At 09:38 AM 04/19/2004, Phil Daley wrote:
I have a Mac SE running System 6.
I have a bunch of Microsoft Word documents on 800K floppies.
Is there any way to get those documents to a PC?
I'm guessing you don't have any way to connect to the Internet from this
machine? Email or FTP would be the
At 10:02 AM 04/19/2004, Phil Daley wrote:
I looked at several transfer programs this morning. They all require a
Superdrive (1.44MB) floppy to work.
Ah, yes, sorry about that -- it's been a while since I tackled this
problem. Do current (or recent) Mac floppy drives read the older disks? If
As a WinFin2004 user, what bothers me the most about these Mac problems
(which are rather serious) is that Coda will probably decide to work on
them before they get around to fixing all of the bugs that were introduced
in the Windows version! I have a terrible feeling, looking at the calendar,
At 07:55 PM 04/04/2004, David W. Fenton wrote:
I'd also be interested if it crashes on other versions of Finale.
Works fine in WinFin2004b.
Aaron.
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At 08:15 AM 03/31/2004, Dennis Bathory-Kitsz wrote:
The sorting isn't very helpful when the plugins are inconsistently named
and with hidden features. And especially the TGTools mess -- a great plugin
set, don't get me wrong, but one seriously in need of both an editor and
designer, and one very
At 09:34 AM 03/31/2004, Dennis Bathory-Kitsz wrote:
That moves it in and out of the plugin menu, but doesn't free its
proprietary menu for re-organization with other plugins.
Ah, yes, misunderstood what you meant.
Aaron.
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Hi,
Using WinFin2004b.
If I'm using the Page Layout tool, and I open the Edit System Margins box
to adjust the margins of a single system (or a couple of systems), every
time I press Apply, the current settings of that dialog get written to Page
Format for Score.
What this means is that as I
At 11:26 AM 03/26/2004, Arne Møller Jørgensen wrote:
How can I move the cue name
If you've used the Cue Notes plugin, the cue has been entered in Layer 4,
and the cue name is just a note expression. Select the Expression Tool, and
make sure you've got layer 4 active -- you'll see a handle on the
At 03:36 PM 03/26/2004, David W. Fenton wrote:
Can anyone confirm this?
Yep. I reported that (or something very similar) to Coda a year or two ago.
Aaron.
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At 03:59 PM 03/26/2004, David W. Fenton wrote:
Is the problem still present in Finale 2004?
Yes. Incidentally, Fin2004 has struck me as generally the buggiest of the
recent Finale releases.
Aaron.
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At 05:08 PM 03/26/2004, David W. Fenton wrote:
Why should invisible music affect spacing?
I can think of several reasons. For example, I was recently working on a
section of music in which the only way to get the measures visually correct
involved visible notes in layer 1 and visible rests and
At 05:41 PM 03/26/2004, David W. Fenton wrote:
Didn't there used to be a way somewhere to set the size of the
handles for expressions and articulations and the like?
This sounds familiar, but I don't immediately see it in the program options.
But you can edit your Finale.ini file, and under
At 05:43 PM 03/26/2004, David W. Fenton wrote:
All well and good, but shouldn't the default be that non-visible
notes *don't* affect spacing? Even if you have the option to make
them have an effect when you want to?
I don't have a strong opinion either way on what the default should be, but
there
At 08:52 PM 03/24/2004, Ed Klinger wrote:
played back- when I 'pull' the notes into their new staff, they are always
'dropped' in a specified note on the new staff, and the playback is
unchanged (that is, the note sounds exactly as if I'd left it where it was,
not where it is on its new staff).
At 11:16 AM 03/22/2004, David W. Fenton wrote:
ability to continue, I need to pause. The current setup requires
remembering that I was paused, hitting STOP and only *then* typing in
the number where I want to restart.
You don't need to remember that you were paused -- you can tell by looking
at
At 02:55 PM 03/21/2004, Darcy James Argue wrote:
(For note expressions, I think Coda's defaults (center, center)
result in dynamics that appear too far to the right. I like center,
left myself.
Yes, but one problem is that you will often find that dynamics at the
beginning of the bar will now
At 03:14 PM 03/21/2004, Darcy James Argue wrote:
Correction:
As for the vertical positioning, I like an entry offset of -9 pt.)
I meant -12 pt.
