On 17.01.2007 David W. Fenton wrote:
I just don't think it was his ideal, however often he may have found
himself in that situation himself.
It wasn't his ideal, but he composed differently when he composed for 8
singers than when he composed for 4.
Johannes
--
http://www.musikmanufaktur.c
No, you're right. I'd also forgotten the $129 price tag for OS X
10.4.x, which -- obviously -- comes pre-installed on any new Mac.
That means it's almost certainly *more* money to make the beige G3
usable under 10.4 (new hard drive, new graphics card, max out memory,
install USB 2.0/FireWir
Hi there list,
there is one Sibelius Academy project wich deals with that matter, i didnt
go so deep on it but it looks quite interesting and the samples sounds great
the project is "soundind score"
http://www2.siba.fi/soundingscore/guitar.html
PS: happy new year to everyone :-)
From: timot
On 17.01.2007 John Howell wrote:
I think there's entirely too much evidence that suggests it was not his
intention or his ideal, starting with the 2 copies of each vocal part.
No, John, there are no two copies of _each_ part. In fact there are no
two copies of one single part. In some cantat
Will Denayer wrote:
Hello. I am having another problem. It really bugs me. I am writing in 4/4. In one measure I want 6 quarter notes to fill the measure. So, I type the first note and then I click on the tuplet tool. When the window opens, I type that I want 6 quarter notes in the space of 4 quar
Will Denayer wrote:
Hello. I am having another problem. It really bugs me. I am writing in 4/4. In one measure I want 6 quarter notes to fill the measure. So, I type the first note and then I click on the tuplet tool. When the window opens, I type that I want 6 quarter notes in the space of 4 quar
Raymond Horton wrote:
So McCreesh's "instinctive feeling" trumps the evidence of Bach's 12
voice choir, plus his preference for a larger one?
RBH
[snip]
Well, certainly! Isn't that what musicology is all about? Starting
with a preconception and then finding evidence to support it, while
On 17.01.2007 dhbailey wrote:
Raymond Horton wrote:
So McCreesh's "instinctive feeling" trumps the evidence of Bach's 12 voice
choir, plus his preference for a larger one?
RBH
[snip]
Well, certainly! Isn't that what musicology is all about? Starting with a
preconception and then finding
On 17 Jan 2007 at 0:25, Kim Patrick Clow wrote:
> On 1/16/07, Raymond Horton <[EMAIL PROTECTED]> wrote:
> > So McCreesh's "instinctive feeling" trumps the evidence of Bach's 12
> > voice choir, plus his preference for a larger one?
>
> What evidence?
>
> "Rifkin's pesky idea" deals with that:
>
Johannes Gebauer wrote:
On 17.01.2007 dhbailey wrote:
Raymond Horton wrote:
So McCreesh's "instinctive feeling" trumps the evidence of Bach's 12
voice choir, plus his preference for a larger one?
RBH
[snip]
Well, certainly! Isn't that what musicology is all about? Starting
with a precon
On 17 Jan 2007 at 0:53, Raymond Horton wrote:
> I just remember an article after the first Rifkin recording that
> settled the issue as far as I was concerned. If I am wrong, I'm
> wrong. My "instinctive feeling" is that I am not!
Robert Marshall was respondent to Rifkin's original article, and
On 1/17/07, David W. Fenton <[EMAIL PROTECTED]> wrote:
So, to me, it seems legitimate to perform Bach's 4-part vocal music
with anywhere from 4 to 20 singers. Anything larger than that seems
outsized (especially given the small-by-modern-standards instrumental
forces),
You mean like *this*?
h
On 17.01.2007 dhbailey wrote:
The very real possibility exists that NONE of Bach's performances were what he
really wanted but he was simply too much of a pragmatist who needed the job too
badly to ever dare to complain too heavily in writing or in conversation with
others.
