|
time_is_now
|
 |
« Reply #15 on: 17:25:00, 14-06-2007 » |
|
Should one of those RH quavers in bar 2 be a semiquaver?  |
|
|
|
|
Logged
|
The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
|
|
|
|
trained-pianist
|
|
« Reply #16 on: 19:57:04, 14-06-2007 » |
|
I am trying to learn the system. I did not know that it is capable to print such a difficult things like aaroncassidy is printing.
I have easy things that I need to do. At the moment I am don't know how to do in left hand a minim above it a quaver rest (one of triple) and then two other octaves (part of the triple).
I am looking at this problem for a few days now and I don't think I will be able to understand myself.
I am waiting for my friens to come back and explain it to me.
Meanwhile if anybody thinks it is not too difficult to explain please explain it to me. I really don't like to be so helpless.
|
|
|
|
|
Logged
|
|
|
|
|
harmonyharmony
|
|
« Reply #17 on: 23:12:09, 14-06-2007 » |
|
I haven't managed to produce a piece of music that I couldn't put on Sibelius yet.
It'll do time-space notation if you can put the time in to manipulating the space (sorry).
But it all takes a lot of time. From the sound of it (um, not really what I meant there), Finale would probably be the best bet in the long run, though I do remember seeing some impressive demonstrations of Score. Having made the financial investment to Sibelius and being of the somewhat unemployed persuasion as of 5pm tomorrow, I'm inclining towards making the best of a bad job for the moment. But I'm certainly not upgrading.
|
|
|
|
|
Logged
|
'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
|
|
|
harmonyharmony
|
|
« Reply #18 on: 23:15:31, 14-06-2007 » |
|
And I have made a limited number of fonts for my own purposes.
Aaron - how long did it take you to input that page?
I think that I could do it on Sibelius but I dread to think how long it would take me.
|
|
|
|
|
Logged
|
'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
|
|
|
aaron cassidy
|
|
« Reply #19 on: 00:46:50, 15-06-2007 » |
|
Aaron - how long did it take you to input that page?
I think that I could do it on Sibelius but I dread to think how long it would take me.
Don't know, exactly, as it was now months ago that I finished those two particular pages, but ... recently I've been at a ca. 2 pg. per day clip. It's slow and time consuming, but not horribly so. I'm substantially quicker w/ Finale than I am by hand (having used the damn program since '93 or '94 or so), and I've automated a lot of tasks, so that helps. Btw, I'm unemployed now, too, hh! Absolutely *(&#$ing frightening. |
|
|
|
|
Logged
|
|
|
|
|
richard barrett
Guest
|
|
« Reply #20 on: 11:13:25, 15-06-2007 » |
|
I was mostly unemployed for 25 years. You get used to it.
|
|
|
|
|
Logged
|
|
|
|
|
Ian Pace
|
|
« Reply #21 on: 21:18:48, 15-06-2007 » |
|
Btw, I'm unemployed now, too, hh! Absolutely *(&#$ing frightening.
Aaron, wanted to send much sympathy to you - it's very hard when a contract comes to an end and all future prospects are very unsure (whatever nonsense is said about 'getting used to it'), not knowing where your life is going, and so on. Hope very much you find another position soon. |
|
|
|
|
Logged
|
'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
|
|
|
|
martle
|
|
« Reply #22 on: 22:03:16, 15-06-2007 » |
|
I was mostly unemployed for 25 years. You get used to it.
