I've always wondered how the 3rd mvt of the Shostakovitch 5th, which has
three vln parts, is printed, but I never think to run over and look at
the violin parts when I've been in an orchestra that has played it
(which has been about ten times!). I have observed that it is often
played with th
On 3 Apr 2006 at 14:06, Phil Daley wrote:
> At 4/3/2006 01:55 PM, Andrew Stiller wrote:
>
> >> >> I agree that improvisation is not notatable.
> >
> >Somehow this false assumption got into the thread, and needs to be
> >expunged.
> >While it is *arguable* that jazz improvisation cannot be n
On 3 Apr 2006 at 7:29, dhbailey wrote:
> I'm not sure what your point is in insisting that something isn't
> music if it can't be written down.
I'm not even sure what Phil hopes to accomplish by even making the
assertion, since it doesn't even apply to rap, which can certainly be
written down a
John Bell wrote:
On Apr 3, 2006, at 6:29 AM, Phil Daley wrote:
How about art?
Is the an art masterpiece that is not on canvas?
It's an entirely false analogy. But since you ask: Leonardo's Last
Supper, Michelangelo's David...
Not to mention the Mona Lisa.
cd
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Eric,
They published an orchestral piece of mine using Susato as the music
font and some text fonts they sent me that I no longer have around.
If I can remember what they were, I'll send another message.
Chuck
On Apr 3, 2006, at 1:51 PM, Eric Dannewitz wrote:
Does anyone know what progr
At 6:00 PM -0400 4/3/06, Christopher Smith wrote:
In shows (not the best model, I would agree) it is common to have
three equally-manned violin parts, and split the seconds when there
are just two parts to be equally divided. Since the 3-way is the
exception in your case, not the rule, this w
Just as another alternative, you could put parts 1 and 2 in the first violin part and parts 2 and 3 in the second part. This would be visually easier to read, make the parts shorter, and still allow the conductor to decide on exactly who should play what. Erica Buxbaum Encinitas, California [EMA
I would concur with Michael. Especially since it is only 56 measures.
There is no obvious 3-way split in the violins of a modern orchestra,
and giving it to everyone, as in your "tentative solution", would be
the best solution, I think. The only drawback is the size of the parts,
and considerin
I would probably do as you suggest. If you have no specific information
as to how the composer wanted this divisi to be distributed it's best
to have all three parts in every violin part and let the conductor
decide who plays what.
Michael
On 3 Apr 2006, at 22:21, Andrew Stiller wrote:
I'm d
Does anyone know what program, fonts and stuff Advance Music uses in
preparation of it's books? I just got Jim Snidero's new Intermediate
Jazz Conception books and they look beautiful.
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I'm dealing with a 19th-c. orchestral score in which the lengthy slow
introduction features three violin sections instead of the usual two,
but later on, for the rest of the score, reverts to the standard two
sections.
How ought I to deal with this when I extract the parts? My tentative
solut
Duly noted.
RBH
Richard Smith wrote:
It is not *necessary* to copy any imported file into a fresh score.
I'm sorry if I left that impression. I have just used that approach as
a quick way of beginning clean up on imported files.
RE: [Finale] Re: Finale import into Sibelius question
I hav
At 16:53 03.04.2006, I wrote:
Invalid comparison. Literature and painting are creative arts.
Once completed, they are what they are. Music (and dance and
theater) are both creative and recreative arts. It is in the
recreation that each such work of art is different, by a little or
by a lot,
At 4/3/2006 01:55 PM, Andrew Stiller wrote:
>> >> I agree that improvisation is not notatable.
>
>Somehow this false assumption got into the thread, and needs to be
>expunged.
>
>While it is *arguable* that jazz improvisation cannot be notated (I
>don't, myself, agree), it is unquestionable that
>> I agree that improvisation is not notatable.
Somehow this false assumption got into the thread, and needs to be
expunged.
While it is *arguable* that jazz improvisation cannot be notated (I
don't, myself, agree), it is unquestionable that products of the organ
improvisation tradition, i
Title: RE: [Finale] Re: Finale import into Sibelius question
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of Raymond Horton
Sent: Monday, April 03, 2006 10:28 AM
To: finale@shsu.edu
Subject: Re: [Finale] Re: Finale import into Sibelius question
Ra
Aaron, I believe if you select View, there is a drop down selection near
the bottom with a box to check for "Show hidden notes/rests". You can
turn it on or on by clicking in the box. I'm on a different computer so I
can't check, but go through the different selections in the toolbar and
look for
I think we must discern between notation, interpretation and recorded music.
While interpretation may be comparable with painting a painting,
interpretation would be following close directions and adding some
personal touch, recorded music may be compared to a painting, as
long as we still ag
Valuable info here, Michael. 2002 is earlier than my earliest version
of the file. I will pass along info to my acquantance. She can decide
to: upgrade her Sibelius; pay your company the reasonable fee for the
translation; or to skip it.
Would Recordare's final product need to be recopied
At 6:29 AM -0400 4/3/06, Phil Daley wrote:
Compare it to literature.
Is there a great piece of literature that hasn't been written down?
How about art?
Is the an art masterpiece that is not on canvas?
Invalid comparison. Literature and painting are creative arts. Once
completed, they are
Does anyone have any idea why GPO isn't appearing as an option when I try
to setup my midi "Native Instruments VST setup"
Cheers,
Lawrence
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Phil Daley wrote:
At 4/2/2006 10:34 AM, Christopher Smith wrote:
>
>On Apr 2, 2006, at 8:37 AM, Phil Daley wrote:
>
>> At 4/1/2006 08:44 PM, David W. Fenton wrote:
>>
>> >But the requirement Phil is placing on these pieces is completely
>> >arbitrary and if applied honestly would elimina
At 4/3/2006 06:47 AM, Christopher Smith wrote:
>Didn't we have this argument a year or so ago, and finally settle that
>the written sheet music was just the recipe for the actual sound, and
>NOT the actual music? Like confusing a recipe for cake with the actual
>cake itself.
Opps, sorry, I must
On Apr 3, 2006, at 6:29 AM, Phil Daley wrote:
How about art?
Is the an art masterpiece that is not on canvas?
It's an entirely false analogy. But since you ask: Leonardo's Last
Supper, Michelangelo's David...
John
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On Apr 3, 2006, at 6:29 AM, Phil Daley wrote:
At 4/2/2006 10:34 AM, Christopher Smith wrote:
>What kind of extremely narrow definition of music do you have that
>excludes improvisation from music? Or non-pitched elements? Or
>difficult-to-notate elements? Or
>inconsistently-reproducible-in-per
At 4/2/2006 12:49 PM, Andrew Stiller wrote:
>On Apr 1, 2006, at 7:44 PM, David W. Fenton wrote:
>
>> I thought he asked if different ensembles would sound the same
>> playing from the score. Given that no two identical percussion
>> instruments sound precisely the same, I'd say that it's unlikely
At 4/2/2006 10:34 AM, Christopher Smith wrote:
>
>On Apr 2, 2006, at 8:37 AM, Phil Daley wrote:
>
>> At 4/1/2006 08:44 PM, David W. Fenton wrote:
>>
>> >But the requirement Phil is placing on these pieces is completely
>> >arbitrary and if applied honestly would eliminate a lot of the works
>> >h
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