Re: [Finale] time signature change
It will not become 48 bars. The time signature will change, but everything else will remain the same. --Richard From: Bob Florence [EMAIL PROTECTED] 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? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Grace Notes
Click the Lyric Tool go to Lyrics (menu) Lyric Options. In the field next to Space Between Hyphens enter a large number (mine is 1728, using EVPU as the unit of measurement). This will stop Finale from entering so many hyphens, usually in fact only entering one. --Richard Huggins From: George Ports [EMAIL PROTECTED] Had a problem with text.Can't seem to eliminate some hyphens (- - - - -) that appeared in a couple of measures. It is sorta hard to explain but, they are from typing in text, I'm sure. Hope I don't have to re-do the measures all over again. Is there a way to highlight them and delete somehow? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Grace Notes
Did you use the Special Tools Note Position Tool? Click it, then click on the measure and all notes, incl. grace, should show a handle. Click a specific handle or drag-enclose a group of handles and use your arrow keys as desired. If you did this and the notes won't move, that's a curiosity. One other thing to try is click on Speedy Entry, click on the measure, place the cursor on one of the grace notes and hold down the mouse as you drag the note left or right. --Richard From: George Ports [EMAIL PROTECTED] Can't seem to move grace notes where I want them...closer to another note etc. Can anyone help? Appreciate it. Am using Fin2004 with win98 2nd. Thanks, George Ports ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Word Extensions_____what gives?
From: Randolph Peters [EMAIL PROTECTED] Shouldn't word extensions only apply to moving notes and not to tied ones? No, word extensions should apply to words sitting on tied notes. The extension should go to the last tied note. 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? If MM completely runs out of thing to do and wants to make it an option it's OK with me, although I cant imagine extensions being left off of tied words. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Word Extensions_____what gives?
From: Randolph Peters [EMAIL PROTECTED] And the plug-ins DO give inconsistent results. This particular plug-in has always been a little inconsistent. You just have to live with it and correct the misses manually. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Graphics tablets
From: Darcy James Argue [EMAIL PROTECTED] I hear trackballs are also good, but I could never get the hang of them. - Darcy I remember what the salesperson said when I bought my first trackball. She said, You'll hate it for three days, then you'll never want to use anything else. She was right! What I like is that they occupy a pre-determined fixed footprint, as opposed to my having to keep clear (or clear off) the mousepada common malady of me, the original clutter king. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Feature request: stack windows instead of tiling
Title: Re: [Finale] Feature request: stack windows instead of tiling Mac users already know this, but for clarification I would point out that in pre-OSX, using Option-Click on the zoom button (otherwise called maxmimizing) does, in fact, cause the window to open to the full height and width of the screen (nothing of any other window, including Finder, can be seen). I don't know if this is true in OS X. --Richard From: Dennis W. Manasco [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] Date: Tue, 16 Mar 2004 04:59:45 -0600 To: [EMAIL PROTECTED] Subject: Re: [Finale] Feature request: stack windows instead of tiling Under both X and pre-X versions of the Macintosh OS, maximize means that the window is maximized so that it shows as much of its content as possible, but no more (plus a buffer zone that seems to be defined independently by each application) within an area of the screen that is less than its totality. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cross Staff Accidental Question
You possibly already know that to *Finale* all those notes are in the same stave. That's why it is not repeating the accidental. I think he'll have to use the asterisk key on each occurance to get the accidental to appear. I can't find any way to alter Finale's behaviour as regards repeating accidentals in the same measure, but perhaps I am not looking everywhere or thinking hard enough. --Richard From: Rob Deemer [EMAIL PROTECTED] 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 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cross staff notes and artics
I can't speak to version 4 stuff, but it works pretty well for me in 2k2. When you say even when I drag them do you mean the articulations or the notes? Are you entering the articulations when the notes are in their original staff (before using cross staff)? In case it helps if working on the articulations, there's a little-used (I suspect) option you can invoke that causes all the cross staff notes to display in their original staff. Go Options Document Settings Document Options and check Display Cross Staff Notes in Original Staff, then OK. --Richard From: Aaron Sherber [EMAIL PROTECTED] I have a piano staff with notes entered in the treble staff and some of them dragged down to the bass staff. I find I am unable to get articulations positioned correctly on the cross-staff notes -- even when I drag them to where I want them, they bounce to some completely different position when I do a screen redraw. Anybody have any luck with this? Or is this yet another of the gazillion bugs in what seems to me to be the buggiest release of Finale in recent history? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Is mp a redundant dynamic?
I chime in with the others. This is the first I've heard of such a notion; it sounds like watercooler stuff. I recall an excellent choral conductor who periodically would ask the group to sing for him their different dynamics, i.e., Let me hear your mfLet me hear your p etc. The point was to drive home to them that they should have some point of reference within themselves as a group as to what that dynamic will sound like when they sing it. He definitely respected the differences. The use of mp and mf also is a way to express gradual decreases/increases in volume. Their usefullness over cresc. or hairpins is that they can be surgically inserted. Also, they are a constant (i.e., p for two measures, mp for two measures, mf for two...etc.), whereas cresc. or hairpins would be continual. --Richard From: Colin Broom [EMAIL PROTECTED] I've spoken to a number of musicians recently, including a noted orchestral conductor, and several composers who all seem to feel that the dynamic 'mezzo piano' is basically a meaningless dynamic, and they think it should never be used. I've even heard one go as far as to say that the same is true of 'mf' as well. I personally don't agree with this at all, and for me there is a clear distinction between p, mp and mf, but I was wondering how widespread this feeling about mp is, and how folk on the list feel about it? And if it's redundant, then why is it redundant? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MORE frustration with chord font sizes (plus rant)
If the various suggestions have failed, try the Swap One Font for Another feature. Go to Options Data Check Swap One Font for Another. Under Search for This Font enter the current font (and size if you know it, but if that font is not being used for anything else you won't need to enter a size) that is producing the small chord symbols. Under Replace With enter the desired font AND size. When all is done, hit the final OK button and Finale should replace the small font with whatever you want. I hope this works for you. --Richard From: [EMAIL PROTECTED] Date: Tue, 2 Mar 2004 11:53:46 EST To: [EMAIL PROTECTED] Subject: [Finale] MORE frustration with chord font sizes (plus rant) I tried Klaas DeJong's suggestions regarding changing the font sizes using the options menu. However, it still does not work. It acts like it wants to use the font size I selected, but then when I hit the enter or Tab keys, it uses that teensy-weensy font size that is unreadable. And I cannot change the font size under the CHORD menu. Am I not supposed to change all the font sizes that way? It just ignores my request. WHY DON'T THEY TEST THEIR STUFF? Yours; Tammy ___ 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] PDFs from multiple files
I am wondering if either the actual Adobe Acrobat application or any other app will let you select multiple files and then create one PDF of them? If so, would it let you indicate which file comes first, which comes 2nd, etc.? Would it start a new page with each file? I do realize I can combine files into a single compressed file, if they already exist as PDFs. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Frustration with chord font sizes
From: [EMAIL PROTECTED] So how do I make the ENTIRE chord big enough to read? I want the chords to be uniformly large enough throughout the whole score, and keep them from overlapping each other also. You can make them any size or font you want. To change the chord symbol font, and or size, use Options Select Default Fonts Chord (pick one-- Symbol, Suffix, Alteration, Fretboard) So far, I have not been able to position an individual chord so that it does not overlap something else, without changing ALL of the chord positions. This results in the chords being too high, making the chart confusing to read. Left to right positioning of individual chords is not possible, at least in this version. No...to move one chord, select Chord Manual Input, then click on the beat. A handle appears on the chord symbol, then you can do whatever you want--left, right, up or down. I have Finale 2004, but it does not appear they have tried to address these issues so far. I'm afraid you didn't look deeply enough. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] It's official...
