At 10:23 AM +0100 7/2/06, Owain Sutton wrote:
There's a huge difference. One is creating every conceivable block in
advance, to ensure that every ligature can be preserved. The more
practical situation is making a smaller set of blocks which enables the
printing of some common ligatures, at
On Jul 2, 2006, at 5:23 AM, Owain Sutton wrote:
One is creating every conceivable block in
advance, to ensure that every ligature can be preserved. The more
practical situation is making a smaller set of blocks which enables the
printing of some common ligatures, at the expense of others.
On Jun 30, 2006, at 4:42 PM, Owain Sutton wrote:
Anyway, my central point still stands: printers--or at least
this one,
major, printer--had the ability and willingness to produce ligatures
when called upon to do so.
No, the point doesn't stand, you haven't demonstrated that specific
On Jun 29, 2006, at 4:11 PM, Owain Sutton wrote:
Do the exponential calculations of
how many different pieces would be needed to cover every possibility,
and still tell me it may be assumed that they all existed!
No, you're right. I imagine Attaignant and the others made the special
blocks
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of Andrew Stiller
Sent: 30 June 2006 20:19
To: finale@shsu.edu
Subject: Re: [Finale] Notation; was RE: Tremolos
On Jun 29, 2006, at 4:11 PM, Owain Sutton wrote:
Do the exponential calculations
On Jun 28, 2006, at 3:05 PM, Owain Sutton wrote:
A page of Mouton's _Messe d'Allemaigne_, as printed by Attaignant and
reproduced in _Pierre Attaignant: Royal Printer of Music_ by Daniel
Heartz, displays several 3-note ligatures, in a variety of forms.
Would these be formed simply by
On Jun 29, 2006, at 2:31 PM, Andrew Stiller wrote:
Each separate note has its own type block, including the staff
lines. But the blocks include all those needed to produce
ligatures; the page in question shows, for example, both open and
filled diagonal slide ligatures, each comprised
I use Chord Tool to assign figured bass, works like a charm!
Martin
On Jun 29, 2006, at 3:20 PM, Christopher Smith wrote:
Finale can only do ligatures using movable lead type!? Wow, and I
thought it was a kludge to get figured bass in using the lyrics tool!
(big grin) 8-)=)
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of Christopher Smith
Sent: 29 June 2006 20:20
To: finale@shsu.edu
Subject: Re: [Finale] Notation; was RE: Tremolos
On Jun 29, 2006, at 2:31 PM, Andrew Stiller wrote:
Each separate note has
In reply to various comments: ligatures may have survived, but I cannot
think of any examples exceeding a pair of notes. Also, colouration
consisted of black and white notation (simple to do when printing black ink
on white paper) but red (and blue) notation disappeared because of the
complex
At 07:11 PM 6/27/06 -0400, David W. Fenton wrote:
But it seems to me that in the historical example, there was no
resulting limitation on the musical expression of the composers, as I
believe Dennis is suggesting is the case with the impoverished
notational vocabulary of primitive notation
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED]
Sent: 28 June 2006 15:02
To: finale@shsu.edu
Subject: RE: [Finale] Notation; was RE: Tremolos
In reply to various comments: ligatures may have survived,
but I cannot
think
At 10:02 AM -0400 6/28/06, [EMAIL PROTECTED] wrote:
In reply to various comments: ligatures may have survived, but I cannot
think of any examples exceeding a pair of notes.
Agreed, 2-note ligatures with opposite propriety are the large majority.
Throughout
most periods compositional
On Jun 28, 2006, at 10:02 AM, [EMAIL PROTECTED] wrote:
In reply to various comments: ligatures may have survived, but I cannot
think of any examples exceeding a pair of notes.
A page of Mouton's _Messe d'Allemaigne_, as printed by Attaignant and
reproduced in _Pierre Attaignant: Royal
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of Andrew Stiller
Sent: 28 June 2006 19:33
To: finale@shsu.edu
Subject: Re: [Finale] Notation; was RE: Tremolos
On Jun 28, 2006, at 10:02 AM, [EMAIL PROTECTED] wrote:
In reply to various
At 8:05 PM +0100 6/28/06, Owain Sutton wrote:
A page of Mouton's _Messe d'Allemaigne_, as printed by Attaignant and
reproduced in _Pierre Attaignant: Royal Printer of Music_ by Daniel
Heartz, displays several 3-note ligatures, in a variety of forms.
Would these be formed simply by
On 26 Jun 2006 at 22:57, Owain Sutton wrote:
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton
Sent: 26 June 2006 20:18
To: finale@shsu.edu
Subject: Re: [Finale] Notation; was RE: Tremolos
On 26 Jun 2006 at 7:59, [EMAIL
At 8:40 AM -0400 6/27/06, David W. Fenton wrote:
On 26 Jun 2006 at 22:57, Owain Sutton wrote:
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton
Sent: 26 June 2006 20:18
To: finale@shsu.edu
Subject: Re: [Finale] Notation
To: finale@shsu.edu Subject: Re:
[Finale] Notation; was RE: Tremolos
On 26 Jun 2006 at 7:59, [EMAIL PROTECTED] wrote:
The same happened in the early sixteenth century. All the
ligatures and colouration that made 15th century music so
complex (e.g. mensuration canons
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton
Sent: 26 June 2006 20:18
To: finale@shsu.edu
Subject: Re: [Finale] Notation; was RE: Tremolos
On 26 Jun 2006 at 7:59, [EMAIL PROTECTED] wrote:
The same happened in the early
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