[Finale] Trombone grace note interpretation
I'm wondering if there are any trombone players/experts out here. My question is, how would a trombonist generally interpret a grace note with a slur onto another note about a 2nd lower (in a 20th century score)?: a. Would they soft-tongue the second note? b. Would they just tongue the first note as with any other brass or wind player? If this is the case, would it generally sound like a very quick and short glissando, or is there enough control even at grace note speed to make it sound like two distinct notes? c. Is it just not usual or practical for grace notes to be found in 20th cent. trombone parts? Cheers, C. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Trombone grace note interpretation
Thanks for all the help everyone. It confirms what I had suspected, but it's good to have it from people who know. C. -Original Message- From: Daniel Wolf [mailto:[EMAIL PROTECTED] Sent: 20 April 2004 15:30 To: [EMAIL PROTECTED]; [EMAIL PROTECTED] Subject: Re: [Finale] Trombone grace note interpretation Portamento can be avoided if the the melodic motion is downward and the slide contracts (or vice versa) or if the register is high enough that the two tones required match consecutive partials of a single position. The second tone will be tongued, but near-imperceptable tonguing is a feature of professional trombone technique. With a trigger, such grace notes should be possible throughout the range of the tenor; without a trigger, the higher the register the more possibities there will be to realize the grace note.. That said, grace notes are quite rare in trombone writing, and many composers write grace notes when they _expect_ a slide, so it's best to be explicit about what you want. Daniel Wolf Budapest Colin Broom wrote: I'm wondering if there are any trombone players/experts out here. My question is, how would a trombonist generally interpret a grace note with a slur onto another note about a 2nd lower (in a 20th century score)?: a. Would they soft-tongue the second note? b. Would they just tongue the first note as with any other brass or wind player? If this is the case, would it generally sound like a very quick and short glissando, or is there enough control even at grace note speed to make it sound like two distinct notes? c. Is it just not usual or practical for grace notes to be found in 20th cent. trombone parts? Cheers, C. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Two Monitors in 2K4 PC
Just checked, and yes, it is there. What I wouldn't give to have 2 monitors again. C. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Henry Howey Sent: 16 April 2004 19:33 To: [EMAIL PROTECTED] Subject: [Finale] Two Monitors in 2K4 PC I have found it in the MAC 2400 under the Plug-Ins in the PDK folder. Is this available on PC? I really need it;-) -- Henry Howey, D.M.A. Professor of Music Sam Houston State University Box 2208 Huntsville, TX 77341 (936) 294-1364 http://www.shsu.edu/~music/faculty/howey.html Owner of FINALE Discussion List ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Odd Time Signature problem (FinWin2k4)
I've just started re-formatting one of my earlier pieces (originally created in Finale 2000 but most recently edited in 2003 till now). In it I've found 2 bars of 5+3/8, which in retrospect would be infinitely more sensible in 4/4. I went to change the time sig accordingly, but when I come back out of the ts dialog box, rather than having changed to 4/4, it now says 23/256! I tried the second bar but it changes to 75/512. This happens regardless of whether I select rebar or not. In fact, I've noticed that even if I just go into the bar with the ts tool and don't make any changes, but hit OK, the ts still changes to one of these crazy ones. So, I figured, no big deal, I'll just insert 2 bars and put the material in again. So I tried inserting 2 bars, and changing their time signature. But if I put the bars before, I can't get them to alter from 7/8, whereas if I put them afterwards, I get the crazy time signatures. I've tried inserting bars from elsewhere, but still come up against the same issues. Anyone came across anything like this before? C. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Re: New Time Sig Metatools
The time sig metatools as stated have been around for a while, though it doesn't say much about them in the manuals - surprising since it's such a useful feature, and I bet loads of folk don't know about them. For anyone who doesn't know, metatools can be programmed and used in all of the following tools: Staff tool (staff Styles) Key Signature tool Time Signature tool Clef tool Tuplet tool (This for me has been a godsend. I can set '3' to be 3 8ths in the time of two, and to always show the bracket, and it does it correctly even if the rhythm is quarter then eighth.) Smart Shape tool Articulation tool Expression tool Repeat Tool Chord Tool Programming them in all cases involves holding down shift and pressing any letter or top-row number key. None of these is a new feature for Finale 2K4, to my knowledge they were all available as stated in 2K2, and possibly earlier. C. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Fisher, Allen Sent: 23 March 2004 17:52 To: [EMAIL PROTECTED] Subject: RE: [Finale] Re: New Time Sig Metatools Can't comment on your actual question for obvious reasons, but Time Sig metatools have been around since about 2k2, we programmed some by default for use in simple entry. You can program your own. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Clay Zambo Sent: Tuesday, March 23, 2004 11:35 AM To: [EMAIL PROTECTED] Subject: [Finale] Re: New Time Sig Metatools Once upon a time (on 3/22/04 1:01 PM), David Froom [EMAIL PROTECTED] wrote: Now with the metatools, with time signature tool selected you hold a metatool key and click a measure, and the new signature is popped right in. Wow! Now I _really_ can't wait for the os9 version! Anybody have the skinny on when that might be out? -Clay ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Odd Time Signature problem (FinWin2k4)
It's 2004b. -Original Message- From: Lee Actor [mailto:[EMAIL PROTECTED] Sent: 24 March 2004 21:08 To: [EMAIL PROTECTED]; [EMAIL PROTECTED] Subject: RE: [Finale] Odd Time Signature problem (FinWin2k4) Is this 2004, 2004a, or 2004b? I reported a bug introduced in 2004b where notes in hidden layers affected accidental spacing when they weren't supposed to, and Winsupport suggested I revert to 2004a, which of course I don't have any longer. Maybe nore than one thing was inadvertently broken in 2004b. -Lee -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Colin Broom Sent: Wednesday, March 24, 2004 12:58 PM To: [EMAIL PROTECTED] Subject: [Finale] Odd Time Signature problem (FinWin2k4) I've just started re-formatting one of my earlier pieces (originally created in Finale 2000 but most recently edited in 2003 till now). In it I've found 2 bars of 5+3/8, which in retrospect would be infinitely more sensible in 4/4. I went to change the time sig accordingly, but when I come back out of the ts dialog box, rather than having changed to 4/4, it now says 23/256! I tried the second bar but it changes to 75/512. This happens regardless of whether I select rebar or not. In fact, I've noticed that even if I just go into the bar with the ts tool and don't make any changes, but hit OK, the ts still changes to one of these crazy ones. So, I figured, no big deal, I'll just insert 2 bars and put the material in again. So I tried inserting 2 bars, and changing their time signature. But if I put the bars before, I can't get them to alter from 7/8, whereas if I put them afterwards, I get the crazy time signatures. I've tried inserting bars from elsewhere, but still come up against the same issues. Anyone came across anything like this before? C. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TAN: Is mp a redundant dynamic?