Do you really mean points, Darcy, or EVPU? 12 pt. is 1/6 of an inch, which
seems like a lot.
Aaron.
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At 10:19 AM 3/18/2004, Barbara Touburg wrote:
Where do I specify the staff baseline distance to the staff?
I assume you're talking here about expression positioning in Fin2004. When
you select the Expression tool, you'll see 4 triangles to the left of the
staff that look like the lyrics
At 10:46 AM 3/18/2004, Brad Beyenhof wrote:
Yes, but is there any way to define this distance in terms of EVPUs, or any
other measurement unit? I really dislike positioning things by eye,
especially on something as global as this.
In WinFin, as you drag the triangles, the status bar at the
At 10:52 AM 3/18/2004, David W. Fenton wrote:
This is another area where I think Finale is horridly messed up, in
the way libraries work. I shouldn't have to create files just for the
purpose of loading libraries into them just so I can then save them
out to a library file for loading into other
At 06:23 PM 3/18/2004, Harold Owen wrote:
How do I indicate in FinaleScript to remove measure numbers from a
particular staff?
Well, looking at the available commands, I'd say the answer is you can't.
Aaron.
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At 06:52 PM 3/18/2004, David W. Fenton wrote:
Hmm. The values I see when I check my current file are:
1024
0.29167
1.6179
Having 84 for the second value is very problematic, and obviously
doesn't work.
You've got inches selected as your default measurement. Many of us who play
with these
At 03:14 AM 3/17/2004, Mark D Lew wrote:
When you drag an articulation on a cross-staff note, the display
routine during the dragging doesn't take the cross-staff into account
properly, so during the drag (or nudge) you are in non-wysiwyg mode.
The adjustment you make to the articulation is
At 09:55 AM 3/17/2004, David Horne wrote:
Apologies if this has been mentioned before, but if you do a lot of cross
staff notation, it's worth having alternate articulations handy, defined
as metatools, which take this into account.
Yes. I don't like going that route unless I have *lots* of
Hi all,
WinFin2004b
I have a piano staff with notes entered in the treble staff and some of
them dragged down to the bass staff. I find I am unable to get
articulations positioned correctly on the cross-staff notes -- even when I
drag them to where I want them, they bounce to some completely
At 08:15 PM 3/16/2004, Richard Huggins wrote:
When you say even when I drag them do you mean the articulations or the
notes? Are you entering the articulations when the notes are in their
original staff (before using cross staff)?
I mean dragging the articulations, and it doesn't matter if I enter
At 09:19 PM 3/16/2004, Harold Owen wrote:
I've found that it's helpful to create new articulations for cross-staff
notes. In the Articulation dialog box use Duplicate then Edit and set
manual positioning. Then the new articulations will stay put.
This is true, but it shouldn't be necessary. These
At 03:17 PM 3/15/2004, Darcy James Argue wrote:
Not entirely -- I'd just like to see new windows stacked when the first
window is maximized.
And this is exactly how WinFin works (as well as other Windows apps), so
it's something that Coda is familiar with.
Aaron.
At 12:35 PM 3/14/2004, Bruce K H Kau wrote:
(2) Any advice on other
workarounds, and how would I put an elision character back into my text? I
would actually prefer the character that looks something like a tie between
notes, but have found the underscore to be satisfactory.
Take a look in the
At 07:23 PM 3/13/2004, Rocky Road wrote:
I have a single treble clef stave and and each line starts open
ended. I have gone into the measure attributes and chosen normal
for the left barline, but it doesn't show.
How can I get each stave to start with a barline on the left (to the
left of the
At 07:23 PM 3/13/2004, Rocky Road wrote:
Can I change this back to how it behaved in 2002?
There is no automatic way to have this happen. One of the supposed
strengths of the new Simple Entry is that you can program your own keyboard
shortcuts, and save them as a set. I suggested a while back
At 08:58 AM 3/12/2004, Craig Parmerlee wrote:
It seems that something got hosed in the F2004b updates. I installed
the upgrade, then I created a new composition. Mostly things work
well, but the placement of notes is lousy. The first note in each
staff is way too close to the clef sign.. I
To return to Barbara's original posting, though, I just ran through several
of Jari's plugins on Win2000 and Fin2004b with no problem, including Forza
(once I set my clock back to 2003). So whatever problems Barbara's having
might be related to something specific to Win98.