Well, one thing i
On 17 Jan 2007 at 8:33, Johannes Gebauer wrote:
> On 17.01.2007 David W. Fenton wrote:
> > While I certainly Bach's music enjoyable and convincing when
> > performed one on a part, I *don't* find Rifkin's argument convincing
> > that this was Bach's intention (and his only intention). As someone
On 17 Jan 2007 at 14:03, Johannes Gebauer wrote:
> On 17.01.2007 dhbailey wrote:
> > The very real possibility exists that NONE of Bach's performances
> > were what he really wanted but he was simply too much of a
> > pragmatist who needed the job too badly to ever dare to complain too
> > heavily
On 17 Jan 2007 at 7:45, dhbailey wrote:
> Johannes Gebauer wrote:
> > On 17.01.2007 dhbailey wrote:
> >> Raymond Horton wrote:
> >>> So McCreesh's "instinctive feeling" trumps the evidence of Bach's
> >>> 12 voice choir, plus his preference for a larger one?
> >>>
> >>> RBH
> >>>
> >> [snip]
> >>
On 17.01.2007 David W. Fenton wrote:
In a similar example from a later period, it's pretty clear from
surviving parts for Mozart piano concertos in Leopold Mozart's hand
(I believe they are at St. Peters, and Cliff Eisen prepared an
edition for B&H from them that was recorded by Robert Levin at
On 17.01.2007 David W. Fenton wrote:
Robert Marshall was respondent to Rifkin's original article, and he's
no slouch as a Bach expert. But his case did not come close to
knocking over Rifkin's argument as it was presented, as it involved
almost as much hand waving as Rifkin's own. Since then, q
On 17.01.2007 David W. Fenton wrote:
I would agree with this, that they have not by any means been "put to
rest", but I think they've been severely damaged, at least in regard
to Rifkin's most vehement claim, that the surviving parts could only
have been used for one-on-a-part performances. Wit
On 17.01.2007 David W. Fenton wrote:
But how's your intonation in the fugues? :)
Actually, when I did a life broadcast of the D minor (no fugue but the
Ciaccona) this was one of the points I talked about in the interview
afterwards.
Not modern, if I may say so.
Johannes
--
http://www.mus
On 17.01.2007 David W. Fenton wrote:
And, of course, why would Bach have copied ripieno parts, or parts
indicating solo/ripieno for a performance he knew would not have
anything but solo singers?
Well, would he have written that very same piece had he know he would
have a larger choir?
Inte
On 17 Jan 2007 at 14:46, Johannes Gebauer wrote:
> On 17.01.2007 David W. Fenton wrote:
> > In a similar example from a later period, it's pretty clear from
> > surviving parts for Mozart piano concertos in Leopold Mozart's hand
> > (I believe they are at St. Peters, and Cliff Eisen prepared an
>
On 17 Jan 2007 at 14:46, Johannes Gebauer wrote:
> On 17.01.2007 David W. Fenton wrote:
> > And, of course, why would Bach have copied ripieno parts, or parts
> > indicating solo/ripieno for a performance he knew would not have
> > anything but solo singers?
>
> Well, would he have written that v
On 17 Jan 2007 at 14:46, Johannes Gebauer wrote:
> On 17.01.2007 David W. Fenton wrote:
> > I would agree with this, that they have not by any means been "put
> > to rest", but I think they've been severely damaged, at least in
> > regard to Rifkin's most vehement claim, that the surviving parts
>
On 17 Jan 2007 at 14:52, Johannes Gebauer wrote:
> On 17.01.2007 David W. Fenton wrote:
> > But how's your intonation in the fugues? :)
>
> Actually, when I did a life broadcast of the D minor (no fugue but the
> Ciaccona) this was one of the points I talked about in the interview
> afterwards.
On 17 Jan 2007 at 14:50, Johannes Gebauer wrote:
> On 17.01.2007 David W. Fenton wrote:
> > Robert Marshall was respondent to Rifkin's original article, and
> > he's no slouch as a Bach expert. But his case did not come close to
> > knocking over Rifkin's argument as it was presented, as it involv
Hi Richard,
I should have known that you'd be the one that could help me since you
help a lot on this great list. Both of your sound fonts would work real good
for me. Didn't know how or where to install the Milburn-normal.SF2 font. I'd
like to be able to use it in any program I have on my c
Johannes Gebauer wrote:
On 17.01.2007 dhbailey wrote:
The very real possibility exists that NONE of Bach's performances were
what he really wanted but he was simply too much of a pragmatist who
needed the job too badly to ever dare to complain too heavily in
writing or in conversation with oth
On 17.01.2007 David W. Fenton wrote:
I don't have his book, so I can't immediately read it. But there is a
problem with interpretation of the evidence here. If you're conveying
Parrot's case correctly, he's giving the surviving sources more
weight than they can bear.
