On Sep 21, 2007, at 3:58 AM, dhbailey wrote:
"Mirrors" as Finale uses the term means telling Finale that you
want measures 100-120 (for example) to be exact copies of measures
20-40. That way any edits you make in measures 20-40 are
immediately copied to measures 100-120. You can't make anything
different between the two sets of measures. It makes it easy if
you always want exact duplicate measures, but you can't even change
the articulation in measures 100-120. To do any edit which is
different between the two sets, you have to break the mirror link,
at which point Finale writes the data into measures 100-120, giving
you two sets of data. When the "Mirror" link is intact, there
aren't two sets of data, there is the date in measures 20-40 and
some sort of pointer in measures 100-120 which says "put whatever
is in measures 20-40 here also."
I've never used it either, other than to experiment with it to see
how useful it might be.
It would be very useful for someone who is using the "never write
repeats or D.C./D.S. -- write everything out straight through so
nobody can ever get lost" approach. But since I don't do that, I
prefer to use the copy/paste approach to duplicate sets of data and
then edit each of the sets of data so there can be some variety.
I use mirrors when I am writing a repeating accompaniment and I think
the client might want changes. This way I only have to make the
change in the original measures for it to cascade through the piece.
Saves mondo time when a client changes his mind a lot. Otherwise, I
never use them for my own music, as everything is worked out on a
pencil sketch before I ever open up Finale.
Christopher
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