I don't know of much RECENT music written for alto-tenor-bass orchestra
sections, though that was overwhelmingly the case from Haydn up to
Tchakovsky or so. Tchaik, for example, is almost always played on tenor
trombone because of the range, though it is written mostly in alto
clef.
I think
Are you sure about Tchaik? All the scores I have at hand (Sym. 4,5,6, Romeo
and Juliet, Capriccio Italien) have 1st and 2nd trombones in tenor clef, 3rd
in bass clef. Of course, the parts could be different.
Odd bit of info about Shostakovich, if true (I can verify his scores are as
you say).
In a message dated 6/21/06 1:01:29 PM, [EMAIL PROTECTED] writes:
From: David W. Fenton [EMAIL PROTECTED]
Subject: Re: Subject: Re: [Finale] Kiss Me, Kate books
On 20 Jun 2006 at 12:00, [EMAIL PROTECTED] wrote:
Yes, 95% of the orchestration changes taking place in recent years on
B'way are for
(I don't think this went through the first time, sorry if it is a repeat)
Hello list,
A couple of weeks ago I wrote in with some questions about creating
medieval (neumes) notation in Finale. (see the thread: [Finale]
Neumes/Gregorian Chant Notation). Well, we received the plug-in today
and I
No, I am not sure. I don't know about the scores, though we had
established that the clefs in the score and parts might not agree. But
the parts I've seen are mostly in alto clef for the 1st trombone (at
least, the editions I tend to get in the small orchestras I play with
on occasion.) It is
I don't know of much RECENT music written for alto-tenor-bass orchestra
sections, though that was overwhelmingly the case from Haydn up to
Tchakovsky or so.
Are you sure Tchaik wanted alto trombone? Generally, my impression is that alto
trombone went out of fashion towards the end of the
Sorry, I meant to say that the change over to tenor was more or less
complete by the time we get to Tchaik or so. He certainly was writing
for two tenor trombones, and a bunch of the French composers even
before him were writing for three tenors. As you implied, it was a
fashion change that
Orchestra parts, printed 2-up as booklets on folded double sheets. Q:
should the booklet be center-stapled, or left as loose sheets?
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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Finale mailing list
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At 6:46 PM + 6/21/06, Robert Patterson wrote:
I don't know of much RECENT music written for alto-tenor-bass orchestra
sections, though that was overwhelmingly the case from Haydn up to
Tchakovsky or so.
Are you sure Tchaik wanted alto trombone? Generally, my impression
is that alto
On Jun 21, 2006, at 3:52 PM, Andrew Stiller wrote:
Orchestra parts, printed 2-up as booklets on folded double sheets. Q:
should the booklet be center-stapled, or left as loose sheets?
According to MOLA, stapled or saddle-stiched, not loose. They also
accept tape binding.
Christopher
Orchestra parts, printed 2-up as booklets on folded double sheets. Q:
should the booklet be center-stapled, or left as loose sheets?
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
I much prefer center-stapled. The only upside for loose sheets is a little
less work
Andrew Stiller wrote:
Orchestra parts, printed 2-up as booklets on folded double sheets. Q:
should the booklet be center-stapled, or left as loose sheets?
My vote would be for stapled -- that way it would take a real idiot to
lose the center pages.
Knowing you as I do from this list, I
At 3:52 PM -0400 6/21/06, Andrew Stiller wrote:
Orchestra parts, printed 2-up as booklets on folded double sheets.
Q: should the booklet be center-stapled, or left as loose sheets?
Please, center-stapled, preferably with 2 staples. Of course that
means working in multiples of 4 pages, with
On Jun 21, 2006, at 2:46 PM, Robert Patterson wrote:
Personally, I like alto trombone very much. My latest orch. piece used
alto/ten/bass rather than the (now) more standard tenor 1/2, bass.
Fortunately the player has and enjoys playing an alto trombone. After
hearing it, I will probably
On Jun 21, 2006, at 5:06 PM, John Howell wrote:
Please, center-stapled, preferably with 2 staples. Of course that
means working in multiples of 4 pages, with blank pages, if any, at
the back of the booklet. Loose sheets work, but present more
possibilities of mixups.
It's unanimous for
Andrew Stiller wrote:
And of course, in the 20th-21st centuries, tenor trombone really
means tenor-bass trombone, w. a trigger. I know a lot of
first-trombonists prefer the old simplex tenor, because it is lighter in
weight and 1st trb. parts almost never need the trigger, but it seems
On Jun 21, 2006, at 5:21 PM, Andrew Stiller wrote:
On Jun 21, 2006, at 2:46 PM, Robert Patterson wrote:
Personally, I like alto trombone very much. My latest orch. piece
used alto/ten/bass rather than the (now) more standard tenor 1/2,
bass. Fortunately the player has and enjoys playing an
On Jun 21, 2006, at 5:45 PM, Robert Patterson wrote:
Andrew Stiller wrote:
And of course, in the 20th-21st centuries, tenor trombone really
means tenor-bass trombone, w. a trigger. I know a lot of
first-trombonists prefer the old simplex tenor, because it is lighter
in weight and 1st
Office depot carries the Swingline - long reach- stapler which is ideal
for this, i used it and are very happy with it.
hope this helps.
gr
Johannes Gebauer wrote:
On 21.06.2006 Lee Actor wrote:
Now if I can just find a long-throw stapler that produces staples
with flat
legs instead of
Andrew Stiller wrote:
On Jun 17, 2006, at 10:29 AM, Carl Dershem wrote:
Most shows have long stretches of I'd be reading the paper now, but
the conductor would get mad, middling stretches of just plain work,
and a few instances of let's hope I survive this bit tonight, but
they almost
Robert Patterson wrote:
...
Where are the worms?
No worms. This is what I thought was opening the can. I thought I was
insulting cellists, but no one went for it, and it turned into a tame
thread on clefs instead. Probably no cellists here. Maybe they are to
busy practicing:
...
RBH
Of course British Brass Bands also don't have the strange additions to the
brass band ala the wind section that American bands have. Aznd that strange
bass the Sousa ;-)
And when we talk British Brass we are actually only pigeon holing it it as this
British style of brass band is worldwide.
Robert Patterson wrote:
I don't know of much RECENT music written for alto-tenor-bass orchestra
sections, though that was overwhelmingly the case from Haydn up to
Tchakovsky or so.
Are you sure Tchaik wanted alto trombone? Generally, my impression is that alto
trombone went out of fashion
Robert Patterson wrote:
I think this all is part of the homogification of trombone sound. My
preference is a brighter trombone sound easily distingushable from a
french horn or euphonium, but (at least a few years ago) all the
trombonists seemed to be striving for the same darkness as those
Is this a straight long-throw, or a saddle stapler?
-Lee
Office depot carries the Swingline - long reach- stapler which is ideal
for this, i used it and are very happy with it.
hope this helps.
gr
Johannes Gebauer wrote:
On 21.06.2006 Lee Actor wrote:
Now if I can just find a
Exactly 1/2
Jamin Hoffman wrote:
Dear all -
Is the proper way to represent unmeasured tremolos three slashes
across the note, regardless of the value of the note?
Thanks -
Jamin
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