I've spoken to a number of musicians recently, including a noted orchestral conductor, and several composers who all seem to feel that the dynamic 'mezzo piano' is basically a meaningless dynamic, and they think it should never be used. I've even heard one go as far as to say that the same is true of 'mf' as well. I personally don't agree with this at all, and for me there is a clear distinction between p, mp and mf, but I was wondering how widespread this feeling about mp is, and how folk on the list feel about it? And if it's redundant, then why is it redundant? C. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Darcy James Argue Sent: 13 March 2004 14:39 To: [EMAIL PROTECTED]; [EMAIL PROTECTED] Subject: Re: [Finale] MacFin04 install issues Hi Robert, I haven't seen that error message, and I don't have the problem with the MIDI setup settings not taking. I presume you've tried to save your preferences manually? - Darcy - [EMAIL PROTECTED] Brooklyn NY On 13 Mar 2004, at 09:28 AM, Robert Patterson Finale wrote: Has anyone seen this? When I installed MacFin04 (finally) I get the following error message every time I start up: Extract Lyrics: Plugin icon missing: -1409 Also, I always have to go thru the Tips and MIDI Setup rigamarole, like it doesn't know how to save my settings. I know I should ask Mac support, but since it is a weekend, I thought I'd see if anyone here knows about it. Robert ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Courtesy Time Sigs
The only way I can think to do this is to force the time signature to show, and its cautionary using the measure tool, then create a staff style that hides the time signature on those staves that you don't want the cautionaries, then create a auto-positioning expression of the time signature( using measure expression tool) and place it on the new system, leaving the cautionary staff blank. If you set up metatools for both the staff style and the measure expression, it shouldn't be too fiddly. That's the quickest way I can think of. I just tried it, and it works fine. C. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Darcy James Argue Sent: 17 February 2004 11:14 To: [EMAIL PROTECTED] Subject: [Finale] Courtesy Time Sigs Hi all, Is there any way to show or hide courtesy time signatures on a staff-by-staff basis? Here's the situation -- I'm working on a piece with multiple independent -- and frequently changing -- time signatures. It strikes me that it might be a good idea to restrike the time signature at the beginning of each score system, just as a reminder of which staves are in what meter. That's easy enough to do with the measure tool. However, that also causes a cautionary time signature to appear on *all* staves at the end of the previous system -- even those staves that are not changing meter in the next measure. While I *do* want cautionary time sigs to appear on the staves who really are changing meter in the next measure, I think it would be confusing to include cautionary time sigs for those staves that are remaining the same. But I still want to restrike the time signature on those staves. Unfortunately, it looks like in Finale this is an all-or-nothing proposition. I suppose I could make a five-line white out staff that I could use to hide the courtesy time signatures on the staves that don't need them, but that seems like it would be a real pain, and more trouble than it's worth. Any other ideas? I may just abandon the idea of restriking the time signature on all staves at the beginning of each system if it seems like it would cause more confusion than it solves. - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Tubas and 8vb
If one has a very low register part for tuba, using the lowest notes, does anyone know whether tubists generally prefer to read leger lines or an 8ve symbol? I'm guessing an 8ve symbol is better, but I know some instrumentalists prefer to read leger lines, si I thought I'd see if anyone here knew. Cheers, Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Tubas and 8vb
-Original Message- From: David H. Bailey [mailto:[EMAIL PROTECTED] Sent: 22 January 2004 11:26 To: [EMAIL PROTECTED] Cc: Finale List Subject: Re: [Finale] Tubas and 8vb Tubists are used to reading ledger lines, not 8va markings. From: Eden - Lawrence D. [mailto:[EMAIL PROTECTED] Sent: 22 January 2004 11:31 To: Colin Broom Cc: Finale List Subject: Re: [Finale] Tubas and 8vb I am a tuba player and I have rarely seen an 8ve marking in my part...although it might be helpful. More often, I see what looks like a divisi that shows the higher octave as well as the lower. This is the method I prefer when I write tuba parts. Wow, 5 minute response! Thanks. That makes things easier, since the score os already leger line orientated. C. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Sound fonts and Mac
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of d. collins Sent: 17 January 2004 20:39 To: [EMAIL PROTECTED] Subject: Re: [Finale] Sound fonts and Mac Thanks! It works fine. Now I'd like to find a nice continuo organ soundfont. Dennis Have a look at Jeux organ soundfont, which is the best one I've ever heard. I'ts made by someone who seems to be well versed in organ history and tradition: http://members.aol.com/realmac/jeux1.htm Its creator says: The JEUX soundfont is a collection of sounds designed for use with Creative Labs' AWE32 and similar sound cards that support the SoundFont 2 file structure. I have tried to duplicate the characteristic sounds of real pipe organ stops (including individual ranks, mixtures, choruses, and effects), with a particular goal of assembling a collection of stops suitable for MIDI realizations of organ music written before 1750. Through careful selection of stops, I have found it is possible to realize music of later composers as well, for the palette of tone colors I have included is very broad. The files are compressed using WinRar. I'm assuming there's some utility for Mac that can decompress them (I think you can download a shareware version of Winrar for Mac). C. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] 'Home' key not behaving
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf when in Speedy Edit, scroll view, with say frame 36 active, when i hit 'Home', the display briefly flashes to m. 1, then resets to m. 36 on the LH side of the screen. 'Home' behaves normally when no frame is active in Speedy. thus, it takes a 'Home', 'Home' combination to get back to m. 1. make sense? any idea why this happens or how to stop it? i've checked the speedy options, but no dice. the same behavior (reversed) happens with the 'End' key. this is only an issue when the Speedy Entry tool is selected. it's not a big deal, obviously, but interesting. If it's what I think it is, you need to make sure you don't have a speedy entry frame active at the time you press 'home' or 'end', otherwise it does that weird jumping thing, which is quite frustrating. So just come out of the Speedy frame and it should be fine. Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Executable shape Bug? (FinWin2004)
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Sarah Bailey Subject: RE: [Finale] Executable shape Bug? (FinWin2004) I have the same problem. I can't fix it, so it's not just you! Sarah B. After Noel Stoutenburg's post, I had a look on the Makemusic Forum and I found a temporary workaround for the aforementioned problem. If you change the numbers in the Ex.Sh. box, and click OK, but then when it goes back to the line selection box, DON'T click Select, but instead either just close the box, or click Cancel and then do the same with the last box, and it retains the time and level information, and plays back. Bizarre but true. What I do not however have a workaround for is the fact that using the executable shape seems to crash Finale. This only happens when I use the Ex. Shp. In any case, although Forza is currently out of action, I mremembered I had Jari's tempo plug-in which is infinitely easier to use than the Ex.Shp., (available fromthe Finale tips site http://www.finaletips.nu/ ), and it worked perfectly (though I then decided I didn't want a tempo change after all. Go figure!) Thanks Noel for the Forum Suggestion, Colin. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Colin Broom Sent: Friday, December 26, 2003 6:46 PM To: [EMAIL PROTECTED] Subject: [Finale] Executable shape Bug? (FinWin2004) Okay, I've finally decided to try to get my head round executable shapes for doing rallentando/accel type things, but it doesn't seem to be working right in Finale 2004. Anytime I change the the values of the time or level scales then go back to the score, when I go back into the expression playback, it has gone back to the original value (and yes, I am pressing OK, not Cancel!). Can someone try this on FinWin2004 to see if they can reproduce the problem on their system: 1. In a document, Choose the expression tool. Select a tempo marking such as rall. 2. Click the playback tab, then Executable shape Select. 3. In the Ex.Sh. box that appears, choose one of the descending lines and click edit. Change any of the numbers in either time or level scale. (They should by default be at 1:1 and 13:4). Click OK, then Select, then OK to put the expression in the score. 4. Now, in the score, double-click on the new expression, and go back to the Ex.Sh. designer edit box. Have the numbers gone back to what they originally were? I've tried to reproduce the problem on Finale 2003, but it's fine and retains all the numbers. If someone else manages to reproduce this, I'm going to get in touch with Winsupport. Damn, just when I thought I had that damn inpenetratable thing figured out. Seasons greetings by the way, Hope you all have a bug-free holiday. Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Executable shape Bug? (FinWin2004)
