Well heck, just ask Garth Brooks, or look at any Hollywood movie about any
musician--music is only as important as the amount of money it generates!
We should all know that, shouldn't we?
ajr
not an academic, and always finding it more difficult to reach an audience
than to please one
> Dear John
Lots of sections of pieces by Orff will fit this bill. I know the A-major
fugue for piano by Shostakovich makes a fugue subject out of the A-major
triad--I don't recall where it goes from there.
ajr
>
> Doesn't the Brahms Requiem finish one movement with a huge fugue section
> that is essentiall
Interesting--I bought my Finale 2003 at half-price (=$300) in 2004 from a
retailer in Fort Worth--still happy with it, and have not upgraded since.
ajr
> First off, Finale may not be authorizing those sales and
> they may be pirated copies.
>
> Secondly, even if they are not pirated copies, they
I suspect the A# major triad(s) in my brass quartet gave the players
involved a chance to cash in some practive routines that they don't get to
redeem very often!
ajr
> At 4:29 PM -0400 9/30/09, dhbailey wrote:
>>And I can't think of very many musical situations where you would
>>want some of the
Still, that should be the users' decisions and not Finale's.
ajr
> From what I have seen, string instruments are more comfortable playing in
> sharps.
>
> Trombones are more comfortable playing in flats.
>
>
> At 9/30/2009 01:40 PM, Carl Dershem wrote:
>
> >I'm working on a big band piece that
A painful theory-class lesson that I once learned is that the signature
does not always reliably tell you what key the music's in according to
their values that we learned.
ajr
> On Fri, Sep 25, 2009 at 5:45 PM, David McDonald
> wrote:
>> For all you early music history buffs:
>> I'm editing/ada
I would suppose different harpists are different. I had one tell me
emphatically that it was cheating for a harpist to use someone else's
diagrams. Since she never played my concerto we never did test it in
practice.
ajr
> I disagree. IMO it is absolutely the composer's responsibility to
> indica
It does, however, reflect my own experience, with musicians who have to
add alleged expressivity that I don't intend. Sort of like the "everything
has to end with a big ritard" school of thought.
ajr
>> There are some that come from the school that any "subito" change is bad
>> taste, and that ne
There are some that come from the school that any "subito" change is bad
taste, and that new levels need to be gradually moved into. Subito says
"no diminuendo/crescendo/accellerando/ritard." Sometimes it's even
observed as such.
You can also check out Rimsky-Korsakov's orchestration book for some
Martin,
Your solution looks clear to me, although you could also simply use a ?
without the b. for the birthdate. This would make in language-independent.
ajr
> Yes, John ,this IS a simple question! The year of this particular
> composer's birth is unknown. Period. The most reliable information
Sounds delicious! and great to throw at any wind players who gripe about
having to flutter-tongue!
ajr
> On Sep 1, 2009, at 2:21 PM,
> wrote:
>
>> Italian for flutter-tongued is "frullato," without any specific
>> reference
>> to "lingua."
>
> I'm a couple weeks behind on this discussion. I ju
Ordinarily French nouns in -s (e.g., hautbois) stay the same in the plural.
> Hi everyone:
>
> What would be the correct plural form of "Dessus" as in
> Ouverture in F major for 2 Horns, 2 Dessus and Basson continuo"
>
> Dessuses? Dessi? Ha
>
> Thanks
> Kim
>
> --
> Kim Patrick Clow
> "Just be you
Ordinarily French nouns in -s (e.g., hautbois) stay the same in the plural.
> Hi everyone:
>
> What would be the correct plural form of "Dessus" as in
> Ouverture in F major for 2 Horns, 2 Dessus and Basson continuo"
>
> Dessuses? Dessi? Ha
>
> Thanks
> Kim
>
> --
> Kim Patrick Clow
> "Just be you
Does your version allow for typing H in speedy-entry?
ajr
> I have an old version of Finale (3.7), but I am pretty sure there was a
> way
> to hide rests, but I have forgotten it.
>
> Any help appreciated.