Aaron.
At 08:20 PM 3/12/2004, Chuck Israels wrote:
Jari gossip. I was in Gothenberg in the Fall and had the good fortune of
spending a nice leisurely breakfast with Jari. He and his wife were about
to have a child. So this may explain why demands on his time may be pulling
him away from Finale
Hi all,
Has anyone else noticed that part extraction under WinFin2004b takes
noticeably longer than under previous versions? I didn't do any extraction
under 2004 or 2004a, so I'm comparing it here to 2003 and previous. I'm
extracting parts from a 400 measure work, and it seems that the first
At 06:34 PM 3/11/2004, Barbara Touburg wrote:
So I opened one of the files I'm currently working on, tried to run JW
Space Systems, which I depend heavily on for this project, and Finale
went into a loop.
Oh, that's really bad news. I'd already been bracing myself for working
without Forza,
At 06:56 PM 3/8/2004, Brad Beyenhof wrote:
I think I may have found what you're talking about... but if you mean
Modify Slurs, that will just move the slur. I'm wanting something that
will move the *articulation* away from the notehead and out of the way.
You may need to play a bit with the
At 08:39 AM 3/7/2004, Cecil Rigby wrote:
Any version of Finale apparently needs a type manager which
post-98 os's do NOT use.
What?
I don't understand why, after knowing about these problems for A VERY LONG
TIME, Finale developers have not yet found a way to dump data directly to
the Distiller
At 09:09 AM 3/6/2004, Crystal Premo wrote:
Ummmlast time I checked, Eb down a minor third makes C, not C#.
You're absolutely right. It wasn't down a minor third which was requested,
but down a whole step.
Okay, then Db would make for a better key signature than C#, wouldn't it?
Here's
At 09:37 PM 3/5/2004, Crystal Premo wrote:
The piece I'm talking about specifically today is More from Dick Tracy.
This is a piece with no guitar chords. It started out in Eb, and taking it
down a minor third (which is what women usually want) by putting it in C#
left only one double sharp, so
At 03:45 AM 3/4/2004, d. collins wrote:
Where did you find the list?
Right there on the main Coda page:
http://downloads.makemusic.com/finale/2004/ReadMe2004b.pdf
Aaron.
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At 04:20 AM 3/4/2004, d. collins wrote:
OK, found it in the updater file. The sheer number of bugs we've been
working with is truly impressing. I don't think I'd noticed more than 2 or
3 out of some two hundred... And then, only those that have been fixed are
mentioned ;-).
minor rant
I feel like
The Windows Finale 2004b updater is now available at Coda's website.
Aaron.
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At 02:11 PM 3/1/2004, Lee Actor wrote:
a large orchestral piece, and am about 60 measures into it (the
file is now
at about 135mb).
Though I'm on a PC, something is seriously amiss with a file size of 135 MB,
which is undoubtedly what is slowing you down.
I read that and assumed he meant
At 02:15 PM 3/1/2004, Mr. Liudas Motekaitis wrote:
It's not just Mac and it's not just OSX. I'm on Windows, and as I stated
earlier my computer is fast. The smart shapes lag behind on my system, too.
Now working on a score about 240 pages of large wind ensemble. Have inputed
about half. The
Thanks to Liudas and Mark for their replies.
I worked out an interesting kludge of my own which looks great for this
particular combination of rhythms; I'm not sure whether it could always be
used.
1. Start with Extend Secondary beams on. This gives you
At 02:28 PM 2/29/2004, Mark D Lew wrote:
Even if it doesn't work for every case, it's good to have one more
trick in the bag for when it does work.
Yes, but as you pointed out, this really is something that ought to be
built into Finale. I've sent in a feature request for 'Extend secondary
At 03:40 PM 2/29/2004, Christopher BJ Smith wrote:
You can adjust individual accidentals' size one at a time with the Special
Tool's Accidental Mover.
This looks a little bit like a bug. You can select multiple accidentals
within a measure by click-dragging or shift-clicking, and you can move
Here is an old message from David Bailey that I found very helpful. Finale
now comes with more pre-defined maps, but I think everything David says
here is still valid.
