[Finale] MMSystem
Please, anyone tell me how to correct an error dialogue box which pops up randomly. I have no midi keyboard connected at the moment- (can't afford to update from my 20 year old Yamaha yet!) So I'm using all 'qwerty' keyboard and mouse. I am running Fin 2001 on Windows 98. Plenty of RAM. I have 2004 installed but am using 2001 for the sake of speed- (mine -not Finales!!) I still can't get used to all the 'dangly bits' on 2004 yet! Completely at random -and often (not always) after a spinning eggtimer icon appears on cursor,a box will appear with a 'whoosh' sound. If the 'spinning eggtimer' iconDOES appear it can last for 20 or so seconds, everything else freezes, then- Default Midi Output Device (in the blue 'title bar) MMSYSTEM001 Undefined external error. (and an OK button) Click on OK- everything goes on as normal! As I say, it isn't a fatal error but really annoying when it happens every five minutes or so! Please help! Cheers Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Phantom attachments
I am aware that attachments are not generally acceptable on the list- for several obvious reasons, but recently my mail is showing about a third of Finale messages as having attach'ts when in fact they do not. Is this problem my end, or are others having same symptom? Cheers, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: ad lib
The Oxford Companion to Music confirms David's comments re- ad libitum and obbligato, giving examples of the 'confusion' and stating - rather smugly, I thought- a clear case of Lucus a non lucendo. Translation please? FWIW my solution to what to put in parts and score would be optional and play Cheers Keith in OZ - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: Aaron Sherber [EMAIL PROTECTED] Cc: [EMAIL PROTECTED] Sent: Wednesday, January 21, 2004 9:44 AM Subject: Re: [Finale] OT: ad lib I always thought that was what obbligato meant (obligated to be played.) A quick glance in my New Harvard Dictionary confirms it -- Obbligato is the opposite of ad libitum. Aaron Sherber wrote: Hoping someone can help me out with my current brain short-circuit... In the middle of a piece of music, let's say there are a few bars which the oboe can play or can leave out, at the conductor's discretion. So those bars are marked 'ad lib.' Immediately following are bars which the oboe must play. What indication cancels the ad lib? I know that one way of making this clear is to print the ad lib section with reduced noteheads, but isn't there some term which I can use as well? Is the answer simply 'Play'? Thanks, Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT -(Sort of!)
Not strictly Finale- although it does affect my Finale files, so I'll ask anyway. In Windows 98, everytime I open a file or folder the first thing I have to do is to change it to View by list- as opposed to Icons. How do I ask (tell?) Windows to always list by name (by default), and never by Icon. Some folks may prefer icons, I don't, and I consider them a waste of space in files/folders. Desktop is OK. Sorry to bore you! Cheers Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Explode!
Situation- 1st and 2nd flute parts, lots of unison and some complex divisi. Therefore done as seperate parts, flute 1 and flute 2. Explode music does the divisi fine, but only puts unison line in top part. I Have looked at dialogue box carefully, but can find nowhere which says put unison in both/all parts. I also have three Horns with similar situation- again, unison line is only put in 'top' horn part. OK I can mass move the missing unison lines to flute 2 and Horns 2 3 , but surely it must be 'do-able' in the initial 'explode Help folks! Please. Cheers Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Templates for Parts Extraction
Thanks for that Rob.I do a large volume of short to medium length pieces with many being very 'layout specific'- eg marching band size, or A5 book size. Fortunately I have the time to do the required tweaking- but by the time I am onto the 39th of 40 different band parts I really am pd of with it! I'll give it a try! Thanks again. Keith in OZ - Original Message - From: Rob Deemer [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, December 12, 2003 6:08 AM Subject: Re: [Finale] Templates for Parts Extraction David, I'm not sure this is what you're looking for, but I've found it to be a helpful, time-saving process when extracting parts. Once I'm done with the score, I Save As that file to create a part template. I delete every staff except the top one, which contains all of the textual instructions and rehearsal numbers/letters as measure expressions, and then format that part the way I'd like the rest of the parts to look like (margins, font sizes, title location, etc.). I usually do this with the notes still existing from the top score staff (usually a piccolo or flute part) and after I've already selected the entire document and created multi-measure rests with the measure tool. I then save as piccolo and save again as template, after which I select all, break multi-measure rests (measure tool) and clear all entries and smart shapes (mass mover tool). Now I have a virgin template for the remainder of the score. I open the score file and move it so it fills half the screen and the template file so it fills the other half. Using the Mass Mover tool, I select the entire next part I want to make, drag it over to the template, and boom - instant part. I rarely have to do much more than small tweakings and I'm done (clef changes are the only major thing that can't be transferred this way). The only caveat to this is that you need to make sure all your expressions that you want to be transferred from the score to the part are note expressions, or else they won't show up in the part. I set my note and measure extractions to be different colors so I can see immediately what will and won't transfer. I've been using this method now for over a year and it saves me hours in part creation time. Hope that helps. -Rob = Rob Deemer Doctoral Candidate in Music Composition, Assistant Director, UT New Music Ensemble The University of Texas at Austin __ Do you Yahoo!? New Yahoo! Photos - easier uploading and sharing. http://photos.yahoo.com/ ___ 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] An early Christmas gift
Thanks Harold- this looks delightful and I will pass it on to my high woodwinds on Tuesday next. Maybe I'm thick, but - how do I get it to play- or do I? I'm afraid with my lack of computer savvy I need a button clearly labelled Click hear to hear this piece or maybe there is one and I missed it! Anyway Merry Christmas to you and everyone, and if Christmas isn't your thing, have a good break anyway! Cheers Keith in OZ - Original Message - From: Harold Owen [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, December 04, 2003 10:49 AM Subject: [Finale] An early Christmas gift Dear friends on the list, Here's an early Christmas gift for you. It's a little partita on the Coventry Carol written in baroque style. Enjoy reading through it - or even give it a performance over the holidays. The URL is: http://darkwing.uoregon.edu/~hjowen/CoventryCarol.pdf Enjoy! Hal -- Harold Owen 2830 Emerald St., Eugene, OR 97403 mailto:[EMAIL PROTECTED] Visit my web site at: http://darkwing.uoregon.edu/~hjowen FAX: (509) 461-3608 ___ 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] Diatonic # b
Thanks for that- but what I'm after is the key equiv in Simple Entry of [ for down semi, and ] for up semi. As I said- at the moment the ONLY way I can get a diatonic accidental (or a natural) to show is with Speedy * It seems odd that this 'key' function has been completely ommitted in Simple! Cheers Keith in OZ - Original Message - From: Michael Cook [EMAIL PROTECTED] To: helgesen [EMAIL PROTECTED]; Finale [EMAIL PROTECTED] Sent: Friday, November 28, 2003 8:01 PM Subject: Re: [Finale] Diatonic # b In simple entry in Finale 2001d you can shift-click on a note with the natural tool to produce a natural in parentheses. I don't know of a way to force an accidental without parentheses in this situation. All later versions of Finale give you the possibility of forcing a cautionary accidental in Simple entry with a keystroke (A in 2002 and 2003; in 2004 you can program your own keystroke). Best wishes, Michael Cook At 16:08 +1100 28/11/2003, helgesen wrote: Is there a way- in simple entry, to enter a cautionary diatonic accidental? Situation is, last quaver bar 3 = F#, first quaver bar 4 = diatonic F nat'l. I know in Speedy it's the asterix *, but there must be a simple way? In this chart I'm on Win Fin 2001d. Cheers Keith in OZ ___ 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] Diatonic # b
Is there a way- in simple entry, to enter a cautionary diatonic accidental? Situation is, last quaver bar 3 = F#, first quaver bar 4 = diatonic F nat'l. I know in Speedy it's the asterix *, but there must be a simple way? In this chart I'm on Win Fin 2001d. Cheers Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Question
As someone else has said- just select region in Mass mover (or select nothing if you want the whole piece) and hit 5. Done! Cheers Keith in OZ - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, November 21, 2003 6:11 AM Subject: Re: [Finale] Question Use Mass Mover tool to select the region you want to measure (select all if you want to measure the duration of the entire piece), then got to:Mass Edit - Utilities - measure elapsed time.All the best,LawrenceAOL is having problems at the moment - if you do not receive an acknowledgement within 24 hours (I usually reply within a couple of hours), please re-send your e-mail - I probably haven't received it.http://lawrenceyates.co.uk ___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] White Text Background
Tidying up a Fin 2001 score, I wish to add text- but almost like a sticky label- i.e. text on a white background which hides whatever it is placed on- be it staves, or leger lines or whatever. I know it's do-able- but how? Regards Keith in OZ. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: Please have a look.
Thanks David, for putting into words what I'm sure a lot of us are thinking. My main piece of advice to Keef is- switch to Sibelius- (Please!!) Cheers Keith in OZ - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: Keef [EMAIL PROTECTED] Cc: [EMAIL PROTECTED]; [EMAIL PROTECTED] Sent: Sunday, October 19, 2003 5:50 AM Subject: Re: [Finale] RE: Please have a look. Keef wrote: [snip] However, you're right it might be too close. What do you do in your global settings to avoid this? What's your *numbers*? Grace notes are too far from main notes, also (IMO) too small Your preferred ratios? Very ugly tie at beginning of second system and several other places One thing you have to remember, Keef, is that you are asking your competitors to give you their stock in trade that they have spent many years working on and slaving over and refining. Many professionals in any field will refuse to do this, some politely by simply not mentioning specific things like measurements, others more abruptly by saying things like nobody I know would publish something like that. Ask your auto mechanic for a lesson in tuning your car up and find out how far you get without paying him/her. Ask the principal clarinet of the New York Phil for help with your clarinet intonation and see how far you get without paying. You are splitting hairs over what a critique is -- it is whatever the critiquer decides it will be, whether it is general I don't like that but I like this or specific move the slur .004 away from the staccato dot. Critiquing is offering criticism. Which not always involves sharing the exact steps to resolve the problem. You want engraving work. Everybody on this list wants engraving work. Many people on this list are already working engravers. They are not about to give you the specific measurements they use, because then your work can become the same as theirs. Some of the rest of us do things by eye -- I do my spacing and layout simply by using the defaults and if I don't like the way it looks I move it to where it looks good. But then I'm not doing any engraving work for a major publishing house. The one house I do engraving work for is very satisfied with my output, but if you want measurements from me, you can't have them because I don't have them. I make it look right based on over 40 years of reading music, both good and bad editions. You should read the archives for the discussions about giving clients the finale files along with the printed copy because each finale file contains all the libraries you used, along with all your specific details and measurements, so that any future person reading those finale files can save your libraries and then use them in any future projects of their own, effectively stealing a lot of the very information that gives you the edge and makes your work valuable. Many on this list absolutely refuse to hand over finale files for that reason. They're not about to give you specific measurements. You want measurements, use a micrometer on an already engraved edition you like the appearance of and use those measurements in your finale files. While we do help each other with specific problems related to the use of the program, or specific issues regarding engraving or notation, yours is the first such request I remember anybody asking in the almost 10 years I've been on this list. You are asking for free instruction, not just a little guidance. And then you're getting upset that not much free instruction is forthcoming. You want spacing numbers? Go read the same books we have read: for engraving, Ted Ross -- Teach Yourself the Art of Music Engraving, and for notation issues Gardner Read -- Music Notation and for more modern notation issues Kurt Stone -- Music Notation in the Twentieth Century and for instrumentation questions Andrew Stiller's Handbook of Instrumentation. Andrew's book is available from his own Kallisti Press or it is available, along with the other titles from Nick Carter's www.npcimaging.com. Then go and peruse countless published works by publishers whose output you admire and by those whose output you don't like. Work out what YOU feel is best. But it is a bit rude to come asking for free help and then complaining about the level of help you are receiving. This list is not set up for, nor have any of us subscribed for, the purpose of instructing people in the finer points of engraving down to the nitty gritty of specific measurements. We've all had to do our homework, now it's your turn to do yours. So be polite and don't complain. Be grateful for the assistance you have gotten but don't be rude about the responses you haven't liked. Mind your manners! -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Repeat tool .
