On 18 Feb 2006, at 23:46, John Bell wrote:
On 18 Feb 2006, at 22:38, Darcy James Argue wrote:
However, with string sections, you have a lot more leeway than you do
with winds or solo strings, as half the section can keep playing
while their stand partners turn the page.
No Darcy please! Th
On 19.02.2006 Michael Cook wrote:
Yes, do put page turns in loud passages if possible. The noise of a lot of
pages turning can be very distracting: let your violins turn in a tutti passage
where, I repeat, you will not notice the difference in sound while half of them
stop playing to turn the
one way would be to use a "fermata" at the end of page two.
gr
Kim Patrick Clow wrote:
I am working on a short sinfonia (movements are about 90
measures long).
The 2 Violin parts are the more sophisticated (versus the Viola
and 'Cello parts).
I absolutely can not the 2 Violin
On 19.02.2006 Godofredo Romero wrote:
one way would be to use a "fermata" at the end of page two.
An extremely bad way if you ask me. Don't do that if at all avoidable.
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
_
Thinking about this in more detail, I would add that page turns have to
be at different places in chamber music and orchestral music.
Eg, in a string quartet it is possible to have a page turn during a GP
(although it does depend on the GP). It is also possible to have a page
turn during a ver
Listers,
I am on FinMac 2K3b.
I am writing a piano part where I want to indicate a gliss from the
left hand to the right hand. I would like the word "gliss" to appear
parallel to the gliss sign...IOW, I want the word to appear with the
G in gliss on the bottom and the final S on top.
I do
At 08:21 AM 2/19/2006, Lawrence David Eden wrote:
>I am writing a piano part where I want to indicate a gliss from the
>left hand to the right hand. I would like the word "gliss" to appear
>parallel to the gliss sign...IOW, I want the word to appear with the
>G in gliss on the bottom and the fin
On 19.02.2006 dc wrote:
Johannes Gebauer écrit:
Unless they are completely full of passage work you are either using too large
notation, or too small a page size.
What's the smallest acceptable size for parts (in percentage reduction)?
Depends. Orchestral parts, especially string parts ne
And by the way, my statement about orchestral practices was not
pan-European, it was worldwide.
Oh, give me a frigging break. There was no possibility of there being
any such thing anywhere except in Europe.
My bad. The first opera produced (and composed) in the New World was in
1701. So I
At 1:51 PM +0100 2/19/06, dc wrote:
Johannes Gebauer écrit:
Unless they are completely full of passage work
you are either using too large notation, or too
small a page size.
What's the smallest acceptable size for parts (in percentage reduction)?
Dennis
The reduction used by Hal Leonard,
On Feb 19, 2006, at 7:51 AM, dc wrote:
Johannes Gebauer écrit:
Unless they are completely full of passage work you are either using
too large notation, or too small a page size.
What's the smallest acceptable size for parts (in percentage
reduction)?
Dennis
I quote from the MOLA Guide
At 12:25 PM -0500 2/19/06, Christopher Smith wrote:
End quote. Now for interpretation.
8.5 mm (most readable) is Finale's 100% staff size.
The moral: Finale makes it much too easy to reduce size. Just
because you CAN do it doesn't mean you SHOULD do it!
I don't know how point size relate
On Feb 19, 2006, at 2:17 PM, John Howell wrote:
At 12:25 PM -0500 2/19/06, Christopher Smith wrote:
End quote. Now for interpretation.
8.5 mm (most readable) is Finale's 100% staff size.
The moral: Finale makes it much too easy to reduce size. Just
because you CAN do it doesn't mean you
Hi Larry,
It is option-click on a Mac to get to this point as Aaron suggested.
You can also duplicate the line with the Glissando over it so you can
see how the original line is working and then click on edit while the
duplicate is highlighted. You can then customize your "glissando"
On 19 Feb 2006 at 13:50, Johannes Gebauer wrote:
> Thinking about this in more detail, I would add that page turns have
> to be at different places in chamber music and orchestral music.
>
> Eg, in a string quartet it is possible to have a page turn during a GP
> (although it does depend on the G
I've been thinking about this lately. I've been using a 95% staff
size reduction on large (9.5" x 12.5") parts paper, and it's more
than readable at a considerable distance. Sometimes I think it's
even slightly too large for nice proportions. Orchestral parts I've
seen are often smaller
On 19 Feb 2006 at 2:16, A-NO-NE Music wrote:
> Ken Moore / 2006/02/18 / 05:06 PM wrote:
>
> >I never met that outside the context of an OS command line interface.
