On Jun 24, 2017, at 10:00 AM, finale-requ...@shsu.edu wrote:
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My guess would be that the first note in the RH is supposed to precede the
first note in the LH, with the last note in the RH being played at the very
end, totaling 8 separate notes. I think it's just notated a bit sloppily.
Doug
> On Jun 23, 2017, at 8:06 PM, Blake Richardson wrote:
>
> I ca
I see all 32nd notes, although it wouldn’t make any difference whether the last
one is 16th or 32nd since they are all supposed to be held!
I think he wrote 8 by mistake. It sohould be a 7. Or maybe he wrote 8 in a
hurry as a reminder of 8ve higher and later indicated th 8ve on the left.
On J
the last note is a 32nd as well, also in the upper voice -- i see 2
tiny extensions, the lower one is barely there, but there nonetheless.
i agree with david, just a hastily notated tuplet (there would be no
need to indicate 8 for 8-let, since they are 32nds...). and def
think the 1st notes i
Yes, that looks like it to me. Notice the first six notes are 32nds, while the
last note is a 16th, so it does add up. The first note is a different note in
the right hand, while the last note is just a unison. You caught the tiny,
faded treble clef in the left hand, right?
Christopher
> On J
On 6/23/2017 11:06 PM, Blake Richardson wrote:
> I can't figure out what's going on with this piano line from John Williams'
> score to DRACULA.
>
> It looks like it's supposed to be some sort of octuplet, but there's only six
> notes on the bottom and the top notes look like they're played in u
On Sep 6, 2011, at 2:30 PM, jhowell wrote:
>
> On Sep 4, 2011, at 4:23 PM, David W. Fenton wrote:
>
>> On 4 Sep 2011 at 15:41, Darcy James Argue wrote:
>>
>>> As for whether the Leslie speaker is a "defining part of the Hammond
>>> sound," the only possible answer is "of course." As Steve poin
As far as I know all Hammond players use Leslie (lately DeFrancesco is
endorsing KeyB and Numa Hammond clones that have a nice digital leslie
emulation).
I read that Brian Auger does not use it, preferring guitar and bass amps
or active speakers
to get a fatter sound.
Il 04/09/2011 20.11, Chuck
On 4 Sep 2011 at 15:41, Darcy James Argue wrote:
> As for whether the Leslie speaker is a "defining part of the Hammond
> sound," the only possible answer is "of course." As Steve pointed out,
> every single Hammond-playing artist of any note employed the Leslie
> speaker.
Within a certain musica
Hi Chuck,
Yes. It's worth taking a close look at the Leslie in person next time you see a
Hammond player using one -- watching the rotating speaker go round and round is
hypnotic and fascinating.
As for whether the Leslie speaker is a "defining part of the Hammond sound,"
the only possible ans
Jimmy Smith, Joey DiFrancesco et al - do (did) they use the Leslie? Heard them
and others for years (often playing joyous music) but never took notice of what
they used to produce their sound.
Chuck
Sent from my iPhone
On Sep 4, 2011, at 1:08 AM, Steve Parker wrote:
> I would say that the
On 4 Sep 2011, at 00:37, David W. Fenton wrote:
> On 4 Sep 2011 at 0:08, Steve Parker wrote:
>
>> I would say that the Leslie is still a defining aspect of the classic
>> Hammond sound. Apart from a period when Jon Lord stopped using a
>> leslie, I can't think of any major Hammond artist for who
On 9/3/2011 7:37 PM, David W. Fenton wrote:
> On 4 Sep 2011 at 0:08, Steve Parker wrote:
>
>> I would say that the Leslie is still a defining aspect of the classic
>> Hammond sound. Apart from a period when Jon Lord stopped using a
>> leslie, I can't think of any major Hammond artist for whom it wa
On 2011/09/03(土), at 後4:59, David W. Fenton wrote:
> On 3 Sep 2011 at 14:14, John Howell wrote:
>
>> Just as the rotating Leslie
>> speakers and their vibrato are a defining aspect
>> of the classic Hammond Organ sound.
>
> Actually, that's not true. The classic Hammond organ sound predates
On 4 Sep 2011 at 0:08, Steve Parker wrote:
> I would say that the Leslie is still a defining aspect of the classic
> Hammond sound. Apart from a period when Jon Lord stopped using a
> leslie, I can't think of any major Hammond artist for whom it wasn't a
> defining part of their sound.
Have you e
I would say that the Leslie is still a defining aspect of the classic Hammond
sound.
Apart from a period when Jon Lord stopped using a leslie, I can't think of any
major Hammond artist for whom it wasn't a defining part of their sound.
Steve P.
