Re: [Finale] chant entry
I'm trying to enter some chants using a 5-line staff, no meter or barlines, and just solid noteheads and open noteheads. Larry, I do this all the time. You really need TGTools to make this effective: * Set the time signature to something outrageous like 40/4 and enter the notes. Enter solid notes as quarter notes and open notes as half notes. (You only need barlines where a quarter, half, or whole bar appears.) * Use JW Time Sig to remeasure the music (maybe this is called Forza now?), then hide the timesigs in staff properties. * Enter the lyrics using 'Edit Lyrics' and the click-assign them to notes. * There are two styles of semi-modern chant notation... the _American Gradual_ doesn't use slurs but groups the notes in a neume very closely together. The GIA hymnal style doesn't space the notes quite as closely together, and uses slurs. In any case, you can use the TGTools keyboard mappings to map Ctrl-plus and Ctrl-minus to reduce the amount of space after the selected beat in the note-mover tool. ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fonts
Ah. What you are asking about is UNICODE support. That's something we're not I mean support with the possibility to use all of their characters, for instance the ligatures for ct and st for the OT fonts that have them. Is this possible? Actually on win32 you can support ligatures without doing unicode. You have to use the new uniscribe libraries to do the text rendering, and as I understand it they will automatically use any ligatures that are available. I don't know how OSX handles it, but I think there's a similar feature... that way the application doesn't have to query the fonts to obtain the correct ligatures, it's handled by the output library. ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinaleScript question
In FinaleScript, will it be possible to set a key combination to choose an item from a menu? For example, a keyboard shortcut to select a Brad, I haven't found any documentation on the FinaleScript stuff, but it looks to me like you will be able to choose menu items by keystroke. By the way, TGTools can do key-to-menu mappings as well (at least on windows, I'm assuming that mac is similar). ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] FinaleScript?
From the Fin2004 website promo stuff, I see something exciting called FinaleScript. Does anyone know what its capabilities and limitations are? ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Re: Registration codes and copyright
The question of registration code hacks is interesting to me. You own the Finale software (it's licensed, but American law is very clear that you actually own the copy you bought), and no bankruptcy, etc can take that away. Is it still *illegal* to use registration code hacks (assuming that they appear)? By the way, if Coda (or whatever they're called now) ever stops giving out registration codes to force people to upgrade, etc, they would be in big legal trouble here in the US, not just in Germany. ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OFF: Gregorian chant in the phrygian mode
Anyone here either know where I can find or can scan and send me some examples of chant in the Phrygian mode? (Scans are fine in either As a note about the Phrygian mode: there are two variants of the Phrygian mode. The ancient variant has B as the dominant note, and the medieval variant has C as the dominant note (E is the final of both variants). Several examples: Ancient Mode III: Sanctus, ordinary VI Kyrie rex genitor - GR p. 733 Communio Iustorum Animae - Common of Martyrs outside easter GR p. 470 Medieval Mode III: Pange Lingua from Holy Thurdsday - GR p. 170 (and most traditional Catholic hymnals) Gloria, ordinary XIV Iesu Redemptor - GR p. 757 Offertory Deus to convertens - Advent II - GR p. 20 Many chants that were originally written with the B-dominant were altered by medieval chanters to the C-dominant to correct the B-F tritone that was almost unavoidable. The opening E-F-D-G-(A)-C pattern is a frequent characteristic of Medieval chants in Mode 3. ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] The S word again
I have always been philosophically opposed to protection because it treats me as if I were a criminal -- guilty until proven innocent by the my ID While there is nothing inherently wrong w. this philosophy, it must be pointed out that the objection applies with equal force to every manner of lock or barrier whatsoever: What!? I can't go through this Actually, the argument is somewhat more persuasive for copyright material than for physical things. Copyright materials will at some point enter the public domain, albeit 95 years from now :(. While it is very likely that all of today's music notation products will be obsolete in 95 years, and probably won't even run on the new hardware, the underlying philosophical objection remains. ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Size of quotation, and unintentionally quoting.
