I'm wondering if there are any trombone players/experts out here. My
question is, how would a trombonist generally interpret a grace note with a
slur onto another note about a 2nd lower (in a 20th century score)?:
a. Would they soft-tongue the second note?
I certainly would, in a non-jazz
At 2:15 PM -0700 4/20/04, Philip Aker wrote:
I think it best if the OS 9 version was dropped. In fact, it might
have been cheaper for Coda to buy the 2 users still running it new
G5s rather than pay the engineers for the several months of effort
put into it.
Philip Aker
Hmm, one would be me.
The point may be moot, since the 2004 disks for OS9 have allegedly begun
shipping...but here's the issue anyway:
I frequently want to put chord symbols (indicating harmony changes) over
held notes--e.g., a whole note is held, but on beat 3 a suspension resolves
(or, heck, we just go from one chord
At 11:39 AM -0400 4/12/04, David W. Fenton wrote:
On 11 Apr 2004 at 22:22, Giz Bowe wrote:
In the measure number box, go to Style, where you can define a
measuring number system. Add a region (so region 1 will number
measures conventionally). Experiment with the base numbering system.
How do
At 3:30 PM -0700 4/12/04, Brad Beyenhof wrote:
On 4/12/04 3:06 PM, Owain Sutton wrote:
My preference, from a performer's perspective, would be to have the
whole thing in 20/8, and use dotted barlines to show the irregular
subdivisions.
I have two different suggestions:
1. Like Owain suggested,
At 9:55 AM -0500 4/09/04, Joel Sears wrote:
Hi fellow listers,
Please help. On FinMac 2004, my chord symbols disappear when I place
them over rhythmic slash notation. The OLM talks about the Alternate
Notation window. I think this has worked for me in the past. Show
Items Attached to Notes box
At 11:49 AM -0500 4/09/04, Joel Sears wrote:
Christopher,
Yes, I do mean stemmed slashes and I'm pretty sure that I was in the
Define Staff Styles window. I just compared it to my FinMac 2001 at
work and the window seemed to be the same, only in 2k1 it works as
advertised and in 2k4 it
At 4:45 PM +0200 4/08/04, Giovanni Andreani wrote:
Thank you David, and all who answered to my question.
I didn't get to explain myself correctly. Her's how it stands:
I've got, lets say, a 16 bars melody in 3/8 and a metronome value as:
sixteenth = 120.
I want to display the metronome's pulse
Hello
Is there any way I can have a dashed hook length (the one normally used
after the 8va/8vb dashed line)?
Finale seems to provide and edit only a non-dashed hook, while one can edit
the dashed horizontal line, in the Smart Shape Options dialog box.
Thank you
Giovanni
You are right that you
At 9:27 PM -0500 4/01/04, Darcy James Argue wrote:
For those who actually have the issue -- what's the cover date? I
looked in the Brooklyn Barnes and Noble today, and they have the
April issue, which didn't have the Finale vs. Sibelius. Did I miss
it already, or are BN an issue behind?
-
At 10:42 AM -0800 4/01/04, Brad Beyenhof wrote:
On 4/1/04 9:48 AM, Ken Parsons wrote:
How do you enter two time signatures for a piece that oscillates back
and forth between them - e.g. 3/4 6/8? I'd like to enter these in the
first measure, and not have to put them in every time the grouping
At 3:06 PM +1000 4/01/04, Paul Copeland wrote:
Hello.
I hope someone will be kind enough to help me with scripting please. Thank
you.
I have about 30 midi files that I want to notate.
I also have a file template that I want to use.
Is it possible to
1. Load each midi file in to Finale.
2. Copy
Date: Wed, 31 Mar 2004 03:29:03 -0500
From: Darcy James Argue [EMAIL PROTECTED]
Ha! Someone else up as late as I am. So what's YOUR excuse? 8-)
Christopher
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This kind of NDA (non-disclosure agreement) is very common
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I ran into the same bug in FinMac 2003, and reported it, and
apparently it is a problem with the way the feature was implemented,
to be corrected in later versions (I haven't checked in 2004, as I
rarely use OSX these days.)