Ain't life strange! Many times I consider myself 'thick as a brick' because most folks find some things easy which I don't grasp! Things like speedy entry, page layout, drum playback etc. But repeats - no problem. Using basic tools, i.e. no plug-ins, I use and get playback on repeats, 1st 2nd time bars, even Sign, D.C. and Coda. All with playback. Weird! Cheers Keith in OZ - Original Message - From: Christopher BJ Smith [EMAIL PROTECTED] To: Craig Parmerlee [EMAIL PROTECTED]; Finale list [EMAIL PROTECTED] Sent: Friday, October 17, 2003 11:07 PM Subject: Re: [Finale] Repeat tool causes infinite loop At 9:21 PM -0500 10/16/03, Craig Parmerlee wrote: Personally I find the whole paradigm for repeats to be spectacularly, stupendously, incomprehensibly bad in Finale. It makes no sense on any level to me. I don't know why it needs to be so obtuse. I surely hope that this gets some attention in future releases. I have to agree. I never worried about repeat playback before, then I had to make one work once, and it just about drove me nuts! I did try the Easy Repeats plugin, and that helped enormously (I thought it was useless before, as entering repeats is so easy, but that was before I needed playback!) 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] time signature...
Measure tool, click measure in question = highlight. Doubleclick = dialogue box. Halfway down on right= small drop-downs for time sig (and key sig). Contains; Show if needed; Always show; Always hide. Take your pick! Cheers Keith in OZ - Original Message - From: Eden - Lawrence D. [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Thursday, October 09, 2003 8:13 PM Subject: [Finale] time signature... FinMac 2K3 I want to force Finale to write a time signature in a specific measure. The section is in 3/8 as it comes to a double bar, but I want to indicate 3/8 again in the next section. How is this done? Finale realizes that I have already stated the time signature and won't allow me to enter the 3/8 again. ___ 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] Adding percussion staves
Must be an Aussie thing, Peter! I have given up on getting correct playback on percussion! Even setting up-(with Wizard)- and checking inst list- (is drumkit listed?) I still get a garbage can and a demented cricket! Looking forward with interest to replies! All other insts work OK, why the prob with drums? Cheers, Keith in OZ (ACT) - Original Message - From: Peter Younghusband [EMAIL PROTECTED] To: Finale Chat list [EMAIL PROTECTED] Sent: Wednesday, October 08, 2003 7:18 PM Subject: [Finale] Adding percussion staves Dear All, FinWin2003. I have a brass band score without percussion staves. I would now like to add the following: Timpani Drum Kit Aux Perc. I have used 'New Staves with Set up Wizard' to do the necessary but I am at a loss as to how get appropriate percussion sounds rather than exact pitches. No problem with timpani, but I want the other two to have 'drum kit' noises. I have selected appropriate clefs, notation style is percussion etc but despite lots of fiddling I cannot get Playback to play appropriate percussion sounds. Can somebody please help. I am willing to email score off list so you can fix and return if that's easier. Many thanks Peter Karratha, Western Australia ___ 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: Notation, ideology, self-expression (previously:Extension ranges on ... Bass Clarinet).
This is my last bite of this particular cherry, but I stress, I am talking about an un-paid, voluntary, buy your own uniform- and instrument, load your own equipment truck, Community Band. My bass clari player can go to any of four or five bands in the area and be welcomed, for unlike standard Bb Clari-ists, not that many Bass Clari-sts own their own horn! Like Tubas, Fr Horns Bassoons, Oboes, - in the community band world one does not deliberately annoy these people! Scarce as hens teeth, to use an Aussie expression. And- just to clear up a point. I had 32 years as a pro muso, including a stint as a 'session man' in London in the 50's/60's, working with Shirley Bassey, Dankworth, Ted Heath, and- oh hell, I'll stop name dropping. Just to say I DO know the 'pro scene'. A quick anecdote- in the mid 80's a renowned composer/conductor- Beguin, I think his name was, was doing a tour of Oz. As under Australian19 national champions at the time, my Band 'hosted' him in Canberra. During the final rehearsal of one of his pieces for his final concert he stopped the band and said to my son- (he was lead Trumpet)- you have mezzo piano at A- my son said- excuse me Sir, I have forte at A- Beguin's response, listen to what I say, boy- You have mp at A- and that is a statement-not a rhetorical question! (Implication-either a misprint or a change of mind). Now I'll bow out of this! Cheers, Keith in OZ. - Original Message - From: Michael Edwards [EMAIL PROTECTED] To: Finale [EMAIL PROTECTED] Sent: Monday, October 06, 2003 10:55 PM Subject: Re: [Finale] TAN: Notation, ideology, self-expression (previously:Extension ranges on ... Bass Clarinet). [Keith:] Thank you David- my thoughts exactly! If my bass clari player spits the dummy and says up yours- I'm off!- guess what- I have no Bass Clari! Do players really up and leave just because they don't like being asked to do something the composer has written in a piece? You have to treat them like delicate china lest they take offence at a reasonable request or suggestion? It sounds a bit like a spoilt child to me - taking your bat and ball and going home because you think you know better than the composer what the composer wants. And if your bass clarinettist spits the dummy, is he or she going to be out of work for very long because of that? Denis- my 'handle' is Keith in OZ-- yours would be Denis in Utopia? I'm sure this is just a joke - but I see a kind of underlying meaning, perhaps not consciously intended, in this. Perhaps I'm just seeing this because of my own prior perspective on the issue. But I'd just like to look at it a little further. We seem to have two camps of thought about the role of notation: There are those (who seem to be in the majority, on this list, at least) who see notation as an extremely subjective thing, creative interpretation of which is encouraged, because it can't be avoided, or even minimized. This interpretation is very often inextricably tied up with all sorts of historical or cultural considerations, tied to particular times in music history and maybe locations too, which it might be very difficult for those outside the culture or historical period to know about. (Even experts seem to disagree on how to interpret some notational feature of music 200 or more years old - so what hope has the non-specialist got of having an informed opinion on these matters?) This camp seems to hold that it is wrong or impractical for composers even to try to arrive at an exact notation that communicates its intentions as accurately as possible, without having to depend on assumed practices that belong to a particular time or location within music history. They will happily write notation that doesn't attempt to notate literally what they want performed, and seem quite happy to let assumptions or conventions of performance that belong to their own period of musical history be implicit in their notation, so that proper interpretation by performers would require them to know of those conventions. The swing discussion of a while ago was a clear example of this sort of thing. The other camp, while I assume they don't deny that historical practices have at times been assumed by composers and not explicitly notated, seems to aim to get beyond this, and create a new approach to notation that attempts to be both precise and self-sufficient, so that (at least in theory) one could read the notation and have a fair idea of what the composer intended - and this would depend less on the reader having detailed knowledge of traditional practices of the historical time the music was written in. This approach seeks to make notation as logical and self-consistent as possible, and to thus minimize the possibility of debates in later eras in musical history over how something should be performed. Perhaps the unpredictability of musical history makes it impossible to be
Re: [Finale] Glossary.
Thanks John- my kind of humour! Cheers Keith in OZ - Original Message - From: John Bell [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Sunday, October 05, 2003 12:34 PM Subject: Re: [Finale] Glossary. I'm a habitual reader of long threads-being retired I have the time, and I learn a hell of a lot by reading other folks Q A's. But- dumbo that I am (here goes!) what are; DPI PDF TIF EPS OSX WAV EVPU gifs, lowlevel jpegs, carbon, pstills, xml, jpg. OSX: Oversexed WAV: Goodbye TIF: Minor disagreement GIF: Christmas present John ___ 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
I wholeheartedly agree with Ray and others. Players- especially 'non-pros', tend to treat 8ves (up or down) as optional. And to Richard- Yes, I'm afraid that outside of the do it or you're fired world of the pros, leger lines are more respected than 8ve etc. And as for the scordatura- try getting 'stopped horns' in the real world of Community Bands!- or even find a full brass section with mutes- especially anything other than straights! Cheers Keith in OZ - Original Message - From: Ray Horton [EMAIL PROTECTED] To: Richard Huggins [EMAIL PROTECTED]; [EMAIL PROTECTED] Sent: Saturday, October 04, 2003 7:37 AM Subject: Re: [Finale] TAN: Extension ranges on ... Bass Clarinet Hey! Don't shoot the messenger! I've seen it happen, that's all. I've seen 8va markings for extreme ranges ignored, occasionally, sometimes accidentally, sometimes on purpose. They seem to be taken less seriously, sometimes, by some players, then are leger lines. A typical example: Tuba part has an isolated low A with an 8ba under it. One player I used to work with, many years ago, would tend to ignore the 8ba in a case like that and just play the low A, not the pedal A. If that note, on the other hand, was written with 6 leger lines and a space, he would have been less likely to take it up an octave. Speaking for myself (and most of the good musicians I work with), I always try very, very hard to play everything the composer writes. (The most common exception for me would be something that is commonly written for bass trombone but makes little effect: a loud, low, pedal note, flutter tongued. Usually this is more successful without the flutter.) Just this morning we got to watch our percussionists running around before dress rehearsal tuning their wine glasses. (We also decided that He's been tuning his wine glasses again is a great euphemism for a percussionist falling off the wagon.) And, sure enough, the slow movement of the piece by A. Louie ended with a beautiful, ethereal chord of wine glasses. So I'm not saying that pros don't care. I'm just trying to help others on the list avoid pitfalls. These are in-the-field observations (together with my guesses at the reasoning behind them), folks. Just read them and factor them with all the other things you've learned. Just don't jump on me for what I've heard and seen other musicians do! I've gone through this phenomenon before on this list! (Remember the scordatura argument? A pro violin section WON'T DO IT! They'll tear your piece up first! If that's what you want written in your Groves article, fine, but if you want to hear a pro orchestra play your piece NOW, then put the low F# in the VIOLAS, dammit! And it's NOT MY FAULT! ... There, there, calm down, Ray) RH - Original Message - From: Richard Huggins [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Friday, October 03, 2003 3:15 PM Subject: 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] I am chiming in late on the overworked 8va vs. leger line fight: As a performer, I have sometimes observed other performers, good and bad, amateur and professional, ignore 8va markings when it suited their purpose. (Such as I don't like this piece, and I don't feel like working that hard by playing that high or that low). They are _much_ less likely to alter an extreme note that is written with leger lines. An 8va or 8ba marking can make the composer's intended note seem like a mere alteration of the printed pitch. Ray Horton Bass Trombonist, Louisville Orchestra ___ 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] Glossary.