Okay, I've finally decided to try to get my head round executable shapes for doing rallentando/accel type things, but it doesn't seem to be working right in Finale 2004. Anytime I change the the values of the time or level scales then go back to the score, when I go back into the expression playback, it has gone back to the original value (and yes, I am pressing OK, not Cancel!). Can someone try this on FinWin2004 to see if they can reproduce the problem on their system: 1. In a document, Choose the expression tool. Select a tempo marking such as rall. 2. Click the playback tab, then Executable shape Select. 3. In the Ex.Sh. box that appears, choose one of the descending lines and click edit. Change any of the numbers in either time or level scale. (They should by default be at 1:1 and 13:4). Click OK, then Select, then OK to put the expression in the score. 4. Now, in the score, double-click on the new expression, and go back to the Ex.Sh. designer edit box. Have the numbers gone back to what they originally were? I've tried to reproduce the problem on Finale 2003, but it's fine and retains all the numbers. If someone else manages to reproduce this, I'm going to get in touch with Winsupport. Damn, just when I thought I had that damn inpenetratable thing figured out. Seasons greetings by the way, Hope you all have a bug-free holiday. Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] tuplets
-Original Message- The second (much better) way is to select the tuplet tool, click the first note, set the tuplet up the way I want it, and hit OK. I click next on the first note of the NEXT group, and the tuplet I had set up is now the default, and I only have to hit Return to apply it. Repeat until carpal tunnel syndrome sets in as it still amounts to a hundred or so click-returns for Charles Small. Here's another (IMO) faster and slightly better way of achieving this. You can program metatools for tuplets. Select the tuplet tool and then hold down Shift + 3 (or shift plus whatever key you want). The tuplet dialog box comes up. Set it to 3 16ths in the time of 2, and any other settings you need. Then when you hold down 3 and click on the first of any group, it will turn it into 16th triplets, EVEN if you have an 8th followed by a 16th. Colin Broom. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TAN: Cautionary accidentals in non-tonal music
Okay, I'm sure this has come up before, but I'm just wondering what folks' feelings are on the usage of cautionary accidentals in non-tonal music. I know that one approach is to display the accidental again if the note is repeated following other pitches in the same bar, e.g. | F# D# Fn B D# | but would you do this even if it was just D# B D#? Do many people still advocate the traditional approach to accidental and cautionary use?(e.g., it applies till the end of the bar, and so in the above cases, no cautionary would be necessary at all) Part of me thinks it can be very easy to go overboard with cautionary marking, which then leads to problem if misses the marking on one. Thoughts on what is almost certainly a well-trodden topic are appreciated. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TAN: 2 of everything
I'm getting two identical copies of every email from the list at the moment. I checked my subscription options just in case it was something to do with that, but it's not. Is anyone else having this problem, and what do I do to alleviate it? Cheers, Colin Broom. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Rotate this! Mega-monitors
On 22 Sep 2003 at 16:19, Randolph Peters wrote: These new desktop monitors are out of my league, but I thought some on this list might like to drool over them. You might not ever need to turn a page again! Actually, thinking about this a bit more, I'm just wondering about the size of extra long mousepad one would need. And you might have to fit a pully system to the mouse just to get from one side of the screen to the other. ;) C. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Rotate this! Mega-monitors
On 22 Sep 2003 at 16:19, Randolph Peters wrote: These new desktop monitors are out of my league, but I thought some on this list might like to drool over them. You might not ever need to turn a page again! http://www.go-l.com/monitors/cinerama/specs/index.htm -Randolph Peters Very impressive. Do you suppose they can be rotated portrait format? ;) Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: avoiding SPAM and viruses
- Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Saturday, September 20, 2003 2:04 PM Subject: Re: [Finale] TAN: avoiding SPAM and viruses On 20.09.2003 11:14 Uhr, David McKay wrote At the moment I am receiving a deluge of viruses purporting to be messages from Microsoft or mail undelivered messages. Same here, a real nuissance! I've just set up OE to delete any messages from the server that are from Microsoft Corporation MS Public or Inet Email System which seems to be catching most of them at the moment. I'm not expecting any mail from Microsoft in the near future anyway. They are very annoying however. C. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Transferring Default File to 2K4
I'm think about transfering my Maestro default file from 2K3 over to 2K4. Can anyone tell me if there's any vital functionality or great setting in Finale 2004 that I will miss by doing this? I tried to use Forza to transfer the settings, but it doesn't seem to want to work with 2K4. Cheers, Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Problems Exporting TIFFs with Fin2K4
Doing my weekly bunch of class notes, and I'm having some issues exporting TIFF files out of Finale 2K4 (which finally arrived on Friday, having been ordered from UK suppliers on 18th August) into MS Word. Most of the TIFFs coming out have very visible flaws on them, in the form of occasional thick vertical lines through the music or other marks across the page. I'm exporting at 600dpi, though I tried it at 300 and at 1200 and it was still the same. This seems to be a problem purely with Finale 2K4, as it doesn't happen with Finale 2003 which I still have installed. Has anyone else came across this? They are unusable as they are, so I have to go back and do them in Finale 2003. Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Problems Exporting TIFFs with Fin2K4
- Original Message - TIFF files frequently look bad in Word on screen but usually print OK. Did you try printing them? Also, did you try to open them as tiff files using an imaging program such as Photoshop, Quicktime, or any photo viewing software in your computer? Best, Doug I printed the word file out and the marks also appear on the printout. Furthermore, exporting from Finale 2003 at the same resolution into Word looks fine (this is what I ended up having to do, which meant putting it all in again), both on screen and in printout. I also tried opening the graphic up using a graphics viewer (Irfanview) and the marks are still there. As I said, I've never had this problem before with Fin2K3 - seems to be a new one particular to 2K4. Can someone else try exporting to TIFF in Fin2K4 and confirm whether they have the same problem? Thanks, Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Problems Exporting TIFFs with Fin2K4
- Original Message - From: Aaron Sherber [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Sunday, September 14, 2003 3:31 PM Subject: Re: [Finale] Problems Exporting TIFFs with Fin2K4 Just tried a couple of TIFs from 2K4, and they looked fine to me, both in my image viewer and imported into Word. If you want, you can send me (off-list) a small Finale file that causes problems for you, and I'll try exporting a TIF from that -- maybe it's something specific to your file. Well actually it occurs with just about any graphic that I export from Finale 2004, at any resolution, but nothing that I export from Finale 2003 does this. I just tried exporting a bit of the staff from a new default document and the same thing happened. If anyone wants to see what it's doing, I could send a GIF (I won't send it to the list). I just can't understand why there should be this problem with 2004 but not 2003. Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Problems Exporting TIFFs with Fin2K4
- Original Message - From: Tyler Turner [EMAIL PROTECTED] To: Colin Broom [EMAIL PROTECTED] Sent: Sunday, September 14, 2003 3:46 PM Subject: Re: [Finale] Problems Exporting TIFFs with Fin2K4 If Aaron can't reproduce the problem with your files, it's likely video card related. First try turning down your video acceleration and then create another TIF file. (Start (Settings) Control Panel Display Settings Advanced TroubleShooting/Performance - move the slider to none and apply it. If you have Windows 2000 or XP, give it a try now, otherwise restart the computer first). Regardless of whether that helps or not, go ahead and update your video card drivers next. Thanks, updating the drivers did the trick. I didn't want to get into turning the graphics acceleration down if I didn't have to, as it would mean I would have to keep putting it up again any time I wanted to play X-Wing Alliance. :). Odd (to me at least) that the problem should occur on Finale 2004 and not 2003. For the record, I have a Matrox G400 Millenium Dualhead graphics card. Old by today's standards, but still a nice card, IMO. Thanks for the help. Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] GGrrrrrrrr!!!!
Pre-ordered Finale 2004 some weeks ago from a UK distributor, only to find now out that they're not shipping it till 5th September. Really annoying. Wish I'd gone with my first instincts and just ordered direct from Coda. Colin Broom. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Grrrrrrr!
Pre-ordered Finale 2004 some weeks ago from a UK distributor, only to find now out that they're not shipping it till 5th September. Really annoying. Wish I'd gone with my first instincts and just ordered direct from Coda. I know it's probably just me being impatient, but it's still annoying. Colin Broom. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Ted Ross reprint
- Original Message - From: Nick Carter [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, August 11, 2003 6:58 PM Subject: [Finale] Ted Ross reprint I'm talking to the publisher of The Art of Music Engraving and Processing by Ted Ross about a reprint and I wanted to ask the list for your input. Would you like to see a hardcover reprint?... new content?... or do you already have a copy and you don't care? All thoughts and comments welcome! I would be intrgued to know what is meant by new content. I've also talked with the publisher of Gardner Read's book Thesaurus of Orchestral Devices about reprinting and it looks like the price would be around $100. Any takers? If there's sufficient interest, I'll try to make it available again. I think I'd be interested, though whether I can justify spending that on a book remains to be seen. C. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Review
