[EMAIL PROTECTED] wrote:
Hello Finale;
I have found that when using the explode music feature, even though
the articulations are in the right place BEFORE the music is exploded,
they come out funny in the parts AFTER the chords are exploded.
I was wondering if there is a way for ALL
On Mar 14, 2006, at 5:37 AM, dhbailey wrote:
[EMAIL PROTECTED] wrote:
Hello Finale;
I have found that when using the explode music feature, even
though the articulations are in the right place BEFORE the music is
exploded, they come out funny in the parts AFTER the chords are
exploded.
I
I was wondering why, by default, Finale favors to flat while F# is
always sharp, not Gb. Why is it this way?
I do not use key signature. The music I write has too many different
key of the moment.
Last night, I was working on a piece starts with B Major, while the
bridge is Eb minor (not D#
A-NO-NE Music wrote:
I was wondering why, by default, Finale favors to flat while F# is
always sharp, not Gb. Why is it this way?
I do not use key signature. The music I write has too many different
key of the moment.
Last night, I was working on a piece starts with B Major, while the
bridge
On Mar 14, 2006, at 9:39 AM, A-NO-NE Music wrote:
I was wondering why, by default, Finale favors to flat while F# is
always sharp, not Gb. Why is it this way?
I do not use key signature. The music I write has too many different
key of the moment.
Last night, I was working on a piece
Christopher Smith / 2006/03/14 / 10:26 AM wrote:
Just use Favour Sharps for the A section (under Enharmonic Spelling)
and Favour Flats for the bridge.
Oh, cool. Just change the option as needed. Makes sense.
Thank you!
Thanks, David Bailey, too. I was keep looking under Document Option,
and
Hi All,
This is not strictly Finale related, but this seems like a very
knowledgeable group to get some advice from. I was recently sent a job
description for some music arranging and typesetting services. In
general, I only do engraving work, so I'm not too familiar with the
legalities
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I will respond to your message when I return.
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At 3/14/2006 12:44 PM, Scott Amort wrote:
The arrangement would become the property of the composer.
Is this a usual requirement? Does this mean that I am essentially
signing away any claim to this arrangement (i.e. the composer will not
need to credit me, nor obtain my permission to use,
I would, in whatever contract, insist that my name as the arranger be
used, otherwise the composer can find someone else to do it. That way,
even though I'm not going to get anymore money from it, my name would be
on the arrangement and somewhere down the line someone might hear this
On Mar 14, 2006, at 12:44 PM, Scott Amort wrote:
Hi All,
This is not strictly Finale related, but this seems like a very knowledgeable group to get some advice from. I was recently sent a job description for some music arranging and typesetting services. In general, I only do engraving work,
At 12:44 PM 3/14/06 -0500, Scott Amort wrote:
The arrangement would become the property of the composer.
Any advice?
This work for hire method is become more popular because it relieves the
purchaser of any intellectual property entanglements.
I used to do a lot of freelance writing, but when
At 1:35 PM -0500 3/13/06, Kim Patrick Clow wrote:
Aha! I found this on the Barenreiter website itself:
In Mozart's day the Italian operatic symphony normally consisted of
three rather short orchestral pieces in the order fast - slow -
fast. For Ascanio in Alba, however, he characteristically
On 14 Mar 2006 at 14:13, John Howell wrote:
Inquiring minds still await a K number and perhaps a
date. How early is early? New Grove I has no listing of a
Symphony with dancing and singing, although the way they break up his
works it could well be listed under something other than
On 14 Mar 2006 at 10:37, Eric Dannewitz wrote:
The computer comparison seems somehow hollow. The arranger is in no
way obliged to agree to this at all.
Neither is a computer programmer. The comparison is completely apt,
as it's a work-for-hire situation when absent the contract, the
creator
David Fenton:
Could you please cite the Haydn and Gluck operas that have this similiar feature of using an opening overture with a choral movement to conclude? I'm curious.While it's apparent that Mozart wasn't the only composer to do this, I still think it it's a bit unusual.
And just because
Scott Amort wrote:
Hi All,
This is not strictly Finale related, but this seems like a very
knowledgeable group to get some advice from. I was recently sent a job
description for some music arranging and typesetting services. In
general, I only do engraving work, so I'm not too familiar
On Mar 14, 2006, at 2:41 PM, dhbailey wrote:
Assuming you're in the U.S., the original copyright owner owns all the
copyrights in any derivative works. It's part of the law, not just
what the composer wants.
This is true by default, but the composer CAN decide to re-assign them,
if he
On 14 Mar 2006 at 14:38, Kim Patrick Clow wrote:
David Fenton:
Could you please cite the Haydn and Gluck operas that have this
similiar feature of using an opening overture with a choral movement
to conclude? I'm curious. While it's apparent that Mozart wasn't the
only composer to do
You're talking about what he might have done vs. what he is known tohave done. Mozart might have arranged the whole symphony for kazoos,but we have no documentation saying that he did. We do know that he
created a replacement finale. Thus, we have the K111a version as areal documented symphony,
On 14 Mar 2006 at 15:05, Kim Patrick Clow wrote:
You're talking about what he might have done vs. what he is known to
have done. Mozart might have arranged the whole symphony for kazoos,
but we have no documentation saying that he did. We do know that he
created a replacement finale. Thus, we
At 12:44 PM -0500 3/14/06, Scott Amort wrote:
Hi All,
This is not strictly Finale related, but this seems like a very
knowledgeable group to get some advice from. I was recently sent a
job description for some music arranging and typesetting services.
In general, I only do engraving work,
Christopher Smith wrote:
On Mar 14, 2006, at 2:41 PM, dhbailey wrote:
Assuming you're in the U.S., the original copyright owner owns all the
copyrights in any derivative works. It's part of the law, not just
what the composer wants.
This is true by default, but the composer CAN
John, as usual, lays it out in very clear and direct language.
He makes it clear (as I didn't) that you don't have much in the way of
rights unless you work it out beforehand.
Now, whether or not you WANT to do things this way is what I was trying
to communicate, and what John addresses in
Scott Amort wrote:
Hi All,
This is not strictly Finale related, but this seems like a very
knowledgeable group to get some advice from. I was recently sent a
job description for some music arranging and typesetting services. In
general, I only do engraving work, so I'm not too familiar
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