I would suggest that you use the notation commonly used for the
water-gong effect: Keep all the notes on the same line or space as
usual, and but upward- and downward-angled arrows above the staff.
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no silence.
Hey, we're primates! That means we're fundamentally both noisy and
grabby--and we hang out in flocks. Deal with it :-)
Andrew Stiller
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, giving it the number 105--but we no longer count
it among the others.
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) *before the overture* in 17th-c. English
theaters. Music was also played during intermission--all over Europe.
That is how comic opera started, in fact.
Andrew Stiller
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On Feb 20, 2007, at 1:00 PM, [EMAIL PROTECTED] wrote:
Just a quick recall of the bells and Pavlov's dogs should
illustrate what happens with repeated stimulus; If they salivate
whenever
they hear a bell now, when someone who has systematically and
subconsciously shut down their antennae to
. lifetime. Courses in
how to listen go back at least to the 1950s, and books on the subject
much further (example: Copland, _What to Listen For in Music_).
Andrew Stiller
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actual evidence to support your view to the
contrary?
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On Feb 5, 2007, at 6:46 PM, David W. Fenton wrote:
Timer servers have to supply time-zone agnostic
time signals, which means they can't include settings for daylight
savings and the like, because different regions in different time
zones have different rules for when (and if) they enter DST. It
On Feb 5, 2007, at 5:21 PM, Christopher Smith wrote:
On 5-Feb-07, at 4:56 PM, Andrew Stiller wrote:
OK, I downloaded Audacity and read the manual. But when I go to open
one of my MP3 files, the program tells me both that it can't read the
file type *and* that the file doesn't exist!
Help
that cannot read time servers.
Well, not doubting what you read, but can you give a URL for the
article? It doesn't align with what I understand about time servers
(which may very well be completely erroneous).
http://www.philly.com/mld/philly/business/16612090.htm
Andrew Stiller
Kallisti
of the
possibility that people might rip it off from there. How realistic a
worry is that, given that he's *not* commercially recorded--yet?
Andrew Stiller
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MP3s. Can you explain
further?
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OK, I downloaded Audacity and read the manual. But when I go to open
one of my MP3 files, the program tells me both that it can't read the
file type *and* that the file doesn't exist!
Help?
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti
On Feb 3, 2007, at 4:07 PM, Darcy James Argue wrote:
I think you need to convert it to a streaming-only format, like the
one used by RealPlayer.
Actually, I do have RealAudio Encoder 3.1, which I have used to set up
streaming audio for all past sound files at my website. Unfortunately,
On Feb 4, 2007, at 2:06 PM, David W. Fenton wrote:
On 4 Feb 2007 at 13:51, Andrew Stiller wrote:
On Feb 3, 2007, at 4:07 PM, Darcy James Argue wrote:
I think you need to convert it to a streaming-only format, like the
one used by RealPlayer.
Actually, I do have RealAudio Encoder 3.1
I'm sure there must be a way to post an MP3 file to the web such that
those accessing it can only listen to it as streaming audio and not be
able to download it. How do I do that?
Andrew Stiller
Kallisti Music Press
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in any literal way.
At most they may be referencing a library of spoken words, in wh. it
is only necessary to touch base with the spoken sound without actually
rehearsing it fully in the mind.
Andrew Stiller
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fine.
What's going on here, and what can I do about it?
Andrew Stiller
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On Feb 2, 2007, at 3:00 PM, Kim Patrick Clow wrote:
On 2/2/07, Andrew Stiller [EMAIL PROTECTED] wrote:
however, the distribution of colors looks really bad--as if he had
some
horrible skin disease. All the other pics at my website are JPEGs, and
they all look fine.
What's going on here
systems on page 64 have 1. Ob. in the oboe line,
whereas
the system on p. 65 has an oboe line marked 1.2. Ob. Is there a way
to get
Finale to do this? I am running Finale 2003.
Staff styles.
Andrew Stiller
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to be misunderstood.
Andrew Stiller
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If somebody sends me a file created in FinMac 2K7b, will I be able to
open it w. 2K7a?
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, 11 X 17, quarter-inch margins, staple bound) for use
by the Rheinland-Pfalz orchestra in a recording project, and got no
complaints whatsoever--probably because a) the recording company was
footing the bill and b) the composer was a dead white male.
Andrew Stiller
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in
the editing process, I simply don't use it.
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is when a middle or botttom note of a chord (on one staff) is the
one being trilled, and this is not obvious from context. Otherwise,
placement of the trill above the staff is absolutely mandatory. IMO of
course.
Andrew Stiller
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expect.
