Re: [Finale] Re: OT Meanings of words
On Aug 26, 2004, at 12:03 PM, Harold Owen wrote: Naughty could mean of no account. I remember hearing in an old play a woman saying She has nice manners meaning she had no manners at all, which some would construe as naughty. Ah yes, of course! I was thinking only of the evolution of nice. I had totally neglected to consider the evolution of naughty. mdl ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Arrangement, Orchestration or Transcription?
Allegro, andante, old Italian. Who in this time (in their native language) actually puts happy as a musical direction or walking? (Okay, maybe the Italians. Sr. Andreani, care to respond?) Walking isn't a very good translation of andante. The closest English equivalent would be going, and in the musical context it's more like moving. Perhaps you are getting confused with Spanish, where andar is associated more closely with walking, though even there it's much broader than the English word walk, which is very specific. In Italian or Spanish one might andar by horseback, by train, or by car, and it's the usual word for all sorts of go idioms. If I say, andiamo, I'm not saying let's walk. ... Basic music words like allegro, andante, legato, crescendo, etc, are no longer foreign words in English. They are English words of Italian origin, just as surely as graffiti, zucchini, soprano, etc. In most cases the English meaning doesn't match the Italian meaning. For example, there are a lot of ways you might use the word legato in Italian that have nothing to do with music. Same for libretto and dozens of others. Well, there's a lot to say here, and I'll obviously cover one minimum percentage of the aspect. One thing I have learned, traveling, living and studying in countries also different from my homeland is that it's difficult to state the real, deepest meaning one intends when using his one language terms compared to a different culture; so, for a full comprehensive understanding, a lot of care in communication is needed. When Mozart used to play some of Clementi's piano compositions, he was astonished to discover that playing certain movements -usually in the Finales of some Sonatas (the third or fourth movement)- was almost impossible to him. The difficulty was keeping the right pulse speed when related to the term Presto which, grammatically, is an adjective in Italian language, and means very quickly. When Mozart and Clementi met, the first then discovered that Clementi played the same music at a slower speed that what Mozart intended, and that would been probably, for him, an Allegro o something near to it. This caused Mozart to judge the Italians with not so very appreciating words (even though Clementi was more English educated than Italian). What we can understand, from this, is that interpretation needs a profound cultural approach, and that things don't stand in an absolute way (not even pitch does, if one thinks about the frequencies which absolute pitches passed trough). Just to support my thoughts, I want to say something more about Italian terms used to indicate the pulse's speed: The adjectives used to indicate speed are commonly used in Italian language without referring to music, so largo means wide; lento slow; adagio slow (adagio comes from ad agio, which could mean comfortably, in a confident way, and still is intended as slow in Italian); andante something going faster than slow but not so fast; moderato could mean: kept within certain limits, in Parliament, a party who sits not on the left or not on the right is moderato. Allegro means happy and presto means very quickly. We use these terms currently in our language and for an Italian student starting up, not always all terms make immediately a musical sense. Legato, for instance, means tied up, so, the only way to teach a legato is to give the student an example, then he'll know what the argument is about. Another one: the term arrangement, means to be done by yourself, without any help, and it's used frequently when you want to get rid of a typical annoying situation where someone is asking help and you don't want to give any more (or give any at all), so you'll be saying: arrangiati!. If, in England, asking someone to do something for me, I could sometimes end with can you arrange that for me?. That could be like in Italian to, but we still have a more negative cultural background for the meaning for this term. Still, arrangiato da.. (arranged by...) is widely used in commercial music, which has a great influence from English and American discographic industry. Giovanni Andreani Post Scriptum - The interpretation of Italian terms by Mark D Lew is absolutely correct ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German Musical Term
Dear Giovanni, Yes, bearbeitet von is the correct translation. I wouldn't use a colon, however. Greetings from Vienna, Mario. Thank you Mario, very much. I would like to ask you what Orchestration by... is in German; or would it turn out to be Orchestrated by...? Giovanni Andreani ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] feature request
