Doubling the winds can open the door to longer melody lines in those sections.
I looked back over my first band/WE score, and I see how much of it was
predicated on sections of multiples staggering breathing. I'm sure if anyone
does play it one-to-a-part good players can make it sound effortless
You can find this in a lot of early Penderecki scores as well.
ajr
Raymond Horton wrote:
> Forked stems, clearly indicating clusters, are common in the score to
Stravinsky's Rite of Spring.
Raymond Horton
Composer, Arranger
Minister of Music, Edwardsville (IN) United Methodist Church
Ret
Years ago we had a piece on one of our theory class listening lists called
"Probstuecke aus dem Wahrarts des Klavierspelen," by CPE Bach. The professor
said that that was the one piece we didn't have to be able to name in the
original language. Which is why I remember in in German.
ajr
SN
It is interesting to note that when I produced my recordings in Moravie the
musicians understood everything I wrote in Italian, but no everything that I
wrote in English. (One that neither the organist nor his organ-playing wife
understood in English: "white keys.")
ajr
___
Kinda like the major gaff in the English in the Exodus movie--"This isn't about
you or I." Please.
ajr
Chuck Israels wrote:
> I agree - language is consensual, so common usage governs decisions like this.
(More OT: I can’t wrap my head around contemporary usage of subjective pronouns
in
Does any of you have any suggestions for a mid-level percussion sound that can
be heard through a loud choral/orchestral tutti? Something that could
re-inforce a combination of timpani w/wooden sticks, bass drum, and slapstick?
Aaron J. Rabushka
___
Fi
Yes--I've always found that cautionary and other redundant accidentals save
more time than they take to make. Only been called on the carpet for them a
couple times.
ajr
John Witmer wrote:
> Music is NOT an extreme sport.
Those who won't use cautionary accidentals are music snobs.
--
Does this "Copyist's helper" have anything to do with the copyist software from
Dr. T's?
ajr
Richard James Ihnatowicz wrote:
> Hi All
> Sorry if this has been covered - I only keep half and eye on the list.
> Has anything happened to Robert Patterson?
> I used to use Copyist's helper but
I should also hope not. It's bad enough to have to deal with it in the armchair.
ajr
"David H. Bailey" wrote:
> On 11/5/2014 10:46 AM, arabus...@austin.rr.com wrote:
> > Yes--I've always wondered why the study score for Ein Heldenleben has
> > E-flat and B-flat trumpets simultaneously on
Yes--I've always wondered why the study score for Ein Heldenleben has E-flat
and B-flat trumpets simultaneously on the same line.
ajr
Christopher Smith wrote:
> Yes, having a second staff only for the passage needed is the best thing to
> do by far. I have done this often. Having two dif
Thanks! That did it!
ajr
Robert Patterson wrote:
> >From the FAQ:
>
> *1.7 What causes an error message like
> "FinPIStaffSystem::FinPIStaffSystem->Unable to load Enigma Data. EXTAG
> is'O%SS'"*
>
> This most likely is due to a bug in Finale's Auto Update Layout feature.
> You can usuall
Is anyone getting a message that includes the words UNABLE TO LOAD ENIGMA DATA
EXTAG IS 'O SS' when trying to beam notes across barlines using the Patterson
Lite plug-in? Does anyone know of a fix for it?
Aaron J. Rabushka
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Is anyone aware of a bug that leaves empty staves on a page after using HIDE
EMPTY STAVES? Is there a setting of some sort for this? Lots of times Finale
leaves empty staves on a page, and it's time consuming to use the staff style
to hide them.
Aaron J. Rabushka
__
Do these "crashes" you're talking about include the situation where a box pops
up with the notice that "Finale has stopped working"?
Aaron J. Rabushka
"Williams wrote:
> Craig...
>
> makemusic.custhelp.com/app/answers/detail/a_id/5573
>
> This should fix what ails you, as I mentioned ear
Has anyone had their clefs re-set after re-barring music? It seems that Finale
is doing this, and I'd like to know if anyone knows of a setting where I could
turn it off.
Aaron J. Rabushka
Finale 2014
Windows 8.1
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Recently I was messing around in the Lyric tool, and all of the sudden all of
the lyrics for the whole piece disappeared. Has anyone had this happen before,
and does anyone know what causes it? I had a backup of the file, so no work was
lost.
