On 6 Jun 2005 at 15:04, Christopher Smith wrote: > On Jun 6, 2005, at 2:23 PM, David W. Fenton wrote: > > > > Either that, or you should be able to position the dynamics above or > > below the staff. This seems especially so if, as I understand from > > the description, the same UI for horizontal baseline positioning > > that is found with lyrics is being re-used for expressions. > > Close, except you have TWO baselines for expressions (above and > below), and only one for each chorus/verse/section of lyrics.
I assume you have the same number of options with multiple triangles that move the baseline in different contexts, as with lyrics, where the last triangle moves the baseline for a single system in page view? > > That's a good > > thing, but it's *bad* that it works differently (i.e., you can't > > drag the baseleline above the staff). > > > > You are mistaken here, you can drag the lower baseline above the > staff, and the dynamic will go with it, but not if (as is the default > definition) the dynamic is set to be on the below-the-staff baseline > OR the entry, and it is a note-attached expression. . . . I figured this out from further posts after I sent mine in. > . . . This option is > available and useful in order to prevent collisions with very low > notes by ensuring that the dynamic will always be below the note. If > it is set to be ONLY on the below-the-staff baseline, then you can > drag the baseling wherever you wish and it will affect all items set > to it. And the only thing that you lose is the automatic collision avoidance? If it's still draggable, that means you'd only have to handle the very low exceptions, rather than needing to maintain two sets of expression definitions. To me, the time saved in positioning those exceptions (in most pieces) would not be worth the trouble of needing to maintain two sets of expression definitions (am I the only person who needs to constantly adjust expression/articulation definitions as new features are introduced in Finale, and as I learn more and more about how to get the most out of Finale?). > A simple way to have dynamics ABOVE the staff for voices and BELOW the > staff for instruments without having two different sets is this: you > set the dynamics to vertically align to the BELOW the staff baseline, > but NOT below the staff or entry. Then you drag the second arrow from > the left above the choral staff. All the dynamics set to that baseline > FOR THAT STAFF ONLY will follow, while the ones on the other staves > will stay where the left-most arrow is positioned. That sounds very good. > The drawback with this is that very low notes in the other staves will > NOT have their dynamics automatically pushed down, as the default > presently is. You will have to nudge or drag them manually. In most pieces, and in most staves, this would surely not be a terrible problem. I foresee it as a moderate issue only with the left hand of piano parts. Of course, don't the dynamics for a piano part go *between* the staves, when the hands are not using independent dynamic levels? -- David W. Fenton http://www.bway.net/~dfenton David Fenton Associates http://www.bway.net/~dfassoc _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