Mark D Lew wrote: Hey, that reminds me. Have they fixed Speedy Entry so that when the cursor is at the end of a measure, the Enter key acts on the previous chord like all the other speedy keystrokes do? This would save me more time and effort than just about any other fix. It's not a big deal to have to arrow back for each note of a chord, but it happens so often that when you add it all up it's more than some larger but less frequent difficulties. And it seems like it would be such a simple fix for them to make. I know we were asking about this before 2k4. Did the message get through yet? mdl ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale When entering a chord on ANY beat, not just the last beat, you still have to arrow back, so the behavior at the end of the measure is no different from any other beat. Unless I'm misunderstanding what you're asking. To add notes to a chord the cursor has to be at the position of the previously entered notes. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: OT Meanings of words
Mark D Lew wrote: On Aug 26, 2004, at 12:03 PM, Harold Owen wrote: Naughty could mean of no account. I remember hearing in an old play a woman saying She has nice manners meaning she had no manners at all, which some would construe as naughty. Ah yes, of course! I was thinking only of the evolution of nice. I had totally neglected to consider the evolution of naughty. That's how somebody can be naughty and nice all at the same time. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Finale 2005 (WIN) Tuplet Bug (a different one?)
Just installed FinWin2K5. Can someone confirm this for me? 1. Create a beam-side tuplet. 2. Now attach a note expression to the first note of the tuplet (again beam-side), or a beam-side articulation. Re-draw the screen. Does the tuplet bracket/number move to encompass the expression? 3. Now move the expression. Does the tuplet bracket move even further? I'm assuming this must be a mistake and not the default behaviour, given how completely insane it is! C. _ Stay in touch with absent friends - get MSN Messenger http://www.msn.co.uk/messenger ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Xylophones Range Absolute Pitch
Hello I'm working on a series of publications including instruments such as xylophones, metallophones, bass contrabass resonator bars, glockenspiels. These kind of instruments are better known as Orff- Instruments and are not only used for kids nursery rhymes, but, in a larger and more complex way, there are very sensational musical works for Orff orchestra (you can see more at http://www.studio49.de/). These publications are to be ready on September 2004. For a matter of accuracy, I would like to know what the standard is regarding pitch notation for these instruments, knowing them as transposing instruments, especially referring to bass and counter-bass instruments. For example: the soprano diatonic xylophone's range is c2-a3 (Helmholtz System) - (C5- A6 where C4 is middle C) but it's written an octave lower positioning the first instrument's C bar on middle C, making it a transposimg instrument. The alto xylophone's range is c1-a2, so it not should be written as a transposing instrument, just using the G clef. The bass xylophone's range is c-a1 (C3-A4), and here's my first concern: I've seen parts for this instrument written in bass clef (as a non transposing instrument) and in G clef (making it one octave lower transposing instrument). I have same concern for bass resonator bars (same as bass xylophone's range) and contrabass resonator bass (an octave lower): So, if there is a standard regarding the use or not on writing pitches for these (lower) instruments, I would really appreciate to know about. I have written to Orff Society and Studio 49 but had no feedback. Does anybody knows something further more? Thank you Giovanni Andreani ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] feature request
On Aug 27, 2004, at 3:26 AM, dhbailey wrote: When entering a chord on ANY beat, not just the last beat, you still have to arrow back, so the behavior at the end of the measure is no different from any other beat. Sorry, I should have phrased that more carefully. Where I said end of the measure, what I really meant was after the last entry that exists in the measure so far, whether it's the end of the measure or not. The point being that if you've already filled the measure with four quarter notes, and you go back to put your cursor on beat 3, you obviously don't expect your actions to affect beat 2 instead. Unless I'm misunderstanding what you're asking. To add notes to a chord the cursor has to be at the position of the previously entered notes. You're understanding me exactly right. What you describe is how it works in 2k2, and how I was told it works in 2k4. I was hoping they'd make the adjustment for 2k5. In Speedy Entry (qwerty