Hi David--I believe , according to your post below, that it was
someone else-:Les Marsden--that you had diagnosed, and discussed--and
it turned out to be nothing--
http://www.mail-archive.com/finale@shsu.edu/msg38982.html
Though I haven't seen that added to any of my posts, they sure have
OK guys. I want to see a show of hands. I have MacFin07 and I'm
contemplating upgrading to 2008. My question: IS IT WORTH IT? Or am I
buying in to more trouble than it's worth?
I've seen so many negative things here on the List (although I
haven't monitored it every day, thus my question.
(Since I know you can't wait to find out how this went... )
Having run out of other options, I spent all evening reinstalling OS X
10.5 from scratch (I did Archive and Install, but with Preserve
Users and Groups turned off).
And lo, printing works again. Who knows why?
BUT... here is the
On 26-Mar-08, at 3:23 AM, Kim Richmond wrote:
OK guys. I want to see a show of hands. I have MacFin07 and I'm
contemplating upgrading to 2008. My question: IS IT WORTH IT? Or am
I buying in to more trouble than it's worth?
I've seen so many negative things here on the List (although I
shirling neueweise wrote:
But at the heart of any music, new or old, complicated or simple, lies
John's question. For some, the music of Ferneyhough is just such a
music that makes them say Wow, that's a challenge and I love a
challenge and I'm going to master this and show the old farts
Yes. I can use the mouse and select QUIT from the FILE MENU.
In Finale, I can no longer use COMMAND~ to change from Scroll to Page
view. I must go to the menu with the mouse. Very strange.
Lawrence David Eden / 08.3.25 / 6:24 AM wrote:
Something has caused my basic keyboard shortcuts
David W. Fenton wrote:
On 23 Mar 2008 at 21:55, Owain Sutton wrote:
(Why
notate anything as 2/2, if it's likely to be heard as 2/4?)
This kind of comment makes me crazy.
You notate it as 2/2 because MUSICIANS PLAY IT DIFFERENTLY THAN THE
PLAY 2/4.
Certain styles of music make more sense
On Mar 26, 2008, at 6:39 AM, dhbailey wrote:
David W. Fenton wrote:
On 23 Mar 2008 at 21:55, Owain Sutton wrote:
(Why
notate anything as 2/2, if it's likely to be heard as 2/4?)
This kind of comment makes me crazy.
You notate it as 2/2 because MUSICIANS PLAY IT DIFFERENTLY THAN
THE PLAY
At 3/25/2008 12:20 AM, David W. Fenton wrote:
On 23 Mar 2008 at 21:55, Owain Sutton wrote:
(Why notate anything as 2/2, if it's likely to be heard as 2/4?)
This kind of comment makes me crazy.
You notate it as 2/2 because MUSICIANS PLAY IT DIFFERENTLY THAN THEY PLAY
2/4.
Why? Or should I
I hate to argue with David, but as a performer I know that playing something
in 2/4 and in 2/2 definitely feels different. I'm not sure I have enough
brain cells to work out why, or what it is that I do differently, but there is
a difference.
Sorry.
Lawrence
lawrenceyates.co.uk
I happen to really enjoy and admire Brian Ferneyhough's work--and I
happened to find this entire piece online,though I would also have
loved to find some complete movements of his String Quartets.
http://asamisimasa.com/sound.htm
Direct Download link:
http://asamisimasa.com/music/s005.wma
Phil Daley / 08.3.26 / 7:46 AM wrote:
Why? Or should I say how?
That comment makes absolutely no sense to me.
It does make sense to me as well as it did to Christopher. I think the
key here is style as in culture.
Christopher Smith / 08.3.26 / 7:38 AM wrote:
(An interesting exception to the
Christopher Smith wrote:
[snip] (An interesting exception to the jazz swing convention: the tune
All
Blues, which for some odd reason is usually notated in 6/8 with swing
16ths, rather than the more conventional 6/4 with swung 8ths (like two
bars of jazz waltz). Nutty.)
But demonstrating
On Mar 26, 2008, at 9:14 AM, Bob Morabito wrote:
This is a discussion with the composer--he talks about this piece,
and irrational measure lengths, etc:
http://www.sospeso.com/contents/articles/ferneyhough_p1.html
The so-called 'irrational' measure lengths, i.e. those based on
beats
After very much wasted time and effort, here is what was found:
This plugin does not give you a dynamic, according to a
supervisor at MM support, tho I've seen it in my scores.
