Re: [Finale] TimeBug?
Did you start with another file? I ran the data check and Finale2004b reports that all is well, yet it can't be if you can only change the time signature by indicating independent time signature in the staff tool. I have no idea what might be wrong, but it certainly isn't working as it should. David H. Bailey Richard Yates wrote: Can someone try this: Download http://www.yatesguitar.com/misc/TimeBug.MUS Open in Finale 2004b. Time Signature Tool Select All Double-click and change the time signature. (When I do this the change does not stick. Am I missing something obvious?) Richard Yates ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] eps options for FinMac 2k4+
In Finale you are supposed to be able to select just a portion of a page and save that as a graphic, EPS or TIFF. Some people only can work with EPS, I guess, so my question to you would be: In Graphic Converter can you select just a portion of the PS file and save THAT as an EPS? I would imagine that is the biggest reason why people are complaining about EPS graphics. That plus there shouldn't need to be an extra step (and an extra expense) to do something the program used to be able to do, claims to be able to do in its publicity, and the Windows version can do, and that the Mac version can do as a TIFF (can't it?) David H. Bailey Randolph Peters wrote: I can understand why people are upset that the ability to make eps files from within Finale Mac 2004(b) is a missing feature. I don't understand why people feel they have no options. Here is something that I wrote to the list a few weeks ago and it still applies with the 2004b update: I just got my copy of Finale Mac 2004 and one of the first things I tested was a way to generate postscript files, pdf files as well as eps. My printer driver (Mac OS 10.3.2) lets me save a print job as postscript or as a pdf. To get an eps file from either of those outputs you can drop the file onto Graphic Converter and save as an eps. There are other programs that can also do this, but Graphic Converter is cheap ($35), has a long demo period if you just want to try it out, and is the Swiss Army Knife of graphic programs. http://www.lemkesoft.de/en/graphdownload.htm Is there something about the output of Graphic Converter that isn't suitable? I want to know so that I won't keep recommending GC for this kind of work. -Randolph Peters ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fwd: Finale Authorization Code
I can't even begin to understand why you would publish your User Code and Authorization code -- did you have a question about this or something? I do hope you aren't trying to publicize them so that people who have unauthorized copies can try to use them. David H. Bailey Tom Bowles wrote: From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Finale Authorization Code Date: Wed, 14 Apr 2004 13:02:08 -0500 X-OriginalArrivalTime: 14 Apr 2004 18:02:08.0406 (UTC) FILETIME=[9A408360:01C4224A] Dear Customer, Thank you for registering Finale. For future reference, please find your computer location, registration user code and Finale authorization code below: [snip] -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale]
I just created a grace note in Fin2004b, and I added a sharp and it is a real sharp. Does the vertical bar print as a vertical bar? That would indicate something wrong with a font. Onscreen, at the usual 75% that I work with, the sharp looks like a vertical bar, but when I zoom in to a higher percentage it looks just fine. Do your full-size sharps show up alright? Very curious (and frustrating, I am sure)! David Tom Bowles wrote: Using both Finale 2003 and 2004 with full updates I have had the following problem: When adding grace notes I can make the grace note with the flat character but it is impossible to make the grace note with the sharp character. Instead of showing the sharp character there is a small vertical bar preceding the grace note. Have others had this problem? Tom Bowles ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fermata Or Not?
You might consider asking the composer. I don't understand what it means, but if you're using the default articulation library in Fin2004 (at least, although I think it has been there in previous versions) look at articulation 55 -- that may be what you are looking for, although I don't know what it would be used for. It's not quite a triplet, and not quite a fermata. Good for taking up valuable rehearsal time while people discuss what it's supposed to mean, though. David H. Bailey [EMAIL PROTECTED] wrote: Greetings Everyone! I hope I don't show my ignorance here, but I am working on a composition in which the composer used a symbol that looks like a fermata, but with 3 dots underneath. I am interpreting this as a fermata, am I correct? Or is it something different entirely? Sandy Petersen Pelican Music www.pelicanmusicpublishing.com http://www.pelicanmusicpublishing.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] EPS support (and other things)
As a WinFin2004 user, I find that what Aaron is saying is true, but I am willing to wait for the resolution of the Mac issues, since they have really gotten the shaft from MakeMusic (makemoney, takemoney, whatever they choose to call themselves these days): an OSx version over a year later than it should have been released, and then the problems with fonts and printing to PDF (which they are fortunate to have built into their OS) and now the failure to export as EPS graphics. I remember when Mac versions came out before Windows versions, and then one year it switched and it was obvious that MakeFinaleWorse (or whatever they call themselves these days) had made Windows the dominant factor in Finale development. But I am all for them getting the Mac version to be at least as usable as the Windows version is before continuing to make the Windows version more bug-free. That MakeFinaleUsersSuffer (or whatever they call themselves these days) have seen fit to put their development dollars into SmartMusic instead of Finale affects users on both platforms in a deplorable way which is inexcusable for a product that portrays itself as being an industry standard (good thing Sibelius programmers can't do any better, or Finale would be just an asterisk in the computer-notation history books). I don't fault the developpers themselves, though. I picture the Finale Developpers' corner at MakeSmartMusicMoreImportant (or whatever they call themselves today) to be a single small desk with one Mac and on PC side-by-side with a couple of programmers, their arms intertwined so they can reach their respective keyboards, with their notebooks of code and development tool manuals and library documentation books balanced on their knees, coffe cup perched on top. This inability to resolve very important Mac issues, along with the scheduling issues leaves me less than confident about the future of our beloved notation product. But with nothing to go to (the things Sibelius can't do that Finale can do easily are legion -- just visit the Sibelius yahoo group and read what they are asking to be able to do and it's all I can do not to reply to each one get Finale and learn how to use it.) Let's just hope that the old Coda spirit that kept up such an incredibly long line of wonderful improvements can be rekindled. David H. Bailey Aaron Sherber wrote: As a WinFin2004 user, what bothers me the most about these Mac problems (which are rather serious) is that Coda will probably decide to work on them before they get around to fixing all of the bugs that were introduced in the Windows version! I have a terrible feeling, looking at the calendar, that many of the things we've all been complaining about won't be fixed before Fin2005 -- which, of course, we'll have to pay for again. This situation brings to mind the Borland development tool Delphi. The first 3 versions were powerful tools and very well received, but v4, which introduced lots of pretty features and was somewhat rushed to marked in order to meet a shipping schedule, was very poorly received by the Delphi faithful on account of the numerous bugs and shortcomings which persisted even after a couple of maintenance releases. In response, Borland issued what amounted to a public apology, admitting the problems with v4 and re-committing themselves to releasing a solid, quality product. We did still have to pay for v5, but it was a rock solid product that also delivered new functionality. I wouldn't mind seeing Coda take a similarly forthcoming position about the problems with Finale. Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Automatically Numbered Rehearsal Numbers
Well, it's not quite automatic but it's also not all that time-consuming, and can all be done at one time in the measure-number dialog: However many marks you need (I can't remember how many repetitions of the ground there are), add that many regions. 1) Set each region for the proper number of measures. 2) Set the numbers to show every 9 (or larger) measures, beginning with measure 1 (that way nothing after the first number for each measure will show). 3) Be sure to UNcheck Hide First Number In Region. 4) Be sure to set the first number for each region to be what you want to show (i.e. 1 for the first region, 2 for the second region, etc.) 5) UNcheck Show Numbers At Start Of System. It will require you to do the same actions for each region, since the measure number dialog doesn't have a DUPLICATE button as the Expressions and other dialogs do. David H. Bailey David W. Fenton wrote: I'm doing a Pachelbel Canon arrangement (for a wedding gig -- I certainly wouldn't do it for fun!), and want to automatically number each time through the ground. I want the first numbered 1, the second (m. 9) 2, the third (m. 17), 3, and so forth. Is there any automatic way of doing this at all, or am I stuck with putting the in manually? I'd think there'd be some kind of method for this in EDIT MEASURE REGIONS, but I don't see anything that will do anything other than just repeat the measure numbers. What I want is (N-1)/8 for my measure number. Is this a manual operation or not? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Asymmetric time signatures
I have seen similar amorphous time signature works where such a time signature is given once and the metric groupings shifts, giving it the amorphous character. But it was clear from the music that the groupings as indicated in the time signature would be moving around within the measures. So I'd say that it would be perfectly fine to use just a single time signature. If you have any doubts you could add a text box at the beginning explaining that the metrical groupings would change from bar to bar but each bar would contain the same number of such groupings. David H. Bailey Taris L Flashpaw wrote: Hi all! I figured I'd tap the wisdom of the list on this one. A new piece I've started to write is in a rather unusual time signature (12/8 + 2/4) and it starts off having the four dotted quarters followed by the two plain quarters. However, I'd like to move the two plain quarters around in the bar. Would it still be correct to notate the time signature as (12/8 + 2/4) so as to avoid an overwhelming amount of time signature changes? Taris --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.655 / Virus Database: 420 - Release Date: 4/8/2004 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Weird articulation problem
1) If it's only for one articulation, try changing the font size in that articulation's definition in the score. 2) edit the font and make the problematic articulation glyph smaller but just by a tiny percent. 3) reinstall the font from before you added the glyph to it and see if it goes back to working properly. These are just a few of the possibilities I can think of that might at least shed some light on the problem. Good luck, David H. Bailey d. collins wrote: Here's a really strange problem with an articulation I've been using for years in many files (t.). All of a sudden, it has started to appear at about 150% of its original size in all my scores. I checked to see if the font size had been changed, but no. The strange part is that if I zoom in at 400%, it goes back to its normal size and look. So I thought this might only be a screen problem. But when I print it out, its wrong! I did rather recently add a glyph to this font, but I know I didn't modify this one. Any ideas to explain this? And to correct it? Thanks, Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Conventional Metronome Mark
There are two ways this is shown, both are used about equally: 1) [graphic of the note]=[metronome number] example: quarter=120 2) M.M.[metronome number] (I was taught that the M.M. stands for Maelzel's Metronome) example: M.M.120 David H. Bailey Giovanni Andreani wrote: Hello, what sign would you state is mostly used to indicate the metronome puls what appear's over a music line? Giovanni ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: How about XML?
2 Systems means computer systems, not notation-systems. Sibelius can already import (not always wonderfully) Finale files so there isn't a need for a MusicXML import plug-in for Sibelius, just a MusicXML export for Sibelius, which is a separate plug-in for which you have to pay. At least I did -- the musicXML allowed me to take the already-entered data from Sibelius and use it in Finale, once I realized that Sibelius and I am not ever going to be on the same page, data-entry-wise, and that I could enter the music far more rapidly and accurately using Speedy entry in Finale. David H. Bailey Brad Beyenhof wrote: On 4/6/04 4:08 PM, Michael Good wrote: The Mac-capable version will be version 2. We haven't determined what the licensing will be for that version yet. The current version 1 license lets one person use it on two systems (e.g. desktop and laptop, work and home). The license is available online at: Michael: Does two systems mean that you can use it with Sibelius AND multiple versions of Finale on two different machines? Or maybe two systems means that you can use it with both Finale and Sib on one machine... -Stymied in San Diego, aka -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: How do I do this?
Good question, for which I have to concede that I wouldn't write instruments in theoretical keys. Wish I had a score to Salome to see how Strauss handled this issue. But as the key of the work in question is E major and the transposed key is F# which the person wanted to notate as Gb, I would notate it in F#, maintaining the proper relationship to the concert key. 6 flats, 6 sharps, there will be problems either way with amateurs and pros won't have any problem in either key. David H. Bailey Ryan Beard wrote: To David Bailey: As a totally unasked aside -- the key signatures of transposed parts (in my opinion as a player of a transposing instrument AND as a conductor) should be in relationship to the key of the whole work, and not in an enharmonic key for ease of playing. As a totally unasked aside -- If it were up to you, the parts at the end of Strauss's SALOME (concert C# major) would be writen in D# major for Bb clarinet, E major for A clarinet, A# major for Eb clarinet, G# major for the English horn? [I'm not exactly sure which instruments are used since I don't have access to my score at the moment, but SALOME was the only thing in this key I could think of.] G#, D#, and A# major seem preposterous since a major purpose of transposing is to make playing easier! (I know, I know, different tone colors and registers, blah blah blah.) You're really prepared to write a part with 8, 9, or 10 sharps in the key signature? I realize this is an extreme example. Just curious where you draw the line. Don't take this as an attack, please. Ryan __ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] How do I do this?