>
> ___
> Finale mailing list
> Finale@shsu.edu
Didn't you know that that's why God gave us computers? So that composers
could have jobs!
> How do these people think composers are supposed to survive? Nuts!
>
> Chuck
>
>
> On Sep 4, 2009, at 2:01 PM, Darcy James Argue wrote:
>
>> Hi Klaus,
>>
>> They aren't willing to pay a rental fee at all!
Perhaps I should sub-title this one as "Historically Informed Penderecki,"
as I listen to his "Fluorescences" that includes such out-of-date items as
a telephone bell (NOT a chirper) and a typewriter. (Not to mentions
LeRoy Anderson's famous solo piece for the latter)
ajr
___
Except in Poland, where they still use "fortepiano" to refer to any such
instrument. (and it wouldn't surprise me if they aren't the only ones who
do so)
ajr
> "Pianoforte" and, to a lesser extent "Fortepiano" were both used as
> early names for the invention, soon shortened to "piano" for genera
So what do you call the instrument that Landowska played? A Wandsichord,
perhaps?
And as far as Gould goes, it would be great to here a performance as
insightful as his program notes.
ajr
with no doubt as to where he stands on the Glenn Gould controversy
> On 1 Sep 2009 at 16:20, arabu...@cowtow
Could easily be mistaken for "Loudun devils."
ajr
> On 1 Sep 2009 at 23:24, Frank Prain wrote:
>
>> Seriously though, what's wrong with "louden lots"?
>
> It's not just that it goes against standard conventions that every
> trained musician already knows (molto crescendo is something everyone
> u
Italian for flutter-tongued is "frullato," without any specific reference
to "lingua."
ajr
> Hmm .. the Italian for "Flutter tongue" must be something
> picturesque, like, "Lingua Fluterri." Sounds like something with
> which an Italian Grainger might have come up.
>
>
> On Sep 1, 2009, at 12:3
And how 'bout the French vs. the German bassons while we're at it?
ajr
who still thinks that Landowska's Bach is some of the best on record
> On 1 Sep 2009 at 16:10, Ray Horton wrote:
>
>> Oh, David, please read the thread before you keep at this! If you had
>> then you would know, by now, that
What about "corno" for horn (as in the "ocho cornos" noted in the
orchestration of Châvez's "Sinfonía de Antígona" in the notes that go
along with the recording he conducted)? I know that "trompa" meant "horn"
in Portuguese--have never heard it used as such in Spanish.
ajr
>
> On Sep 1, 2009, at
Thanks, Howard! I do recall now that in the score that I have for
Prokofiev's "Lt. Kijè" music that the cornet is labeled "pistone." And, as
it turned out, the guy who played it when we did it in our community
orchestra used a D-trumpet, giving me my first exposure to the instrument.
ajr
> At 21:
If you ever hire me to compose for you I will use whichever language(s) in
the score we agree on. In my own projects I will unapologetically follow
my own procedures.
ajr
> FWIW, I've long been a proponent of (as an American composer) using
> directions in English as much as possible. If it's be
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
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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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
So is the advantage to writing for a contrabass trombone one of range, or
strictly one of timbre? Just looking through the Ring Cycle it doesn't
look like the contrabass goes down any lower than the regular bass. I
understand thet IU had two contrabass bones, both of which had valves.
ajr
>
> On
You could still tell it was a D trumpet and not something more mellow. I
don't know if it was the player's choice or the conductors's.
ajr
> Our first trumpet player plays a posthorn on occasion, and gets a very
> dark sound on it - it has a very large bore in comparison to it's length
> - as opp
And when I did my first round of recordings in Moravia I found out how
prominent the euphonium (=tenor flügelhorn) was in the folklorical combos.
ajr
> Andrew Stiller wrote:
>>
>> On Aug 26, 2009, at 11:01 AM, John Howell wrote:
>>
>>> my first reaction was, "why?" Most of us would write for flu
Ok! Note that you can order the CD straight from me if you'd like.
ajr
Harvey Philips era
> Aaron,
> Shall do...I remember you from IU.
