Harriet out on a huge job most of the day -- we have morning and evening together, at the latter time watching the
San Francisco Ballet production of Lera Auerbach's The Little Mermaid (2005) -- and there is a sense that, while still behind in so many ways, some definite catch-up has finally been achieved, continuing pdf of Street Songs (33, VII. Irish Potatos) and composing a second page of Psalm 84, a trope on Johannes Brahms's like-inspired movement, How Lovely Is Thy Dwelling Place, from A German Requiem, somehow informed by David Bowie's 1984).
Abroad in the late afternoon, for more financial dealings, all positive, and a playlist of Andrew Lloyd Webber's Requiem, Stephen Schwartz's Godspell, and Ronnie Van Zant et al's Sweet Home Alabama and Free Bird.
Call Erling with regard to a Finale foible... the seeming impossiblily of the program to allow both horizontal lines of a sixteenth-note beam to extend over an eighth rest or larger. E even falls back on the typical program defense (which many others use online, but seemingly never him) to the effect of "why would you want to do that?" / "I've never seen such in music" -- yet assurances are made that this pops up in George Crumb, etc., although, when consulting scores later, admittedly cannot find such examples beyond the Alburger canon... OK, well, a that's good enough reason: the look of one's own music... Searching around, at last the solution is found: the Special Tools, Beam Extension, the key is clicking the handle/box of the first note in the group, selecting "16th", and then dragging from the box itself, rather than from the secondary beam line.... Hallelujah! Quite a bit of time is spent on this, but the look affects quite a lot of the music over the years...
So, in the spirit of when Crystal as a child first knew something that I didn't know (the name of the boy-transformed-into-donkey in the Disney Pinocchio ["Alexander" -- "Hey, this one can still talk!"]), have now reached a point where a number of items have been figured out beyond computer gurus...
Beyond Owen on rehearsal numbers in Finale (thanks to Erling)
Beyond Doug in aspects of iMovie
Beyond Crystal in pdf opening and production
Beyond Ering on the extend-the-secondary-beam-over-larger-rest in Finale
All four of above folks remain considerably more brilliant than I overall in computer matters, etc., yet it's nice to have developed a bit of modest expertise moving forward...
Extensive playlist for the day is
Patrick Dailly
The Discovery of Timbuktu
Solidarity
Sting selections from
Synchronicity
David Byrne
Stop Making Sense
Stewart Copeland
Miss Gradenko
Danny Elfman
The Simpsons
James Horner
Troy
Chas Smith
Santa Fe
Tan Dun
Ghost Opera
Crouching Tiger, Hidden Dragon
Prince
Purple Rain
Lisa Scola Prosek
Leonardo's Notebooks
Sorrento Variant
Erling Wold
On the Death of David Blakely
Sub Pontio Pilato
Bono
The Joshua Tree
Osvaldo Golijov
Oceana
Harry Gregson Williams
Kingdom of Heaven
Michael Torke
Saxophone Concerto
Kurt Cobain
In Utero
Steven Clark
Amok Time
Michael Romeo
The Odyssey
Thom Yorke
Kid A
Michael Cooke
Ha Meaggel
Stripes and Stars
Ben Gibbard
Transatlanticism
Robinson McClellan
Prodigal Songs
Sarah The Delirium Ride
Daylight's Flight
Ryan Ross
A Fever You Can't Sweat Out
Seth Chapla
Out of My League
Christine Urban
Unwind
Chanell Wilson
Mountains Away
Hiraoki Asakawa
Alburger's Wrath
John Ferry
Final Composition
Jamison Leggett
Intrusion of the Mind
Which pretty much wraps up chronologically what's in the iTunes collection at present (aside from the extensive Alburger recordings) -- although started this project somewhere in the middle, so....