method) the following keystrokes affect the entry that the cursor is on: - Enter (add a note to a chord) - Clear (delete a note from a chord) - Period (add a dot) - Plus (sharp) - Minus (flat) - Astrisk (courtesy accidental) - Equals (tie) - Slash (break/connect beam) - Semi-colon (make it a grace note) - P (parenthesize accidental) - L (flip stem) - O (hide entry) and maybe a few others I'm forgetting. When the cursor is not over an entry, every one of those keystrokes works on the previous entry -- EXCEPT for the Enter key. Why the difference? No, it's not a bug, since nothing in the documentation says it ought to be that way, but it seems so pointless. Any time you enter a chord with Speedy qwerty it doubles the number of keystrokes. Sure, with practice one learns to be pretty fast at that, but if they fixed the Enter key to work like all the others, with practice we could all learn to be even faster. Can this really be so hard to change? What is it about the software that makes the one key behave differently anyway? Even Clear works on the previous entry, and Clear and Entry are practically mirror opposites. It just baffles me that this has been left alone for so long. Surely I'm not the only one who uses Speedy qwerty. mdl ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] feature request
On Fri, 27 Aug 2004 10:11:34 -0700, Mark D Lew [EMAIL PROTECTED] wrote: When the cursor is not over an entry, every one of those keystrokes works on the previous entry -- EXCEPT for the Enter key. Why the difference? How else would you enter the next note in the measure? If a cursor on a blank space affected the previous note, you'd never be able to fill the rest of the measure. Right? -- Brad Beyenhof [EMAIL PROTECTED] http://augmentedfourth.blogspot.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] feature request
At 01:11 PM 08/27/2004, Mark D Lew wrote: When the cursor is not over an entry, every one of those keystrokes works on the previous entry -- EXCEPT for the Enter key. Why the difference? It just baffles me that this has been left alone for so long. Surely I'm not the only one who uses Speedy qwerty. I never quite thought about it, Mark, but you're quite right -- and boy, would this be a timesaver. I cringe whenever I have to enter something with more than a rudimentary piano part, because of the time it will take to enter chords. (I use Speedy qwerty as well.) FWIW, I remapped my spacebar to left arrow and Ctrl-Shift to right arrow (in Speedy only), which means that my right hand can stay over the num keypad and my left over the qwerty keys, which makes things moderately faster. But the two methods I know how to accomplish this with are only available in Win (TGTools keyboard remapper, and the [SpeedyKeys] section in finale.ini). I loudly second this feature request. Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Xylophones Range Absolute Pitch
Hi A good reference book is by Roger Bornstein Range and Transposition Guide which contains said information on just about every instrument in the western world, including those that you mention. The last I heard the book was available only at Judy Green Music in Hollywood, CA. RW On Friday, August 27, 2004, at 09:59 AM, Giovanni Andreani wrote: Hello I'm working on a series of publications including instruments such as xylophones, metallophones, bass contrabass resonator bars, glockenspiels. These kind of instruments are better known as Orff- Instruments and are not only used for kids nursery rhymes, but, in a larger and more complex way, there are very sensational musical works for Orff orchestra (you can see more at http://www.studio49.de/). These publications are to be ready on September 2004. For a matter of accuracy, I would like to know what the standard is regarding pitch notation for these instruments, knowing them as transposing instruments, especially referring to bass and counter-bass instruments. For example: the soprano diatonic xylophone's range is c2-a3 (Helmholtz System) - (C5- A6 where C4 is middle C) but it's written an octave lower positioning the first instrument's C bar on middle C, making it a transposimg instrument. The alto xylophone's range is c1-a2, so it not should be written as a transposing instrument, just using the G clef. The bass xylophone's range is c-a1 (C3-A4), and here's my first concern: I've seen parts for this instrument written in bass clef (as a non transposing instrument) and in G clef (making it one octave lower transposing instrument). I have same concern for bass resonator bars (same as bass xylophone's range) and contrabass resonator bass (an octave lower): So, if there is a standard regarding the use or not on writing pitches for these (lower) instruments, I would really appreciate to know about. I have written to Orff Society and Studio 49 but had no feedback. Does anybody knows something further more? Thank you Giovanni Andreani ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Tuplet bug (a different one?)