I concede that I wouldn't notate using theoretical keys like D# major. But then I wouldn't write a work in F# major and include Eb saxes in the score. But I would notate them in Eb in the case you cite. Guess I was a bit too strong in my language. I still would notate the part in question as F# rather than Gb for a concert key of E. David H. Bailey John Bell wrote: At 5:23 pm -0400 05.04.2004, David H. Bailey wrote: As a totally unasked aside -- the key signatures of transposed parts (in my opinion as a player of a transposing instrument AND as a conductor) should be in relationship to the key of the whole work, and not in an enharmonic key for ease of playing. Even if the score at this point is in F# major and you are looking at the Eb alto saxophone part (in D# major)? John ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] File Crashes My Finale Reliably
I did as you said and with Fin2003, it didn't crash my machine, neither did it crash my machine with Fin2004. I'm running Win98se with 1GBram. David H. Bailey David W. Fenton wrote: Finale is driving me crazy these days, what with blank notation and layer 2 spacing problems, and now I've got a file that reliably crashes when you jump to a particular measure. The file is here: http://www.bway.net/~dfenton/Midi/Hoffmeister4_C.zip (my ISP doesn't know that MUS files are binary, so I changed the extension to ZIP so that it doesn't display it -- when you've downloaded, just change the extension from ZIP to MUS) Here's how to produce the error: 1. open the file in scroll view. 2. using the measure number at bottom, type in measure 452. When I hit ENTER to navigate to that measure, Finale 2003 for Windows crashes. It's completely reliable. Anytime m. 452 is painted onscreen as the leftmost measure, Finale crashes. I've deleted the offending measure and recreated it. I've deleted the measure before and recreated it. I've run data checks on the file. I've saved as ETF and opened the ETF, and the two steps above produce exactly the same crash in the freshly opened ETF. If anyone else has WinFin2K3 and can try the file, I'd like to know if it crashes or not. If it doesn't, then it's something wrong with my system. If it does, then it's something wrong with Finale. I'd also be interested if it crashes on other versions of Finale. I don't normally do 3-movement works in a single file, but I figured that was a limitation of Finale from 10 years ago, back when one movement alone was a big piece for Finale. I never had any problems like this until this piece got large (it's still only 606 measures, which doesn't seem that big to me!), and then I had lots of problems (I lost some data in it at one point, but thought that had been fixed. The other annoying thing I've discovered is that an explicit save doesn't really write to disk when you do it -- numerous times I've lost data that I put in *before* an explicit forced save when a crash happened a few minutes after I saved. Needless to say, my confidence in Finale is rather greatly shaken here. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] How do I do this?
You need to set independent key signatures for the trumpet staff, and turn off transposition for the trumpet staff. Enter the music at concert pitch in the key of E. Change the key signature for the trumpet staff to Gb, transposing notes UP. As a totally unasked aside -- the key signatures of transposed parts (in my opinion as a player of a transposing instrument AND as a conductor) should be in relationship to the key of the whole work, and not in an enharmonic key for ease of playing. But it is possible to do what you want, as I have outlined above. David H. Bailey [EMAIL PROTECTED] wrote: I turn to your collective wisdom for what I hope is a simple answer. I am working on a piece for small ensemble in the E major concert key. How do I display the Bb trumpet part in Gb instead of F#? TIA Guy Hayden, Minister of Music St. Stephen's Episcopal Church 372 Hiden Boulevard Newport News, Virginia 23606 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] key signature cancellation
In the older editions, they would only have cancelled what was necessary and then reprinted the new key signature, so going from F to Bb minor there would have been no cancellation, just 4 more flats added to the sign. Then returning to F major, there would have been only 4 naturals, not 5. Finale doesn't do it according to that older system. You could have Finale NOT cancel the outgoing key signature and then fuss with an extra empty measure with no barline just before the key signature and then place the natural signs you want to cancel Bb minor as articulations to the last note before the key signature and then drag them into place in the new tiny empty measure before the key of F. It's a bother but you could end up with just what you want visually. David H. Bailey Ryan Beard wrote: Hey folks, The way Finale treats key sigs seems off to me. Maybe it's following conventionn, maybe not. I'll write what I want to do, and if any of you can tell me how to do it, or if I'm wrong, then please let me know. I have one flat, then the key changes to 5 flats, then later back to one. If Cancel Outgoing Key Sig is checked in Doc Options, then Finale will cancell the one flat, then rewrite the 5. I don't think it needs to do that. But, when I go from 5 back to one, I do want it to cancel the other four flats. By the way, the one flat section is in F Major, and the 5 flat section is in Bb Minor. I've fiddled around the with Change of Mode setting check box, but haven't had any luck. Is Finale correct to cancell out a flat only to include it again in the new signature? Ryan __ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] key signature cancellation
That's the ticket, don't mess with Finale's minor-key key signatures if you want the normal cancellation process. It works just as you want it to work if you have the middle section to Db major. Ignore my previous post about adding the cancelling naturals as articulations. The only downside to this is that if you do any midi-keyboard input in the Dbmajor/Bbminor section, it will appear differently depending on how you have the key signature set, so you might want to leave the key signature set to Bbminor for your note entry and then change it to Db major (hold notes to original pitches chromatically) to get the visual printout you want. Good luck, David H. Bailey Klaas de Jong wrote: Hi, One shouldn't overlook the effect of 'cancel outgoing key signature' in the options... Hope this helps, Klaas. Op 4-apr-04 om 10:14 heeft Michael Cook het volgende geschreven: To get what you want, change the key signature of the middle passage from Bb minor to Db major. Make sure that Hold notes to original pitches chromatically is checked. Best wishes, Michael Cook Hey folks, The way Finale treats key sigs seems off to me. Maybe it's following conventionn, maybe not. I'll write what I want to do, and if any of you can tell me how to do it, or if I'm wrong, then please let me know. I have one flat, then the key changes to 5 flats, then later back to one. If Cancel Outgoing Key Sig is checked in Doc Options, then Finale will cancell the one flat, then rewrite the 5. I don't think it needs to do that. But, when I go from 5 back to one, I do want it to cancel the other four flats. By the way, the one flat section is in F Major, and the 5 flat section is in Bb Minor. I've fiddled around the with Change of Mode setting check box, but haven't had any luck. Is Finale correct to cancell out a flat only to include it again in the new signature? Ryan __ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ___ 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 . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] time signature change
If you want to double the values and rebar the music, you can do that by highlighting the score using the mass mover tool and then under the Mass Edit menu select Change and the select Note Durations. Select 200% and be sure the Rebar Music box is checked. Then change the time from 4/4 to cut-time and tell the time signature tool not to rebar the music. David H. Bailey Bob Florence wrote: Hi All: How can I take a section of music (24 bars) in 4/4 and change it to cut time (2/2). It will become 48 bars. Is there a Finale way or do I have to do it the old fashioned way and re do it? Thanks: Bob Florence ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] time signature change
No, you don't need to do each instrument separately, you need to highlight the entire score at one time and follow the process, so that ALL notes/rests are acted upon at once. David H. Bailey Bob Florence wrote: This section is for 4 trombones. Trombone 1 plays 6 bars. He repeats his phrase and is joined by trombone 2. They continue their 6 bars and are joined by trombone 3. They continue and are joined by trombone 4. This is a total of 24 bars. I added 24 bars to that section to make it 48. I tried the method down below. It worked for trombone 1. It did not work for the other parts. Do I have to do each part separately because of their staggered entrances? BF David H. Bailey wrote: If you want to double the values and rebar the music, you can do that by highlighting the score using the mass mover tool and then under the Mass Edit menu select Change and the select Note Durations. Select 200% and be sure the Rebar Music box is checked. Then change the time from 4/4 to cut-time and tell the time signature tool not to rebar the music. David H. Bailey Bob Florence wrote: Hi All: How can I take a section of music (24 bars) in 4/4 and change it to cut time (2/2). It will become 48 bars. Is there a Finale way or do I have to do it the old fashioned way and re do it? Thanks: Bob Florence ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Time Signature question
Brad has given you one response -- probably the best/quickest. Another way would be simply to use the mass mover tool on every other measure and Rebeam to Time Signature and select 6/8 as the time signature to rebeam to. David H. Bailey Ken Parsons wrote: How do you enter two time signatures for a piece that oscillates back and forth between them - e.g. 3/4 6/8? I'd like to enter these in the first measure, and not have to put them in every time the grouping changes. Thanks! Ken Parsons ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Music Spacing Issue
Mark D Lew wrote: [snip] Do you have automatic music spacing turned on? If not, it seems to me you shouldn't ever have to move the dot. In the procedure you spelled out, the dot got moved only because you spaced it once and Finale figured it right, then you added and spaced again and Finale got it wrong. [snip] Better is to enter all the music first and then apply spacing just once. That way either it will get it right or it won't. If it doesn't all you have to move is the note. Are these problems the same with each different spacing library? Might it be possible to change spacing libraries and space just a problem area or two, while using a different library for all the non-trouble spots? I don't know, I'm just asking if anybody has tried different spacing libraries and get the same spacing errors with all of them. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale vs. Sibelius in this month's Keyboard Magazine
However, when Sib3 saves files in Sib2 format, you lose all of the new features that Sib3 has initiated, such as colors that correspond to some school music instrument made out of colored tubes that kids whack when they see that colored note. So you can create a beautiful score in Sib3 with everything you want, save it in Sib2 format to send to a buddy for additional editing, and when they send that Sib2 file back to you with the changes, you have to go right back and re-edit all that colored stuff you originally worked so hard to get just right. It's another marketing ploy to show how superior they are to Finale that works just as we all know it would work in Finale. Personally, I am glad we can't do that because it would cause code-bloat for no really good purpose (how would those engraver slurs look if they were converted to Finale 2000 file format?) I would rather see the development team work harder to get things right in the current version, such as PDF printing for the poor MacOSX users who had to wait so long for a workable Finale. And then to work further on the MIDI tool, to allow us to actually EDIT musically meaningful things in the Human Playback dialog, so we can determine if trills start on the upper note, how fast they are, whether they end with a bit of sustained original note. Far more important to get things working right in the current version. When they finally have gotten their data to a point where anything we want to do notationally (well, I can wait forever for the ability to create spiral scores a la Crumb) is possible. Then the data format will be mature and they can begin making version compatibility possible. The Sib3 saving as Sib2 is most definitely NOT a reason to switch! Join the Sibelius group at yahoogroup and read all the it used to work this way on the Acorn version, why doesn't it work in version 2? and it didn't work in version 2, why doesn't it work yet in version 3? messages and realize that Sibelius is way behind Finale in terms of program maturity. David H. Bailey Christopher BJ Smith wrote: At 3:19 AM -0500 3/25/04, Darcy James Argue wrote: I should mention that I found out about this issue of Keyboard from composer (and Village Voice new music critic) Kyle Gann, who has some thoughts on his blog about Sibelius (his music notation software of choice) and about the influence of notation software on the composition process: http://www.artsjournal.com/postclassic/archives20040301.shtml#72698 http://www.artsjournal.com/postclassic/archives20040301.shtml#72838 Just a couple of articles farther up there is an update, letting us know that Sib 3 can save files in Sib 2 format. There's an option I would have killed for in several versions of Finale! Christopher ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale vs. Sibelius in this month's Keyboard Magazine
MusicXML is maturing very nicely, and Michael Goode is doing a lot towards inter-version compatibility with his plug-ins. My guess is that soon, his plug-ins will provide all the interversion compatibility that Finale will be capable of, so the developpers at Finale can keep concentrating on what we want most -- elimination of bugs! David H. Bailey d. collins wrote: Christopher BJ Smith écrit: There's an option I would have killed for in several versions of Finale! Be careful, because Michael Good (Recordare) might take you up on this. I agree that this would be a very nice feature when you're working with people who haven't upgraded, but I'm not really willing to pay extra for it. I've already paid extra by upgrading myself. I don't know what the situation is in other countries, but in France many wait for the French version, which is generally a year late, so it makes it very difficult to exchange files that aren't backwards compatible. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Word Extensions_____what gives?
