Robert Patterson [EMAIL PROTECTED] wrote
A more interesting question for clefs with CB is whether to continue
to notate them 8vb below sounding pitch. This can be a quite difficult
choice. A note that has excessive leger lines in 8vb bass clef can be
too low in at-pitch tenor or treble.
My
Brian Williams wrote:
Dear List,
I ask again:
What's the deal with smart slurs in the last couple versions of Finale for
Mac? Some of the slurs arch way too high when they're entered at 100% but
they look (and print) great at other percentages. Is this a known bug?
I have found that when
An update on the court case.
1) IIRC, one immediate effect of the judgment is that Hyperion decided
that they could not afford to release the recording, since each sale
would make a loss at a viable price.
2) Hyperion will probably survive on its large back catalogue. There
will be a
On 16.02.2006 keith helgesen wrote:
I know I can get instant playback with Spacebar, Click measure, and single part
playback with Shift, spacebar, click measure. I also know how to
create and use list- ie Brass, woodwinds, etc.
Query- can I somehow ask for playback from, for example Horns
Lawrence David Eden wrote:
Greetings,
What is the best way to write an instrument switch in a woodwind part?
For example:
I want Clarinet in Bb for the first 20 measures, and then a switch to
Alto Sax in Eb for 20 measures...then back to Clarinet.
You don't say which version you're using,
I created a new percussion map for Finale 2006. I loaded it into one new file. Since then, it will NOT display. No matter how many times I say load file and even create new Percussion maps and hit load again, it will not see the file. One time I was able to get one of the copies of the perc
On 16.02.2006 dhbailey wrote:
If you also want accurate playback, define Expressions for playback, change
patch to get the right sound.
I guess if you use GPO you might have to use change MIDI channel, I
don't think GPO allows a patch change on the same MIDI channel, since
loading a patch
I am working on an late baroque ouverture that features 2 Horns,
Tympani, 2 Chalumeaux and Strings. Only the score survives, no parts.
The opening movement is in F Major, and all the instruments are written
in concert pitch. However, the horns are written in bass clef, sounding
an octave lower
Most probably *both* the chalumeau parts should sound one octave higher
than written. This was a convention that was carried on in the 18th
century in writing for clarinet: parts that lie in the chalumeau
register ware often written this way.
Michael Cook
On 16 Feb 2006, at 14:58, Kim
This is already the second error message I got for the email address:
[EMAIL PROTECTED]
Could either the responsible person unsubscribe that faulty email
address, or perhaps could the list admin do this?
Thanks,
Johannes
Original-Nachricht
Betreff: Returned mail: User
On Feb 15, 2006, at 3:09 PM, Robert Patterson wrote:
A more interesting question for clefs with CB is whether to continue
to notate them 8vb below sounding pitch. This can be a quite difficult
choice.
AHHH! No it isn't! Once you start writing a transposed part, STAY
TRANSPOSED! Even if
On Feb 16, 2006, at 7:09 AM, dhbailey wrote:
Lawrence David Eden wrote:
Greetings,
What is the best way to write an instrument switch in a woodwind part?
For example:
I want Clarinet in Bb for the first 20 measures, and then a switch to
Alto Sax in Eb for 20 measures...then back to Clarinet.
Christopher Smith / 2006/02/16 / 10:16 AM wrote:
Also, make sure it is clear at the start of the part that the player
should start on clarinet.
Also list all the instruments in big font on the first page so the
player knows s/he will be sent home if missing instrument :-)
--
- Hiro
Hiroaki
Chuck Israels / 2006/02/14 / 08:48 PM wrote:
Bill's new articulation font symbols disappear when they are moved
from their default locations in a score (by nudging, for instance)
until I force a screen redraw. The handles remain visible, but the
shape disappears making fine adjustments
Uh, I just noticed something that I hadn't noticed before: FinaleMac
2006d doesn't have a save as MP3 like 2005 did. Am I missing
something? Was this talked about half a year ago? I have another way
to convert files AIFF files to MP3, but it was nice having the
built-in function. By the way,
On 16 Feb 2006, at 12:45 PM, Andrew Levin wrote:
Uh, I just noticed something that I hadn't noticed before:
FinaleMac 2006d doesn't have a save as MP3 like 2005 did.
