Re: [Finale] The lesser-Known Corners
David W. Fenton wrote: On 18 Sep 2005 at 2:14, Owain Sutton wrote: I'm certainly not claiming to be the norm! However, this use of multiple staff styles is the only way I've found to easily manipulate aleatoric passages, which I deal with fairly often. And I don't see that the example that I've given is 'extreme' - I chose it because all I was doing was hiding key sigs, time sigs, bar lines, and repeat bars, at various stages. Are you applying those kinds of settings to all staves in a certain measure? If so, why use a staff style at all, since many of those things can be turned off in the measure attributes dialog? Two reasons for doing it all by staff styles. One, as not everything can be done via measure attributes (including things not visible in the sample screenshot I gave), it would end up being a mixture of the two methods, i.e. even more confusing to work with! Secondly, staff styles give the option of using partial bars. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] probably dumb questions, but...
[EMAIL PROTECTED] wrote: On 18 Sep 2005 at 1:19, Owain Sutton wrote: I wish the toolbars were customizable like typical Microsoft toolbars so I could select certain buttons to have on a custom toolbar. I'd love to have a toolbar with the FILE OPEN and FILE SAVE shortcuts (I use Ctrl-O and Ctrl-S, but the I also like having the toolbar icons, as well), the UNDO/REDO buttons, the SELECT PARTIAL MEASURES button and the SHOW CURRENT LAYER ONLY button. I can't see much else in the available menu toolbars that I'd want as shortcuts, and don't really understand why so many of the toolbar icons simply replicate existing keyboard shortcuts. For instance, the view percentage toolbar seems remarkably obtuse, as it offers percentages that are already available through easy keyboard shortcuts. If it offered *other* percentages, that would seem to me to make more sense. While I fully agree that the toolbars should be completely customisable, I'd take issue with the idea that a keyboard shortcut makes the toolbar button redundant. I for one use the zoom icons more than the shortcuts, because it's most often when I'm scrolling around pages sorting out layout issues. And as the past 24 hours has seen us bemoaning the general crappiness of the Finale UI, making it *less* user-friendly (for those not already fully-acquanited with the intricacies of the system) can't be a good idea! Owain ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Figured Bass font
Matthew (and all the other font gurus on the list ...), the Figured Bass examples on your website look very nice. Unfortunately something seems to be happening to the font file in transit that would seem to be preventing it from being recognized by OS X and/or Font book, or any other program for that matter. Any suggestions? (this last question to the members at large) Or am I the only one having this problem? Eric Habsburger Verlag Frankfurt (Dr. Fiedler) [EMAIL PROTECTED] On 17.09.2005, at 10:41, Matthew Hindson Fastmail Account wrote: I needed a figured bass font to ease the pain of figured bass in Finale so have created one. If anyone would like to test it out then please feel free: it's at http://www.hindson.com.au/ in the Free Fonts section ... ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] strange transpositions
On Sep 17, 2005, at 11:49 PM, Bruce Petherick wrote: Hello, I am working on some vocal charts for a singer here in Calgary. She has asked me to transpose some of the charts into somewhat unusual keys. I am having great trouble with a chart that was written in C and she wants it transposed to B. The chart is a somewhat rearranged version of Cry Me a River and with the transposition, I have ended up with some A#13 chords. As these charts are for a band that is probably going to sight-read, I want to change this to Bb13. I just can not work out how to do this. The Enharmonic spellings seem somewhat confusing to me (and in this case, somewhat superfluous as there is no stable key in this particular section). Is this at all possible, or in the great Finale tradition, through which hoop must one jump to arrive at this solution? Fin 2004 (or 2005 if that makes a difference) on Windows. In the Chord menu, make sure Simplify Chord Spellings is checked. This will change all the A#13 chord symbols to Bb13s. Normally I hate having this on, but in this case I would do it. Wait a minute, are you talking about actual NOTES spelling out A#13 in a piano voicing, not the chord symbol? Then there is another path. Under OptionsEnharmonic Spelling, choose Favour Flats. In Mass Edit, select the passages in question. Mass Edit MenuUtilities choose Respell Notes You will still have to change a few (many!) notes manually, by positioning the cursor on them in Speedy Entry and hitting 9 to flip the enharmonic. But the Favour Flats option will automatically choose, say, Dnat over C## when there is an accidental. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The lesser-Known Corners
On Sep 17, 2005, at 10:48 AM, Christopher Smith wrote: If I create a note expression reading snare drum and attach it to a note, Finale shd. be intelligent enough to automatically give me a snare drum sound from all recurrences of that pitch until further notice. What if he hits a snare and a tom at the same time, attached to the same stem? Put 'em in different layers. What if you want different sounds on the same notehead, like snare playing back with RLRL, accents, rimshots and the like? This is what articulations are supposed to be for. But completely aside from that, do we need woodwind maps to assure proper playback of, say, flute harmonics? No we don't. Do we need string maps for pizz., senza vibr., +, col legno (tratto and battuto), ponticello, tasto, flautando? No we don't. Also, I should be able to switch from, say, snare drum to vibraphone and back again without having to invoke staff styles. OK, I don't understand this objection at all. Staff styles are the EASIEST way to make switches of this type What I am really objecting to is the whole idea of a specialized percussion staff, when there need not be, and should not be, any such thing. I realize that other types of instrument have to use staff styles to switch sounds (say from cl. to sop. sax)--but a percussionist who plays vibes and snare is not doubling or even switching instruments--indeed pitched and unpitched instruments may even be required to sound simultaneously, and Finale's percussion playback and notation capabilities ought to reflect that state of affairs. Another point: Suppose I want to change the line or space on which a given instrument appears after it has been entered? The transposition dialog won't work, and if you go to drag a note vertically, the first thing it does is zoom to some weird place altogether off the staff. Same goes for rests, and you can't use the Move Rests plugin. This is totally unacceptable behavior. And good heavens, why can't I enter a whole note and have it stay a whole note? Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The lesser-Known Corners
On Sep 17, 2005, at 2:04 PM, [EMAIL PROTECTED] wrote: I don't see any way around percussion maps, except for GM synthesizers, where the map is defined. For non-GM synthesizers, you'd always need to set up a map for Finale. I accept all that as a fait accompli--but I don't accept that I should have to physically deal with the maps myself, any more than I have to manipulate Enigma code in order to do note entry. Well, I think your gripe is with the people who defined the way percussion works in General MIDI. I have that gripe *too.* But even if you accept as a given that unpitched percussion should all be thrown into one channel, the concept has been very poorly realized: gunshot, but no tam-tam? What were they thinking? And aside from *that*, it is a fact that almost every percussion instrument is built at a variety of different pitch levels, which composers can and do exploit. At a minimum, therefore, midi users ought to be given the option of taking any individual percussion sound and applying it to a channel of its own where multiple pitch levels can be obtained. The existing midi percussion structure simply does not meet professional standards, and will at some point have to be drastically reformed if it is ever to become anything more than a toy. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] probably dumb questions, but...