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On Jan 20, 2007, at 3:00 AM, Johannes Gebauer wrote:
On 20.01.2007 Andrew Stiller wrote:
No, I meant what I said and I said what I meant. To finger a note on
the G string, he wrapped his RH all the way around the back of the
neck and across all the other strings.
Either I don't understand
On Jan 20, 2007, at 2:08 PM, Johannes Gebauer wrote:
On 20.01.2007 Andrew Stiller wrote:
That picture doesn't show K's wrist, which he held sharply bent, not
straight as in the normal playing posture.
Inwards or outwards?
Inwards. To facilitate (I suppose) the RH fingers reaching down
pressure on the bridge than the G string does).
Aside from its main function, the bass bar does affect the tone of the
instrument, but exactly how and why is apparently a matter for debate.
It does not however seem to be a matter of low vs. high notes.
Andrew Stiller
Kallisti Music Press
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-handed.
Andrew Stiller
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For most of 1967, I was 20.
Andrew Stiller
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On Jan 19, 2007, at 2:16 PM, Gerald Berg wrote:
It's a great story Andrew. You must've been a young fellow.
On Jan 19, 2007, at 3:48 AM, Johannes Gebauer wrote:
You are not implying that he
On Jan 19, 2007, at 6:17 PM, Johannes Gebauer wrote:
On 19.01.2007 Andrew Stiller wrote:
On Jan 19, 2007, at 3:48 AM, Johannes Gebauer wrote:
You are not implying that he [Kolisch] used a normal strung
instrument? That I am absolutely certain was not what he did.
What can I say? I saw him
was perfectly
placed, and all those fiendish multiple stops absolutely in tune. And
he played it all from memory--and left-handed.
It has been 40 years, but I still remember this as one of the peak
musical experiences of my life.
Andrew Stiller
Kallisti Music Press
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w.o the holes.
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concerto back-handed,
then he could play anything thus.
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string doubling, orchestras the size of
Handel's are certainly frequent enough to be characterized as more than
an exception.
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On Jan 15, 2007, at 2:56 PM, Kim Patrick Clow wrote:
On 1/15/07, Andrew Stiller [EMAIL PROTECTED] wrote:
I have always found this distinction simplistic at best. Orchestras
began to break out of aristocratic boundaries almost immediately
(Corelli gave public concerts), and in London
.
The 1754 Foundling Hospital performance had an instrumental roster of
39. In 1758 (same locale) the orchestra comprised 35 musicians. Source
or details on request.
Andrew Stiller
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. suggest that the concertino/ripieno distinction was
introduced to replace the contrast formerly offered by cori spezzati.
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of three sections I would.
Massed is the standard term in English for more than one on a
part--directly equivalent in that respect to the German mehrfach
besetzt. So if there are three clarinet parts played by 6 clarinets,
that's massed. I didn't make this up.
Andrew Stiller
Kallisti Music Press
, but the new compositions
were tropes, sequences, motets, conductus...
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they have different music.
Certainly the distinction betw. pop and folk can be made in every
modern culture (not just the West but India, Japan, the Arab world,
etc.). I believe there is even evidence supporting this distinction in
ancient times.
Andrew Stiller
Kallisti Music Press
http
of people visiting the Smithsonian each day is another
example.
Taxes.
The many people who use the Philadelphia Free Library is yet another.
More taxes.
And on and on and on.
And on.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti
Andrew Stiller wrote:
On Jan 13, 2007, at 9:03 PM, Aaron Rabushka wrote:
Perhaps I should know better than to debate what is or isn't an
established
classic, but how 'bout Korsakov's Concerto for Trombone and Band
(which the
Russian in me dearly loves no matter how many others find
On Jan 14, 2007, at 1:34 PM, John Howell wrote:
At 12:03 AM -0500 1/14/07, Kim Patrick Clow wrote:
On 1/13/07, Andrew Stiller [EMAIL PROTECTED] wrote:
This is conventional wisdom, but it's simply untrue. Any culture, at
any time, that has an identifiable classical music must also have
only *one* established classic predating the 20th
century (the Berlioz _Symphonie funebre et triomphale_) and therefore
could not overemphasize old music even if it wanted to.
Andrew Stiller
Kallisti Music Press
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said this, and documented it so nicely, so that I
don't have to.
I would only add that in the English-speaking world (and in a number
of other traditions), opera was never mass entertainment because it was
almost invariably performed in a foreign language.
Andrew Stiller
Kallisti Music
no tenor.
Andrew Stiller
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audience. These can be
(IMO usually are) very, very different things.