I thought word extensions were supposed to show that the word lasted until it stopped, sustained note or moving notes doesn't matter. I don't know what's right but I do recall having seen word extensions under long tied notes in published scores. David H. Bailey Randolph Peters wrote: I'm seeking the collective wisdom of this list. Shouldn't word extensions only apply to moving notes and not to tied ones? It seems as if the word extension plugins (both Finale's and TGTools) on FinMac 2k3 are spotty and inconsistent AND they give me a lot of lines on tied notes where I don't want them. What does the list think? Shouldn't this at least be an option? -Randolph Peters ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mac to PC
Or James can simply rename the file with .mus, and then he should be able to open it with no problem whatsoever in Fin2004b. BUT, if he makes any edits, his son won't be able to open the file James sends back. So perhaps if James still has 2000 installed, that would be what he should use since he could make edits and send the file back and his son could open that file on his Mac. David H. Bailey Brad Beyenhof wrote: On Monday, March 22, 2004 5:10 PM, James Cooper wrote: My son sent me a file which is Finale 2000b for Mac. Is there any way I can open it on my PC? I have 2004b on an XP machine ( have older versions). He should put .mus on the end of the filename, or compress it into a .ZIP archive, before he sends it to you. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Playback Toolbar Question
There are many Finale users who aren't on this list, and perhaps they, too, have been frustrated by the behavior of the transport toolbar but we on the list would never be aware of their desires just as they wouldn't be able to respond to your remarks. If you would like to see something altered/introduce/improved/removed, you should make that request to MakeMusic regardless of how many on this list agree/disagree/have-no-opinion. There are probably many improvements to Finale over the years that many users never gave a thought to when they were first mentioned as possible enhancements but once they were made to the program, probably just as many who couldn't see any use for them before now couldn't live without them. Go ahead and submit your feature request. David H. Bailey David W. Fenton wrote: On 23 Mar 2004 at 11:53, Wiz-of-Oz wrote: Yet another problem with transport toolbar is when you hit record button (ie. activate hyperscribe). Before you do this, remember that it's gonna start with tempo which is burried deeply in hyperscribe menu, not the one of your transport toolbar :( I never ever use Hyperscribe, so my question is completely independent of that issue. One person has weighed in on my question. I assume no one else cares, so maybe I won't bother writing with a feature request. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] instrument list dialog box
When you look in the Windows menu, is the Instrument List checked already? If so, then it is already opened. If it isn't checked already, then it isn't opened and I can't begin to see how you couldn't open it. If it is already opened (i.e. checked) an you can't see it, try hiding your taskbar at the bottom of the screen, since it might be hidden behind it, or try clicking on the RESTORE button or the MINIMIZE button of your score and seeing if the instrument list is hiding behind the score. I am running Win98se and Fin2004b and have no problem opening and closing the instrument window. Sorry I can't help you more. David H. Bailey Angela Turner wrote: Dear all, Since installing the 2004 b update, I've not been able to bring up the instrument list dialog box (under the window menu). Have 2003a installed on the same machine and that displays as expected. The same file in 2004b, or any file for that matter - no instrument list. I've resized, minimized etc. etc. and cannot find it hidden behind anything. Thought I'd check to see if anyone else has had / is having similar problems? Any solutions? (PC, WinME and 2004b). -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] listserv
follow this link and subscribe: http://lists.shsu.edu/mailman/listinfo/finale David H. Bailey Swisher, Benjamin I. wrote: I would like to be a part of your listserv. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] more on speedy entry in WinFin 2004b bug
I didn't test it in page view, since I never do note entry in page view. I do all my note entry in scroll view and THEN work on page layout issues in page view. I find that I get very distracted from basic note entry by thinking about page layout issues if I try entering the music in page layout mode. In scroll view (Win98se) things worked as they should. David H. Bailey K. Kastning wrote: greetings. I had asked others earlier in the week if anyone had seen a bug in Speedy wherein bars were left blank. The problem is in speedy, (Win XP) using MIDI kbd. input. Make entries in a bar, and when the cursor moves to the next bar, the previous bar goes blank. I have updated my nVidia drivers to the latest, and that's had no effect on it. The one key item I neglected to mention is that this does NOT happen in Single-Page view, but only in Show Multiple Pages. And it happens on every bar, every time in this situation. -kk _ Frustrated with dial-up? Lightning-fast Internet access for as low as $29.95/month. http://click.atdmt.com/AVE/go/onm00200360ave/direct/01/ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Articulation
Must be your configuration again. Using WinFin2004b, Win98se, the articulation metatools work as they should. David H. Bailey Barbara Touburg wrote: Maybe it's my configuration again, but in the Articulations tool, pressing a metatool key and dragging over notes does not apply articulations! Barbara ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cross Staff Accidental Question
Don't know about a plug-in for it, but you can edit that measure in speedy and hit the * key to force the second Eb to show, no matter which staff it's on. David H. Bailey Rob Deemer wrote: Finalefolk, I have a friend who has an interesting dilemma. He's got a piano part which has cross-staffing galore and he's having problems with accidentals being hidden or forced out where he'd rather them not be. For example, he'll have an Eb on beat one in the top staff, then a similar note on beat three, but this one has been cross staffed to the bottom staff. The second note does not show the accidental, even though it should (no Eb's before it in the bottom staff). Something tells me there's a plug-in for this, but I can't find it. Any ideas? -Rob = Rob Deemer Doctoral Candidate in Music Composition, Assistant Director, UT New Music Ensemble The University of Texas at Austin __ Do you Yahoo!? Yahoo! Mail - More reliable, more storage, less spam http://mail.yahoo.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] No one has advice on spacing with blank notation?
I read it but I have no answer for you. No, you haven't done anything to deserve shunning. David H. Bailey David W. Fenton wrote: I posted yesterday about my problems with spacing when using blank notation, and have received no answers. Does no one really have no ideas or suggestions? Or have I done something to deserve being shunned? :) -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 30 day Disabled Fin2004 as a demo?
It may well not be the SAME demo that Finale2004 becomes after 30 days without registration. There may be something else that is disabled in the demo. For instance, are all the same fonts installed with the official demo? All the same plug-ins? Of course since you can't save or print, I don't really see what the difference would be, either. But the only people who can answer that question definitely would be the folks at MakeMusic, so ask them. David H. Bailey Mr. Liudas Motekaitis wrote: What makes you say it's illegal if you can download a demo directly from the CODA website? Liudas - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Sunday, March 14, 2004 10:05 AM Subject: Re: [Finale] 30 day Disabled Fin2004 as a demo? On 14.03.2004 1:22 Uhr, Rocky Road wrote After 30 days without registering, Finale 2004 is still usable but cannot save or print, effectively a demo version of the software. Does anyone know if there is anything wrong with leaving this demo version installed on a computer, when you have your two registered versions installed somewhere else? Does coda allow a demo or does it have to be removed? I was thinking it would be a good demo to leave at work to show people the latest Finale. This is definitely illegal. Don't do it. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] JW Space systems
Upgrade to WinXP if anything, but if this is the only problem you are having with Win98, hold on until you get a new machine built around the specs of WinXP. David H. Bailey Brad Beyenhof wrote: On Friday, March 12, 2004, at 03:16 PM, Barbara Touburg wrote: Should I consider updrading to Win2000? Or to WinME? WHATEVER you do, DON'T upgrade to WinME. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Speedy bug in WinFin 2004b
Using WinFin2k4b (Win98se) I don't see such behavior. As the frame moves to the next measure, the just-entered measure shows just as it should. David H. Bailey K. Kastning wrote: Greetings, Finaleists. I'm seeing a truly annoying new bug in WinFin 2k4b (Win XP). In Speedy, using a MIDI kbd. for input: enter notes in a measure, fill the measure, cursor goes to next bar, previous bar with new entries now goes totally blank. Ctrl + D or Ctrl + U will show the notes, but this has to be done after every bar! Otherwise you now have a trail of empty measures in your wake. Has anyone else seen this? I'm getting it every time; no matter if it's a new 2004 file or a previous version file opened in 2k4. TIA, -kk Frustrated with dial-up? Lightning-fast Internet access for as low as $29.95/month. http://g.msn.com/8HMBENUS/2731??PS= ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Why is Simple Entry so ******* slow?
Are you on Mac or Windows? On my windows machine (Win98se) I see no slowdown from previous versions. Are there extra unnecessary processes running in the background while you are working with Finale? David H. Bailey [EMAIL PROTECTED] wrote: When entering a simple melody (eight notes or quarter notes) it takes several seconds to redraw the screen, and it tries to redraw the whole screen every time I enter a note. This occurs even when all the successive measures are empty. I don't understand why it should redraw the previous measures unless it has to scroll them left. This occurs in scroll mode as well as page mode. Is there any way to explain such a godawful performance or speed it up? I'm ready to give up and buy Sibelius - - - Thanks; Tammy ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] WinFin 2004 speed issues
There was human playback in the original release of WinFin2004, as well as in 2004a. I got the impression by latest Windows update he meant 2004b. David H. Bailey Johannes Gebauer wrote: On 09.03.2004 20:28 Uhr, Raymond Horton wrote I find the latest 2004 Windows update to be considerably slower in one area - Human Playback. It takes quite a long time to compile the entire file every time, even after a very minor change to the file. How can it be slower than before, there was no Human Playback in earlier versions?? Johannes -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Articulation/Slurs question
Or simply assign the accent to be inside slurs. David H. Bailey Brad Beyenhof wrote: On Monday, March 8, 2004, at 01:51 PM, Rob Deemer wrote: It seems that slurs in 2004 do not collide with staccato and tenuto markings, but when I have accents, they collide. I wasn't sure if this is a font annotation thing or not. Any ideas on how to fix such a thing, if it is indeed fixable? The default Articulation definition for staccato and tenuto includes inside slurs checked, for accent it does not. There is no outside slurs option, though that would REALLY be nice. As it is, there is no way to fix it but to move accents away from the notehead manually so that they don't collide. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] non-rhythmic pitch entry???
Create expressions and place them wherever you want. David H. Bailey MDM wrote: Hi all. I want to create some examples for my jazz students, and I need to enter pitches into a measure without regard to rhythm. In other works, whole note, whole note, quarter note head, whole note, etc. The note heads would be graphic elements only. Is there a way to do this so that Finale does not try to interpret any rhythmic values to the note heads I place? A related question...is there an easy way to enter quarter note heads only (i.e. no stems), or must I go back after the fact and remove stems? Thanks in advance! Mike Dana ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Punctuation and Word Extensions
I agree with all of the words Andrew is talking about except phenomena. I never hear anybody speak of the plural of phenomenon. I don't hear the singular that often either, but I do hear it far more frequently than the plural. I bet that if either get dropped it'll be the plural, so we'll hear about phenomenon and phenomenons. David H. Bailey Andrew Stiller wrote: Like all things in language, it's entirely a matter of convention at what point the regular plural becomes correct and the irregular, foreign-language derived plural is dropped. - Darcy So wave goodbye to phenomenon, bacterium, datum, criterion, medium (of communication), and doubtless others I can't think of right now. All of these were in common use 30 years ago, but are now disappearing rapidly, and I imagine they'll be gone completely in another generation. Note, BTW, that in all of these cases it is the singular that is dropped. Also, the replacement forms are still not regular, but invariant, like sheep: phenomena, bacteria, data, criteria, media all used as both singular and plural. Whether, like agenda, they then take the next step to form the regular plurals phenomenas, bacterias, datas, criterias, medias will be up to our grandchildren. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] From Your Friendly list Owner
Most of the whitelist messages I get come from [EMAIL PROTECTED], since they are trying to hide their e-mail address. So the message would simply get bounced back and refused since that @whitelistservice.com address isn't subscribed. So we'd NEVER see the stupid things. David H. Bailey Brad Beyenhof wrote: On Monday, March 1, 2004, at 01:33 PM, d. collins wrote: Brad Beyenhof écrit: But this, IMO, would be worse. If the Reply-to were set to the list, the whitelist request would have been sent *to the list*, for *every* post. What's more, all of those replies would get archived and uselessly clog up the shsu.edu server. Unless they get filtered out with other spam... However, something leads me to believe that mail from subscribed members is whitelisted and will be allowed past the spam filters. But I may be wrong... Henry? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] It's official...