The way around it is to enter the passage with the dots and the
At 8:52 PM -0500 3/24/04, Ed Klinger wrote:
Christopher,
Thanks very much for the reply. It's very effective, at least for
notating. What I'm running into, though, is that the notes I want to
hear aren't being played back- when I 'pull' the notes into their
new staff, they are always 'dropped'
At 3:19 AM -0500 3/25/04, Darcy James Argue wrote:
I should mention that I found out about this issue of Keyboard from
composer (and Village Voice new music critic) Kyle Gann, who has
some thoughts on his blog about Sibelius (his music notation
software of choice) and about the influence of
At 3:04 PM -0500 3/25/04, Darcy James Argue wrote:
On 25 Mar 2004, at 02:55 PM, Darcy James Argue wrote: (replying to a
message that he himself wrote!
Ever get the feeling that you're just talking to yourself? 8-)
Christopher
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At 5:36 PM -0500 3/24/04, Darcy James Argue wrote:
http://www.keyboardmag.com/
(sadly, the article is not available online)
Anyone read this?
- Darcy
Yep! What did you think? As someone who has used both, you should be
in a good position to critique the review.
Some quotes:
Sibelius is a
At 7:06 PM -0500 3/24/04, Ed Klinger wrote:
Hello all.
I am trying to notate a percussion duo where each player plays
several instruments. Certain figures played 'across' two (or more)
instruments would be best notated by cross-staff beaming, e.g.
playing a two-handed figure with each hand on a
Title: Re: [Finale] Arrow fonts
Hi,
Would anyone know of a font that would
have vertical filled in arrows with a short stem on them? I am
using win98 and Finale 2004.
Any help would surely be
appreciated.
George
Ports
There are four arrows in the font that was installed with Word
Perfect,
At 12:19 AM -0800 3/17/04, Mark D Lew wrote:
I too find it odd that someone never zooms larger than 100%. I
usually do speedy entry at 100% in scroll view. Almost everything
else I do at 200%, or sometimes 150%.
mdl
I thought I was odd before (or had an old monitor) but I see I'm not
At 5:10 PM -0500 3/16/04, Phil Daley wrote:
At 3/16/2004 01:57 PM, Darcy James Argue wrote:
I can't image what possible purpose there would be in maximizing a
scroll view. Whole width, obviously, but maximized would have at
least 50% of the screen blank below the scroll view.
But so what?
At 7:51 PM -0500 3/16/04, David W. Fenton wrote:
Why should blank notation be used in spacing?
So that chord symbols attached to blank items can be taken into
account for spacing. So that hidden items could add extra space
without appearing, to make room for things that you need to add as
On Tuesday, March 16, 2004, at 11:34 PM, Klaas de Jong wrote:
The point is that for Finale there's only one barline: the one to the right.
Only the first measure in a system has a 'left' barline also. I
think this may be the cause of some confusion.
Speaking of which, I've never understood the
At 2:17 PM -0500 3/17/04, David W. Fenton wrote:
On 17 Mar 2004 at 9:35, Christopher BJ Smith wrote:
At 7:51 PM -0500 3/16/04, David W. Fenton wrote:
Why should blank notation be used in spacing?
So that chord symbols attached to blank items can be taken into
account for spacing. So
At 7:22 AM -0500 3/08/04, Crystal Premo wrote:
Am I correct in my assumption that the double sharps and flats which
frequently appear when you transpose a piece are actually the
*correct pitches*? However awkward they may be, and however
appropriate it may be to simplify them through editing
At 9:19 AM +0100 3/07/04, Johannes Gebauer wrote:
On 07.03.2004 2:19 Uhr, Christopher BJ Smith wrote
This is a routine I got from this list (I think it was Johannes
Gebauer, thanks loads, man!)
Not me, I don't have Acrobat...
Johannes
Dang. Well, whoever you were who gave me that help
At 1:36 PM -0800 3/07/04, MDM wrote:
Hi all.