Andrew Stiller
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On Jan 13, 2007, at 9:18 PM, John Howell wrote:
At 9:32 AM +0100 1/13/07, dc wrote:
Andrew Stiller écrit:
Big mistake. People don't value what they can get for free. Even a
nominal fee would generate a much stronger response.
I'm sure any business school would say the same, but in some
accompanying). I could cite examples from
both A.P. Heinrich (a classical composer who dabbled in pop) and Henry
Clay Work (a pop composer who dabbled in classics).
Andrew Stiller
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March in B-Flat?
I'm perfectly willing to concede both--but it changes my point not one
whit.
Andrew Stiller
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* by Monn, Wagenseil et al, you'll find
them much more interesting. Monn's 6 clarinet concertos, for example,
are fascinating, and great fun.
Andrew Stiller
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On Jan 12, 2007, at 4:15 AM, Kim Patrick Clow wrote:
Paul
Wranitzky's music. Apparently, modern editions of his music will be
offered for *FREE* on this website.
Big mistake. People don't value what they can get for free. Even a
nominal fee would generate a much stronger response.
Andrew
On Jan 12, 2007, at 7:03 AM, dhbailey wrote:
The band world learned this lesson and continues to support composers
writing today for today's audiences. Why can't the orchestral, choral
and keyboard worlds learn the same lessons?
Straw man. Try this Saturday's opera broadcast.
--Andrew
But I do remember a thematic
catalogue of all the symphonies was included with the forward to that
edition.
Foreword, not forward.
Andrew Stiller
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, if the recent upswing of performances,
recordings, scholarly attention, and inquiries is any guide.
Bottom line: If you have a true commitment to this music, you'll
publish it. If you don't, you won't. That's all there is to it.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti
On Jan 5, 2007, at 6:04 PM, Aaron Sherber wrote:
At 05:57 PM 1/5/2007, Andrew Stiller wrote:
O.K Then this brings us (or me anyway) back to square 1: If I
create a PDF thus and send it to Lulu, will it likely look the same
printed w. their facilities?
I'm coming in late
On Jan 5, 2007, at 7:39 PM, Leigh Daniels wrote:
Lulu has specs for the PDF:
http://tinyurl.com/y59gd8
And I'm with Dennis: I'd factor in the cost of a test printing before
committing to a big run.
Since Lulu prints on demand, there's no such thing as a big run.
Andrew Stiller
something here?
--Andrew
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On Jan 5, 2007, at 2:16 PM, dhbailey wrote:
every PDF creation program will have certain settings, which will
include the embedding of fonts. They need to be embedded in order for
the PDF file to look the same on any computer.
OK, so what about Finale?
Andrew Stiller
Kallisti Music Press
partial fonts embedded.
O.K Then this brings us (or me anyway) back to square 1: If I
create a PDF thus and send it to Lulu, will it likely look the same
printed w. their facilities? And if not, why not?
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti
Does anyone on the list have any experience with /or opinions about
Lulu.com ( http://www.lulu.com/author/create.php )?
Andrew Stiller
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?
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.
So now you know.
Andrew Stiller
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:
A file on letter-size pages but with tabloid-size page set up for 2-up
printing on folded double sheets. Worked fine in 2K4, but 2K7 refuses
to print on the big paper. Help!
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti
Only a week or so ago, there was a discussion on this list RE copying
layout info, page textblocks, and measure expression assignments from
one file to another on the Mac (2K7a). If someone were to repost that,
I'd be grateful.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com
I know this has been discussed here recently, but now it's hit me:
A file on letter-size pages but with tabloid-size page set up for 2-up
printing on folded double sheets. Worked fine in 2K4, but 2K7 refuses
to print on the big paper. Help!
Andrew Stiller
Kallisti Music Press
http
*still* not finished. :-(
And on a related topic: is there any way to globally set the *length*
of tie stubs? The only settings I know are for height and inset
percentage.
Andrew Stiller
Kallisti Music Press
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).
Interestingly, The _St. Matthew Passion_, Cantata 192, and _Vereinigte
Zwietracht_ clearly require what we would now call alto flutes, in
(there nontransposing) G.
Andrew Stiller
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OK, I just upgraded from FinMac2K4 to 2K7a, and what I want to know is:
where's the default file, and what's it called?
Andrew Stiller
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Andrew Stiller wrote:
OK, I just upgraded from FinMac2K4 to 2K7a, and what I want to know
is: where's the default file, and what's it called?
On Dec 22, 2006, at 1:45 PM, Eric Dannewitz wrote:
Applications-Finale 2007-Component Files-Maestro Default File (I
think).
Nope. Any other
, Maestro Font Default. That is
the Default file that Finale will uses. Unless you changed it
somehow
Andrew Stiller wrote:
just upgraded from FinMac2K4 to 2K7a, and what I want to know is:
where's the default file, and what's it called?