Congratulations! What a great honor! Now get to work! You should consider subscribing to [EMAIL PROTECTED] and letting a large group of orchestral musicians, including many conductors, know about your works. There are a lot of composers on the list also, and nobody minds when they list their new works. o-list also maintains a list of new works. There are publishers on the list as well, so you may find a publisher for your orchestral music. In any event, congratulations on a wonderful honor. David H. Bailey Dennis Bathory-Kitsz wrote: ...as of this afternoon, so I can announce it. I'm very pleased to tell my Finale friends that I have received the annual commission from the Vermont Symphony Orchestra. The new work will be premiered on September 22, and played ten times during the orchestra's statewide tour from September 22 to October 4. If you expect to be in Vermont during our lovely foliage season and can come to one of these performances, let me know. I would be delighted to meet some of you in person! Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac04 , speed, and a MIDI question
To accomplish your midi effect, you need to have each string part defined as its own instrument (violin 1, violin 2, etc.) and channel. They can share the same patch but if each instrument is separate then patch changes will only affect that particular part, not the entire string section. David H. Bailey David Froom wrote: Thanks to those who responded to the MIDI percussion mapping question. Another MIDI question. What is the best workaround for the playback problem, in a string section, of having the whole section go back and forth from pizz to arco when only one of the sections changes? When the celli or basses, for example, have pizz, the whole string section sounds like pizz. [snip] -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Just noticed Graphire manual online [plus rant]
Mr. Liudas Motekaitis wrote: [snip] Also, there's a bug with the Text tool in Page view: while editing in anything other than 100% zoom the text block is shown somewhere else on the page, and with the wrong line spacing. Again, when you finish editing it bounces back to the correct place. So if you're in a high zoom you can forget being able to edit your text blocks since you won't see them (you can do it by memory...). [snip] You can always edit text blocks without having to resort to memory or squinting at an out-of-place location by going to the Text menu and clicking on Edit Text... This shows you the contents in a manner which is easy to edit. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale]
The person who is responsible won't get your angry note and can't respond to your demand to stop it, since it is an automated e-mail barrier that nothing can pass unless the originator follows the dictates. Just expand your trash filter to include this new fool and let it go, there's nothing anybody except Henry Howey, as list-owner, can do about it. Unfortunately. David H. Bailey Johannes Gebauer wrote: I got this about ten times now, and I am really p%$§ssed off! Whoever is responsible for this nonsense, stop it immediately. Johannes -- Von: [EMAIL PROTECTED] Datum: Sat, 28 Feb 2004 18:24:49 +0100 An: [EMAIL PROTECTED] Betreff: Returned Mail: Confirmation Required - #SSID#: 8O9Y5V1FD24531P7 IMPORTANT INFORMATION! This is an automated message. YOU HAVE 143 HOURS LEFT to reply to this message. If you fail to reply to this message by 18:23, 05-03-2004, your email address will be permanently BLACKLISTED and your messages will NOT reach my email address. The message you sent: Re: [Finale] Just noticed Graphire manual online requires confirmation before it can be delivered. To confirm that you sent the message below, just reply and send this message back-- You need not to edit anything. Once you have confirmed this message, you will be able to send messages to me freely. This confirmation process is a one-time procedure to prove that you are a living, breathing human and not a spam generating machine. This email address is protected from unwanted emails by SpamSlam, the world's only 100% effective spam eliminator. SpamSlam is available for MacOS X. You can download SpamSlam from http://www.ilesa.com. Copyright 2003 ilesa and Mallory Paine. SpamSlam Message ID: 8O9Y5V1FD24531P7 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale]
I don't recall EVER seeing a post from that address on this list, so perhaps it is simply a spamming attack. I am quite surprised these are getting through the shsu spam filters! David H. Bailey Aaron Sherber wrote: At 02:47 PM 2/28/2004, Johannes Gebauer wrote: Whoever is responsible for this nonsense, stop it immediately. Well, the responsible party appears to be [EMAIL PROTECTED], but he's not going to see any of this discussion as long as he has this whitelist on. Maybe in a couple of days he'll post to see why the list is so quiet! Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Funny message
It means what it says -- the message won't be received by a particular individual on this list until/unless you respond by following the commands. Just ignore it -- we are all going to get these everytime we post to the list until list-owner Henry Howey unsubscribes the offending individual manually. Just include it in your trash filter. David H. Bailey gj.berg wrote: Say I received this message -- is this serious? What on earth does it mean? Jerry Berg IMPORTANT INFORMATION! This is an automated message. YOU HAVE 144 HOURS LEFT to reply to this message. If you fail to reply to this message by 18:23, 05-03-2004, your email address will be permanently BLACKLISTED and your messages will NOT reach my email address. The message you sent: Re: [Finale] TAN: Rimshot requires confirmation before it can be delivered. To confirm that you sent the message below, just reply and send this message back-- You need not to edit anything. Once you have confirmed this message, you will be able to send messages to me freely. This confirmation process is a one-time procedure to prove that you are a living, breathing human and not a spam generating machine. This email address is protected from unwanted emails by SpamSlam, the world's only 100% effective spam eliminator. SpamSlam is available for MacOS X. You can download SpamSlam from http://www.ilesa.com. Copyright 2003 ilesa and Mallory Paine. SpamSlam Message ID: 246304S4U39624S4 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Funny message
One never knows -- I don't recall having seen any post from such an address as the whitelist is purporting to protect, so it may well simply be a spam-address-culling process whereby any of us who respond to it will have our e-mail addresses certified as valid addresses and we might start receiving more (and worse) spam. I think it best that Henry Howey simply unsubscribe the individual in question. David H. Bailey [EMAIL PROTECTED] wrote: Could not someone respond to the offending e-mail then, having made it to the whitelist send a private email to the offender telling him of his offence, or would that involve the sender in something undesirable? All the best, Lawrence þaes ofereode - þisses swa maeg http://lawrenceyates.co.uk ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Note duration change problem
Have you tried Show Active Layer Only and then applied your mass edit duration command to each layer in turn? Maybe if you change the time signature BEFORE doing the duration change, but be certain NOT to check the Rebar Music option. David H. Bailey Jamin Hoffman wrote: Dear all - I am arranging a piece that was written in the old eighth-note-gets-one-beat style (in 2/4), with many subdivisions (down to 64th notes). To make things easer for myself (or so I thought), I did my original arrangement in the same way, so that the measures, etc., would line up. Now I want to convert it to quarter note gets one beat (in 4/4), which I thought would be a piece of cake with the Mass Edit note duration command (change note duration by 200%, and I'm there - right?). The problem is that any notes I entered into layer 2 do not get moved correctly. The problem seems to be with the whole rests in the measures that I didn't enter any layer 2 notes. While Finale does change the duration of the notes, it doesn't change the duration of the empty measures in layer 2. I wouldn't know if it does the same thing in layer 1, because all the measures have something in them in layer 1. Is there a better solution than going and entering a half rest in layer 2 in all the empty layer 2 measures, or am I stuck with this? Thanks - (Mr.) Jamin Hoffman 209 Madero Dr. Thiensville, WI 53092 (262) 512-2666 [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] How do I make Finale's interpretations go away?
In the Instrument List, if you click on the down triangle next to the instrument's name there are options to turn on/off each layer, Chords and Expressions. I think that was what David was referring to -- just click black box next to Expressions under the P column (for Play) and it should turn to white, indicating that expressions won't play. One step to turn them off, then you can turn them back on if you wish. You have to do it for each instrument in your score. David H. Bailey Aaron Sherber wrote: At 04:31 PM 2/23/2004, David W. Fenton wrote: Why not just turn off playback for the dynamic markings, instead of deleting them? Because you'd have to turn off playback for each marking individually (unless I misunderstand you). Deleting is as easy as Expression Tool -- Select All -- Delete. Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [OT] Re: Horns and intonation
The cup shape of a trumpet mouthpiece doesn't lend itself to playing in the extreme upper register of the overtone series. That's why trumpet players have to work so hard to play above high-C. Put a horn mouthpiece into a trumpet and the high notes pop out (not well-controlled, but easy to produce). A trumpet-type mouthpiece won't work on a horn. By the time a horn player reaches the upper notes on the treble staff, the notes can practically all be played just with the lips. That's just part of the acoustics of the horn. The mellophone was the abortive attempt to make the horn sound be more controllable, since it uses a cup mouthpiece and is half the length of a horn so the player is playing essential in the same overtone range as the other valved brass. If you've ever heard a mellophone play a horn part, you would understand why the horn has to be left as it is to get that beautiful horn tone. If you've NEVER heard a mellophone, well, it's nothing to lose any sleep over -- your musical life is certainly not deficient for the lack. :-) David H. Bailey Mr. Liudas Motekaitis wrote: The narrow, cookie-cutter rim on a horn mouthpiece doesn't help with reliability, either. What would happen if you put a trumpet mouthpiece on a horn? Obviously it would be worse, but in what way, since you say the present horn mouthpiece doesn't help with reliability? Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Horns and signatures
Coming as I do mostly from the band world, I say, party on, dude! Key signatures are the standard for band literature, and also for school-orchestra music as well. It is only the vast world of reprints of older editions (i.e. Luck's and Kalmus) in the orchestral world that continues to keep the non-key signature tradition alive. Horn players who choose to enter the professional world these days certainly need to be well-versed in both types of parts. I don't recall ever seeing a brass ensemble horn part that lacked key signature (other than music which put the horn part in the key of C major or a minor). Since we can't change the huge number of key-signature-less orchestral music, we can't completely eliminate such literature, but I agree that horn players should be able to read key signatures easily. My advice would be to include key signatures in your parts as you feel best fits the situation. David H. Bailey Harold Owen wrote: Dear folks, Knowing that many will disagree with me, but IMHO I think it's time for horn players to get used to reading key signatures in their parts. Younger players are more likely to find signatures often enough to be comfortable with them. The old pros should get with it and learn to play from parts with signatures. If that's difficult for them, let them mark the accidentals in their parts. Why should they be treated differently from the other members of the brass family? Much of my own music does not use signatures for any parts because they tend to get in the way when the tonal focus is weak or changes often. However, some of my pieces have a strong enough tonal focus that signatures are helpful -- actually mean something. In those pieces that involve horn parts, I will give them signatures. What say you? Hal -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Speedy and Ties
Maybe you should leave Windows 2000? ;-) (just joking!) On Win98se, Fin2004a, ties entered onto notes at the end of a measure in speedy still head off into space to the right waiting for the next note. This is the same whether I have Jump to Next Measure checked or not. I see a clearly distinct different color for the grey of other layers -- I have no trouble differentiating between one layer and another in speedy entry. The only issue I have with speedy entry and note placement is if I have been in a measure in speedy but haven't entered the complete measure and I exit the measure, the automatic spacing makes the measure small to accomodate what I have entered. When I re-enter, if I have a lot of shorter note values, they get bunched up and are harder to differentiate until I exit that measure and then reenter it. But I haven't had a problem with them being placed in their proper rhythmic positions. Mr. Liudas Motekaitis wrote: Finale 2004 Windows 2000: When working in Speedy, ties which begin at the last note are displayed backwards: they go left rather than to the right into the next measure. This is a downgrade in performance compared to older versions. Also, when working in Speedy, the notes are not placed correctly in their rhythmical positions, which is also a downgrade in performance ever since the Speedy window became variable in size. Also, the greyness of the notes in other layers is almost impossible to differentiate between the layer which is currently active. Also a downgrade in performance as compared to earlier versions. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Speedy and Ties
I just tried your ties issue again, and still, using Win98se and Fin2004a, the tie in a 2nd layer points to the right from the final note, even with material entered in another layer. (You are hitting the = key and not ctrl-= aren't you?) The same with rhythmic alignment -- it works as I expect it to. When I entered additional rhythmic values (e.g. quarters in layer 1 and 8ths/16ths in layer2) they lined up properly. The grey issue is definitely a bummer -- you shouldn't have to adjust your monitor each time you switch applications, and there isn't any way in the program to adjust it that I can see. David H. Bailey Mr. Liudas Motekaitis wrote: - Original Message - From: David H. Bailey [EMAIL PROTECTED] On Win98se, Fin2004a, ties entered onto notes at the end of a measure in speedy still head off into space to the right waiting for the next note. I notice this while editing measures which already have notes in them. For example adding something in Layer 2 to a measure containing Layer one. I see a clearly distinct different color for the grey of other layers -- I have no trouble differentiating between one layer and another in speedy entry. I wonder if it could be a graphics card/monitor issue. But why grey? We have custom colors for layers. Why not just continue to use those in Speedy as well? When I re-enter, if I have a lot of shorter note values, they get bunched up and are harder to differentiate until I exit that measure and then reenter it. But I haven't had a problem with them being placed in their proper rhythmic positions. Try entering Layer two based on what is already entered in Layer one. Nothing lines up rhythmically until you exit Speedy. Liudas . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Thanks and another question