The heartiest of congratulations to you, Dennis!! When the applause is deafening, remember us little people on the ole Finale list(:) Richard Huggins From: Dennis Bathory-Kitsz [EMAIL PROTECTED] Date: Mon, 01 Mar 2004 22:39:26 -0500 To: [EMAIL PROTECTED] Subject: [Finale] It's official... ...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! ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Customizable zooms
Would anyone else besides me like to have the ability to customize the zoom percentages, so that using the zoom tool took the zoom to a user-determined pecentage? For example, 200% on the first click might work for my 21 monitor, but doesn't for my laptop. I'd like to be able to set the percentages myself so that I can use the Zoom tool to stage up / stage down the percentages aaccording to my prefs. I'm on FinMac 2k2, in case this has been added. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Global setting for a collection
In general, it would be wonderful to have more global-setting capabilities with Finale. Music editors everywhere would love it. I'm glad to hear about the Patterson plug-in that mght help...with it could I, for example, change the copyright footer on multiple files? Richard From: musighi [EMAIL PROTECTED] I am preparing a collection of 30 children's piano pieces for publishing and would like to create a unity of appearance throughout the book. I find going through each piece one at a time and setting standards for layout, margins, system spacing, fonts (textblocks, lyrics, copyright), etc., extremely time consuming and tiresome. Does anyone know if there is an easier way or a global setting for this kind of work? By the way, I am running Finale 2004 on Windows XP. Thanks, Golnoush ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Note Spacing Quits Working
I have had situations where I did not have all the measures (vertically) selected, e.g. the treble clef but not the bass clef. In such a case, spacing routines don't seem to work completely, since the other measures aren't provided to Finale to work with. This has been the only incomplete behaviour of the routines that I've noticed. (finMac2k4). Richard --- Jonathan Smith [EMAIL PROTECTED] wrote: Has anyone seen this? Basically, note spacing suddenly started producing wacky results on a particular measure in a piece. Essentially, it seems not to see the accidentals. Furthermore, it only happens when certain staves are selected. MacFin03. -- Robert Patterson Yes, I too have had situations where the spacing doesn't seem to want to work any longer. It usually ignores accidentals. I've tried all sorts to get around it but had no success as yet. I'd be interested to know if anyone has? Jonathan Smith ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finalelist [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale __ Do you Yahoo!? Yahoo! SiteBuilder - Free web site building tool. Try it! http://webhosting.yahoo.com/ps/sb/ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] White out problem
I was going to suggest Dennis's solution (shape expression, line thickness =0, fill with white), but without trying also to create a slur to go with it. You can create a shape of any size and shape, probably needing various ones, and use them to white out various areas as needed. If the document were exported to Illustrator or the like, you could paint out the areas desired. Any chance you could post a picture of this situation somewhere? --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Accidentals Q
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
Re: [Finale] Creating mid-measure double bar line
A statement such as If you are not bothered by the spacing problems, then that's fine for you. I am. is uncalled for. What kind of engraver would not be bothered by spacing problems? But who says that the remedy to spacing problems is your solution only? It stands without question that if a spacing problem were encountered it would indeed be remedied, ONE WAY OR ANOTHER. If I choose another and it works by all relevant criteria, what is the problem? Richard --- Johannes Gebauer [EMAIL PROTECTED] wrote: On 21.01.2004 1:37 Uhr, Richard Huggins wrote Below would be my choice as well. As for the objection that it can't be used if correct spacing were an issue, I ask why. Spacing is adjustable to make room for this, using the beat chart for one thing. Well, adjusting the beat chart is more work than it is worth, imo. If you are not bothered by the spacing problems, then that's fine for you. I am. Creating two measures on entry is less complicated than changing the beat chart, I find. Besides, once you have created the two measures and adjusted the measure nos this will not be messed up by respacing, ie on part extraction (another reason not to use shapes or lines). Johannes __ Do you Yahoo!? Yahoo! Hotjobs: Enter the Signing Bonus Sweepstakes http://hotjobs.sweepstakes.yahoo.com/signingbonus ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Creating mid-measure double bar line
Sorry for my over-reaction. That's what happens when you reply after short and intermittent sleep. Suffice it to say that it should be considered a given that a spacing issue will be addressed by a competent engraver, it's only a matter of which approach is used. Hopefully we can agree that as regards approaches to spacing issues or for that matter as regards a mid-measure double line there's more than one approach (and probably more thn one opinion about whether something is too much work or not), and various factors pertaining to the specific project can affect which approach is chosen. --Richard From: Johannes Gebauer [EMAIL PROTECTED] Firstly you seem offended. That was not my intention at all. Secondly, your suggestion of altering the beat chart by hand _can_ give you perfect spacing, _but_ to get perfect spacing it is far too much work. If you are concerned about the spacing as much as I am then you would almost certainly come to this conclusion, too. Time is a relevant criteria. Thirdly, your solution is a very fragile one, as soon as you do any major changes to layout, spacing parameters, staff spacing etc, or you extract parts, you end up having to do all of that again. All I am saying is that creating graphic barlines by hand is working against the program, and is bound to cause trouble in the future. I do not recommend ever doing this. Johannes ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Creating mid-measure double bar line
Below would be my choice as well. As for the objection that it can't be used if correct spacing were an issue, I ask why. Spacing is adjustable to make room for this, using the beat chart for one thing. Not even the shape designer would be absolutely needed. Select the line tool from the smart shapes pallette, start at the top of the stave, hold the shift key down and draw two lines downward. The handle on either line can be used to space it relative to the other line and both handles can be used to move them in tandem left or right as desired. --Richard From: Noel Stoutenburg [EMAIL PROTECTED] However, if measure numbers matter, and I don't need the target, I have also used the shape designer to create a shape expression which looks just like a double bar line, and use that, instead. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Placing of rit. and accel. in parts
From: Darcy James Argue [EMAIL PROTECTED] Since the A Tempo (indication) cancels the Accel. (modification), it's only logical to make them the same style and place them in the same manner. The score would be incredibly difficult to read otherwise. I agree. I engrave quite a bit of keyboard music and I think it only makes sense to put a tempo the same place you just put a rit. the measure before. To each his own but I would consider a tempo to be, in practical use, a modification, not an indication, because it is linked to a modification and usually a recent modification at that. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 'Home' key not behaving
FWIW, I tested this with FinMac 2k2 and had no problem with Home key working as expected when a speedy frame was active. I simple-entered notes in measure 7, activated the Speedy frame in that measure, hit Home, and Finale jumped to measure 1 (without a frame). I don't use the Auto Launch Speedy Frame option but thought that might be the culprit for the one who had the problem, so I enabled it and tried the test again but everything still worked fine. If this is something that can be duplicated at will, perhaps it happens only in the Windows version or there's some other factor at work that hasn't been thought of. --Richard From: Colin Broom [EMAIL PROTECTED] If it's what I think it is, you need to make sure you don't have a speedy entry frame active at the time you press 'home' or 'end', otherwise it does that weird jumping thing, which is quite frustrating. So just come out of the Speedy frame and it should be fine. Colin. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Reducing the size of time signatures, clefs, accidentals?
George, go Options Select Default Fonts Notation and after that item-by-item select Clef, Time Signature and whatever else you want smaller. For each one, click the Set Font button and change the size for the selected element from its default of 24 pt. to whatever you wish, i.e. 20 pt, 18 pt. etc. When you close the box you'll see that those elements are smaller. Richard From: [EMAIL PROTECTED] Is it possible to reduce the size of individual clefs, time signatures and accidentals? I didn't see anything in the manual other than note, staff and page reductions, or reductions on a global scale. As always, thanks for your great help. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Reducing the size of time signatures, clefs, accidentals?
Sorry...I misunderstood your question. You could do it graphically, using the Expression tool to create a shape expression for a larger sharp with parentheses (and same for flat), then program a metatool for each of the two. That would make for comparatively fast entry. They each would have to be eyeballed as to position, but it's not that big a deal (in my view). If you're hoping for a way to alter only parenthesized sharps, for example, every time one is used, I know of know way to do it. --Richard From: Christopher BJ Smith [EMAIL PROTECTED] That changes EVERY instance of that item. What if you only want some items smaller or larger? Particularly, I have been looking for a way to have the parenthesized sharp, flat, and natural a little larger in JazzFont. Other than editing the font itself (I would like my files to be transportable) is there a way? I don't particularly care for editing each and every courtesy accidental individually in every part with the accidental Special tool. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Staff lines in PDFs
I'm not so sure I agree with the statement very poor impression, except that you could be speaking of your own preferences. If the files *print* fine, why would a publisher balk over their on-screen appearance, being as how their ultimate desination is not the screen? You never said that they don't print OK. If I were the editor, I would not want to deal with the scores onscreen anyway, but rather in a print version. And if I were an editor, chances are overwhelmingly good that I have Finale, and don't need or want pdfs in the first place! --Richard From: d. collins [EMAIL PROTECTED] Date: Fri, 09 Jan 2004 12:03:08 +0100 To: finale list [EMAIL PROTECTED] Subject: Re: [Finale] Staff lines in PDFs I pity, because these files make a very poor impression when sent to a publisher. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Staff lines in PDFs
That is a good point, and I concede it. But something tells me that for uniformity's sake such a publisher would rather create its own pdfs rather than rely on its various creators to do it on their own, what with the many variables that could result, quality of appearance being only one of them. This presumes the publisher's conversion is good, of course! --Richard From: Mr. Liudas Motekaitis [EMAIL PROTECTED] But you might happen to be an editor for a publishing house that distributes over the internet, in which case your boss might demand that it has to look good on screen as well. - Original Message - From: Richard Huggins [EMAIL PROTECTED] I'm not so sure I agree with the statement very poor impression, except that you could be speaking of your own preferences. If the files *print* fine, why would a publisher balk over their on-screen appearance, being as how their ultimate desination is not the screen? You never said that they don't print OK. If I were the editor, I would not want to deal with the scores onscreen anyway, but rather in a print version. And if I were an editor, chances are overwhelmingly good that I have Finale, and don't need or want pdfs in the first place! --Richard From: d. collins [EMAIL PROTECTED] Date: Fri, 09 Jan 2004 12:03:08 +0100 To: finale list [EMAIL PROTECTED] Subject: Re: [Finale] Staff lines in PDFs I pity, because these files make a very poor impression when sent to a publisher. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Explode!
