Jurgen

I'm busy with the production of Covers of old songs. 1968-1972. I got a signer with a great voice and she loves that genre, so that i'm busy with the making of the backing tracks. Thus instrument per instrument To be a cover 1:1, it should be as similar as possible to the original. But with old recordings, to extrapolate the instruments and follow their movements is always a pain. the bass is melted with the violins which are full of reverb, confusing the scene, Rhythm are what they are ..; i mean the sound of the drum set is not clearly defined thus one should think what a hell the drummer is really playing :-) And when I think I finished, it pops up another instrument I didn't heard before and I have not clue what a hell it can be :-) it's totally useless to ask to the Editor the scores. They don't answer. Or they just send you some tab or chord sequences, which are not what's needed. A very quick walking bass, should be followed note by note, if you want it the mos similar as possible to the original It's a big work that, once finished, there is ALWAYS the one that tell "but that specific note in the original is different" .. good for you .. you got only one note, when I had to get all the ones into the song :D The important is to still in the chord sequences, but it's also true that certain songs are so beautiful not only for the chords, but the way in which the notes of the chords are played and orchestrated :) if any one has some suggestion to help me in this "drama" i will be grateful :)

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I will certainly follow your indications. Indeed I was looking for a way to contact Boulez directly but I didn't find any address/email. Thank you Kenhimura :)

The I have to contact Pierre Boulez. Sorry but on my understanding this doesn't make any sense. I refuse this "logic" to work The fact that not any semiography is in some way "standardized" ,and to "contact the author" without because there is not any explanation, is without any logic and the common sense. Thus if he's dead: the meaning of his code is gone... As far as I remember, music notation was invented (like all the notations in many other fields) to transmit the work from the author to 3rd parties. And the manner to work asking to the author otherwise I'm blind etc, sends me back into the middle age and even before Gregorian chants. Let me run to find a way to contact Boulez :veryunsure: i hope I'll be lucky

I agree because I followed a course of direction of music in classical way, but if I apply strictly the Fermata's concept: no way out. I can stop for the time I want (as Director) depending on my personal interpretation ... And all the music books in whatever level, are expressing in this way. In italian (my origins) as well as in Dutch and French. They do affirm that the Fermata is a suspension of the time but they do specify: minimum length the note duration and you can keep the suspension as far as you want. µit means: when you arraive on the note you do count his time duration THEN you suspend and keep as far as you want (ok I accept also: based on your interpretation etc... fully agree with .. this is the good sense's application of course). The same concept is applied if I found or I write a Fermata on a rest. there's not anything is says something else in any music book (always as far as I saw) At this point there is a semantic issue, I see. I agree but analysis often is not the expression of the will of the Author. Actually it doesn't. It express only what we think it should be and/or what , in the historical context, is accepted. But never be 100% sure about .. I mean: if author signs a Fermata (round half-circle with a dot underneath) and he doesn't specify anything else: it is a normal fermata. And I apply the above concept. As far as he doesn't declare clearly something else on the music score. But it should be declared and in the scores I mentioned: i didn't find any mentions about the "square fermata" etc ... if an author doesn't specify that the pitch of the note "B" he's writing is different that the standard pitch, it's quite hard to execute the piece as the author thought it. (I know it's extreme example but I had not any other one to make). Thus, on my understanding, there should be somewhere (but I have not clue where). Her the origin of my question, thus. If they use the square Fermata or the half-rounded ones with 2 or 3 dots: it's ever possible that not any book is explaining that ?? Different signs = different meaning but what are the "new ones" that are not personal opinions of the executors/conductors ? having not explanation founded, from the Author, on the score ...

As far as I see, all books of music are reporting exactly what I found on WikiPedia and I think to understand the reason. You're right when you tell "suspension of the beat" BUT any suspension of the beat or whatever action, is made in the "time" (tempo). Because any action: requires time. Thus, to give the idea of: how much the tempo should be suspended in terms of duration, I think they use the defintiion posted. Now, you are also making me notice that: There are fermatas that diminish the value of notes (Haydn, for example, has a lot in his symphonies) ok, excellent. Considering that I have not here the scores to go to check: please; what symbols use he? Where are the explanation of these symbols? Whe can I find a clear univocal explanation? I mean: there should be some kind of: "this symbol means that and that' ... am I right? because, I really think you do agree, that the frustration comes when it seems that I have to learn these things "from the air" and not from defined sources Could you help me please on that?

Interesting. This makes more sense, And it should be placed only on notes. While in the scores I told, Are put all on rests. Perhaps they are not either called "fermata", but I have not clue about their real name and function. Let me please make a consideration. It's true that in Contemporary Music, each author creates is own code. Not all the authors, but a certain number of them: yes. As far as I learned (because I'm approaching at the present time Contemporary Music), each author should explain also the meaning of the code he invented. Well, I didn't found the explanation. The issue is: I didn't found any book specialized on this semiography. And I'm still looking for it on daily basis but unsucesfully :closedeyes: Believe me: it's quite frustrating

Fermata is minimum length: natural duration of the note. Maximum length: "ad libitum". You can keep the note as long as you want.

