Re: [Finale] Double flats
d. collins / 04.12.19 / 8:06AM wrote: Well, I'm also a performer, and I find an F double sharp easier to read than a G natural if I'm in G sharp major or minor. When I saw the original post, I was under the impression it was not like that. Say an approach note to D being E flat key in D by the key of the moment that is a related II-V of key in B as the entire composition now transposed into key in Bb. I certainly do not wish to sight-read it when that approach note is E double-flat to D flat. This kind of situation happens a lot when you write in concert pitch and transpose to instrument's key later. -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Vertical text
Is there any way to create vertical text (ie running bottom-to-top)? I'm wanting it for a 'completion date' after a final barline. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Vertical text
Is there any way to create vertical text (ie running bottom-to-top)? I'm wanting it for a 'completion date' after a final barline. Yes, use the Custom Line Tool. Set line thickness to 0. Put text in the 'Center Full' option. Select and Ctrl-click in the score. Drag to tilt. Richard Yates ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Double flats
At 7:49 AM -0500 12/19/04, dhbailey wrote: d. collins wrote: Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis David H. Bailey: But then there are varying ways of being wrong in this situation -- there is the wrong of the music theory world which dictates that music must be within very narrowly defined paradigms involving scales and keys and woe to anybody who alters something just to make it easy to play. Then there is the wrong of being theoretically right but much harder to perform, with tons of double-flats or double-sharps which many musicians, amateur AND pro, have great difficulty playing without a lot of practice. In this case everyone is correct, and whatever Crystal does will be a compromise. But I would suggest that before making enharmonic decisions, the person making them, whether this is Crystal or her client, take into consideration the specific instrument and its fingerings. On a stringed instrument, for example, keys with many flats will be sight-read in a lower position, possibly half position, forcing the hand lower on the fingerboard. Mixing in naturals and/or sharps at random will disturb the visual look of the fingering patterns and make sightreading unnecessarily difficult, since the player will have to translate the accidentals mentally in real time. (Yes, better fingerings can be worked out, but I'm talking about sightreading here.) The same is true for woodwinds (especially if you get into the plethora of notes controlled by the two little fingers on clarinet), and to a lesser extent on brass instruments (which have no difficult individual fingerings, but can get into difficult fingering combinations). Pianists are used to double flats and sharps and they should be left as is. Mallet players are on their own! And nobody should score for harp without serious study of its limitations and requirements. 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
[Finale] Re: FONT not working in 2005a
At the risk of seeming too persistent, I'm going to re-post this question, since I didn't receive any answers or response. Can you guys help me out here? = Here's another update phenomenon. Maybe one of you font guys can solve this one. In my last few months of Finale files, I have exclusively used the font Chalkboard for all my text expressions and most of my headers. It worked fine in everything up to and including Finale 2005. Since updating to 2005a, Chalkboard no longer comes out looking like the font. It's still listed in the fonts, but appears on the screen and in printout like some generic default font. This was confirmed tonight by Karen also. Not only do I like the look of Chalkboard (I use it in all e-mails now also), but more importantly I do not want to go back into my hundreds of Finale files and change all the supposed occurrences of the font to something. Incidentally, Chalkboard works fine in all other applications. Any solution? All the best, KIM Richmond ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Double flats
This has always been my objection, but some people think they know more than everyone else. The original key is B. Crystal Premo [EMAIL PROTECTED] From: d. collins [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 08:35:02 +0100 Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis ___ 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] Double flats
And this is why I am not arguing with the client. Someone who takes this music to an audition (not a good audition piece in my opinion, but in this context I am not being asked), the pianist may not be up to snuff, and double flats will cause stumbling. So why not just change the double flats and not tell Bob Merrill? Crystal Premo [EMAIL PROTECTED] From: dhbailey [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 07:49:47 -0500 d. collins wrote: Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis But then there are varying ways of being wrong in this situation -- there is the wrong of the music theory world which dictates that music must be within very narrowly defined paradigms involving scales and keys and woe to anybody who alters something just to make it easy to play. Then there is the wrong of being theoretically right but much harder to perform, with tons of double-flats or double-sharps which many musicians, amateur AND pro, have great difficulty playing without a lot of practice. For a performing edition for a specific individual, in my opinion, music theory be damned, make it easy to play and still sound correctly when played or sung by someone accompanied by modern fixed-pitch-instrument tuning instruments. (I added that so that music theory purists won't chime in about how a double-flat really isn't the same pitch as its enharmonic equivalent, in a pure intonation sense.) -- David H. Bailey [EMAIL PROTECTED] ___ 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] Double flats