David Fenton gave you one suggestion which might solve your problem. If it doesn't, then go into the Quantization settings dialogue and check the Soften Syncopations box. David H. Bailey [EMAIL PROTECTED] wrote: Many thanks to all those who responded so quickly to my question about changing the playback tempo. Now here's another one: I am working on a document in 6/4. When I try to use the Mass Edit copy function to copy a dotted quarter followed by an eighth note, I get a quarter note tied to an eighth note followed by another eighth. It is a total nuisance, given the prevalence of this rhythm, to manually change each occurrence. How do I tweak the settings to that the copied segment shows the dotted rhythm? TIA Guy Hayden, Minister of Music St. Stephen's Episcopal Church 372 Hiden Boulevard Newport News, Virginia 23606 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Staff Names
I believe if you optimize your score (you don't actually have to remove any staves) you are then free to edit individual staff names for individual systems. I don't know as it's any easier way than with staff styles, though. David H. Bailey Brad Beyenhof wrote: Can I tag certain systems to display full staff names (i.e. the first system of a new movement)? I know that I can use Staff Styles, but is there an easier way? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Courtesy Time Sigs
I don't see a way of doing what you are asking for easily. You could add a very thin bar-less extra measure at the end of each system, make the key change there, UNcheck show cautionary key signatures, and then restrike the key signature at the start of the next system. This will wreak havoc with measure numbers, though. David H. Bailey Darcy James Argue wrote: 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 . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] acid-free papers
Paper with acid content yellows with age and crumbles (think of the old mass market paperbacks or photographs from the 50s, where often the simple act of turning the page breaks it in half). Acid-free paper lasts far longer and remains more supple over its life. Archival quality paper is supposed to last even longer, and costs appropriately more. David H. Bailey Eden - Lawrence D. wrote: Please explain: why is acid free paper better? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] removal from list
Yes, read the bit that gets added to each message beneath your signature and then follow the links and unsubscribe yourself. It's really not hard, but only YOU can do it. David H. Bailey Editions New Rochelle wrote: Does anyone know the address to be removed from this list? If this gets to the appropriate party, thank you for accomodating. -Dan L. Editions New Rochelle ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Changing the tempo mark
edit the expression that was placed over the first measure, changing the playback definition. David H. Bailey [EMAIL PROTECTED] wrote: I made an error in judgement when I set up a document using the Wizard. Now the display and playback tempi are much too fast and I don't know how to change them. Can anyone tell me about this? Guy Hayden, Minister of Music St. Stephen's Episcopal Church 372 Hiden Boulevard Newport News, Virginia 23606 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [finale] Repeat Barline's Thicker-Thickness
I do that all the time. I thought everybody did that. It used to be different, in the earlier versions of Finale, I think the repeat sign used to sit on-top of the bar-line, not just beside it, so there wasn't a need to make the bar-line invisible. I can't remember how many versions it has been that I've been making barlines invisible to get repeat signs to be the right thickness. David H. Bailey Giovanni Andreani wrote: Hello, this looks strange; what do you think about it: In Options Document Options Repeats, I've set the heavy line thickness to a different value than the factory settings. After viewing the score I realized that the backward repeat line was thicker than the forward line. I finally 'solved my problem by double clicking, within the measure tool, the measure with the backward repeat and selected Barline: Invisible. That reduced the global thickness of the barline bringing it to the desired measure. I just asked myself: Am I missing something once more?. Has anyone came up to this before? Thank you Giovanni Yahoo! Groups Sponsor ADVERTISEMENT Yahoo! Groups Links * To visit your group on the web, go to: http://groups.yahoo.com/group/finale/ * To unsubscribe from this group, send an email to: [EMAIL PROTECTED] mailto:[EMAIL PROTECTED] * Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service http://docs.yahoo.com/info/terms/. . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 1st and 2nd Endings -- Automatic Dots after the numbers,
The only reply on the forum raises a very good issue -- if the dots are the default, how would we get rid of them if we don't want them? Many of the first/second endings I see in other publications don't have periods after the numbers, so I find it perfectly easy to add them if I want them and leave them out if I don't want them. I have no problem adjusting the ending heights because the height demands change from case to case. I don't always want them the same height above the notes. Sometimes for visual clarity I want them a bit closer to the notes and other times I want them a bit further away. The only part of your bug that I would appreciate being fixed in the default is the space between the right-hook of the first ending and the left-bracket of the second ending. I like space between the two. But then there are also times I don't want the right-hook at all. I really don't see how the endings can be made to satisfy everybody. Arkady wrote: Dear fellow Finale users! Below is a Topic which I've posted at Finalemusic.com Forum http://www.finalemusic.com/forum/?f=6m=73792p=1 I am eager to see your feedback on this Topic. I hope that in addition to your replies on this List, you Register for that Forum, and post your replies there as well. Better yet, I hope that you will Vote for this bug to be fixed ASAP!, which is the top choice in the Poll at the very top of the page. --- Here is my Post --- I've been asking the Finale developers for this dot since I became Finale User back in 1990!!! I am talking about the automatic dot after 1. and 2., in First and Second Endings. I'd also like to see the Presets for 1. 3. - 2. 4. Endings. I'd also like the Top Bracket to Automatically Adjust it's height, in order to avoid collision with notes, or and chord symbols etc., and that the 2nd Ending Horizontal Bracket would adjust itself accordingly, i.e. the Height of the Horizontal Bracket gets adjusted and matched by the Height of the Horizontal Bracket in the other ending, thus creating a pair of First and Second Endings with evenly matching height, which would be independent vs. the height of another pair of First and Second Endings, if they exist in the rest of the file. There is also another bug that hasn't been fixed since 1990. I am talking about 1st and 2nd Endings Vertical Brackets. The Left Vertical Bracket in 2nd Ending overlaps with the Right Vertical Bracket in the 1st Ending. This is hardly noticeable on the screen at 100%, but it is noticeable in the print out. This overlap can be easily seen at 200% or bigger. I usually zoom in at the part where those Vertical Brackets overlap, then I select the handle for the Right Vertical Bracket in the 2nd Ending, and, with the Up Arrow key, I nudge it up. That makes the overlap more obvious. Then I nudge it to the left, so that both vertical lines overlap as one thin bracket. Then I do the Recalc, and look at it at 100%. If it still looks good, I print that page, and usually it's OK. Sometimes the Recalc can mess up the fix up, particularly if there is more than one set of 1st and 2nd Endings on the same page, or and if notes were added, or deleted, or edited after the Endings were fixed up. Thus, it's best to check that Vertical Alignment fix, if one is needed, at the very end. I always check each pair of Endings, on every page, at 200% and 100%. Sometimes it's weird, i.e. it looks OK at 200%, but at 100% the Vertical Line is fat, i.e. doesn't overlap perfectly. Here is another improvement -- when all those brackets auto-adjust, I'd like to see the positions of those infamous dots after the numbers (1. 2. etc.) to auto-adjust according to the brackets auto-adjustment, i.e. proportionately -- equally distant from the upper left corners of each Ending, and same height too. This whole bug -- Ending Dots after the numbers and Brackets not overlapping perfectly is a major slower-downer which I had to put up with for the last 14 years! I don't really think I am being too picky. I just want it to look perfectly, without always having to type in those dots, and police brackets alignment! I have no idea if this bug exists on Finale for Windows, and I've never used Sibelius... Scott Yoho is aware of this bug! I hope that it is finally fixed in Finale 2005 for Mac, or sooner! Till then, I'll keep my fingers crossed!!! If other Finale users join me in requesting a fix for this bug, we might get this done sooner! Thanks in advance for your replies on this Topic! Arkady http://www.arkady.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 18/8 meter: rests?
For half measures I would suggest sticking to 3 dotted-quarter-rests, since that will show the beats clearly. For whole measures I agree the double-whole-rest would work fine. David H. Bailey Johannes Gebauer wrote: This is one I am really unsure about: 18/8 meter (with 6 equal beats, ie 6 dotted quarternotes, what rests or combinations of rests should be used for a) whole measure (I think I prefer a double whole rest, centered) b) a half measure Johannes -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Rates
It's a fine question to ask, just a difficult one to answer. Are you doing this as a side-line to a regular, full-income job? Are you trying to earn your living entirely from engraving? How much do you need to bring in for an hour's work to support yourself? You can charge by any method that you and your client agree to. Some people charge by the frame (a frame being a single measure in a single staff, Finale can count them for any file for you), others charge by the item (a note is an item, an articulation is an item, a lyric word is an item), others charge by the page, others charge by the hour. But no matter how you charge, it all begins with: How much do you need/want to earn per hour to survive? If you are truly self-employed then you know how expensive health insurance is, so be sure to include all your insurance expenses in your calculations. Add up how much you have to spend for a year: mortgage or rent of your home, rent of your office if you work outside your home, all your insurances (health, homeowners, auto, personal liability, whatever), how much you need to pay for clothing for yourself and your family, how much you spend on food, how much you spend on car costs (gas, maintenance, tires, car loan), how much you want to put into the bank for a rainy-day savings account, how much you want to put into the bank for your retirement, how much discretionary money you want to have to spend each week, school costs for your children, whatever expenses and savings you need money for each year. Then divide that by 48 (to get how much you need to bring in each week, which gives you 4 weeks paid vacation). Then divide that weekly amount by 40 to get the hourly rate you need to bring in to survive. Pretty scary, isn't it? Once you know your hourly rate, you can break that into whatever format you want to satisfy your client. Let's say you feel you need to bring in 50 Euros/hour to make the income you want/need. Then figure out how much time you need to spend to complete a single manuscript page of a typical score of the type of music you are most likely to work on and multiply that time amount by 50 and that is your charge per manuscript score-page. Then calculate the number of frames on that page, and divide your per-page rate by that number and you have your charge per frame. Again, calculate the number of items on that page and divide your per-page rate by that number and you have your per-item charge. That gives you four rates you can use in your contracts: hourly, per-page, per-frame, and per-item. You can also visit www.npcimaging.com and follow the link to the directory of engravers and go to their home-pages and find out how much they charge and see if your rates are within the ball-park of others. You will probably find some who charge way below what you need and others who charge way above what you need. Don't lower your rates just to compete with less-expensive engravers -- it does you no good to do the work if you aren't earning what you need to in order to maintain your lifestyle. And don't raise your rates just because others are charging more -- you have no idea how much work they are getting. And you probably wanted a simple answer like 20Euros/page. :-) David H. Bailey d. collins wrote: Can anyone give me an idea of how much one can charge for engraving and how one charges (by the page? the hour?)? A publisher for whom I'm doing other work asked me how much I would charge if he used pieces I've already done, and if I did more. I suppose it depends also on the type of music. I'm speaking of baroque vocal music, for one or several voices and continuo. Thanks, and apologies if this is not a question one should ask. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Rates
The professional standards whereby only those who have mastered SCORE are able to be employed. ;-) David H. Bailey d. collins wrote: David H. Bailey écrit: You can also visit www.npcimaging.com and follow the link to the directory of engravers and go to their home-pages and find out how much they charge and see if your rates are within the ball-park of others. I followed your advice and went and had a look. First of all, I'm very surprised by the number of broken links. At least half of the web sites I tried gave me a 404 error. This directory is badly in need of updating and cleaning up. And then, as I suspected, I found no information on rates. I only visited some twenty sites, but none give any indication (except yours). I'd have to send these people a sample and ask for an estimate, which I'm a bit reluctant to do, for obvious reasons! I'm also a bit surprised by the sense of superiority some Score users seem to display: SCORE is the only music typesetting system that we consider equal to professional standards of music engraving. I wonder what professional standards Finale fails to meet. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Feature Request for MacFin 2005
In our ongoing discussion of Sibelius vs. Finale, this feature isn't supported in Sibelius, either. The reason given on the Sibelius list is that it would require a complete rewrite of the program from the bottom up and they aren't prepared to do that now. David H. Bailey Darcy James Argue wrote: Hi guys, One great new feature in Panther is Full Keyboard Access Turning on this option in System Preferences - Keyboard Mouse - Keyboard Shortcuts allows you to use the Tab key and arrow keys to navigate through dialog boxes. (Try using it in Safari 1.2 -- it's great!) However, this feature has to be supported by the application, and right now Finale doesn't support it. Supporting this feature would make it much easier to navigate Finale's various dialog boxes. - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] comparing finale/sibelius