> > Isn't it confined to UNIX? I see that in MS DOS the ">" character is
> > called "pipe", because it performs the same function as t
On 19 Feb 2006 at 12:21, Chuck Israels wrote:
> There are times that I think reducing the staff size and increasing
> the amount of white space around staves and other objects actually
> might make the music more legible.
I'm presently struggling with a chronic eye problem (uveitis) that at
ti
Hi, Chuck!
I was looking at this issue just today and got some guidelines from the Major
Orchestra Librarians' Association (MOLA)
*There should be 0.75 in margin on all 4 sides of the page, which implies a
MUSIC size of 8.5x11" on the 9.5x12.5" parts paper.
*The most readable staff size is
On Feb 19, 2006, at 12:52 PM, David W. Fenton wrote:
On 19 Feb 2006 at 12:21, Chuck Israels wrote:
There are times that I think reducing the staff size and increasing
the amount of white space around staves and other objects actually
might make the music more legible.
I'm presently struggli
At 12:21 PM -0800 2/19/06, Chuck Israels wrote:
Interesting footnote to this and other Finale subjects: I offered to
teach a course in Finale music prep (with the help of Hal Owen's
Tutorial and a syllabus that Darcy had sent in preparation for
offering a similar class in NY) in our departmen
This discussion reminds me of playing a Schubert Symphony from
Bärenreiter parts recently, and getting very annoyed about their
illegible accidentals. Especially flats and naturals look very alike
from the normal reading distance in a violin section. We wrote a lot of
them on top, especially in
Hi Jim,
(Yes, I will get to listen to your CD - probably today or tomorrow -
sorry!)
On Feb 19, 2006, at 1:08 PM, Williams, Jim wrote:
Hi, Chuck!
I was looking at this issue just today and got some guidelines from
the Major Orchestra Librarians' Association (MOLA)
*There should be 0.75
On Feb 19, 2006, at 4:34 PM, Chuck Israels wrote:
This is a big issue with hand written music turned in by my students,
most of whom seem to think that it's alright to put a reasonably sized
note on the middle line of the treble clef with an illegibly tiny
accidental next to it.
I tell
Mein Gott ... I'm just remembering my MA Thesis, which composed in
1965 or so, and consists of 87 pages of score for 22 wind instruments.
I, of course, hand copied the thing using india ink on vellum from
Cameo Music in Hollywood, working 8 hours per day and averaging 4
pages of MS each day.
At 03:07 PM 2/19/06 -0800, Dean M. Estabrook wrote:
>> Mein Gott ... I'm just remembering my MA Thesis, which composed in
>> 1965 or so, and consists of 87 pages of score for 22 wind instruments.
>> I, of course, hand copied the thing using india ink on vellum from
>> Cameo Music in Hollywood,
Dean M. Estabrook wrote:
Mein Gott ... I'm just remembering my MA Thesis, which composed in
1965 or so, and consists of 87 pages of score for 22 wind instruments.
I, of course, hand copied the thing using india ink on vellum from
Cameo Music in Hollywood, working 8 hours per day and averagi
Forgive the cross post, but I didn't remember if this had been mentioned
on this list. (RBH)
From [EMAIL PROTECTED]
--
posted for Wilson Ochoa [dwochoa at nashvillesymphony dot org]
Original 1935 production version of "Porgy and Bess"
As has already been mentioned on this disc
Very interesting post - thanks for sending it.
(Incidentally, John Mauceri was a conducting student at Tanglewood in
1971, when I was a composition fellow. He continues to do
interesting work.)
Chuck
On Feb 19, 2006, at 4:45 PM, Raymond Horton wrote:
Forgive the cross post, but I didn't
Dear List,
I'm using Finale 2006d on a Mac PowerBook running OS 10.4.5 and I'm having
trouble keeping the message bar hidden after switching to Studio View. I
have "Hide Message Bar" selected in the View menu, and it stays temporarily
hidden until I select a different tool from the tool bar. Then
Williams, Jim wrote:
*60- or 70-lb offset paper, printed both sides.
PS: WHERE DO YOU GET THE PARTS PAPER???
A paper vendor that services the printing trade should have this in
stock. Major cities have several. If you check the website of offset
printing manufacturers (four that I kno
This is a bug, no doubt. Do report it to MakeMusic. One thing: I find
that I can make the message bar disappear again by choosing "Show
Message Bar", then choosing "Hide Message Bar", which avoids the hassle
of re-starting Finale. Does this work for you?
Michael
On 20 Feb 2006, at 08:15, Bria
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