I want to create some examples for my jazz students, and I need to enter
pitches into a measure without regard to rhythm. In other works, whole note,
whole note, quarter note head, whole note, etc. The note heads would be
graphic elements only. Is
At 9:06 AM +0100 3/06/04, Mario Aschauer wrote:
Mark Wrote:
I was assuming that Mario learned English as a second language, so I
wondered if some outdated source was inadvertently teaching archaic
plural forms which are no longer idiomatic.
In fact, I did learn English as a second language.
At 3:08 PM -0700 3/06/04, jef chippewa wrote:
i haven't solved the problem yet, but have narrowed the scope down a
bit. macfin2k3a printing to acrobat v.5, G4/400 OS 9.2.2/384 RAM,
finale accorded 75M.
jef,
This is a routine I got from this list (I think it was Johannes
Gebauer, thanks
That would be on the shell, to use the percussion-specific term.
Christopher
At 5:11 PM -0800 3/06/04, Ryan Beard wrote:
Pierre,
I think le ft literally means the barrel. So I
take it to mean play on the side of the instrument.
Ryan
===
Hi all,
Do you know the right
At 10:39 PM -0500 3/01/04, Dennis Bathory-Kitsz wrote:
...as of this afternoon, so I can announce it.
I'm very pleased to tell my Finale friends that I have received the annual
commission from the Vermont Symphony Orchestra. The new work will be
premiered on September 22,
My birthday!
and
Title: Re: [Finale] Microtonal accidental
size.
At 3:37 PM +0100 2/29/04, Bettina Crimmins wrote:
Does anyone
know how to change the font size of eighth-tone
accidentals?
I have set
up the score using non-standard key signature to allow 8 steps per
whole-tone and allocated the symbols I wish to
At 3:57 PM -0500 2/29/04, Aaron Sherber wrote:
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
At 9:03 AM +1100 2/29/04, Michael Edwards wrote:
Well, would there be any future in asking Henry to do something about it?
And maybe to bar posting from non-members? Most lists I'm on
require you to be
a member in order to post messages. However, Henry seems to want to leave
things exactly
At 2:22 PM -0500 2/27/04, John Howell wrote:
What about new shows? Are they finally getting away from hand copy
and producing computer-engraved parts?
Yes! Many are, and strangely, they have enabled in Finale that weird
hold-over from hand-copying of only showing keys on the first system
of
At 12:07 PM -0500 2/27/04, Dennis Bathory-Kitsz wrote:
Speaking of the Polansky, I need an 'approximate equals' sign in one of the
music fonts (the curved equal sign) to add before dynamic markings. Anybody
seen one?
In Avant Garde font on my Mac under Opt-x I have that symbol. Hope that helps.
At 9:49 AM +0200 2/24/04, Mr. Liudas Motekaitis wrote:
The narrow, cookie-cutter rim on a horn mouthpiece doesn't help with
reliability, either.
What would happen if you put a trumpet mouthpiece on a horn? Obviously it
would be worse, but in what way, since you say the present horn mouthpiece
At 1:23 PM -0800 2/22/04, Mark D Lew wrote:
Hyphens continuing under the rest is correct. I wouldn't call it
rare. I've even seen it in pop music.
mdl
Rocky Horror Picture Show, opening number, lyric at one point is
antici-
bar or so rest
pation!
Very effective.
At 12:40 PM +0100 2/15/04, Johannes Gebauer wrote:
Thing is, as far as I can tell, none of this is a bug, it is by design.
And it works more or less.
The one thing I would really like to see changed with repeat brackets is a
system similar to staff lists in Expressions, whereby I can define a
At 7:40 PM -0500 2/15/04, Darcy James Argue wrote:
Actually, we just had this discussion with Bob Florence. Though I'm
sure Robert's plugin makes this easier, I question the wisdom of
having two sets of measure numbers for repeated sections in the
first place. I know this is an old manuscript
At 5:30 PM -0500 2/15/04, Marc Shepherd wrote:
I'm using Finale 2004's automatic word extensions. The file I'm
editing was created using an earlier release of Finale, but I've
upgraded the file and saved it in F2004 format.