- Original Message - From: Tobias Giesen [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, August 08, 2003 5:59 PM Subject: RE: [Finale] Finale 2004 Review Unless all the key figures die at the same time, there should be no situation that will make Finale 2004 unusable for the next 2 decades or so. I've got an image of a variant of the scene in Godfather III where all the Finale developers are in a meeting room and are gunned down by helicopter by a rival notation company. Here's hoping that doesn't happen! C. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] feature requests
feature requests - Original Message - From: Chuck Israels Now, here's a question for programing literate folk: Is it a practical idea to ask for the integration of horizontal scrolling without a cursor click in the scrolling line...maybe using the arrow keys or integrated scroll wheels in track balls and mice (let's not get back into the mouses/mice debate, please!)? How nice would it be to avoid moving the cursor to accomplish this. This can be done just now, at least in Windows. If you have a mouse with a scroll wheel mouse, hold down CTRL+SHIFT and move the scroll wheel down, and the music should scroll to the right. Moving the wheel in the other direction moves back. Additionally, I don't know if this is possible with other wheel mice, but on my Logitech MX500, I can press down on the wheel and then shift slightly right , left, up or down to move around the score fairly rapidly. I highly recommend the MX500 as a great optical mouse with programmable buttons. Via the use of TG Tools, I now have 2 buttons assigned on my mouse to Next Page and Previous page. Perhaps one possible extension of this might be to be able to hold down CTRL+Shift plus one of the arrow buttons to accomplish the same thing, for non-wheel mouse users. C. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] walking notes
From: Brad Beyenhof [EMAIL PROTECTED] As far as I know, Finale never guesses at stem direction in layers. Layers 1 3 are always stem up when more than one layer is present, and layers 2 4 are always stem down under the same circumstances. If only one layer is present, it intelligently places the stems based on the position of the note. From: Richard Huggins [EMAIL PROTECTED] Brad, I presume you merly overlooked pointing out that Finale doesn't always know this unless it previously has been set as a preference in Options Document Layers. If the stem direction preferences haven't been set by the user to follow the specified behavior, Finale will treat all layers as if they are the only layer, and stems in every layer will be up or down based on the note position. The truth of the matter is somewhere in the middle of these two opinions. Finale's layer 1 is set by default to put the stems upwards when notes are in another layer, and the notes of layer 2 are set by default to go down when notes are in another layer. Layers 3 and 4 are not by default configured in any particular way, so stems behave as if no notes are in other layers. C. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] default
- Original Message - From: Eden - Lawrence D. [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Sunday, January 12, 2003 1:20 PM Subject: [Finale] default Is there a way to get Finale (Mac) 2k3a to default to scroll view instead of page view? Options MenuProgram Options, under the New tab. C. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] TAN: Chords in Accordion notation
Can anyone tell me if I am correct in assuming that as with any other instrument, chord symbols (e.g. C7, Dm, etc.) in a part for a stradella system accordion appear above the staff ? I wouldn't normally even question this were it not for the fact that the individual who's music I am notating has put them below the staff, and I want to double-check before I correct it. Thanks, Colin. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] 4'33
- Original Message - From: Nick Carter [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Saturday, January 04, 2003 6:44 PM Subject: [Finale] 4'33 I was listening to a quiz on BBC Radio recently and one of the questions revolved around a composer using silence in a work and being sued by the Cage estate. Apparently he had to pay up - is that true? I'll try to find the link if anyone's interested. This is true, and the composer was Mike Batt (composer of the theme tune for the old BBC children's programme 'The Wombles'), and responsible for the hideous group 'The Planets'. They settled out-of-court for a six-figure sum. The article is here on BBC news: http://news.bbc.co.uk/1/hi/entertainment/music/2276621.stm and the earlier article, detailing the argument a little: http://news.bbc.co.uk/1/hi/entertainment/music/2133426.stm Colin. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Books about Counterpoint
- Original Message - From: Nico Schliemann [EMAIL PROTECTED] To: Sibelius List [EMAIL PROTECTED]; Finale List [EMAIL PROTECTED] Sent: Wednesday, December 04, 2002 11:02 PM Subject: [Finale] OT: Books about Counterpoint Hi all, as I know that here are many composers around, I've got a very simple question for you: Are there any books on counterpoint? The two I would recommend are Kent Kennan's 'Counterpoint' (excellent text which has an accompanying workbook) and Markand Thakar's 'Counterpoint' which is pretty in-depth. C. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale and Windows XP
- Original Message - From: One of the McKays [EMAIL PROTECTED] I am intending to get a new computer next year. I have read horror stories of problems with Windows XP and Music programs. Does it work OK with Finale? David McKay [EMAIL PROTECTED] http://members.ozemail.com.au/~musicke I think with a lot of these things it can be almost the luck of the draw. Some folk hve a perfect install, and some have serious problems. I did an upgrade from Windows ME to XP, and had no end of problems. I got an error in Finale that I've never seen before in my life - something to do with font bits, that kept coming up any time I re-drew the screen or used the handgrabber. There are some problems with drivers for older devices also, so you need to make sure that you have the latest drivers. Some companies may not intend to make newer drivers for their older devices, you should check up if you have an older soundcard. (Creative Labs are pretty bad for this. I have a perfectly functional DVD drive that was rendered useless in XP, as they have stated that no newer drivers were planned for it). This, in combination with some other problems I had with it (such as often not even being able to log into the computer) resulted in me reverting to an earlier drive image and thus, back to Windows ME, and I haven't looked back. I have been told that a clean install of XP is generally more successful than an upgrade over a previous OS. I'm not sure whether this is the case or not, as I work in a school with 2 new Dell systems which have only ever had XP on them. There seems to be some conflict between XP, the soundblaster Live and Logic 5.1, as on both systems Logic cannot find the soundfont card, and on one system it does not even accept midi input. No amount of uninstalling the card or the software has alleviated this, and I'm about ready to kick the computer out the door. That's probably one of the horror stories. My colleague on the other hand has had little or no problem with XP on his laptop. Regards, Colin. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] 5/4
- Original Message - From: Crystal Premo [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, November 14, 2002 5:43 PM Subject: [Finale] 5/4 I am going to spend a small amount of time teaching my actors about 5/4 time, but I despair that there simply cannot be a folk song or a public domain song of any kind that is in 5/4 time. Any thoughts? I'd go for the 'Mission: Impossible' theme tune. There's also a song by Sting called 'Seven days' that is in 5/4 throughout. C. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Moving notes in a chord to another layer
OK, I'm sure this has been asked before, but... Let's say I have a series of 2-note chords on one staff. Is there a way of processing the entire staff so that the top note remains in layer 1, while the bottom note shifts to layer 2 (or any other layer for that matter). The only way I can think of doing it is the rather time-consuming one of creating an extra staff, using the note mover tool to shift the bottom notes, then moving layers using the mass edt, then finally moveing back to the original staff using thre note mover and deleting the extra staff. Surely there must be a quicker way. Is there a plug-in that does this? Cheers, Colin Broom. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Remove all accidentals
- Original Message - From: Dennis Bathory-Kitsz [EMAIL PROTECTED] A tool to hide all accidentals in one pass. Yes? No? (I'm converting an existing electronic accompaniment from a complex stream to a 'reduced visual' and removing all clutter.) Plug-insCanonic UtilitiesHide all Accidentals C. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fwd: Harpsichord built of LEGOs!
Fwd: Harpsichord built of LEGOs!Saw this a couple of weeks ago. Looks great. A listen to the audio clip suddenly makes it clear why they don't generally make harpsichords out of lego. C. - Original Message - From: Andrew Stiller To: finale list Sent: Thursday, October 17, 2002 10:13 PM Subject: [Finale] Fwd: Harpsichord built of LEGOs! Status: U From: Roger Parris [EMAIL PROTECTED] To: Andrew Stiller [EMAIL PROTECTED], Charlotte D. Roederer [EMAIL PROTECTED], Doug Jack [EMAIL PROTECTED], Ernie Steiner [EMAIL PROTECTED], Linda Kaumeyer [EMAIL PROTECTED], Liz Parris-Bunal [EMAIL PROTECTED], Mark Harbold [EMAIL PROTECTED], Paula W. Jack [EMAIL PROTECTED], Roger Larsson [EMAIL PROTECTED], Scott Parris [EMAIL PROTECTED] Subject: Harpsichord built of LEGOs! Date: Wed, 16 Oct 2002 16:45:29 -0400 X-Priority: 3 (Normal) Importance: Normal Spare me S or enchant me! Enjoy this page, friends and relations! Best, Roger P. http://www.henrylim.org/Harpsichord.html ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Re: TAN: Anomalies in 'Le Sacre...'