Aaron J. Rabushka
Finale 2014 on Windows 8.1
__
Have your tried the H function in speedy entry? H = Hide.
ajr
Giovanni Andreani wrote:
> I have a already wrote about this topic before but I'm trying again because I
> really can't get around this problem.
> While using speedy entry I used to be able to visualize, as grayed out
> notati
OK--perhaps I should clarify my question: has anyone had success using the
page tiling feature in Finale 2014?
ajr
SN jef chippewa wrote:
>
> once you print to PDF in your larger format, you can also print to
> letter-size, selecting "fit to printer", if it is just scratch copies.
>
>
That is more elaborate and more expensive than I want to go for working scratch
copies.
ajr
SN jef chippewa wrote:
>
> why not go to a print shop and print to 11x17?
>
> --
>
> BLOCK SEMINAR
> new music notation: score design, function and role
> instructor: jef chippewa
> morelia (me
At this time I am trying to print some working copies of some score pages that
overflow the 8 1/2" x 11" that I use in my printer. I don't want to reduce the
pages any more as they are already a challenge to read. I understand that the
process of printing these large pages on more than 1 sheet o
When I was running Finale 2003 I put trailing ties on ringing percussion notes
(e.g., gong or cymbal strokes that were to ring for their full values) by
using the note shape tool and selecting the proper value from the appropriate
font. I need to do this with some percussion notes now in Finale
As a former trombone player, I learned alto and tenor clefs when I was in high
school. Trying to gain some facility with soprano clef now. Never did see a
C-clef in a jazz chart. I have a card from a drummer that actually has a C-clef
on it--very gutsy.
ajr
Robert Patterson wrote:
> Wow,
Has anyone had any trouble hiding staves in the 2014 finale? Sometimes the
staves are hidden properly, and sometimes they show up even if they're empty. I
have a staff style that can force hiding, but I don't need to tell you how
awkward this is. Does any of you recognize a problem here?
Aaron
I have gotten into situations where I have to apply articulations one at a time
rather than to a bunch of selected notes. Finale 2014 in Windows 8.
ajr
Craig Parmerlee wrote:
> Has anybody experienced this? Working in scroll most at zoom level 2
> (Ctrl-2) on a Windows 7 system, I kept
Hey Mark!
Have you tried putting a rest between your 5-let and the end of the measure,
then removing it later? It may not help, but I found that the tuplet problem I
was having depends on whether or not the tuplet is at the end of a bar.
ajr
"Houghton wrote:
> Dear all,
>
> I'm making a
Well, this is one of those techniques that borrows repeated ostinato from the
Polish avant-garde of yesteryear, whose proper notation, IIRC, includes repeat
signs. I like the staff-style idea--I think I'll give it a try.
ajr
Richard Smith wrote:
> Please don't! Just copy and paste. Repea
In my current project I want to notate repeat signs in individual parts without
their showing up in all the parts. How does one do this? I am running Finale
2014 under Windows 8.
Aaron J. Rabushka
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Recently I upgraded from Finale 2003 to 2014. I am having a strange problem
with the tuplet tool. I am trying to enter a dotted eight note followed by a
regular eight note as 5 16ths in the time of 4 16ths. Finale is letting me
enter 4 16ths, then, when I click on the tuplet tool, it shows my 4
Good thing the auidence can't hear the cleffing...
ajr
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...although the books by Piston and Rimsky-Korsakov'll do in a pinch!
ajr
John Howell wrote:
> At 1:14 AM + 9/16/11, arabus...@austin.rr.com wrote:
> >And does anyone put a "little 15" on top of the
> >treble clef when they write for glockenspiel? :)
> >
> >ajr
>
> That's also grandf
And does anyone put a "little 15" on top of the treble clef when they write for
glockenspiel? :)
ajr
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"motor"?
Blake Richardson wrote:
> A question for those familiar with vibraphones. There's handwritten direction
> in the following score excerpt that I can't quite make out. It says, "___ on,
> pedal down, soft sticks", but I can't tell what the first word is. It's
> probably something
This is a blessing, delivered cantorial style. The text is "Blessed are you,
Lord (= YHWH), the holy god." Since this was likely to be recorded and played
outside of liturgical practice, neither LORD nor GOD is pronouced as written.
