Wide fermatas are old notation: Mozart used them, for instance. In his operas
you can find instances of wide fermatas over two or more notes. In most cases
it's the singer who has several notes while the orchestra holds one note, but
there are cases where the fermata extends over more than one
Just imagine sitting in an orchestra, while it is being conducted. What do
you see on the page, what do you see in the stick? Sure, Mozart put a big
fermata over the voice part - and today's conductor can hold the stick
while the singer takes time with those notes - easy.
But if the conductor
On 2/11/2012 6:30 AM, Raymond Horton wrote:
Just imagine sitting in an orchestra, while it is being conducted. What do
you see on the page, what do you see in the stick? Sure, Mozart put a big
fermata over the voice part - and today's conductor can hold the stick
while the singer takes time
On 2/11/2012 6:30 AM, Raymond Horton wrote:
But if the conductor is conducting a player in several held notes while
every one else has one fermata, then he.she has to stop and talk first, and
there is still a potential for a mistake - not easy.
I would conduct the player gently with my left
On 2/11/2012 7:55 AM, Aaron Sherber wrote:
On 2/11/2012 6:30 AM, Raymond Horton wrote:
But if the conductor is conducting a player in several held notes while
every one else has one fermata, then he.she has to stop and talk first, and
there is still a potential for a mistake - not easy.
I
On Sat, February 11, 2012 7:55 am, Aaron Sherber wrote:
On 2/11/2012 6:30 AM, Raymond Horton wrote:
But if the conductor is conducting a player in several held notes while
every one else has one fermata, then he.she has to stop and talk first, and
there is still a potential for a mistake - not
On 2/11/2012 8:24 AM, David H. Bailey wrote:
Interesting -- in my experience that sort of thing requires explanation
since people are confused about what is happening and whether they
should follow my left hand or the stick.
It depends a lot on how exactly the conductor does it, and a bit on
On 2/11/2012 8:03 AM, Dennis Bathory-Kitsz wrote:
I don't know if
this is a consequence of the greater specificity of contemporary music
creating a new expectation, but the practice of giving fermatas only the the
largest note value in a part doesn't work anymore.
Again, I think there are
Thank you John.
J D Thomas
ThomaStudios
On Feb 10, 2012, at 6:13 PM, John Blane wrote:
Select Font is available in the Shape Designer menu, but not the Text Menu.
On Feb 10, 2012, at 6:01 PM, J D Thomas wrote:
Hey all,
I'm coming from Finale Mac 2007 to 2011 and I cannot get any
On the other hand, when a part becomes too cluttered with
instructions, I believe that can also be an impediment to
comprehension;
this is not cluttered with instructions, it is a symbol and
performances practice that every musician with the most basic
training understands immediately; any
On Sat Feb 11, at SaturdayFeb 11 8:03 AM, Dennis Bathory-Kitsz wrote:
On Sat, February 11, 2012 7:55 am, Aaron Sherber wrote:
On 2/11/2012 6:30 AM, Raymond Horton wrote:
But if the conductor is conducting a player in several held notes while
every one else has one fermata, then he.she has to
On Sat Feb 11, at SaturdayFeb 11 9:02 AM, Aaron Sherber wrote:
I'll add one final detail to the discussion. I initially said that the
single moving part had 4 sixteenth notes. In fact, the instrument has a
dotted eighth and two 32nd notes. For those of you who felt that seeing
four 16th
I agree emphatically with everything Chris says here. Unless the notes are all
seriously elongated, and detached (the player breathes between each note), a
fermata on each note seems like overkill. And if the notes are meant to be
connected, played as a single melodic phrase, conducting each
At 11:32 AM +0100 2/11/12, Florence + Michael wrote:
Wide fermatas are old notation: Mozart used
them, for instance. In his operas you can find
instances of wide fermatas over two or more
notes. In most cases it's the singer who has
several notes while the orchestra holds one
note, but there
At 6:30 AM -0500 2/11/12, Raymond Horton wrote:
Just imagine sitting in an orchestra, while it is being conducted. What do
you see on the page, what do you see in the stick? Sure, Mozart put a big
fermata over the voice part - and today's conductor can hold the stick
while the singer takes time
On 2/10/2012 12:31 PM, Robert Patterson wrote:
I always use George Crumb style fermatas in these situations, which as it
happens are much easier to create. (You can do it with the custom line
tool.) But that's not what you asked for.
That would be a fallback solution. I think it's a little out
At 8:24 AM -0500 2/11/12, David H. Bailey wrote:
Interesting -- in my experience that sort of thing requires explanation
since people are confused about what is happening and whether they
should follow my left hand or the stick.
Our community band conductor has as clear a stick
as anyone in
At 9:02 AM -0500 2/11/12, Aaron Sherber wrote:
I'll add one final detail to the discussion. I initially said that the
single moving part had 4 sixteenth notes. In fact, the instrument has a
dotted eighth and two 32nd notes. For those of you who felt that seeing
four 16th rests with fermatas was
On 2/11/2012 11:20 AM, Christopher Smith wrote:
Does the passage actually sound like a dotted eighth and two
sixteenths once every note has a fermata on it? I wouldn't think so.
Why not use notation that reflects the actual sound?
Because I didn't write the piece.
Aaron.
On 2/11/2012 1:02 PM, Darcy James Argue wrote:
I agree emphatically with everything Chris says here. Unless the notes are
all seriously elongated, and detached (the player breathes between each
note), a fermata on each note seems like overkill.
Yes, I agree.
And if the notes are meant to
I do find this a very interesting discussion, but I'd also like to point
out that my original question was just how to accomplish this in FInale,
not what the best notation would be. g
Thanks,
Aaron.
Yeah, but this is what we do here:
Q: How do I do THIS?
A: No, no, no! HERE's what you
On 2/11/2012 9:29 PM, Raymond Horton wrote:
Yeah, but this is what we do here:
Q: How do I do THIS?
A: No, no, no! HERE's what you should do: ...
Oh, I'm not complaining. As I said, a very interesting discussion. The
only thing that's missing is the voice of the late David Fenton, who I
Wouldn’t the discussion evaporate, if we made this a white fermata?
Klaus
From: Aaron Sherber aa...@sherber.com
To: finale@shsu.edu
Sent: Sunday, February 12, 2012 3:44 AM
Subject: Re: [Finale] Wide fermata
On 2/11/2012 9:29 PM, Raymond Horton wrote:
Yeah,
On Sat, Feb 11, 2012 at 9:44 PM, Aaron Sherber aa...@sherber.com wrote:
On 2/11/2012 9:29 PM, Raymond Horton wrote:
Yeah, but this is what we do here:
Q: How do I do THIS?
A: No, no, no! HERE's what you should do: ...
Oh, I'm not complaining. As I said, a very interesting discussion.
At 10:44 PM -0500 2/11/12, Raymond Horton wrote:
On Sat, Feb 11, 2012 at 9:44 PM, Aaron Sherber aa...@sherber.com wrote:
On 2/11/2012 9:29 PM, Raymond Horton wrote:
Yeah, but this is what we do here:
Q: How do I do THIS?
A: No, no, no! HERE's what you should do: ...
To be fair,
I have been trying to find detailed directions of how to change the
piano sounds on each staff of my score to the Garritan Steinway piano
using Aria.
I have Finale 2010 which comes with Garritan Aria. I can run
Aria and select the Steinway piano. However, in Finale I cannot find
the settings that
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