David, what would you say about Photoshop, which has gobs of plugins from all kind of sources? That it was piss-poor programming on Adobe's part? Are you kidding me? Could it possibly be said that to provide for plug-ins is an innovative and provisionary thing, even enabling entreprenurialism on the part of others? Certainly it could. After all, if you wish to learn how to do it, YOU can write a Finale plugin for your very own self, with you being the only one who knows about it uses it, giving you, presumably, some iota of a competitive advantage over fellow engravers. Or perhaps you would say to yourself that others could use that same functionality and might be willing to pay for it, thus reimbursing you a bit for time you didn't spend engraving and at the same time winning points of appreciation from the Finale brethren. The point is, it's *YOUR* choice, but a choice made possible by something that was *MakeMusic's* choice (to build in the functionality). Your argument seems to pivot around the phrase ...those features which should be part of the program. That's always subjective, becoming objective only when enough users agree with you. I believe that MM has been fairly responsible to respond to broadly supported feature or functionality requests. The expense at the corporate level to build in a feature that Joe Schmoe needs and earnestly believes (but without empirical evidence) everybody needs can't be justified. But that's not necessarily the case with talented individuals, working for themselves in some cases (AND, I might add, being people who have a lot at stake as regards actually using Finale commercially). I don't write the things, but still have to seriously doubt that most of the third-party plug-ins were written even though the writer couldn't think of a good reason to have them. So they are born out of a practical and useful understanding of real needs. I think it's a good system, NOT evidence of some diabolical escapement of responsibility. Richard From: David H. Bailey [EMAIL PROTECTED] Which removed a huge financial burden and crush of user-complaints. Ain't it great when a developer off-loads development tasks and then makes us glad?!? Reminds me a lot of Tom Sawyer and that danged picket fence! They did NOT, however, lower the price of Finale to compensate for us having to spend extra to get those features which should be part of the program, now, did they? Ain't the computer marketplace just grand? I can see economics and marketing classes three centuries from now: [/sarcasm mode on] Here is how the free marketplace worked, and you can clearly see the supply/demand interplay, and how the companies that survived were the ones with the best products that worked properly and offered all that the customer wanted at a price they wanted to pay. Now on this side, we see the computer/software marketplace at the same point in history. Pay particular attention to how sometimes the supply/demand interplay worked, but only with hardware. With software, it didn't seem to matter how many people bought Microsoft Office Suite, that little old price never seemed to waggle a bit, did it? And interestingly enough, people who had already paid the original price and then every year paid another hefty amount of money were actually GLAD when the whole plug-in architecture was introduced, so now they could pay for the abilty to do their OWN programming, wasn't that nice. Or, they could purchase plug-ins from nice users who also, by the way, had become competent programmers themselves. So the manufacturers didn't have to worry about making the software live up to the users' expectations, they could simply shoot a new version out the door, with only the barest of new features, enough to get most users to buy it, knowing that the plug-in writers would get all the really important functions worked out. It ended up that all that was left of the development team were the marketers -- they'd preannounce new features that weren't included, but the new version's PDK would have all the right hooks so the plug-in writers could write the plug-ins to implement the new features. All the programmers were fired and became plug-in writers. [/sarcasm mode off] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expose (was Aaargh... More delays)
It's not Expose-like as such, but in the same vein as multiple screens, for Mac users there's a software program for Macs called CodeTek VirtualDesktop Pro that apparently gives you multiple (virtual) desktops. Expose is supported by this software, too. Here's a description from their website: Introducing CodeTek VirtualDesktop software. It's like having up to 100 monitors available at all times. No need to resize or hide windows, just move to a new desktop. When you need an application, or window again, one click will take you back. CodeTek VirtualDesktop. A new way to work. A better way to work. URL is http://www.codetek.com --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Merged syllable question
I think at some point we risk straying into regional dialect, don't we? I can guarantee you that there are southerners who are world champions at reducing multi-syllabic words to just one or two! --Richard From: Crystal Premo [EMAIL PROTECTED] A quick survey of the 14 people here in this room in NYC revealed that they all say o-pen-ing ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Strange grace note spacing
Interesting. Using the grace note from the Simple Entry pallette I had the same result, whether following the time signature/key sig. (as in your gif) or not. I don't know if there's any setting that can be changed, but as a workaround I found that if I entered those same notes as regular 16th notes, then reduced them to 50%, I got a similar visual look but the 16ths lined up perfectly. I did have to use the Beat Chart to move the half note to the right in order to make room, and that of course would affect all the beats in that measure. Once entered you can use the beat chart again to adjust things back to the left a little if you prefer. --Richard From: Aaron Sherber [EMAIL PROTECTED] Hi all, Is it a bug or a feature that grace notes on ledger lines get more space than grace notes on the staff? This means that if I have a passage in different octaves, the grace notes don't line up in the score. Is there any way to get around this? See http://files.aaron.sherber.com/grace.gif ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Merged syllable question
In my book it's still customary and preferable. By the way, I'd write your example as op-'ning. A similar example, ev-'ning. While o-pen-ing would be correct if the e were used (three syllables), when the e is not spoken, the word changes its complexion, so to speak. You treat it as if it were originally spelled that way, making op the first syllable. Or at least that's the rule I follow and is how I've usually seen it applied! Richard From: Darcy James Argue [EMAIL PROTECTED] Date: Wed, 17 Dec 2003 22:34:59 -0500 To: [EMAIL PROTECTED] Subject: [Finale] Merged syllable question Is it still customary when entering lyrics to use an apostrophe and dropped vowel to indicate a merged syllable in English (i.e., where the word as sung has fewer syllables than the dictionary hyphenation)? Or is that an archaic practice? In other words, should a two-syllable opening be written o-pening or o-p'ning ? - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expand bug? (FinWin2004a)
First, this is not a bug. Optimization only should be done when you're essentially through with the layout, including which measures will be on which systems. (If you're expanding staves, you're not through with layout.) In other words, lay it out just as if the empty staves will be part of the final music. When you're happy with how everything looks, apply optimization to remove empty staves (if that's what you want). Yes, you'll then need to make vertical adjustments to account for the empty space left over in systems where staves are removed, but that's it. A system retains its optimization unless/until you remove it manually or if you turn off Special Part Extraction (if it had been on). Ths is why you don't want to still be moving measures around with optimized systems in effect, because if a measure gets moved to a previously-empty and thus optimized (removed) stave, it disappears until you remove optimization for that system. --Richard Huggins From: James Gilbert [EMAIL PROTECTED] Piano piece, all systems had been previously optimzied: Mass select all of top staff (page or scroll view), '2' meta-key to expand. (Settings for expand: to 2 staves, 1 note each staff, extra notes in bottom, new staves created below existing ones). Do expansion. Instead of now having 4 staves, I end up with the existing lowest stave containing what should of gone into the new stave and the extra notes are nowhere to be seen. When I remove optimization from the systems, everything works as I thought it should - two top staves are the orignal, no change, 3rd staff has one note per beat, the 4th staff has 1 or more notes per beat. I usually don't mess with optimized systems and thinking about it, this 'bug' sort of makes sense. Can you in fact not expand staves within optimized systems? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Aaargh... More delays
I acknowledge the frustration some of you feel, and some of the real-world issues. But I'd just say to you MM employee/lurkers on the list, I appreciate that you're trying to do this right, and that you're doing it for a very small market share (us Mac users). Not that we're unimportant, of course! If Finale were a PC-only program, that might cause me to switch platforms; I'd rather do that than go to Sibelius. So thanks for letting me stay on the Mac, and may it ever be so. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Importing from Rhapsody anomaly
For the stem-direction problem, you'll want to learn about setting Layer options, which is the first thing I'd suspect if I grasp your problem correctly. It seems that the imported file formed two layers. Options Document Layer Options is where you go. You can click on the question mark for quick help or check the documentation. Briefly, set Layer One to be stems up when other layers are present, Layer Two to be stems down. Usually that's all the layers you'll need. I have Layer Three and Four set up the same as Layer One and Two. For showing examples to the list, a preferred way to do it is to set up a personal web page (for example, Yahoo/Geocities is free), then do a screen (or partial-screen, more usually) shot of what it is you're asking about and upload it to web page, then give the link in a message to the list. This makes it easy for people to take a look without anything being attached to the e-mail. --Richard From: Bill Wadlinger [EMAIL PROTECTED] ... Here is my dilemma--one of many: I imported a tune from a Rhapsody file. The treble staff has a melody and harmony line, and in the original Rhapsody file, the upper note of the two has an upward stem, and the lower has a downward stem; e.g., a third space C with stem up, and directly below it a middle C with stem down. When I import this file into Rhapsody, these directions are reversed. Now, with the upper note stem down, and the lower note stem up, they look like two wheels connected by a bicycle chain! Pretty horrible. I haven't been able to figure out how to edit them back to the other way. ... Are attachments permitted on this listserve? I'd be surprised if they were, in this age of virus-laden mail attachments, but if they are, I wonder if people ever post pieces of finale files as part of their messages. I have started browsing the archives but haven't seen anything like that. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Giving away Finale files