I'm a habitual reader of long threads-being retired I have the time, and I learn a hell of a lot by reading other folks Q A's. But- dumbo that I am (here goes!) what are; DPI PDF TIF EPS OSX WAV EVPU gifs, lowlevel jpegs, carbon, pstills, xml, jpg. (That list is just from this week's mail!) All you gurus seem to use these thingywotsits all the time- (I probably use them)- but it makes understanding the various Q A's very difficult not knowing what they are. Is there a Finale Glossary or somesuch bible? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page set-up defaults
Wow! It worked Thanks heaps Michael Cheers Keith in OZ - Original Message - From: Michael Cook [EMAIL PROTECTED] To: helgesen [EMAIL PROTECTED]; Finale [EMAIL PROTECTED] Sent: Saturday, September 20, 2003 4:51 PM Subject: Re: [Finale] Page set-up defaults The page format for parts setting is file-specific. Maybe for this piece you used a template you don't usually use? Try creating a new file (just a simple one staff default document) and look in the Page Format for Parts. If the settings here look like what you're used to, use the save library function (file menu) to create a page format library. Then load this library into your score file and extract the parts again. Best wishes, Michael Cook At 15:41 +1000 20/09/2003, helgesen wrote: I have just read my previous question. In case it's not clear, what I am after is to reset the normal extract parts default settings. Somehow the defaults have all been altered. Octavo paper, staff reduction to 60%, margins to .25. and more. I haven't been fiddling with defaults and things- I'm a great believer in leaving well alone! What's happened? Deadline looming! - please help! Cheers Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] A mind of it's own!
For some reason my extract parts has suddenly gone whacko! Normally I extract parts, have a minor tweaking session, print- all is well. Now the page size (in page layout menu) is given as Octavo, margins are miniscule, and page layout on screen seems to be hugely wide! Page Set-up on File menu is set to Portrait A4- as normal. I suppose by fiddling with each part I could get back to normal- but times-a-wastin, deadlines are looming etc. I looked at Page Format for parts in 'Options- Document settings'- and that gives the haywire settings as in Page Layout. What weird button have I pressed? Never happened before- in 8 years. This file is on WinFin2001. Help- please! Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Page set-up defaults
I have just read my previous question. In case it's not clear, what I am after is to reset the normal extract parts default settings. Somehow the defaults have all been altered. Octavo paper, staff reduction to 60%, margins to .25. and more. I haven't been fiddling with defaults and things- I'm a great believer in leaving well alone! What's happened? Deadline looming! - please help! Cheers Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Last measure
Still waiting here in OZ for Fin2004, I am doing some tart-up work in Win Fin 2001 and came across a classic bug.-or is it? Have I missed something ? Very short piece- 21 measures.(Christmas Carol!) Very simple notation. Extract parts- fit 7 measures per staff. ( Silly me- expecting 7 measures per staff) All parts- without exception, stave 1 = 7 measures, stave 2 = 7, stave 3 = 6 measures, and stave 4 = ONE measure! Why does this happen? Easily fixed- but why? It is not a spacing thing- even the last 7 measures of one half note in each 2/4 bar gives the same. In the past I've had even more bizarre things. e.g. 60 measures, set for 6 measures per stave. Surely- 10 of six!Right? Wrong! Finale gives 9 staves of 6 measures, 1stave of 5 measures, and- *on page 2* -one measure (about 7 inches wide!) All parts- no matter how simple were the same. Finale insisted on page 2 for one measure. Please explain?- and solution? Cheers Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Hairpins
While thoroughly enjoying the repartee of the nuclear thread, I have a Finale question! 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. Whilst on words! A question for our wordsmiths. Whence cometh the word 'singlet' as in undervest? And - I know of a doublet- a medieval type of jacket- so we have garments called singlet and doublet, why? -and do we have a triplet? My hairpin question is more important! Cheers, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hairpins
Great - thanks Richard. Cheers, Keith in OZ - Original Message - From: Richard Huggins [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Saturday, September 13, 2003 5:16 PM Subject: 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 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Happy Birthday; was Nukey-ler mus-kulls
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!! Cheers Keith in OZ - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: Williams, Jim [EMAIL PROTECTED] Cc: [EMAIL PROTECTED]; Christopher BJ Smith [EMAIL PROTECTED]; [EMAIL PROTECTED] Sent: Sunday, September 14, 2003 6:51 AM Subject: Re: [Finale] Nukey-ler mus-kulls And I use that very example to show my students that it is imperative that they get the rhythms correct, even if all the pitches aren't correct. The right note played at the wrong time is still a wrong note, so messing up the rhythm to be sure to play the right pitch helps nobody. Williams, Jim wrote: This also gave me pause until I considered the parallel phenomenon with music: We need only to hear a rhythm to identify a tune. I begin one of my class sessions by playing a tone row or random pitches using the rhythm of Happy Birthday or some other tune the students know. The tune has nearly 100% recognition. At other times I will play the pitches of the tune in another rhythm or as running 8th notes, and the recognition level is markedly lower. Obviously not scientifically sound with bulletproof research design, but 20 years of empirical evidence can't be ignored! Jim W. -Original Message- From: Christopher BJ Smith [mailto:[EMAIL PROTECTED] Sent: Sat 13-Sep-03 8:54 To: [EMAIL PROTECTED]; [EMAIL PROTECTED] Cc: Subject: Re: [Finale] Nukey-ler mus-kulls At 8:44 AM -0400 9/13/03, [EMAIL PROTECTED] wrote: Only slightly off-topic here on the pronunciation list, I've just been sent this one: Aoccdrnig to a rscheearch at an Elingsh uinervtisy, it deosn't mttaer in waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is taht frist and lsat ltteer is at the rghit pclae. The rset can be a toatl mses and you can sitll raed it wouthit porbelm. Tihs is bcuseae we do not raed ervey lteter by it slef but the wrod as a wlohe. ceehiro All the best, Lawrence http://lawrenceyates.co.uk That is quite amazing! I read it first time, without a hitch, at normal speed, only coming up short for a second on Elingsh and ceehiro. But only a second. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hard drive upgrades: followup
Oh dear! How insignificant do I feel! I have 2 drives in my 2nd hand PC, a 5 year old 2gig- and a 12 year old 503mg back-up! Used virtually all day- every day! Oh dear- again, Keith in OZ - Original Message - From: Dennis Bathory-Kitsz [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, September 10, 2003 10:34 AM Subject: [Finale] Hard drive upgrades: followup Date: Tue, 09 Sep 2003 20:25:31 -0400 From: Dennis Bathory-Kitsz [EMAIL PROTECTED] Subject: [Fwd: Poll: How often do you upgrade your hard drive?] There was just a discussion on the Finale list, and I was accused of being 'kinky' and 'abnormal' (among other things) for upgrading my hard drives on average every 18 months. They considered that very atypical behavior, and that a drive was typically 5 years in service. I've had 22 drives in 10 years on 3 machines; since 5 were replaced that became defective, that means my regular upgrade was 17 drives in 10 years. Unusual? Normal? Dennis == Subject: Re: Poll: How often do you upgrade your hard drive? From: Glennbo [EMAIL PROTECTED] Date: Mon, 01 Sep 2003 21:57:11 -0400 I use em' until they they're full. Then I buy a bigger one and copy the old one to it. 18 to 24 months seems to be the cycle for me. GlennboThese go to eleven Non-Linear Soundhttp://www.soundclick.com/glennbo Hear My Music http://www.soundclick.com/jambits == From: Martin Schiff [EMAIL PROTECTED] Subject: Re: Poll: How often do you upgrade your hard drive? Date: Mon, 1 Sep 2003 22:23:54 -0400 I do the same as Glennbo, but sometimes I just add another drive and copy a bunch of stuff to it while leaving the original in place. BTW, I don't know if it is still on sale, but I got a Seagate 160 gig drive at CompUSA yesterday for $99 after instant and mail in rebates. Martin Listen to my music free at: http://www.mp3.com/starbirth Starbirth Music http://www.starbirthmusic.com == From: Bob Beals [EMAIL PROTECTED] Subject: Re: Poll: How often do you upgrade your hard drive? Date: Mon, 1 Sep 2003 22:40:48 -0700 Same here. 18-24 months MAX. Bob == From: axtogrind [EMAIL PROTECTED] Subject: Re: How often do you upgrade your hard drive? Date: Mon, 1 Sep 2003 22:25:33 -0400 Five years? Maybe for a machine that was never turned on. 18 to 24 months a new drive or drives (usually raid 0) show up, assuming the 'old' drives are still functioning. I say that because I'm still smarting over that damn IBM 75GXP that croaked after about six easy months. Piece of crap. atg == Date: Tue, 02 Sep 2003 11:17:35 -0500 From: Conley Shepherd [EMAIL PROTECTED] Subject: Re: How often do you upgrade your hard drive? axtogrind wrote: I say that because I'm still smarting over that damn IBM 75GXP that croaked after about six easy months. Mine lasted a year. Never again, They gave me a 60G replacement that is still not in a computer. Peace, Conley Shepherd Joyful Noise Productions P.U.S.H. Listen to some Christian Rock at: http://www.mp3.com/shepherd Listen to Christian Rockz! MP3 Radio at: http://stations.mp3s.com/stations/55/christian_rockz.html == Date: Tue, 02 Sep 2003 06:22:11 +0200 From: edA-qa mort-ora-y [EMAIL PROTECTED] Subject: Re: Poll: How often do you upgrade your hard drive? I try to avoid upgrading for the sake of upgrading. My old machine has had its drives for almost 5 years now. Now I'm in the habit of buying Firewire drives (as backup devices). But the quality of new drives is less than before, so I buy double and will replace them as they break (2-3 years). Since I keep full backups I don't have any fear of breakage, so I have no problem using my drive until it is dead. Shiva In Exile: Ethnic, World Ambient Solo album of Stefan Hertrich (Darkseed, Betray My Secrets) Now available! http://trostlos.org/shiva/ edA-qa mort-ora-y Trostlos Records http://trostlos.org/ == From: Steve Karl [EMAIL PROTECTED] Subject: Re: How often do you upgrade your hard drive? Date: Tue, 2 Sep 2003 03:08:16 -0400 Similar to Glennbo's approach. When it starts getting crouded I get a bigger one and then copy everything to the bigger one, and move the old one over to and other machine on the network, which is just for redundant backup or storage of old stuff that's also on CD. The oldest one I have is a segate 10gig ( 4 yrs ? ) Then an IBM 75gxp 30 gig 3.5 yrs or so. When my WD 1000BB started getting full I moved it over there also and got a WD 1200JB. Less than 2 yrs. on that one but the 1000BB is still fine. So I guess the full service time is about 3 yrs. to 2.5 yrs. to 2 yrs. but will probably be getting shorter as the cost of huge drives get more attractive. ( I hate loosin' any data ) Steve == From: Tom Kemp [EMAIL PROTECTED] Subject: Re: How often do you upgrade your hard drive? Date: Tue, 2 Sep 2003
Re: [Finale] layers
Hate to be super obvious- you haven't got show active layer only checked? (in View menu, I think.) Cheers Keith in OZ - Original Message - From: Dan Rupert [EMAIL PROTECTED] To: 'finale' [EMAIL PROTECTED] Sent: Friday, August 29, 2003 5:24 PM Subject: RE: [Finale] layers Hi Bob, I assume you used a staff style for the slashes. If so, in the 'staff styles' dialog box, w/'slash notation' selected in the 'available styles' drop down list, click on 'select' (underneath 'alternate notation') make sure you have a check next to 'Show notes in other layers.' Dan Rupert -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bob Florence Sent: Thursday, August 28, 2003 10:54 PM To: finale Subject: [Finale] layers I have a drum part that has slashes in layer. In layer 4 I have cued horn parts. I can't get the notes in layer to show. I checked another drum part and everything is as it should be. I checked the settings of the newer part with the older one and they are the same. What have I forgotten? Thanks: Bob Florence Mac Finale 2003a ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2004 Bug?
