Leigh Daniels wrote:
And make the capital M and the lower case M look different!
You mean we're supposed to read the letters, too? Wow --
the things I learn on this list! ;-)
--
David H. Bailey
[EMAIL PROTECTED]
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Richard Smith wrote:
[snip]
I have seen both do it and any engraver who puts out something like that
should be ashamed!
[snip]
That's really what it all boils down to -- the engraver
should take the time to actually make all the parts legible
and clear and easy to understand.
Most
Gerry Kirk wrote:
Thanks, Christopher. Applying your tip, I solved the playback crash
problem by methodically eliminating one expression at a time in--as well
as I could recall--reverse order of having entered each. The apparent
cause: I had created a one-word text instruction on the drum set
shirling neueweise wrote:
Christopher Smith wrote:
Maybe musicians read musical notation more easily than they read text
indications. I noticed later that the marking stacc. was largely
ignored on the first reading (sight reading, of course, as prepared
parts in an orchestral context would
Darcy James Argue wrote:
You should *never* use just M or m for chord symbols, regardless of
the font.
I know Christopher disagrees, but I prefer either the geometric symbols
(∆ and -), or MA and mi.
I believe Christopher uses Cmaj7 (which is okay, though I *greatly*
prefer CMA7) and Cm7
I think the worst example of misleading text dynamics I have ever seen
appears on a piece set for one of the french horn exams of the Associated
Board in
the UK.
A couple of bars from the end of the penultimate line it says de - . On
the last line it says crescendo . I'll leave it to
Oh don't get me started on the JazzText font! The Z and the 2, the H
and the M, the stupid 5...
Before long I am going to have convinced myself to make my own inkpen
font...
Christopher
On Oct 21, 2008, at 11:39 PM, Leigh Daniels wrote:
And make the capital M and the lower case M look
Unfortunately Mr. Sigler got his Jazz font bundled with Finale then
completely dismissed the updates (and did not reply to
emails about problems with his other Swingfont I bought many years ago).
And think how beatiful are the fonts used in latest Sher Real Books
Anyone has tried to use
shirling neueweise wrote:
shit... busted. verdammte Scheiße.
I'd rather deal with that than verdampfte Scheiße.
--
Robert Patterson
http://RobertGPatterson.com
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If you find the JazzFont too thick, then the Inkpen font from
Sibelius is positively stubby. I find it next to unusable (though I
haven't tried it in Finale, only in Sibelius).
Christopher
On Oct 22, 2008, at 8:49 AM, Marcello Noia wrote:
Unfortunately Mr. Sigler got his Jazz font bundled
At 12:42 AM 10/22/2008, you wrote:
Darcy James Argue wrote:
You should *never* use just M or m for chord symbols,
regardless of the font.
I know Christopher disagrees, but I prefer either the geometric
symbols (? and -), or MA and mi.
I believe Christopher uses Cmaj7 (which is okay, though I
On Oct 22, 2008, at 4:33 AM, dhbailey wrote:
Darcy James Argue wrote:
You should *never* use just M or m for chord symbols,
regardless of the font.
I know Christopher disagrees, but I prefer either the geometric
symbols (∆ and -), or MA and mi.
I believe Christopher uses Cmaj7 (which is
On Oct 22, 2008, at 9:35 AM, Dana Friedman wrote:
I always stayed away from the - because most people use + to mean
augmented. Though I have seen some people stay way from the + by
writing things like C7#5.. But..if I'm to to reduce the amount
a player has to read, I wouldn't want
I agree! You could do it as an e-book. I'd buy a copy.
**Leigh
On Wed, Oct 22, 2008, shirling neueweise
[EMAIL PROTECTED] wrote:
You would be doing the notation world a great service if you would
put down in more detail your principles of graphic design as it
applies to music.
hm, thanks.
In my area b13 is the norm on
Do you mean area of music? Area geographically? Culturally?
Best,
Dana
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Many thanks for the interesting responses so far in this thread. As
expected, most of the information, while reasonable and with some
practical experience behind it, is rather informal. e.g.
— accidentals should be clearly distinguished, particularly sharps and
naturals;
— serif fonts
On Oct 22, 2008, at 11:24 AM, Dana Friedman wrote:
In my area b13 is the norm on
Do you mean area of music? Area geographically? Culturally?
Heh, heh! All three, but I was really referring to Montreal. I find
some aspects of notation, especially in jazz, tend to be regional.
Nice
Has there ever been a solution or workaround for properly transposing
chords (on a transposing part) in a piece with no key signature for
all instruments? I'm talking about using linked parts.
MacFin08
Thanks,
KIM R
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At 01:24 PM 10/22/2008, you wrote:
Has there ever been a solution or workaround for properly transposing
chords (on a transposing part) in a piece with no key signature for
all instruments?
Why not treat the piece with no key signature as if it were in C? If
you had an alto sax part in a
The solution is upgrade to Finale 2009, where this problem is finally
fixed.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 22 Oct 2008, at 1:24 PM, Kim Richmond wrote:
Has there ever been a solution or workaround for properly
transposing chords (on a transposing part) in a piece
On Oct 22, 2008, at 11:59 AM, Daniel Wolf wrote:
As an aside, I must admit to finding yet another discussion of
vernacular chord notation somewhat puzzling. While, in principle,
the intention would appear to be to create a notation for rather
flexible extemporaneous realization, in
selection tool make selectionutilities menuchangeChange Chord
assignmentscheck transpose
Mark McCarron
--- On Wed, 10/22/08, Kim Richmond [EMAIL PROTECTED] wrote:
From: Kim Richmond [EMAIL PROTECTED]
Subject: [Finale] TRANSPOSING chords in atonal key
To: FINALE FINALE LIST
On Oct 22, 2008, at 1:24 PM, Kim Richmond wrote:
Has there ever been a solution or workaround for properly
transposing chords (on a transposing part) in a piece with no key
signature for all instruments? I'm talking about using linked parts.
MacFin08
Thanks,
KIM R
Yes, though you can't
On Wed, Oct 22, 2008 at 1:44 PM, Christopher Smith
[EMAIL PROTECTED] wrote:
If you want
your alto part NOT to have three sharps, you have to use Chromatic
Transposition,
This statement is false. There is another way to have your alto part
not show sharps, and it may even let your chords
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