I have already sent a question about this to MacSupport, since the mac version behaves in the same way. Michael Matthews Just installed FinWin2K5. Can someone confirm this for me? 1. Create a beam-side tuplet. 2. Now attach a note expression to the first note of the tuplet (again beam-side), or a beam-side articulation. Re-draw the screen. Does the tuplet bracket/number move to encompass the expression? 3. Now move the expression. Does the tuplet bracket move even further? I'm assuming this must be a mistake and not the default behaviour, given how completely insane it is! C. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] more words (was Arrangement...)
On Aug 27, 2004, at 2:39 AM, Giovanni Andreani wrote: Well, there's a lot to say here, and I'll obviously cover one minimum percentage of the aspect. [snip] Thanks for the follow up, Giovanni. And I trust you won't be shy about correcting me when I do get something wrong! In the opera world part of my job is to help singers really understand what they're saying, so I've had to immerse myself in the nuances of Italian many times, but I'm not a native speaker and I'm really not even fluent in any practical sense, so I welcome whatever help I can get. It seems to me that there are two issues here. One is that when a word is used in a specific context, it develops a specialty meaning there. So a word used as a musical term develops a special meaning in music which is different from the general meaning. When the word comes from another language -- as legato, allegro, etc, do for us anglophones -- we're only aware of the specialty meaning. If we make ourselves aware of the general meaning as well, it might provide interesting historical background, but it's really no longer the musical term that we're studying. In the term's native language, speakers simply learn to distinguish the specialty meaning from the general meaning, but as you note, that sometimes leads to temporary confusion when the person is learning the specialty for the first time. We have some of those in English as well, though we aren't conscious of them in the same way that we're conscious of Italian-derived terms. A good example is swing. When we say a piece should be played with swing, swing is a specialty term whose meaning is only loosely related to the general meaning of the word. If a novice musician were to look up swing in the dictionary, it wouldn't be very helpful in learning what the composer is asking for. The second factor at work here is just the general pattern of modulation between languages. That is, even when a word in one language has a corresponding equivalent in another language, it's never an exact match -- not even if the two words share the same etymological cognate. So while it may be true that lento equals slow, your word might not suggest the same measure of slowness that our word does. And as you noted, there is modulation across time as well as across languages. This can affect any descriptive word, and not just music. Modulation is most pronounced in subjective concepts with unclear boundaries, such as color. Everyone knows that rosso equals red, but an anglophone who happens to see an Italian chart of colors with labels identifying the different hues will be quite surprised at the oranges and browns which Italians consider a shade of rosso that we would never think of as red. (This too modulates over time, by the way.) This also expresses itself in idiom. In English, we would think it very strange to refer to the yolk of an egg as the egg's red part. One place where this question recurs in opera is in translating the scene in Tosca where Tosca insists that Mario put occhi neri on the portrait he's painting. We all know that nero equals black, but in fact when referring to eyes nero suggests something which is darker than our brown but lighter than our black. This inevitably leads to a debate about exactly what word one should use in writing the supertitles. Neither black nor brown is truly an accurate representation. Some choose to dodge the issue by saying dark, but that doesn't quite capture it either. A similar problem exists for words for hair color. Among those who care about the ethnic identity of the various groups of ancient Greeks, there is a lively debate about exactly what can be inferred from the hair color words found in the Iliad. (The confusion is further compounded by amateurs who drawn erroneous conclusions based on translations which were never intended to be literal. -- It says right here that Helen was 'fair-haired'...!) mdl P.S. to Giovanni: Can I add you to my list of advisors for occasions when I want insight from a native speaker on the use of certain Italian words? I can think of one puzzle I want to pose already. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] feature request
