Christopher BJ Smith wrote, in part:But there is probably no alternative to dragging the right side of the staff left on every part to indent it once it is extracted.
Well, technically, there is. I perform this by going to Page Layout > Systems > Edit Margins, clicking on the system I want to change, then entering the desired new margin into the appropriate box in the "Edit System Margins" dialog box. This is also available for pages at Page Layout > Page Margins > Edit Page Margins.
Yup, that works, too, and can be made into a macro as well. I usually just drag, though, and eyeball the first one and remember it for the others. Of course, my stuff is quick and dirty, not usually for publication.
Also, I don't understand the point of your terribly long part extraction process. Couldn't you just extract one part, determine the margins and such that you'd like to use, then put that information in as Page Format for Parts in the original score and use regular Finale extraction? That's what I do.
Well, I mess around a lot with setting systems so that repeats and rehearsal letters start the system (never one measure away from the edge of the page, etc.) and dragging text items around to avoid collisions, and working out page turns so that they come during a long rest. Once I have set all that stuff for trumpet 1, I lock layout, select ALL, hit Delete (on my Mac) and paste in trumpet 2, respace, give a quick check for collisions, and print. It isn't ONLY about indenting codas.
I understand the studio copying standard of 4 measures per line (which Finale will do automatically besides!), but that doesn't work out well when I have a pickup measure, or a first and second ending, or an odd-numbered phrase, or 8 bars of whole notes, or 4 bars of sixteenth notes, etc. So I set everything by hand (and by eye) to balance the sometimes-conflicting requirements of legible measures and comprehensible layout.
Christopher
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