[David H. Bailey:]
>But I can offer possible suggestion as to why the problem in this
>message happens -- if you have multiple notes all sounding on the same
>midi channel, when a note-off command is sent for some of the notes on
>that channel, it affects the whole channel, so other notes you think
>should continue to sound stop sounding at the same time.
>
>The only way around that that I'm aware of would be to make a copy of
>the finale file, and then in the copy, add extra staves and explode
>those chords onto the extra staves and assign each staff to its own
>midi channel. That way the notes which are supposed to keep sounding
>won't be affected by the note-off commands since they won't be on the
>same channels.
Thanks for your suggestions, David.
This goes way beyond my current knowledge of Finale, so I will
probably just have to ignore it, and pretty well not use playback as a
useful rendering of a piece. (My music tends frequently to include
slightly strange situations like this.) I can only say that, once I do
know those midi matters generally, I will refer to what you said and use
that to help me solve it; but for now it goes way over my head. I
suppose I naively thought there might a simple fix I just didn't know
about.
As I said before, I used two layers in each manual staff, to
distinguish the notes which stop earlier, and the few that continue
sounding: the layers that contain the notes which stop earlier contain
the complete chord (four notes in each hand), whereas I used extra
layers to duplicate, and give a longer note value to, the few which
continue; that is, the low G in the right hand, and the F and B in the
left hand. Also, the B/Cb duplicated in the layers uses two different
enharmonic spellings: the one which is in the big chord is written as Cb
to reflect the spacing of the total chord all in thirds, but the copy in
the notes which continue longer is written as B, because those three
notes act like the penultimate G7 harmony in a C major close. Is it
possible that putting the same note in two layers but using different
enharmonic spellings could somehow be causing this, or at least
complicating it? I don't really want to change the notation, because I
think there are good reasons for doing it this way.
It doesn't seem likely to me, though. Much the same thing
happened in a piano piece which is totally diatonic for dozens of bars,
so there are no accidentals whatever. I had a situation where the bass
notes change bar by bar, going down one step for each new bar, but the
sustaining pedal is meant to merge them all together for three or four
bars (the upper harmonies were compatible with this), accumulating them
one by one into a mini-cluster - and I used layers and the v1/v2 device
to tie these notes and gradually let them pile up until there was a
cluster of about 4 adjacent notes tied over - and the same thing happens
when I try to play that back.
So it doesn't sound like enharmonic anomalies such as in the organ
piece are the problem, but just too many notes, tied for differing
numbers of beats. (I fear this may come up again and again and again,
as I do tend to write very intricately voiced music to highlight the
structure.)
I didn't fully understand your suggestions, David, about the extra
staff, midi channels, and so on - but would this alter the actual
appearance of the score on the page? I've got that looking the way I
want it (except that I still have dozens and dozens of minor tweaks
about note positioning and so on), and it does reflect exactly what I
want - so I wouldn't really be keen on changing the visual appearance of
the score in order to solve playback problems. This piece uses the
normal three staves for organ music, but it sounds like your suggestion
would involve using one or more extra staves, which I don't think are
necessary at least for visually reading the score.
Anyway, I think I will have to put this in the "deal with later
on" category. But thanks all the same for your suggestions.
Michael Edwards.
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