At 01:25 PM 08/27/2004, Brad Beyenhof wrote: How else would you enter the next note in the measure? If a cursor on a blank space affected the previous note, you'd never be able to fill the rest of the measure. Right? No. The Enter key can only add a pitch to an existing chord -- it cannot make a new note appear independently. (How would it know what duration to use?) This is assuming Speedy Entry with the qwerty keyboard, which is what Mark is talking about. I can't speak to other entry methods. Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Orff-Topic
Shouldn't this messsage be labeled Orff-Topic? cd Hello I'm working on a series of publications including instruments such as xylophones, metallophones, bass contrabass resonator bars, glockenspiels. These kind of instruments are better known as Orff- Instruments and are not only used for kids nursery rhymes, but, in a larger and more complex way, there are very sensational musical works for Orff orchestra (you can see more at http://www.studio49.de/). These publications are to be ready on September 2004. For a matter of accuracy, I would like to know what the standard is regarding pitch notation for these instruments, knowing them as transposing instruments, especially referring to bass and counter-bass instruments. For example: the soprano diatonic xylophone's range is c2-a3 (Helmholtz System) - (C5- A6 where C4 is middle C) but it's written an octave lower positioning the first instrument's C bar on middle C, making it a transposimg instrument. The alto xylophone's range is c1-a2, so it not should be written as a transposing instrument, just using the G clef. The bass xylophone's range is c-a1 (C3-A4), and here's my first concern: I've seen parts for this instrument written in bass clef (as a non transposing instrument) and in G clef (making it one octave lower transposing instrument). I have same concern for bass resonator bars (same as bass xylophone's range) and contrabass resonator bass (an octave lower): So, if there is a standard regarding the use or not on writing pitches for these (lower) instruments, I would really appreciate to know about. I have written to Orff Society and Studio 49 but had no feedback. Does anybody knows something further more? Thank you Giovanni Andreani ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] 2005 buggiest setup ever
I just put the SERVICE PACK 2 on my XP yesterday and tried to load 2005. Lots of problems, plus nothing (even after speaking to tech support) would load this part of the program. The SMARTMUSIC synth choice gives no sound at all. Also, the repeats plug-in is gone and bizarre events occur when 2004 scores created with it are brought up. Not too complicated scores (on a 1-Gig RAM setup) elicit RAM deficiency warnings on playback. I never really had any problems with 2004. This one seems to be a backyard delight;-) -- Henry Howey, D.M.A. Professor of Music Sam Houston State University Box 2208 Huntsville, TX 77341 (936) 294-1364 http://www.shsu.edu/~music/faculty/howey.html Owner of FINALE Discussion List ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2005 buggiest setup ever
On 27 Aug 2004 at 13:24, Henry Howey wrote: I just put the SERVICE PACK 2 on my XP yesterday and tried to load 2005. Lots of problems, plus nothing (even after speaking to tech support) would load this part of the program. May I ask why you installed SP2? The SMARTMUSIC synth choice gives no sound at all. Also, the repeats plug-in is gone and bizarre events occur when 2004 scores created with it are brought up. Not too complicated scores (on a 1-Gig RAM setup) elicit RAM deficiency warnings on playback. I never really had any problems with 2004. This one seems to be a backyard delight;-) Have you tried re-installing Finale? Or uninstalling and re-installing? -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2005 buggiest setup ever
So is this a Finale problem or a Windows XP Service Pack 2 problem? Did you try 2004 with it? I've heard Service Pack 2 breaks a lot of software, so, I'll pass on it now. I don't think you should be pointing fingers at MakeMusic. Direct it at Microsoft. Henry Howey wrote: I just put the SERVICE PACK 2 on my XP yesterday and tried to load 2005. Lots of problems, plus nothing (even after speaking to tech support) would load this part of the program. The SMARTMUSIC synth choice gives no sound at all. Also, the repeats plug-in is gone and bizarre events occur when 2004 scores created with it are brought up. Not too complicated scores (on a 1-Gig RAM setup) elicit RAM deficiency warnings on playback. I never really had any problems with 2004. This one seems to be a backyard delight;-) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2005 buggiest setup ever