Well, there again it doesn't say that in the promo materials. Finale touts that you can scan music in and edit it. It doesn't really seem like fair marketing to make a Now Finale can scan in music and allows you to edit it, right in Finale only to have somebody purchase the product and THEN find out customers have to spend another $200 to really get scanning capability that is worth anything. I've already made that complaint to the support people, though, many versions ago. I just raised it to balance the view that many of Sibelius's claims are lies -- I don't view MakeMusic's marketing as completely honest either. That's all. David H. Bailey Fisher, Allen wrote: You guys need to also remember that the version of SmartScore we ship is SmartScore *LITE*, which we simply licence from the company who makes it. SmartScore Pro will import more than 16 staves at a time. I've had pretty good luck with it like Johannes says: if the source is clean the scanning is good enough to edit. I've dumped parts in through it and turned it into a score. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Gebauer, Johannes Sent: Monday, February 09, 2004 10:54 AM To: Finale 3 Subject: Re: [Finale] comparing finale/sibelius On 09.02.2004 16:58 Uhr, David H. Bailey wrote It may be better, but not much better -- I just tried to scan a 24-staff, finale-printed score and smartscore won't accept it. Reading the documentation for Finale, it states right from the start, don't scan anything with more than 16-staves in it. So anybody who bought the program hoping to be able to scan in large scores and edit them and modernize them or whatever would definitely have been lied to by the marketing hype, supporting my original thesis that scanning into Finale represents a marketing lie as bad as any I have read on the Sibelius publicity. Now come on! Yes, you are probably right that it doesn't handle more than 16 staves. But that is a limitation, not a quality mark for scanning. I used it to prepare parts for a Haydn String Trio from a score. The amount of extra work needed was far less than having to reenter everything. That makes it useful for the first time, and I would say this qualifies to be called much better - much better indeed! No it probably won't do as well as advertised. We all know that. But it is useful now (something which I don't think can be said about MicNotator). Johannes -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] comparing finale/sibelius
Well, yes, I tried scanning in a Finale-printed score, but since there were more than 16 staves it wouldn't accept it. I just scanned the first page of the old hit Nola. It is written in cut time with lots of triplets. Not a single triplet shows up, although there are 8th-notes in groups of 3. The bass clef is just quarter note chords, the first 14 bars scanned perfectly. The next to last bar on the page, however, is supposed to contain 8th-note chord, 8th-rest, quarter rest (as start of triplet), 8th-note D(to complete the triplet), then triplet-8ths on e, d, b. What this scanned as is: 8th-note chord and 8th-rest(as it should be), then quarter rest (no triplet marking), 8th-note D (but no indication that it is part of a triplet), then dotted-8th b, 8th-note a, 8th-note f. The d and b are completely missing. The treble-clef is a total disaster -- the only measure which is correct is the 16th measure. Within each of the screwed-up first 15 measures, there is at least one beat wrong, and in 8 of them the final quarter-note's worth is completely missing. Which means that the amount of time saved for me by scanning this in is basically zero since I will have to go in and enter the missing beats, change the notes which are showing up as the wrong note value, enter all the fingering numbers and slurs and hairpin as well as the cautionary key signature which ends the final bar on this page. And I changed the quantization settings to be sure to include tuplets and re-imported the scanned image and got the same results. Then I just re-scanned at 600dpi (I had scanned at 300dpi) and re-imported and got no better results. So, I stick to my claim that it is only good for simple rhythms. I am glad it works well for you. Had I purchased the program based on my thinking I would be able to scan in a lot of older music and have an easy time editing it for whatever uses I wanted I would have felt I had been screwed. David H. Bailey Johannes Gebauer wrote: On 10.02.2004 17:14 Uhr, David H. Bailey wrote It doesn't really seem like fair marketing to make a Now Finale can scan in music and allows you to edit it, right in Finale only to have somebody purchase the product and THEN find out customers have to spend another $200 to really get scanning capability that is worth anything. In this particular case of scanning, however, you seem to consider scanning capability to be only worth anyting if it supports more than 16 staves. That's definitely not my understanding. I don't need more than 16 staves anyway, and for me scanning capability in Finale is _better_ now in 2k4 than I ever expected. Have you actually tried scanning in 2k4? Johannes -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] comparing finale/sibelius
Finale has out and out lied, if you think that advertising a feature that doesn't work very well constitutes a lie (I do.) Scanning, for instance -- Yes, it is possible to scan a perfectly printed version of Mary Had a Little Lamb (as melody only) into Finale, using its built-in scanning capability. However for any serious scanning of, say, a complex piano score for arranging as a chamber work, it won't work at all. That seems to be an out and out lie, when they advertised that we could scan in music and work with it in Finale. Coda knows that most users who use Finale are not working on Mary Had a Little Lamb. MicNotator, for another instance: Play or sing your music into Finale? C'mon! That was another out-and-out lie -- has ANYBODY gotten that to work? Importing of Midi files? Another lie, if you're working with midi files of any great complexity. Hyperscribe is a partner in this travesty -- playing of complex music does not result in exact notation, rendering the feature useless for most advanced music entry. There's actually FOUR kinds of lies, to paraphrase Mark Twain (I think he originated it): 1) Lies, 2) Damn Lies, 3) Statistics and 4) Marketing. Don't get me wrong, I'm not saying either company is worse in this regard -- I'm just saying that Coda has done its share of misrepresenting its product, too. Sibelius certainly does have a chip-on-the-shoulder attitude in it's aggressive claims! It is a young product still and they are gradually addressing complaints and bugs and deficiencies. Admittedly with an attitude, it seems. But Sibelius has loosened up its overly rigid licensing so that both Sibelius and Finale are equivalent in that regard for the latest version -- both have call/response software registration and both allow installation on two machines simultaneously without violating the license agreement. David H. Bailey Darcy James Argue wrote: On 08 Feb 2004, at 05:27 AM, William Roberts wrote: If some of us on this list seem a little bit bitter about Sibelius, it is because when they burst on the scene, they made extravagant claims about the superiority of their software -- claims that turned out to be completely untrue. I can see how that might be frustrating, but isn't that just marketing? I don't believe Coda's claims about each new version of Finale any more than I would claims about the new version of Finale. Well, there's marketing, and then there's marketing. Obviously, both companies engage in their fair share of hype, but to my knowledge Coda have never out-and-out lied about Finale's capabilities, nor have they lied about Sibelius's deficiencies. Sibelius has done both of these things pretty blatantly. In my opinion, they crossed the line from hype to outright dishonesty. I realize that that doesn't have anything to do with the merits of the software itself, but it does color my opinion of the company. [snip] -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another tuplet question
I would put 4 16th-rests so the rhythm of the quintuplet is readily apparent. David H. Bailey Darcy James Argue wrote: What is the standard way to notate a sixteenth quintuplet when only the final note is played? What do you put under the bracket: A quarter rest followed by the sixteenth note? Two eighth rests followed by the sixteenth note? Four sixteenth rests followed by the sixteenth note? - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] comparing finale/sibelius
It may be better, but not much better -- I just tried to scan a 24-staff, finale-printed score and smartscore won't accept it. Reading the documentation for Finale, it states right from the start, don't scan anything with more than 16-staves in it. So anybody who bought the program hoping to be able to scan in large scores and edit them and modernize them or whatever would definitely have been lied to by the marketing hype, supporting my original thesis that scanning into Finale represents a marketing lie as bad as any I have read on the Sibelius publicity. I do notice nobody has jumped in to defend Micnotator at all. :) David H. Bailey Johannes Gebauer wrote: On 09.02.2004 13:28 Uhr, David H. Bailey wrote Scanning, for instance -- Yes, it is possible to scan a perfectly printed version of Mary Had a Little Lamb (as melody only) into Finale, using its built-in scanning capability. However for any serious scanning of, say, a complex piano score for arranging as a chamber work, it won't work at all. That seems to be an out and out lie, when they advertised that we could scan in music and work with it in Finale. Coda knows that most users who use Finale are not working on Mary Had a Little Lamb. Actually, not that I totally disagree, however, scanning has improved _a lot_ in 2k4. You can actually make use of it with rather little extra work, as long as the source is clean and clear. Johannes -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] comparing finale/sibelius
Out of curiosity about this whole Sibelius/Finale debate, I have taken the liberty of posting on the Sibelius list a request for them to submit reasons (urging them NOT to snipe and reassuring them I am not attempting to start a flame-war finale/sibelius discussion) that a new user should prefer Sibelius over Finale. So I am making the same request on this list for reasons a new user should prefer Finale over Sibelius. Of course, this should be answered by people who have actually used either, unless you prefer one over the other by way of their anti-piracy technique (both programs currently use the call/response software registration to validate installations, both program currently allow installation on two computers simultaneously without violating the licensing agreement) or price or availability or appearance using the installation defaults right out of the box. Please don't post if your only experience with either is a version that is more than 2 years old -- Sibelius should compare version 2 or later and Finale should compare Finale 2002 or later. Please don't just snipe at the other program. I plan on compiling the lists and then posting them on the other list to get valid workarounds or if the complaint is invalid, reasons why the complainer didn't understand something and so got erroneous results. This is meant to be a fair-minded comparison between the two programs, if you don't want to participate in an open-minded way, then feel free not to reply. Thanks! David H. Bailey -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: comparing finale/sibelius
There's a way to do pickups, under the Options menu, Pickup Measure but the much superior way is what you describe, using a different meter and hiding it so the real meter for the movement shows. David H. Bailey Mark D Lew wrote: On Feb 6, 2004, at 11:30 AM, David W. Fenton wrote: Finale's original pickup measure solution was (and still is) terrible, so I think most of us just use measures in different meters to accomplish the task. I never even knew there was another pickup measure solution. I've done it as a display 1/4 as 4/4 sort of thing for as long as I can remember. How else would you do it? mdl ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] comparing finale/sibelius
As a matter of fact, on the Sibelius list there was recently a question concerning how one could tell at a glance if a score were engraved with Sibelius or Finale or Score, and one wise-ass replied that if you could spot a measure with the incorrect number of beats, it was a Finale score. I just fired off a response pointing out that it is possible to achieve the same result in Sibelius, so it is certainly NOT a defining characteristic of a Finale score, but it is important to remember that quite often what people list as impossible in one program simply means that they haven't dug deeply enough or sought assistance from more knowledgeable users. And that comparison list is no longer valid since many things have changed in both programs with the intervening newer versions and patches. In Jonathon's defense, though, several members of this group asked him to post his list, even though he offered to share it individually. The only way to truly compare the two versions is to download the most recent demo and work with it for a while, then join a group such as this (there is a very helpful sibelius group at groups.yahoo.com) and read it for a while and ask questions (not with a chip on your shoulder) about the program. David H. Bailey Hi all, 69 reasons not to buy Sibelius over Finale This list is *so* inaccurate that I wish Jonathan would stop posting it. Obviously he's entitled to his opinions, and I'm no great lover of Sibelius myself (though I use it enough to know that Jonathan's list is just plain wrong in many cases), but I don't believe this kind of misinformation does anybody any good. I'm sure like-minded Sibelius users could come up with an equally specious list of reasons not to use Finale, but what would be the point?! Can't we all just get on with using our programs of choice and stop sniping at everybody else? What, exactly, is the point?! Best, -WR Get advanced SPAM filtering on Webmail or POP Mail ... Get Lycos Mail! http://login.mail.lycos.com/r/referral?aid=27005 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] comparing finale/sibelius
Yes, you can do cadenzas and pickups. I can't find much that Sibelius does more easily than Finale, but I've been using Finale for 12 years or so, and have grown with it. That doesn't mean it isn't a good program, just that I've been spoiled by learning to think the way Finale thinks, which is definitely NOT the way Sibelius thinks. David H. Bailey Mark D Lew wrote: On Feb 5, 2004, at 2:58 AM, David H. Bailey wrote: As a matter of fact, on the Sibelius list there was recently a question concerning how one could tell at a glance if a score were engraved with Sibelius or Finale or Score, and one wise-ass replied that if you could spot a measure with the incorrect number of beats, it was a Finale score. Does that mean you can't score a cadenza in Sibelius? Can't have a pickup bar? In Jonathon's defense, though, several members of this group asked him to post his list, even though he offered to share it individually. And in another post, Johannes added: Jonathan didn't start this, he was _asked_ to send this list. We all know (or should know) that such lists are indeed biased. Perhaps I wasn't paying enough attention in the original post, but I didn't realize the list in question was the old one that we had already seen many months ago, and which we were told was out of date even then. I was hoping for an up-to-date comparison, and I still am. I don't mind the bias. Obviously a bias is going to be built into such a compilation. That's why, like David Fenton, I also asked to see a corresponding list of things that Sibelius does better that Finale. mdl ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] comparing finale/sibelius