The problem is that a phantom word extension is appearing--a word
At 7:36 PM -0500 2/12/04, Darcy James Argue wrote:
On 12 Feb 2004, at 07:23 PM, David W. Fenton wrote:
Of course, it doesn't help me with the bowings I've already put in.
Sorry, no. If there are more colliding upbows and downbows than
not, you might want to swap the modified bow markings for
At 11:23 PM -0600 2/10/04, Don Hart wrote:
Thanks, Mark and Christopher. You guys and a few notable others always seem
to take the time to help out even (maybe especially) when Finale is having a
little trouble holding up its end of the bargain.
Well, I'm not in engraving for publication very
You were pretty clear. I have the same darned problems.
For the chords, I generally turn off taking chords into account when
music spacing, and only turn it on to respace passages where there is
a chord on every entry. Or I increase the measure size for that
measure only, or manually respace.
At 11:11 AM -0500 2/09/04, Darcy James Argue wrote:
There's still all of Sibelius's blatant claims along the lines of
Finale can't do this, or Sibelius is the *only* music notation
program that does that.
There are a couple of unique features that caught my eye when I saw
the Sibelius 2 demo
At 8:06 AM -0500 2/09/04, Darcy James Argue wrote:
Okay,
In 4/4, one normally shows beat 3 of a measure when it contains
eighth note values or smaller.
However, I've run into a situation where my source has the following rhythm:
quarter rest - eighth rest - a triplet consisting of: two eighth
At 4:05 PM -0500 2/07/04, Williams, Jim wrote:
Interesting...Mr. Piechaud is also the designer of Human Playback.
Jim
And his name means hot magpie in French, like the bird, though the
word is often used to denote someone who talks too much. 8-)
___
-
From: Christopher BJ Smith [EMAIL PROTECTED]
To: Williams, Jim [EMAIL PROTECTED]; Rob Deemer
[EMAIL PROTECTED]; [EMAIL PROTECTED]
Sent: Sunday, February 08, 2004 3:55 PM
Subject: RE: [Finale] Re: November Font
At 4:05 PM -0500 2/07/04, Williams, Jim wrote:
Interesting...Mr. Piechaud is also
on 2/8/04 10:17 AM, William Roberts at [EMAIL PROTECTED] wrote:
and having to rely on e.g.
plug-ins for word extensions etc. has meant that I'd rather use Sib than
Finale.
FYI, word extensions are automatic starting in Fin2004.
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Title: Re: [Finale] Problem with chord symbols using Jazz
fon
At 3:45 PM -0500 2/04/04, [EMAIL PROTECTED] wrote:
I have no trouble using the chord tool
with the Maestro font, but when I use the Jazz font I have a problem
with minor seven flat five chords. Normally I use a lower case
B for the
At 2:56 PM -0500 2/02/04, David W. Fenton wrote:
Maybe everyone else already knew this, but I just discovered that
with the articulation tool you can click-drag to enclose a group of
notes and apply an articulation to the group. It also works with
metatools (e.g., hold the S key and click drag a
At 11:20 AM + 1/22/04, Colin Broom wrote:
If one has a very low register part for tuba, using the lowest notes, does
anyone know whether tubists generally prefer to read leger lines or an 8ve
symbol? I'm guessing an 8ve symbol is better, but I know some
instrumentalists prefer to read leger
At 9:26 AM -0600 1/19/04, tim-cates wrote:
when did you pre-order? just curious
TC
Right on the first day the announcement was made, back in the summer, I think.
Christopher
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At 10:19 AM -0500 1/19/04, Christopher BJ Smith wrote:
Got my FinMac2004 just now by UPS, free shipping as promised, though
I had to pay Canadian sales tax to the UPS guy.
OK, first look.