Aaron.
forwarded message
From: David H. Bailey [EMAIL PROTECTED]
Subject: Re: [Finale] percussion map
Date: Mon, 15 Jul 2002
At 06:49 PM 2/29/2004, Rich Caldwell wrote:
correctly you might be out of luck until MM fixes a bug. You can try
though, by setting up an invisible expression to switch the Channel
to something other than 10, then another to switch back to 10, then
define a playback patch for the Glockenspiel in
At 02:27 PM 2/28/2004, Mr. Liudas Motekaitis wrote:
The last flat is still there!
Yes, I reported this to them a while back.
And I would really not like it if I got a letter saying We have a host of
features which lets you scan your documents for accidental anomalies.
I don't know whether others
At 02:47 PM 2/28/2004, Johannes Gebauer wrote:
Whoever is responsible for this nonsense, stop it immediately.
Well, the responsible party appears to be [EMAIL PROTECTED], but he's
not going to see any of this discussion as long as he has this whitelist on.
Maybe in a couple of days he'll post to
Hi all,
I'm having some problems getting Finale to beam things the way I want --
specifically, getting secondary beams right.
http://files.aaron.sherber.com/beam1.gif shows a measure with Extend
secondary beams over rests on, and http://files.aaron.sherber.com/beam2.gif
shows the same measure
Hi all,
Is there a standard symbol to indicate a rimshot, or is the word itself
usually used?
Thanks,
Aaron.
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At 08:27 PM 2/27/2004, Dennis Bathory-Kitsz wrote:
the TGTools UI (see http://maltedmedia.com/photos/tgtools.gif).
This gives me http://maltedmedia.com/notfound.html
Aaron.
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At 10:29 PM 2/27/2004, Aaron Sherber wrote:
At 08:27 PM 2/27/2004, Dennis Bathory-Kitsz wrote:
the TGTools UI (see http://maltedmedia.com/photos/tgtools.gif).
This gives me http://maltedmedia.com/notfound.html
Nevermind, email malfunction -- Eudora thought the URL included the
trailing
At 09:01 AM 2/26/2004, Giovanni Andreani wrote:
I want to order the Finale 2004 upgrade from Fin 2003 for Mac.
My question is: do I have to install the first full version I purchased
(wich was fin 2001), install the k2 and k3 upgrades, then install the new k4
upgrade?
Assuming that things are the
At 09:06 AM 2/23/2004, David H. Bailey wrote:
Since we can't change the huge number of key-signature-less orchestral
music, we can't completely eliminate such literature, but I agree that
horn players should be able to read key signatures easily.
I'm sure you'll hear from the still-active horn
At 09:13 AM 2/23/2004, Taris L Flashpaw wrote:
One other option would be that in newer editions of such music, key
signatures should be added to the music. I mean, we don't expect horn
players to be able to turn their horns into a horn in G or a horn in E flat
just because that's what Mozart asked
At 03:30 PM 2/23/2004, Michael L. Meyer wrote:
I¹m now using MacFin2004, and have a document with lots of dynamic changes,
hairpins, articulations etc. attached. What I need to do is have Finale
generate a MIDI file of this piece, but straight ahead, paying no attention
to the markings.
I have
At 04:31 PM 2/23/2004, David W. Fenton wrote:
Why not just turn off playback for the dynamic markings, instead of
deleting them?
Because you'd have to turn off playback for each marking individually
(unless I misunderstand you). Deleting is as easy as Expression Tool --
Select All -- Delete.
At 10:35 PM 2/23/2004, Michael L. Meyer wrote:
(1) in any of the three tools (expression, articulation, smart shape) Select
All is only selecting all the _visible_ handles
Interesting, and unfortunate. I would consider that a bug, although I'll
bet Coda calls it working as designed.
You could
At 12:22 PM 2/20/2004, Henry Howey wrote:
It's back! In both MAC and PC 2004 there is no way to exceed 6 sharps
or flats.
I'm not sure what you mean, Henry. I can get 7 sharps or flats in the key
signature in FinWin2004a no problem.
Aaron.
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At 11:40 AM 2/17/2004, Editions New Rochelle wrote:
Does anyone know the address to be removed from this list?
Yes -- take a look at the URL at the bottom of this email.
Aaron.
(originally from New Rochelle)
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In the short time since it was mentioned here a couple of weeks ago,
WinExpose has changed its name (and domain name) to WinPlosion.
I guess they got a quick phone call from Cupertino...