I am not conveying Parro
On 17.01.2007 David W. Fenton wrote:
Actually, when I did a life broadcast of the D minor (no fugue but the
> Ciaccona) this was one of the points I talked about in the interview
> afterwards.
A friend of mine is a violinist and has a recording of them out and
performs them regularly. He's a m
On 17.01.2007 David W. Fenton wrote:
If what I've written gives you the idea that I see it that way, I've
written unclearly.
No, sorry, I was in part replying to others opinion, not so much yours.
Appologies.
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
_
On 17.01.2007 David W. Fenton wrote:
Well, actually, the discussion went on in Early Music between Joshua
> and Ton Koopman (I believe this was in the year 2000).
You mean the discussion continued then? The original publication of
Rifkin's hypothesis was back in the early 80s, around the time
On 17 Jan 2007 at 17:02, Johannes Gebauer wrote:
> On 17.01.2007 David W. Fenton wrote:
> > I don't have his book, so I can't immediately read it. But there is
> > a problem with interpretation of the evidence here. If you're
> > conveying Parrot's case correctly, he's giving the surviving sources
On 17 Jan 2007 at 17:02, Johannes Gebauer wrote:
> On 17.01.2007 David W. Fenton wrote:
> >> Actually, when I did a life broadcast of the D minor (no fugue but
> >> the
> >> > Ciaccona) this was one of the points I talked about in the
> >> > interview afterwards.
> >
> > A friend of mine is a vio
On 17 Jan 2007 at 17:02, Johannes Gebauer wrote:
> As a matter of fact Joshua is a very serious researcher himself. He
> found out something and he presented it in a provocative way. That
> doesn't de-value the quality of his research. He really knows the
> subject, and did his research trying to
Well, Chuck ... I can aver no information on publishers, but I can
give an ovation to your work. You are a talented dude, and your
daughter is right up there with you. Congrats. I may pour a single
malt and listen again.
Dean
On Jan 16, 2007, at 3:46 PM, Chuck Israels wrote:
To my friends
On 1/17/07, Johannes Gebauer <[EMAIL PROTECTED]> wrote:
If you get a chance I would recommend you to hear Joshua's lecture, it
is extremely powerful evidence, and I am pretty sure you would
understand why I fight for him so strongly.
Where can you obtain a copy of this lecture?
Thanks
Kim P
Could someone please explain to me how I can put 6 quarter notes in a 4/4
measure? I looked it up and thought I knew how to do it, but I am doing
something wrong and I end up with things I do not want.
Sorry about this, but I am stuck. Best and thank you, Will
Send instant messages to your onl
Um...well, can't you make that bar a 6/4 bar and hide the time
signature?
Will Denayer wrote:
Could someone please explain to me how I can put 6 quarter notes in a 4/4 measure? I looked it up and thought I knew how to do it, but I am doing something wrong and I end up with things I do not wa
Put it in a tuplet (6/4) and hide the elements.
Jerry
Gerald Berg
On 17-Jan-07, at 1:18 PM, Will Denayer wrote:
Could someone please explain to me how I can put 6 quarter notes in a
4/4 measure? I looked it up and thought I knew how to do it, but I am
doing something wrong and I end up with
Will Denayer / 2007/01/17 / 01:18 PM wrote:
>Could someone please explain to me how I can put 6 quarter notes in a
>4/4 measure?
Do you want pulse stays on quoter beat?
You have to make it to 6/4.
Do you want 6 even notes against 4 beats?
You have to make them (Triplet) * 2.
But in the e
On 17.01.2007 dc wrote:
Johannes Gebauer écrit:
I do wonder what kind of intonation your friend used. In my opinion this is
actually the biggest difference between a modern and a good period instrument
performance.
What do you mean exactly by intonation? Temperament? How good the thirds are
On 17.01.2007 Kim Patrick Clow wrote:
Where can you obtain a copy of this lecture?
