I strongly doubt that Prokofiev was working with transposed scores and
editors were changing them, considering his most famous contemporaries
(notably Stravinsky and Shosty) used transposed scores. On that evidence
alone I infer that Proko wanted his scores in concert pitch.
My Dover score for Pet
john, you can't extend your experiences with badly done concert pitch
scores to the entire realm of concert pitch scores. and you can't
blame proko for modern editions of his scores. i (don't know for
sure but) would assume the score he submitted and the version he
proofed for publication we
Further to Robert's point -- to the folks who have this idea that concert pitch
scores are somehow "dumbed down," I wonder if you've ever tried to run a
rehearsal using one?
When there's note-checking to be done, a conductor working from a concert pitch
score needs to be able to call out note
At 9:37 PM -0500 10/12/12, Robert Patterson wrote:
>
>That said, if you can't read C scores, there's a whole lot of important
>literature that is a closed book to you.
But even if you can, there is information that
SHOULD be obvious but is hidden behind the
concert pitch score.
Case in point.
Indeed.
Aslo, can we stop pretending that sight-reading tonal, key-signature-based,
traditionally-noted scores uses the same skillset as sight-reading non-tonal,
non-key-signature, unconventionally-notated scores? I think we've all seen some
pretty impressive "repetiteurs" (to use Steve's word)
Once again we have the assumption that the use of C scores implies anything
whatsoever about the skillset of the people that use them.
That said, if you can't read C scores, there's a whole lot of important
literature that is a closed book to you.
On Fri, Oct 12, 2012 at 8:30 PM, Steve Parker wr
That simple procedure (in Fin2012) presents no problems for me. Does the
staff need to be a transposing staff? I don't really understand what you
mean by "repitch it by holding down a new chord on the MIDI keyboard and
hitting Enter." When I do what I read you to be saying, nothing happens, so
ther
Try hitting 9 twice or more while on a chord. Then repitch it by holding down a
new chord on the MIDI keyboard and hitting Enter. Are the note spelled as
expected? Try exploding it. Are the notes still spelled correctly? About
quarter to half the time the bug shows in my experience. I don't use
Great yes! Not sure about a DVD. I'm trying to get hold of Royston to have an
email discussion with you off you're interested? (I worked with him a good
while ago..)
Steve P.
On 6 Oct 2012, at 16:25, Darcy James Argue wrote:
> I heard this was great, but did not get to see it. There's a film
I'm an old enough repetiteur that standard skillset includes reading and
reducing at sight orchestral, windband and brassband scores.
C scores give me (irrationally) the same kind of offence I would get from
transposing the works of Chopin into C major to make them easier to learn
Steve P.
Yes, I rarely need chromatic transposition, so that's why I haven't noticed the
bug.
Sent from my iPhone
On Oct 12, 2012, at 6:03 PM, Darcy James Argue wrote:
> Hi Chuck,
>
> I believe you always work with key signatures, though, correct? As far as I
> know, the problem affects only staves
> If there is anyone on the list who:
>
> (A) routinely uses scores where instruments are set to use chromatic (not key
> signature) transposition...
>
Yes.
> ... and...
>
> (B) *used* to experience problems using the 9 key to flip enharmonics under
> previous versions of Finale...
>
No. 20
Hi Chuck,
I believe you always work with key signatures, though, correct? As far as I
know, the problem affects only staves set to chromatic transposition.
If there is anyone on the list who:
(A) routinely uses scores where instruments are set to use chromatic (not key
signature) transpositio
I too, am puzzled. It seems to work for me.
Chuck
On Oct 12, 2012, at 3:09 PM, Steve Parker wrote:
>
>
>> But I never hit the 9 key any more. It's broken beyond use.
>
> Don't understand this? I hit it hundreds of times a day on F2011.
> Never had a problem.
>
> Steve P.
>
> But I never hit the 9 key any more. It's broken beyond use.
Don't understand this? I hit it hundreds of times a day on F2011.
Never had a problem.
Steve P.
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I use "Speedy 9" about 10,000 times a day (Fin2012), and haven't seen a
problem. Can it be a Mac thing? I'm on Win7.
-Lee
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Robert Patterson
Sent: Friday, October 12, 2012 3:31 PM
To: finale@shs
In my experience, it is a failure at the point of entry. If you used 9-flip
before Fin07 those files should be okay. At least, I have never seen any
problems with mine.
On Fri, Oct 12, 2012 at 4:57 PM, Dennis Bathory-Kitsz <
bath...@maltedmedia.com> wrote:
> On Fri, October 12, 2012 4:49 pm, Chri
On Fri, October 12, 2012 4:49 pm, Christopher Smith wrote:
> Yes, it is still broken, and desperately so. No change since the "fix."
I use the computer keyboard for entry, so used the 9-flip a LOT when
composing. I stopped using it when it was reported broken on this list.
But I have many scores
I agree with David, too. I would not advocate, for example, Mozart in a
concert pitch score. What ruffles my feathers is the suggestion implied by
more than one person in this discussion that a preference for concert pitch
is ipso facto an admission of inferior aural/reading skills. That is a
compl
This is indeed depressing but hardly surprising.
Are you using Fin12?
On Fri, Oct 12, 2012 at 3:54 PM, Christopher Smith <
christopher.sm...@videotron.ca> wrote:
> There are other problems with accidentals in "chromatic transposition"
> staves which may be related to the 9 key, but for sure it d
There are other problems with accidentals in "chromatic transposition" staves
which may be related to the 9 key, but for sure it doesn't work properly even
on normally transposed staves, or concert pitch staves. If you hit it more than
once, you will never know what it will look like the next ti
Yes, it is still broken, and desperately so. No change since the "fix."