> For that metter, I remember BILL BELL from IU.
> Jim W.
>
>
> From: finale-boun...@shsu.edu [finale-boun...@shsu.edu]
And so it is marked in the score I have as well. St. Louis Symphony used a
D-Trumpet for their local premiere--never have understood why.
ajr
> The Mahler "posthorn" solo is actually labeled 'flugelhorn' in the part.
>
>
> RBH
>
> arabu...@cowtown.net wrote:
>> ...Also, the flügelhorn
>> often s
FWIW, I remember that the Dallas Symphony was trying to beg and borrow a
cimbasso for something by Verdi. I think that the Dallas Opera had
one--don't know how it ended.
And, if you want to hear some effective euphonium writing, check out my
Canzona e Scherzo Capriccioso (Vienna Modern Masters CD
The 9th symphony by Vaughan Williams comes to mind. Also, the flügelhorn
often stands in for the posthorn in the 3rd movement of the Mahler 3rd,
and it sounds much better in this capacity than the d-trumpet that is
sometimes used.
ajr
>
> On Aug 26, 2009, at 11:01 AM, John Howell wrote:
>
>> Mos
Thanks to all of you for your replies! I submitted my inquiry to this list
since there are so many musicians here with practical experience that a
google search could never tap. As to why I want to mute the flügelhorn,
suffice it to say that that's what I need to do at this juncture in the
piece I'
Does any of you know if flügelhorns have some of the unusual (i.e., cup,
harmon) trumpet mutes fitted for them?
Aaron J. Rabushka
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Yes, the final X makes a plural in this case. (One of my former French
teachers called us to task by writing Dieu (God) with a final -x, saying
that she didn't realize we had so many pagans in class.)
ajr
> Good Day:
>
> What is the correct plural form for "chalumeau"?
>
> I typically see "chalum
Kinda like the Beethoven 9th in the park, where the conductor lashed the
score to the podium so it wouldn't blow away and the bassists all went out
and got drunk after the 3rd movement. When they came back for the finale
it was the bottom of the 9th, the score was tied, and the basses were
loaded.
Not to mention those string players who wouldn't play pizzicato for
Monteverdi since they considered it a bastardization of the instrument!
ajr
> At 3:54 PM +0100 7/27/09, Colin Broom wrote:
>>I figure there's a lot of epxerienced strong players and
>>orchestrators out there, and I've read some v
Are you all talking about "Streets of Cairo"?
ajr
> I know it as ~"All the girls in Spain" but the rest of the words are
> obscene
> so maybe that doesn't help much.
>
> Cheers,
>
> Lawrence--
> Lawrenceyates.co.uk
> ___
> Finale mailing list
> Finale@s
asure. Sometimes I cannot erase what's there.
>> Have eny of you ever come across this before? I am using Finale 2003
>> on a PC.
>>
>> Aaron J. Rabushka
>> arabu...@cowtown.net
>> http://users.waymark.net/arabushk
>>
&
Actually, my former teacher from St. Louis Symphony said he stuck with the
tenor for Beethoven 5 since the part laid better on it than on the alto.
He did use his alto for the "Oh Mensch, Gib Acht" movement in Mahler 3.
Since no one would have noticed if he hadn't said anything the blends
worked ve
And is pedal b-flat out of the question?
ajr
> Weiner's work has barely been scratched here. One of his findings is
> that the use of "falset" notes ("faked" low notes) on tenor trombone was
> described in some sources and position charts (I won't try to recall
> where and when without the articl
Can someone tell me where one of these great-octave C's for bass 'bone is
in something by Beethoven or Mozart? I recall an instance in the Brahms
1st symphony chorale, but not in the works of the other two.
ajr,
now waiting for the orginal three tenors to take their bow!