You can do what you said or you can create a special template for that publisher that doesn't reflect every nook and cranny of your own. My personal and likely very unpopular opinion is that the notion of not sharing Finale files for the reasons usually stated is overblown. Having been an editor at a publishing house, the very last thing I would have had time for, or even an inclination toward, would be to study someone's Finale settings. What I would want to do is make edits without having to send marked-up proofs back and forth to the engraver. Sometimes it does come down to days saved in getting something out the door to the printer. When that project was finished, the notation file would likely not see the light of day again, other than down the road if for some reason it was needed for a new version of the piece. But...there are people here who feel strongly the other way (or have in the past) and they can offer you their reasonings. Richard H. From: Johannes Gebauer [EMAIL PROTECTED] Date: Tue, 09 Dec 2003 11:06:37 +0100 To: Finale list [EMAIL PROTECTED] Subject: [Finale] Giving away Finale files I am tempted to just reformat everything with Finale's standard template's settings and let them do the work. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Giving away Finale files
Again I have to put on my editor's hat and say that I fully understand the publisher's position on this. He wants to know he can get his hands on the original notation file if they decide to alter the original version, like with a simplification, or perhaps to change title fonts and sizes to match an overall layout scheme of a new collection of previously-published works. A similar argument that was raised about Finale's copy protection might can be raised in this discussion, i.e. what if the engraver (sadly!) dies or can no longer communicate? If he's the only one with his Finale files, and most likely IS the only one who know which ones are what in terms of projects and final versions, then there's a real risk that the publisher would be left out in the cold in such a case. And what if the engraver had a lot of work he had done for that same publisher? It seems to me that some sort of backstop scenario ought to be followed by all of us by which we preserve in an organized way the files that might be needed by clients in the event we no longer can provide them or do the new work the publisher desires. Something that a third-party coud understand, such as (just guessig here) and CD inside a jewel box to which was affixed a label saying, Send to Acme Publishing. This could be updted or a series of such CDs or disks could be done, I presume, as projects are done. If some of you on the list have such a plan, how about sharing what your plan is? Peronally, I don't have a problem with sending my files because of what I said before, that I believe the editor has absolutely no interest in anything except easily and quickly getting edits done and out the door. I could, however, envision the possibility of stipulating that the original engraver also had to do future revisions, although I'm not sure how one would word that or enforce it. RIchard From: Johannes Gebauer [EMAIL PROTECTED] That's not an alternative. The publisher told me they have an archive of all the music they published, both Finale and Sibelius files. They keep this to be able to make changes for future corrections, should these ever be necessary. Johannes ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Grace notes fingerings
Experimenting with fonts and font sizes might be useful, if you haven't and if it's your decision. Times 12, for example, is just slightly narrower than Times New Roman 12. Helvetica 10 does away with serifs, yet is nicely readable (at 9 too) probably beyond that if percentage-reduced. Of course this would affect all the regular-size fingerings, if any. I also would hope you might find out the final print-out size; I don't see how this can be left to guesswork or how you can arrive at a decision without knowing it. Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Staff Reduction in only One Staff
This may not be what you mean, but you can click on any measure with the Mass Mover tool, then choose Change Note Size. Select the percentage you want and everything in the measure is changed to that size. The lines and spaces don't get reduced because they have to line up with the measures on each side. -Richard From: Giovanni Andreani [EMAIL PROTECTED] is there any way to reduce for example one measure to 70%, having the others at 90% all in the same staff, without creating a new staff and then optimizing the staff system? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] tuplets
I didn't write the original question but I was interested in seeing if what you said would indeed work on a measure of existing 16th notes (turning them into tuplets). I repeated your steps and for me it did not work the way you said. After setting Caps Lock and doing Option-3, I hit the 3 key on the first note and...nothing. If I held it down, still nothing. The frame blipped each time but the cursor didn't advance and tuplets weren't created. So... I dunno! Richard From: Christopher BJ Smith [EMAIL PROTECTED] Date: Sun, 23 Nov 2003 08:29:02 -0500 To: Charles Small [EMAIL PROTECTED], [EMAIL PROTECTED] Subject: Re: [Finale] tuplets At 12:39 PM -0500 11/21/03, Charles Small wrote: Hello, I have hundreds of measures full of 16th notes, in 18/16 time sig. I'd like to convert all this to 16th-note triplets, in 3/4. No problem changing time sig and converting to tuplets one tuplet at a time, BUT: is there a way to select a region and tupletize the whole region in one go? Thanks, Ch.S. (PS-- Finale 2000c, Mac) The Caps lock button in Speedy will do this. Speedy Tool, open the frame on the first measure. Set Caps lock. Hit Opt 3 for triplets. Hit 3 for sixteenths and hold it down, letting it auto-repeat. When you are done, change the time sig to 3/4. Christopher ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: P in a circle
Thanks much for this referral to Oasis Font (http://www.oasisCD.com/music/FF_templates.html#1A). It should work great. For others who may be curious, this font is offered free in both PC and Mac versions. It includes various forms of c in a circle, p in a circle (serif, sans serif, various thicknesses, handwritten look). It also includes some logos as are often needed by graphic artists for recorded product, including: DVD Video, Compact Disc, Super Audio CD, Parental Advisory, ADD, AAD, DDD, and what looks like the Dolby NR logo. Here's a link that shows the (Windows)keyboard map, by which you can see the symbols offered: http://www.oasisCD.com/music/Key_map1.html --Richard From: Patrick Lenneau [EMAIL PROTECTED] Date: Tue, 18 Nov 2003 08:45:05 -0800 To: Finale List [EMAIL PROTECTED] Subject: Re: [Finale] OT: P in a circle This came up on the daw-mac list a little while back and the following URL proved helpful. They have both mac and pc versions of the font. PTL http://www.oasisCD.com/music/FF_templates.html#1A ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] piano fingerings
Center them one directly on top of the other above whichever note is lined up with the beat, with the top number applying to the top note. Anything else would be confusing and non-standard. Richard H. From: d. collins [EMAIL PROTECTED] Date: Mon, 17 Nov 2003 20:03:11 +0100 To: [EMAIL PROTECTED] Subject: [Finale] piano fingerings A question on piano fingerings: if I have two notes a second apart (and thus not vertically aligned), each with its fingering, should the two fingerings be centered on the highest of the two notes, or should each fingering be centered on its note? Thanks, Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Removing manual note position adjustments
Click the Note Position tool in the Special Tools pallette, click the measure where notes may have been moved, drag enclose all the handles, hit the Delete key. Don't worry, they won't delete! They will snap back to their default positions. Then reapply the spacing routines. --Richard From: Jamin Hoffman [EMAIL PROTECTED] How do I do this in MacFin2003? When I use the Mass Edit tool to Apply Note Spacing, it doesn't affect any notes I may have accidentally nudged out of place while moving them up or down. http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: P in a circle
Thanks to all for the tips and suggestions. As for WebDings, I have Mac version 1.00 and it does not include P in a circle. According to Hans, version 1.01 does, so perhaps they had an Oops moment after releasing 1.00. Johannes pointed to where I can buy an entire font of P's in a circle for $5, so if it comes to that that's what I'll do. Noel asked about what the parameters were for P in a circle. Not sure what you meant by that question, Noel, but the P in a circle stands for phonorecords and is used on recorded products the same way you'd use the copyright notice on a printed piece. For Why? contact the U.S. government(:) --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: P in a circle
From: David H. Bailey [EMAIL PROTECTED] I don't think that is necessary anymore -- the standard copyright notice is all that is required these days, I believe. I checked this out and it apparently still is required. For anyone interested in reading exactly what it says about the three elements that are required in the notice, their location, etc. Here is the web link: http://www.copyright.gov/circs/circ1.html#fnp That last part (fnp) is a target location on the page itself. It should plant you right at that section. An example of how the notice would look is similar to a copyright notice, i.e.: (P) 2002 A. B. C. Records Inc. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: P in a circle
No, not pee. (:) I'm on Mac and need the P-in-a-circle character (same as c in a circle, except p) such as is needed for copyright notices on recorded products. I've checked several fonts that I have and have concluded I probably don't have one that has it. I don't think any of the Finale-supplied fonts have it (but perhaps I'm wrong). I also checked MetTimes and it wasn't there. Can anyone steer me to a font that contains this, or otherwise suggest how I might solve this need? Just curious: do any Windows fonts have it? Richard Huggins ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] new staves not showing up
Go to Scroll View and under the Edit menu look at Special Part Extraction. If it's checked, uncheck it. Update Layout and return to Page View. I suspect the new staves will appear. --Richard From: Tom Godfrey [EMAIL PROTECTED] Date: Tue, 11 Nov 2003 21:47:19 -0500 To: Finale List [EMAIL PROTECTED] Subject: [Finale] new staves not showing up Hello All A friend sent me a 2003 file with an unusual problem. This is a Finale 2003 file, Macintosh. The file originally had four staves per system (SATB choir). Later, my friend added a piano part. The two new staves show up in scroll view, but not in page view. I did the first obvious thing by removing optimization, but the staves still don't appear in page view. I've fiddled around with this file a bit, and I just can't figure out what is wrong. Has anyone else had this sort of problem, and if so, how it can be solved? By the way, I also tried adding staves of my own in page view. The screen redraws when I add the new staves (with all systems un-optimized), but they don't appear. I'm stumped. -- Tom Godfrey [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
[Finale] FW: 2004 slowness problem