What it does do is to take your midi velocities--and based upon the
settings in Expression Selections (I
On Mar 26, 2008, at 9:40 AM, dhbailey wrote:
Christopher Smith wrote:
[snip] (An interesting exception to the jazz swing convention: the
tune All
Blues, which for some odd reason is usually notated in 6/8 with
swing 16ths, rather than the more conventional 6/4 with swung 8ths
(like two
Hello Dennis,
Maybe Robert Patterson's Settings Scrapbook would do the trick. The
unfortunate side of this plug-in is that it will not just copy the staff
name attributes and distance. It will also...
1. add staves if the source file has more staves than the file you are
trying to transform.
2.
On Mar 26, 2008, at 9:05 AM, A-NO-NE Music wrote:
Phil Daley / 08.3.26 / 7:46 AM wrote:
Why? Or should I say how?
That comment makes absolutely no sense to me.
It does make sense to me as well as it did to Christopher. I think
the
key here is style as in culture.
Christopher Smith /
On Mar 26, 2008, at 4:38 AM, Christopher Smith wrote:
I know what he means, if I could jump in here. The listener might
not make a distinction, but the performer reading it might react
differently. In a previous post (I don't know if it made it to the
board yet!) I had made a comparison
those are the guys i'm working with this week!
I happen to really enjoy and admire Brian Ferneyhough's work--and I
happened to find this entire piece online,though I would also have
loved to find some complete movements of his String Quartets.
http://asamisimasa.com/sound.htm
sorry to
David Bailey, quoting and responding to jef chippewa (I believe) noted:
sure there is a lot of crap out there; there was a lot of crap written
in mozart's time too (and from his own hand), of the thousands of
symphonies written up to the mid-late 1800s, how many still
The so-called 'irrational' measure lengths, i.e. those based on
beats expressed in terms of fractions of full beats in the
prevailing tempo, thus giving rise to such time signatures as 3/10
or 5/24, are useful as local 'dissonances' serving to refocus
attention and instantiate reassessment
On Mar 26, 2008, at 1:12 PM, Darcy James Argue wrote:
I am trying to keep an open mind in this discussion (and tried to
listen, too, but the sound files wouldn't work for me).
Both WMV Player (a QuickTime add-on) and Windows Media Player played
the files correctly without hassle on my
If you paste or insert data including time signature changes from
Finale-opened MIDI files into a new file, you'll have to go through a few
extra steps in 2008 because they revised the way music is selected and
copied when they introduced the concept of measure stacks. However, they
did fix a
The best of luck with the performance--please let us know how it goes--
Bob Morabito
On Mar 26, 2008, at 11:44 AM, shirling neueweise wrote:
those are the guys i'm working with this week!
I happen to really enjoy and admire Brian Ferneyhough's work--and
I happened to find this entire
At 12:20 AM -0400 3/25/08, David W. Fenton wrote:
On 23 Mar 2008 at 21:55, Owain Sutton wrote:
(Why
notate anything as 2/2, if it's likely to be heard as 2/4?)
This kind of comment makes me crazy.
You notate it as 2/2 because MUSICIANS PLAY IT DIFFERENTLY THAN THE
PLAY 2/4.
Certain
At 1:19 AM -0400 3/26/08, David W. Fenton wrote:
On 24 Mar 2008 at 22:49, shirling neueweise wrote:
of the
thousands of symphonies written up to the mid-late 1800s, how many
still survive?
Of the thousands of orally composed songs of the troubadours, how
many survive today? Actually,
Cut time in 3? Is that the Zeffiro Torna meter?
ajr
At 12:20 AM -0400 3/25/08, David W. Fenton wrote:
On 23 Mar 2008 at 21:55, Owain Sutton wrote:
(Why
notate anything as 2/2, if it's likely to be heard as 2/4?)
This kind of comment makes me crazy.
You notate it as 2/2 because MUSICIANS
John Howell wrote:
Quite correct, except for one thing. The term (French) is
violoncello.
I knew better. My story, and I'm sticking to it, is that the i is
right next to the o.
ns
___
Finale mailing list
Finale@shsu.edu
I am returning to this list after a long hiatus, and am still using 2005a.
(My first upgrade from 1997, so am still enamored with how great it is
compared to that!) I, too, have wondered whether or not to update, and
really appreciate the candid remarks about new and old bugs. :)
Thanks!
