I'm surprised no one has yet mentioned _La Sonnerie de Sainte-Geneviève
du Mont de Paris_ by Marin Marais. It has just about the shortest
possible passacaglia subject (3 notes).
And I couldn't resist mentioning (though it is not classical):
Graham Nash: "Our House"
And
On Feb 22, 2006, at 2:59 PM, Johannes Gebauer wrote:
On 22.02.2006 Andrew Stiller wrote:
I find Finale's default alignments even for ordinary dynamics to be
so imperfect that I simply don't bother with them. Only very seldom
do I see a dynamic, at any size, appear in the place I
n't bother with them. Only very seldom do I see a dynamic, at any size, appear in the place I would want it to be.
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arrange proper page turns
for any instrument except maybe the tuba. The idea that one could get
good page turns for 1st violin under such circumstances is merely
laughable.
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was off by 2 years.
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ldwide.
Well, I consider that to be yet another example of the same
ridiculously narrow definition.
Lost another argument, I see. Well, I withdraw.
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displays would have seemed vulgar and out-of-balance in an age
when balance and moderation were highly prized.
Percussion, to return to the topic at hand, was used very discretely
in Baroque opera because, you would have been told, a special effect
loses its effect when it ceases to be special
offenders. Eventually I came to understand that this kind of
reaction (I call it "sputtering") is a kind of acknowledgement by the
offender that he (very seldom she) has lost the argument. That being
so, the only appropriate response is to quietly declare victory and
drop the subject.
Andr
#x27; member of the violin family existed or was used in the 17th
c. I merely said it was not used in the orchestra, and this is
incontrovertibly true.
As to "massed sections," the numbers were certainly no more than we
would call a chamber orchestra today.
"Massed" me
wouldn't--as they in fact did not--use a tambourine.
I hope we've cleared that up.
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On Feb 17, 2006, at 6:07 PM, David W. Fenton wrote:
On 17 Feb 2006 at 15:21, Andrew Stiller wrote:
On Feb 17, 2006, at 1:55 PM, Kim Patrick Clow wrote:
how authentic is improvised percussion to Baroque music?
It's authentic where it is known to have been used (as in Handel's
I'm sorry but I can't answer your question because I don't know which of the many points I made you are addressing.
On Feb 17, 2006, at 4:57 PM, Kim Patrick Clow wrote:
Really? Which instruments??
On 2/17/06, Andrew Stiller <[EMAIL PROTECTED] > wrote:
On Feb 17,
On Feb 17, 2006, at 2:17 PM, David W. Fenton wrote:
On 16 Feb 2006 at 23:50, Andrew Stiller wrote:
(17th-c. orchestras had no 16' voice)
Is this really true as an unqualified statement? Orchestral practice
was very, very different in different places, and, of course, the
whole idea
ropriate instruments, the
more lowbrow and "Renaissance Faire"ish.
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rlier, it was if anything standard to make the treble clef (seldom
running to a full page, though!) loco. There are many works that
are problematic in this regard, famously including the repeated high B
solo where Jokanaan is executed in _Salome_.
Andrew Stiller
Kallisti Music Press
I like those symbols too. According to Grove Concise, Schoenberg
called the first one "Hauptstimme" ("head voice").
Me, I prefer the traditional "in sopra" and "sotto voce."
Andrew Stiller
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e until by ca. 1700 orchestral
sections contained cellos alone. It was only after this that the word
"violone" was transferred to the double bass, which also joined the
orchestra at about that time (17th-c. orchestras had no 16' voice).
Andrew Stille
f no room, or because the work was originally intended
not to include them.
In this case, the composer helpfully says as much (no room) at the head
of the score, and refers the reader/conductor to the "accompanying
separate parts"--which are now missing.
Andrew Stiller
Kallisti
t considered, both legally and
artistically, to be a fully original composition in its own right.
Similarly, any composer's "Variations on [X]" is not deemed an
arrangement, whether [X] be copyrighted or not.
Andrew Stiller
Kallisti
Have you got a
cite for the 8-10 levels that contradicts the 3dB discrimination?
Dennis
No, sorry. This is stuff I read ~35 years ago, I don't remember where.
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contrabasso, contrabajo, kontrabas; and the increasing
internationalization of classical music-making in the last 50 years has
pressured English to come into line. Similarly, the traditional Spanish
name for the horn, trompa, has been gradually changed to cuerno to
avoid confusion outside the
.
I agree with this. The chalumeau was normally quite a small instrument
and even the bass size would have been no bigger than a modern
clarinet. FWIW, the octave-down bass clef was also used in bassett horn
parts right into the 19th c.