On 3 Sep 2011, at 21:59, David W. Fenton wrote:
>
On 3 Sep 2011 at 14:14, John Howell wrote:
> Just as the rotating Leslie
> speakers and their vibrato are a defining aspect
> of the classic Hammond Organ sound.
Actually, that's not true. The classic Hammond organ sound predates
the invention of the Leslie speader, and Leslie speakers are use
Vibes and motor, all true, but in serious music vibes are assumed to have
the motor off unless specified on.
Raymond Horton
On 3 Sep 2011, at 19:14, John Howell wrote:
>
> > At 10:43 AM -0700 9/3/11, Blake Richardson wrote:
> >>
> >> I didn't even know the instrument had a motor.
> >> All I know
Did you know that Laurens Hammond didn't approve of the Leslie and did not
permit official Hammond dealers to stock them!
He felt it was a more serious instrument..
Steve P.
On 3 Sep 2011, at 19:14, John Howell wrote:
> At 10:43 AM -0700 9/3/11, Blake Richardson wrote:
>>
>> I didn't even know
At 10:43 AM -0700 9/3/11, Blake Richardson wrote:
>
>I didn't even know the instrument had a motor.
>All I know about vibraphones is that they're
>analogous to xylophones/marimbas with a
>different sound/timbre.
Well, it's a metallophone--metal bars instead of
wood or plastic--so that explains
i accessed it with no account, quite often moving up a level in a
wrongly indicated or unavailable address gets you to a page where the
file or link is listed, that is how i found it (removed "10039" from
the original link to access the account of btr1701 [blake t.
richardson])
http://gallery
Some have signed up with the same supplier of server space, some have not.
I was told I needed a paid subscription to see your file.
Klaus
>
>From: Blake Richardson
>
>
>
>As for the link not working, it's weird that some people could see it and
>others coul
On Sep 3, 2011, at 10:00 AM,
wrote:
> From: SN jef chippewa
> Date: September 3, 2011 5:29:01 AM PDT
> To:
> Subject: Re: [Finale] Notation Question
> Reply-To: finale@shsu.edu
>
>
>> The link don't work for me either
>
> http://gallery.me.com/
At 3:56 AM -0700 9/3/11, 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
>so
"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
>The link don't work for me either
http://gallery.me.com/btr1701#100039/Jaws.Vibe&bgcolor=black
definitely "motor"... actually that particular word for me is the
clearest thing in the image 8-)
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu
The link don't work for me either
Giovanni Andreani
On 3 Sep 2011, at 13:25, "David H. Bailey"
wrote:
> On 9/3/2011 6:56 AM, 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.
>
motor on.
Sent from my iPad
On Sep 3, 2011, at 6:56 AM, 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
On 9/3/2011 6:56 AM, 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
What does the special fingering produce?
Dalvin Boone
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Steve Parker
Sent: Tuesday, December 21, 2010 3:57 PM
To: finale@shsu.edu
Subject: Re: [Finale] Notation question -- sort of OT
Who is the
Who is the composer?
That would likely determine wether it is a tempered quarter tone or
notation for a just interval.
Steve Parker
On 21 Dec 2010, at 19:12, Barbara Levy wrote:
Hello, everyone.
I've run into a symbol on an oboe part that I've never seen
before..it's
probably a (tempered) quarter tone. depending on the composer and
context it could also be a non-tempered microtonal inflection...
could also be a 6th or 8th tone. but i would also assume quarter
tone if you can't find any other information. if you can conclude
for certain that it is a qua
My guess is that the caret is supposed to be an arrowhead indicating that
the note is to be raised a quarter tone. For example, if the symbol is on
the note B, it should be a quarter tone up from Bb.
On Tue, Dec 21, 2010 at 11:12 AM, Barbara Levy wrote:
>
> Hello, everyone.
>
> I've
neueweise" <[EMAIL PROTECTED]>
To:
Sent: Tuesday, February 13, 2007 6:22 PM
Subject: Re: [Finale] Notation question
>
> >I would definitely write it eighth rest, dotted quarter tied to
> >eighth. No need to show the second quarter in the measure by writing
> >eighth re
I would definitely write it eighth rest, dotted quarter tied to
eighth. No need to show the second quarter in the measure by writing
eighth rest, eighth tied to quarter tied to eighth.
totally agree. however, if a large chamber music score, it can be
useful to "line up" things vertically (v
Yeah, that is what I was trying to say.
Dutch. Hm.
Christopher Smith wrote:
I would definitely write it eighth rest, dotted quarter tied to eighth.
