Andrew Stiller wrote:
Ahem.
If we can all get along with "expressions" and "smart shapes" and
"tuplets"--none of which are musical terms--and if we can get along
with "articulations" that do not include slurs, then we can get along
with preserved original notes when transposing.
Jeez, people, it ain't rocket science--or even isorhythm. And it *is*
right there in one of the most frequently used dialogs in the program.
I can see not reading the manual, but not reading the interface?
That's like asking someone to hold your fork for you.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
Thanks, Andrew, for stating that so well. This whole thread has given
me giggles.
I have used Finale only since '97, and have been the novice here, in awe
of the knowledge that you guys hold in terms of Finale. But that first
computer I got on which to run Finale (Windows ) had two sound cards and
a nagging conflict between them, and for a number of weeks, before I got
that problem rectified, I was clicking in notes one-at-a time with
simple entry, and copying and transposing with mass mover whenever I
could. So one thing I learned very early in Finale was how to
transpose, with all the variations. So it really tickles me to see
David Fenton, who usually knows everything (and makes sure that we know
that he knows everything), get SO flustered when he finds has missed
something after all these years. He's mortal after all!
Just get over it and get on with it, guys. If I complained about every
topic that I thought should be listed under a different topic in the
manual or on the menu, I'd be doing nothing else. And if I took issue
with every complaint I didn't agree with, ditto.
Raymond Horton,
Bass Trombonist
occasional composer, arranger
Louisville Orchestra
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