Andrew Stiller
Kallisti Music Press
http
Weiss, but I can't help but thinking, each time I hear one
of them, that if Handel had done the exact same thing--taken a Weiss
lute part and added new orchestral accompaniments--that we would not
hesitate a moment to ascribe the resulting work to Handel, not Weiss.
Your thoughts?
And
c 2K4. Screwed up my catalog when I
updated it.
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On Feb 15, 2006, at 5:08 PM, David W. Fenton wrote:
On 15 Feb 2006 at 10:35, Andrew Stiller wrote:
Editions are prepared all the time for reasons
irrelevant to or even in direct opposition to the composer's intent.
Simplified versions. Cut or excerpted versions. Modernized ver
anguage is communication, and if communication is achieved, no
further justification is required.
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e
pipe built just for that one note. The resulting ethereal whistle was
very pretty--but Schoenberg didn't want that. He wanted the audience to
hear the sound of Nature trying desperately to stay still in the hours
just before dawn. Will a piccolo sound desperate trying to play th
the tail end of a morendo), but to say a clarinet (or a number of other
instruments) can't play softer still, is an exaggeration.
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group of people who think any such notation represents "musical
ignorance," and another that thinks, against all evidence, that such
notations can be performed, and heard, literally. '
Nuff said.
Andrew Stiller
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On Feb 15, 2006, at 11:57 AM, Dennis Bathory-Kitsz wrote:
At 11:18 AM 2/15/06 -0500, Andrew Stiller wrote:
I basically agree with David Fenton that
more than 8 or 9 different levels are impossible for the ear to
distinguish.
That can't be true. The very notion of shaping a line has
ass clarinet--which
he certainly didn't want.
A word to the wise.
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t you are
using for an audience.
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ore than 8 or 9 different levels are impossible for the ear to
distinguish.
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fundamental distinction among these) is assumed *not* to
be "work made for hire" unless a box is checked that specifically
asserts that it is.
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On Feb 14, 2006, at 5:53 PM, Johannes Gebauer wrote:
If anything the German is just as ambiguous as the translation
OK. Thanks for your help!
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performance or recording.
The notion that composers and scholars should be good socialists while
everybody else has their hand out is deeply ingrained in the classical
community--but that don't make it right.
Andrew Stiller
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http://home.
ken as saying "The first movement of this oratorio, written before the rest as my first composition following my return to Europe, can be played by itself as a tone poem." Or it can simply mean "This oratorio is the first thing I've written on the continent after a lifetime abro
he
whole oratorio?
The only known performance, BTW, was of the first mvt. alone--but who
knows what *that* signifies!
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n been
recorded a few times. IMO it's a very fine symphony and should be much
more widely known.
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by
"Schubert's 9th" was meant the Great C Major or the Unfinished, since
the two have recently changed places--and I attended a concert last
week in which the C Major was performed as Symphony No. 8.
Just asking...
Oh: and why are my postings, some of them, disappearing?
/timp./str. Sorry, I don't have the Leonora
Overtures.
Berlioz: Symphony fantastique
2 (II=picc).2 (II=EH).2.4/4.2.3.0, 2 crnt, 2 oph/timp. perc (BD, SD,
cym, bells). 2 hp/str.
NB: Berlioz later authorized the use of tubas to replace the
ophicleides.
Andrew Stiller
Kallisti Music Press
e, and not
infrequently commits 256ths--usually at the end of an upward or
downward rip containing an odd number of notes.
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the number in the duration
box.
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all these things "manually" takes very little
time, assures that the score will be exactly as you want it, and avoids
precisely these kinds of unnecessary snafus.
Andrew Stiller
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use the equivalent character from another font. Every music font will have it, and you should be able to find one that closely resembles the one that's missing.
Andrew Stiller
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Thanks to all who responded on this. I in fact had already tried most
of the things suggested. Anyway, these were Hebrew fonts. I needed to
use one of them immediately because someone had placed a rush order for
a particular work that had to be updated from Finale 2K, and the
existing Hebrew fo
lp is urgently
requested!
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er and Theodore Front--but
neither of them has any interest in my orchestral parts, just the
scores!
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Well, both Finale and Sibelius have tried to set up online archives of
scores, but they're so full of junk that nobody uses them that I know
of. In our field at least it remains a truism that you get what you pay
for.
Andrew Stiller
Kallisti Music Pre
performance. If it
doesn't, then the most sensible interpretation would be that he simply
found it easier/less expensive to print them in an unorthodox format.