- Original Message - From: Mark D. Lew [EMAIL PROTECTED] I checked with a colleague who has conducted the piece. He confirmed that our interpretation of the flute part is correct. (Rereading your note, Colin, I believe you were describing the same thing I was, but in different words). Yeah. I'm all for scores that are as per the composer's intentions, but I find it slightly puzzling that the nested tuplets were not put in in later editions. I'm intrigued to see if there are many other anomalies such as this in the score. As for the bass clarinet part, he tells me that Stravinsky went back and forth between French and German style for no apparent reason, and then eventually settled on French. Looking ahead in the score I see plenty more clef switching. The bass clef switch just makes no sense whatsoever. As someone else suggested, I thought it could have been to simply avoid collision with another staff below, but it's not even that low a note in treble clef. Interesting. Colin. Colin Broom, composer [EMAIL PROTECTED] Perhaps an inquiry on the clarinet list would turn up some opinions? -- At 11:40 AM 10/13/02, Aaron Sherber wrote: Looking at the score, I would actually guess that it *is* to avoid ledger lines -- which would collide with the bassoon part just below it. I was starting to think that, too, but the rest of the score doesn't follow the pattern. After [6] there's more usage of the bass clef, with no high notes in the staff below. Then later at [8] it's back in the treble clef, even though there are written low G's. mdl ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Clef refuses to display
Ok, this is a new one on me. I'm putting in a bass clarinet part at the moment (in transposed pitch), and I can't seem to insert a bass clef in one particular bar. It just seems to refuse to display, no matter what settings I choose, even if I haveAlways show Clef, or place the clef before or after the barline. Thing is, if I click on the bar to go back into the clef dialog box, it shows the bass clef selected as if it's already set, but when I come back out, it's still in treble. Anyone any thoughts? It's got me completely stumped. Cheers, Colin. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Clef refuses to display
- Original Message - This transposition includes a Set to clef setting (in the tranposition section of the staff attributes) which has locked this staff to treble clef. Uncheck this option and your bass clef will appear (although I am unclear as to why you would show a bass clef for this instrument). Aha! That did it. Thanks. As to your thoughts regarding using bass clef for bass clarinet, I thought the same thing, but I'm just following the score - it's not my music. Colin Broom, composer [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
TAN: Anomalies in 'Le Sacre...' Score (was Re: [Finale] Clef refuses to display)
- Original Message - From: Mark D. Lew It's possible that there is some good reason to be using the bass clef that you're unaware of. Ok, I'll come clean. For reasons that are too uninteresting to explain, I've been putting the Introduction of Part 1 of of Stravinsky's 'The Rite of Spring' into Finale. Suffice to say it's related to the lecturing work at University. So the bass clarinet example I cited in the previous post is from bar 13 of the Introduction. In both the Boosey and Hawkes study score and the Dover Edition score there is a bass clef at preceding bar 13 followed by a A (transposed) on the first space. Now the note that sounds in performance is a concert pitch G situated on the bottom line of staff in bass clef. But this should be notated for the bass clarinet as an A a 9th above, and in treble clef (2 leger lines below bottom line). The note that actually appears in the score to 'The Rite...' is outwith the bs.cl. range. Can anyone with access to the score (or a good knowledge of it) shed any light on this? I'm sure this is probably old news, and there is some reason for it, but I find it kind of puzzling. While we're on the subject of apparent anomalies in the Rite score, there are a few rhythms in the score that seem to me to not quite add up. For example the Flute 1 tuplet in bar 25 (rehearsal point 5). By my count, there seem to be too many notes in this measure. Is this correct? The only way I can see this adding up is if there were 2 additional nested triplets (or 1 sextuplet) over the 2nd and 3rd notes, and also the 4th, 5th 6th notes. Once again, I'll be amazed if this hasn't been discussed to death already, but if someone could shed some light on these issues for someone who was obviously asleep at the time, I'd be grateful. Regards, Colin. Colin Broom, composer [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] ?instruments 1 2
On an orchestral score, how can I get the two or three numbers to the right of the instrument name (for example if there are 2 clarinets) so that the 1 is directly above the 2 (and 3 if necessary)? E.g.- clarinet 1 2 but with clarinet centred obviously. Anyone know? I can't for the life of me think how to do this. Cheers, Colin. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] ?instruments 1 2
- Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, September 25, 2002 6:45 PM Subject: Re: [Finale] ?instruments 1 2 Maybe I'm misunderstanding what you mean, but could you not achieve this by renaming the staves to 1 and 2, then grouping the staves with the group name clarinets (remembering of course to change the abbreviated group name too. Well, there is only one staff. But I actually figured it out straight after I sent the post. I can add a group (without bracket) to a single staff and call it 12 while the staff name remains as Clarinet Thanks for all the replies. C. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Help with Soundfonts (TAN)
- Original Message - From: Dennis Bathory-Kitsz [EMAIL PROTECTED] At 06:23 PM 9/20/02 +0100, Michael Lawlor wrote: Is there a good (step by step) source of information for someone using soundfonts for the very first time, in particular within Finale, if that makes a difference? I have found the help on soundfonts that came with the software (Creative Wave Studio) not very enlightening. I need something that explains the technology from the musical point of view. If you've used any Midi card with Finale, you know how that works. Finale doesn't care about the card you're using, so using Finale doesn't make any difference in answering your question. The number of soundfonts you can load into the card is limited by its memory. Some soundfonts are pretty big. I often use a Gm soundfont bank thats somewhere in the region of 130MB. That's the biggest one I use. There are lots of free soundfonts (some quite good) at http://thesoundsite.net/ Unfortunately this can be quite a slow site to download from (at least it was last time I looked). Another good site is www.hammersound.net which as well as having a lot of good soundfonts, has a lot of useful information and a FAQ section about soundfonts. Colin Broom, composer [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: My Own Wishlist to Coda
- Original Message - From: David H. Bailey [EMAIL PROTECTED] To: [EMAIL PROTECTED] Cc: FINALE [EMAIL PROTECTED] Sent: Friday, July 19, 2002 11:38 AM Subject: Re: [Finale] Re: My Own Wishlist to Coda (Mac, quite long) While I agree, such an automatic alteration might be included as a switchable option, and in that instance I wouldn't mind. BUT, there have been a lot of suggestions made recently on this list which include switchable options which might make for a nightmare of programming, and a huge switchable options page in the program options or document settings screens. Wouldn't it just be a case of expanding the options in either the speedy options or the accidentals options in the document settings to include something like allow intelligent enharmonic re-spelling following initial note entry (except worded better than that!) rather than a switchable options page? I think that the accidentals options under the document options should be expanded anyway to include much of what is found in the cautionary accidentals plug-in plus a few other options, but so it does it as a default rather than running a plug-in, as . For example always show cautionaries, even on tied notes; show cautionary natural after octave displacement (e.g. G#4 followed by Gnat5), do not show on repeated notes, etc Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: orchestral MIDI
- Original Message - From: Harold Steinhardt [EMAIL PROTECTED] If an arranger or a composer does not know what it will sound like BEFORE notating it, then they do not know their art/craft very well. There is so much wrong with this generalisation, I don't know where to begin. This kind of generally dismissive statement makes me somewhat angry both as a composer, but more so as an educator. Firstly because you write off countless composers as unskilled who's music you may never have heard, and may even be impressed by, regardless of how it was achieved. Secondly, because I think the notion that one should hear the whole thing in one's head is generally discouraging to anyone starting out exploring composition for the first time at a piano or at a computer or whatever, and who might eventually achieve some good musical results. Thus the act of composition continues to be perceived as an ivory tower pursuit, available to those gifted few who can hear entire pieces in their heads, regardless of their complexity. Additionally I feel that a statement such as the one above can and should be only made by someone who has never had to make a single revision to any of their music after hearing it. If you can profess to such an achievement, then I take my hat off to you. Yes, it's a fine and noble thing to be able to hear music in one's head (though admittedly not at 4.00am when I'm trying to sleep), and most musicians and many non-musicians can do this to varying degrees. But to take this notion to such a prescriptive level and say that all composers should be able to hear all their music in their head is a. entirely counterproductive, and b. just plain silly. There are countless ways of producing a composition, all equally valid. And let's face it, how often do you hear someone say of a piece after a concert You know, it's even more moving a piece when you know s/he composed it all in his/her head then just notated it afterwards!. The fact that a composer/arranger does or does not compose using piano, or does or does not compose using computer, says nothing at all, i repeat: nothing at all about their skill as a composer, or lack thereof. Like anything else, it's just a tool which, in the hands of one person will produce wonderful results while in the hands of another, won't. As to how I work, I compose using Finale, playing back bits and pieces constantly. I know fine well that that's not how a cello really sounds or that a particular brass chord will sound much brighter than MIDI in reality, but that doesn't stop me checking the pitches, rhythm and general pacing of a piece. Before I did this I used to compose at the piano (about a year ago) then handwrite the score, then put it into Finale. The tool was different, but the process was pretty much the same, with the addition of also handwriting the score. The process of composing straight into Finale is for me generally a considerably quicker one, as the composing and the notation are taking place at exactly the same time, not one before the other, and so I am able to remove one extra stage. Furthermore, I have enough control over my craft to not let my compositional decisions be overly influenced by the technology. It says nothing about my skill at all - it's just another way of working. Regards, Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com If they don't already know what it will sound like, how do they determine what to write in the first place? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale wish list