Well, if you want my honest opinion, Finale is better. Period. No comparison. Ask this question on the Sibelius list and you will get people who will swear that Sibelius is the best, no comparison. And some of them will be former Finale users. You are asking the sort of question which really is unanswerable, though. It's like asking which is the better car: Rolls Royce or Maserati -- depends on how you plan on using them -- they both are fantastic at what they claim to do. Or asking which is better for dinner: steak or lobster -- depends on what you like. I like Finale. I work faster and better and more easily in Finale. But there is no way I would recommend it to everybody who wants to use notation software. That's why I said the person really has to try them both out. If your friend is only going to try them for an hour and then make up her mind, then she should download noteworthycomposer, the $50 shareware program. If your friend is truly looking to find out which is better for her purposes, then she should locate people who use each (not necessarily one person who uses both because people, me included, tend to lean towards on or the other and that bias comes through) and spend some time with them, working on a simple project using each program. But to continue to ask for a comparison which can't really be made is not going to help your friend much. Which program do you use? Tell her to buy that, because then you'll be available to help her when she has problems. Or tell her to buy the other program so you won't have to be the on-site tech-support, since you don't use the program. Comparison: Finale does mostly everything you could ever want from a notation program (no it doesn't do Crumb spiral scores). Sibelius does mostly everything you could ever want from a notation program, just in a more dogmatic way. Until a person really gets into the minutiae of manipulating notation elements onscreen to get the desired result on paper, she/he won't have a clue if Sibelius ability to only move articulations in one direction (can't remember if it's horizontally or vertically) is a blessing or a curse. And she/he won't know if Finale's ability to move an articulation to any location on the page no matter which note it is attached to is a blessing or a curse. Sibelius comes with preprogrammed libraries which are hard to edit. Finale comes with preprogrammed libraries which are easy to edit and save and reload. For some people the ability/necessity to define their own is a blessing, for others it's a curse. Same with preprogrammed libraries -- for some, knowing they can't change things is a blessing because they know just what they have to work with while for others, the limitations are too frustrating. From working with both programs and being members of both lists, I can honestly say that whichever program your friend buys and practices with and learns will be just fine for all her musical needs. Tell her to buy Finale. Kari Kääriäinen wrote: David H. Bailey wrote: Better to have your friend download demos of both programs and try them both (be sure to have him do the tutorials). and Until your friend tries both, he/she won't know which working style will be best. I find this problematic because if you test these big programs for, say an hour, I'm afraid you won't get much of an idea of how they work for you in serious everyday use for years ahead. I think Sibelius looks more attractive visually and you probably get your first music sheet done easier and in less time with Sibelius than with Finale, so the person testing these programs will end up choosing Sibelius without a doubt. So it would require a lot of time to really know which is going to be better for your working style. I too would like to be able to present some believable reasoning why either is more suitable to different kinds of work. Here in Sibelius Academy, Finland (we have nothing to do with the company:-) I also get asked that question a lot: which is better. I believe the best insight comes from the people that actually use both actively or even professionally. Are there others than David? Would be glad to hear your thoughts. I know this has been discussed before, but maybe updates to this topic would be in order. Kari ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] transposing on a percussion staff
HP ignores midi data but it responds to dynamics -- You could define a second set of dynamics with lower playback velocities, or you could define a single non-printing expression which would set the volume for the piano lower. Since dynamic expressions affect velocity and not volume, this should give you what you want. David H. Bailey Rich Caldwell wrote: [snip] P.S. On to the next hurdle: How to change the overall dynamic of a particular instrument (especially making the Piano - that thing w/ black white keys - quieter in an orchestral piece) while also wanting to use Human Playback, since HP ignores MIDI data. [snip] -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] transposing on a percussion staff
Velocity relates directly to how hard or lightly you press a keyboard key. Hit a piano key hard and you get a certain volume AND tone color, strike the same key very lightly and you get a softer volume and different tone color. Volume is like the volume knob on your radio -- tone color doesn't change, just the loud and soft changes. Expressions in Finale are programmed to affect velocity so that when you play louder the timber changes as well as the volume (think of the different tone that trumpets get when blasting vs. the tone they get when they play softly). So it is possible to set the volume for an instrument so that nothing comes out of the speaker louder than you want, but you will still get the timber changes as well as the relative volume changes that velocity gives. David H. Bailey [EMAIL PROTECTED] wrote: In a message dated 02/02/2004 13:39:03 GMT Standard Time, [EMAIL PROTECTED] writes: Since dynamic expressions affect velocity and not volume, this should give you what you want. I'm sure I'm demonstrating a degree of ignorance never before seen on this list, but what's the difference in this context between velocity and volume? All the best, Lawrence (who never understood the difference between mass and weight either.) þaes ofereode - þisses swa maeg http://lawrenceyates.co.uk ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] transposing on a percussion staff
You need to define the playback of an expression such as I am suggesting for Controller and then scroll down the list of controllers until 7: Volume shows and then set that for some value (127 being full volume and 0 being no volume at all.) Then playback the score and see how that volume level works. You'll have to experiment to find which setting provides the volume you want. This way the dynamics can stay as they are supposed to be and your playback should be just as you want. So you won't have to change dynamics back for printing. David H. Bailey Rich Caldwell wrote: Of course, assigning special dynamics for a part works - which is what I've been forced to do - but if you have an existing score with many dynamic changes, it can become tiresome. I didn't realize until testing just now that the MIDI tool has nothing to do with the dynamics shown in the score. Obviously, I've never really used that tool before! When you talk about defining a non-printing expression to set the overall piano volume lower, I'm curious what you set in the expression playback dialogue to do that. I don't understand the difference between velocity and volume in this situation either. I discovered that one can use the mass editchangenote expression assignments to replace one dynamic for another in a selected passage. So, I can change all f to mf and mf to mp (or to a different set of the same, as you suggested) and so on through the list. That seems the easiest way to do what I want. Problem solved. Rich At 8:35 AM -0500 2/2/04, David H. Bailey wrote: HP ignores midi data but it responds to dynamics -- You could define a second set of dynamics with lower playback velocities, or you could define a single non-printing expression which would set the volume for the piano lower. Since dynamic expressions affect velocity and not volume, this should give you what you want. David H. Bailey Rich Caldwell wrote: [snip] P.S. On to the next hurdle: How to change the overall dynamic of a particular instrument (especially making the Piano - that thing w/ black white keys - quieter in an orchestral piece) while also wanting to use Human Playback, since HP ignores MIDI data. [snip] -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] New Discovery with Articulations
That's been possible for 4 or 5 versions already -- I can't remember when it was introduced, but here's another tip -- if you have a bunch that you want to move the same distance from where they are, you can click-enclose the handles then click-drag one and they'll all move the same amount. David H. Bailey David W. Fenton wrote: Maybe everyone else already knew this, but I just discovered that with the articulation tool you can click-drag to enclose a group of notes and apply an articulation to the group. It also works with metatools (e.g., hold the S key and click drag a group of notes, and the stacatto dot will be applied, assuming that's the metatool defined for S). Oh, what a time saver! I'm sure I'm just ignorant and everyone else already knew this! -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Volume
Sound cards, soft-synths, external modules, live musicians, all have somebody's human tastes at the core of things. So if whoever programmed the trumpet patch decided that a certain volume was the loudest it would ever be, then we are all stuck with that if we use that patch on that device. There are some tricks that can help -- have you programmed another volume expression (non-printing) for the trumpet that sets controller #7 to 127 and placed that in the trumpet staff? If so, and it's still not loud enough, then you can simply copy the trumpet part to a different staff, so you have two trumpets playing the same thing. On some sound cards and devices this increases the volume dramatically (much more than having two trumpet players playing the same line, where their sound waves are never in complete phase with each other so they don't end up playing twice as loud). On other devices it has no effect. David H. Bailey Rich Caldwell wrote: Thanks to Harold Owen David Bailey, I get it now. Controller #7: Volume. Now why didn't I look there before? Again, thanks! Seems to work fairly well, except I still can't get the trumpet loud enough. Quadruple doubling at still doesn't cut it! It looks like they over-adjusted the brass on the soft side. Never thought I'd complain about that. Heh. Rich At 12:37 PM -0500 2/2/04, Rich Caldwell wrote: Of course, assigning special dynamics for a part works - which is what I've been forced to do - but if you have an existing score with many dynamic changes, it can become tiresome. I didn't realize until testing just now that the MIDI tool has nothing to do with the dynamics shown in the score. Obviously, I've never really used that tool before! When you talk about defining a non-printing expression to set the overall piano volume lower, I'm curious what you set in the expression playback dialogue to do that. I don't understand the difference between velocity and volume in this situation either. I discovered that one can use the mass editchangenote expression assignments to replace one dynamic for another in a selected passage. So, I can change all f to mf and mf to mp (or to a different set of the same, as you suggested) and so on through the list. That seems the easiest way to do what I want. Problem solved. Rich At 8:35 AM -0500 2/2/04, David H. Bailey wrote: HP ignores midi data but it responds to dynamics -- You could define a second set of dynamics with lower playback velocities, or you could define a single non-printing expression which would set the volume for the piano lower. Since dynamic expressions affect velocity and not volume, this should give you what you want. David H. Bailey Rich Caldwell wrote: [snip] P.S. On to the next hurdle: How to change the overall dynamic of a particular instrument (especially making the Piano - that thing w/ black white keys - quieter in an orchestral piece) while also wanting to use Human Playback, since HP ignores MIDI data. [snip] -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] comparing finale/sibelius
I use both and prefer Finale vastly over Sibelius. If you join the Sibelius list, you'll find there are some users there who use both but who vastly prefer Sibelius over Finale. Better to have your friend download demos of both programs and try them both (be sure to have him do the tutorials). Both can produce professional looking output. Sibelius is easy to get the first 90% of professional output ready to print. It is difficult to get that final 10% of detail just the way you want it (impossible in some instances -- articulations are movable vertically but not horizontally, for example.) Finale is only slightly more difficult to get that first 90% of professional output, but it allows full control so you can get the final 10% just as you want it. Finale provides several ways of accomplishing many different things, while Sibelius provides only one way often. And as long as you are satisfied with the results of that one way, you are all set. With Finale you can usually get the results you want with one of the several ways, but some people find remember the different ways of accomplishing the same thing to be hard to remember. In the final analysis, both programs work very well and are definitely suited for different working styles. Until your friend tries both, he/she won't know which working style will be best. There is a Sibelius list at groups.yahoo.com which is as helpful as this group is, so your friend should join both groups and get a feel for what gets discussed and the sorts of problems each program might have. David H. Bailey Ron McGee wrote: hi all! a friend asked me for some opinions on differences/advantages of finale and sibelius. i looked on tobias' page and saw his comparison had been removed. does anyone else know of a head-to-head comparison whose results i could share? thank you! ron mcgee Anchored in Him, Ron McGee http://www.we3musicweb.com/ Associate Music Minister/Instrumental FBC, Lewisville [EMAIL PROTECTED] mailto:[EMAIL PROTECTED] Powered by Plaxo http://www.plaxo.com/signature/ Want a signature like this? http://www.plaxo.com/signature/ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Ricoh AP2610