Installation went without a hitch. I registered right away by
internet, no problem. I had to look up my
At 5:50 PM +0100 1/17/04, Giovanni Andreani wrote:
Hello
I hope someone can help me with this:
I'm transcribing music for solo piano and would like to change the font of
the 8va/8vb tool within the Smart Shape palette (the one octave higher
symbol is the one I intend to use). Is there any way to
At 12:42 AM + 1/16/04, John Bell wrote:
At 6:52 pm -0500 15.01.2004, Christopher BJ Smith wrote:
The right-most one is stupid (meaning I'm stupid because I can't
figure out a use for it.)
It's for lyrics you haven't yet entered.
I guess I'm still stupid, because I can't figure out how I'm
At 7:06 PM -0400 1/15/04, Taris L Flashpaw wrote:
I don't know if this has been discussed here before, but I was
wondering if there was a way to attach different lyrics to different
layers of a single staff. For example, I'm working on a choral piece
right now and the sopranos divide in two for
At 4:09 PM + 1/14/04, Javier Ruiz wrote:
Am I the only one who has received this?
Dear Macintosh Customer,
We are happy to report that the Finale Macintosh OS X disc has completed our
rigorous testing cycle with flying colors and is currently in production. We
have made arrangements to
At 11:01 AM -0600 1/12/04, Richard Huggins wrote:
George, go Options Select Default Fonts Notation and after that
item-by-item select Clef, Time Signature and whatever else you want smaller.
For each one, click the Set Font button and change the size for the selected
element from its default of
At 1:25 PM -0800 1/12/04, Brad Beyenhof wrote:
On Monday, January 12, 2004, at 11:40 AM, Christopher BJ Smith wrote:
That changes EVERY instance of that item. What if you only want
some items smaller or larger? Particularly, I have been looking for
a way to have the parenthesized sharp, flat
At 2:02 PM -0800 1/12/04, Brad Beyenhof wrote:
On Monday, January 12, 2004, at 01:41 PM, Christopher BJ Smith wrote:
At 1:25 PM -0800 1/12/04, Brad Beyenhof wrote:
On Monday, January 12, 2004, at 11:40 AM, Christopher BJ Smith wrote:
That changes EVERY instance of that item. What if you only
it would make trumpet
playing a lot more complicated.
Same for saxes, clarinets, Oboe/English Horn, and all the
transposing instruments.
Christopher BJ Smith wrote:
At 5:43 PM -0500 1/08/04, Dennis Bathory-Kitsz wrote:
That's why I said this was a religious debate. There ultimately
At 9:23 AM -0500 1/09/04, Aaron Sherber wrote:
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
At 10:46 AM -0500 1/09/04, Aaron Sherber wrote:
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
At 3:54 PM -0500 1/08/04, John.Howell wrote:
Christopher wrote:
Well, the problem with octave clefs is that those instruments DON'T
read in those clefs, they read in regular treble and bass clef, and
use of an octave clef for say, double bass, (or even worse, guitar
or glock, for which parts
At 5:43 PM -0500 1/08/04, Dennis Bathory-Kitsz wrote:
That's why I said this was a religious debate. There ultimately are no
compelling arguments on either side.
It's the same answer I give to my students when they ask why trumpets
transpose. It's not because it's easier to read (like alto clef
At 8:56 PM -0500 1/08/04, Dennis Bathory-Kitsz wrote:
I've heard lots of preferences expressed on this list from composers and
conductors, but no horror stories. Has anyone actually encountered an
in-the-flesh, contemporary objection to one or the other that resulted in a
refused or aborted
At 11:04 PM -0500 1/06/04, Darcy James Argue wrote:
Chris Smith:
Well, the problem with octave clefs is that those instruments DON'T
read in those clefs,
Well, sure, but a bari sax or bass clarinet doesn't (normally) read
in bass clef, either. Those clefs don't go on the *parts*, they go
on
At 3:48 AM -0800 1/07/04, Philip Aker wrote:
Well, I'm just talking about the essential parts of a composition,
not the orchestration.
