Another trick I use sometimes is to put a hidden rest before the first
note, and assign the verse numbers to the hidden rest. This allows you
to align the numbers and first lyric syllable separately.
Mark D Lew wrote:
On Dec 5, 2006, at 12:36 PM, Derek Kane wrote:
My problem is that I have
Darcy James Argue wrote:
Hey Chris,
"Tense" -- you're goddamn right I get tense when things seem like they
might fall apart mid-tune. It's my impression that air traffic
controllers also get a mite tense on occasion.
But they always get horrible reviews from the Times jazz reviewers! ;-)
Hey Chris,
"Tense" -- you're goddamn right I get tense when things seem like
they might fall apart mid-tune. It's my impression that air traffic
controllers also get a mite tense on occasion.
Hope to see you at IAJE.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 06 Dec 2006,
On Dec 6, 2006, at 4:56 PM, A-NO-NE Music wrote:
Darcy James Argue / 2006/12/06 / 04:28 PM wrote:
Even (snip)
By the way, congratulations on your review. Very nice.
Yes, excellent review, although it started out by complaining about
the performance, and called you "tense and sallow."
At 04:28 PM 12/6/2006, Darcy James Argue wrote:
>Even when instruments are assigned to different channels and
>different staves, if both staves use the exact same GPO instrument
>and are playing the same pitch, they will (naturally) trigger the
>same sample, and this causes phasing problems with t
Darcy James Argue / 2006/12/06 / 04:28 PM wrote:
>Even when instruments are assigned to different channels and
>different staves, if both staves use the exact same GPO instrument
>and are playing the same pitch, they will (naturally) trigger the
>same sample, and this causes phasing problems
On 6 Dec 2006 at 10:56, dhbailey wrote:
> As to whether the absolutist nature of current copyright law is more
> beneficial to society or not, that is clearly a debatable issue --
> stronger copyright protections give more individuals the incentive to
> create, making the culture richer, yet weake
On 6 Dec 2006 at 6:14, dhbailey wrote:
> Noel Stoutenburg wrote:
> [snip]>
> > The "abandoned copyrights" are already transferred, to the public
> > domain, and I would argue that a provision by which abandoned
> > copyrights could be acquired by parties who have previously no
> > interest sets a
Even when instruments are assigned to different channels and
different staves, if both staves use the exact same GPO instrument
and are playing the same pitch, they will (naturally) trigger the
same sample, and this causes phasing problems with the waveform. Some
people find the result unac
Thanks Kim,
If it is still up, I'll get to see it in mid-January when I will
spend a week recovering from Bellingham's imposed "subdued calm"
getting a dose of my "root" culture.
Chuck
On Dec 5, 2006, at 8:23 PM, Kim Patrick Clow wrote:
With the cold weather and Christmas season upon us
At 04:01 PM 12/6/2006, Williams, Jim wrote:
>The problems may then consist of phasing, dropouts, and perhaps other
>artifacts, especially if there are unison passages for any protracted
>period, and especially if one part is marked p, another marked f, etc.
>
>Yes, 448mb is low memory, but "reusin
1. "Yes, I do" below referred to the # of sections in full GPO.
I don't know exactly what's in Finale GPO, but it's probably fewer, so the
recycling issue is still valid. Upon reading my post, that 'yes' was misplaced!
2. In full GPO, violins KS are 82.4mb so Will has 82.4*3=247.2mb
In fu
Will,
Your computer is well below the minimum system requirements for GPO,
which are 1 GB of RAM and 2.0 GHz Pentium 4 or equivalent, as you can
see here:
http://www.finalemusic.com/finale/features/hearyourmusic/
additionalsounds.aspx?pg=GPO
Keep in mind that those are the *minimum* requ
Part of Will's playback problem may also lie here:
< 3 violin sections KS and 2 cello sections KS. >
If I recall correctly, there are only TWO violin sections KS and ONE cello section KS, so
Will is "reusing" his GPO sections if I understand correctly. (yes, I do)
The problems may then cons
On Dec 6, 2006, at 2:55 PM, Will Denayer wrote:
Hello,
I looked up the specifications of my computer (which is a
notebook). Here they are:
Toshiba
Intel R Celeron R M
processor 1.40 GHz
1.39 GHz, 448 MB of RAM
Microsoft Windows XP, Home Edition, version 2002.
This piece of music which does
dhbailey wrote:
It would be curious to do a study on how the literary copyright world
has managed such a different course, whereby the author retains the
copyright and the publisher merely licenses a specific right,
I spent some time in the book section of a store, and examined at
random, abou
At 02:55 PM 12/6/2006, Will Denayer wrote:
>I looked up the specifications of my computer (which is a notebook).