I have no idea, but I can ask him, if you like. I heard it life, with
all his material, and I certainly found it impressive.
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
On 17.01.2007 David W. Fenton wrote:
He doesn't use equal temperament, but he's also not striving for a
particular historical temperament.
In other words, he probably does just what almost every modern violinist
does. In which case I would find it dreadful to listen to.
Johannes
--
http://
On 17.01.2007 David W. Fenton wrote:
I think he has always overstated his case, because he was reacting to
a climate in which his hypothesis was going to be highly
controversial. Also, as a musicologically-trained performer, he was
seen by many (wrongly, in my opinion) as justifying his perform
On 17.01.2007 David W. Fenton wrote:
I am not conveying Parrot's case, in fact he makes his own case very
> convincingly. Please read the book, then tell me whether you think he
> doesn't have enough factual evidence.
No amount of evidence improperly interpreted can prove a case, so
it's not h
I find another Simple Entry workaround is to switch of "check for extra
notes" in Simple entry menu.
Cheers K in OZ
Keith Helgesen.
Director of Music, Canberra City Band.
Ph: (02) 62910787. Mob 0417-042171
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Johannes Gebauer wrote:
On 17.01.2007 David W. Fenton wrote:
Well, actually, the discussion went on in Early Music between Joshua
> and Ton Koopman (I believe this was in the year 2000).
You mean the discussion continued then? The original publication of
Rifkin's hypothesis was back in the
On Jan 17, 2007, at 1:18 PM, Will Denayer wrote:
Could someone please explain to me how I can put 6 quarter notes in
a 4/4 measure? I looked it up and thought I knew how to do it, but
I am doing something wrong and I end up with things I do not want.
Sorry about this, but I am stuck. Best a
Friends,
As an American academic I must once again prove to people who administer
my activities that I remain a worthy recipient for their largesse.
To that end I solicit your input OFFLIST as to the worth of this list to
your activities as musicians.
Thank you;-)
Henry Howey
Professor of Musi
Chuck is far too modest to mention, but there's an article about him
published today on allaboutjazz.com:
http://www.allaboutjazz.com/php/article.php?id=24009
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
___
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Finale@shs
Is the effect you want not six minims (half notes) in a 4/4 bar?
Cheers,
Lawrence
lawrenceyates.co.uk
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Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
On the other hand, I myself am completely shameless, and will mention
that after you read the All About Jazz article on Chuck, you might
also want to check out this featured download:
http://www.allaboutjazz.com/php/jazzdownload.php?id=1966
Cheers,
- Darcy
-
[EMAIL PROTECTED]
http://sec
Please ignore my last reply to this question - it's twaddle.
Use speedy.
hold cntrl down and press 6 (a little "6" will appear in the right hand
corner of the entry frame)
Enter six crotchets (quarter notes) by pressing "5" six times.
Hope this is what you mean
Cheers,
Lawrence
lawr
Will Denayer wrote:
Could someone please explain to me how I can put 6 quarter notes in a 4/4 measure? I looked it up and thought I knew how to do it, but I am doing something wrong and I end up with things I do not want.
1) Enter the first quarter note in the measure
2) Select the tuplet to
A heads up for the group.
Finale 2007b is out. From the VersionTracker site:
"What's new in this version:
The Rebar Music functionality - used in
Band-in-a-Box® Auto Harmonizing and other
features - no longer condenses empty measures.
Finale 2007b also contains all the improvements
found in
I hope those who start using this will post reports. And I concur in
hoping for a few more improvements besides the listed ones.
Chuck
On Jan 17, 2007, at 3:35 PM, Randolph Peters wrote:
A heads up for the group.
Finale 2007b is out. From the VersionTracker site:
"What's new in this vers
At 06:35 PM 1/17/2007, Randolph Peters wrote:
>Finale 2007b is out. From the VersionTracker site:
>
>"What's new in this version:
>The Rebar Music functionality - used in
>Band-in-a-Box® Auto Harmonizing and other
>features - no longer condenses empty measures.
>Finale 2007b also contains all the
A belated thanks to all the people who sent suggestions about why I
can't hear the strings very well and am overwhelmed by the GPO
Steinway. I'll try all these suggestions but thus far I'm still
mystified. And frustrated.