>
> On 21-Jan-09, at 21-J
And such honors should be accorded all the instruments!
ajr
who joined in with the rest of the sackbuts in the balcony playing the
drones for the Orfeo toccata when we did it in Bloomington
> At 8:16 PM -0600 1/20/09, arabu...@cowtown.net wrote:
>>It all depends on which "big boys" you're talking
It all depends on which "big boys" you're talking about. Even in some of
those operas you mentioned trombone players sit around and hear everybody
else make the piece while they count TACETs. They only play in 2 out of 5
acts of Orfeo (and let's not split hairs over whether or not the opening
tocca
Hmm--we don't have any film of my trying those notes--the colors were
probably hysterical! I only took my trombone concerto up to d".
ajr
> Yup - had no choice.My trombonists didn't have alto 'bones and their
> faces turned some rather unfortunate shades when attempting the original
> pitches
Is that the version you played, Les? B & H also has one like that, and it
isn't anything to get excited about.
ajr
> Well..they actually may have had good reason: some editions (I believe
> Boosey is one) swap the higher alto trombone licks with the trumpets ==
> and so ultimately, in this ar
Original Message
Subject: Re: [Finale] Notation for buzzing a bassoon reed by itself
(Somewhat OT)
From:"Mariposa Symphony Orchestra"
Date:Tue, January 20, 2009 2:07 pm
To: finale@shsu.edu
Cc: arabu...@cowtown.net
I would look askance at any history class dealing with music of this time
period that didn't include this fact. Then again, as a former trombone
player, it is a red-letter event which we all celebrate!
ajr
> Ah, thank you sir. That was a fact which escaped my undergrad Music
> History class ... o
Beethoven 5 is usually considered the first appearance in a symphony of
trombones, contrabassoon, and piccolo. The contrabassoon mostly doubles
the string bass parts. When my community orchestra played Beethoven 5
years ago the contra was just left out, and not missed. Another community
orchestra g
> I am in the market for a new black and white laser printer. Need
> 1200 dpi. Have always used HP, but open to others. Can anyone
> recommend based on recent purchase? Quality probably more important
> than price, within reason. Mac user, need network capability. Good
> paper handling a prio
Ah--Muskalisches Exequien is GORGEOUS! I like the way the soloist states
the phrases subsequently expounded (at least in a musical sense) by the
ensemble.
ajr
> At 6:35 PM -0500 12/20/08, David W. Fenton wrote:
>>
>>We played two concerts last week, and we played a couple of pieces
>>where we had
A Balkan folk-dance beat, perhaps? :)
ajr
> I am using Finale 2008 on Mac, OS 10.5.5.
>
> I want a time signature to say 8/8 but I want it beamed 3+3+2. I created
> a composite time signal of 3+3+2/8+8+8 and then a different time
> signature 8/8 to display. When I put in the notes all the eighth
Then they put up John Eaton's opera "Danton & Robespierre" in Bloomington
the harps were supposed to be tuned a sixth-tone apart, and one piano and
half the winds were supposed to be tuned a quarter-tone below the rest of
the orchestra. How well they pulled it off is anybody's guess.
ajr
>
> On 2
His (Haba's) opera "Mother" is also very good. If you can get ahold of
Ives' quarter-tone piano pieces I'd say give them a go. Unfortunately I
don't have a workable recording of mhy own trombone sonata.
ajr
>
> Listen to the compositions (especially the string quartets) of Alois Haba.
> There is
I've always been delightfully amazed at Xenakis's praise of "Bolèro" even
though it flies in the face of the way that music "has to go."
ajr
>
>
>
> By George, I think I've got it.
>
> Thank you everyone.
>
>
>
> timothy key price
> [EMAIL PROTECTED]
>
>
>
> On Oct 13, 2008, at 5:43 PM, John Howe
Beethoven's 4-note motto is certainly persistent and insistent, but as it
is not constantly and unchangingly present it cannot be called an
ostinato.
ajr
> In very simplistic terms, is it fair to say that Beethoven's first 4
> notes of his 5th symphony are used as an ostinato? Or is it not
> repe
Aha! Even this new Austinite says "oh-stee-NAH-toh" instead of
"aw-stin-AU-to." Don't know what the native speakers of Italian now living
in our great state say.
ajr
> [EMAIL PROTECTED] wrote:
>> Car dealer in Texas? Where in TX is this?