This message below was posted in a church music forum. I seem to recall this was addressed on this list, but the SHSU HTML archives are broken again (at least Sept and Oct), and I can't find anything on it in the Finale online forum. If there's an answer for this guy, I'd appreciate hearing it so I can pass it along to him (while I also suggest he subscribe). --Richard -- From: Wally Black [EMAIL PROTECTED] Date: Tue, 4 Nov 2003 16:44:45 -0600 To: [EMAIL PROTECTED], [EMAIL PROTECTED] Subject: [C-M] Finale Issues [...] As my files grow larger, the entire program bogs down and runs like molassas. I've got one other friend with the problem and I believe it's in the software. [...] I contacted (MakeMusic) and they responded but I don't think they've seen the problem yet. Their response was to remove some of the plugin's that activate with the program. Also, if you've found the magic bullet (like which plugin is causing the problem) if you could let the rest of us know we'd be eternally grateful (or, at least grateful until the next update comes out!) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] ResEdit (Mac)
I've used ResEdit a little to assign a key combo to an oft-used menu command in a few apps I like to use. I'm wondering if any of you Mac'ers ever successfully used it for the same purpose in Finale? I do know that QuicKeys and programmable mice can do this sort of thing, but I specifically am asking about ResEdit. And if you don't mind a little OT, how about if it can be used to do the same with Outlook Express? With ResEdit, what happens if you, despite efforts to avoid doing so, happen to choose an existing key combo? Will ResEdit stop you from that, or will the app you're altering crash if you try to use it, or will the app just go with the command that first had it? (I'm on Mac OS 8.6 using FinMac 2002.) Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FYI Finale or Mosaic to Sibelius competitive upgrade
How would you provide pages of a program CD? --RH From: John Hinchey [EMAIL PROTECTED] Proof of ownership must be provided by mailing the first second pages of the table of contents in the user manual or original program CD. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FYI Finale or Mosaic to Sibelius competitive upgrade
Okay...do they send it back? I mean, are there people that actually would give up their original program CD (not getting it back)? --RH From: David H. Bailey [EMAIL PROTECTED] The OR stops the modifier of pages of the. Proof of ownership must be provided by mailing (the first second pages of the table of contents in the user manual) or (original program CD.) Richard Huggins wrote: How would you provide pages of a program CD? --RH ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FYI Finale or Mosaic to Sibelius competitive upgrade
It just does not seem to fit the personality of the members of this list to willingly give up an original program CD. Count me as surprised. (And once copy protection comes into play I don't think burning a CD solves anything, does it?) However, the sending in of an earlier program CD (e.g., Finale 97, as you said) mollifies the issue quite a bit, if truly Sibelius didn't care. Richard From: Darcy James Argue [EMAIL PROTECTED] Okay...do they send it back? I mean, are there people that actually would give up their original program CD (not getting it back)? Well, yes. Lots. The whole point of the promotion is that you are in theory *switching* to Sibelius from some other music notation program. But even if you had no intention of giving up Finale after taking advantage of this upgrade (which I believe is not strictly legal), the requirements are so minimal that this wouldn't present a particular burden. My thought was, who *wouldn't* give up their original program CD or a couple of pages out of the manual, in the age of CD burning and online documentation? Hell, you could even send 'em your Finale 97 CD, it doesn't matter to them. - Darcy ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] more french to english
So let me get this straight, you hit the bass drum with a loaf of French bread?? (:) --Richard P.S. Leads to possibilities where controlled consumption of the device can be used to fine-tune the tonal response. From: d. collins [EMAIL PROTECTED] (*baguette* in french). ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FYI Finale or Mosaic to Sibelius competitive upgrade
I know there are a few other notation programs out there, but If there were no Finale, would there be a serious competitor to Sibelius (that INCLUDED the Macintosh platform)? What would keep Sibelius honest and interested in upgrading/improving their features? --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FYI Finale or Mosaic to Sibelius competitive upgrade
Several years ago I actually tried Graphire for awhile, even bought a key for something like 90 hours or so. I forget what transpired but I decided that wasn't going to work for me and I sought to sell the key to someone else. The folks at Graphire went above and beyond to help me do that, since really it was out of their responsibility. Anyway, I can say that all my contact with Graphire was positive and friendly. The sample output images on their website are impressive. Richard From: David H. Bailey [EMAIL PROTECTED] There are none at this level. There is Graphire Music Press, which is supposedly bringing a new version with a new pricing scheme (they had a pay for so many hours and then the meter stops) where you actually buy unlimited usage. But this is still only in the rumor stages. But from what I hear, it does the best job of all three at engraving but I'm not sure it has playback at all. There is no mention on their website of playback that I could see. The price is $595 full price, with $295 academic price. The output is beautiful. http://www.graphire.com to find out more. Richard Huggins wrote: I know there are a few other notation programs out there, but If there were no Finale, would there be a serious competitor to Sibelius (that INCLUDED the Macintosh platform)? What would keep Sibelius honest and interested in upgrading/improving their features? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Herbie Hancock interview
Luckily for this list, I can translate Herbie's statement. What he said was: ...Sibelius does for me the things I need done. You know, half notes, quarter notes, even eighth notes-- complex stuff like that. So I switched! --Richard From: Tim Thompson [EMAIL PROTECTED] Date: Sat, 18 Oct 2003 13:43:44 -0400 To: [EMAIL PROTECTED] Subject: [Finale] Herbie Hancock interview Are all your music programs OS X now? Yeah, you know the program Finale. Well in a couple of months they will have their OS X version finally. Well, you know I switched to Sibelius. I said to heck with Finale, Sibelius works pretty much as well as Finale. So I switched (laughs!) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: Please have a look.
From: Keef [EMAIL PROTECTED] One person gave me three things upon seeing a different score that vastly improved it without resorting to *any* nitpicking. Maybe you never read in the Bible this passage from 1st Hesitations: 6:3: Blessed are the nitpicky, for they shall inherit the engraving work. Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [Fwd: Re: Finale 2004 Mac delay]
From: Eric Dannewitz [EMAIL PROTECTED] Good PR Coda! Good PR! Presuming this is meant as sarcastic, why? They answered your e-mail honestly, they want to ship the best product and they're honest about their development difficulties (no corporate-speak, which is refreshing), they're still committed to the Mac market and they're giving you $20 as a good-faith gesture. You could have none of those things, but why? --Richard Huggins ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac 2004 delayed
When and how was this announced? The only thing on the Finalemusic.com website is a simple blurb under the Order Now button that now gives a will ship no earlier than 12/15/03 statement. Was there a more fully-developed announcement made? Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN (?) Outlook Express / list help
I ditto the reply below. I do this in my Outlook Express and it works perfectly. Include the [ and ] brackets unless you want any occurance of the word finale in the Subject to be routed to the Finale folder, which you may. --Richard From: Daniel Dorff [EMAIL PROTECTED] In Tools | Message Rules | Mail | Mail Rules, define that filter to grab anything with [Finale] in the Subject field. Then it doesn't matter what's in the to: or cc: field. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Basic Finale Questions 2
From: Philip Aker [EMAIL PROTECTED] Thing is (on Mac anyway) the manuals, both PDF and QuickHelp types are rendered in separate applications so an interruption is guaranteed. It would be much cleaner if they could be rendered directly to a Finale window. With F2K3 or lower the system facilities were limited to HTML but they weren't available to all systems Finale could run on. Perhaps after the cutoff point becomes OS X 10.2.3 we could have embedded PDF or HTML docs. Count me out on your proposal. But (I'll admit) that's due partially to how very clunky the Reader PDF plug-in works inside an Explorer window (in my experience). I have my Explorer set up to use the Reader app rather than launch the plug-in. What if embedded PDF inside a Finale window was clunky, slow, unstable, vs. how well it works in the application designed for it? And why should MM devote resources to making that possible when they could be working on the actual software? And I just can't go along with the labeling of changing to another window an interupption. That is a very narrow tolerance, and I think an unreasonable one, to say that switching to a Reader window is somehow worse than switching to a Finale window. And would you want the embedded PDF capability to temporarily replace the Finale score on your screen or to open in another window? I sure wouldn't want the former. I've never been among those who have bashed Finale's PDF documents. I think the search capability is strong, and to be able to click on a document reference inside the index and be taken to chapter and page for that entry is a good thing. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] FileOpen software
I stumbled across this ... maybe you serious users of Acrobat already know about it ... but it's a plug-in (I think) that offers quite a bit of enhanced security, distribution control, printing, all sorts of things for PDF documents. Just thought I'd mention it. http://www.fileopen.com/ --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Transpose half a chord
Do you mean for example if a 17-measure region had G#'s that you wanted changed to a Ab's, is there a way to do it for all 17 measures? If so, the plug-in TG Replace Pitches will do it. I experimeneted with changing G#'s to Ab's. There are multiple fields in the plug-in so that you can change several pitches at once, but just using one section I entered (Change) G# and (To) Ab. It worked perfectly for all measures. Richard Huggins From: Robert Patterson [EMAIL PROTECTED] Organization: Ars Nova Technologies, LLC Reply-To: [EMAIL PROTECTED] Date: Sun, 12 Oct 2003 14:07:30 -0500 To: Finale Chat [EMAIL PROTECTED] Subject: [Finale] Transpose half a chord Is there some simple way to transpose only one note of two note chords (over a larger region)? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Transpose half a chord
Yes, I used # for sharp and b for flat. And I didn't designate a pitch number either, such as G4. Just G# and Ab. By the way, I tried this on two-note chords--since you had mentioned that--and also tried it on multiple G# pitch locations over two measures and all of them changed to Ab. Obviously you click the range of measures first. Richard From: Robert Patterson [EMAIL PROTECTED] Organization: Ars Nova Technologies, LLC Reply-To: [EMAIL PROTECTED] Date: Sun, 12 Oct 2003 22:05:57 -0500 Cc: Finale List [EMAIL PROTECTED] Subject: Re: [Finale] Transpose half a chord I tried TGTools Replace Pitches, but couldn't get it to do anything. It seems like the octaves are numbered, but I'm not sure which numbering it uses. Plus, I wasn't sure how to specity flat and sharp. (I gather it is b and #'?) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Where have all my notes gone?