And in that, I certainly agree with you. My name with my students for
what you are calling parts is gesture. I think I got that from
one of my 20th century
At 10:45 AM -0500 1/07/04, dumusic wrote:
I generally find C Scores very difficult to use.
I have never met a conductor who didn't prefer transposed scores. I'm
not saying there aren't any, I just haven't met them.
Christopher
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Title: RE: [Finale] Still having trouble with chord
spacing
Or in Speedy Entry (with automatic music spacing turned off) just
drag the note to the left or right (or up or down, but you don't want
to do that this time!)
Or in the Measure tool, click the lower handle of the right-hand
barline.
got.
(words of one my composition teachers.)
Sorry to get off the topic of classical music, but as I get older, I
see more and more similarity and less and less difference between the
various idioms.
Christopher
On Wednesday, Dec 31, 2003, at 12:15 US/Pacific, Christopher BJ Smith wrote:
I
To Hal Owen,
Hal,
I tried to reply to your private message, but your server rejected my
email. Heavy duty spam filters, most likely. Any suggestions as to
how I can email you without the filters cutting in?
Christopher
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At 3:26 PM +0100 1/05/04, Pierre Bailleul wrote:
Hi all,
I'm working on a pedagogical book about drums, and I like to ask you some
translations of french words :
Conseil = advice?
Right
Exercices = Exercises?
Right
Etude = Study?
If you are talking about a musical piece written to practice a
At 6:44 PM +0100 1/05/04, Pierre Bailleul wrote:
Dear Christopher
PB Petite tournerie = ?
CB I have never heard this expression, and I can't find it in my Petit
Robert or any of my music books. Could it mean a flam, ruff, drag, or
5-stroke roll? Or does it refer to the Hawaii Five-O which is a
At 9:54 AM -0800 12/31/03, Philip Aker wrote:
On Wednesday, Dec 31, 2003, at 06:25 US/Pacific, David H. Bailey wrote:
But the complaint about Finale's explode function not copying
unison sections to all exploded parts...
While I do agree with folks who think that a part-savvy Explode
should be
At 8:13 PM -0600 12/30/03, Randolph Peters wrote:
Well, you can wait for MakeMusic to add features and fix bugs which
may never happen, or you can get a very responsive turnaround with
Robert and Tobias. I've emailed them both about small bugs in their
plugins in the past and have gotten fixes
At 1:03 PM +1100 12/30/03, helgesen wrote:
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
At 1:20 PM -0800 12/19/03, Philip Aker wrote:
On Friday, December 19, 2003, at 12:28 PM, Weldon Whipple wrote:
The turning point for me was when I travelled from Minnesota (where
I lived at the time) to Toronto.
Trawna! But try Gander Newfoundland (and points north), for an ear
opener on
At 11:11 PM -0800 12/18/03, Mark D Lew wrote:
On Thursday, December 18, 2003, at 01:46 PM, Christopher BJ Smith wrote:
Hmm, I and my immediate family pronounce obliterate and
oligarchy with long o sounds, and onerous with a short o. So
much for generalisations with regional pronounciations
At 12:18 PM -0600 12/18/03, Noel Stoutenburg wrote:
A review of my dictionary shows that all of the multi words which
begin with a long O, including among others, obey, open, over,
onerous, and Otolaryngologyst, seem to have the long 'o' as a
separate syllable, and those where the o is short,
Title: Re: [Finale] Merged syllable question and
Printer
At 1:58 PM -0500 12/18/03, [EMAIL PROTECTED] wrote:
In a message
dated 18/12/2003 18:53:50 GMT Standard Time, [EMAIL PROTECTED]
writes:
know that
Glo-ster (Glouchestershire) is in a song.
Anyone know
a song with Bal-muh (Baltimore) in it?
At 6:26 PM -0500 12/03/03, 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.
Title: Re: [Finale] Combining staves
At 8:22 AM -0500 12/04/03, Aaron Sherber wrote:
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
At 11:22 AM -0500 12/04/03, Phil Lehman wrote:
I was working on a project this week and I wanted to remove the
group staff names from the score for printing. Document set up with
setup wizard. Finale 2003 - Mac.
