FWIW, I've long been a proponent of (as an American composer) using
directions in English as much as possible. If it's been good enough
for the Italians, French, and Germans ... why not us? Let them come
to us for a change ... eh, it's just the curmudgeon bubbling to the
surface ... I tu
I usually put as many of the words in my scores into Italian as possible,
somewhat drawing on my experience of making recordings in Moravia where
they understood everything I wrote in Italian, and not necessarily what I
wrote in English (e.g., "white keys," "rim shot").
ajr
> At 9:21 PM -0500 8/3
At 9:21 PM -0500 8/31/09, arabu...@cowtown.net wrote:
Has anyone here run across the feminized "Cornetta" to refer to the
3-valve cornet? I'm about to finalize a score that includes this
instrument, and I don't want it mistake for the cornetto of Moneteverdi's
time.
ajr
No, although that doesn
Didn't Bobo play for either Chicago and or Philly at one time?
That's going back a bit ..
Dean
On Aug 31, 2009, at 7:20 PM, Ray Horton wrote:
I think we might be misunderstanding the intent of Roger Bobo's
page. He was the long time tubist with the Los Angeles Symphony and
is simply maki
Has anyone here run across the feminized "Cornetta" to refer to the
3-valve cornet? I'm about to finalize a score that includes this
instrument, and I don't want it mistake for the cornetto of Moneteverdi's
time.
ajr
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On 31 Aug 2009 at 22:20, Ray Horton wrote:
> Now, regarding David's comparison of a pianist, Mozart, and a
> fortepiano, I am guessing that a pianist might not choose the Mozart-era
> fortepiano if playing with a modern orchestra, larger than those in
> Mozart's day, and playing in a large concer
Would be interesting to here a Roger Norrington Roman Triptych, 78-rpm
disc and all. and perhaps official buccine instead of
saxhorns/flügelhorns?
ajr
> I think we might be misunderstanding the intent of Roger Bobo's page. He
> was the long time tubist with the Los Angeles Symphony and is simply
I think we might be misunderstanding the intent of Roger Bobo's page. He
was the long time tubist with the Los Angeles Symphony and is simply
making observations on what he sees going on in the symphonic world now.
He was/is no troglodyte himself - for example, he helped bring the F
tuba into m
The Aida triumphal trombones and cimbasso were not in the banda, but shared two
staves. I cannot remember whether the distribution was 2+2 or 3+1 on the
staves, but they clearly were thought as a section.
The banda was written in style of a piano reduction on a treble staff and a
bass staff. I
Thanks, Klaus, for the reminder of the mid-19th century "valved
ophicleide." I had forgotten it. I suppose if a keyed trumpet (the
Haydn concerto instrument with open holes) and a valved trumpet can both
be trumpets, then a keyed ophicleide and a valve ophicleide can both be
ophicleides. Do
On 31 Aug 2009 at 5:37, dhbailey wrote:
> These days, often in discussions such as sometimes occur on
> orchestralist, people seem to be of the "play it with the
> instruments called for in the score or don't play it at all.
> How dare you go against the clearly written desires of the
> comp
Martin,
I'd like to help, but I am not clear as to what you mean. Your
preference file (kept by default in User/Library/Preferences - but it
need not necessarily remain there) affects all Finale documents. Your
Maestro default controls certain settings for new documents. You can
save a
Recently I had to trash my preference file after I rearranged the main
tool palette and Finale kept crashing on me. Now that I trashed my
preference file, is it possible to take all my preferences from a
current Finale document and transfer all those settings directly into
Maestro Font Defa
If memory serves me right the Verdi quote is from a communication with the
association of Italian opera houses, which strived to uniform the orchestration
of the period opera scores, so that composers had all parts covered and
orchestras had no superfluous members.
I once had access to the scor
Ray Horton wrote:
[snip]> The most astounding conclusion/discovery of Meucci,
to me, is that in
Verdi's famous 1871 letter prior to _Aida_:
"That bombardon is not a possibility... I cherish a [valved] Trombone
Basso because it is of the same family as the others; but if it should
be too tir
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