Two bulletproof ways to ensure the spelling stays intact:
Enharmonic Spelling>Favour Flats/Sharps. But it is a pain to toggle between
them.
Enter the note WITHOUT the accidental, then hit - or + to flat or sharp it.
This i
I am out of the office until 16.10.2012.
In urgent matters please contact Birgit Kieser (ext. 3766).
Note: This is an automated response to your message "Finale Digest, Vol
111, Issue 12" sent on 12/10/2012 19:00:03.
This is the only notification you will receive while this person is away.
_
Once again, I am in complete agreement.
Lawrence
> I agree that in many situations concert-pitch scores are preferable.
> But I would never say in any sort of absolute way that there should be
> only transposing scores or only be concert pitch scores.
>
> Each serves a very useful purpose and p
On 10/12/2012 3:07 PM, Robert Patterson wrote:
> On Fri, Oct 12, 2012 at 1:39 PM, John Howell wrote:
>
>> since the
>> same folks who advocate concert pitch scores are
>> usually uncomfortable with the use of C clefs
>>
>
> This was a very good post down until this bit of smug nonsense. Is John
>
At 11:11 AM -0500 10/12/12, Patrick Sheehan wrote:
>In the same vein for hearing things in your head, EVERY SCORE in this world
>should be a C-Score. EVERY. SCORE.
Why?
To save people the trouble of learning to read
transpositions? To keep pianists happy within
their limitations?
How about
Exactly, David.
On 12 October 2012 21:08, David H. Bailey <
dhbai...@davidbaileymusicstudio.com> wrote:
> On 10/12/2012 12:11 PM, Patrick Sheehan wrote:
> > In the same vein for hearing things in your head, EVERY SCORE in this
> world
> > should be a C-Score. EVERY. SCORE.
> >
>
> Except for tho
On 10/12/2012 12:11 PM, Patrick Sheehan wrote:
> In the same vein for hearing things in your head, EVERY SCORE in this world
> should be a C-Score. EVERY. SCORE.
>
Except for those of us who work with the transposing instruments and can
look at the printed note for an alto saxophone and hear the
>>since the same folks who advocate concert pitch scores are usually
>>uncomfortable with the use of C clefs
>
>This was a very good post down until this bit of smug nonsense.
not to mention it being reactionary and in fact completely beside the point.
alto clefs (ever heard of this instrument
On Fri, Oct 12, 2012 at 1:39 PM, John Howell wrote:
> since the
> same folks who advocate concert pitch scores are
> usually uncomfortable with the use of C clefs
>
This was a very good post down until this bit of smug nonsense. Is John
prepared to suggest that Prokofiev was uncomfortable with C
Same experience here that Steve reports. Do I recall correctly that this
was only a problem in scores without key signatures? I never experienced
the problem but that rings a bell.
Don Hart
On Fri, Oct 12, 2012 at 11:04 AM, Steve Parker wrote:
> I always use it and never have a problem.
> Apa
At 1:23 PM -0400 10/12/12, William Sinclair wrote:
> Do you mean in the KEY of C, or in the Concert
>key (piano,bass, drums, etc.) ?
>Most vocalists I work with want the score in her key to fit her vocal range.
>Usually the female key is a major 4th or 5th above the "standard" key.
>This fits an
At 11:49 AM -0500 10/12/12, Patrick Sheehan wrote:
>Well, if we just copy-and-pasted and not have to worry about D. S.'s and D.
>C.'s and D. Q.'s and Fine's and Codas and signs here and signs here and
>there, we wouldn't have to worry about using these things.
>
>Using D.C.'s and "roadmap" signs a
I always use it and never have a problem.
Apart from chord respelling where Finale goes through ludicrous options before
finding the obvious..
Here I use '9' to respell notes individually.
Steve P.
On 12 Oct 2012, at 14:51, Robert Patterson wrote:
> When linked parts were introduced in Fin
Do you mean in the KEY of C, or in the Concert key (piano,bass, drums, etc.) ?
Most vocalists I work with want the score in her key to fit her vocal range.
Usually the female key is a major 4th or 5th above the "standard" key.
This fits an alto range. The "standard" key is for a male tenor genera
Absolutely not!
I could not disagree more.
Cheers,
Lawrence
On 12 October 2012 17:11, Patrick Sheehan wrote:
> In the same vein for hearing things in your head, EVERY SCORE in this world
> should be a C-Score. EVERY. SCORE.
>
> Lawrenceyates.co.uk
_
Well, if we just copy-and-pasted and not have to worry about D. S.'s and D.
C.'s and D. Q.'s and Fine's and Codas and signs here and signs here and
there, we wouldn't have to worry about using these things.
Using D.C.'s and "roadmap" signs are confusing to the player. We should be
able to read
In the same vein for hearing things in your head, EVERY SCORE in this world
should be a C-Score. EVERY. SCORE.
Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy
P. S. Music
Host: "The Saturday Blues" on 89.5 WNIJ-FM, 1 pm - 4 pm (CST) & WNIJ.org
1-815-973-2317 (m)
patricksh
Seems to work for me, Robert. I don't remember any recent problems.
Chuck
Sent from my iPhone
On Oct 12, 2012, at 6:51 AM, Robert Patterson
wrote:
> When linked parts were introduced in Fin07, MM severely broke the speedy 9
> key. If you used it, you got strange and incorrect results, especi
What I usually tell myself (always), and other people who are going to
listen to it:
Finale playback is only a guide -- a luxury, if you will -- before it's
played for real.
You have to use your "eye's ear" to IMAGINE how it's going to sound in a
real performance setting.
But if you can't do tha
When linked parts were introduced in Fin07, MM severely broke the speedy 9
key. If you used it, you got strange and incorrect results, especially with
transposing instruments. Even after the maintenance release that supposedly
fixed the problem it was still broken. As as result, I started studiousl
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