Right, being me italian I think the word "fermata" has its meaning :nod: ;) Following the argument when you study music, really the basic, you study that a Fermata " is an element of musical notation indicating that the note should be sustained for longer than its note value would indicate." (I copied and paste it from Wikipedia). This is written in every book of music. Thus I can stop on the note as far as I want with the simple simble of fermata. It means: I prolongue his time. Wanted or no wanted: this is the final result. It is perhaps semantic but this is what it is. I was thus thinking that it's not necessary to invent new ones to apply what 's already stated and decleared. That's why I was wondering to find those new symbles similar to Fermata. I was thinking they meant something else. And yes. If a fermata is over a Rest it means that you can prolongue the value of the Rest ad libitum. As far as you want. The confusion is created into the scores I mentioned, because normal fermatas over rests are followed by """strange""" fermatas over other rests. This brought to me to conclude that effectively these signs were not fermata and/or they added some other meaning to the simple "fermata". I started searching everywhere for the explanation to see the real facts in these things. thank you thus to all of you :)

Ok Thank you to everybody for your answers :) There is something not so clear to me. the concept of fermata, the halfround with one dot, is clear: the length of the note should be not less than the value of the note itself and prolonged ad libitum by the executor. Now the word "ad libitum" it means: whichever length more than the value of the note. And to me, "whichever" it means: I can prolong the note also infinitely. Thus I ask mysefl: why many signs to indicate the same substance? Is there something missing to me? I mean: isf I tell "infinite multiplied by 2" is always infinite. It doesn't make many sense but ok, it is good for the example. Thus If I can prolong the sound as I want with the normal fermata, why the other symbols? This question was creating to me several doubts. i was even thinking that they were not a fermata but perhaps something else. Thus, I'm sorry if the question it seemed banal, at the first sight. Those doubts where enhanced reading the score of Pierre Boulez "Imrovisation sur Mallarmè II" p.24 the Cello has a series of normal Fermata put on Rests then the Square one always on rests ...

Hi all I have a question related the symbology in Contemporary Music. I searched everywhere I could, without finding an answer and without finding a litterature. Please have a look the attachment. It rappresents 3 types of Fermata. One square, and the other two are round but with 2 or 3 dots underneath. I ask myself what's the meaning of them? I mean: how can I interpret them please? Thank you very much

i will try to use this feature with Nuendo. The "MIDI" stuff is the only one part I used very rarely almost never. But be sure i'll follow your indication to see what I can do with MIDI. Still I ask myself, at this point, what's then the purpose of Finale <_< :D if till now these arguments are covered by issues with it.

even a DAW will play wrong, if the "minds" created that DAW think in the same way of Finale's programmers. My goal is to listen to my pieces as they should be (I can't play every instrument at the same time), to have an idea upfront any execution (whenever I will have one. I need to be lucky also :D ). Of course with an acceptable approximation. But now Finale shows all its limits. Thanks to the suggestions I had here, thus thanks to you all, I got some further "turn around". But let me tell please state, that there are too much turns around for a program so (in theory) evolved and not certainly free :)

The Human Playback is On. I tried also to activate it by clicking on the little loudspeaker and to tell to program to use HP. The Accel. and Rit. are managed very badly for such Software. The other expressions are working let's say "good". NOT in a satisfying manner, but good. there are many little issues i mange with turns around, but Accel. and Rit. are really bad. I give an example of expressions working approximately: you assign PP in a measure. the after 2 measures you put FFF. In between you put the Crescendo. In this manner musicians and conductor know good what is the start dynamic and where is should go. After 2 measure from the FFF you put the mF and in-between you declare the Decrescendo. What the program does: from PP it increases the sound level. 1 instant before the FFF at once it put FFF immediately afterward it goes in PPP then immediately goes to FFF again and descend til the PP. """"""" fantastic """"""!! :veryunsure: :closedeyes:

Sorry for so late reply. I wanted just collect the major number of opinions and to read all and not diagonally but row by row understanding the meanings. All the meanings. I would like to thank you very much for your clearness in the suggestions. I prepared a couple of pieces and I'm trying to approach some little orchestra to see what they are willing to do, following your indications. Till today I didn't receive yet a clear answer form them, the main reason: they are performing less and less due the crisis that's killing, here in EU, any kind of idea/activity. What I know is that at least one piece is surely accepted and they probably (mamma mia how many uncertainties :) ) they will start in September to rehears it. I hope so. It is a piece with 4 voices, for harps, a passacaglia with some fugas and canon and I'm' crossing all the . It's till now the only one effective result I got :) I thank you all again for your help