This blessing comes at the end of the third section, K'dushah,
That's right--minor 7th instead of major 7th. Perhaps I was getting my wires
crossed with Mozart's Musical Joke.
ajr
"Dean M. Estabrook" wrote:
> Thank you sir ...
> On May 6, 2011, at 2:13 PM, Ryan wrote:
>
> > In treble clef, Horns in D are written up a minor 7th from concert
> > pit
Horn in D sounds a major 7th lower than written, so c'' sounds d'. D-alto parts
(if there were any such things) would probably be considered cruel as well as
unusual for F-horn players. Are you up for Wagner's horns in d-flat next?
ajr
"Dean M. Estabrook" wrote:
> Ok, Horn players
Well, if the king were feeling a tad madrigalesque at the time he may have very
well sighed at his supper! (When I used to here these on the radio the title
was always given in English.)
ajr
Klaus Smedegaard Bjerre wrote:
> The composer’s name comes in various recognized spellings. The t
For starters, anything by the Beatles.
Richard Yates wrote:
> No Finale content here (except that I am writing an article that includes a
> score and examples done in Finale).
>
> Thomas Crecquillon wrote "Ung Gay Bergier" (A Happy Shepherd?) in the first
> half of the 16th century. It bec
Guess we have to wait for Roger Norrington & Co to take up Brahms!
ajr
Mariposa Symphony Orchestra wrote:
> Ray - I'm really interested to see what your hornist friend has to share!
>
> Actually, Brahms DID prefer natural horn, and DID hear his works played on
> valveless horns - repe
Well, in my band transcriptions (available from Lauren Keiser Music) I provided
a special OBBLIGATO CLARINET to cover the oboe part if necessary--will blend
better with other woodwinds than a muted trumpet, I think.
ajr
Ryan wrote:
> Good thoughts on tuning. I love the contributors to t
I also recall a lot of paintings where the angels are playing
sackbuts/trombones in heavenly settings. As you used to say to me and Bill
Taggart, John, "you guys belong to a good union!"
Anyone see Fellini's "Orchestra Rehearsal" movie? Where the trombonist carries
on about his instrument being
The IU bands that I played in always tuned to the 1st clarinetist, even when we
did have oboes on hand.
ajr
dhbailey wrote:
> Ryan wrote:
> > If there's no oboe in the orchestra (pit orchestra), what's the next best
> > choice to tune to? Muted trumpet? Ha. In all seriousness; Clarinet?
Yes, French indeed, a near-sound-alike for "cor anglé" a reference to the angle
between the reed and the rest of the instrument. My two major references for
its usage be Brits come from H. C. Robbins Landon's notes to Haydn's Symphony
22, and to Antony Hopkins's repeated use in the old "BBC Mus
"Cor anglais" is stuck up? I thought it was simply British, for people who know
that the English horn is neither English nor a horn.
Aaron J. Rabushka
who would most likely write "oboe/corno inglese"
John Howell wrote:
> At 9:10 PM -0700 7/5/10, Dean M. Estabrook wrote:
> >While we're at
Yep--a lot of the world's worthwhile music takes place among the epsilons
(unexplained variations) in the economists' formulas, and the world is better
for it.
ajr
Christopher Smith wrote:
>
> On Thu Jun 24, at ThursdayJun 24 1:59 PM, David W. Fenton wrote:
>
> > We don't expect to mak
In the score I'm working on now there is one passage where I contiually have to
re-mark a bass clef in the right-hand staff of one of the piano parts--very
often this clef disappears, and the notes appear correctly and awkwardly in the
treble clef. Has anyone else had this problem? Could it po
In the score I'm working on now there is one passage where I contiually have to
re-mark a bass clef in the right-hand staff of one of the piano parts--very
often this clef disappears, and the notes appear correctly and awkwardly in the
treble clef. Has anyone else had this problem? Could it po
In the score I'm working on now there is one passage where I contiually have to
re-mark a bass clef in the right-hand staff of one of the piano parts--very
often this clef disappears, and the notes appear correctly and awkwardly in the
treble clef. Has anyone else had this problem? Could it pos
Finding a working copy of Windows 98 has been the biggest problem--the only one
I found bombs on any computer that is not a Dell.