Aaron.
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At 02:13 PM 1/23/2004, Brad Beyenhof wrote:
I'm creating a fingering chart for a method book, and I thought I
remembered one time seeing an option to center whole notes in a bar.
TGTools | Modfy | Shift will do this.
Aaron.
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At 10:59 AM 1/22/2004, Mr. Liudas Motekaitis wrote:
Why is it that when I use Speedy to enter drum parts into my percussion map,
the sounds that are played back during entry are the wrong sounds? The
correct sounds are played back by using the Play feature, having exited
Speedy.
I believe this is
Thanks to all for your responses.
Aaron.
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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
At 03:31 AM 1/14/2004, Mark D Lew wrote:
I'm using TG Tools' tremolo plug-in to turn pairs of eighth notes into
unmeasured tremolos with three beams. The result I'm getting has all
three beams detached from the stem. What I want is the outer beam to
touch the stem with the other two beams
At 09:36 AM 1/14/2004, Tobias Giesen wrote:
when you have the full TGTools set installed (from www.tgtools.com), then the
Tremolo plug-in provides all kinds of options that will allow to create
non-standard tremolos too.
Gee, maybe next time before I answer, I'll look at the tab that says
At 10:09 AM 1/14/2004, Tobias Giesen wrote:
Actually, I think Mark needs these options on the first tabsheet:
Number of beams: 3
For half notes: connect how many outer beams to stem: 1
No, he says he's turning pairs of eighth notes into tremolos, but he wants
the top beam connected to the
At 05:17 PM 1/14/2004, Mark D Lew wrote:
Anyway, whether I want to follow the source's style or impose the
correct style instead is an editorial decision. My question is just
logistical: Is there a way to do it?
Not according to my experiments with TGTools. Although if you have the full
TGTools,
At 08:47 AM 1/9/2004, Christopher BJ Smith wrote:
But that doesn't explain why the open note on the standard band
instrument is written C, but sounds Bb. Why not change it so that all
trumpet players read Bb and play Bb, on the usual instrument?
Trumpets are notated so that the fundamental pitch
At 10:02 AM 1/9/2004, Christopher BJ Smith wrote:
Your last sentence illustrates my point. Why do trombones (and tubas)
get off easily, while trumpets have to transpose?
What? First of all, from the player's point of view, it's the trumpets who
get off easily, because the way their part is
At 05:02 PM 1/9/2004, Raymond Horton wrote:
Are you a trumpet player, Aaron? Just curious.
(Former) horn player. Current conductor.
I doubt that part is played on E trumpet one time out of 100. I also doubt
anyone but a trumpet player with a great ear, could pick out when a E
trumpet plays it,
At 07:36 PM 1/5/2004, Robert Patterson wrote:
In the Berlioz Fantastique score from Dover, I do not see how the harps
could perform the opening of the Ball without pedals or something
equally effective, but I do not know the history of harp pedals.
Cecil Forsyth dates the double action harp to
At 05:03 PM 1/3/2004, d. collins wrote:
Is there any easy way to replace in an extracted part (after the part has
been extracted) a certain number of measures with a multimeasure rest? (I
have empty measures in which I had to put expressions in the score, but
would like them to appear as
At 09:36 AM 1/2/2004, Philip Aker wrote:
Whoosh. You've missed my point entirely. I'm talking about musical
parts--not what staves will look like at a later point in order to
conform to notation conventions. I write a2 as a result. That is to
say a result of a particular
At 12:54 PM 12/31/2003, Philip Aker wrote:
That is, two instruments on a staff = entering in two layers.
Oh, that's not necessarily true at all. Two instruments on a staff often
appears in a score as notes in two layers, but it just as often appears as
two-note chords. Or you can enter them
At 02:41 PM 12/31/2003, Philip Aker wrote:
appears as two-note chords (surely you mean dyads)
Yes, thanks. English not so good today. g
is
precisely the point. Just because I enter in two or more layers,
doesn't necessarily mean that it ends up looking like a typical two
layer staff. I may choose
At 10:06 PM 12/30/2003, David H. Bailey wrote:
They did NOT, however, lower the price of Finale to compensate for us
having to spend extra to get those features which should be part of the
program, now, did they?
As my earlier post indicated, I have mixed feelings about this. I don't
think there
At 09:03 PM 12/29/2003, helgesen wrote:
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.