From: LGS-Europe [EMAIL PROTECTED] A puzzle: I used an existing file, created in WinFin2k3, emptied it, filled it with new notes (easy because of same layout etc.). But now I cannot get a good music spacing, as if Finale remembers the old notes, weird. First, make sure the systems are unlocked. If they were locked, maybe that was the problem. Unlock them and run a spacing routine. Can I presume there were no lyrics in the original file? If there were, go to Lyrics tool Edit Text and check each text window for lyricss. If found, highlight and erase them. Then run a spacing routine again. So I decide to copy all into a new file: Mass Mover Select all Copy New file Paste. Nothing, though the spacing of the empty bars changes. If I choose Insert in stead of Copy Finale inserts the exact number of empty bars. This is confusing. You would use Insert instead of Paste (not Copy). In any event, when using Insert, you highlight only one measure. Finale will insert the material from the clipboard,and the measure you highlighted will be moved to the end of the inserted material. --RIchard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 for Mac...good news and bad news
I run Mac F2k2 using OS 8.6 on a non-G3 Powerbook 3400 with 3GB HD space, SCSCI-connected to a Powerbook 1400 (acting as a SCSI drive) for a total of 6 GB. The external PB is full up and the main PB has 1MB available. Until I can upgrade my CPU I will upgrade to OS 9 ( since I can't run OS X) and run F2K4 as best I can. I disagree with the subject line--there is no bad news at all. It would be like a doctor saying, The good news is we got all the cancer; the bad news is there's a scar. To the patient it would be the most beautiful body marking of them all. MM has, by all appearances, done a good thing with the new Finale, and for it to be anything other than what it is would have made no business sense at all. Correction: no sense of any kind. Richard From: [EMAIL PROTECTED] I was delighted to see the announcement of Finale 2004 for Mac, mainly because, after years of begging and begging, smart hyphens have finally been included!!! Yippee!!! And then I looked at the system requirements...Mac OS 9.x, plus at least 200 MB of empty hard drive space. Let's see...I'm running OS 8.6 on my Mac at home and at school (so I can still use Microsoft Works, which I haven't had any luck loading onto an OS 9.x machine)...plus, I have the original desktop Mac G3 at home, with not nearly enough hard drive space. Having been a Finale user from version 1.0, I am very disappointed with this present situation concerning the new Finale 2004. I called tech support and was told that, because they went to OS 10 and a carbonized version, OS 8.6 is no longer supported. What a letdown!!! ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Help with moving initial left barline
You mean that if, for example, the left margin were x centimeters, you'd want the margin on that one stave to be x-1 centimeters? I don't know how you'd do that (I couldn't) but why not make the other staves x PLUS 1 creating a similar effect? Richard From: Steve Farrell [EMAIL PROTECTED] Date: Tue, 07 Oct 2003 00:15:29 -0400 To: finale mailing list [EMAIL PROTECTED] Subject: [Finale] Help with moving initial left barline I would like to make use of the space in the left margin. I want to increase the space in the first bar to allow for a variety of possible time signatures and key signatures (I'm creating a template for a client). The first bar would be about a centimeter longer than the subsequent 3 bars on the 4 bar line, but I want to steal the extra centimetre from the left margin. I have tried a number of as yet unsuccessful alterations to the document parameters, but I don't understand the way this layout thing is set up. I have set up the document so that no time or key signatures are printed. Some of the staves are also without clefs to allow for a variety of possibilities in percussion and solo instruments. Thanks for any help. Steve Farrell ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Help with moving initial left barline
Oh...DUH to me... All you have to do is UNcheck Avoid Margin Collisions in the Page Layout menu, then in the Edit Systems box set the left value to a negative number. --Richard From: Steve Farrell [EMAIL PROTECTED] Date: Tue, 07 Oct 2003 00:15:29 -0400 To: finale mailing list [EMAIL PROTECTED] Subject: [Finale] Help with moving initial left barline I would like to make use of the space in the left margin. I want to increase the space in the first bar to allow for a variety of possible time signatures and key signatures (I'm creating a template for a client). The first bar would be about a centimeter longer than the subsequent 3 bars on the 4 bar line, but I want to steal the extra centimetre from the left margin. I have tried a number of as yet unsuccessful alterations to the document parameters, but I don't understand the way this layout thing is set up. I have set up the document so that no time or key signatures are printed. Some of the staves are also without clefs to allow for a variety of possibilities in percussion and solo instruments. Thanks for any help. Steve Farrell ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Extension ranges on ... Bass Clarinet
Ray, your statement is curious to me. First I'm not exactly certain what you mean by mere alteration of the printed pitch. What's mere about it? Are you suggesting that a ledger-line note is more respected than a note with an 8va on it? Second, are you saying that the performer might arbitrarily decide the composer didn't really mean it? Richard From: Ray Horton [EMAIL PROTECTED] An 8va or 8ba marking can make the composer's intended note seem like a mere alteration of the printed pitch. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Extension ranges on ... Bass Clarinet
Geez, Roy...you took my message way wrong. When I said curious, that's exactly and only what I meant. Nothing more and most certainly nothing adversarial! That being said, I can relate to the notion of the player second-guessing something that seems to be an example of an arranger or composer who did not seem to know the instrument very well. I would think this sort of thing varies according to the reputation (if any) of the composer or arranger; possibly the conductor's influence; and practical factors, such as it sounding like crap... --RH ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: Attachments - was Re: [Finale] Beam
Sorry...I did not think about the digest when I supported occasional attachments. Your point is well taken. Persons without access to a website can create a free one on geocities.com and probably a few other places as well, and easily upload simple graphics for web reference by others. RH From: Joe Dolsak [EMAIL PROTECTED] I only get the digest, and this particular digest was two thirds gibberish from the attached .jpg file. It's not stripped by the list. I agree with the poster whe recommended a link to a file vice the file itself, unless, of course the list can be set up to strip attachments when it compiles the digest. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Massedit
You can't use Copy to copy a measure to the Clipboard, then Paste it onto another measure of music but get only the articulations. You CAN, however, use the Opt.-Click method (that's the Mac way) and it works great. With the MM tool, highlight the measure(s) containing the articulations you want to copy, then do the Windows equivalent of Option-Click on the measure where you want the articulations to be copied to. The articulations only will appear over the notes originally in that measure. --Richard From: Peter Younghusband [EMAIL PROTECTED] FinWin2003 I managed to use Massedit to copy articulations only from one line to another.trouble is I can't remember how I did it. On trying again using MassEdit - Copy Entry Items - and selecting Articulations only, when I paste I get the pitches as well as the articulations. How do I get just articulations? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Dedicated workstation
I'm just wondering how many of you have a Finale (or Finale/MIDI)-dedicated workstation? That is, a computer/MIDI set-up that only is for the purpose of engraving and perhaps related activities (such as MIDI sequencing, maybe audio processing). In other words, your Internet, business activities, e-mail and other computer stuff is a separate workstation. I would presume your fastest computer and biggest monitor would go to the music station, but if not that would be interesting to know. More and more I wish I had a separate place where I kept my music projects front-and-center and on their own computer, without un-related paper clutter laying around to either depress me or distract me (:). I'd be interested in hearing if any of you did that and how you evaluate the difference it made in productivity. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sibelius 3 - no scroll mode
From: Craig Parmerlee [EMAIL PROTECTED] It is like some tortured game of whack-a-mole. Great imagery!! --RH ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: bug with auto spacing on FinMac 2003?