Well yes, you do sort of get used to it. That doesn't make it any nicer. Good luck Aaron. (And hh.) I spent quite a while on zero income (aside from a couple of commissions), and was signing on in - bloody hell! - Wood Green for a couple of years before getting my first gainful emplyment at the age of 28. You survive, but I remember one miserable night counting pennies on the floor seeing if my flatmate and I could aford a can of beans.  Keep the faith, guys. |
|
|
|
|
Logged
|
Green. Always green.
|
|
|
|
richard barrett
Guest
|
|
« Reply #23 on: 12:33:20, 24-06-2007 » |
|
I didn't mean to be nasty, by the way, I was just obliquely pointing out that an academic job oughtn't to be thought of as a necessary or even particularly desirable way of life for a composer. It wasn't open to me anyway because I don't have any qualifications for it, but I don't reckon that the haphazard string of musically-unrelated part-time jobs I actually ended up doing (before I left the UK and managed just about to survive on my own work) did any more harm to the development of my "core activity" than a university position would have done.
|
|
|
|
|
Logged
|
|
|
|
|
richard barrett
Guest
|
|
« Reply #24 on: 12:40:11, 24-06-2007 » |
|
And no, Ian, in case you're wondering , I've never had a private income, nor indeed any financial support from family or elsewhere during or after higher education, save the loan of a few hundred quid here and there, and I went to a comprehensive school. |
|
|
|
|
Logged
|
|
|
|
|
Sydney Grew
Guest
|
|
« Reply #25 on: 12:52:16, 24-06-2007 » |
|
. . . I've never had a private income, nor indeed any financial support from family or elsewhere during or after higher education, save the loan of a few hundred quid here and there, and I went to a comprehensive school.
Perhaps this fascinating topic about which most Members would love to learn more deserves a thread of its own so that it might achieve the prominence it surely deserves rather than shyly hiding under the bushel of Sibelius 5 the prog not the symph. |
|
|
|
|
Logged
|
|
|
|
|
Ian Pace
|
|
« Reply #26 on: 12:56:32, 24-06-2007 » |
|
And no, Ian, in case you're wondering , I've never had a private income, nor indeed any financial support from family or elsewhere during or after higher education, save the loan of a few hundred quid here and there, and I went to a comprehensive school. I know all that, and was not remotely implying otherwise. Just thinking that Aaron deserved some sympathy for his current difficult predicament. Ian (who went to a private school and has had a certain amount of financial support from family and others at various points in difficult times, though nothing big) |
|
|
|
|
Logged
|
'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
|
|
|
|
aaron cassidy
|
|
« Reply #27 on: 21:31:42, 25-06-2007 » |
|
Just for the record, all the various bits of sympathy & empathy have been much appreciated, and I didn't take RB's comments to be the least bit nasty (in fact, I found them rather comforting, but I've already told him that directly).
I'm actually quite happy to be side-stepping the self-defeating politics of academia for the time being, and quite excited about being able to work more regularly and directly as a musician (doing misc. conducting and recording projects, having much more time for writing, etc.), though my fear about my economic situation is considerable and ever-growing. Looks like it's back to being a part-time copyist and scrounging for loose change under the sofa cushions for awhile ...
|
|
|
|
|
Logged
|
|
|
|
|
time_is_now
|
|
« Reply #28 on: 21:42:39, 25-06-2007 » |
|
For what it's worth, aaron (and I didn't say anything before because I don't really know you), I think there's a lot to be said for not getting too stuck in any job that's not what you really want to do, however superficially related. I know academia and teaching can work well as supports for a compositional career, but they can also interfere with it, and however worried you may be about financial prospects, it can't be entirely a bad thing to get a different perspective for a while, even if it means a lot of scrabbling around which in the short term is even distracting from composition.
It's a step I need to take if I'm serious about writing - need to get out of my 9-to-5 job somehow, if only I had any feasible source of income otherwise.
Good luck (seriously)!
|
|
|
|
|
Logged
|
The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
|
|
|
|
increpatio
|
|
« Reply #29 on: 21:49:29, 25-06-2007 » |
|
It's a step I need to take if I'm serious about writing - need to get out of my 9-to-5 job somehow, if only I had any feasible source of income otherwise.
Good luck (seriously)!
What about all these mysterious night-porter jobs that people end up in? Actually, on this topic (however off-topic), what's the best job for people who really have other things to be doing? (A friend of mine should be shortly handing in his resignation to the bank he's working for to take six months out to get some Real Work done; I was overjoyed for him when he told me). |
|
|
|
|
Logged
|
|
|
|
|
