Just wondering what Mac users on this list might be using to extract audio
from a DVD. Free or cheap get the nod over bells and whistles for me on
this.
Thanks,
Don Hart
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a smokin' hot, pounding muthaf of a piece.
une ostie d'bonne tune
en français (de la france) je ne crois pas qu'il
existe une expression avec la même couleur
d'expression, par exemple, putain, mais c'est
bon fait pas l'affaire pas en toutte.
--
shirling neueweise ... new music
I was told to click the Staff Tool and double-click the staff, then
in the Items to Display section to uncheck stems and click OK.
BUT--in my version of Finale 2002 there is no check-box marked
stems.
i think this feature might have been added in 2003, but not sure
I can remove the stems
[EMAIL PROTECTED] wrote:
I am entering chant for the first time in Finale 2002 with reasonable
success. But I need black notes, and am having difficulty hiding quarter-note stems.
I was told to click the Staff Tool and double-click the staff, then in the
Items to Display section to uncheck
David W. Fenton wrote:
On 23 Feb 2007 at 17:12, Brian Williams wrote:
At Disneyland, the trumpet players play Retreat after the color
guard takes the rope from the pole, then the band plays the National
Anthem while the flag is lowered. I believe this is consistent with
Military protocol.
At 06:42 AM 2/24/2007, shirling neueweise wrote:
there is also a TGTools plugin to remove all stems in the selected
region,
Oh, I forgot my own mantra: If it looks like it can't be done, try TGTools!
Aaron.
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It is my understanding that when using a bugle, To the Colors would be
played in place of the National Anthem being played by a band. I base
this on nothing other than what I've read at the Army page concerning
bugle calls.
The Retreat Ceremony involves playing Retreat to signal the end of
Hi all:
I wondered if there was a resource for photographs on the Internet
that has photographs of so many places, buildings, cities that we read
about in biographies about classical composers, but all under one
roof.
I know you could do a Google search for each item, say for example, I
found a
Thanks Aaron.
On Feb 24, 2007, at 10:00 AM, [EMAIL PROTECTED] wrote:
Date: Fri, 23 Feb 2007 22:30:06 -0500
From: Aaron Sherber [EMAIL PROTECTED]
Subject: Re: [Finale] MULTIMEASURE catastrophe
To: finale@shsu.edu, FINALE FINALE LIST finale@shsu.edu
Message-ID: [EMAIL PROTECTED]
Content-Type:
On Feb 24, 2007, at 10:51 AM, Kim Patrick Clow wrote:
Hi all:
I wondered if there was a resource for photographs on the Internet
that has photographs of so many places, buildings, cities that we read
about in biographies about classical composers, but all under one
roof.
That would be sweet,
At 12:23 PM +0100 2/24/07, shirling neueweise wrote:
a smokin' hot, pounding muthaf of a piece.
In other words, a barn burner. I haven't come across it without the barn!
John
--
John Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540)
John Howell wrote:
At 12:23 PM +0100 2/24/07, shirling neueweise wrote:
a smokin' hot, pounding muthaf of a piece.
In other words, a barn burner. I haven't come across it without the
barn!
John
Me neither, but then I think we're showing our age, John. ;-)
--
David H. Bailey
I have a composer who wants me to notate a conga effect -- the player
plays five strokes on the conga head with his right hand while
putting pressure on it with his left elbow. (Or vice versa -- it
doesn't matter.) He starts with a lot of elbow pressure but gradually
applies less pressure,
Hey all,
When using the straight line gliss, I usually like to have the line
attach directly to the noteheads. But what if there's an intervening
accidental that gets in the way? What's your preferred solution in
this case? End the line before the accidental (although sometimes
spacing
What do you think the most concise way of notating and explaining
the desired effect would be? (The part is for a classical
percussionist.)
since it's classical and not latin percussionist, i would go for a
2-line staff (use treble staff lines G/D) with below the line open
and above the
Hey Jef,
The system you mentioned isn't practical because there are two
congas. I'm currently using a five-line staff with the top space
indicating the high conga and the second-from-bottom space indicating
the low conga -- I'd like to stick with that if possible. (I don't
generally
When using the straight line gliss, I usually like to have the line
attach directly to the noteheads. But what if there's an intervening
accidental that gets in the way? What's your preferred solution in
this case? End the line before the accidental (although sometimes
spacing is very tight
The elbow effect only happens once.
ah yes then the best would be to stick as close to your normal
notation of the congas as possible.
do the same thing using a 5-line staff. i would however suggest in
general using the G/D lines (you could transpose your whole conga
part down a 2nd
Hey Jeff,
What do you mean by blank -- you mean, like just a stem and no
notehead? Hmmm. I'll have to think on that.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 24 Feb 2007, at 7:54 PM, shirling neueweise wrote:
What do you think the most concise way of notating and
My preference is to move the accidental slightly closer to the notehead,
increase the spacing between the two notes slightly, and to end the line
visibly (i.e. between staff lines), and at an angle so that it still
points to the notehead. No idea whether this matches up to any
convention, though.
What do you mean by blank -- you mean, like just a stem and no
notehead? Hmmm. I'll have to think on that.
yeah, totally clear, this is quite common and avoids clutter, and you
see the angle changing (again visual cue of the resulting sound as
well as the performance action), which isn't
-Original Message-
there are many reasons why the convention might not be feasible, as
in the example i posted a little while ago. ferneyhough's writing
would certainly encourage some creative compromises... check out time
and motion study 2 for vc. heh heh. good times.
--
I usually just treat it like a harp gliss and specify the scale above the
gliss YMMV
TC
Sent via BlackBerry from Cingular Wireless
-Original Message-
From: Darcy James Argue [EMAIL PROTECTED]
Date: Sat, 24 Feb 2007 19:49:48
To:finale@shsu.edu
Subject: [Finale] Straight line
Hi Darcy,
I always end the gliss before the accidental. I don't think making
the accidental incidental by putting it above the note is a
solution I'd be happy with. When spacing is tight, and there's no
room for hand spacing, I sometimes choose to move the gliss to a
position above the
What's the best way to handle these? Is there a plugin, or do we just
hand-tweak with the beam angle tool?
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
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Also,
Any issues I should be aware of involving feathered beams over barlines?
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 24 Feb 2007, at 11:38 PM, Darcy James Argue wrote:
What's the best way to handle these? Is there a plugin, or do we
just hand-tweak with the beam angle
Finally,
Is there any way to get double feathered beams? i.e., a single beam
group that starts out with no secondary beams, feathers out to three
secondary beams, and feathers back in to one?
Can this be done over barlines?
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 24
For the first time since starting to use Finale I need to use it to create a
score and parts for a multi-movement work. Are there any special ways to do
this? Would it work to just put a final bar in the middle of a score and
continue from there? Also, how can you re-number the measures at the
On 24-Feb-07, at 8:08 PM, shirling neueweise wrote:
When using the straight line gliss, I usually like to have the
line attach directly to the noteheads. But what if there's an
intervening accidental that gets in the way? What's your preferred
solution in this case? End the line before
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