By as documented I meant that Auto Space/Update is not *supposed*to be invoked when the speedy frame advances to the next measure. In other words, it doesn't update because it is working as designed. However, it should be invoked whenever the speedy frame goes away, by whatever means it does go away (i.e., clicking outside the frame, clicking on another tool, hitting the 0 numeral). As for why other programmed tools don't block the update when accessed, but the MM tool does (if accessed via macro) possibly only could be explained by some weirdness having to do with that particular macro. Hard to know! --RH From: David Horne [EMAIL PROTECTED] Sorry, when you say documented, do you mean it's in the documentation as a 'feature' or is it a bug? In 2k, the spacing/update is invoked simply by moving to the next measure within speedy. For several reasons, I prefer this. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] bug with auto spacing on FinMac 2003?
I'm using 2003 on Mac OS 8.6 and, as documented, Auto Update/Spacing is not invoked when Speedy moves from one measure to the next. But when anything causes the Speedy frame to go away, Auto Update/Spacing should take place, including if I click on MM tool while the frame still is showing. By the way, did you test this by clicking outside the frame (not clicking on another tool while the frame is showing)? If so, are you saying it didn't update or re-space? Richard From: David Horne [EMAIL PROTECTED] Anyway, I've noticed that when using speedy entry- auto-spacing doesn't work like I expected it to, based on 2000. I can only get it to space items if I select another tool, exiting speedy entry. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: avoiding SPAM and viruses
Can we expect this current spam attack to die a natural death or is it self-perpetuating, ad infinitum? It's quite a problem at present. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page reduction vs. Staff reduction (again!)
From: Robert Patterson Finale [EMAIL PROTECTED] We system-reducers have led you page-reducers to water. Will you drink? I'm just curious about one facet of all this...the example (which has been mentioned previously) of different pages having different reductions. I am sensing that this usually is in relation to a conductor's score. The orch's I've done were pre-Finale, and the ones I've done since then have not been complex in terms of # of instruments, so I haven't personally had this need. For my own edification I'd appreciate a breakdown of such a need, such as how what would happen between, say, page 2 and page 3 on such a score that might call for changing the staff (system?) reductions, and if you mean that the flute staff (example) might be smaller in size (except margins) than a violin staff or something. This particular aspect is just foreign to me since I've never faced it; I'd like to be conversant with the kind of situation that produces it or that could benefit from using it. Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page reduction vs. Staff reduction (again!)
Not to state the obvious (but going ahead and doing so, in case it benefits someone else), if I go to system reduction I'll have to reduce the font size of the page text blocks by an equal percentage of the page reduction percentage I used to use, if I want the newly-printed music to look similar to previously-printed music. Eh? Example: If I previously used 30-pt font for the title but reduced the page to 80%, I will use 24-pt if the new page percentage is 100% (24-pt. being 80% of 30-pt.). --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: lyrics discussion [LONG] (was Re: BUG fix / FIN 2k5 Feature Request)
I presume that what you know works is the latter of the two options you suggested below, because when this all started being discussed I tried the former and it does not work. For one thing, the thickness of the line is reduced proportionally. So if you get it short enough by using something like 4 or 6 pt font, you also get a thinner line, and it doesn't look like the regular hyphens. But worse than that, it drops lower! A graphic hyphen could be created as a measure or note expression if need be. This is a last-resort method, but if it's a hyphen you must have --Richard From: Andrew Stiller [EMAIL PROTECTED] what I would recommend is changing the point size of the en-dash so it is the same length as the hyphen, or borrowing the en-dash from another font where it is shorter. I *know* this works! ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page reduction vs. Staff reduction (again!)
Considering lyrics Lyrics on an 80% page with 100% systems would be 80% of 12 points (for example), right? (In other words, the 100% system setting does not stop the lyrics from being reduced by the page reduction. Or am I wrong?) Return the page to 100% they go to full 12 point but reduce the system to 75% and they reduce along with it, thus ending up smaller than they were under 80% page reduction. Right? Those of you that use system reduction, did you compensate for this and what size if so. Or am I confused...(again)? -Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Meet The Composer site
I'm curious if that $2500 included engraving/score prep or if you (or someone) got extra for that. Typically do you include that in your commissions? Richard From: Dennis Bathory-Kitsz [EMAIL PROTECTED] Date: Thu, 18 Sep 2003 15:23:17 -0400 To: [EMAIL PROTECTED] Subject: Re: [Finale] Re: Meet The Composer site I'm not sure who actually receives these high commission amounts in the U.S. It may go hand-in-hand with fame. My largest US commission was $2,500 for a 25-minute orchestral work. There have been several for performance only, but I tend to receive $250-$1000 for chamber works from US groups, plus a recording with full rights and all the ASCAP royalties I can muster. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Charge for commission
From: Andrew Stiller [EMAIL PROTECTED] I find it absolutely impossible to count hours spent composing, especially since, as has been pointed out somewhere, so much of the composing process looks like goofing off. Funny remark, but true. There is a lot of thinking, tinkering, doing, RE-doing, walking away from it, diverting to a computer game to clear the head...oh wait, I'm giving away the magician's secrets. Mike Matthews sent me privately the fee schedule of the Canadian League of Composers, supposedly a very low-ball set of rates, according to wh. a 20-minute quartet would go for $8500 Canadian, say ca. $5000 US. FWIW, this schedule may be seen here: http://www.composition.org/RATES2003.htm --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] lyrics discussion
Click Assignment has its degree of usefullness, but I sure as heck wish they'd replace the click part. I hate moving the mouse to the next syllable, clicking, then rinse and repeat to the end. I would like to be able to use keystrokes to do this, for the sake of speed. I don't share such a negative view of Type Into Score (TIS). One has to type the words one way or another, and in some cases TIS is less bothersome than Click Assignment. --Richard From: Phil Daley [EMAIL PROTECTED] At 9/15/2003 11:21 AM, David W. Fenton wrote: So, my conclusion is that, yes, lyrics are fundamentally messed up but the problem is with Type In Score, not with lyrics in general, and that if you avoid using it, the results turn out to be pretty quick and easy to edit. I agree. I tried Type-in-score once. Then I tried to figure out a different way and now always use Click-assignment. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Feature request, Fin 2k5
Or at least an option that might say something such as, Add to Same Library in Default Document? So that next time you open your default document, that whatever has been added. Good idea. RH From: Noel Stoutenburg [EMAIL PROTECTED] I'd like to ask that Finale be modified so that when one has created an expression, articulation, smart shape, chord symbol, c, and selected it, that one would be presented with a dialog box through which one would be afforded the opportunity of also saving the same expression, articualtion, smart shape, or chord symbol to one or more libraries in the active library folder ns ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy Birthday; was Nukey-ler mus-kulls
Here is a thorough (and interesting) history of Happy Birthday. http://www.attachemag.com/archives/01-02/story2/story2.htm --Richard From: helgesen [EMAIL PROTECTED] Wow! What a great question for a trivia night! Any idea when- and where? I guess UK or USA- but that's only by the ladies names. Cheers Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Blues key signatures revisitied
I can't think of many justifications for persisting with something that by all reasonable evaluation torments the twin causes of readibility and playability. --Richard From: Chuck Israels [EMAIL PROTECTED] As Dave has observed, the saxophone parts are unnecessarily difficult to read with all those sharps, cancellations thereof, reiterations, accidentals, courtesy accidentals, etc. In this highly chromatic case, hindsight dictates that the better choice would have been: no key signature and the descriptive 16 Bar Blues in A on each part. My basic point of view remains the same, but this experience may provoke thoughtful review of specific highly chromatic cases. Food for thought. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Happy Birthday; was Nukey-ler mus-kulls
From: John Howell [EMAIL PROTECTED] It was written by a couple of American sisters and published in (I think) the 1890s with the text, Good morning to you, etc. So the melody and those words are public domain. The Happy Birthday text was published in the 1930s, and is still under copyright (assuming that it was properly renewed in its 28th year). Royalties are due to the estates of those sisters, whose names I've seen but can't for the life of me remember. Mildred and Patty Hill As for copyright, here's what the history page I referenced earlier http://www.attachemag.com/archives/01-02/story2/story2.htm has to say about the copyright to HBTY: The following year [ED. NOTE: referring to 1934] , the Clayton F. Summy Company, a Chicago-based music publisher, joined ASCAP and, representing the sisters, copyrighted the songthe music and the words. According to the New York Times, Because the copyright was registered by the company, not the sisters, the song is considered a work for hire,¹ and thus under current law is entitled to copyright protection for 75 years. With the new laws enacted in 1998, the protection will actually last until 2030. And how much ARE those royalties? According to another note on the page, about $2 million per year. RH ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hairpins
From: helgesen [EMAIL PROTECTED] Is it possible to insert hairpins -(cresendo up or down) to show on all staves in a score. I know one is offered a choice in Expressions- i.e. Show on all staves or this Stave only -but is such a choice offered on appropriate smart shapes. I accept it could not always work on slurs for example- or trills. Hairpins are among the choices you have in the Shapes portion of the Expressions Selection box. Select the hairpin, click OK, and you'll have the choices you mentioned (All Staves, This Stave Only, etc.). If All... is clicked, click OK and you'll see the hairpins on all staves. Double-click on a handle and you'll see boxes you can use to change the shape as desired (wider, narrower, higher, shorter, etc.), and you'll note that all the shapes change accordingly on all staves. It also can have a playback effect assigned to it. To do that, edit its definition. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Plugin wish (another one for Tobias?)