On Dec 22, 2006, at 1:45 PM, Eric Dannewitz wrote
On Dec 22, 2006, at 2:11 PM, A-NO-NE Music wrote:
Andrew Stiller / 2006/12/22 / 02:05 PM wrote:
Nope. Any other ideas?
What/Why are you looking for?
Since Finale does not (tho it should) carry over default document
settings when updating, it is necessary/customary for the user
updater.
Andrew Stiller
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In my experience, *nothing* is impossible to misunderstand. The best
you can do is to get as far down that asymptote as, um, possible...
Andrew Stiller
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buggy. If even 2K7a will not let me, for example, create a correct stem
connection for an X-shaped notehead, then the program is useless for me
and I will have to continue to rely on 2K4--itself no prize.
Andrew Stiller
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.
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On Dec 5, 2006, at 3:18 AM, Johannes Gebauer wrote:
On 04.12.2006 Andrew Stiller wrote:
By the same reasoning, I would argue that there should be a cap (say
$1M) on the amount a work may earn for its creator under copyright.
Anything above that, and the item goes PD. I would also argue
On Dec 3, 2006, at 8:39 PM, A-NO-NE Music wrote:
it is very difficult to imagine the
fingerling limitations
Usually under 10 cm. Let 'em grow for another year and they'll be ready
for the pan. ;-
Andrew Stiller
Kallisti Music Press
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) was a photocopy of the
original AMP edition, rubber-stamped Copied by Schirmer. The
particular specimen they copied even included hand-written corrections!
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into the bass. Four ledger
lines below the treble clef is no big deal, as any clarinettist or
marimba player can tell you.
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, named human beings. Many of the abuses being complained of
here would go away were this latter suggestion to be enacted.
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On Dec 4, 2006, at 6:07 PM, Barbara Touburg wrote:
One million???
How much money does one need to live out his life without any other
income??
Or am I from Holland?
Andrew Stiller wrote:
I would argue that there should be a cap (say $1M) on the amount a
work may earn for its creator
is written in C rather than F?
The part is transposed.
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, but
NEVER? Never.
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At 05:30 PM 12/1/06 -0500, Andrew Stiller wrote:
For self-publishing, you mostly want to get the attention of the two
big distributors, Theodore Front Musical Literature and J. W. Pepper
and Son.
There's music on Amazon. Do you think ultimately it's more viable than
the
old-school
and asking whether
they'd be interested in carrying your products. Neither one seems to
care a bit about ISBNs.
Good luck!
Andrew Stiller
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), but how do you get placement of page numbers
consistent
with what you have in a Finale file, other than guess work.
Use Finale for the whole thing! It's easy, and looks good.
Andrew Stiller
Kallisti Music Press
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On Nov 29, 2006, at 9:51 PM, Christopher Smith wrote:
There is a utility on the Mac called Wire Tap that captures anything
coming out of the speakers as a sound file.
Where is it? How do I access it?
Andrew Stiller
Kallisti Music Press
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it
to a staff list containing the desired parts.
Dennis
That's tacet, dammit. Shame on both of you!
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, then on thinner large paper, then on
legal size. You can coax it along for maybe 3-4 years on letter-size
paper alone, which is the state my latest duplexer (the 3d) is in right
now.
Otherwise, absolutely: a great printer.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti
.
What if you create a pdf, then print that?
Also, I coulda swore the duplexer was integral to the 5100, not an
extra.
Andrew Stiller
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and American right wings.
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devoted to the question of how to perform it. See especially the
excellent discussion at
http://www.blockmuseum.northwestern.edu/picturesofmusic/pages/anim.html
Andrew Stiller
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on what I
was doing 10 years ago). I can understand how someone who does only
engraving or copying might feel differently.
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On Nov 11, 2006, at 3:18 AM, Johannes Gebauer wrote:
I do wonder whether you should start by just creating iTunes library
on an external drive. Then you can burn CDs when you need them.
I assume what you're suggesting is that I buy an external drive and
record to it from my downstairs
Thanks to all who advised on this topic. All the advice, tho, seems to
be about software. Most of my puzzlement comes at the hardware end.
Audio equipment output lines come with RCA plugs, mini-phone jacks, or
bare wires. I don't see input ports for any of these modes anywhere
near my
I feel an increasing need to digitally back up key parts of my
extensive LP collection. Can anyone suggest a cheap way to get these
analog sounds into my computer /or directly onto a CD?
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti
, a ship cannot, except perhaps in drydock.
Under weigh makes no sense.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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