so, and especially if I had worked it right through the texture of an extensive passage of music, I would have been faced with an awkward decision: do I just let the possible quotation stand - or do I throw away a lot of music which uses that theme (or derivations or developments of it)? An alternative might be to keep the passage, but change it in such a way as both to keep the integrity of What is wrong with leaving the quotation from Sibelius? One melodic fragment does not a Sibelius symphony make; composers have from the beginning borrowed (consciously and unconcsiouly) melodic and harmonic ideas from eachother without shame, and current copyright law (through fair use doctrine) keeps this perfectly legal. One of my favorite quotes from Handel: someone asked him why he had stolen an entire aria from another composer, and he replied well, he didn't know what to do with it! ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] WinFin 2002b won't run at all with Ge Force 4 vid card
the latest. Still no go. Bizarre that Finale won't even launch based on a video card. Then again, maybe not. It may not be Finale itself, but the MIDI setup. Perhaps the MIDI port is interfering with the video port (this is actually fairly common). If you still had the card, I would recommend checking for device conflicts in the driver manager. ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Meter question
I just ran into an interesting spot in a score. Stephen Heller's Prelude op 118 no 32 (Kalmus Classic edition) is in 2/4 time throughout but the last two measures are whole note chords with no time signature change. Apparently This was fairly common in classical choral music in 4/4, which would end on a double-whole note. (It is also possible that the Kalmus engraver just forgot to scribe the stems, I suppose). ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Default double-whole rest
Dear list: Is there a way to make the default rest in a measure the double-whole rest rather than the standard whole rest? If not, is there a way to automatically add double-whole rests to every empty bar in a score? I tried the standard fill with rests but it doesn't affect empty measures. I tried TGTools fill with rests but it adds half-rests and not double-whole rests. ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale's Defaults
You seem to be thinking in terms of improving the hard-wired defaults. What I'd like is a style mechanism that lets a user develop a set of defaults. Finale's libraries are supposed to do this. The problem is that there are so many different library types, that you must load seven or eight different libraries to make a style change. I recommend that the library mechanism be made more flexible. For example: One could theoretically make a pseudo-Henle library, with font definitions, line thicknesses, slur and tie definitions, and almost all the other settings. The big problem becomes the articulations and expressions, which are harder to manage. When creating the library, you could specify which settings you wanted to include in the library, and which settings not to include (you would not want page-layout settings, for example). RP's Settings Scrapbook plugin currently attempt something like this, but does not have access to all of the settings in Finale (especially the newer ones); with complete access for plugin developers from Coda, this entire functionality could be done in a plugin. But really, I think that Coda should start out with one or several initial templates that were more professional: a classical template with better line thicknesses, slur and tie settings, etc... if Coda wants specifics, they should see J. Gebauer's page Get the best out of Finale http://ourworld.compuserve.com/homepages/J_Gebauer/ The classical template could also use a title font that was not quite so large, and a bold composer box. A few more suggestions: The tenuto mark, as has been frequently mentioned on the list, is too thin. Instead of modofying the Maestro font, which would create versioning problems for everyone, the tenuto should be a graphical articulation (4.5 EVPUS thickness?). When Add group and bracketing, the brackets/braces should be closer to the staff. I don't think that there is a default setting for this; it must be changed manually after-the-fact. Another thing that would make Finale signifcantly more professional out-of-the-box would be automatic Patterson Beaming. If they could get Robert to give-away/sell/license his code, it should be fairly easy to integrate this directly into Finale, and would make the scores more professional-looking by default. Lastly, note-spacing music with lyrical melismas often produces very bad results. The lyrics are wide, and Finale thinks they collide with the next beat, even though on paper they don't. A more-intelligent spacing mechanism that calculated where lyrics were actually going to collide would improve the spacing of a lot of vocal music. ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Plugin to Move Accidentals
Hal Owen wrote: In Finale 2k2 choose Special Tools, Accidental Mover Tool and Control-click (right mouse click) the accidental. From the contextual That's how I have been doing them. I just have a piece with several hundred, and wanted to avoid manually dragging and aligning them all. Johanned Gebauer wrote: I don't think so, but may I suggest if anyone is considering to write such a plugin that it may be a better idea to do this: 1) Hide the accidental 2) place a (userdefinable) articulation at it's default position attached to that note. I think that I would prefer using the actual accidental. Then it would survive transposition properly. And (at least in 2002) the positioning parameters are fairly easy to get to in plugin code. ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
