Christopher Smith <[EMAIL PROTECTED]> wrote:
>On May 4, 2006, at 11:22 AM, Owain Sutton wrote:
>>>> You can enter the half-sharps and whatnot as
>>>> articulations,
>>>> and they will be automatically placed and spaced (except for chords,
>>>> yikes!) though you won't get microtonal playback. (Frankly, the
>>>> barriers involved in correct microtonal playback of harmony
>>>> instruments
>>>> is so great I'm not sure it is doable in normal MIDI.
I wrote a work in 19-note equal temperament and needed playback, so I
used a set of non-printing expressions that did the appropriate pitch
bend. I used the notes C C# Db D D# Eb E E# F etc. (all different) and
used the same identifiers for the pitch bend. I set each as a metatool
to minimise the tedium of applying one to each note in the piece.
>>>>[...]
>> This sounds like a fudge masquerading as a well-designed
>> implementation.
>> Entering them as articulations doesn't sound very helpful when
>> dealing with transposition, for instance.
> I'm not trying to sound difficult here, but how exactly would you like
> microtones implemented, and how would they transpose? I have only
> dealt with quarter tones, and I would rather spell them manually on
> transposed parts than depend on Finale to spell them correctly. The
> articulations-as-quarter sharp or flat actually work very well with
> metatools; very fast and dependable. You DO have to check transposed
> parts, of course.
> I'm trying to imagine the interface, and I'm failing. Maybe shift +
> for half sharp? Then what would 3/4 sharp be? Maybe shift + on a note
> that already has a sharp? But then there are all kinds of other
> divisions, like 1/3 sharp or flat, and how would you enter those?
Some weeks ago, I looked at the facilities offered by "Non-standard key
signatures", described in Chapter 13 of the FinWin 2004 manual. I have
never used them seriously, but I recall that among a few exercises I
tried transposition. IIRC, + and - gave one step in the obvious
direction on whatever scale you had defined, which could have an
arbitrary number of steps, and my few trials did more or less what I
expected.
The manual suggests using symbols from the Maestro Percussion Font for
quarter tones. I found familiar half sharp and one-and-a-half sharp
symbols but not the corresponding flats.
The facility looked pretty complicated, and it might not be worth
learning it for a single small job. I didn't discover whether it gave
any help with pitch bend for playback.
>[...]
--
Ken Moore
Musician and engineer
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