At 02:24 PM 08/27/2004, Henry Howey wrote: I just put the SERVICE PACK 2 on my XP yesterday and tried to load 2005. Lots of problems, plus nothing (even after speaking to tech support) would load this part of the program. This one is not (necessarily) Coda's fault. From what I've read, SP2 was widely expected to break many existing apps because of all of the differences from SP1. Most recommendations seem to be to hold off on SP2 until the dust settles. Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] 2005 buggiest setup ever
Henry... XP SP2 is known to be very unfriendly to MIDI and audio software. Hopefully you created a restore point and can roll yourself back to pre-SP2. Jim -Original Message- From: [EMAIL PROTECTED] on behalf of Henry Howey Sent: Fri 27-Aug-04 13:24 To: [EMAIL PROTECTED] Cc: Subject: [Finale] 2005 buggiest setup ever I just put the SERVICE PACK 2 on my XP yesterday and tried to load 2005. Lots of problems, plus nothing (even after speaking to tech support) would load this part of the program. The SMARTMUSIC synth choice gives no sound at all. Also, the repeats plug-in is gone and bizarre events occur when 2004 scores created with it are brought up. Not too complicated scores (on a 1-Gig RAM setup) elicit RAM deficiency warnings on playback. I never really had any problems with 2004. This one seems to be a backyard delight;-) -- Henry Howey, D.M.A. Professor of Music Sam Houston State University Box 2208 Huntsville, TX 77341 (936) 294-1364 http://www.shsu.edu/~music/faculty/howey.html Owner of FINALE Discussion List ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale winmail.dat___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2005 buggiest setup ever
Henry Howey wrote: I just put the SERVICE PACK 2 on my XP yesterday and tried to load 2005. Lots of problems, plus nothing (even after speaking to tech support) would load this part of the program. The SMARTMUSIC synth choice gives no sound at all. Also, the repeats plug-in is gone and bizarre events occur when 2004 scores created with it are brought up. Not too complicated scores (on a 1-Gig RAM setup) elicit RAM deficiency warnings on playback. I never really had any problems with 2004. This one seems to be a backyard delight;-) I just checked and the Repeats plugins aren't part of my installation either. I simply copied the Repts32.fxt plugin from Finale2004 to Finale2005 and the repeat plug-ins work just fine. Wonder how they overlooked them in the installation package? I haven't had any problems with playback and RAM warnings. I am definitely holding off on SP2, based on your experience and some warnings I received on another list of computers not booting after installing it. The SmartMusic synth works fine on my installation. Sorry to hear about your troubles! I would definitely suggest either trying to turn off all the security enhancements in SP2 and seeing if that helps things for you. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] feature request
On Aug 27, 2004, at 10:37 AM, Aaron Sherber wrote: I never quite thought about it, Mark, but you're quite right -- and boy, would this be a timesaver. I cringe whenever I have to enter something with more than a rudimentary piano part, because of the time it will take to enter chords. (I use Speedy qwerty as well.) Yeah, I know that feeling! FWIW, I remapped my spacebar to left arrow and Ctrl-Shift to right arrow (in Speedy only), which means that my right hand can stay over the num keypad and my left over the qwerty keys, which makes things moderately faster. But the two methods I know how to accomplish this with are only available in Win (TGTools keyboard remapper, and the [SpeedyKeys] section in finale.ini). On my keyboard, which I guess is the current standard Apple Extended*, the arrow keys are only a little to the left of the number pad and I can easily cover both left and right arrows with my right thumb without moving my other fingers off the number pad. Unfortunately the up and down don't work so well, since one is above the other. I can get the down arrow with my thumb OK, but when I go for the up I end up hitting them both. Very recently I've started using three shift-downs with my thumb to move up one layer. I think that's faster than moving my hand to do shift-up with my right index finger, but I haven't really developed the habit yet. I too like to keep my left hand on the qwerty and my right hand on the number pad. I've gotten pretty good at shifting my left hand to cover all seven letters plus the octave switcher, but I still lose my rhythm when I need one of the miscellaneous keys which I can't get on the number pad (eg, L) mdl * not to be confused with the former Apple Extended, which had the same layout but a much better touch ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2005 buggiest setup ever