>Here they are:
>Toshiba
>Intel R Celeron R M
>processor 1.40 GHz
>1.39 GHz, 448 MB of RAM
>Microsoft Windows XP, Home Edition, version 2002.
>
>This piece of music which does not play
Well, you really should treat yourself to something more powerful. GPO
needs lots of horsepower and Ram. 1.4 Ghz Celeron is kind of wimpy to
run it. Even on my old computer, a 2.5 Gigahertz Athlon, GPO or Finale
GPO could only get about 6 instruments before crapping out. The KS ones
would easil
Hello,
I looked up the specifications of my computer (which is a notebook). Here they
are:
Toshiba
Intel R Celeron R M
processor 1.40 GHz
1.39 GHz, 448 MB of RAM
Microsoft Windows XP, Home Edition, version 2002.
This piece of music which does not play back normally is very short, only 16
meas
On Dec 6, 2006, at 1:50 PM, Will Denayer wrote:
Hi, Rebooting does not help. It still plays back horribly. Is there
something I can do?
How can I copy the notes to a new document?
Copying to new document is actually pretty easy. I do it all the
time, in order to take advantage of settings
At 01:35 PM 12/6/06 -0500, you wrote:
>If you'll allow me a moment's more self-promotion, this is actually
>my second mention in the NYT in the past week. They also reviewed one
>of my gigs in Saturday's paper:
>http://tinyurl.com/y99skl
Missed that one -- fantastic! "he wants his music to mak
Nice review. Break a leg on the 14th!
BC
- Original Message -
From: "Darcy James Argue" <[EMAIL PROTECTED]>
To:
Sent: Wednesday, December 06, 2006 10:35 AM
Subject: Re: [Finale] O.T. Self publishing issues
Thanks Dennis,
If you'll allow me a moment's more self-promotion, this is
Thanks Dennis,
If you'll allow me a moment's more self-promotion, this is actually
my second mention in the NYT in the past week. They also reviewed one
of my gigs in Saturday's paper:
http://tinyurl.com/y99skl
If I had a press agent, he'd probably want a raise.
Cheers,
- Darcy
-
[EM
On Dec 6, 2006, at 6:14 AM, dhbailey wrote:
the publisher doesn't feel like putting any more money into printing
that work. The P.O.P. category of works.
I would argue that those sorts of abandoned copyrights should revert
back to the composer, including all ancillary rights such as
synchr
--- Johannes Gebauer <[EMAIL PROTECTED]>
wrote:
>
> (I hope this link makes it intact...)
>
It did. Thanks for the lovely photo.
--
Io la Musica son, ch'ai dolci accenti
So far tranquillo ogni turbato core,
Et or di nobil ira et or d'amore
Poss'infiammar le più gelate menti.
Well, here is one from Berlin, not the best picture, but you can make
out the Brandenburg Gate. I haven't been able to see it yet, and perhaps
won't get a chance at all, since I will only be there for a few days
next week. But I can tell you, I miss Berlin when I am not there.
http://www.berli
Old thinking. In the old days, you could not adjust the baseline position of
a character in a text expression. Only by placing the character in a shape
expression was this possible. After sending my previous msg, I remembered
that nowadays a text exp is undoubtedly easier. And it can be set to
pos
Thanks very much, Kim! A little slice of home (I grew up in New York). I
am most yearning for NYC at holiday-time right now!
-- Mike
On 12/5/06 11:23 PM, "Kim Patrick Clow" <[EMAIL PROTECTED]> wrote:
> With the cold weather and Christmas season upon us, I wanted to share
> with the wonderful
Johannes Gebauer wrote:
On 06.12.2006 dhbailey wrote:
Just out of curiosity, why do you think that patents are for the
benefits of society while arts are for the benefits of the creator only?
Sorry, but this really isn't what I said. There is some logic missing
here. You cannot even compare p
It is "normal", because I believe the baseline of the whole rest symbol is
actually the line below. Thus, reducing it changes the spacing. The best
(unhappy) solution I can think of is to create a shape expression that has
the correct spacing.
On 12/6/06, Johannes Gebauer <[EMAIL PROTECTED]> wrot
At 05:49 AM 12/6/06 -0500, Darcy James Argue wrote:
>Lobbying for more effective union leadership and lobbying for
>rational copyright reform aren't mutually exclusive activities.
Talk about mutual exclusivity, neither are commenting on the Finale list
and getting a mention in the Times. Good on
Is it normal that reduced size (65%) whole rests sit somewhere in the
middle between staff lines? Is there a work around?