No need to show the second quarter in the measure by writing eighth
rest, eighth tied to quarter tied to eighth. But you DO have to see the
t
On 13-Feb-07, at 4:54 PM, dc wrote:
dhbailey écrit:
I'm confused as to how you can have a half-note which starts after
an 8th rest in a 2/4 measure -- that's 2.5 beats right there.
If it's really 2/4 meter then you'd have to do: 8th-rest, 8th-note-
tied-to-quarter-note-tied-over-the-barlin
In 2|2, it is perfectly allright wo write 8th rest dotted quarter
because they are both within one beat/tactus.
dc wrote:
shirling & neueweise écrit:
if it only happens once, you might prefer:
8th rest + 8th_q_|_8th
Thanks. This is indeed what I did, but on proofreading the score I was
wo
I have a piece in 2/4 with a half note that starts after an eighth
note rest. What's the best way to notate to make it easily readable?
Leave the half note "shifted" off the beat, or break it down to tied
values (8+4+8)?
half note shifted off-beat!?!? musicians will hate you. they don't
kn
dc wrote:
I have a piece in 2/4 with a half note that starts after an eighth note
rest. What's the best way to notate to make it easily readable? Leave
the half note "shifted" off the beat, or break it down to tied values
(8+4+8)?
I'm confused as to how you can have a half-note which starts
On 15 May 2005 at 11:35, Rich Caldwell wrote:
> Maybe it isn't in all versions? FinMac 2005b here.
>
> Document Options ---> Flags ---> Flag Type [right at the top]
>
> I guess one can also choose any characters you want globally for flags
> here, but only for 8ths and 16ths. I notice that if
At 11:35 AM 05/15/2005, Rich Caldwell wrote:
>Maybe it isn't in all versions? FinMac 2005b here.
>
>Document Options ---> Flags ---> Flag Type [right at the top]
Ah -- your earlier post said Doc Options | BEAMS.
If you look at the help file for this screen, you'll see that 'Use Straight
Flags' on
"Use Straight Flags" is in Document Options > Flags. You also need to
change the flag font (Document Options > Fonts) to Tamburo, choose the
characters for the straight upstem and downstem flags from the "Music
Characters" popup in Document Options > Flags and adjust the
positioning in the "Fla
Maybe it isn't in all versions? FinMac 2005b here.
Document Options ---> Flags ---> Flag Type [right at the top]
I guess one can also choose any characters you want globally for flags
here, but only for 8ths and 16ths. I notice that if you use the Jazz
font, some strange straight "flags" appear
At 10:54 AM 05/15/2005, Rich Caldwell wrote:
>Shouldn't DocOpts>Beams>Use Straight Flags do this? I tried it, but
>Maestro and Engraver don't seem to have straight flags.
Where do you see such an option? Are you referring to "Flatten all beams"?
That is something different entirely -- it forces a
Shouldn't DocOpts>Beams>Use Straight Flags do this? I tried it, but
Maestro and Engraver don't seem to have straight flags.
-Rich
At 07:48 AM 5/15/05 -0400, John Howell wrote:
I played a concert Saturday night, and ran into something I've never
seen before. I'm wondering whether it's something
At 07:48 AM 5/15/05 -0400, John Howell wrote:
>I played a concert Saturday night, and ran into something I've never
>seen before. I'm wondering whether it's something that's snuck in
>as, somehow, a "new notation" practice, or whether it's an indication
>that the composer doesn't know how to us
On May 15, 2005, at 7:48 AM, John Howell wrote:
I played a concert Saturday night, and ran into something I've never
seen before. I'm wondering whether it's something that's snuck in as,
somehow, a "new notation" practice, or whether it's an indication that
the composer doesn't know how to use
On 19 Apr 2005, at 3:17 AM, Michael Cook wrote:
On 18 avr. 05, at 23:14, Christopher Smith wrote:
But back at you, in the key of C would YOU spell the bII7 chord as
Db-F-Ab-Cb when there is a perfectly good and functional leading tone
B in the key signature?
If the next chord is C major I'd certa
On 18 avr. 05, at 23:14, Christopher Smith wrote:
But back at you, in the key of C would YOU spell the bII7 chord as
Db-F-Ab-Cb when there is a perfectly good and functional leading tone
B in the key signature?
If the next chord is C major I'd certainly spell it with a B, since the
B would be fu
On Apr 18, 2005, at 5:50 PM, Darcy James Argue wrote:
On 18 Apr 2005, at 5:14 PM, Christopher Smith wrote:
But back at you, in the key of C would YOU spell the bII7 chord as
Db-F-Ab-Cb
On a piano or guitar part, absolutely -- no hesitation, no question.
