I wished U would have helped David with his Arranging book...it was (is) in
really poor hand
Terry
--- On Fri, 8/21/09, David W. Fenton wrote:
> From: David W. Fenton
> Subject: Re: [Finale] Concert pitch scores
> To: Finale@shsu.edu
> Date: Friday, August 21, 2009, 2:10 PM
On Fri, Aug 21, 2009 at 5:10 PM, David W.
Fenton wrote:
> In an earlier period, they were prepared for the copyist to prepare
> the parts. And that's one of the reasons that Kim's situation is so
> interesting to me, in that the scores he's working with would likely
> have confused most copyists in
We performed and recorded a couple of David Baker pieces in the LO back
in 1974.Great guy.
John Howell wrote:
At 2:54 PM -0400 8/21/09, David W. Fenton wrote:
Certainly, French music printing in the early 18th century (for
example) is very elegant and easy to read from, but a lot of MSS
On 21 Aug 2009 at 16:22, John Howell wrote:
> Don Moses was the chorus master,
> but I got drafted to assist him because I was the only one who could
> read David's chicken scratchings! Just another indication that early
> full scores were for composers, not conductors, and were never
> inten
At 2:54 PM -0400 8/21/09, David W. Fenton wrote:
Certainly, French music printing in the early 18th century (for
example) is very elegant and easy to read from, but a lot of MSS from
the same period (and later) are very difficult and filled with
inconsistencies and outright errors.
That's true
On 21 Aug 2009 at 14:09, John Howell wrote:
> a lot of hard-core specialists DO prefer facsimiles rather
> than modern editions, feeling that they convey information that
> modern editions strip out, but those are few and far between, and
> would be useless for the performers Kim is targeting--
At 1:19 PM -0400 8/21/09, Kim Patrick Clow wrote:
All this talk about concert pitches and brass parts brings to mind
that from what I understand now, many HIP performance groups would
rather use the 18th century parts when available and make any
editorial changes on those-- really taking out the
My college prof in this area would always say that the best modern
editions should be usable by both performer and scholar. Not always easy
RBH
Kim Patrick Clow wrote:
All this talk about concert pitches and brass parts brings to mind
that from what I understand now, many HIP performance g
At 12:14 PM -0500 8/21/09, Howey, Henry wrote:
The practice is varied, but I believe pre-20th-century composers
thought in clefs, not transpositions. Most were keyboard players
with considerable clef skills.
Absolutely true. Movable clefs were standard from Guido's 11th
century notation on,
All this talk about concert pitches and brass parts brings to mind
that from what I understand now, many HIP performance groups would
rather use the 18th century parts when available and make any
editorial changes on those-- really taking out the step of making a
performing edition. But that still
The practice is varied, but I believe pre-20th-century composers thought in
clefs, not transpositions. Most were keyboard players with considerable clef
skills.
What you're dealing with is a matter of philology. Depending on the level and
philosophy of creating an edition, I suggest the edition
PROTECTED] On Behalf Of
Darcy James Argue
Sent: Wednesday, 5 October 2005 12:50 PM
To: finale@shsu.edu
Subject: Re: [Finale] Concert pitch scores
Hi John,
I don't think purists have a good reason to balk at this. In fact,
using sub-8 and super-8 clefs addresses one of the objections that
pu
Hi John,
I don't think purists have a good reason to balk at this. In fact,
using sub-8 and super-8 clefs addresses one of the objections that
purists often have to using concert pitch scores at all -- which is
that it's often not clear whether octave-transposing instruments are
being sho
Hi Darcy
Yes I'd thought about going down that avenue. Purists would baulk at
having little 8s on clefs for piccolos and basses, but using the clef
designer to hide these, as you suggest, solves that issue.
I suppose my ideal solution would be to to have these options:
* Display in transpo
John,
I use octave-transposing clefs (for instance, the sub-8 bass clef for
contrabass, or the super-8 treble clef for piccolo), with the staff
transposition set to replace those clefs with the usual ones (and
apply the appropriate transposition, of course) on the extracted part.
I person
In concert pitch scores, common practice is to write all octave-
transposing instruments at their transposed pitches. Out-of -the-box,
Finale will render these extracted parts in the wrong octave, so the
obvious remedy is to go through the instrument.txt file in Component
Files and change th
16 matches
Mail list logo