ajr
"David W. Fenton" wrote:
> On 27 May 2010 at 16:11, arabus...@austin.rr.com wrote:
>
> > Well, I have some Copyist files trapped in a computer that needs
Perhaps this is tonal in the manner of the later Gesualdo madrigals? or the
beginning of Liszt's Faust Symphony?
ajr
Christopher Smith wrote:
>
> On Thu May 27, at ThursdayMay 27 3:28 PM, John Howell wrote:
>
> > At 8:11 AM -0400 5/27/10, Christopher Smith wrote:
> >> Andrew, I don't g
Well, I have some Copyist files trapped in a computer that needs a fresh copy
of Windows 98 to reboot. I have all the data copied to Windows, and the program
bombs after a few moves.
ajr
"David W. Fenton" wrote:
> On 27 May 2010 at 15:43, John Howell wrote:
>
> > And computer music
>
So does "in the pit" effectively mean "in the orchestra," even if it's on the
stage the whole time?
ajr
Ryan wrote:
> Usually it's an extra 10%-25%.
>
> On Thu, May 27, 2010 at 11:53 AM, Christopher Smith <
> christopher.sm...@videotron.ca> wrote:
>
> >
> > On Thu May 27, at ThursdayMa
Context can be a lot--people can handle and assimilate lots of music in movies
(or even opera) that they would never take in a straight concert setting. In my
experience this applies equally to Ligeti, Johann Strauss, and Richard Strauss.
ajr
"David W. Fenton" wrote:
> On 27 May 2010 a
Kind of like the number with the atonal intro in The Fantasticks. A great way
to sneak atonality though to people who don't think they could ever like it.
ajr
Andrew Stiller wrote:
>
> On May 25, 2010, at 11:41 AM, Christopher Smith wrote:
>
> > What I meant to say, though, it is that
At least when my waltz was bumped for "The Blue Danube" I got to use and expand
it in a wind ensemble piece the following year.
ajr
Christopher Smith wrote:
>
> On Mon May 24, at MondayMay 24 7:19 PM, Ryan wrote:
>
> > I love hearing these "horror stories" from musical theater. I'm
>
Ja, ein Krumhorn!
Howard Weiner wrote:
> On 12.05.2010 17:10, Aaron Rabushka wrote:
> > Heck, when I picked up a crumhorn I lipped the whole scale without
> > putting a single finger down!
>
> A crumhorn? Really? Or a cornetto?
>
> Howard
>
>
>
>
> >
> > Aaron J. Rabushka
> > arabus
"The Entertainer" introduced by a Phalèse pavane wasn't bad either!
"Dean M. Estabrook" wrote:
> I would like to have heard that ...
>
> Dean
>
> On May 12, 2010, at 12:35 PM, Lawrence Yates wrote:
>
> > And I thought we were the only daft early musicians!
> >
> > Yours, an envious Lawr
Maxwell's Silver Hammer? Can you enlighten me as to what that is? Not the
Maxwell House Coffee jingle, I wouldn't think.
ajr
Andrew Stiller wrote:
> >> There's an Alec Wilder band piece that calls for anvil.
> >>
> >>
>
> And of course there's that best known of all anvil parts, the one
Guess I got lucky when they recorded my organ piece--there was only one sound
that I envisioned that the player oouldn't pull out of the instrument, and what
he did find worked in very well with the rest of the texture.
Aaron J. Rabushka
who never has played the organ
Roger Cain wrote:
Why did I cut the logos off? I did not feel like giving free advetising to
Alpheus on every page of my work.
ajr
"David W. Fenton" wrote:
> On 30 Mar 2010 at 10:37, Aaron Rabushka wrote:
>
> > Yes--good old Judy Green! I remember cutting their logos (Cameo, Alpheus)
> > off the bottoms
Currently I am working on a section in 8/4 time with a measure that starts with
two consecutive dotted quarters. When I REBAR the score (which I wind up doing
innumerable times in the course of any given project) Finale turns the second
dotted quarter into an 8th tied to a quarter, and furthermo
Interestingly enough the piece for which I am considering this effect has 1
D-trumpet (or E-flat if the player prefers) and 2 fluegelhorns. We'll see if I
wind up giveng the effect to any or all of them.
ajr
John Howell wrote:
> At 10:58 AM -0400 3/15/10, dhbailey wrote:
> >timothy.pric
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