Yes it does.
Am I missing something?
See below...
By the way, I'm wanting to save a GPO rendition.
Aha. SoftSynth Save
keith helgesen wrote:
I know I can get instant playback with Spacebar, Click measure, and
single part playback with Shift, spacebar, click measure. I also know
how to
create and use list- ie Brass, woodwinds, etc.
Query- can I somehow ask for playback from, for example Horns and
Saxes,
If it works like it does on windows, you need to do the special save as WAV
then use a WAV/MP3 converter to convert it to MP3.
All the best,
Lawrence
"þaes
ofereode - þisses swa maeg"http://lawrenceyates.co.ukDulcian
Wind Quintet: http://dulcianwind.co.uk
At 10:42 AM + 2/16/06, Ken Moore wrote:
An update on the court case.
1) IIRC, one immediate effect of the judgment is that Hyperion
decided that they could not afford to release the recording, since
each sale would make a loss at a viable price.
2) Hyperion will probably survive on its
On 16 Feb 2006 at 8:13, Johannes Gebauer wrote:
On 16.02.2006 David W. Fenton wrote:
Yes, that is what I said. It's sad for the recording side of
things.
It's good for the critical edition side of things. Who has got
more money?
The logic behind your argument escapes me. If the
On Feb 15, 2006, at 1:32 PM, Phil Daley wrote:
Point taken, but as a professional bass clarinet player (a while ago)
ppp was the least you were going to get
Well I've played clarinet professionally too, at many different sizes.
All can play, for most notes, with literally vanishing
On 16 Feb 2006 at 13:38, John Howell wrote:
At 10:42 AM + 2/16/06, Ken Moore wrote:
An update on the court case.
1) IIRC, one immediate effect of the judgment is that Hyperion
decided that they could not afford to release the recording, since
each sale would make a loss at a viable
On Feb 15, 2006, at 3:19 PM, Lee Actor wrote:
dynamics do not denote some absolute level of sound
volume on a decibel scale, but are always contextual and relative.
Substitute usually or traditionally for always, and I'll agree
with you.
In the famous passage at the end of the exposition
At 02:00 PM 2/16/06 -0500, Andrew Stiller wrote:
it has been proven
scientifically, decades ago, that no more than 8 or ten such discrete
levels can be distinguished by the ear.
The generally accepted empirical standared is that the average human ear
can distinguish 3dB differences. The
On Feb 16, 2006, at 11:38 AM, John Howell wrote:
A
It also bothers me when a composer assumes that there ARE discrete
dynamic levels, and writes, for example, mp in violin, cello and
bass parts but mf in the viola part, intended to instruct the
violas to bring out their part, when the
On Feb 15, 2006, at 5:08 PM, David W. Fenton wrote:
On 15 Feb 2006 at 10:35, Andrew Stiller wrote:
Editions are prepared all the time for reasons
irrelevant to or even in direct opposition to the composer's intent.
Simplified versions. Cut or excerpted versions. Modernized versions.
On Feb 15, 2006, at 7:43 PM, John Bell wrote:
Finmac 2006c:
Using Palatino, when I enter an o or an O followed by a forward slash,
I get an oslash (o with a diagonal line through it). I don't know
whether this happens with any other fonts.
I have fond the same thing in FinMac 2K4.
On Feb 15, 2006, at 3:19 PM, Lee Actor wrote:
dynamics do not denote some absolute level of sound
volume on a decibel scale, but are always contextual and relative.
Substitute usually or traditionally for always, and I'll agree
with you.
In the famous passage at the end of the
On Feb 16, 2006, at 2:53 PM, Chuck Israels wrote:
On Feb 16, 2006, at 11:38 AM, John Howell wrote:
A
It also bothers me when a composer assumes that there ARE discrete
dynamic levels, and writes, for example, mp in violin, cello and bass
parts but mf in the viola part, intended to
Johannes Gebauer wrote:
On 16.02.2006 dhbailey wrote:
If you also want accurate playback, define Expressions for playback,
change patch to get the right sound.