And it has added some wonderful functionality that will make life with Finale much easier, with regards to repeats. But I just used the old repeats plugins and they still are quick and easy also, so I may keep them in my plugins folder. But the revamping of the Repeat Tool deserves a lot of praise, in my opinion. David Fisher, Allen wrote: Yep. The functionality (and then some) of the repeats PI's has been incorporated directly into the repeat tool. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Aaron Sherber Sent: Friday, August 27, 2004 2:57 PM To: [EMAIL PROTECTED] Subject: Re: [Finale] 2005 buggiest setup ever At 03:48 PM 08/27/2004, dhbailey wrote: I just checked and the Repeats plugins aren't part of my installation either. I simply copied the Repts32.fxt plugin from Finale2004 to Finale2005 and the repeat plug-ins work just fine.Wonder how they overlooked them in the installation package? I think they've been obsoleted -- when you click on the Repeat tool, there's now a whole Repeats menu. Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Xylophones Range Absolute Pitch
At 11:00 AM -0700 8/27/04, Carl Dershem wrote: On Fri, 27 Aug 2004 18:59:32 +0200, Giovanni Andreani [EMAIL PROTECTED] wrote: Hello I'm working on a series of publications including instruments such as xylophones, metallophones, bass contrabass resonator bars, glockenspiels. These kind of instruments are better known as Orff- Instruments Shouldn't this messsage be labeled Orff-Topic? That's simply Orfful! John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2005 buggiest setup ever
dhbailey write: You can select the Repeat tool and then highlight the measures you want in the repeats, go to the Repeat menu and choose Simple Repeat or First and Second Ending Repeats. With the First and Second Ending, it will turn whichever measure or measures you have selected into the first ending and will create an open-ended second ending on the measure following the selected ones. I assume you selected the region with the mouse? If so, it might be faster to create the repeats using the contextual menu for the repeat region (using right-click) instead of pulling down the Repeat menu. Best regards, Jari Williamsson ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2005 buggiest setup ever
I just put the SERVICE PACK 2 on my XP yesterday and tried to load 2005. Lots of problems, plus nothing (even after speaking to tech support) would load this part of the program. I read on MS newsgroups that there are many problems with SP2, but that there is a rollback feature in it. Richard Yates (Who is currently waiting for the labor pains to subside from both Fin2005 and SP2 before making any moves) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page turn symbol/notation?
In jazz and B'way copying, where we go to extreme lengths to facilitate page turns (sometimes we have just 2-3 systems on a page, or even leave a page completely blank), we use V.S. for all page turns where the system with the page turn isn't aligned with the bottom margin -- even when there's no particular rush. So I think using V.S. as an all-purpose page turn indicator is just fine. You might also consider using a right-pointing arrow from a symbol font. (I actually use both -- i.e., V.S. -) - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 27 Aug 2004, at 11:19 PM, John Poole [Finale Discussion] wrote: I will be publishing new music (using Finale) for piano ensemble (duet and 2 piano 8 hands). Thus the question of who should turn the pages arises. We're considering have a mark or notation for page turns as appropriate to a particular part (Primo or Secondo). Often the delegation of who turns a page needs to be agreed upon ahead of time, and this practice is fine when the players are working on the piece and decisions can be made ahead of time. However, for just sight-reading which ends up being how 8 hand music is played in most cases, I think it would be helpful to provide a cue to either the Primo or Secondo player that the suggested responsibility of the page turn lies with a particular part. Accordingly, I plan to have something below the last measure on a page indicating the page turn has been assigned to that part. Right now, the term Turn could be used, but using English seems to stick out like a sore thumb. I've read that in instances where page turns are needed for solo players to warn them that a quick page turn is necessary in order to keep up with the group, the appropriate marking is v.s. for volti subito (Italian). There's also a reference to an early edition of tournez (French) marking where a rapid page turn is needed to keep up with a live performance. Does anyone have any suggestions for a German term? There will obviously be instances where alacrity is not needed, nonetheless I'd like to have a symbol on one of the players part for assigning the task. It seems using v.s. in general would be inappropriate when speed is not needed. I suppose I could create a symbol which users of my editions would come to learn, but that would be a last resort. Does anyone have suggestions or opinions on the matter? -- John Poole Editions Poole http://www.editionspoole.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page turn symbol/notation?