I intend to supply the client with the song in C, with all the double flats, and with the double flats changed. In this way, she will have the best of both worlds. People who ask me for transpositions are very frequently not the most skilled singers and are participating in musical theatre on a less sophisticated level than the discussion about this topic is being conducted. Given this, is there a simpler way to achieve altering the double flats other than manually? Crystal Premo [EMAIL PROTECTED] From: John Howell [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 13:00:05 -0500 At 7:49 AM -0500 12/19/04, dhbailey wrote: d. collins wrote: Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis David H. Bailey: But then there are varying ways of being wrong in this situation -- there is the wrong of the music theory world which dictates that music must be within very narrowly defined paradigms involving scales and keys and woe to anybody who alters something just to make it easy to play. Then there is the wrong of being theoretically right but much harder to perform, with tons of double-flats or double-sharps which many musicians, amateur AND pro, have great difficulty playing without a lot of practice. In this case everyone is correct, and whatever Crystal does will be a compromise. But I would suggest that before making enharmonic decisions, the person making them, whether this is Crystal or her client, take into consideration the specific instrument and its fingerings. On a stringed instrument, for example, keys with many flats will be sight-read in a lower position, possibly half position, forcing the hand lower on the fingerboard. Mixing in naturals and/or sharps at random will disturb the visual look of the fingering patterns and make sightreading unnecessarily difficult, since the player will have to translate the accidentals mentally in real time. (Yes, better fingerings can be worked out, but I'm talking about sightreading here.) The same is true for woodwinds (especially if you get into the plethora of notes controlled by the two little fingers on clarinet), and to a lesser extent on brass instruments (which have no difficult individual fingerings, but can get into difficult fingering combinations). Pianists are used to double flats and sharps and they should be left as is. Mallet players are on their own! And nobody should score for harp without serious study of its limitations and requirements. 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 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Double flats
I don't know the piece, but if the original key was B, then there are probably many places where the original engraver cheated to spell things with flats and naturals rather than double sharps, like if the piece happens to go to D# major he might have spelled things as Eb instead. This means that when moved up a half step to C, the hypothetical passage should go to E major, not Fb. Just make sure that individual chords are correctly spelled; don't write something like D#,Gb,Bb. This will require a bit of analysis on your part, but it will make the part much easier to read in the long run. And of course, often double flats ARE easier to read than the enharmonic equivalent. I'm not a complete philistine, after all! Christopher On Dec 19, 2004, at 2:35 PM, Crystal Premo wrote: This has always been my objection, but some people think they know more than everyone else. The original key is B. Crystal Premo [EMAIL PROTECTED] From: d. collins [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 08:35:02 +0100 Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis ___ 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 mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Fwd: [Finale] Double flats
Hey all, I sent this reply last night and I received it through the list. Did any one else get it? Don Begin forwarded message: From: Don Hart [EMAIL PROTECTED]> Date: December 18, 2004 9:06:54 PM CST To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Crystal, I've never had to do this more or less globally, but I found Respell Notes in the Mass Mover Tool: Mass Edit Menu > Utilities > Respell Notes. It says in the online manual that enharmonics are reset using the setting in the Enharmonics submenu. Sounds like this is what you're looking for. Good luck. Don Hart On Dec 18, 2004, at 8:31 PM, Crystal Premo wrote: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? Crystal Premo [EMAIL PROTECTED] ___ 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] Double flats