Here's another one I've just thought of (mainly because it's just been annoying me!). Midi Tool functions such as set to and scale etc, should remember the last value(d) used. It would save me quite a lot of accumulated time if the set to didn't keep defaulting back to 64, and I didn't have to keep re-entering values thus could omit a few keystrokes. These Midi tool functions should also be available by right-clicking/Ctrl-clicking(Mac) on a selected portion of the score, so as to avoid constantly going up to the menu. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale wish list
And another one: TUPLET TOOL Ctrl+F could flip the tuplet bracket from stem side to note side or vice versa, in a similar fashion to it works with slurs. Sure, there might still be loads of instances when you'd have to do some tweaking (as with slurs) but this could eliminate some of that and prove very handy, IMO. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com - Original Message - From: Colin Broom [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, July 16, 2002 9:32 PM Subject: Re: [Finale] Re: Finale wish list Here's another one I've just thought of (mainly because it's just been annoying me!). Midi Tool functions such as set to and scale etc, should remember the last value(d) used. It would save me quite a lot of accumulated time if the set to didn't keep defaulting back to 64, and I didn't have to keep re-entering values thus could omit a few keystrokes. These Midi tool functions should also be available by right-clicking/Ctrl-clicking(Mac) on a selected portion of the score, so as to avoid constantly going up to the menu. Colin. -- -- Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com -- -- ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Playback of hidden notes
OK, I'm sure there must be a way of doing this, but I can't find it (I've looked in the OLD). How do I get hidden notes in another layer to playback? Cheers, Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale wish list
Things I've been thinking about and compiling over the last couple of months (in no particular order) EXPRESSION TOOL - Begin Playback remembers previous choice (in a similar fashion to this staff only), i.e. will still be set to position in measure if chosen. Also, a no playback effect underneath position in measure and beginning of measure for individual expressions would be nice. Executable shape should be scrapped and replaced with something inherently more useable! :) (Out of interest, does anyone use this?) TIME SIGNATURE - Previous and Next and Apply buttons so one could change multiple time signatures in one go, without continually coming out of the dialog box. Additionally, if I change the display as time signature, then the check box should automatically come on (as with transposition in the staff menu, etc.) which it doesn't currently, and is really annoying when I forget, come out of the time signtature window and realise I've not changed it correctly. BOOKMARKS - accessible more readily (OK, Forza does this, but it would be nice to be able to have a palette of bookmarks which one could click on) TUPLETS - An old one. The bracket angle and height should be somehow based on the sum of all three notes (if its a triplet) rather than just the first. Vertical offset for number as well as horizontal. Additionally, this should be accessible both in the Change Tuplets box as well as the individual tuplet adjustment. so as to be able to adjust a region of tuplets rather than just globally. MIDI Would be nice to be able to still see MIDI info about hidden notes in other layers. See previous e-mails for plenty of info about how the MIDI tool could be improved. This IMO should be a priority for Coda. Lot of mileage in drastically improving the UI. Perhaps more graphically oriented version of scale..etc, though I understand this maybe doesn't suit everybody. Additionally, an event list of some kind would be useful. One of the downfalls about the MIDI in Finale IMO is not being able to get information about certain passages as a whole rather than just individual notes. MISC. Mass Mover Change Durations should include an EDU text box, so that tuplets can be altered Partial Tuplets should copy correctly with MassMover tool, which they don't generally Change Articulation box should have option to delete specific articulation, while keeping others (e.g. Change selected articulation to selected articulation or Delete selected articulation PLAYBACK - An Always Start at Bookmark... option would be nice. TOOLBARS - should not reshape when window is re-sized or start menu is adjusted (Windows only). ACCIDENTALS - Increased accidentals options. I don't feel that Finale deals so well automatically with atonal or highly chromatic scores, even with the use of Cautionary accidentals (TG or otherwise). Ideally an Accidentals option in the options menu (and not just for spacing), whereby I can tell Finale how to deal with them (e.g. show even on tied notes, or after repeated notes). This is far preferable to a plug-in. CUT - Cut Function remembers last option, or has an option to stop asking the same question over and over again (i.e.do not ask this question again) Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Friday, July 12, 2002 10:33 PM Subject: [Finale] Finale wish list I am drafting a wish list to be send to Coda very soon. Perhaps some of you will have additions? Please keep it realistic, though, I don't think wishes that require a complete rework of Finale will have much chance anyway. Here is what I have so far: Bugs and problems to be fixed: - Fix grace note spacing to work (it never worked, so it's not really a bug) - Fix independent time sig spacing Feature additions: - allow clef changes to appear after the clef/key/meter area at the beginning of a system, including in the very first measure of a file - better entry method for expressions (ie type into score) - autoplacing expressions - easier playback adjustment, ie playback of hairpins etc - part extraction to properly support title pages - engraver slurs avoid collisions with ties -the ability to customize keyboard commands (I know this can be done in the Windows version, but in the Mac version this is virtually impossible due to some very odd use of GUI elements.) - rudimentary support for house styles perhaps like this: more fields in the File Info (including some custom fields), plus an easy way to copy a complete file into a new template, including the new File info fields (for standard textblocks), all music data (including clef changes
Re: [Finale] Notation question
Where does a staccato dot on the stem side go exactly: centered over the stem or centered over the notehead? Is there a convention for this or is this up to the engraver? It goes over the stem. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: The S word again
- Original Message - This remark seems like wild speculation to me. So how's about you come up with a description of a Sib articulation/expression/playback effect that I can't reproduce in Finale? A crescendo in less than 5 minutes and 3 swear words? g TGTools. Go. Done in less than half a minute. Or use the MIDI tool, scale either velocities or volume, depending on the desired effect. Not that hard, and achieved equally quickly. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] The S Word [was: Orchestra MIDI]
Much as I have to coment on regarding MIDI in Finale, I like the fact that I *can* assign a patch change to a pizz. indication if I so please, but that I have several other options available to me as well, such as switching channels, tranposition, etc. One only has to set up the MIDI meaning once, then it is effectively automatic, so what you have just mentioned is perfectly possible. Again, what I like is that Finale doesn't just assume things. You have to set up the expressions. Once, then they're there when you need them. You then have to place them in the score before and after. I'm not sure what you mean by this. If you mean to switch back from pizz to arco, then wouldn't you be putting another indication in anyway? And in the expression list, there's no way to tell the difference between arco (violin), arco (viola), arco (cello) and arco (bass). Actually there is. If you notice the do not print text in angle brackets option, you can type in something like arcocello and only the arco will display in printout, thus allowing you to assign different patches to each. This works regardless of the font (even Maestro). The system in Sibelius where what you put in the score automatically gets interpreted intelligently without having to set up anything in the first place makes perfect sense. It does (up to a point). I'm not denying that. Neither am I denying that there are things regarding MIDI that Finale could learn from Sibelius. It does crescendos and diminuendos automatically, right? True, and it would be very nice if Finale also did this. Though it is worth noting that in terms of automatic hairpins, Sibelius will only do velocity-based ones. If you put a whole note in a bar with a hairpin below it, nothing happens. Now, if you're saying that Sibelius doesn't offer as much flexibility of definition as Finale, well, that's a valid criticism of Sibelius, but my suggestion that this kind of behavior would be very handy in Finale in no way implies that Finale's present flexibility should be *removed* from Finale. I didn't think you were suggesting that for a moment. I don't think we disagree quite as much as you think. In short, you sound like you're simply defending the Finale way for no other reason than that you're accustomed to it. I won't deny that I am very accustomed to using Finale. But my main point was that while some users desire a great deal of automation, others prefer for applications not just to assume things (anyone who uses any amount of Microsoft applications will know exactly what I mean by that-you look like you're about to type a letter), thus allowing them to make choices about the effect a certain expression or whatever has, and that I am one of those users, and if taking a few extra steps means that I have more flexibility, then much as automation is desirable, I'd take those extra few steps (or dialog boxes!). It seems blazingly obvious that the Sibelius way for playback is vastly superior, at least in terms of basic playback. I see what you're getting at but I have a problem with this kind of statement. One could just as easily say It seems blazingly obvious that the Sibelius way for notation is vastly superior, at least in terms of basic notation, but such a statement doesn't say much about either Sibelius or Finale; one ends up wondering whether this is a plus point or not.. Yes the automatic nature of the Sibelius playback system is streets ahead of anything in Finale, and Coda would do well IMO to re-consider the Finale midi UI. But try getting into Sibelius to make some more detailed change (which anyone working with MIDI at a more than basic level will want to do) and it becomes more tricky. Perhaps Sibelius makes it difficult to control playback to any great degree, but that's something Finale doesn't make particularly easy, either. True, it's not particularly intuitive to the beginner, but how much more difficult is it than the rest of Finale? This brings us back to an earlier discussion about the distinction between easy to learn and easy to use. My point was that all of what was mentioned regarding playback can be achieved in Finale, and no it's not automatic, but most of it can be set up in such a way that it only has to be set up once. This is what libraries and templates are for. I'll stop now, as the Sibelius/Finale conversations almost inevitably end up going round in circles. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: The S word again
Tell me that an auto-interpreted crescendo will be harder to use than the continuous data editing in the MIDI tool, and I'll laugh very loud. Only if you promise to record your loud laughter as an MP3 and send it to us. :-) Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] The S Word [was: Orchestra MIDI]