Laser cartridges last for a very long time, so you could purchase one or two or three and not worry about them being bad when you finally need to install them. The cartridge availability may not be a problem -- the replacement printer from Ricoh may well use the same cartridge. Quite often the normal economics of the marketplace force prices on existing models to fall to a point where it is no longer profitable for a manufacturer to make and distribute them. In that case they take that model off the market and offer a replacement model at a price where there is a lot of profit again. And then that model's price drops and the cycle begins again. But it often isn't because of poor quality or anything so they may well keep the same basic printer engine design and change paper handling or appearance or something, so my advice (before panicing about availability of cartridges) is to find which toner cartridge the replacement printer uses and if it will be interchangeable with yours. I've never tried refilling my own laser cartridges, but my wife did buy one of the refills from a national refill company and it wasn't very good. Not nearly as good quality toner and not as well working a cartridge, so she went back to purchasing original cartridges. Her printer would be 10 years old, but there are still cartridges available for it. She did replace it because of other problems developing with it, but if it had kept on working she would still be able to get cartridges for it. So I wouldn't panic yet about replacement cartridges. David H. Bailey Raymond Horton wrote: As I mentioned a few weeks back, I just bought one a few weeks ago and am very happy with it. But what do I do now that it is discontinued? I have never owned a laser printer before, so I have no experience with replacing toner cartridges. How soon should I be concerned about not being able to get these? I wonder how long a while is? If I bought a few/several toner cartidges for stock, how long would they store succesfully? Has anyone had any luck refilling these? I use a very low volume, compared to, well, just about anybody, really. Thanks in advance for any advice. Ray Horton Bass Trombonist, Louisville Orchestra Nick Carter said: I've been trying to sign up as a reseller of the AP2610 but I just spoke with Ricoh and it is officially discontinued. Apparently the toner cartridges will be available for a while. I could pursue adding those to our range but I just heard that our wholesaler wants a $100 deposit to re-open our account which is only refundable if we spend $5,000 in the first 90 days!! ...25 toner cartridges anyone?! Nearest replacement for the 2610 seems to be the AP600N which is around $1K. Nick Dr Nick Carter, Owner, npc Imaging, 2228 Magowan Drive, Santa Rosa, CA 95405 USA [EMAIL PROTECTED] Tel/fax: +1 (707) 573 9361 http://www.npcimaging.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Font Problems
What do you mean when you say it doesn't show up correctly anymore? Is it not in the fonts list? Is it in the list but even when you select it as your default music font, some aspects of it don't display or print properly? Have you made sure to change all the instances of it that you want, under Options/Default Music Font or Options/Document Settings/Fonts? Are the incorrect things showing, which would indicate that they have moved to different slots in the font that Finale expects? Perhaps more specifics on what isn't working could help us assist you in trouble-shooting. How frustrating it can be when something you have grown accustomed to using doesn't work as you expect! David H. Bailey Eric Dannewitz wrote: So, I received my Finale 2004 update the other day. And, I notice that my nice looking Swing Font that I have been using from www.jazzfonts.com, doesn't seem to show up correctly anymore. Any ideas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Horizontal scrolling in FinMac2004
Using my logitech wheel-mouse, I just tried your ctrl-alt-shft-wheel and Finale didn't crash at all -- it simply scrolled horizontally, as the ctrl-shft-wheel does. David H. Bailey Lee Actor wrote: I have no explanation for the following. With a Logitech wheel mouse on WinXP, vertical scrolling always worked fine in Finale, but not horizontal. Installed newest mouse driver, no scrolling of any kind in Finale (continued to work in other apps). Reinstalled old driver, now both vertical and horizontal scrolling work in Finale (ctrl-shift +wheel for horizontal). A significant productivity boost! I did find a surefire way to crash Finale (2k4a) every time: ctrl-alt-shift +wheel, using any mouse driver, including the default driver. -Lee My wheel mouse will scroll vertically in Finale but it won't scroll horizontally, as someone had suggested. But you know what, I just tried it again, and lo and behold it works! BUT, the combination isn't shift-wheel, its CTRL-SHIFT-wheel! Wow, I can go back to bed now, I've learned my something new for today! David H. Bailey Richard Yates wrote: That doesn't work on my computer (win98se, fin2004) usign a logitech wheel-mouse. I have been around the block with tech support about wheel mice. My wheel does not work at all with Finale but does with all other applications. I get nonsense suggestions about drivers and connections. There is ample evidence in the Finale forums that there is a problem in the program but acknowledgment of this by the company is severely lacking. Richard Yates ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Horizontal scrolling in FinMac2004
The version I am using, for the Logitech MouseMan Wheel Mouse, is version 9.73 and the Control Center is 9.73.243 -- this is the version which came with the mouse when I bought it very inexpensively (I think it was $15) at a local small computer shop. With that driver installed, running Fin2K4a I have vertical and horizontal scrolling. I have the action that clicking the wheel initiates set to double-click. David H. Bailey Mike Cholewa wrote: What version number is the old driver? Mike [snip] -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Horizontal scrolling in FinMac2004
That doesn't work on my computer (win98se, fin2004) usign a logitech wheel-mouse. Darcy James Argue wrote: Hi guys, It is customary in OS X applications to be able to hold down the shift key and use the scroll wheel (on 3rd-party mice) to scroll horizontally. In fact, this works in every OS X application I own (including Apple's own apps -- Safari, Preview, TextEdit) except Finale. I believe this even works in the Windows version of Finale! Any chance we can get this functionality in Mac Fin2004a? - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tuplet's numerals
Since the program can't tell when you might want them and when you might not want them, you need to adjust each tuplet manually. I believe you might be able to use the select-and-paint option, where you select a particular measure or measures as the model and then you can paint the same rhythmic markings in whichever target measures you want. I haven't used this feature of Finale much so I can't walk you through the steps necessary, and I don't even know if it will do what you want, but it might. Does TGTools offer such a feature? Pierre Bailleul wrote: Hi all, Following the rule : After a pattern of tuplets has been established, the numeral may be omitted, do you know the easiest way to have tuplets with numerals and tuplets without numerals in a score? I try : 1° to change default display definition (in Document options - Tuplets) each time I want to input tuplets with numerals or without numerals. 2° after inputting the score, to correct each tuplets with tuplets tool. In these 2 cases it's boring... Thanks for your responses. Pierre. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Horizontal scrolling in FinMac2004
My wheel mouse will scroll vertically in Finale but it won't scroll horizontally, as someone had suggested. But you know what, I just tried it again, and lo and behold it works! BUT, the combination isn't shift-wheel, its CTRL-SHIFT-wheel! Wow, I can go back to bed now, I've learned my something new for today! David H. Bailey Richard Yates wrote: That doesn't work on my computer (win98se, fin2004) usign a logitech wheel-mouse. I have been around the block with tech support about wheel mice. My wheel does not work at all with Finale but does with all other applications. I get nonsense suggestions about drivers and connections. There is ample evidence in the Finale forums that there is a problem in the program but acknowledgment of this by the company is severely lacking. Richard Yates ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Horizontal scrolling in FinMac2004
Logitech model M-BA47, ps2 mouse. d. collins wrote: David H. Bailey écrit: My wheel mouse will scroll vertically in Finale but it won't scroll horizontally, as someone had suggested. What kind of a mouse is it? Mine's a Logitech, and it won't scroll either way. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Document settings (was Shortening secondary beam)
The MakeMusic people only listen when you send a message to [EMAIL PROTECTED] or [EMAIL PROTECTED] -- the good employees of MakeMusic who are on this list do so unofficially. David H. Bailey d. collins wrote: Johannes Gebauer écrit: 3) a new setting for the distance before between whatever comes last at the beginning of the staff (clef, time signature or key signature) and the first note. It's a shame that there is no setting for this, for it's an important aspect of any house style. Yes! (Although I only need this global, not for sections.) That's what I meant, a global setting. Let's hope the MakeMusic folks are listening... Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Accidentals Q
I would advise leaving the second accidental, since it is in a different octave to remove any doubt. Richard Huggins wrote: I'm doing a piano score. I have a situation where the displayed notation on beat 4 is identical to beat 1 in the same measure, notes which have accidentals. Due to the use of 8va in the earlier case but not in the latter, the second occurance would be played at a different point on the keys. Because of this, is there any precedent for repeating the accidentals on the second occurance? The composer has it this way, but he is prone to occasionally random markings and he frees me to edit as well as engrave. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Custom Keyboard Shortcuts in OS X
I know that on the Sibelius list there was concern over full use of the keyboard shortcuts possible in OSX in Sibelius 3. The response from the Sibelius employee resident of the list was that in order for full use of the keyboard possible under OSX, an application had to be cocoa and not carbon. And that meant rebuilding the app from the ground up, which Sibelius was not about to do. Darcy James Argue wrote: Hey gang, Has anyone had any success in programming keyboard shortcuts via Panther's Keyboard Shortcuts Preference Pane? The keyboard shortcuts I've programmed show up correctly next to the menu items in Fin2004. And invoking them causes the appropriate menu to flash. But nothing actually happens -- the menu item is not actually invoked. Is there some trick to this? Or is Finale not compatible with OS 10.3's built-in keyboard shortcut creator? If not, why not??? Coda has always been incredibly bad about including a decent selection of Mac keyboard shortcuts for Finale, hence the need for QuicKeys or other third-party macro apps. I was hoping that with Fin2004+Panther I could leave QuicKeys behind... - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] slur placement
For clarity, the slurs need to be stem-side, which places them in the correct position for the different voices -- the top voice has the slurs above the staff and the lower voice has the slurs below the staff. d. collins wrote: In keyboard music with two voices on one staff, one with stems up, one with stems down, where do the slurs belong, on note side or stem side? I don't seem to find anything on this question in the usual reference books. Thanks, Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Center a whole note
I believe it was an option to center whole rests in a bar. You can achieve the effect you want by making your time signature 8/4, setting a different signature for display (or simply hiding the time signature since it's a fingering chart) then entering a half-rest and hiding it, whole note, half-rest and hiding it. This leaves the whole note centered in the measure. You can copy the measure however many times you need it for your chart and then simply drag the notes to their proper pitches using speedy entry. Brad Beyenhof wrote: I'm creating a fingering chart for a method book, and I thought I remembered one time seeing an option to center whole notes in a bar. Was that really there, or is my memory deceiving me? If it *is* in there somewhere, where might I find it? FinMac2k3a. - Brad Beyenhof [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MacFin2k4 Human Playback for larger files - crash!
I haven't run into that problem, and I'm currently working on a score file which is currently 51 pages long (I haven't done any page layout work, so it ultimately will be much shorter, but still in the 20s. I haven't tried playback from the score page of this file, though, but human playback in scroll view on the Windows platform is fine. Rich Caldwell wrote: I was wondering if anyone else is having problems getting human playback to work with anything longer than a few pages. When I try to use it, either through Internal Speaker playback or when saving a MIDI file, either with Quicktime or SoftSyth, it crash/quits Finale about half-way through the human playback processing process, as if it ran out of memory. Without human playback, it plays fine. Perhaps this has been a problem with the Windows version also, and I just wasn't paying any attention? Rich Caldwell ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tubas and 8vb
Tubists are used to reading ledger lines, not 8va markings. Colin Broom wrote: 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 . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 9x12 printing problems in OS X
Aren't there THREE places you have to set the paper size? In the page layout menu, in the printer selection dialog, and also in the Page Size For Score or Page Size For Parts, if I remember correctly (I usually use the default 8.5x11.) Brad Beyenhof wrote: I have an HP LaserJet 4MV, and I can't figure out how to get it to print properly on 9x12 (Concert) paper. I tried editing the Custom Paper Size settings in Page Setup, and selected my new Concert paper size. However, it prints very oddly, with approximately an extra inch of margin on the left and an extra 3-3.5 inches on the bottom, cutting off the top and right of the page. I can be semi-content with choosing US Legal in Page Setup and sending the paper through the printer slightly off-center (by 5/8 an inch, as I did in OS 9) to achieve the desired result, but I was hoping that in OS X I wouldn't have to perform this workaround. Does anyone have an idea how I might be able to do this more easily? Has anyone succeeded in printing on 9x12 paper from OS X? I'm using TCP/IP printing. - Brad Beyenhof [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Creating mid-measure double bar line
The best way is to make the two measures, making a 3/4 measure and a 1/4 measure and hiding both time signatures. You'll have to adjust your measure numbers, if you're using them. [EMAIL PROTECTED] wrote: I'm editing an early 19th Century concerted choral work, and about midway thru the piece there is a change of tempo on the 4th beat of a measure (quarter note on beat one, quarter rest on beat two, quarter rest of beat three with a fermata, followed by a thin double bar, then a quarter note on the fourth beat which initiates the new allegro tempo and a fugue). Is there some command in Finale Mac 3k that will allow me to do this, or do I have to create two separate measures out of the one in 4/4 time and then hide the time signature in the second measure of 1/4? Thanks, Martin Martin Banner Monticello, NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: ad lib
I always thought that was what obbligato meant (obligated to be played.) A quick glance in my New Harvard Dictionary confirms it -- Obbligato is the opposite of ad libitum. Aaron Sherber wrote: Hoping someone can help me out with my current brain short-circuit... In the middle of a piece of music, let's say there are a few bars which the oboe can play or can leave out, at the conductor's discretion. So those bars are marked 'ad lib.' Immediately following are bars which the oboe must play. What indication cancels the ad lib? I know that one way of making this clear is to print the ad lib section with reduced noteheads, but isn't there some term which I can use as well? Is the answer simply 'Play'? Thanks, Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
