Title: Re: [Finale] Possible new fonts (jazz chords and articulations)
I'm beginning to like this group! Thanks all for your kind remarks. Karen, what you said about my work almost made me tear up because during my experience in LA, no one seemed to care. What you said kind of made my LA-hell
My mantra for notation is this and this only: Be impossible to
misunderstand.
Well, you have succeeded in this. This is important to me
too...probably because I deal so much with recording situations and
there isn't time to explain notational issues...sessions are SO
expensive. My
On 25 Oct 2005, at 13:43, Christopher Smith wrote: But trying to recreate either with computer fonts is dishonest and futile. Then you don't understand why we like it. And your accusation is bit strong, don't you think? Perhaps it is a bit strong, for which I apologise. There certainly are some
ect: Re: [Finale] Possible new fonts (jazz chords and articulations)
Reply-To: finale@shsu.edu
Just for the record, I have said before that I prefer the Maestro/Duncan combination to the jazz font (and any other hand written style font I've seen), even with the scoops, bends and fall-offs f
Giz Bowe / 2005/10/25 / 04:20 PM wrote:
As you've gathered, the jazz font is very popular,
Which is great,
Coz every time I make mistake during recording session, I just say
sorry mon, I am not used to read this kind of music font.
No, I am not joking.
--
- Hiro
Hiroaki Honshuku, A-NO-NE
A-NO-NE Music wrote:
Which is great,
Coz every time I make mistake during recording session, I just say
sorry mon, I am not used to read this kind of music font.
No, I am not joking.
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I dunno, I like the jazz font. It's better than the jazz font included
with Sib. 4. There is this one guy in a band I play in that brings in
Sib charts, and they always look goofy, and could be pages less than
they are (poor spacing). Oh well
A-NO-NE Music wrote:
Which is great,
Coz
On Oct 26, 2005, at 1:04 PM, Eric Dannewitz wrote:
I dunno, I like the jazz font. It's better than
... a ton of other hand-written fonts.
Sure I have my issues with some parts of JazzFont (text, arrgh!
parenthesised accidentals, yuck! ooh, don't get me started) but I like
it in general.
In Sibelius's defense, extra pages and poor spacing are operator errors,
not inherent in the program. Not liking their Inkpen font is one thing,
but poor spacing is as much a Finale fault as a Sibelius fault -- it
comes from people using the programs who haven't got much of a clue
about what
On Oct 26, 2005, at 1:56 PM, Eric Dannewitz wrote:
I generally use Jazz for jazz type arrangements, and Maestro for
everything else. I think if Bill Duncan can come up with some
excellent jazz type articulations that work for Maestro, then I might
possibly leave the Jazzfont.
I know
Hi Chris,
My own writing is getting pretty far removed from traditional big-
band jazz these days, and I tend to not use the traditional jazz
articulations (scoops, doits, fall-offs, etc) so it hasn't really
been an issue. When I need something like them, I use smart shapes
instead of
On Oct 26, 2005, at 11:05 AM, Christopher Smith wrote:On Oct 26, 2005, at 1:56 PM, Eric Dannewitz wrote: I generally use Jazz for jazz type arrangements, and Maestro for everything else. I think if Bill Duncan can come up with some excellent jazz type articulations that work for Maestro, then I
I agree with what Chuck is saying here. I too use the Maestro font for Jazz Chartsunless a client absolutely insists that I use the Jazz font. The Jazz font doesn't look as professional in my opinion. I have shape expressions for scoops etc. that I use. I don't own any of Bill Duncan's
Eric Dannewitz wrote:
This is true. However, maybe we should have an informal poll on what
people's choice of fonts is?
Do they like hand written fonts? Maestro? Jazz? November? Ash?
I generally use Jazz for jazz type arrangements, and Maestro for
everything else. I think if Bill Duncan can
What I say is: either use proper computer fonts for music, or
switch off and take to pen and ink again.
I fall in to this camp, but I am curious about the things that Mark
describes. I am not at all unhappy with the engraved look of my
music in Maestro and Bill Duncan's additions to it.
John Bell wrote:
[snip]
What I say is: either use proper computer fonts for music, or switch off
and take to pen and ink again.
Therein lies the rub -- who is it who gets to decide what proper
computer fonts for music are?
We can't even decide on whether auto-update-layout should be
On Oct 24, 2005, at 10:59 PM, John Bell wrote:
When computers first began writing music, there was an immediate
problem with musicians who were accustomed to reading both from
printed and handwritten parts. Printed parts were regarded as somehow
official and trustworthy, whereas everyone
At 04:52 PM 10/24/05, you wrote:
Anyway, I'll get on it in late November after my ballet gig is over. In the
meantime, any more input is always welcome.
Hi, Bill - are you planning on doing the articulation library, the chord
library, or a new hand-written jazz-like font?
As you've
On Oct 25, 2005, at 3:14 AM, dhbailey wrote:
We can't even decide on whether auto-update-layout should be turned on
or off by default when Finale installs. How do you expect us to
decide on what proper computer fonts for music are?
