Hi Johannes,
If you can't get open the keyswitch library to open, email me and I'll
send you my copy of the library.
I don't understand how the "playback data dump" stuff works either, but
that's not necessary since the person who programmed the library has
already done all the work for us, and it's very easy to duplicate or
modify the expression with the correct playback parameters and make it
look like the expression we want. (Or just make it invisible.)
I don't see how adding keyswitching expressions to old expressions (or
new pieces) would be especially difficult or confusing, but if there's
something in particular you're confused about, let me know. The most
important thing to keep in mind is that you always need to specify an
initial keyswitch expression at the beginning of the piece --
otherwise, the staff keeps using the most recently active keyswitch.
The quickest way to add keyswitching expressions to an older score is
to make a set of invisible keyswitching expressions, assign them to
metatools, and then go through your score adding them where necessary
-- at every "pizz," "arco," "con sord," "senza sord," trill, tremolo,
and detached passage. Yes, this is time-consuming, but not THAT
time-consuming (depending on how many of your old files you need to
prepare for playback and how many expressions of this kind need to be
accounted for).
. (I would have thought that Finale and GPO would play well enough
together to know when a fast passage requires different articulation
keyswitches.)
I believe keyswitched strings were only added to GPO after Finale 2005
had already been released.
I also have been annoyed by a French baroque piece using a low B in
the Cello part, which triggers a keyswitch in GPO and makes that file
playback very strangely.
Yes, B is the trigger for whole step trills.
Badly thought out imo.
The keyswitches are designed for live performance, so it would be very
inconvenient to put the cello keyswitches *two* octaves below the low C
on the cello (i.e., below the lowest octave on the piano).
To get your cello low B to play back, you have to jump through a few
hoops (I have to do the same thing when I want a low concert Bb from
the bass clarinet). First, create an invisible expression that drops
the pitchwheel one semitone, and another one that returns the
pitchwheel to zero. Then, put the notes you want to print and display
in a non-playback layer (I always make Layer 4 my non-playback layer).
Then, copy the passage to Layer 1 but replace all of the low B's with
C's and attach the "down semitone" pitchwheel expression to the ones
you want to sound as B's -- and remember to use the "return to zero"
expression on the note immediately following the low B. Finally, hide
the playback layer.
This is a pain, but not quite as much of a pain as I described, once
you create your pitchwheel expressions and save them in a library.
Alternatively, you could forget about the pitchwheel stuff and just
bump all the low B's up the octave in the playback layer.
Even in a certain Haydn Symphony the violins tune the G string down a
tone, if this was played back through GPO it would trigger the wrong
keyswitches - making the file unusable for GPO.
Actually, it wouldn't, because the violin keyswitches begin at the same
spot as the viola keyswitches (C2, not C3). The F below the violin's
low G (F3) isn't a keyswitch.
Couldn't they have put the KS's somewhere else?
As I said, they are designed for playability, so the string keyswitches
always begin on the C in the octave below the lowest note on the
instrument. This makes it possible to play the entire range of the
instrument *and* trigger keyswitches even on smaller MIDI keyboards.
- Darcy
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[EMAIL PROTECTED]
Brooklyn, NY
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