Darcy James Argue wrote: So I think using V.S. as an all-purpose page turn indicator is just fine. It isn't with the sightreading of a piece with standard orchestral players. They'll all lurch forwards to turn ASAP. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Orff-Topic
At 11:02 PM -0400 8/27/04, John Howell wrote: At 8:10 PM +0200 8/27/04, Giovanni Andreani wrote: Hold the phone on your question, Giovanni. My wife just found me an official Studio 49 grand staff showing the ranges of all the instruments. It's a little hard to figure out, but I'll report back to you when I understand it. It's exactly what you asked for. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page turn symbol/notation?
Owain Sutton wrote: Darcy James Argue wrote: So I think using V.S. as an all-purpose page turn indicator is just fine. It isn't with the sightreading of a piece with standard orchestral players. They'll all lurch forwards to turn ASAP. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale Exactly. V.S. means fast. The end of a page means turn. Why add anything at all? Anybody can figure out to turn the page, even if there is blank space. Or write time or turn - but PLEASE not V.S. when it's not. The players really do complain about that every time it is used incorrectly. Raymond Horton Bass Trombonist, Louisville Orchestra ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page turn symbol/notation?
At 8:19 PM -0700 8/27/04, John Poole [Finale Discussion] wrote: I've read that in instances where page turns are needed for solo players to warn them that a quick page turn is necessary in order to keep up with the group, the appropriate marking is v.s. for volti subito (Italian). John: This is absolutely standard in orchestral music, especially in string parts which sometimes have no rests for page turns. Actually I've never come across it in solo music at all. I would strongly suggest using this notation, on whichever page is appropriate. Your Italian may be accurate, although I've always had it explained as vide sequentia (see what follows). There will obviously be instances where alacrity is not needed, nonetheless I'd like to have a symbol on one of the players part for assigning the task. It seems using v.s. in general would be inappropriate when speed is not needed. V.S. (capitalized, by the way) does not imply speed. It's simply a warning that the music continues overleaf. Now granted, pianists will not be familiar with the notation, so you should probably give an explanation, but it's a very standard notation. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page turn symbol/notation?
On 28 Aug 2004, at 12:24 AM, Raymond Horton wrote: Owain Sutton wrote: It isn't with the sightreading of a piece with standard orchestral players. They'll all lurch forwards to turn ASAP. And that's a bad thing? [I'm kidding, but kidding on the square.] Exactly. V.S. means fast. The end of a page means turn. Why add anything at all? Because that's what B'way players expect. If there's just blank space, they may think the number (or at least their part in the number) is over. And obviously, there has to be *some* kind of indication on a page intentionally left blank to facilitate page turns. Or write time or turn - but PLEASE not V.S. when it's not. The players really do complain about that every time it is used incorrectly. Well, that's good to know for orchestral work, but for B'way and jazz, V.S. just means It ain't over yet -- turn the page. Anyway, seems like John Poole might want to use an arrow then. Or turn, as Ray suggests. - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Orff-Topic
http://music.theory.home.att.net/insrange.htm -- Brad Beyenhof [EMAIL PROTECTED] http://augmentedfourth.blogspot.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TAN: Olympic Star Spangled Banner
I like the arrangement that is being used in the Olympics this time around. The '..rockets red glare' section is sweet and peaceful. Not a good match for the words, but better than an a swaggering march. Anyone know who did it or how they choose? Richard Yates ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