Help folks!
TGTools!
The Smart Distribution of Parts is brilliant.
At 06:34 AM 12/20/2003, David H. Bailey wrote:
This happened a couple of versions ago in response to all of our
complaints about not being able to find the note that some of the
articulations had been attached to.
It's new in 2004, actually.
Coda's response was very much welcome by most users --
At 09:36 AM 12/20/2003, d. collins wrote:
Either that, or a way of toggling the display on or off, or only displaying
them in a selected region, or whatever would solve the problem of locating
the parent notes without ruining all the display.
The benefits of the current system go beyond just not
At 02:46 PM 12/20/2003, David H. Bailey wrote:
I'm not sure how Coda could do what Aaron suggests, though -- those
staccato dots are mighty small at 50% -- if there were a handle for each
one that allowed the dot to show I am sure I couldn't be accurate enough
with the mouse pointer to click the
At 02:29 AM 12/19/2003, Mark D Lew wrote:
Grace notes aren't
attached to any beat other than the one of the subsequent big note, so
there's nothing for them to align to. All they can do is space
themselves backward from the big note.
I believe you that this is how Finale currently handles things,
At 12:38 PM 12/19/2003, Mark D Lew wrote:
If your goal is to only space grace notes by EDU position, I agree that
it shouldn't be all that hard to implement, but I think that would
still leave a lot of grace notes misplaced. And you'd need something
else for classic appoggiaturas, which play on
At 02:30 PM 12/19/2003, Tim Thompson wrote:
Also, MS some time ago purchased Virtual PC from Connectix, and is
aiming the technology at this kind of need. The user can use an older
version of Windows in emulation on top of a newer version to run legacy
software, and to ease the system upgrade
Hi all,
Is it a bug or a feature that grace notes on ledger lines get more space
than grace notes on the staff? This means that if I have a passage in
different octaves, the grace notes don't line up in the score.
Is there any way to get around this?
See
At 09:16 PM 12/8/2003, Bill Wadlinger wrote:
When I import this file into Rhapsody, these directions are reversed. Now,
with the upper note stem down, and the lower note stem up, they look like
two wheels connected by a bicycle chain! Pretty horrible. I haven't been
able to figure out how to edit
At 02:07 PM 12/12/2003, Rob Deemer wrote:
whistles. The article in question can be found here:
http://shop.store.yahoo.com/expressmusic/difaptofinpa.html
Wow. Again, to each his own, but I have to say that I don't see any
advantage whatsoever to using this method, and *plenty* of disadvantages in
At 07:20 AM 12/11/2003, David Miles wrote:
But I can't see where I can specify in advance what the extracted
parts derived from that score should look like. So I end up having to edit
them individually for precise layout on the page. I am sure there must be
some way of specifying a template for
At 02:08 PM 12/11/2003, Rob Deemer wrote:
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.
Maybe I'm missing something in your description, but it seems like you're
taking an awful lot of time to essentially defeat most of
At 04:32 PM 12/11/2003, Doug Parker wrote:
Can Finale produce large format output for vision impaired singers?
Sure -- you can make the output as large as you want, and the paper can be
whatever size your printer supports.
Aaron.
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At 03:12 PM 12/11/2003, helgesen wrote:
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
Darcy James Argue wrote:
I don't mean to pile on, but this struck me as odd as well. While I
know a number of people who are able to circular breathe on woodwinds,
my impression is that it is considerably more difficult to do on brass
instruments, especially trumpet. In fact, I don't think
Hi all,
I've got two trumpet staves which I'm combining into one Tpt 1/2 staff.
When the two parts are written in such a way that what I want is layer
1/layer 2, the process of moving things around is very easy.
But when the two parts are, for example, moving jointly in thirds, I have
not yet
At 08:24 AM 12/4/2003, David H. Bailey wrote:
So unless the liner notes state specifically that Marsalis did it with
circular breathing, or you have seen him perform that work in public and
actually saw him use circular breathing, I would remain skeptical about it.
When the recording came out
Hi all,
http://files.aaron.sherber.com/overlap.gif shows a kind of problem I've
been having lately.
In order to make this legible, I've been going into Speedy and manually
moving the noteheads on the odd-numbered quavers away from each other. Is
there some automatic spacing thing I'm missing?
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