On chordal parts, I spell dominant 7th cho
On 18 Apr 2005, at 5:14 PM, Christopher Smith wrote:
On Apr 18, 2005, at 2:29 PM, Darcy James Argue wrote:
Wow, do you really follow that rule consistently? I mean, in the key
of Db, would you spell the bII7 chord D-F#-A-B#?
No, because to be painfully correctly spelled, it would be an Ebb7
Chri
On Apr 18, 2005, at 3:20 PM, David W. Fenton wrote:
On 18 Apr 2005 at 8:48, Christopher Smith wrote:
I. Generally, tertian chords are spelled in 3rds from the root up. But
the roots of ambiguous sounding chords (especially aug. triads and o7
chords) are sometimes controversial and, then, so ar
On Apr 18, 2005, at 2:29 PM, Darcy James Argue wrote:
On 18 Apr 2005, at 8:48 AM, Christopher Smith wrote:
For jazz things get hairy, as tritone substitute dominant chords
should be correctly spelled as if they were augmented sixth chords,
e.g., in the key of C a Db7 chord would be spelled Db, F
When I first started using Finale in the dark ages of 1988, :-) I tended
to repeat larger sections (choruses or verses) of the pieces I worked on,
and was very happy to get away from the use of col bars. However, the major
reason I avoided repeats was the difficulty, without the availability of
On 18 Apr 2005 at 10:19, dhbailey wrote:
> Williams, Jim wrote:
>
> [snip]>
> > Here's a question--I find myself writing fewer "roadmaps" in general
> > since using software. Cut-and-paste works well! Some people rag on
> > me for this since they want to know if something is a recap or some
> > s
On 18 Apr 2005 at 8:48, Christopher Smith wrote:
> I.Generally, tertian chords are spelled in 3rds from the root up. But
> the roots of ambiguous sounding chords (especially aug. triads and o7
> chords) are sometimes controversial and, then, so are their spellings.
I have to disagree with thi
On 18 Apr 2005, at 8:48 AM, Christopher Smith wrote:
For jazz things get hairy, as tritone substitute dominant chords
should be correctly spelled as if they were augmented sixth chords,
e.g., in the key of C a Db7 chord would be spelled Db, F, Ab, B (not
Cb). Many jazz musicians freely use enha
On Mon, 18 Apr 2005 07:19:40 -0400, "Eden - Lawrence D." wrote:
> I am often undecided about using sharps as accidentals in flat keys
> and using flats in sharp keys.
>
> I prefer to simplify the notation, substituting B for
On Apr 18, 2005, at 6:33 AM, Williams, Jim wrote:
Here's a question--I find myself writing fewer "roadmaps" in general since using software. . Am I alone in my abandonment of roadmaps?
Jim
I haven't abandoned them entirely, when the structure is simple enough. But I write out the things
On 18 avr. 05, at 15:33, Williams, Jim wrote:
For music to be performed at sight or on only one readthrough, I will
simplify spelling (this problem arises most often in diminished
constructions or substitute harmonies) unless the simplification is
grossly misleading (of course, I will do the F#
Williams, Jim wrote:
[snip]>
Here's a question--I find myself writing fewer "roadmaps" in general
since using software. Cut-and-paste works well! Some people rag on me
for this since they want to know if something is a recap or some
such. My response is always "if you can't tell what it is, turn yo
There is one other style worth noted.
Take the music into totally super horizontal. In this context, the
vertical harmonic structure is rather ignored, thus accidentals are not
given according to the vertical harmonic structure. If no obvious clue
of the key of the moment is visually affecting t
hbailey
Sent: Mon 18-Apr-05 7:42
To: finale@shsu.edu
Cc:
Subject: Re: [Finale] notation question
Eden - Lawrence D. wrote:
> Fellow Listers,
>
> I am often undecided about using sharps as accidentals in f
Eden - Lawrence D. / 05.4.18 / 07:19 AM wrote:
>I am often undecided about using sharps as accidentals in flat keys and
>using flats in sharp keys.
>
>I prefer to simplify the notation, substituting B for Cb, for example, but
>I want to know what is the "correct" way to make the decision.
>
>I wan
On Apr 18, 2005, at 7:19 AM, Eden - Lawrence D. wrote:
Fellow Listers,
I am often undecided about using sharps as accidentals in flat keys and
using flats in sharp keys.
I prefer to simplify the notation, substituting B for Cb, for example, but
I want to know what is the "correct" way to make t
Eden - Lawrence D. wrote:
Fellow Listers,
I am often undecided about using sharps as accidentals in flat keys and
using flats in sharp keys.
I prefer to simplify the notation, substituting B for Cb, for example, but
I want to know what is the "correct" way to make the decision.
I want my parts to b
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