I suspect this may be you getting caught out as I was way back in Fin 2001. In a simple piece- e.g. avery basic Christmas Carol, where 2nd Trumpet part and 2nd Clarinet were identical, I took to extracting 2nd Clar- put name at top- (Clar 2) save as Clar 2. Rename Trpt 2,- save as Trpt 2. Re-open later- find both still named Clar 2. I discovered by trial and error that by not closing the text-box (removing the enclosure) before saving -(or printing) I had not 'officially' completed the alteration. Happened several times- and is easily done! A possible scenario anyway! Cheers, Keith in OZ - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, August 28, 2003 10:25 PM Subject: [Finale] 2004 Bug? FinWin 2004:Take a document which has a text box containing the field "composer." Save it, re-open it, change the composer's name, then close the file. Shouldn't Finale ask you if you want to save the changes before closing the file? It doesn't anymore! When you re-open the file, you've got the old composer's name back.- Ken ___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] Re: [OT] Luftwaffe March
Thank you, Klaus, for these very succinct comments. Anyone listening can hear the force and power- and dare I say it -arrogance- these devices produce. I am very impressed that you are able to analyse and identify the various protocols and methods used. I certainly picked the low thirds in tenors and baritones, and the clashing on-beats, but I found it difficult to determine exactly what else Goodwin had done to produce the effect. Thanks again. Regards, Keith in OZ - Original Message - From: Klaus Bjerre [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, August 29, 2003 12:30 AM Subject: Re: [Finale] Re: [OT] Luftwaffe March From: J. Simon van der Walt [EMAIL PROTECTED] From: Peter Taylor [EMAIL PROTECTED] The name of this march is Aces High and you're right, it WAS written by Ron Goodwin, but only for the film - it has nothing to do with the real Luftwaffe. I'm not so sure about that. One of my old professors at college - who knew far too much about this kind of thing - told me that, athough the march was written by a British composer to portray the Luftwaffe in the film, it was such a good tune, and such a successful pastiche of a German march, including certain details of orchestration which elude me know, http://www.amazon.co.uk/exec/obidos/ASIN/B0IXSK/ref%3Dbr%5Flf%5Fli%5F1% 5F3/026-0216906-9077243 lets you hear clips from the soundtrack of the movie (which I have not seen). Even if the clip from Aces High is only 30 seconds long it presents a number of very typical traits from German military music. the transition ends with a very brute I-V-I definition of the tonality the bass drum and cymbals play very much on the beat, no drive radiating from them the contrabass (not bass) tuba gruffs away very un-elegantly (no bowed-bass type of decay of each note) die Tenorhörner und Baritonen play beautifully and split out in thirds. Normally the introduction of the thirds happens, when die Baritonen take the lower third, when the second period of a tune goes up a third over the first period the trumpets playing signals, which could have been played on natural trumpets If you listen to the 4th sound-clip you can hear the same theme treated very differently with a not especially German effect. Klaus ___ 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] Re: OTLuftwaffe
In 1964 I was on Euph in the House Band (Royal Signals) of the Royal Tournament at Earls Court, London. The massed Bands of Royal Marines marched in- a huge band- in those days massed bands were big enough to have a front rank of about 20 'rope-tied' side drummers.. What a sound! 20 plus side drummers playing ppiannniimmmo. Wow! But I digress! The piece they played was a newly written(?) march from a film (I think) about Churchill. I don't think it was called Churchill March- but it could have been. It could have been Goodwin- or Walton or somesuch. Very much in the style of Battle of Britain March- but started with much softer more subtle drumming. Any other 'old [EMAIL PROTECTED]' remember the name of this march- and is it available? I know it's a long shot- but worth a try! Cheers, Keith in OZ - Original Message - From: Peter Taylor [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, August 29, 2003 3:25 AM Subject: Re: [Finale] Re: [OT] Luftwaffe March J. Simon van der Walt wrote From: Peter Taylor [EMAIL PROTECTED] The name of this march is Aces High and you're right, it WAS written by Ron Goodwin, but only for the film - it has nothing to do with the real Luftwaffe. I'm not so sure about that. One of my old professors at college - who knew far too much about this kind of thing - told me that, athough the march was written by a British composer to portray the Luftwaffe in the film, it was such a good tune, and such a successful pastiche of a German march, including certain details of orchestration which elude me know, that the Luftwaffe did in fact adopt it as an official march. I didn't know that but it doesn't really come as a surprise. When I play the trio on Euphonium with the melody harmonised in thirds, I'm always reminded of Old Comrades (Die Alte Kameraden). The reason I made that remark about the real Luftwaffe is I once knew a cornet player who always refused to play any German marches (because of events in 39-45) and he always maintained Aces High was the Luftwaffe March (even though it wasn't published until 1969/70). Obviously the typically German style had him fooled! The other march in the film I think you mean Keith, is the main Battle of Britain Theme, which as you say very similar to 633 Squadron. and not very easy to march to! :o). The film also had some great music by Sir William Walton if I remember rightly, particularly the dogfight scenes. Peter ___ 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] Grrrrrrr!
I've been advised that us Aussies will also be waiting another couple of weeks! Grr- (with Aussie accent!) Cheers Keith in OZ - Original Message - From: Colin Broom [EMAIL PROTECTED] To: Finale Mailing List [EMAIL PROTECTED] Sent: Wednesday, August 27, 2003 7:35 PM Subject: [Finale] Grrr! Pre-ordered Finale 2004 some weeks ago from a UK distributor, only to find now out that they're not shipping it till 5th September. Really annoying. Wish I'd gone with my first instincts and just ordered direct from Coda. I know it's probably just me being impatient, but it's still annoying. Colin Broom. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Luftwaffe March
Anyone please advise me of the composer of Luftwaffe March (from Film Battle of Britain) I know Ron Goodwin wrote Battle of Britain march, from same movie, but Luftwaffe just doesn't sound Goodwinnish. I have a Band arrangement, printed in Japan (All Japanese text) so I sent a Fax of title page to Japanese Embassy. They advised that all it said was Title and arranger (Japanese fellow!)- nowhere is composer given! Urgentish! Concert announcements to make! Cheers, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mass Edit
Amazing what tips one picks up when browsing other folks queries. I didn't realize that double click in 'Partial measures' gives full measures! What I *have* noticed is 'partial' movement of rests, especially in compound time can give bizarre results. Try moving, in partial, one measure of 'comp-quad' (12/8) with only first eighth note, and then all rests. I don't know if the double click over-rides this behaviour- I'll check later. Cheers, Keith in OZ - Original Message - From: gj.berg [EMAIL PROTECTED] To: Lee Actor [EMAIL PROTECTED] Cc: Finale News List [EMAIL PROTECTED] Sent: Tuesday, August 26, 2003 10:50 PM Subject: Re: [Finale] Mass Edit Well I'm interested in the topic but unable to help. On Fin Mac 2k2 I've also noticed a difference in what is copied when the partial measures is active. Even tho' one double clicks (for highlighting the whole measure) you don't get the pop up 'for _ measures' nor smart shapes and what not. I have know idea if Lee's and my observations are related. Jerry Berg Lee Actor wrote: There's something about the behaviour of copying music with the Mass Edit Tool that's always seemed a little counterintuitive, if not inconsistent, to me. Maybe I just don't have the right mental paradigm for it to make perfect sense. Here's what I mean: Suppose you want to copy a measure from one place to another (assume Copy Everything is checked in the Mass Edit menu). If I select and drag the measure to the new location, everything gets copied, including its time signature, if different. Before copying, a Copy Measures dialog box asks how many times you want to copy (unless you're copying to a measure directly above or below the source measure in the same system). However, if you try the same drag and drop method where the target measure is in a different window, no Copy Measures DB, and time signatures are not copied (probably other elements are also not copied, but for now I'm only interested in time signatures). The copy/paste method (ctrl-C/ctrl-V in Windows) also does not copy time signatures. The way to get a complete copy to work, other than drag and drop in the same window, is to select the source measures, then ctrl-shift-click in the first target measure (don't know what the equivalent is on a Mac). Looking on the Undo list, the complete copy method is termed Mass Copy and Replace, while the other methods produce an edit called Mass Replace Entries. I don't see anything in the OLM explicitly naming the two methods, detailing the difference between them, or the rationale behind it. Is anyone more enlightened about this than I am? I'm on WinFin2k3 (until UPS supposedly shows up on Thursday). -Lee Actor ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Sign- (as in DS)
Again- I'm having a seniors moment! Not having needed Sign and Coda for a while I have forgotten the procedure to avoid the signs jumping about on part extraction. (I used to know it!) I know it's something to do with not using S and C from repeat menu but from Expression menu. BTW I'm not fussed about playback. My prob is I can't find them in Exps. There is a code (e.g. 2131) for things- but where do I find the list? Finding what it's listed under in OLD as always is beyond me! Cheers, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Dal Segno
OK- I'm having a long 'seniors moment! I've gone blank on how to show the S (Sign as in Dal Segno) on only the top line of a score! I can get it onto all staves- that's fine for extracting parts etc, but before I print score I want to change it to ONLY top stave. I know it can be done- I've done it before- but how did I? Bemused- Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Copy Protection
I'm certain that having your final sentence in the back of their minds makes a lot of folks more comfortable! - see snip below! Regards, Keith in OZ But both Tobias and I can be somewhat cheerful about it, because in that hopefully unlikely scenario, either one or both of us could fairly easily write a program to downgrade the files. :-) -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] 2004 Panic
I'm really a little fish in a big pond here! I've just ploughed through a load of comments from people I respect hugely for their expertise and savvy (business and musical!) When I see that some of my 'idols' are not going to use 2004 because of etc,etc, I get cold sweats. Years ago I had 97 or was it 98 requiring the CD to be inserted every 12 uses or something. A real PITA (Pain in the A#%). I have 2004 on order here in Australia, and expect to hear any day now that it will be arriving ..etc. In laymans terms- then what? What IS challenge/response? I use the net everyday for e-mails and about twice a month for other things- total usage about one hour a month -if that! Will that make a difference? I use 98SE- (much maligned somewhere in this thread). Is that relevant? Please ease my mind and advise me as to if I should go ahead or cancel. Regards, Keith in OZ - Original Message - From: Tobias Giesen [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, August 08, 2003 8:50 PM Subject: RE: [Finale] Finale 2004 Review Hi, well there is no copy protection in that the CD can be copied freely and installed freely but the installed product needs to be activated thru registration (challenge/response). I think you can install it on three computers before having to talk to somebody at MakeMusic and explain what happened. I think you have thirty days to permanently activate your product. They don't use the word activation, they call it registration. I have not investigated ways around this procedure. I know many people are against such things but they are starting to be a fact of the new decade. For example, out of 20 audio/video editing software products, I liked only one - the one with product activation. But I wanted the best, so I bought it. Same would be true for Finale upgrades, if I had to pay for'em. Cheers, Tobias ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Print from file
I have to do a print from a completed folder of parts. By that I mean: A Folder containing; Score, Flutes, Oboes, Clari1,Clari2, Clari3, BassClari, AltoSx1, Alto2, Tensax, etc etc. thru to Percussion (30-odd parts in total) Can I; a) click on the folder and say print 2of everything in this folder or b) Open folder, select(highlight) all, then print 2 of each. At the moment it seems I have to open score, print, close score, Open Flutes, print, close flutes Open clar1 -- you get the picture! Very time consuming- surely I can Print all or something? Ooh! Why did this suddenly change fonts- twice!? That's a serious extra question! Cheers, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Bold barlines?