My excuse for not replying sooner, by the way, was a sudden retinal
repair
The other kind of annoying thing is that the installer creates an app
called "Finale 2007" instead of "Finale 2007b," breaking a longtime
Finale convention. What happens if you upgrade directly from Fin2007
(not Fin2007a)? Does it replace the old version?
I would actually be in favor of NOT
At 07:44 PM 1/17/2007, Darcy James Argue wrote:
>The other kind of annoying thing is that the installer creates an app
>called "Finale 2007" instead of "Finale 2007b," breaking a longtime
>Finale convention.
This is a Mac thing, FYI. Every single version of WinFin has always
been called just 'Fi
I should add that the other really stupid thing about Fin2007b is
that they seem to have wrapped it up with the Fin2007a updater, which
is no longer available on the site. I know that this makes it a
little easier for those who have not yet updated to 2007a, but those
of us who have now have to
I cannot be a lot of help, I 'm afraid. I recently moved up to a new
computer and have yet to sort out the audio issues. I had a SoundBlaster
Live! card that I moved to new computer (it has digital out for my speakers)
but I cannot seem to access its soundbank.
The Audigy card is installed also b
How do you want this phrased, Henry? As a thank you, or what?
Ray Horton
Henry E. Howey wrote:
Friends,
As an American academic I must once again prove to people who administer
my activities that I remain a worthy recipient for their largesse.
To that end I solicit your input OFFLIST as to t
Thanks for that head's up, Aaron.I'm not about to go through yet another
gigantic download after the amount of time 2007a took. And yeah, dialup
does suck for those of us with no alternative
One might have thought our little pals at MM might have considered a more
elegant update, or
At 06:32 PM 1/17/2007 -0800, Mariposa Symphony Orchestra wrote:
>Rebar functionality? Who needs it!?
You wouldn't say that if you had a cracked dam 100 feet from the house like
we do. :)
Dennis
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Finale@shsu.edu
http://lists.shs
Nice one, Dennis -- but really? What's the story? If so, I hope the dam is
100 feet DOWNSTREAM from the house!
And in the meanwhile, I'll try to refrain from whistling Coates' "Dambusters
March".
Best,
Les
Les Marsden
Founding Music Director and Conductor,
The Mariposa Symphony Orch
At 8:49 AM +0100 1/17/07, Johannes Gebauer wrote:
On 17.01.2007 John Howell wrote:
(One of my disagreements with the Rifkin hypothesis, whether or not
it "works" for modern ears, is that in his 1731 memo Bach
specifically mentioned both concertists and ripienists among the
boys, and we do find
At 7:45 AM -0500 1/17/07, dhbailey wrote:
Casals' supposed remark to some younger musician "You play Bach YOUR
way and I'll play Bach HIS way," while sounding superbly insightful
and wonderfully instructive, is in reality (it has taken me a number
of years to realize this) very bogus, since C
At 8:07 AM -0500 1/17/07, David W. Fenton wrote:
On 17 Jan 2007 at 8:33, Johannes Gebauer wrote:
> First: No, those parts which are there could not have been used by two
singers, unless they would have sung everything, including arias.
What is the term? Reduction ad absurdam? Where is it
At 6:01 PM +0100 1/17/07, dc wrote:
Johannes Gebauer écrit:
I do wonder what kind of intonation your friend
used. In my opinion this is actually the
biggest difference between a modern and a good
period instrument performance.
What do you mean exactly by intonation? Temperament? How good th
On 18.01.2007 John Howell wrote:
I believe that was Wanda Landowska, not Casals, not that that affects your
argument.
Actually, it does. Had Casals said that it would have been rather strange.
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
On 18.01.2007 John Howell wrote:
> First: No, those parts which are there could not have been used by two
singers, unless they would have sung everything, including arias.
What is the term? Reduction ad absurdam? Where is it written in scripture
that any given part has to include meticulou
On 18.01.2007 John Howell wrote:
But I like your wording, Johannes. If we can agree that Joshua's belief is indeed an hypothesis--an interesting hypothesis, a suggestive hypothesis, even a brilliant hypothesis--then the next stage in the scientific method follows. Test the hypothesis.
Done,
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