You may also try TGTools Music Respell Notes as the Mass Edit Tool function will remove any articulation or text applied to the music. Mike -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christopher Smith Sent: Sunday, December 19, 2004 9:05 PM To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Mass Edit menu, Respell Notes will change all enharmonics to whatever you have selected in the Enharmonic Spelling menu item under Options. Christopher On Dec 19, 2004, at 2:48 PM, Crystal Premo wrote: I intend to supply the client with the song in C, with all the double flats, and with the double flats changed. In this way, she will have the best of both worlds. People who ask me for transpositions are very frequently not the most skilled singers and are participating in musical theatre on a less sophisticated level than the discussion about this topic is being conducted. Given this, is there a simpler way to achieve altering the double flats other than manually? Crystal Premo [EMAIL PROTECTED] From: John Howell [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 13:00:05 -0500 At 7:49 AM -0500 12/19/04, dhbailey wrote: d. collins wrote: Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis David H. Bailey: But then there are varying ways of being wrong in this situation -- there is the wrong of the music theory world which dictates that music must be within very narrowly defined paradigms involving scales and keys and woe to anybody who alters something just to make it easy to play. Then there is the wrong of being theoretically right but much harder to perform, with tons of double-flats or double-sharps which many musicians, amateur AND pro, have great difficulty playing without a lot of practice. In this case everyone is correct, and whatever Crystal does will be a compromise. But I would suggest that before making enharmonic decisions, the person making them, whether this is Crystal or her client, take into consideration the specific instrument and its fingerings. On a stringed instrument, for example, keys with many flats will be sight-read in a lower position, possibly half position, forcing the hand lower on the fingerboard. Mixing in naturals and/or sharps at random will disturb the visual look of the fingering patterns and make sightreading unnecessarily difficult, since the player will have to translate the accidentals mentally in real time. (Yes, better fingerings can be worked out, but I'm talking about sightreading here.) The same is true for woodwinds (especially if you get into the plethora of notes controlled by the two little fingers on clarinet), and to a lesser extent on brass instruments (which have no difficult individual fingerings, but can get into difficult fingering combinations). Pianists are used to double flats and sharps and they should be left as is. Mallet players are on their own! And nobody should score for harp without serious study of its limitations and requirements. 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 ___ 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 mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Double flats
Uh, what? No it doesn't! I use Mass Edit - Respell Notes all the time and I've never seen the behavior you describe. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 19 Dec 2004, at 03:21 PM, Mike Cholewa wrote: You may also try TGTools Music Respell Notes as the Mass Edit Tool function will remove any articulation or text applied to the music. Mike -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christopher Smith Sent: Sunday, December 19, 2004 9:05 PM To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Mass Edit menu, Respell Notes will change all enharmonics to whatever you have selected in the Enharmonic Spelling menu item under Options. Christopher On Dec 19, 2004, at 2:48 PM, Crystal Premo wrote: I intend to supply the client with the song in C, with all the double flats, and with the double flats changed. In this way, she will have the best of both worlds. People who ask me for transpositions are very frequently not the most skilled singers and are participating in musical theatre on a less sophisticated level than the discussion about this topic is being conducted. Given this, is there a simpler way to achieve altering the double flats other than manually? Crystal Premo [EMAIL PROTECTED] From: John Howell [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 13:00:05 -0500 At 7:49 AM -0500 12/19/04, dhbailey wrote: d. collins wrote: Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis David H. Bailey: But then there are varying ways of being wrong in this situation -- there is the wrong of the music theory world which dictates that music must be within very narrowly defined paradigms involving scales and keys and woe to anybody who alters something just to make it easy to play. Then there is the wrong of being theoretically right but much harder to perform, with tons of double-flats or double-sharps which many musicians, amateur AND pro, have great difficulty playing without a lot of practice. In this case everyone is correct, and whatever Crystal does will be a compromise. But I would suggest that before making enharmonic decisions, the person making them, whether this is Crystal or her client, take into consideration the specific instrument and its fingerings. On a stringed instrument, for example, keys with many flats will be sight-read in a lower position, possibly half position, forcing the