Win Fin 2003. Is it possible to increase the thickness of all lines in Finale? I find, especially when I % reduce pages, systems or staves that I lose the 'blackness' in lines- as in note stems, barlines, hairpins, 1st/2nd x barlines etc. It's almost that I want Bold font- but not quite! Cheers, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] french translation
I think "if needed" is fair enough, but I suspect it means for the Bar Sax to play the line only if no Bass Clari player is present. The score should clear that up- if there is a separate Bass Clar part, then it almost certainly means BarSax to play in absence of Bass Clar ONLY. That's how I see it anyway! Cheers, Keith in OZ - Original Message - From: Pierre Bailleul To: [EMAIL PROTECTED] Sent: Monday, June 02, 2003 5:22 PM Subject: [Finale] french translation Hi all, I have in a score a Bar. Sax with the indication "au besoin" doubling a Bass Clarinet.Do you thinkthat : 1."if needeed" is the right translation of "au besoin" ? 2. I have to put the Bar. Saxin small notes ? Thanks in advance. Pierre.
[Finale] 2003 Freeze!
I am very aware of the protocol re TAN, and often in response to complaints about the longevity of threads (current publishers v composer for example) I see the statement- Ask a Finale question, and it'll be addressed. (Pouting bottom lip) Why was I ignored? Is this an anti-Aussie thing? Boo hoo! Seriously folks this is the first time ever I've had no response to a genuine cri de couer! Please help. I'm stuck. Windows 2003, Midi is YamahaPSR-38 (very old!) In an earlier post I said I thought my freeze-ups were linked to Midi-thru. Not so. Trying to get speedy entry 'up to speed' I have had freezes occur randomly, but early in each session. Everything locks, (even caps lock on/off, which I'm told is the acid test) Last time it happened when I switched from Speedy to Simple for something. It seems to be related to any operation involving the midi keyboard. One time it was a cluster (rest). I'm dreading the obvious! get a new midi! Bang goes my holiday in Brisbane! Anyone with any suggestions, please? Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Speedy.
In speedy, using MIDI, to enter a series of quarters, say, descending C scale I must; press Midi C, hit5; midiB, hit 5; midiA, hit 5; etc etc OK so far? What I would like to do is hold down 5 (for quarter notes) then play a series of midi notes, producing on the stave the series of quarters I played. If I try and do this at the moment, I press 5, look to the midi to press a note, look back to screen and see dozens (hundreds?) of quarter rests, reproducing like rabbits on Viagra!! I guess what I'm saying is, at the moment the querty keyboard is the 'executive' and I want the midi keyboard as the exec. OK, what blindingly obvious thing have I missed? Cheers, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Drop-Down
Now this looks interesting! I'm on Windows 2003 with Tritton17 monitor. Anybody advise me of the equiv Windows command for (Mac) 'Command-option-1' and 'Command- 1' Sincere thanks for all the interest, advice- and condolences! Cheers, Keith in OZ - Original Message - From: Lawrence David Eden [EMAIL PROTECTED] To: FinaleList [EMAIL PROTECTED] Sent: Tuesday, May 27, 2003 8:16 PM Subject: [Finale] Drop-Down Listers: I am forwarding this information as it speaks to our recent discussion regarding drop-downs - MACWORLD WEEKLY NEWSLETTER 05.26.03 - 06.02.03 Macworld - The Mac Product Experts Q. I'm working with OS X Jaguar and whenever I open a window or use the Get Info command it seems to place the windows in the exact area I do not want them to go to -- the Get Info window appears in the upper left corner even if the icon is on the opposite side of the screen. It would be nice to set the Get Info window to open in a specific place, namely the middle of my screen. Any help? -- Jon Taie A. To change the default location of Get Info windows, press Command-Option-I and move the window where you'd like subsequent Get Info windows to appear. When you next want to view a Get Info window, once again press Command-Option-I. The window will appear in the location where you dragged the last Get Info window. Note that pressing Command-I or choosing Get Info from the Finder's File menu will place Get Info windows in the upper left corner of the Mac's Desktop. As for regular-ol' windows, they appear in the position where they last appeared. Just place a window where you want it and it will open in that position ever after (or at least until you next move it). Larry ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] beaming in cut time
Thanks for asking this- I needed it too. Thanks also for new word! (maven) I love it when I have to reach for my dictionary! Cheers Keith in OZ - Original Message - From: Eden - Lawrence D. [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Thursday, April 03, 2003 10:51 PM Subject: [Finale] beaming in cut time Got a question for you mavens out there... I am doing a piece in cut time, but I prefer to have eighth note beams broken when a figure includes a rest. The way I have it set up now, Finale includes the rest in a group of 4 eight notes. How do I change this behavior? FinMac 2K3a Larry ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tie question
I've given up on trying to adjust ties- if it doesn't look good I change it to a slur. Much easier to tweak. Will someone remind me- how do I tie to previous note (as opposed to tie to following note) Regards, Keith in OZ - Original Message - From: Brad Beyenhof [EMAIL PROTECTED] To: '[EMAIL PROTECTED]' [EMAIL PROTECTED] Sent: Wednesday, April 02, 2003 3:01 AM Subject: [Finale] Tie question I've got an Ab and a Db at the top of a bass-clef staff (same layer) that are tied from the end of one system to the beginning of the next. Both the tied-to and tied-from notes are stemmed. At the beginning of the second system, the tie going to the Ab is a cramped little U that looks horrendous. How can I make this a smoother curve? I've played around with Tie Mover, but I can't figure out what settings I need to use for it to look right (if that is in fact the tool I'll be needing to fix this). TIA - Brad Beyenhof Music Theory/Composition major Point Loma Nazarene University San Diego, CA ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT. Strauss Horn Concerto
As ever- thanks to all- I have now located it through the thompsonedition website. Cheers, Keith in OZ - Original Message - From: Charles Turner [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, March 24, 2003 7:10 AM Subject: Re: [Finale] OT. Strauss Horn Concerto Thompson Editions has it, along with many other works for solo horn and concert band: http://www.thompsonedition.com/solohorn.htm -ct On Saturday, March 22, 2003, at 12:00 PM, [EMAIL PROTECTED] wrote: From: helgesen [EMAIL PROTECTED] Date: Sat Mar 22, 2003 1:46:37 AM US/Central To: Finale [EMAIL PROTECTED] Subject: [Finale] OT. Strauss Horn Concerto Any of you hornists- (or others) know if the Strauss Horn Concerto (#1) in Eb Opus 11. is arranged for Concert Band? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Scanning software
Wow- I'm impressed! OK guys, tell me, does this mean I can scan in, for example an out of print trombone part in alto clef, fiddle-fiddle, and print out a part in bass clef (or even BbTreble)? Could I also add in say some 4th horn cues prior to print? If so what do I need to buy? I've never used or owned a scanner,but my son-in-law has one he'll give me. Then what? What is the magic programme- Recordare? Fullish info please. Cheers, Keith in OZ. - Original Message - From: Richard Yates [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Monday, March 24, 2003 9:58 AM Subject: [Finale] Scanning software It's been a while since I tried out any music scanning software so I downloaded the trial version of Recordare's package (see Michael Good's post today). Things have improved a lot! Check out my first experiment with it - 5 minutes work and no editing: The scanned image: http://www.yatesguitar.com/misc/scan.gif The Finale result after processing with SharpEye2 and importing as XML: http://www.yatesguitar.com/misc/output.gif It is note perfect even with a couple of voices per staff. Impressive, yes? Richard Yates ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] OT. Strauss Horn Concerto
Any of you hornists- (or others) know if the Strauss Horn Concerto (#1) in Eb Opus 11. is arranged for Concert Band? (Good arrg't please!) If so, where do I get it? If not- how would I be with copyright in arranging it myself? I have a top class Hornist who is fed up with Trom, Sax and Trumpet features in our programmes! Regards, Keith in OZ. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Little Arrows. Uneasy Rider.
Is there anywhere in Finale, a series of little arrows, pointing in different directions? I know they can be 'drawn' in various functions but I'm not much good at that! Very OT, recently I saw a French film called Uneasy Rider, made in (I think) 2000. A well made movie, based on a true story of the 'needs' of wheelchair-bound men. Interestingly, only passing mention of similar circumstance ladies! Very funny in places, sad in others- but I digress! About 20 mins before the end was a great piece of music. Sounded like a brass septet/octet. I tried to scan the end titles to get info, but although music titles were listed, I missed it and, of course, didn't tape it. Anyone help with identification of this? Composer and possible source of sheet music or decent recording, or more of same? Cheers, Keith in OZ. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Playback Sounds
I'm on Win Fin2001d, and my playback is being problematic. That is, going mute. My wife, for her card games, often lowers the volume using the icon in the bottom right corner of screen and when I go to re-adjust it the sound just cuts right out. Checking all settings and blundering along in trial and error I have got sound back but -yuccko sound. Splatt splatt, and sounds like tapping paper with a pencil.(amplified!) Any quick fixes? Reset default settings somewhere? The manual isn't much help and I can't have OLD on and Finale at the same time- so I can't follow instructions as given. Help? Cheers, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Erase line from a staff to input text
Having recently done a fairly large piece with frequent narration I found that simply going to Staff tool, hilighting a measure, click on h (hide measure)- then type in required text -either with Text or Expression tool. Job done! Or did I miss something in the original question? Regards, Keith in Scorched OZ. - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Saturday, February 01, 2003 3:48 AM Subject: [Finale] Erase line from a staff to input text Hi there, I know this is possible to do but I don't know how. Let's say I have a staff with 4 measures. On the 2nd measure, I want to input text in the middle of the staff. How can I erase the lines just for one or two bars so that we can clearly see the text inside ? Thanks ! This drives me crazy ! Vincent = http://www.atanata.com - indie music store http://www.atanata.net - sell your music in Europe ! = ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: number repeated measures (was Re: [Finale] Coupla quick ones!)
Wow! I finally bit the bullet and did my first plug-in/tool download. -It took ages but I finally got it into plug-ins. Numbered measures works great- thanks Robert! Now- raise the cash to keep it! Cheers for festive season Keith in OZ - Original Message - From: Robert Patterson [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, December 20, 2002 1:58 AM Subject: Re: number repeated measures (was Re: [Finale] Coupla quick ones!) On Thu, 19 Dec 2002 06:56:57 -0800 (PST), Mark D. Lew wrote: I agree that it would be nice to have a plug-in that simply numbers the measures without thinking about whether they're real repeats. That is precisely the original reason for my Measure Numbers plugin. It numbers the measures you tell it to. It makes no attempt to determine if they are actually repeated. Visit http://www.robertgpatterson.com/.fininfo/finmain.html -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Coupla quick ones!
