Aaron Sherber wrote:
At 06:39 AM 8/10/2007, dhbailey wrote:
>Aaron Sherber wrote:
>[snip]> (I have said for years that the two main things keeping me from
>> exploring Sibelius in depth were the lack of Scroll view and the
lack of
>> something like Speedy. Now they've got Scroll view....)
>
>Sibelius doesn't have the 3-octave keyboard, but they do use the alpha
>keys a through g to place pitches.
Right, this is just like Fin Simple. But the a-g letter keys are not
contiguous and are not arranged in a scale pattern, and therefore I find
them practically useless. Speedy I can do like a touch typist (or a
pianist), but for Sibelius/Simple I need to keep looking at the keyboard.
If you can do "like a touch typist" can't you find the various letters
without looking? Just curious. My typing skills may be better than
yours -- I can always hit a C without looking, but the contiguous-key
octaves of Speedy Entry always eluded my skills. It was counter
intuitive for me to hit a C, D, E, F, G, A, B for anything other than
those specific pitches. I guess that's why I'm finding Sibelius easier
to learn than I had thought it would be. :-)
>closest pitch of that name, but the octave leap key is so easy to use --
>ctrl-upcursor or ctrl-downcursor
But that's a 2-hand keystroke, and it means moving my hands from their
home position -- therefore not so easy to use. In Speedy, with my left
hand choosing pitches from the letter keys and my right hand choosing
durations from the num keypad, I can go like blazes. Anything that makes
me move my hands from those positions slows me down.
I'm not trying to convert anyone -- just pointing out that I've already
considered the things you mention. YMMV, as always.
Me neither -- I'm not trying to convert anybody, just wanting to make
sure that people get a balanced view so they can make their own decisions.
My computer keyboard has two ctrl keys, so it's a single-handed key
combination, using the hand from the numeric keypad which I find always
easy to get back to home position, so changing octaves in Sibelius I
find to be extremely easy.
One thing I find fascinating in these discussions is that we're all
using the same application (Finale) and many of us are using the same
tool within that application (speedy) but it really seems as if each of
us has developed our own little working method within that tool which we
find fastest for us and most logical for us, and that has grown over the
years of usage.
Which makes it all the more puzzling why MakeMusic would abandon that
tool, eventually phasing it out. And also makes more obvious the wide
range of solutions to various problems posted to this list.
I wish some computer-age-sociologist were studying the phenomenon which
is the history and current state of Coda/Net4Music/MakeMusic and the
corporate climate, decisions and market effects. It would be a huge
field ripe for study, I think. It's fascinating and baffling and
saddening, the decisions that the company is making and the effects
those decisions are having on a program we have grown to become adept at
using and which some use to generate income from.
--
David H. Bailey
[EMAIL PROTECTED]
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