hand lower on the fingerboard. Mixing in naturals and/or sharps at random will disturb the visual look of the fingering patterns and make sightreading unnecessarily difficult, since the player will have to translate the accidentals mentally in real time. (Yes, better fingerings can be worked out, but I'm talking about sightreading here.) The same is true for woodwinds (especially if you get into the plethora of notes controlled by the two little fingers on clarinet), and to a lesser extent on brass instruments (which have no difficult individual fingerings, but can get into difficult fingering combinations). Pianists are used to double flats and sharps and they should be left as is. Mallet players are on their own! And nobody should score for harp without serious study of its limitations and requirements. 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 ___ 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 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] Double flats
Sorry my bad. I was thinking of MassEdit Retranscribe. You're right. Mike -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Darcy James Argue Sent: Sunday, December 19, 2004 9:26 PM To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Uh, what? No it doesn't! I use Mass Edit - Respell Notes all the time and I've never seen the behavior you describe. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 19 Dec 2004, at 03:21 PM, Mike Cholewa wrote: You may also try TGTools Music Respell Notes as the Mass Edit Tool function will remove any articulation or text applied to the music. Mike -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christopher Smith Sent: Sunday, December 19, 2004 9:05 PM To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Mass Edit menu, Respell Notes will change all enharmonics to whatever you have selected in the Enharmonic Spelling menu item under Options. Christopher On Dec 19, 2004, at 2:48 PM, Crystal Premo wrote: I intend to supply the client with the song in C, with all the double flats, and with the double flats changed. In this way, she will have the best of both worlds. People who ask me for transpositions are very frequently not the most skilled singers and are participating in musical theatre on a less sophisticated level than the discussion about this topic is being conducted. Given this, is there a simpler way to achieve altering the double flats other than manually? Crystal Premo [EMAIL PROTECTED] From: John Howell [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 13:00:05 -0500 At 7:49 AM -0500 12/19/04, dhbailey wrote: d. collins wrote: Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis David H. Bailey: But then there are varying ways of being wrong in this situation -- there is the wrong of the music theory world which dictates that music must be within very narrowly defined paradigms involving scales and keys and woe to anybody who alters something just to make it easy to play. Then there is the wrong of being theoretically right but much harder to perform, with tons of double-flats or double-sharps which many musicians, amateur AND pro, have great difficulty playing without a lot of practice. In this case everyone is correct, and whatever Crystal does will be a compromise. But I would suggest that before making enharmonic decisions, the person making them, whether this is Crystal or her client, take into consideration the specific instrument and its fingerings. On a stringed instrument, for example, keys with many flats will be sight-read in a lower position, possibly half position, forcing the hand lower on the fingerboard. Mixing in naturals and/or sharps at random will disturb the visual look of the fingering patterns and make sightreading unnecessarily difficult, since the player will have to translate the accidentals mentally in real time. (Yes, better fingerings can be worked out, but I'm talking about sightreading here.) The same is true for woodwinds (especially if you get into the plethora of notes controlled by the two little fingers on clarinet), and to a lesser extent on brass instruments (which have no difficult individual fingerings, but can get into difficult fingering combinations). Pianists are used to double flats and sharps and they should be left as is. Mallet players are on their own! And nobody should score for harp without serious study of its limitations and requirements. 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 ___ 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 mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Vertical text
Brilliant! Thanks. Richard Yates wrote: Is there any way to create vertical text (ie running bottom-to-top)? I'm wanting it for a 'completion date' after a final barline. Yes, use the Custom Line Tool. Set line thickness to 0. Put text in the 'Center Full' option. Select and Ctrl-click in the score. Drag to tilt. Richard Yates ___ 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] Vertical text
Richard Yates écrit: Yes, use the Custom Line Tool. Set line thickness to 0. Put text in the 'Center Full' option. Select and Ctrl-click in the score. Drag to tilt. Hey, this is brilliant! I had no idea one could put text instead of the line. Thanks, Richard. And thanks to Owain for asking! Now, is it possible to copy such a custom line from one file to another? Yes, Robert G. Patterson's Settings Scrapbook plugin can copy these Custom Line Definitions to all open documents. Richard Yates ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Double flats