Situation 1: Horns, 4 measures rest either side of a rehearsal mark. Extract parts produces an 8 measure multi rest, with no reh'l mark. OK it's easily fixable- (Break multi rest- create 2x4 multi rests either side of reh'l mark). But surely theres a way of making Finale (2001) recognise the reh'l mark on extraction? Yes? No? Situation2; Horns, (again!) sustaining note for 9 measures. Apply number repeated measures plug-in. Measure 2 of sustain is numbered 1, and last measure not numbered. So I get numbers 1---7 on measures 2---8. I can see why- strictly speaking first and last are NOT repeated measures, because first is not tied to previous note, and last is not tied to following note, and it is 'kludgeable'- remove ties, enter numbers, replace ties. But surely this should be do-able? Some sort of mandatory Number these measures- do as your told- don't argue! Any thoughts? Cheers, to all for Christmas- Keith in hot and dry OZ. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] re Acoupla things.
Thanks for info- clicking break multi rest in previous bar works. Pity about the number repeated bars tool! Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] shifting notes
Can't help with solution, but a few months ago I got in an awful mess by Mass moving with partial measures! I ended up having to redo about three hours work! Cheers, Keith in OZ - Original Message - From: Bob Florence [EMAIL PROTECTED] To: finale [EMAIL PROTECTED] Sent: Thursday, December 12, 2002 5:52 PM Subject: [Finale] shifting notes Dear Friends: I need your help. About halfway through a score, I caused the music to get of sync. I know how ot fix this by putting too many notes in a bar and then have them move forward. My problem is that I would like them to move backward. Was this condition caused by having partial measure switched on in mass mover? Thanks for you help. BF ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Laser Printer
Lasers? Great. I have a 15+ years Gestetner GLX 801. I bought it second hand 12 years ago. Slow as hell, and A4 or Letter Size only. The print quality is brilliant, and apart from two toner replacements and one clean-only service the lid has never been opened. To misquote a certain US lobby group- you will prise my Getsy from my dead hands Cheers, Keith in OZ - Original Message - From: Richard Yates [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Saturday, December 07, 2002 12:12 AM Subject: Re: [Finale] OT: Laser Printer Phil Daley wrote: I know that you all are experts on printers. Are there other brands that are as good? I have been using a Brother HL-1650 for about two years. I am not a high volume user, but the machine has excellent output (true 1200 dpi) and has been totally error and jam free. Richard Yates ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Technical question re: grace notes
I'm think I hit Reply instead of Reply All!! Here we go again! I'll resend this to be sure! OK Christopher, I know that one. What I think Carl is after- (I certainly am!) is a way to pre set Finale to enter two or more grace notes already linked, as opposed to linking after entry. I'm on WinFin 2001. Cheers, Keith in OZ - Original Message - From: Christopher BJ Smith [EMAIL PROTECTED] Two sixteenths as grace notes never show up attacehd to each other - they appear as separate notes when I use the grace note button to transform them. In Speedy Entry, placing the cursor over the SECOND sixteenth then pressing / on the numeric keypad will create a beam to the previous etc. Christopher ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] multimeasure rests
Hidden layers? Staff styles? Worth a look. Cheers, Keith in OZ. - Original Message - From: Lawrence David Eden [EMAIL PROTECTED] To: FinaleList [EMAIL PROTECTED] Sent: Thursday, November 28, 2002 11:20 PM Subject: [Finale] multimeasure rests Got another question regarding percussion parts: The score for my most recent work included a part for snare drum. The part was on a separate staff and looked fine in the score. However, when I extracted the parts, the snare drum part did not make use of multimeasure rests. No matter what I tried, I could not get Finale (mac, 2000c) to create multimeasure rests. All of the other parts displayed correctly, so the problem must be in the way the snare drum part was created... Obviously, I have missed something, but I am at a loss to figure out what. Suggestions? Larry ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] reply
Speaking of weather- here in the Aussie Capital Territory were now 75 days with a total of 24mm of rain! Hottest November on record, days up to 37degC and night temps of up to 20degC. Not even Summer yet. And we're better off than people in West NSW. Some have had NO rain for two years. The trees are following the dogs around. I'm dreading bushfire season. Oh, for some of that European wet stuff. Cheers, anyway! Keith in OZ - Original Message - From: Dennis W. Manasco [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, November 28, 2002 7:56 PM Subject: Re: [Finale] reply At 12:59 pm -0500 11/26/02, John Howell wrote: I agree completely. The purpose of a mailing list is conversation among members of the list. That should be implemented as a matter of course. And is on almost all the other lists I'm on. BUT! I'd like to hear from our listmom whether switching back to Reply-to-All [actually Reply-To: pointed at the list] would initiate the same kind of chaos we went through when the mail program was first changed over. Nobody needs that! If it was because of a fundamental flaw in Mailman, we're stuck with it FWIW I've been on other Mailman lists where From: being munged to Reply-To(-List): didn't cause the kind of mega-posting weirdness we experienced. I suspect that those problems were caused by someone not knowing how to set the right switches to handle bounces, and totally messing up the handling of digests and their differentiation from individual posts. (If my understanding is correct that was not Henry, but whoever was doing the actual day-to-day list-admin duties.) If not, I vote (early and often) to switch back. Dag blab! Another Pogo fan. And weez all setting here in this lousy imported weather and shiverin', when we could be using up some o' that good ol' warm homemade American weather too :-) Best, -=-Dennis ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] 5/4
Careful John! That joke leapt to my mind as soon as I read this thread! Cheers, Keith in OZ - Original Message - From: John Bell [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, November 15, 2002 10:53 AM Subject: Re: [Finale] 5/4 On Thursday, November 14, 2002, at 12:43 PM, Crystal Premo wrote: I am going to spend a small amount of time teaching my actors about 5/4 time, but I despair that there simply cannot be a folk song or a public domain song of any kind that is in 5/4 time. Any thoughts? How about Life is Just a Bowl of -ing Cherries? Regards John ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Margins
Just a quick one! Page layout, edit margins. Default settings are; left 1.0 Right 0.5. (Who decided these and why?) I adjust to 0.7 each side and this gives me what I want. Actually it gives 0.7114 or similar- but that's OK. It gives me centralised printing instead of offset to the right. Can I set this as permanent default? It's no great hassle to adjust, but I'd like it as default. Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Plugin idea
I'm with you Aaron! Great idea! Keith in OZ. - Original Message - From: Aaron Sherber [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, October 23, 2002 8:26 AM Subject: [Finale] Plugin idea When I extract parts from a score and then go to tweak each part, I seem to spend much of my time in scenarios like this: Right-hand page has no rests on it, but there's a nice long rest 3 bars into the next page. So I use Mass Mover to nudge those three bars into the previous line, which leaves me with one very crowded line. I push one or two of those measures up to the next line, making that line crowded. Repeat as necessary until all lines on the page look okay. I'd love to see a plugin that helps out with this. In particular, after I move the first group of measures so that the page break falls at the right place, I'd love to be able to select all of the measures on the page and distribute them optimally in one pass. This would also help at the ends of pieces. I find that very often the last line of a part has just a measure or two, which means I have to push those measures up and then redistribute the overage. It would be great to be able to push the measures up and then run a plugin on selected systems to redistribute. My $.02. Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Nomadic Codas- Still!
David, Noel, Klaas, Chris S, Jane- thanks a million- as ever the list comes through. I've sorted it out, and it works fine. BTW Jane, you're quite right- I dug out my old quick reference card and there is the list. alt0222 = coda sign and lots of others. I told you it would be blindingly obvious! Thanks again, Regards, Keith in OZ - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: helgesen [EMAIL PROTECTED] Cc: Finale [EMAIL PROTECTED] Sent: Thursday, October 17, 2002 7:51 PM Subject: Re: [Finale] Nomadic Codas- Still! You need to go to the O.L.D. to find out which character is in which slot. Go to the HELP menu, scroll down to User Manual, and a sub-menu opens up, with an entry for each font that comes with Finale, select Maestro Character Map. A PDF document will open which shows you each character available in the font, along with how to get it to show. Scroll down the list until you find what you are looking for. On Windows machines, Some are letters which are uncapitalized, others require the shift key, some require you to hole the ALT key while typing (on the numeric keypad, which they don't make clear) a combination of numbers which all begin with zero. (On Macs, I don't know what would take the place of the Alt-4numerals combinations, but it should be clear from the PDF file that shows the character map.) The CODA sign (the zero with the cross overlaid) is gotten by holding the ALT key and typing 0222 on the numeric keypad (on my Win98 computer it doesn't matter whether NUMLOCK is turned on or off to do this.) helgesen wrote: Attn; Dave Bailey. I must be thick!- or missing something blindingly obvious. Acting on your advice I went to Expression Tool-Create-select Font (Maestro) size 24Bold-OK. Back to basic box- asking me to type in what I want to create (it tells me it's set for Maestro24) What do I type in? Where do I find this info? I've looked at the Coda sign in Repeat tools, it tells me it's in MaestroFont, and the symbol given is like a little hat standing on it's edge- or a small capital P with the same line going up as is seen going down. (Silly description- hope you know what I mean) How do I type in that symbol? Does it have a qwerty keyboard equivalent? I've tried 'open library' in File menu, basically looking for a this equals that or # = %, or similar but libraries won't open. When I push and prod I'm told invalid File name- or somesuch message. When I click on 'open libraries' it flicks back to the basic open work file. I looked in the basic manual, but it's too basic and I've looked in OLD- mindbogglingly complex. As I said- I'm sure it's going to be embarrassingly obvious, and prove my original statement- I must be thick! Help, as ever, greatly appreciated, regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Libraries- saving of.
Trying hard not to hog the questions on the list I have just spent time reading up on saving 'amended' libraries. (I'm on WinFin2001d) For instance, in Text Expressions I have put: Str.Mute. Open. 1st X only, 2nd X only, to Coda, Coda sign (Thank you!!) plus several more Rehearsal letters, (enclosed) and several other regularly used bits and pieces. I also deleted from the original list things like; , fff, , ppp,(does anyone still use these?) sffz, Adagio, Conductors Score.- and a few others I habitually never use. Following the manual I saved the library and named it Custom. Close file, open new one, go to File menu, open library, click on Custom. Text Expression tool, click a measure- YIPPEE!- there are my add-ins. BUT the deleted bits- ,fff,,ppp etc, were back in. How come if I customised the library, it picks up the add ins but not the deletions? Can I make it (or ask it nicely to!) delete these things. If I can, can I then re-assign metatools- e.g. metatool 1 is (was) . 2 = fff, and since they are now deleted can I re-assign metatool 1 to be- for example Coda sign, and 2 to be to Coda etc. Sorry to be so longwinded, but better to give all the info than not. Regards, Keith in OZ. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Nomadic Codas- Still!
Attn; Dave Bailey. I must be thick!- or missing something blindingly obvious. Acting on your advice I went to Expression Tool-Create-select Font (Maestro) size 24Bold-OK. Back to basic box- asking me to type in what I want to create (it tells me it's set for Maestro24) What do I type in? Where do I find this info? I've looked at the Coda sign in Repeat tools, it tells me it's in MaestroFont, and the symbol given is like a little hat standing on it's edge- or a small capital P with the same line going up as is seen going down. (Silly description- hope you know what I mean) How do I type in that symbol? Does it have a qwerty keyboard equivalent? I've tried 'open library' in File menu, basically looking for a this equals that or # = %, or similar but libraries won't open. When I push and prod I'm told invalid File name- or somesuch message. When I click on 'open libraries' it flicks back to the basic open work file. I looked in the basic manual, but it's too basic and I've looked in OLD- mindbogglingly complex. As I said- I'm sure it's going to be embarrassingly obvious, and prove my original statement- I must be thick! Help, as ever, greatly appreciated, regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Nomadic Coda signs-again!
