Hi all! I'm working with Finale 2007. I defined a 12-part classical orchestra
with the Wizard. Amongst these are a Bb Clarinet and an F Horn. The wizard set
up their respective transposed key signatures correctly. I am also able to
change them individually (as I did for the Horn, for which I wa
On 27-Aug-09, at 27-Aug-09 5:38 PM, John Howell wrote:
At 4:22 PM -0400 8/27/09, Andrew Stiller wrote:
On Aug 26, 2009, at 6:57 PM, Ray Horton wrote:
a conventional bass trombone in Bb with two valves. This is
never called a contrabass trombone. In that case
About 10 years ago, however
arabu...@cowtown.net wrote:
So is the advantage to writing for a contrabass trombone one of range, or
strictly one of timbre? Just looking through the Ring Cycle it doesn't
look like the contrabass goes down any lower than the regular bass. I
understand thet IU had two contrabass bones, both of w
Andrew, I hate to correct a man who is such an expert, an you are. But
you have a mistaken impression on a few counts.
" it is just impossible to say what trombone you want without going into
a whole lengthy description."
It is very easy to say what trombone you want. "Trombone" implies a
At 4:22 PM -0400 8/27/09, Andrew Stiller wrote:
On Aug 26, 2009, at 6:57 PM, Ray Horton wrote:
a conventional bass trombone in Bb with two
valves. This is never called a contrabass
trombone. In that case
About 10 years ago, however, I gradually came
to the realization that most players c
So is the advantage to writing for a contrabass trombone one of range, or
strictly one of timbre? Just looking through the Ring Cycle it doesn't
look like the contrabass goes down any lower than the regular bass. I
understand thet IU had two contrabass bones, both of which had valves.
ajr
>
> On
On Aug 26, 2009, at 6:57 PM, Ray Horton wrote:
Andrew suggests:
"contrabass trombone (i.e. wide-bore Bb/F bass w. addl. D trigger)"
Just what do you mean, Andrew? Do you mean a contrabass trombone in
BBb, same pitch as a BBb tuba, but with two valves? Not made - no
valves, or one valve o
Yes, Ray, that's right; a smaller trumpet would provide greater security.
It would be an E-Flat arpeggio on a D trumpet, D on an E-Flat trpt. And I
believe high B tends to be flat on some trumpets, although I'm not at all
sure about Flugelhorns.
Dalvin
-Original Message-
From: finale-bou
Hi Dalvin,
So, you mean it ranges around a concert F arpeggio? That sounds right.
I know, when I sat through an audition with dozens of trumpet players
playing it behind a screen, the only one who actually tried to play it
on a flugel could not get the high As (written Bs) in tune - they
I am currently scanning a lot of old Facsimiles, some of which I only
have as rather bad photocopies, which have a lot of dust on them, which
shows as small dots on the page. Is there a method, application or
Photoshop filter which can take out dots which are smaller than a
certain size, yet leave
Oops. The flugelhorn (posthorn) solo is in F, as it appears in the first
trumpet part.
Dalvin Boone
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Ray Horton
Sent: Thursday, August 27, 2009 12:44 PM
To: finale@shsu.edu
Subject: Re: [Finale]
The Flugelhorn cues in the first trumpet part are for "Flugelhorn in B"
(i.e., B-Flat).
Dalvin Boone
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Ray Horton
Sent: Thursday, August 27, 2009 12:44 PM
To: finale@shsu.edu
Subject: Re: [Finale]
I forget - in what key is that (Mahler 3 posthorn solo) passage?
arabu...@cowtown.net wrote:
You could still tell it was a D trumpet and not something more mellow. I
don't know if it was the player's choice or the conductors's.
ajr
___
Final
You could still tell it was a D trumpet and not something more mellow. I
don't know if it was the player's choice or the conductors's.
ajr
> Our first trumpet player plays a posthorn on occasion, and gets a very
> dark sound on it - it has a very large bore in comparison to it's length
> - as opp
Our first trumpet player plays a posthorn on occasion, and gets a very
dark sound on it - it has a very large bore in comparison to it's length
- as opposed to a D trumpet.
The player that chose a D trumpet probably did so for intonation or
comfort, but probably not for timbre. Actually, bei
Christopher Smith wrote:
Whenever I have some unwanted staff styles in the score (parts are a
different matter, as I mentioned) it is usually the result of me
accidentally having the staff tool selected instead of the Selection
Tool when I try some operation like respacing, so I accidentally as
Whenever I have some unwanted staff styles in the score (parts are a
different matter, as I mentioned) it is usually the result of me
accidentally having the staff tool selected instead of the Selection
Tool when I try some operation like respacing, so I accidentally
assign a staff style in
And when I did my first round of recordings in Moravia I found out how
prominent the euphonium (=tenor flügelhorn) was in the folklorical combos.
ajr
> Andrew Stiller wrote:
>>
>> On Aug 26, 2009, at 11:01 AM, John Howell wrote:
>>
>>> my first reaction was, "why?" Most of us would write for flu
Andrew Stiller wrote:
On Aug 26, 2009, at 11:01 AM, John Howell wrote:
my first reaction was, "why?" Most of us would write for flugel as a
double, specifically for its tone quality.
But thinking about it, I could picture using flugel as the lead over
trombones, and wanting to mute the who
timothy price wrote:
On Aug 26, 2009, at 11:01 AM, John Howell wrote:
Most of us would write for flugel as a double, specifically for its
tone quality.
Was wondering if you might be able to give an example of this color
quality in some well known musical work? Is there such a famous piec
To only do it in the parts seems to me to be a quite crippled solution. I
guess this means that you can't see in the score what the part is going to
show; which I would consider to be a big problem for the score reader.
I have also had large hassle with staff styles. Most often, some staves
sudden
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