Probably not. It looked like a lot late at night, especially after I had added all the articulations. Crystal Premo [EMAIL PROTECTED] From: d. collins [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 21:04:38 +0100 Crystal Premo écrit: I intend to supply the client with the song in C, with all the double flats, and with the double flats changed. In this way, she will have the best of both worlds. Double flats in C? I was expecting some wild key with a half a dozen flats in the key signature... People who ask me for transpositions are very frequently not the most skilled singers and are participating in musical theatre on a less sophisticated level than the discussion about this topic is being conducted. Given this, is there a simpler way to achieve altering the double flats other than manually? Options, Enharmonic Spelling: you can edit the spellings there and then retranscribe the piece (but you might have to rebeam it afterwards). And then I'm not sure if this will take care of it, since there aren't normally any double flats in C. Perhaps it is easier to change them manually. Are there that many? Dennis ___ 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] Re: FONT not working in 2005a
Isn't the font included in OS X? Maybe try reinstalling the font? Or using Font Book and disabling it and then reinstalling it? Simon Troup wrote: Chalkboard for all my text expressions and most of my headers. It worked fine in everything up to and including Finale 2005. Since updating to 2005a, Chalkboard no longer comes out looking like the font. It's still listed in the fonts, but appears on the screen and in printout like some generic default font. This was confirmed t ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: FONT not working in 2005a
On 19 Dec 2004, at 09:59 PM, Eric Dannewitz wrote: Isn't the font included in OS X? Maybe try reinstalling the font? Or using Font Book and disabling it and then reinstalling it? Well, I certainly don't remember installing it on my system, but lo, there it is. But then it's listed as a Windows True Type Font, which is odd. Maybe it's installed as part of Microsoft Office? (That might explain a few things... ) I get exactly the same problem as Kim in Finale 2005a, by the way. The font does not show up correctly in Finale, although it works fine in other OS X applications. Haven't tried it in earlier versions of Finale. On 19 Dec 2004, at 09:47 PM, Simon Troup wrote: Of course, people will only see it in Chalkboard if they have it installed, but that's another story. Thankfully, Kim is being very polite and sending plain text email (to the list, at least) so even those of us with Chalkboard installed will still see his emails in OUR preferred email font, not his. - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: FONT not working in 2005a
Darcy James Argue / 04.12.20 / 0:08AM wrote: Well, I certainly don't remember installing it on my system, but lo, there it is. But then it's listed as a Windows True Type Font, which is odd. Maybe it's installed as part of Microsoft Office? (That might explain a few things... ) Nope, it's Panther generic. See here: http://docs.info.apple.com/article.html?artnum=25710 :-) -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: FONT not working in 2005a
I get exactly the same problem as Kim in Finale 2005a, by the way. The font does not show up correctly in Finale, although it works fine in other OS X applications. Haven't tried it in earlier versions of Finale. Chalkboard works fine in Finale 2005 but not 2005a. (Macintosh) So I think that this problem is specific to the 2005a update. Chalkboard is installed as part of Panther. It shows up as Windows TrueType font but it is native to the OS. I'm stumped by this. -K On 19 Dec 2004, at 09:47 PM, Simon Troup wrote: Of course, people will only see it in Chalkboard if they have it installed, but that's another story. Thankfully, Kim is being very polite and sending plain text email (to the list, at least) so even those of us with Chalkboard installed will still see his emails in OUR preferred email font, not his. - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- Karen Guthery [EMAIL PROTECTED] ichat: [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: FONT not working in 2005a
Chalkboard is installed as part of Panther. It shows up as Windows TrueType font but it is native to the OS. Ah yes, but do any of the other Windows TrueType fonts work for you? Not for me ... it's not the one font, it's the set. Simon Troup Digital Music Art - Finale IRC channel server: irc.chatspike.net port: 6667 channel: #Finale - ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: FONT not working in 2005a
Chalkboard is installed as part of Panther. It shows up as Windows TrueType font but it is native to the OS. Ah yes, but do any of the other Windows TrueType fonts work for you? Not for me ... it's not the one font, it's the set. I agree that it's the set.Those fonts don't work for me either in 2005a. I wonder what changed in the 2005a update that is not allowing these fonts to work? -K Simon Troup Digital Music Art - Finale IRC channel server: irc.chatspike.net port: 6667 channel: #Finale - ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