I'm sure this prob has been addressed before, but -again please, O mighty gurus! I enter Coda Sign, in scroll view on score, extract part, and Coda sign has migrated. Sometimes into staff, sometimes a measure early or late, sometimes way off to edge of page. I've tried dragging Coda back to position, looks fine on screen, prints as above. I've tried deleting Coda Sign and re-entering in correct place- looks good on screen, prints as above! When I save what looks to be a 'good copy' then re-open, it's gone walkabout again. I'm on Windows 2001d, and am getting to the stage of thinking of writing the %#@ thing in by hand! Help!! Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Nomadic Coda signs-again!
Thanks Darcy and Chris- but as a technomoron - how do I put them in as a score expression? Where do I find it? Cheers, Keith in OZ - Original Message - From: Darcy James Argue [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, October 17, 2002 9:26 AM Subject: Re: [Finale] Nomadic Coda signs-again! On Wednesday, October 16, 2002, at 06:55 PM, helgesen wrote: I'm sure this prob has been addressed before, but -again please, O mighty gurus! I enter Coda Sign, in scroll view on score, extract part, and Coda sign has migrated. Sometimes into staff, sometimes a measure early or late, sometimes way off to edge of page. I've tried dragging Coda back to position, looks fine on screen, prints as above. I've tried deleting Coda Sign and re-entering in correct place- looks good on screen, prints as above! When I save what looks to be a 'good copy' then re-open, it's gone walkabout again. I'm on Windows 2001d, and am getting to the stage of thinking of writing the %#@ thing in by hand! Help!! Regards, Keith in OZ Just put it in as a score expression. If playback is not an issue, I see no advantage to doing codas, D.C's, D.S.'s, etc with the repeat tool. - Darcy - [EMAIL PROTECTED] Boston MA ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Cocert v Transposed.
As Darcy said- it seems to be a religious thing, or WindowsVMac, so can we accept that- you say tomayto, and I say tomarto- let's call the whole thing off!! Each to his/her own, eh? Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Transposed vs. concert pitch.
I agree totally. Parts should- nay- *must* be done for the convenience of the players. If a conductor is not experienced enough to read the score in transposed parts then work needs to be done - by them. After many years of arranging I automatically- and unconsciously, transpose all parts, as seen, to concert. eg I see G written for French horn and its a C. I see G for Alto Sax, it's Bb, D for Alto flute it's A, etc.The only time it gets me in trouble is when for example, I say to a horn player,something like- Your E is a misprint- change it to Eb- horn player looks at me and says but I haven't got E, I've got B. Do advocates of non-transposed scores enjoy 6 or 7 leger lines in Picc, Glock, Bass Tuba, or ContraBassoon? are these 'acceptable' exceptions? Regards, Keith in OZ - Original Message - From: Ken Durling [EMAIL PROTECTED] To: Finale [EMAIL PROTECTED] Sent: Sunday, October 13, 2002 9:45 AM Subject: Re: [Finale] Transposed vs. concert pitch. The main argument against this for me, as someone who has done a fair amount of conducting, is that after you have studied all the instruments and their characteristic sound in different parts of their range, I would much rather see what the player sees, and have therby a very clear sense of what the player is confronting sonically and technically. Characteristic or problematic note combinations, extremes of range, idiomatic figures, all stand out more clearly in a transposed score. The transposing to sounding pitch just takes practice, and should be a part of a conductor's or a composer's training. Ken ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Change all note durations?
Mass Mover, (highlight measure or region,) Mass mover menu, Change, Note durations. -if I understand your query this should do it. Regards, Keith in OZ - Original Message - From: Dennis Bathory-Kitsz [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, October 07, 2002 10:48 AM Subject: [Finale] Change all note durations? Hi all, Maybe I'm very tired and I can't find this tool... I need to take a section of a score and change all the note values by a simple multiple. I'm working up some algorithmic stuff, and the generation algorirthm is providing the raw material with (say) eighth, quarter, and half notes at tempos like quarter=480. Is there a way to reduce the note values to (say) 32nd, 16th, and eighth notes so I can set it to a more ordinary tempo like quarter=120? Thanks, Dennis ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Odd layout.
Why does this happen? Working on a three stave work, in scroll view, I go to page view (pre-print) and page one shows measures 1-6, 7-12, 13-18, 19-24. Page 2 shows 7-12, 13-18, 19--24, 25--30. Page 3 shows 13--18, 19-24, 25-30, 31-36. and so on! Easily fixed by Control U, (page update), but easy to miss at a quick glance. I got caught one time and did about a 17 page printout for 90-odd measures! Ouch! On WinFin 2001d, regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Playback
Spacebar, click, works fine, (non-scrolling) at tempo set to =130 with plug-in-Create Tempo Marking. I wanted scrolling playback- went to playback controls, brought them up- works fine- at their default tempo.(about 96?) The dialogue scroll up/down box has no effect on tempo, and play from measure # also has no effect- in fact it's greyed out. I've RTFM and looked in OLD. Both tell me to set scroll-down for tempo, and type in, or preset Start at measure #. I'm on WinFin2001d. OK, what am I missing? Please? Cheers, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] New Stave added?
Yup! That did it. I gather my 'little blue thing' is an indicator that a stave is optimised. Next question- how did it get optimised? I only ever recall optimising once before- years ago! I guess I just happened to press things, in the right order, by accident! Thanks again David for advice. Cheers, Keith in OZ - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: helgesen [EMAIL PROTECTED] Cc: Finale [EMAIL PROTECTED] Sent: Thursday, September 26, 2002 12:31 PM Subject: Re: [Finale] New Stave added? You optimized the score before you added the vocal line. Unoptimize it and the vocal line should appear. helgesen wrote: OK, I give up! What is the little blue 'double stave' on the right hand end of my top stave of score? It's only on page 2 (Measures 5 to 10) and seems to stop me adding (or showing?) a stave above existing top stave. Still not clear- sorry! Try again! I finished a band accomp for a vocal, and then realized I had forgotten to put the vocal line in (above flutes). No prob, add stave and put in vocal line. Scroll view is fine, but when I go to page view, page two (with little blue thing mentioned above) doesn't show vocal line. Looked up little blue thing in manual and OLD, not there! Funny that! Help Gurus, please! Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] New Stave added?
OK, I give up! What is the little blue 'double stave' on the right hand end of my top stave of score? It's only on page 2 (Measures 5 to 10) and seems to stop me adding (or showing?) a stave above existing top stave. Still not clear- sorry! Try again! I finished a band accomp for a vocal, and then realized I had forgotten to put the vocal line in (above flutes). No prob, add stave and put in vocal line. Scroll view is fine, but when I go to page view, page two (with little blue thing mentioned above) doesn't show vocal line. Looked up little blue thing in manual and OLD, not there! Funny that! Help Gurus, please! Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Attn David Bailey
Apologies to other listers- this is only way I know to contact David! On 3/8/01 you sent to me, at my request a detailed instruction re page layout- specifically how to 'force' 13 or 14 staves per page. Also 15 measures per staff. By the time I got it I had 'fudged' to the desired situation so didn't use it at the time. Now, I again have the same problem so I dug out the print-out of yours 3/8/01. You say; Move upper and lower handles (in Page Layout) to minimum required space. Done! Then drag staff up high to where required. Done! Then, under page layout menu, select Systems, then select Staff range, set this 1 to 99. Then click and move one handle on Staff 1, returning to original place- then let go. Done. ALL the systems should now be same size. OOPS! Not so! Top handle seems to have 'worked' but not lower. Tried same thing four times, starting each time from scratch. Same result- or lack of! The instructions which follow seem to work; i.e. reset staff range to 2 -99 and move 2nd staff to position- all staves should now jump into position. Again- I can fudge it- but to be so close and miss out! Any ideas? Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] New to Speedy.
Thanks, Chris and others for responses- nobody has any thoughts on the Freezing up problem? In case you missed it, trying to work out Speedy (getting there!) twice in one day my system, Windows 95, Fin 2001d, froze solid. Nothing worked. Had to unplug and re-boot. Doesn't happen except when in Speedy. BTW what IS the correct procedure when even Control, Alt, Delete won't work? Unplug? Power off? Five pound sledge hammer? Wild Turkey/Jack Daniels/Fosters/urine in Hard drive? Regards, Keith in OZ. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] New to Speedy.
As a Simpleton now trying Speedy I have realised what I have been missing and I will persevere with my learning. A couple of questions- sorry to be so boring to some experts! I'm on PC, Fin2001d. I will use MIDI when I mean 'piano' keyboard, and 'keyboard' when I mean QWERTY. I know if I hold down a note or chord on Midi I can enter keyboard 4,5,6, etc and enter quaver, crotchet, minim. A great boon when entering Trom, Horn, chords etc! Question- can I reverse the procedure? That is, somehow hold down Keyboard 5 (f'rinstance) and play a series of different MIDI chords to enter a series of different crotchet chords. I am aware I can do this in Hyper, but my pianistic skills aren't good enough to play rhythmically correct chords consistently. If I hold down 5, then look to my Midi I find I have several measures full of Crotchet rests! OOPS! BTW I was somewhat surprised to see that when working on Horn, or other transposed parts, I entered notes at Horn pitch or whatever and not Concert pitch. No problem whatsoever in doing this but considering Finale transposes for playback, mass-mover and everything else I was surprised. Another question; As some will be aware I have recently upgraded my basic PC and it's working well. Twice yesterday trying Speedy my system froze solid. Nothing cleared it except UNPLUG power, and re-boot. It has happened only once in the last year using Simple entry- but twice in one day on Speedy which makes me wonder. Why does this happen and what is the correct 'unfreeze' procedure? UNPLUG power works, but you lose everything and I'm sure there must be an official way to do this. No? Regards, Keith in OZ. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Rests in triple time
I'm pretty sure it's contextual. Obviously a measure rest is a whole note, and the part measures depend on the surrounding 'music'. If I had to be specific I would say (in rests)Half Quarter. Only in very specific circs would I use q,q,q - looks very clumsy to me! Never really occured to me before. Regards, Keith in OZ - Original Message - From: Liontaris LM Flashmane [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Saturday, June 22, 2002 11:30 AM Subject: [Finale] Rests in triple time Hey all! I was wondering ... what is the standard for displaying rests in triple time? Is it: a) 1/4 note - 1/2 rest or b) 1/4 note - 1/4 rest - 1/4 rest ? Thanks, Taris? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Padlocks
Thanks for all responses re Padlocks. I'm still not entirely clear on the usage thereof, but it seems they are (almost) purely advisary, so I'll do some experimenting and hang in there! Thanks again, Keith in OZ. - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: helgesen [EMAIL PROTECTED] Cc: Finale [EMAIL PROTECTED] Sent: Thursday, June 13, 2002 7:57 PM Subject: Re: [Finale] Padlocks Those padlocks show that you have locked the layout somehow, so that when you update the layout those measures on those staves will stay on those staves while all the others around the locked staves can flow back and forth as the program feels best suits the layout. You can have the padlocks NOT show (the locked systems will still be locked, however, until you unlock them) while you are in page layout by unchecking the Show Layout Icons under the View menu. I find it helpful to see them because then I know that if I like what I see I need to lock any that are unlocked so the layout remains the same even if I change something. They don't prevent you from editing the music in the measures, or adding or deleting expressions or anything. They simply indicate those staves where the measures have been locked in place. helgesen wrote: I seem to be always the bloke who asks the stupid questions! Never mind! Here's another! What do the padlocks on the right of staves actually lock? It seems to make no difference if they are there or not. I don't put them there. How do they get there? What do they stop me from doing? Am I just, by accident, avoiding trying to do what they stop? Can I remove them? Do I ever need to? I can move staves, reduce/enlarge, add measures to, take measures from, move staves from page to page, etc, etc. so just what DO they lock? Standing by for howls of laughter, I remain, here in OZ- Keith. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Padlocks
I seem to be always the bloke who asks the stupid questions! Never mind! Here's another! What do the padlocks on the right of staves actually lock? It seems to make no difference if they are there or not. I don't put them there. How do they get there? What do they stop me from doing? Am I just, by accident, avoiding trying to do what they stop? Can I remove them? Do I ever need to? I can move staves, reduce/enlarge, add measures to, take measures from, move staves from page to page, etc, etc. so just what DO they lock? Standing by for howls of laughter, I remain, here in OZ- Keith. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Back to basics.