Nancy in
On Mar 26, 2008, at 10:03 PM, Nancy L Schoen wrote:
I am returning to this list after a long hiatus, and am still using
2005a.
(My first upgrade from 1997, so am still enamored with how great it is
compared to that!) I, too, have wondered whether or not to update, and
really appreciate the
Actually, 2007 has Linked Parts. And it is Universal Binary on the Mac
side (first version to be so I think).
2008 would be a good buy if you had a Mac. The Leopard support is
good, and the ability to have a quick view of docs is nice to have.
And it is stable. But, since summer is almost here,
On 26 Mar 2008 at 6:34, dhbailey wrote:
How do you know that the symphonies which were lost were real crap, and
not just stuff that the musicians of the day couldn't be bothered
mastering and so they dismissed it as unplayable.
Well, even I wouldn't go that far.
But there is a point in
At 5:18 PM -0500 3/26/08, [EMAIL PROTECTED] wrote:
Cut time in 3? Is that the Zeffiro Torna meter?
Not in the Malipiero edition, if my memory is anywhere close to
accurate. But 3/2 is fairly common in later Baroque music where it's
an actual time signature and not a proportion.
John
--
On 26 Mar 2008 at 11:20, John Howell wrote:
back in
the '70s someone promoted a Romantic Festival in
Indianapolis on the theory that there was gold
among the unknown romantic music, and it turned
out that there WERE good reasons why they were
unknown!
I would be interested to know
On 26 Mar 2008 at 2:30, Bob Morabito wrote:
I believe , according to your post below, that it was
someone else-:Les Marsden--that you had diagnosed, and discussed--and
it turned out to be nothing--
http://www.mail-archive.com/finale@shsu.edu/msg38982.html
Though I haven't seen that
On 26 Mar 2008 at 6:39, dhbailey wrote:
David W. Fenton wrote:
On 23 Mar 2008 at 21:55, Owain Sutton wrote:
(Why
notate anything as 2/2, if it's likely to be heard as 2/4?)
This kind of comment makes me crazy.
You notate it as 2/2 because MUSICIANS PLAY IT DIFFERENTLY THAN THE
Lawrence David Eden / 08.3.26 / 7:12 AM wrote:
Yes. I can use the mouse and select QUIT from the FILE MENU.
In Finale, I can no longer use COMMAND~ to change from Scroll to Page
view. I must go to the menu with the mouse. Very strange.
For the record, I loose Quit menu every so often under
On 26 Mar 2008 at 7:46, Phil Daley wrote:
At 3/25/2008 12:20 AM, David W. Fenton wrote:
On 23 Mar 2008 at 21:55, Owain Sutton wrote:
(Why notate anything as 2/2, if it's likely to be heard as 2/4?)
This kind of comment makes me crazy.
You notate it as 2/2 because MUSICIANS
On 26 Mar 2008 at 8:18, Chuck Israels wrote:
Joe Schwantner writes gorgeous music that I find difficult to read (my
limitation - not the notation's) because he makes a point of choosing
small note values;
It seems to me that this statement of yours show that you agree with
my point.
On 26 Mar 2008 at 22:25, Christopher Smith wrote:
Major new features in 2008 include linked parts
Linked parts were added in 2007, no?
--
David W. Fentonhttp://dfenton.com
David Fenton Associates http://dfenton.com/DFA/
On 27 Mar 2008 at 0:12, John Howell wrote:
At 5:18 PM -0500 3/26/08, [EMAIL PROTECTED] wrote:
Cut time in 3? Is that the Zeffiro Torna meter?
Not in the Malipiero edition, if my memory is anywhere close to
accurate. But 3/2 is fairly common in later Baroque music where it's
an actual
LOLOL!
On Mar 27, 2008, at 12:13 AM, David W. Fenton wrote:
On 26 Mar 2008 at 2:30, Bob Morabito wrote:
I believe , according to your post below, that it was
someone else-:Les Marsden--that you had diagnosed, and discussed--and
it turned out to be nothing--
I do recall Raymond Lewenthal's Romantic Revival that went through at
least three record labels before sputtering out. An Indiana-based pianist
named Frank Cooper did find some good stuff--IIRC he recorded the Ignaz
Brüll 2nd piano concert. But as a whole, the 19th century did produce it's
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