At 10:24 PM 10/16/06 +0100, Owain Sutton wrote:
>Whether it's a task for Finalescript or something yet to be developed,
>but I can't see how it's beyond the realms of possibility for notes with
>accidental X to be given particular midi data, while notes with
>accidentals Y & Z are treated normally.

There are a couple of tangled issues. One is the creation of a quarter-tone
scale and having Finale 'think' quarter tones. It doesn't, nor does Midi.

In its traditional representation, Midi note 60 is C4, 61=C#4, 62=D4,
63=D#4, 64=E, etc. 72 is C5. 84 is C6.

Say you have a quarter-tone tuned keyboard or softsynth. The Midi notes are
the same, but the responses are to output quarter-tones so that, if 60
stays C4, then 61=C-1/4#, 62=C#, 63=C-3/4#, 64=D, etc. 72 is now F#. 84 is
now C5.

Still good because a sequencer can be trained to output the Midi this way.

Now back to Finale.

With a typical quarter-tone key signature, Finale outputs 60 for C, 61 for
C-1/4#, 62 for C#, 63 for C-3/4#, 64 for D. But when asked to output D, it
sends 62. D-1/4# is 63, D# is 64, D-3/4# is 65. But then E is 64. The notes
overlap. So a quarter-tone scale from C to E would be output 60, 61, 62,
63, 62, 63, 64, 65, 64. The same overlapping problem occurs going downward
in pitch.

What if Finale is set up to output a stretched scale, so that C is assigned
60, D is assigned 64, and E is assigned 68, etc., up to 83 for B-1/4#?
Okay, so long as you stay within a single octave, you're golden. But Finale
puts all the pitch classes together. That is, a C is a C, a D is a D, etc.,
so once you get back to C5, the Midi output value drops to 72.

The only way to solve this is to figure out a way for Finale to output
every single note as a different Midi value (except the center point note).

Daniel Wolf has just posted, and I'm not following how a Finale file can
output Midi values that can be successfully interpreted. I'm going to check
his links.

Dennis













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