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s of Europe, only French continues to use the full set of orginal syllables, which were Ut Re Mi Fa Sol La [Si]. Anyone who wants to sneer at Ti must also, logically, sneer at Do[h].
Andrew Stiller
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unless there is specific evidence to the
contrary. Any other assumption is simply not parsimonious.
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Andrew Stiller écrit:
But they can. There's a radio button for that in the Change Clef
dialog.
But that won't work if you want the time sig and the key sig also,
because the clef will appear after them!!!
Dennis
So introduce an extra blank measure, of very narrow width, with
le. That's all I was saying, and it fits
the dictionary def. perfectly.
As I think you know perfectly well.
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file just opened, saved, and
closed w.o ever going to the Page Setup dialog.
Furthermore, I seem to have overwritten the Command Reminder script in
the process. How do I get it back?
That was my first attempt at using FinaleScript. I am not impressed.
Andrew Stiller
Kallisti Music Press
ht
cuss, they will not be
able to initiate or sustain any kind of dialog unless they do so in
polite language--nor will they be able to get their jollies from having
people blow up in response to their verbal bombs.
Andrew Stiller
Kallisti Music Press
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The blank measure on the same system won't really work easily because
of the clefs that can't be forced to appear after it.
Dennis
But they can. There's a radio button for that in the Change Clef dialog.
Andrew Stiller
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, up-to-the-minute musical
style (as of, say, Daugherty or Salonen--highly atmostpheric, often
turbulent, historically self-conscious) then Hovhaness doesn't fit at
all--but what would you expect from a composer born in, what, 1911?
Andrew Stiller
Kallisti
that way, in the interests of
historic authenticity...
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se me?"
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on of the local retailers.
I was referring not to classical style, but to *contemporary*
style (by which [and I shouldn't have to say this] I mean contemporary
*classical* style). See, this is what happens when you misuse the word
"contemporary."
"When the word is gone
n for one of George Sand's
novels was 400 copies.
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On Jan 30, 2006, at 12:43 AM, Noel Stoutenburg wrote:
Andrew:
When I read my comment
There is in the U.S. a dogmatic divide between "contemporary" and
"classical" music that just does not exist in Europe.
and your reply
I reiterate (for the third time now in this thread, so far w.o
rejoi
Prices here in Philadelphia are comparable to those cited for San Diego.
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On 28 Jan 2006 at 17:40, John Howell wrote:
Personal opinion: Any song with 10 verses shows lack of craft on the
part of the poet
So much for most of the Child ballads...
Andrew Stiller
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to bear in his study of the
issue.
For more details, see my review of the book (as "Myocastor") at
Amazon.com.
Andrew Stiller
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o longer the case in Philadelphia.
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t the music with new
text?
One solution you sometimes see (for example in publications of
folk-ballads with innumerable verses) is to write out the music twice,
thus allowing you to underlay 6 verses in just three lines.
Andrew Stiller
Kallisti Music Press
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ortly after 2013 it'll be declared an old war-horse.
Fascinating!
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of fashion,
like clothes, and became of merely historical interest, and when a
composer's fame was no more than that of a couturier? Not me, that's
for certain.
Andrew Stiller
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blindness to imagine that Mozart's music was "all-encompassing" either in its variety or in its audience.
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the composer is contributing new works.
You may rail against this as unfair, but the situation is as it is. The
very concept of "masterpiece" is intimately tied to the concept of
"master," and you can't have one without the other.
Andrew Stiller
Kallisti Music Press
h
Andrew Stiller écrit:
It's not my descendants I'm concerned about (I have none), but
posterity in general. I flatter myself that some of the work I've
done is of permanent, if specialized, value, and I am concerned that
the dissemination of my Heinrich and Hiller publicatio
Then prepare a clear step-by-step process for anybody to follow who
may want to print them out.
--
David H. Bailey
I've done that, sort of, but the problem is that any such instructions
will be highly printer-dependent.
Andrew Stiller
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good idea--but it still will leave the issues of booklet printing,
selective manual duplexing, etc. for whoever to handle.
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On Jan 25, 2006, at 12:47 PM, Phil Daley wrote:
At 1/25/2006 12:33 PM, Andrew Stiller wrote:
>
>This is an issue for me for a totally different reason--I have been
>trying to figure out how to keep the files of my publications alive
>after my own death.
It is good that you wan
font collection, wh. in turn
will require that the recipient have a Mac to be able to use them all.
It's a big puzzle and a big headache!