Actually, I think we do agree about the former. Only two
Bill,
It's just their font that is not for sale. The book itself is easily
available.
http://www.shermusic.com/standard_real.htm
- Darcy
-
[EMAIL PROTECTED]
http://homepage.mac.com/djargon
Brooklyn, NY
On 24 Oct 2005, at 1:33 AM, bill wrote:
Hi guys,
Chuck, would you like to be my
Aha.
Here's a sample page available online:
http://www.shermusic.com/bin/paladia.gif
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
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On Oct 24, 2005, at 1:33 AM, bill wrote:
I had a thought about about a new articulations font:
From what I am hearing, there are not a lot of jazz articulations
needed, so
I am thinking about an all-inclusive Articulations font that contains
everything (both jazz and legit). There seems to
Anyone remember Newport font which contained all the useful
articulations such as fall? This is one of the reasons I can't open
many of my big band charts anymore :-(
I have to sight-read jazz chart a few times a week, and I have so many
pet peeves. Jazz font is certainly not easier than
On Oct 24, 2005, at 9:05 AM, A-NO-NE Music wrote:
Anyone remember Newport font which contained all the useful
articulations such as fall? This is one of the reasons I can't open
many of my big band charts anymore :-(
Yes, Hiro, I do, and I kept a copy of it for the longest time, but it
On Oct 23, 2005, at 10:33 PM, bill wrote:
Hi guys,
Chuck, would you like to be my sales rep??? hehehe You are so
kind to talk
about my stuff the way you do.
You're welcome, - it's just the way I feel. Finale makes things
easier for me that used to be difficult - editing and changing
Assuming that Mr. Duncan does not use the Jazz Font, this articulation
font should be based around Maestro (or I believe his version of Maestro).
I'd want scoops that attach properly to a note. But not scoops like in
the Sher Real book. Those look lame. Something more like the Jazz Font's
Christopher Smith / 2005/10/24 / 12:47 PM wrote:
We DO agree, however, that it is best to use EITHER alpha-numeric
symbols (Cm7, Cdim7), OR geometric ones (C-7, Cº7), and not to mix
them.
Ooo, I don't agree. Sorry.
The _correct_ reason won't do any good if musician plays wrong. For
that, my
On Oct 24, 2005, at 12:41 PM, Chuck Israels wrote:
Here are the jazz articulations I use.
Picture 2.png
They are not terrible, but not good either, and they don't match the
consistency of Maestro. I haven't been able to figure out how to get
the handle positions set on the first two so
On Oct 24, 2005, at 11:33 AM, Christopher Smith wrote:
There will always be a problem placing non-centred articulations
like a fall or scoop, because the horizontal positioning works from
your click point. If you are a millimetre too far left, then the
articulation will be, too. The bend
Hi Chuck and Christopher,
Unless I misunderstand, you can choose center over note and fix automatic
positioning left or right of the note by adjusting the values in the handle
positioning dialog box, which is accessed through the handle positioning
button in the Articulation Designer dialog.
I
input is always welcome.
Bill Duncan
[EMAIL PROTECTED]
206-780-2875
From: Chuck Israels [EMAIL PROTECTED]
Reply-To: finale@shsu.edu
Date: Mon, 24 Oct 2005 11:58:34 -0700
To: finale@shsu.edu
Subject: Re: [Finale] Possible new fonts (jazz chords and articulations)
On Oct 24, 2005, at 11:33
On Oct 24, 2005, at 12:53 PM, Don Hart wrote:Hi Chuck and Christopher,Unless I misunderstand, you can choose "center over note" and fix automaticpositioning left or right of the note by adjusting the values in the "handlepositioning" dialog box, which is accessed through the "handle
Well, I'll be darned!
I've been dragging those darned things around forever! I never knew!
I still have to nudge them away from accidentals (unless I duplicate an
alternate with new positioning, not a bad idea), and I adjusted some of
your numbers, but hey, it works!
Thanks for that.
Glad to help! - Don
on 10/24/05 5:41 PM, Chuck Israels at [EMAIL PROTECTED] wrote:
Thanks again, Don.
Chuck
on 10/24/05 5:50 PM, Christopher Smith at [EMAIL PROTECTED]
wrote:
Thanks for that.
Christopher
On Oct 24, 2005, at 3:53 PM, Don Hart wrote:
Hi Chuck and
From: [EMAIL PROTECTED] on behalf of Mark D Lew
Sent: Mon 24-Oct-05 21:07
To: finale@shsu.edu
Subject: Re: [Finale] Possible new fonts (jazz chords and articulations)
On Oct 24, 2005, at 9:41 AM, Chuck Israels wrote:
The more I think about it, the more it seems to me that my eye
When computers first began writing music, there was an immediate problem with musicians who were accustomed to reading both from printed and handwritten parts. Printed parts were regarded as somehow official and trustworthy, whereas everyone knew that handwritten parts were prone to copyists'
On Oct 24, 2005, at 7:59 PM, John Bell wrote:
What I say is: either use proper computer fonts for music, or
switch off and take to pen and ink again.
I fall in to this camp, but I am curious about the things that Mark
describes. I am not at all unhappy with the engraved look of my
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