What is not addressed in the statements from the Sibelius users is what happens to the arco and pizz patch changes if I choose to use a non-GM midi module, or if the arco and pizz patches I prefer are in higher banks than the basic 128 patches of the GM standard? Would I be able to assign my own patch numbers to those type-in-score expressions, or would I be limited to sounds I might not like? Under the Play menu, there is a dictionary, which allows you to set other patch numbers, or indeed set velocity or volume changes. Ironically enough, I found this window a bit confusing (though admittedly I haven't spent much time with Sibelius, as I don't have it, but just know some folks with it). I can't quite understand the reasoning behind list of patch names it gives you, as it kind of includes GM names but also things such as snap pizzicato (which is not found in GM). I haven't looked into it in any detail as of yet, but my guess is that it still chooses pizzicato even when you select snap pizzicato. Can any Sibelius users enlighten me? At least in Finale I can define my own expressions to give me exactly the sounds I want. Well, I think you can with Sibelius as well. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Orchestra MIDI
- Original Message - Or you could just buy a copy of Sibelius, which has a handy mixer window to control the MIDI volume setting. Ducking for cover, And so you should! :) Seriously though, the MIDI options in Finale while fairly flexible are not nearly as clearly laid as they could be. Something like a mixer with sliders for volume, pan continuous data which could be adjusted in realtime, then made more permanent by hitting an apply button would be very useful. Given that Coda seem so (understandably) keen on enticing the new user, it's puzzling to me that they have not spent more time looking at how the MIDI tool could be improved, as I would have thought that many potential users would find this essential to their needs (probably more so than scanning ability or micnotator, etc.) Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] The S Word [was: Orchestra MIDI]
- Original Message - Haven't you missed Richard's point? The point was automatic interpretation of those expressions, so that the strings switch to Pizzicato and back to Arco, just because the expressions are there. Much as I have to coment on regarding MIDI in Finale, I like the fact that I *can* assign a patch change to a pizz. indication if I so please, but that I have several other options available to me as well, such as switching channels, tranposition, etc. One only has to set up the MIDI meaning once, then it is effectively automatic, so what you have just mentioned is perfectly possible. Again, what I like is that Finale doesn't just assume things. Colin. Tech Support: I need you to boot the computer. Customer: (THUMP! Pause.) No, that didn't help. Colin Broom, composer e-mail: colin.broom@Cb7#9strath.ac.uk (To reply, omit the Cb7#9 chord from the e-mail address) Invention Ensemble: www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Orchestra MIDI
- Original Message - From: Andrew Stiller [EMAIL PROTECTED] I am setting up a template for a 19th-c. orchl. score, and I want to make sure the playback is configured properly. Two questions, therefore: 1) Given the limited number of channels available, it will be impossible to assign a separate channel to every staff. I would like to assign the two horn staves to a single channel, likewise the two trumpet staves, but I am concerned about transposition problems. The two staves in each pair use different transpositions, and there will also be staff styles used to change the transposition in an individual staff while the other staff does not change. Will the transpositions play back correctly if both staves are assigned to a single MIDI channel? This won't cause any problems. MIDI data is pretty much entirely independent of staff attributes such as transpositions, etc. Just set both to the same instrument in the instrument list. You may notice that if you set up a score from scratch (i.e. without the wizard of a template) with various transpositions, clefs, etc., all the instruments in the instrument list are initiallly set to piano (GM patch 1) on midi channel 1, and this doesn't affect how the staves behave, or the playback (other than the fact that it is all on piano, and can sound a bit like Nancarrow) 2) QuickTime Musical Instruments (General MIDI) produce highly unrealistic balances in any orchestral context. Is there any simple way that the volume of an individual staff can be globally scaled upward or downward--that is, with all its dynamic changes scaled up or down proportionally--compared to the other staves in the piece? NB: I have no sequencer. Dynamic markings as they are set in Finale affect the velocity rather than the volume, and as such you might want to leave them as they are, and change the volume instead. Easiest way I can think of is to either: A. Select the MIDI tool. Select the entire staff in question. Under the MIDI tool menu, select edit continous data and change it to number 7, which is volume. Then go back into the MIDI tool menu and choose either set to... and choose a value between 0 and 127, or choose Add... and put in either a positive or negative number depending on whether you want to increase or decrease the volume. this will affect the staff as a whole. B. (if you're a Windows users) Use the easy MIDI option in Jari's Forza plug-in. Do bear in mind that this will affect all staves set to that particular MIDI channel. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Fin2K3, initial thoughts
Finally got round to upgrading from Finale 2002 to 2003, and so thought I'd share my initial opinions (I know some of you have already had this conversation and Jari has discussed it on his tips website, but I've just got my copy!). Firstly, the interface. While I have to admit some of the new pallettes look fairly good, others are a little more difficult ro read (in particular the Cool Gray). I think the new icon for Mass edit is inherently more sensible than a small red truck (much as I love the truck!). Unfortunately, none of the new palettes can be down-sized (though admittedly they'd be even harder to make out if they could), and as someone who likes both the main palette and the advanced tool palette visible at all times in one column up the side of the screen, the traditional icons are the only ones which are small enough for me to do this. The ability to set a bitmap for the page background is nice (the desktop area, not the page itself), though I would have found the ability to set a bitmap for the actual paper background more useful still, thus making it slightly easier on the eyes (one of the few apparently pointless things I do like about Sibelius). The behaviour of the bitmap is interesting in that if you move with the handgrabber, the bitmap moves, but if you use the scrollbars it stays put. I think it might have been better if it stayed still in both circumstances. The new layout for document options window is in my opinion worth the upgrade alone, it saves so much time for anyone doing any amount of tweaking. Also useful is the ability to set the page layout for score and parts from the options menu. Interesting that in the new Maestro Font default file they have gone for the measure numbers in italics, something I always associate with Sibelius, and which I think looks a bit ugly. A note to anyone upgrading that I noticed Jari hadn't covered in his tips for upgraders: If you intend to use a Maestro Font default file that you have ready prepared from a previous version of Finale, be sure to copy the staff styles as a library from the Fin2k3 into it, otherwise you will miss some of the new preset (and inherently useful) staff styles, such as stemless notes. The addition of the tuplet options to the document options box is a welcome addition as are the new options within this box regarding bracket thickness and horizontal offset, though I would have liked to have seen a vertical offset option for the numbers as well. I would also have liked these options available in the dialog box that opens up when you double-click on an individual tuplet, or choose Changetuplets... from Mass edit. Another slight drawback is that the behaviour of these new options is different from the pre-existing ones in this box, in that any change made in them globally affects all the tuplets in the document immediately as soon as apply or OK is hit, whereas changes to the bracket or ratio, etc. do not affect pre-existing tuplets. This seems somewhat inconsistent to me. The rhyming dictionary is interesting, though I personally have no use for it. As mentioned, the additions to the staff styles is very welcome, especially the option of stemless notes. As someone who spends a lot of time preparing lecture notes , something like this can be a real time-saver. Other than that, there doesn't seem to be an awful lot changed that I can see, though there may be some under the hood stuff that I'm not aware of. Overall, I think it was worth the upgrade even if just for the new document options layout, staff styles and the enhanced tuplet options. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] First ending text (or lack of)
You actually have to use both a repeat bracket and an open-ended beginning bracket on the first ending, and enter the number just like for the second ending in the open-ended beginning bracket. Sounds more complicated than it is, and there is also an easy repeats plugin for the standard situations. Aha! Thanks for that. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Apple buys Emagic
- Original Message - From: Johannes Gebauer [EMAIL PROTECTED] I am not altogether very happy about the news, and if I were a PC user now being told that from September on all PC products will be dropped (announcement on the emagic site) I would be more than pissed off. Yes, I am very pissed off, and I know several others that will be too. Windows users apparently make up about 40% or more of Emagic's revenue. That's a lot of people. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Cues on rhythmically free part
Okay, I'm doing some notation work on a chamber orchestra work of another composer at the moment and I was hoping for some opinions on the following: The opening of one of the pieces is completely rhythmically free in that there is no pulse, no time signature and no barlines (which has involved an awful lot of barline hiding, staff styles, etc.) - a kind of static IN THE BEGINNING... type chordal section with the occasional slow moving melodic motion in one instrument. Each individual instrument entry is cued by the conductor. My question is: on the individual parts, is it more helpful for each player to only have the cues in place that apply to him/her, or to have all of the cues even if they apply to other instruments, so that they know what else is going on around and thus can more easily locate their place in the geography of the opening? I'm gravitating towards the latter, but was wondering what everyone else thought. Cheers, Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Custom lines not accessible via libraries
Am I correct in thinking that Finale cannot save custom lines (created with the smart shape tool) as a library? This seems like a bit of an oversight to me. Anyone know of a way I can copy custom line details from one document to another? Cheers, Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] temporary files