Oh, I fully intend to give it a go! Still no suggestions on obtaining a copy of the aforementioned Tutorial Book which came with Fin2000. Regards, Keith in OZ - Original Message - From: Crystal Premo [EMAIL PROTECTED] To: [EMAIL PROTECTED]; [EMAIL PROTECTED] Cc: [EMAIL PROTECTED] Sent: Tuesday, June 04, 2002 8:24 AM Subject: Re: [Finale] Back to basics. I have a midi keyboard (an old Yamaha PSR38), all plugged in and working with Finale, but I hardly ever use it. I'm not a keyboardist, so hyper is barely an option but I certainly can use the keyboard in smple hymn tunes, melodies etc. I'm a voice teacher, and not a keyboardist by any description, but I was encouraged by another Finale user to stick with speedy entry. I must admit I have gotten quite fast at it in the last six months, even difficult music, filled with chromatics. Give it a try, you might surprise yourself! Crystal Premo [EMAIL PROTECTED][EMAIL PROTECTED] _ Send and receive Hotmail on your mobile device: http://mobile.msn.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Back to basics.
Wow! All you wonderful folk, with your plethera of methods and variations of Speedy have caused my usual 'eye-glaze'. I have taken prints from the 12 replies I've had and I am attempting to create a synopsis of the info given. Problem is they are (almost) all Variatons on a Theme by Finale. Also, halfway through reading them I realized keyboard can mean Midi or qwerty. Which? I also discovered, on my right, a block of keys I've never used. All shiny and new! I have a midi keyboard (an old Yamaha PSR38), all plugged in and working with Finale, but I hardly ever use it. I'm not a keyboardist, so hyper is barely an option but I certainly can use the keyboard in smple hymn tunes, melodies etc. Noel Stoutenberg mentions a satisfactory user manual type of thing which came with Fin 2k. Where can I a) (cringe) Buy it. b) Borrow it. c) obtain it. Regards, Keith in OZ - Noel wrote; but 2k came with a book, Installation and Tutorials for Windows. The tutorials included there contained all the information I needed to get up and running with speedy entry... ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Back to basics.
Like many users I am not in a position toconsider regular up-grades, I'm on 2001 and very content with that, but I really feel it's time I bit the bullet and (confession time!) updated myself to Speedy Entry. Like many self taught from the primer that came with first purchase users I was so delighted to acheive anything that I have stuck with it! Being retired I don't mine the slowness of simple entry- I have the time and seldom have deadlines- other than self-imposed! But, I know that what takes me 20 mins and probably 400 mouse-clicks would take, on speedy, 7 mins and -guessing- 20 mouse clicks. Being on a very fixed income I cannot afford to continually buy up-dates, plug-ins, books, tutorials etc, etc, but can any one point me to a Tutorial book or video or ??? to assist me in my conversion to speedy. I use speedy for somethings, beam break/create, insert diatonic/advisory 'accidentals', hide notes/rests and occasionally tuplet/triplet creation so I have very BASIC knowledge of the beast. Any advice greatly appreciated. Regards, Keith in OZ. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Where are you? Partying!
I suppose one of the joys of this list is NOT knowing the various differences in national holidays, customs etc. Thus, whereas I am aware of U.S. Thanksgiving, July 4 etc- Memorial Day is new to me. Please explain. Memorial to what? Now going completely O.T. Press delete now if you're busy! As this list is my first and only foray into chat sites of any type I am constantly fascinated by the odd bit of personal info dropped by members. I suppose we all create mental pictures, profiles etc of listers, especially the gurus and regulars, and the odd bits of casually dropped personal info often shatter my created 'images'. I remember reading the book Cry Wolf (Wilbur Smith) and then seeing the movie. Yuk! My imagination of the characters was much better than Lee Marvin and (I think) Roger Moore. Rather spoilt the film for me! I'm not sure why I mention this at all, but wouldn't it be interesting if we all met at a convention somewhere! Sorry to waffle on! Midnight boredom probably! Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Layer and artic options
Can I apply layer options regionally? i.e. stems etc up/down differently in different regions or instruments? Same question really, regarding artic options. i.e. above or below stave in diff insts or regions. Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Anyone there?
Is it just me or is everyone 'not getting mail'? Over the last few days my e-mails from Finale have dropped to two or three a day, as opposed to the usual twenty-odd. I'm getting SOME, so the systems (your end and mine) are obviously working- maybe you've solved all the problems of notation and nobody told me! I miss you guys! Regards, Keith in OZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mass mover transposition
I am aware of the benefits of indicating key changes to Percists. That really wasn't the point of my question. Mark Lew explains it very well in his response. Regards, Keith in OZMessage - From: David Larrick [EMAIL PROTECTED] Before you get too carried away in suppressing key changes in percussion parts, please consider the following. As a percussionist, it's helpful for me to know where the key changes in a piece are, even if they don't affect any of the instruments I'm playing. ___ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Mass mover transposition
Adding a drumkit part to a score I had the opportunity, on several occasions, to mass copy the drum part. i.e. measures 1 to 32 were identical to 32 bars later in the piece- except it was in a different key. As I mass copied the key was changed in the later bit. No major problem to change it back though. My question is, if changing the key does NOT affect a drumkit part, (Finale obviously knows this!) why does mass moving a drum part carry the original key with it? I can understand Timps, but not Kit. Why doesn't Finale know not to? Can I avoid this happening? The first time it happened I didn't notice until I extracted wind parts- and wondered why key had changed. A bit of a worry! ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Plea for help TAN
I've always used the basic added 6th chord, close scored. Works well. Keith in OZ - Original Message - From: Tobias Giesen [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, May 21, 2002 7:59 PM Subject: RE: [Finale] Plea for help TAN The trombone chord at the beginning of Pennsylvania 6-5000 ... I think it's Eb, F, Ab, Bb over a Db in the bass. Cheers, Tobias ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Finale Porn
Once again I received a 'soft porn' e-mail, clearly marked [Finale]. This one advertising a sex-chat room. In the recipients column was a whole heap of addresses, all starting with Fin... e.g. Finishing touch (dry cleaners?), Fingerstall, (manicurists?) etc so I suspect that someone has got hold of a huge address list and is sending random porn adverts to blocks of the list. Nobody else has mentioned this, which worries me a bit. No, it's not my scene so I don't know how I qualify. Just lucky(?) I guess! Anyone else getting this? Or are we too embarrassed to admit it? Regards, Keith in OZ. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Eureka! Trill to Flats etc.
Chas Small, and others have asked, if I find trill to Flat,sharp,natural to advise where- well, guess what! Under File- click on 'open library'- click on 'engraver fonts' folder- click 'articulations' When articulations next opened, there is an enlarged selection (with many duplications) but - on 2001 anyway- numbers 59,60,61,62 are the various 'trill-to' I'm assuming (hoping) that these will be attached to this particular file and will be there every time I open it. Or are they now set into the default artic file and will they be there for the next job I do? I guess I'll wait and see. At least I now know where to look! Regards, Keith in OZ. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Couple more questions.
Thanks Jari. - I've only just got up to 2001- ah well! Regards, Keith in OZ. - Original Message - From: Jari Williamsson [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, May 15, 2002 5:29 PM Subject: Re: [Finale] Couple more questions. helgesen I got a reply telling me how to create one, but for sure I USED to be able to just get a tr to flat, or tr to sharp direct from a 'pre-made' library, i.e. NOT have to create it. Yes, it's in the default Engraver articulation library. Located in the Engraver Font folder in Finale's Library folder. And as mr. Krentzman said, in you have Fin2002 you have the trill- extended version as a custom-line smart shape in the default files (such as when using the Wizard). Best regards, Jari Williamsson ICQ #: 78036563 ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Half-diminished chord? TAN
At the risk of opening the proverbial can of worms- a half dim chord, sometimes called a minor7flat5 is, for example Cm7 (b5) Which is C,Eb,Gb,Bb. That's as opposed to full dim which is C,Eb,Gb,Bbb. The full dim is often abbreviated to Co, while the half dim is the same with a slashed o. (I haven't got one on my keyboard!) Others replies may be more succinct, but that's it. Regards, Keith in OZ - Original Message - From: Crystal Premo [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, May 16, 2002 1:54 AM Subject: [Finale] Half-diminished chord? TAN In my ignorance, I do not know what a half-diminished chord is. Please help me, Obiwans. Crystal Premo Shetler Studios / www.shetlerstudios.com Rehearsal space/music copying/musical theatre library _ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Few messages.
Nobody seems to to be giving any reason for the lack of messages- usually 30-odd+, currently 5 or 6. I'll ask again, is everyone getting less, or is it just a 'selected few'? Keith in OZ. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] To the list owner...
While I have no probs with whichever system our list owner chooses to use I am getting a bit p--'d off with (like today) receiving 11 access denied e-mails, all of which take about 30odd seconds to load, and start halfway through a sentence, or even a word. I have now sat for 18mins 42secs receiving 37 e-mails! Paying by the minute this is no fun, especially as the slowloaders are not for me in the first place! Truly if this is going to be the norm you've lost me! To whom is access denied? Is it me or the list? Either way I don't really want to know something is denied unless I'VE sent it and it has 'bounced back'. Why tell me Finale has denied itself entry to half a message. I trust this is a temporary glitch and will soon be solved.-and SOON. Regards, Keith in OZ - Original Message - From: John Howell [EMAIL PROTECTED] To: [EMAIL PROTECTED]; [EMAIL PROTECTED] Sent: Wednesday, April 17, 2002 9:15 AM Subject: Re: [Finale] To the list owner... At 2:02 PM -0500 4/16/02, Aaron Sherber wrote: At 03:16 PM 04/16/02, John Howell wrote: I don't have a Reply All button on my menu. (MacEudora) Sure you do -- Message | Reply to All. You can even add a button for this to your toolbar in more recent versions. It's also Shift-Ctl-R on Win, with whatever the appropriate thing is for Mac. Aaron. Well, I poked around in the Settings module and found a place where I could choose either Reply or Reply to all, and changed my choice. NOW I have a Reply to All choice on my menu, but I didn't have it before. Thanks to all who sent suggestions. John John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