Andrew Stiller
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On Jan 22, 2006, at 4:26 PM, Éric Dussault wrote:
I'm not sure I remember ever seeing a Sans Serif font for tuplet in
pre-computerized music publications, but I may be wrong.
You often see it in contemporary music. See, e.g., Xenakis: Eonta
(Boosey and Hawkes No. 799)
Andrew Stiller
On Jan 22, 2006, at 4:26 PM, Éric Dussault wrote:
I'm not sure I remember ever seeing a Sans Serif font for tuplet in
pre-computerized music publications, but I may be wrong.
You often see it in contemporary music. See, e.g., Xenakis: Eonta
(Boosey and Hawkes No. 799)
Andrew St
On Jan 22, 2006, at 2:24 AM, Johannes Gebauer wrote:
On 21.01.2006 Andrew Stiller wrote:
Query to the German speakers on this list: does "geschliffen" make
sense in this context, and if not, what other reading might you
suggest?
That is correct, but very old-fashioned. A lot
se in this context, and if not, what other reading might you
suggest?
BTW: the composer was a native speaker of German, so that's not the
problem.
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t the
expression is cancelled or overridden. Likewise, staff names such as
"tomtoms" should be playback-configurable with no more effort than,
say, "flute."
Andrew Stiller
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everyone who publishes with me to turn off
engraver slurs before beginning their work.
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.
Christopher
Oh that's just wonderful. Not. What if (as is very, very often the
case) the destination measure is on a different screen?
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nly a (large) subset of Finale's tools.
I rely on the cmd-click feature to access those tools that I use only
rarely.
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On Jan 6, 2006, at 5:20 PM, John Howell wrote:
At 4:22 PM -0500 1/6/06, dhbailey wrote:
Andrew Stiller wrote:
Not to mention the fact that some flutes actually *can* play a low
Bb.
I wasn't aware of that -- I've only encountered flutes which play to
low B. Cool!
I'
ot to mention the fact that some flutes actually *can* play a low Bb.
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sposing.
Jeez, people, it ain't rocket science--or even isorhythm. And it *is*
right there in one of the most frequently used dialogs in the program.
I can see not reading the manual, but not reading the interface? That's
like asking someone to hold your fork for you.
Andrew S
is was not commercial software, but it represents
the starting point for any history of the medium.
If I remember correctly, Hiller's early music programs were called
MUSICOMP and MUSICOL.
Andrew Stiller
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g (and
isn't that everyone on the list?) will see the "preserve original
pitches" option staring them in the face every time the dialog is open.
It may be counterintuitive, but one may well ask why intuition is
required here in the first place.
Andrew Stiller
Kallisti Music Pre
e last two steps, you lose
any editing of individual mm-rests that had been done (width of
"measure", adjusted start- or end-point, etc.), and have to redo it
all. Any thought on avoiding this?
Andrew Stiller
Kallisti Music Press
http://home.
FinMac 2K4.
Is there any way to update the multimeasure rest symbol for a whole
folder full of ochestral parts at once when updating them from 2K2 to
2K4?
And how about the Page Setup dialog?
Andrew Stiller
Kallisti Music Press
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b projecting into the
break in the second layer.
Hope that's not too confusing.
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mitigated even by dynamic linkage.
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bol* for the inverted
mordent does occur in Baroque notation, but it is not called that, nor
is it performed so: it is, rather, a short trill, beginning on the
auxiliary note like other Bq. trills.
Andrew Stiller
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used by itself, but if it were used alternatim with the regular
fingering (like bariolage on a violin) the difference betw. the two
would be clearly audible.
As for notation, what I would do as a classical composer is not
necessarily what would be appropriate for jazz, so I'll keep my mouth
list if it identifies itself
with the former.
--Andrew
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a resting part. In
such a case, a fermata over the default whole rest will convey every
bit of information that the fermata contains, viz: "the beat is to be
suspended ad lib. at the end of this measure."
Andrew Stiller
Kallisti Music Pre
On Dec 13, 2005, at 2:29 PM, Johannes Gebauer wrote:
On 13.12.2005 dc wrote:
In which case you could simply use Finalescript:
search "csta." replace "cel."
and be done with it.
Excellent idea! Couldn't you also use Text Search and Replace?
Of course I could! D
On Dec 13, 2005, at 1:08 PM, ThomaStudios wrote:
Update Groups in TGTools will do exactly what you need.
I'm concerned that this plugin will revert the positioning of the two
celesta staves to their default spacing. Will it not?
--Andrew
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