I guess if you use GPO you might have to use change MIDI channel, I
don't think GPO allows a patch change on the same MIDI
On Feb 15, 2006, at 10:27 PM, David W. Fenton wrote:
If you're
reconstructing 2 parts of a 4-part texture, it's probably
recomposition (unless it's a strictly contrapuntal style where the
possibilities are highly circumscribed and clearly implied by the
remaining two voices).
If, on the
On 16 Feb 2006 at 14:38, John Howell wrote:
It also bothers me when a composer assumes that
there ARE discrete dynamic levels, and writes,
for example, mp in violin, cello and bass parts
but mf in the viola part, intended to instruct
the violas to bring out their part, when the
violas
On 16 Feb 2006 at 14:41, Andrew Stiller wrote:
On Feb 15, 2006, at 5:04 PM, David W. Fenton wrote:
The reason I use the term voodoo is because the stereotypical
example of voodoo is sticking pins in a doll that represents a
person in order to hurt the person the doll represents. That
Showing my ignorance:
I am wondering what a contrabass is?
Others have answered this, but a little explanation wouldn't hurt. The
equivalent of the word contrabass is the name of this instrument in
every European language except English: contrebasse, Kontrabaß,
contrabasso, contrabajo,
On Feb 16, 2006, at 3:13 PM, Andrew Stiller wrote:
The Baroque ensemble Tempesta di Mare has made a name for itself in
part through its performances and recordings of reconstructed lute
concertos by Sylvius Leopold Weiss--concertos for which only the lute
part actually survives. The entire
Hi Keith,
There is one further ability of spacebar playback which you may or may not
know about, and I don't believe has been mentioned specifically in this
thread. When you are viewing a staff set showing less than the full score,
a spacebar click directly on a measure excludes any instruments
Johannes Gebauer [EMAIL PROTECTED] wrote:
Ken Moore wrote:
I suspect that in the future, recording companies will have to
negotiate specific contracts with editors that exclude performance
royalties or agree a reasonable figure for them, and prepare their own
editions if editors of existing
At 1:27 PM -0500 2/15/06, Phil Daley wrote:
Showing my ignorance:
I am wondering what a contrabass is?
Phil, a number of people have given you half the
answer, and they have been most helpful and
accurate in doing so. But there is another half
which hasn't been touched on, which is
Chuck Israels [EMAIL PROTECTED] wrote
I like Hochstimme and Nebenstimme symbols for this. They seem quite
useful to me. Bill Duncan's (Oh boy, I seem like a shill for him)
new Articulation Font has these symbols.
I like those symbols too. According to Grove Concise, Schoenberg called
the
Robert Patterson [EMAIL PROTECTED] wrote
A more interesting question for clefs with CB is whether to continue
to notate them 8vb below sounding pitch. This can be a quite difficult
choice. A note that has excessive leger lines in 8vb bass clef can be
too low in at-pitch tenor or treble.
Where has anyone come across a bass passage printed loco (except in a C
score, of course)? It's non-standard. Even harmonics should be written
to be sounding 8ba.
Bass players, in order to cover all the available solo and orchestral
literature, have to learn treble and tenor clefs, both
Raymond Horton wrote:
Where has anyone come across a bass passage printed loco (except in a C
score, of course)? It's non-standard. Even harmonics should be written
to be sounding 8ba.
I believe at-pitch treble is fairly common in contemporary orchestral
scores. This week we are
On 16.02.2006 Ken Moore wrote:
In Europe this is already the case, there is nothing new about it.
Yes, but it's new to the UK.
I was still under the impression that the UK was part of Europe, but I
might be wrong. :-o
Johannes
--
http://www.musikmanufaktur.com
On 16.02.2006 David W. Fenton wrote:
Well, I'm not sure that alone has much utility in drawing the
distinction. In the de Lalande with the missing viola part, leaving
it out is going to sound different from having it in, most obviously
in the parts for strings alone. But whatever one
On 16.02.2006 David W. Fenton wrote:
I'm not calling for editors to not be paid, or to be paid less. I'm
simply calling for them to not be paid *more* than they have been in
the past, especially when it's justified by a claim that amounts to
stealing the compositional work of dead composers.