Howard wrote: Is there anyway to make temporary files usable? There've been times when I didn't have autosave turned on and, in accordance with Murphy's Law, I've lost power at my house for one reason or another. Can these files be loaded, similar to a library, before or after opening the associated real file? If not, would this be a new feature one of our guru developers might want to look at? I could be wrong (not knowing much about programming), but my understanding of temporary files was that they were created for the period that a specific task was being carried out. So while they may contain data about that task, they contain no real information about the document itself as such, so if they were useable, there would be a limit to what could be re-constructed from them. I also thought that a temporary file was created for a specific document at a specific time, in a specific state of existence (e.g. file size so-and-so, with so many tasks undertaken thus far), so in order to re-claim any lost material, one would have to to know how each of the temporary files related to each other. I'm just theorising here, I don't actually know. Perhaps one of the programmers could give some insight as to how and why tmp files work. Well-behaved programs tend to delete them after the program is exited. Something on my system seems to conflict with Finale, so that I periodically have to manually delete them (sometimes 4-500 at a time) Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Accordion font
I'm wondering if Gary Persons is still on the list. At one time Gary had a fairly extensive library of music ( related) fonts). I still refer often to the music font information pages from his book, The Finale Resource. Although the Finale material is now dated (Finale 3.7.2) he shows 32 pgs of font material plus over 100 additional pgs of character maps musical examples. Last year he saved my bacon when I needed to show some bagpipe fingerings. (Gary was at [EMAIL PROTECTED] last I knew.) Unfortunately Gary Persons died in a car accident September of last year. At the time, his widow contacted this list to inform everyone. Regards, Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Copying textblocks
Is there a way to copy a textblock from one page to another? Johannes Jari's Forza! text block manager plug-in will do this, even between different files. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Copying textblocks
Linda wrote: Or you can just select the text in a text block, delete it on the page you are leaving, and copy it into another page the same way you copy text in a word file. Or copy it to another file as a new text block. It's a simple command X/command V (or command C/command V if you are leaving it and just reproducing it) process. I do it all the time. Or am I missing something? Only problem with this is you have to set up all the alignment and justification again for the new text block. If you want the text in exactly the same place on a different page, Forza does this pretty well. (I haven't tried Philip's Text Editor, as its only available for the Mac :-( ). Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com - Original Message - From: Linda Worsley [EMAIL PROTECTED] To: Colin Broom [EMAIL PROTECTED]; Finale list [EMAIL PROTECTED] Sent: Monday, June 24, 2002 3:00 PM Subject: Re: [Finale] Copying textblocks At 2:38 PM +0100 6/24/02, Colin Broom wrote: Is there a way to copy a textblock from one page to another? Johannes Jari's Forza! text block manager plug-in will do this, even between different files. Linda Worsley -- Hear the music at: http://www.ganymuse.com/ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Percussion symbols
Hi all, A while back there was a link on this list to a site (one of this list members I believe) where there a very complete listing on orchestral percussiom symbols. There was a guide to these symbols and a font for sale for using them. Does anyone know what site this was. Ronald Caltabiano has produced a font that contains all the Ghent percussion and mallet pictograms. The web address is: http://www.caltabiano.net/shareware/#ghent There used to be a website dedicated to the International Conference on New Musical Notation (where the pictograms were first produced) but the link no longer seems to work. It's also worth pointing out that if you download the demo to Sibelius, one of the fonts (Opus percussion) has a number of the Ghent percussion pictograms in it. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Translation Request
Hi folks, I was wondering if someone would be interested in helping me out. I need to contact an Austrian ensemble (Ticom) and ask some questions about instrumentation for a chamber piece I'm due to write for them, but I don't speak any German at all. I was wondering if anyone would be willing to translate a short e-mail for me asking a few questions into German, and then translate the reply (assuming I get one). I realise this is probably a lot to ask, so I understand if everyone's too busy. One of the few folk I know locally that speaks German happens to be out of the country at the moment. And it seems kind of arrogant to me to phone them up and just expect them to speak English. If you think you can help me, please contact me on the e-mail address below. Thanks. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tweaking bar-lines with staff styles.
(Sorry Michael, meant to send this to the list, not to your personal address. Keep forgetting the system's changed!) Johannes wrote Can you explain the steps to do this, I never thought of this (but then I haven't come into the situation of needing it, yet, but you never know...). I have to admit, it never even occured to me to try doing multiple time signatures with asynchronous barlines this way, but I just tried it and it works a treat! I set up three staves in 1/4, clicked independent time signatures on, and changed the the time signature display as to 5/4, 6/4 and 7/4 respectively. I then put a pattern of the appropriate meter in each staff, then created a staff style that would hide barlines of a selection. When you use beat spacing, it works great. I could even use dotted quarter notes as long as I entered then hid an extra eighth note rest at the beginning of the next bar before entering anything else, and it still spaced out fine. I wish I'd thought of this about a year ago when I actually needed it! Then Michael wrote: It seems that you can hide any element of notation in Finale, so that it is not visible in a score, but still works in the logic of the program; and that, on top of the hidden symbol, you can have something else which is visible but has no effect in the logic of the program. Right? Pretty much, yes. If so, then I suppose you'd use a small time signature (such as 1/4) which fits evenly into both the ones you want to have running simultaneously, hide the 1/4, and write on top of it the time signatures you want to show. And you just then hide the bar-lines which don't belong to the visible time signatures. That seems to solve the problem - or have I missed something? Perhaps it does sound a bit too easy. Well it seemed to be that easy when I just tried it. Things would appear to get a bit more tricky when the time signatures have different denominators (e.g - 5/8 7/4) Do these staff styles allow you to hide particular symbols individually, or only allow you to set a general rule which decides automatically what is hidden and what is not, and then you can't make exceptions? Firstly, hiding elements is just one thing that staff styles can do. Staff styles allow you to select a portion of a staff (say, 4 bars) and adjust the way that the staff looks for that portion. For example, I could change a 5-line staff to a 1 line staff (for an untuned percussion part), or change the transposition (e.g., if an oboist doubles on cor anglais). I can get it to not display whole measure rests in empty bars (as is the default), or I can change to slash notation, rhythmic notation, blank staves and several other things. You can also of course hide things, such as barlines, time sigs, key sigs, measure numbers, clefs. etc. You can apply the staff style anywhere on any staff, and the rest of the music will remain unaffected. If you need it to do something slightly different, then you can create another staff style. For the items that cannot be hidden via staff styles, there are several other methods of hiding individual items. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale Porn (fwd)
Tackling spam is a real pain. I got so much of it I started taking some extreme measures with my filters. Initially, I highlighted key phrases that would appear in message bodies, such as with 'REMOVE' in the subject, To be removed from further mailings, click on the link below, THIS IS NOT SPAM, or key words such as millionaire, porn (things that no-one I knew would e-mail me about). Anything with these in it got deleted. For the most part this worked really well (some of you may want to try this), and I would ocassionally check my 'deleted items' folder to check that nothing had gone in that I would want to read. However, around January, the number of spam I was getting all of a sudden shot through the roof (about 10-20 a day), and stuff was getting through my filters. So now my filters are even more extreme. On top of the above filters, anything sent to certain addresses with %, $, !, ? or £ in the subject header gets deleted, as does anything addressed to Undisclosed recipients and anything over 8kb in size (thus getting rid of a lot of html stuff). Fortunately my main e-mail address (which I don't use for mailing lists or usenet) hasn't been affected too much, so I don't need to apply my filters on it. Colin. - Original Message - From: Carl Donsbach [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, May 20, 2002 4:43 PM Subject: Re: [Finale] Finale Porn (fwd) When I have time I usually report spam to the postmaster at the originating dotcom. I don't know how often it makes a difference, but I do it anyway. Some spammers are less smart than others and a lot of them do get caught. -Carl -- Forwarded Message -- Date: Monday, May 20, 2002 9:41 AM -0500 From: Joel Sears [EMAIL PROTECTED] To: helgesen [EMAIL PROTECTED], Finale [EMAIL PROTECTED] Subject: Re: [Finale] Finale Porn I feel lucky that I don't get much spam. Most of what I do get, seems to come from the time I got onto EBay. I don't do that anymore. It does seem to me, though, that I did get some spam like this, on the Finale list, last week. Joel Sears At 06:07 PM 5/19/02, helgesen wrote: Once again I received a 'soft porn' e-mail, clearly marked [Finale]. This one advertising a sex-chat room. In the recipients column was a whole heap of addresses, all starting with Fin... e.g. Finishing touch (dry cleaners?), Fingerstall, (manicurists?) etc so I suspect that someone has got hold of a huge address list and is sending random porn adverts to blocks of the list. Nobody else has mentioned this, which worries me a bit. No, it's not my scene so I don't know how I qualify. Just lucky(?) I guess! Anyone else getting this? Or are we too embarrassed to admit it? Regards, Keith in OZ. ___ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Nested triplets
Nested triplets consisting of a quarter note triplet, the second note of which is a sixteenth-note triplet, followed by a regular quarter note triplet, in 4/4. If I input a quarter note, three sixteeth notes and a quarter note, then use the tuplet tool to turn this into the appropriate nested triplets, it doesn't work. It will turn the sixteeth notes into a nice little triplet, but when I try this operation with the first of the quarter notes, it places the triplet over the first quarter note only. I've tried: turning off check for extra notes; making the measure 8/4 and inputting all notes, then turning them into triplets. Under this last condition I can get the sixteenth note triplets, but then the quarter note triplet reaches all the way across the measure to encompass the second quarter note triplet. The reason that its not working is that its incomplete. The shorter triplet group should in fact be eighth notes, not 16th notes. The triplet 16th notes make up half of one of the quarter notes, and so as a result Finale is still waiting for a note or group of notes 1 eighth note in duration before it can complete the larger quarter note triplet. If you input the smaller group as eighth notes, you'll find this solves your problem. To notate them as 16th notes is incorrect; it doesn't add up. Colin. Colin Broom, composer e-mail: [EMAIL PROTECTED] www.inventionensemble.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