Problem when I unchecked display group name it only did it for the
first system. I
At 1:35 PM -0500 12/04/03, Darcy James Argue wrote:
Hmm... I always expected that circular breathing would be easier on
a digeridoo -- maybe because the bore is so much wider than a brass
mouthpiece?
Anyway, my friend Josh Sinton, a great multi-woodwind player, first
learned to circular
At 12:28 PM -0800 12/01/03, Chuck Israels wrote:
Darcy wrote:
[N.B. In jazz, bracketed triplets are always supposed to go above the
staff, so I'm kind of constrained there. It would be convenient to put
all the triplet brackets below the staff and all the slurs above, but
jazz players aren't
At 3:15 PM +0100 11/29/03, d. collins wrote:
Thanks, Ole, for your reply. I remember reading somewhere, but can't
find it, of course, that this beaming by four was only recommended
if there were only 8th notes/quavers under the beam: if you have a
dotted 8th and a 16th, for instance, you
At 1:36 AM + 11/26/03, Colin Broom wrote:
-Original Message-
The second (much better) way is to select the tuplet tool, click the
first note, set the tuplet up the way I want it, and hit OK. I click
next on the first note of the NEXT group, and the tuplet I had set up
is now the
At 3:12 AM -0500 11/21/03, Darcy James Argue wrote:
Hi gang,
Okay, so I'm faced with a movement of a piece for orchestra + chorus
where only the men sing. The (highly unreliable) manuscript has the
men divided three ways and calls them tenor, baritone, and bass --
but I'm not sure if that's
At 5:35 AM -0600 11/21/03, Noel Stoutenburg wrote:
Darcy wrote,
The only oddity now is that the altos and tenors both have to share
an 8vb treble clef
placing tenors on an 8vb G clef did not used to be the norm; in the
past, tenors were noted on a treble clef, in alto range, and
transposed down
At 7:20 AM -0500 11/23/03, David H. Bailey wrote:
It's the old The razor's free but the blades cost money philosophy
that made Gillette wealthy. You have to pay for the songs you
download to listen to with iTunes, but iTunes itself is free.
Eh? I have a ton of my own music I digitised
it did not work the way you
said. After setting Caps Lock and doing Option-3, I hit the 3 key on the
first note and...nothing. If I held it down, still nothing. The frame
blipped each time but the cursor didn't advance and tuplets weren't created.
So... I dunno!
Richard
From: Christopher BJ Smith
At 4:55 PM -0500 11/23/03, David H. Bailey wrote:
You can't go back in speedy and tupletize notes which have already
been entered.
Yes you can, but it only works for ONE set of tuplets, then you have
to reset it. Not a good solution for Charles.
Open up the Speedy frame on a measure of
Title: Re: [Finale] Midisport 2x2
Keef,
Thanks for the response, I've been trying to get info about this
for quite a while.
I have NO idea what I need to allow my system to run best when I
am using MIDI. My printer is connected through Ethernet, so I need
that. I need CD access. There are some
At 5:12 PM -0500 11/08/03, David W. Fenton wrote:
Is there any kind of rule of thumb for when to switch to tenor clef
in a cello part? I'm used to writing for viola da gamba with
switching between bass and alto clef, and I know by gut instinct
where to switch there, but I'm not a cellist, so don't
At 5:22 PM -0500 11/08/03, David W. Fenton wrote:
I'm just finishing up a transcription of a Mozart Divertimento for
winds and have simply carried over the phrasings (i.e., tonguings)
from the original. These generally look like they'd end up as pretty
good bowings.
Comments?
As to articulations,
At 6:05 PM -0600 11/04/03, Richard Huggins wrote:
[...] As my files grow larger, the entire program bogs down and runs like
molassas. I've got one other friend with the problem and I believe it's in
the software.
It is normal for Finale to run more slowly with a large score. I just
haven't
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