Diverting from your question, I'm curious as to what you think is your advantage in keeping these individual pieces all in one file? I've arranged --and engraved for the publisher-- four piano collections of 10-12 pieces each, and I can't think of any advantage, but CAN think of enormous headaches, in keeping them in one file. --Richard From: Johannes Gebauer [EMAIL PROTECTED] I frequently have to deal with collections of pieces, which I like to keep all in one file. Eg, at the moment I am editing an organ collection consisting out of 6 pieces. Most of the pieces start on a new page. Now the composer has decided that he wants what used to be the last three pieces to be the first three pieces. It would be great to have a plugin that can do this for me, ie inserting the systems from the back of the volume at the beginning, including all staff optimization etc., and shift single page text blocks so they stay with the pieces they belong to. Is this possible? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Plugin wish (another one for Tobias?)
Ok...some decent reasons to consider were given. I don't understand the PDF headache impliedbut I don't work with actual Adobe Distiller or whatever it is...I work with a print driver that prints the documents to PDF. This being the case I would think I could use Print from the Finder and it would handle the job. One big drawback to me would be the slowness of my computer. You guys must either have fast machines or are willing to wait for Finale to deal with the redraws of all the other pages. How do you handle that? As for music spacing, I would presume you can't use Select All anymore, that you have to manually highlight only the measures of the piece you're currently working on. Eh? When the music of the previous piece ends somewhere other than at the bottom, shall I presume that you edit the final system margin to force the start of the next piece onto the next page (*IF* you don't want it starting on that page, of course)? What other tricks and tips are there to doing a collection as one file--please enlighten me (or us)? --Richard From: Johannes Gebauer [EMAIL PROTECTED] Date: Sat, 13 Sep 2003 22:09:25 +0200 To: Finale list [EMAIL PROTECTED] Subject: Re: [Finale] Plugin wish (another one for Tobias?) On 13.09.2003 20:40 Uhr, Richard Huggins wrote Diverting from your question, I'm curious as to what you think is your advantage in keeping these individual pieces all in one file? I've arranged --and engraved for the publisher-- four piano collections of 10-12 pieces each, and I can't think of any advantage, but CAN think of enormous headaches, in keeping them in one file. Eric has already listed some reasons, here are some of mine: I like to be able to print booklets easily from Finale. Also, some of these pieces are actually less than a page. Altogether it gives me the most flexibility in terms of changing the layout. I don't have to keep several documents uptodate with my articulation and expression libraries. If I change a document setting I only have to do it once. There are several things in Finale which you can do to the whole document in one go, but which are a drag if you have to them on a page per page basis. I don't have to worry about getting page numbers correct. I can easily print everything into one PDF and send it to the composer for corrections. Takes me 10 seconds to do. If I had to print every page separately and then assemble one PDF from them I think I would go crazy. 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
Re: [Finale] Happy Birthday; was Nukey-ler mus-kulls
Two sisters, Mildred and Patty Hill, wrote it. Summy-Birchard, Inc. controls the copyright. Yes, it is a royalty-earning song everytime it is heard on TV or movies. Wish I'd written it! Richard From: helgesen [EMAIL PROTECTED] OK- here's a thought. Who wrote Happy Birthday- and when? I read somewhere that it is the most recognised and universally used tune in the world. Here in Oz we have a TV channel called Special Broadcasting Services. It shows programmes from any and every nation- with sub titles. Regularly, even in programmes from 'Outer Mongovenitch' one hears HBTY! Who has a huge performing rights cheque due? Happy Birthday to someone!! ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Resize staff tool
If you change the settings in the System Scaling area of the Page Format for Score defaults to whatever scale it is you have changed the existing staffs to, any new ones will take on those same dimensions. Richard From: Ray Horton [EMAIL PROTECTED] Date: Tue, 9 Sep 2003 16:59:26 -0400 To: Pierre Bailleul [EMAIL PROTECTED], [EMAIL PROTECTED] Subject: Re: [Finale] Resize staff tool Yes, just as you are surmising, when you add more pages or systems at the end, you have to repeat the resize. Does catch one by surprise sometimes, doesn't it? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Barline question
Are you talking about a vertical line, like a barline except in the middle of a measure? If so, you wouldn't want it solid, you'd want it broken (dashed). You can do it by using the dashed line tool from the Smart Shape pallette. Press Shift, double-click at the top of the measure and drag downward (Shift keeps it a straight line). Or...are you talking about a solid vertical line, for example to divide two sections of score on the same page? In that case you could use the Custom Line Tool from the same pallette (the icon with a question mark over a line). In the Mac, you Option-Click that icon to produce a selection box that has several lines in it (wavy, etc.). Click a solid line then click Edit. In the line thickness field enter something like 18 and you'll get a thick dark line. Experiment to get what you want. Click OK and then Shift-Drag it horizontally . --Richard H. From: James Brody [EMAIL PROTECTED] I would like to be able to put dividing bar lines (section indicators) in the middle of measures of a score for a large ensemble. I don't know if it's easy or difficult, but I can't seem to find the direct reference for doing this in any of the documentation, although I'm sure that it's just right there for all to see. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Dot question
On a double-stemmed, unison dotted note, where two layers have been involved in creating the unison, Finale will put only one dot if the note's on a space but two (one above, one below) it it's on a line. I don't know if there's a notational standard for this situation, but I don't recall seeing double dots for it. If omitting a dot on one of the layers (EX: enter a note of the same unit but without a dot) isn't feasible due to subsequent notes or for playback issues, is there any efficient way to eliminate the extra dot? And (keeping in mind we're dealing with double stems) would the position of the single dot--above the line or below the line--be determined by where on the staff the note is? That is, above the line if the note is below the middle line and below the note if it's on or above it? --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] repeats
From: Andrew Stiller [EMAIL PROTECTED] OK, how do I (in FinMac 2K2) put a cautionary key and time change into a measure when the following measure does not in fact change time or key? This comes up because a first ending requires these cautions (the measure to wh. it jumps has the new key and time), but the 2nd ending is unaffected. Speaking only to the time signature part of your question, I faced this last week and found no pre-configured time signatures in the character sets. The time sigs that Finale places are comprised of Maestro 24-pt and regular numerals (i.e., 3,4, 6 etc.) stacked. You can create a pre-configured time signature as a shape expression. In the Shape Expression Designer choose Maestro 24 pt (no bold face, etc.), click somewhere in the box and hit the what will be the top numeral. Click elsewhere and hit the bottom numeral (two separate numerals required; using carriage return will not put the numbers close enough together). Click the Selection tool (arrow), zoom to 400% and drag-enclose the second number and position it directly underneath and carefully aligned with the first and almost touching it. Go back to 100% and drag-enclose both numbers, producing their respective handles. Drag the numbers close to the circle in the middle. Click OK and be sure and UNcheck Allow Horizontal Stretching in the next dialog box. Click OK, and in the next box here is a case where All Staves and NOT checking Allow Individual Positioning would be the appropriate choices. A mid-measure time signature option would be great, as they have for clefs. If I've overlooked how to do this using a feature I don't know about, someone let me know. -Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Blues mode key signature
Perhaps this is not as compelling an argument, but I think seeing the C-naturals affects the players in a positive way as they convey the overall blues feel, if you will. It's all metaphysical, I suppose, but then so is follow-through on a golf swing... -Richard From: Chuck Israels [EMAIL PROTECTED] For my money, you write in D Major - normal key signature. That's just an opinion - a preference, if you will. It's also the way I hear it - with C naturals as lowered leading tones. I also believe that this is far and away the normal convention. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] ARRRRRRRGHHHHH
Beta you den me, boss! RH From: Bruce Hunter [EMAIL PROTECTED] Date: Thu, 28 Aug 2003 15:22:55 -0700 To: Richard Huggins [EMAIL PROTECTED] Subject: Re: [Finale] ARRRGH From: Richard Huggins [EMAIL PROTECTED] Maybe the beta testers found a flaw in the original shirt RH Dunno, Ah picked mah shirt up off'n da flaw, chewed on it awhiles, and couldn't taste no none them there betas. 8^) BruceH ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Make mass mover move expression marks - addendum
From: Craig Parmerlee [EMAIL PROTECTED] If the drag operation can't copy everything, then it ought to be disabled altogether. Oh man--I'm going to mark that comment up to sheer frustration and fatigue! You would disable everything else the feature can do (and rob us all) because it won't do that one thing? You found a perfectly acceptable way to do what you needed to do, so I see no need to send Mass Edit to bed without its supper. Take two andantes and call me in the morning! Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