>>
>> In addition to the terms listed below the English oft
Car dealer in Texas? Where in TX is this?
In addition to the terms listed below the English often called a
repetitive bass line a "ground bass," or simply a "ground." And if it's 12
bars it may very well be a blues bass!
Aaron J. Rabushka
Austin, TX
> At 9:33 AM -0400 10/13/08, timothy key price
When we played the Borodin 2nd Symphony in my community orchestra years
ago we had the natural-plus-sharp to cancel a double sharp notation on
several occasions. Confused the hell out of a lot of people (as did some
of those unexpected trans-caucasian augmented intervals!).
ajr
> At 5:00 PM +0200
We miss you too, Chuck!
ajr
>>
>
> Hi all,
>
> I reset my settings on the web site a couple of weeks ago and I am
> still not receiving posts. I miss you all.
>
> Henry, are you watching? Does anyone have any advice, or are you all
> well rid of me?
>
> Chuck
>
> Chuck Israels
> 230 North Garde
Especially obscure early music that's as transcendently beautiful and
accomplished as van Wasenaer's!
ajr
> At 12:14 AM -0500 9/7/08, [EMAIL PROTECTED] wrote:
>>...about the new band transcription from MMB Music (www.mmbmusic.com) by
>>Finale list-member Aaron Rabushka, a publication that brings
...about the new band transcription from MMB Music (www.mmbmusic.com) by
Finale list-member Aaron Rabushka, a publication that brings the subject
of a centuries-old musical whodunit to life in the colors of the modern
wind ensemble! Unico Willem Graf van Wasenaers Concertino #2 is a feast
of tonal
Yes, text does it in this case.
ajr
> Do you mean as text? That's how I usually do it (in pedal order,
> DCB / EFGA), but I am supposed to indicate the pitches in grace notes
> this time.
>
> I just went ahead and made it a tuplet with no number or bracket, and
> changed the note size manually, h
I usually write out the notes of the scale with the attendant accidentals,
then just indicate the highs and lows of the glissandi.
ajr
> Hey, collective wisdom,
>
> When you are writing a harp gliss of the type that starts with say, a
> quarter note, and is followed by six more grace notes indica
Is there a version of this that'll work in the more widespread browsers?
Sounds like Polish avant-garde stuff (e.g., Lutoslawski)--never had tried
to notate like that.
ajr
> Just wondering if anyone knows how to produce the notation highlighted in
> the excerpt posted here:
>
> http://www.me.com/
cuivre = brass (cuirassé may indicate a fairly brassy sound)
sourdine = mute(d)
toujours sourdine = always mute(d)
avec la main = with the hand (not sure how that relates to trumpet playing)
div. par putpite = divided by stand
à defaut = with the default (probably "as usual")
ajr
> Dear listers,
"Pupitre" is literally French for "desk." I'm used to hearing it more
often with regard to string players--then again, some orchestra personnel
talk often refers to "first-desk men" (showing it's age with the gender
bias. The manager of the Moravian Philharmonia, whose English is not
always idiomat
Dank U zeer voor Uw informatie! I will pass it on to the publisher if they
think it will be of value to their customers. I do have a recording of the
transcription produced in 1993 with the Martinu orchestra in (speaking of
mysteries) Zlín, which, as the sound of the orchestra (particularly the
cla
Hmm--what makes it distinctive? An abundance of melodic beauty that can
shoot out of the texture anytime, anyplace, with two double fugues
(different kinds) along the way. Sounds like geeky theory talk (that,
IIRC, most musicians despise), doesn't it? The edition is aimed at bands
because there alr
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
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Hey Chris! Thanks for your answer! I already have my notation
established, based on the way Penderecki did similar things years ago.
