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Well, I have on occasion been known to hum the theme from The Taking of Pelham One Two Three. If I did the math right, I figure there are 479,001,600 different 12-tone rows possible.

At 1:58 in "The Battle of Endor III" from ROTJ, there are the same four opening notes from The Planets' "Uranus, the Magician".

http://www.denverpost.com/Stories/0,1413,36~78~2274921,00.html In Aspen, musicians know score Aspen - As Howard Shore began his critique of a student score on a recent morning, the famed composer for the "Lord of the Rings" movie trilogy drove home one point right at the start. "Bar numbers and tempos are God in film music," Shore said. "You want to number every bar and use a bolder font to do it." In concert music, it is typical to number every fifth bar or so. But during high-pressure film-recording sessions, conductors and musicians don't have time to count forward or backward to identify a particular passage. "The less calculation the better," Shore said. "Think about time and how to save it." It's an arcane point for most film fans, but a vital one when making the music that is such a key part of movie magic. That was just one of dozens of tips Shore passed along to five eager students during four days at the Aspen Music Festival and School as an instructor in the Susan and Ford Schumann Film Scoring Program. The summer seminar draws star power and gives students a direct link to what's happening in Hollywood. ~snip~ As an unexpected bonus, "Star Wars" composer John Williams, who is conducting the Aspen Festival Orchestra today, agreed to present a master class.

Smithers: Sir, I'm afraid we have a bad image, people see you as a bit of an ogre. Burn: Why, I ought to club them and eat their bones!

About 3 minutes into the Main Title from Rudy, you can plainly hear someone (Jerry Goldsmith?) singing a couple notes along with the orchestra. Glenn Gould, whose recording of the Goldberg Varations is one of my absolute favorite albums, was notorious for singing along with himself during recording sessions. You can hear him all over the place.

1. Playback codas, nested repeats, or any repeat text. 2. Beam across system breaks. 3. Make the playback of dynamics affect more than one staff at a time ( you have to create hidden duplicates of them on separate staves). 4. Adjust the height of a notehead relative to a line. 5. Copy articulations Are you aware that you can completely customize the toolbars in Finale, such as removing tools you rarely use, reordering the items, moving the toolbar to a different location, or heck, even closing it? Finale does this as well. Perhaps you just had the "Fill with Rests" option turned off? Finale allows you, the engraver, the power to choose how you want it to look. I disagree here. I very rarely have any crowding in Finale, and when it does occur, its a snap to nudge notes. You can even use the Measure Tool's beat chart to, for example, move beat 3 slightly to the right in all staves at once. Or use Note Position to nudge individual notes around. Now I will freely admit I am not impartial in this. I have used Finale extensively for about 7 years (since version 3.7). And yes, there is a learning curve, but I would expect that of a powerful piece of software such as this. I have used Photoshop for a few years too, and am still learning new aspects of the software each time I use it. Just as you can't learn music overnight, engraving (whether with software or ink and vellum) takes time and effort to learn. There are things that can be difficult to do in Finale, but I have yet to run into anything that I CAN'T do with it.

Yes, Finale does. It includes a premade template for it as well.

Yeah, that's a nice piece, and the performance sounds great. I am moving cross-country this weekend, but when I get settled, I'll upload some of our performances for you. It'll probably be a couple weeks before I get back online regularly (how will I ever survive that long?).

Wow, that is impressive! Have you ever played anything by David Maslanka? He is my absolute favorite band composer. While I was at UofArizona, we did the world premiere of his Mass for band, chorus, boys choir and soloists. Unfortunately, I was not in that band at the time.

Listened to one track so far (The Forest Battle). Takes me back to my college band days. Thanks for sharing!

I assume you mean Esther and Judah? (Tirzah was his sister.) :tongue2: Just picking nits.