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
___
Finale mailing list
Finale@shsu.edu
http://lis
On 06.12.2006 dhbailey wrote:
Just out of curiosity, why do you think that patents are for the benefits of
society while arts are for the benefits of the creator only?
Sorry, but this really isn't what I said. There is some logic missing
here. You cannot even compare patents with arts, all yo
Noel Stoutenburg wrote:
Mark D Lew wrote:
On Dec 5, 2006, at 5:43 PM, Noel Stoutenburg wrote:
I would also be inclined to restrict copyright to natural persons, so
that Walt Disney could hold a copyright, but the Disney Company could
not.
OK, but I assume you realize that is essentially a
Noel Stoutenburg wrote:
[snip]
By abandoned copyrights, I do not mean the situation where the copyright
owner explicitly placed a work in the public domain. I use the term in
your second sense: there is a copyright, but there is no owner to be
found to enforce it. And in my opinion (Note: I
Mark D Lew wrote:
On Dec 5, 2006, at 5:43 PM, Noel Stoutenburg wrote:
I would also be inclined to restrict copyright to natural persons, so
that Walt Disney could hold a copyright, but the Disney Company could
not.
OK, but I assume you realize that is essentially a restriction on the
indiv
Dave Bailey quoted a bit of what I wrote:
The "abandoned copyrights" are already transferred, to the public
domain, and I would argue that a provision by which abandoned
copyrights could be acquired by parties who have previously no
interest sets a dangerous precedent; that could conceivably l
Johannes Gebauer wrote:
On 06.12.2006 Darcy James Argue wrote:
Local 802 just had its election today. It's possible that if there's
going to be new leadership, we might actually get some progress on
some of these issues. But I'm not terribly optimistic.
Being a little cynical here: You can't
Johannes Gebauer wrote:
On 05.12.2006 Andrew Stiller wrote:
Copyright is the provision of a monopoly for a limited time, for the
benefit of *society*, not the creator.
Ok, it may be that in the US, in which case I think it is wrong.
However, copyright, or "Urheberrecht" is not for the benefi
Noel Stoutenburg wrote:
[snip]>
The "abandoned copyrights" are already transferred, to the public
domain, and I would argue that a provision by which abandoned copyrights
could be acquired by parties who have previously no interest sets a
dangerous precedent; that could conceivably lead to auct
Lobbying for more effective union leadership and lobbying for
rational copyright reform aren't mutually exclusive activities.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 06 Dec 2006, at 4:27 AM, Johannes Gebauer wrote:
On 06.12.2006 Darcy James Argue wrote:
Local 802 just had
On 06.12.2006 Christopher Smith wrote:
To put it in the terms of the current discussion: it may very well be
advantageous to a composer or leader to put out a recording (or any work for
that matter) that loses money because of the other benefits he gets. The
musicians would not share these oth
On Dec 6, 2006, at 3:29 AM, Johannes Gebauer wrote:
However, the problem we have in Germany is that freelance musicians
are completely unprotected by anyone. Even though our secondary
recording rights are somewhat secured by GVL, this does not deal
with direct royalties nor does it have
On 06.12.2006 Darcy James Argue wrote:
Local 802 just had its election today. It's possible that if there's going to
be new leadership, we might actually get some progress on some of these issues.
But I'm not terribly optimistic.
Being a little cynical here: You can't even get your union orga
On 06 Dec 2006, at 3:29 AM, Johannes Gebauer wrote:
But I must say that I am surprised that in the US the union has not
been able to solve the dilemma you are talking about.
If you say the state of the AFM firsthand (especially the New York
local, Local 802), you would not be surprised, tru
On 05.12.2006 David W. Fenton wrote:
Johannes, I'm having a great deal of difficulty parsing what you're
saying here. There weren't any copyright laws in place, except in
England, and composers kept their works to themselves until they sold
them to a first publisher. After that, the publication
On 05.12.2006 Darcy James Argue wrote:
Is this fair? You can say that artists shouldn't sign these contracts, but
artists (especially new artists) have virtually no negotiating power.
No, I am not saying this is fair. In fact I am as much a victim of such
contracts as you are. All I am sayin
On 05.12.2006 Andrew Stiller wrote:
Copyright is the provision of a monopoly for a limited time, for the benefit of
*society*, not the creator.
Ok, it may be that in the US, in which case I think it is wrong.
However, copyright, or "Urheberrecht" is not for the benefit of society
where I co
On 05.12.2006 Mark D Lew wrote:
I notice that the reason you give is precisely the "American" reason (the whole world
benefits when artists are given incentive to publish) as opposed to the "European" reason
(anything he writes belongs to him and therefore he has a natural right to tell others
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