I've used it several times with the Moravian Philharmonic and there was no
trouble understanding it.
ajr
> I would use the .. ehh . . jazz repeat sign; dot slash
Thanks for your answers, guys! I think I found my answer.
ajr
> Create a Staff Style that hides repeat bars and use that to hide the
> repeats on selected staves.
>
> Cheers,
>
> - Darcy
> -
> [EMAIL PROTECTED]
> Brooklyn, NY
>
>
>
>
> On 21 Jun 2008, at 6:25 PM, [EMAIL PROTECTED] wrote:
>
>>
I am currently working on a piece that has some instruments repeating
patterns over and over again while others proceed metrically. To notate
this involves putting repeat signs on individual lines (these cannot be
placed on all staves of the score), often at different places. I looked
through the m
When I was using my first computerized notation years ago (called SMUT
(=System for MUsical Transcription) the word for "tuplets" was
"groupettes" (not, I'm sure, to be confused with "grupetti").
ajr
> At 1:23 PM -0500 6/20/08, Paul Hayden wrote:
>>I quit using the ottava bassa sign (8vb) _under_
Or how 'bout the devil's head for a tritone?
ajr
> I have never seen or heard of a C4 interpreted as C-F-Bb. I've used
> that chord symbol thousands upon thousands of times and not once was
> it misinterpreted. At least by pros. Beyond that, I don't speculate.
>
> Maybe it's a right vs left coa
I usually use one of the string harmonic signs or something similar from
the articulation collection.
ajr
> Hi Finale List,
>
> Finale 2008a Mac OS 10.4
>
> I am trying to create a crescendo/diminuendo from/to nothing (small circle
> attached to sign). Previously in the Shape
> Designer>Ellipse t
...and speaking of moveable clefs, the only place outside of Finale that
I've seen a "French violin clef" that puts the g' on the bottom line of
the staff is in Dover's edition of "Die Kunst der Fuge." Has anyone else
here had practical experience with it?
ajr
If Paganini could pull it out of a violin why not a viola?
ajr
> At 6:07 PM -0400 4/3/08, Christopher Smith wrote:
>>Not fast, they are fine for most players. You will get a gap between
>>successive pitches (in other words, legato is out of the question.)
>
> Not sure why you would say that, Chri
And how is that that P. T. Barnum had it? "No one ever went broke
understimating the taste of the American people"?
> David W. Fenton wrote:
> [snip]> Nobody eats bubble gum for nutrition, but it's quite fun for
>> entertainment.
>>
>> I guess I'm saying that even crap has its place.
>>
>
> You ge
Heck, when a composer dies is when (mahleureusement) his music often
starts to live.
ajr
>
> On 27-Mar-08, at 3:18 PM, A-NO-NE Music wrote:
>
>>
>> I believe my compositions are much better than most of whatever I hear
>> commercially, yet I have this strong feeling my compositions will die
>> wh
I do recall Raymond Lewenthal's "Romantic Revival" that went through at
least three record labels before sputtering out. An Indiana-based pianist
named Frank Cooper did find some good stuff--IIRC he recorded the Ignaz
Brüll 2nd piano concert. But as a whole, the 19th century did produce it's
share
Cut time in 3? Is that the Zeffiro Torna meter?
ajr
> At 12:20 AM -0400 3/25/08, David W. Fenton wrote:
>>On 23 Mar 2008 at 21:55, Owain Sutton wrote:
>>
>>> (Why
>>> notate anything as 2/2, if it's likely to be heard as 2/4?)
>>
>>This kind of comment makes me crazy.
>>
>>You notate it as 2/2
Quality = marketability? I don't know how many reject letters I got with
rhetoric to the effect that "this is a business decision only and does not
reflect the quality of your work." Does it clarify the quality vs.
marketablity in the hands of business executives if we substitute
Hollywood film ind
Interesting how much confidence a group of musicians is putting in record
company executives to know and deliver "what's good." Who here has not had
the experience of having music thrown in the trash without being
considered by some executive type or other gatekeeper? Certainly not a way
to discern
Not to mention the low b-flat(s) for the basses in "Frau ohne Schatten."
ajr
> The basses have a low B. So he wants those with the low C extension to
> detune to B.