On 16.02.2006 Andrew Stiller wrote:
The Baroque ensemble Tempesta di Mare has made a name for itself in part
through its performances and recordings of reconstructed lute concertos by
Sylvius Leopold Weiss--concertos for which only the lute part actually
survives. The entire orchestral part
Hey Ken,
Thanks - my translation makes a little sense, but Shoenberg's name
is better. Sorry for my pigeon German!
Chuck
On Feb 16, 2006, at 3:35 PM, Ken Moore wrote:
Chuck Israels [EMAIL PROTECTED] wrote
I like Hochstimme and Nebenstimme symbols for this. They seem quite
useful to
On Feb 15, 2006, at 11:30 AM, Andrew Stiller wrote:
On Feb 15, 2006, at 9:09 AM, Christopher Smith wrote:
Dynamics, as much as we composers might wish otherwise, are not
exact, unless you are using computers for playback, in which case 127
MIDI gradations aren't even enough.
The question
Lawrence David Eden wrote:
Greetings,
What is the best way to write an instrument switch in a woodwind part?
For example:
I want Clarinet in Bb for the first 20 measures, and then a switch to
Alto Sax in Eb for 20 measures...then back to Clarinet.
I have to do this fairly often in jazz
Where has anyone come across a bass passage printed loco (except in a C
score, of course)? It's non-standard. Even harmonics should be written
to be sounding 8ba.
Bass players, in order to cover all the available solo and orchestral
literature, have to learn treble and tenor clefs, both
Robert Patterson wrote:
Raymond Horton wrote:
Where has anyone come across a bass passage printed loco (except in a
C score, of course)? It's non-standard. Even harmonics should be
written to be sounding 8ba.
I believe at-pitch treble is fairly common in contemporary orchestral
Have you got a
cite for the 8-10 levels that contradicts the 3dB discrimination?
Dennis
No, sorry. This is stuff I read ~35 years ago, I don't remember where.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
___
Finale
On Feb 16, 2006, at 3:30 PM, Christopher Smith wrote:
If Bach had written his Jesu Joy Of Man's Desiring today, he would
have been credited as arranged by... and been eligible for no
royalties at all unless the tune (the part with the words) was in the
public domain.
Everything he wrote
On Feb 16, 2006, at 3:46 PM, David W. Fenton wrote:
In the case of the missing cornet parts, my guess is that it's pretty
clear that your choices are limited to to 2 or 3 different notes
within any harmonic context, but the figuration and voicing need to
be determined with no real information
On Feb 16, 2006, at 5:45 PM, John Howell wrote:
The original bass of the violin family (going back to the 16th
century) was what we today call the cello.
We had this out a few months ago, but it bears repeating. The original
bass of the violin family was *tuned* like the cello, and was
On Feb 16, 2006, at 6:35 PM, Ken Moore wrote:
Chuck Israels [EMAIL PROTECTED] wrote
I like Hochstimme and Nebenstimme symbols for this. They seem quite
useful to me. Bill Duncan's (Oh boy, I seem like a shill for him)
new Articulation Font has these symbols.
I like those symbols too.
On Feb 16, 2006, at 6:46 PM, Raymond Horton wrote:
here has anyone come across a bass passage printed loco (except in a C
score, of course)? It's non-standard. Even harmonics should be
written to be sounding 8ba.
This standard was developed only during the course of the 20th c.
Earlier,
On Feb 15, 2006, at 2:04 PM, David W. Fenton wrote:
Maybe it works, maybe it doesn't, but if you stuck the pin in the
person you were trying to harm, you *know* for a fact that they'd
feel it. Likewise, if you want someone to play as softly as possible,
just write as softly as possible.
You
On Feb 15, 2006, at 8:18 AM, Andrew Stiller wrote:
Historically, the dynamics filter has gotten finer and finer over
time. At first there were just p and f. The rest were gradually added
in the order ff, pp, mf, fff, mp, ppp. At each stage, the difference
betw. adjacent levels got narrower.
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