dennis Bathory-Kitsz wrote:
At 03:04 PM 2/13/06 -0500, David W. Fenton wrote:
The reason is that I believe as a practice tool they are not useful,
since they encourage non-musical performance. The only purpose they
have is as a reference for identifying the general
On 13.02.2006 Kim Patrick Clow wrote:
There is a good chance I may have some editions published in the UK; but I am a
US citizen.
I'm curious if anyone has suggestions or tips about doing this. The Hyperion
case illustrates how differently UK laws are versus what we have in the United
I'm publishing my performing edition of 18th century baroque music. None of what I have prepared has never been published.
On 2/13/06, Johannes Gebauer [EMAIL PROTECTED] wrote:
On 13.02.2006 Kim Patrick Clow wrote: There is a good chance I may have some editions published in the UK; but I am a US
On 13 Feb 2006 at 17:28, Margaret whitby wrote:
FileMaker Pro 8 is now out and converts files to Excel with 1 click of
the mouse. Any version from 3 to 6 will convert to 7 and 8 but 1 and
2 must first be converted to 3,4,5 or 6. I have had our Community
Orchestra's Library, personnel list
Just started using 2006d. Had the 2006 sitting here a long time since I didn't want to upgrade in the middle of projects.
Overall, it is working well. In playback, if I start and stop too fast, it continues to play for another 30 to 50 bars past where I wanted to stop or the end of the piece
On 13.02.2006 Kim Patrick Clow wrote:
I'm publishing my performing edition of 18th century baroque music. None of
what I have prepared has never been published.
I can only tell you what is true in Germany, but I assume that Europe is
very similar: As long as you note the copyright in the
PS:
You may have to send copies to the British Library and other complete
book archives (I believe the Cambridge University Library may have this
status, and perhaps also the Bodleian Library in Oxford?
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
Bonnie,Program Options - View _ Line Smoothing - turn on "Smooth Staff Lines".With the new Quartz smoothing in FinMac2006, notes can appear slightly above or below certain staff lines when this option is turned off -- especially when the view is 100% or less.The reasons for this are complicated,
Kim Patrick Clow wrote:
There is a good chance I may have some editions published in the UK;
but I am a US citizen.
If these editions are being published by an entity domiciled in the UK,
let them handle it.
Also, read circular 38a published by the U.S. copyright office.
I know to
On 14 Feb 2006 at 0:01, Johannes Gebauer wrote:
On 13.02.2006 Kim Patrick Clow wrote:
I'm publishing my performing edition of 18th century baroque music.
None of what I have prepared has never been published.
I can only tell you what is true in Germany, but I assume that Europe
is very
Hi all-
David wrote:
no one has
mentioned Microsoft Access,
and
It is not cross-platform, though, and doesn't come with the
capability to put the database up on a web page (as does Filemaker).
While I mentioned adapting an Excel spreadsheet from Musicanet as a
catalogue, I use an Access
Hi Jim,
What became of NIFF, if anything?
NIFF was little-used outside the scanner community, and is now
generally considered obsolete:
http://www.musique.umontreal.ca/personnel/Belkin/NIFF.doc.html
Is MusicXML some outgrowth of NIFF?
MusicXML has similar goals of being a music notation
This just reminds me of an old recording I heard a few times (cannot
find it now - though I haven't searched extensively) of Sousa Marches
- played under the direction of his descendants. It was so much
lighter and more transparent than the versions with which we are
familiar that it
On Feb 13, 2006, at 4:39 PM, Williams, Jim wrote:
I would also talk about bass trombones, but Louisville is not far from
Indianapolis, and Mr. Horton might wrap his triple-trigger bi-valve
low BBB XL-bore nitro-cylindrical confabulator around my size 16.5
neck seven or eight times.
Jim W.
From: [EMAIL PROTECTED] on behalf of Raymond Horton
Sent: Mon 13-Feb-06 21:19
To: finale@shsu.edu
Subject: Re: [Finale] Scoring for Band - now overplaying brass, more
This just reminds me of an old recording I heard a few times (cannot
find it now - though
Listers,
I have learned a great deal from your responses to my post. Thanx to all of
you for taking my request seriously and sharing your wisdom! I'll post a couple
individual items then move offlist if necessary.
I am in the process of acquiring most all of the sources mentioned and will
Les,
Thanks: playing trombone in a couple of orchestras in the NYC area, I wanted
to know if I'd be playing if I was successful in suggesting the piece to be
performed!
-Steve
In a message dated 2/13/06 6:16:37 PM, [EMAIL PROTECTED] writes:
From: Mariposa Symphony Orchestra [EMAIL PROTECTED]
On 14.02.2006 David W. Fenton wrote:
The UK is a different animal after the conclusion of the
Sawkins/Hyperion case, where an editor was given rights in the
recording equal to a composer (more or less). I'm not sure how this
effects printed copyright, but it definitely shows that things in the
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