>
> Cheers,
>
> - Darcy
> -
> [EMAIL PROTECTED]
> Brooklyn, NY
>
>
>
> On 27 Feb 2008, at 6:07 AM, dhbailey wrote:
>
>> Darcy Ja
Hmm--would be interesting to see who (if anyone) uses the 78-rpm disc for
that Respighi specified for the "Janiculum" section. (Are you listening,
Roger Norrington?)
ajr
> At 1:46 PM -0500 2/26/08, Ray Horton wrote:
>>And you ignored my question about the buccini, which is a much
>>bigger case of
Well, low B isn't exactly a staple for trombones--not quite a pedal tone,
and not that versatile as a first harmonic. Esp for tenor 'bone. I've
always found it worthwhile to work around the challenges of instrumental
limitations to solve my problems--after, look at what Haydn pulled out of
the same
Well, there were the quarter-tone-flat-to-A-440 woodwinds in John Eaton's
operas years ago...
ajr
> On 25 Feb 2008 at 1:13, Ray Horton wrote:
>
>> As far as scordatura for winds
>
> That phrase makes my head hurt.
>
> --
> David W. Fentonhttp://dfenton.com
> David Fenton Assoc
A low b natural, such as is found in Bartók's Concerto for Orchestra?
ajr
> John Howell wrote:
>>
>> OK, to ask something seriously, did you have any trouble learning to
>> adjust your slide positions when you had to pull your F slide to E?
>
> To E?? I've played on horns that allowed you to swi
And don't forget Haydn't "Distratto" (Symphony #60) in terms of re-tuning
written into the music!
ajr
> I think the phrase "the exception that proves the rule" comes to mind.
>
>
> Thanks for the example.
>
>
> RBH
>
>
> Darcy James Argue wrote:
>> Hi Ray,
>>
>> IIRC, when I saw her do it, Laura
I remember that the debut concert of the IU New Music Ensemble featured a
cellist playing Pendercki's "Capriccio per Siegfried Palm." The cellist
sitting next to me in piano class said that you couldn't give here $3000
to do that to her cello, and I found out later that the guy who played it
borrow
> She didn't even know what scordatura is.
> - Original Message -
> From: David W. Fenton
> 2. ask if the composer intends for the player to tune the bottom
> string down to accommodate the lower notes, and, if so, shouldn't
> there be a note advising the player about that.
>
Yes, getting performers to play/sing what I wrote can be a strenuous
political exercise ("you can't mean THAT!"). A 45" choral piece stretched
a choir (=vocal quartet) director beyond his Mendelssohn to Debbie
Friedman comfort zone--he pointed to an octave skip I wrote and said "they
can't sing tha
> I have a 4-staff trumpet quartet and noticed that from mm95 to the end
> (mm200) in Staff 1 there was a sixteenth rest that got inserted which
> caused all of the notes to be shifted over. Is there a way to just delete
> that one sixteenth rest without affecting all of the other staves?
> __
As I understand the plethory of b-double-flats in the finale to Mahler 9
are the bains of many string players.
ajr
> Darcy is absolutely correct on this one. Chord symbols should convey
> their harmonic content directly and as quickly as possible. I hear
> about other players on sessions getting
I am currently working on a section where individual groups of string
players repeat different patterns until the conductor cuts them off. This
calls for placing individual repeat signs on several staves, many of which
don't line up with one another. I looked through the manual to find out
how to d
¿Es el mismo Tom Johnson que escribió "Failing" para Garry Karr"?
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
> Hello all and feliz 2008!
>
> As I am not working anymore as a copyist I find difficult to answer to
> this
> two questions
> John Howell wrote:
>> OK, I give up. What the heck is L.V.? (I hate acronyms, and this
>> campus lives off them!)
> Others have already spelled out what L.V. stands for; usage is in
> handbells and percussion, and strings instruments to indicate that the
> sound should not be damped, but rather
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