On 9/17/05, Owain Sutton [EMAIL PROTECTED] wrote: Christopher Smith wrote: Hmm, must be a PC thing. There's no Edit toolbar I can find on my Mac version (2005) Another Mac user could perhaps confirm thisbut (I think) the Edit toolbar is one of those which is permanently displayed in the default 2005 PC install. I have used both Win and Mac versions, and FinMac has never been able to display the toolbars which are merely duplications of program menus. This, however, is mostly because of the window layout of Mac vs. Win... Windows has a shell Multiple Document Interface window into which files can be opened (and onto which toolbars can be docked), while the Mac's Finale windows each show only one document and the available toolbars all float. The only toolbars that exist on the Mac version are the main tool pallette and the Simple Entry, Special Tools, and Smart Shape toolbars. -- Brad Beyenhof [EMAIL PROTECTED] http://augmentedfourth.blogspot.com Silence will save me from being wrong (and foolish), but it will also deprive me of the possibility of being right. ~ Igor Stravinsky ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] BTW - Select partial measures
Hi, I use select partial measures quite often, but I don't like the way only, say, in 4/4, quarters can be selected. I would like to select the part I'd like to select, often it is eights, sometimes even sexteenth. Is there a way? Kurt ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] BTW - Select partial measures
At 03:46 PM 09/18/2005, Kurt Gnos wrote: I use select partial measures quite often, but I don't like the way only, say, in 4/4, quarters can be selected. I would like to select the part I'd like to select, often it is eights, sometimes even sexteenth. Is there a way? I'm not sure what you mean. I select parts of a measure smaller than a beat all of the time -- though of course those parts have to exist. That is, if a measure has only quarter notes, you can't select an eighth note out of the measure (half of one of the quarters). You do need to drag carefully. It may help to select a higher viewing percentage. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] BTW - Select partial measures
Aaron Sherber wrote: At 03:46 PM 09/18/2005, Kurt Gnos wrote: I use select partial measures quite often, but I don't like the way only, say, in 4/4, quarters can be selected. I would like to select the part I'd like to select, often it is eights, sometimes even sexteenth. Is there a way? I'm not sure what you mean. I select parts of a measure smaller than a beat all of the time -- though of course those parts have to exist. That is, if a measure has only quarter notes, you can't select an eighth note out of the measure (half of one of the quarters). You do need to drag carefully. It may help to select a higher viewing percentage. I agree with Kurt - what's needed is a quantisation-type setting for this option. The need to 'drag carefully' is hardly an example of a well-designed tool. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] BTW - Select partial measures
Owain Sutton wrote: Aaron Sherber wrote: At 03:46 PM 09/18/2005, Kurt Gnos wrote: I use select partial measures quite often, but I don't like the way only, say, in 4/4, quarters can be selected. I would like to select the part I'd like to select, often it is eights, sometimes even sexteenth. Is there a way? I'm not sure what you mean. I select parts of a measure smaller than a beat all of the time -- though of course those parts have to exist. That is, if a measure has only quarter notes, you can't select an eighth note out of the measure (half of one of the quarters). You do need to drag carefully. It may help to select a higher viewing percentage. I agree with Kurt - what's needed is a quantisation-type setting for this option. The need to 'drag carefully' is hardly an example of a well-designed tool. It's a pain sometimes - I think I've got what I wanted selected, and discover that I have a bit more or less after I've dragged. And Aaron is wrong, you can select part of a quarter - I've don't it by accident. -- The better the voyce is, the meeter it is to honour and serve God there-with: and the voyce of man is chiefely to be imployed to that ende. Omnis spiritus laudet Dominum. -William Byrd ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] BTW - Select partial measures
At 4:27 PM -0400 9/18/05, Nightingale wrote: Owain Sutton wrote: Aaron Sherber wrote: At 03:46 PM 09/18/2005, Kurt Gnos wrote: I use select partial measures quite often, but I don't like the way only, say, in 4/4, quarters can be selected. I would like to select the part I'd like to select, often it is eights, sometimes even sexteenth. Is there a way? I'm not sure what you mean. I select parts of a measure smaller than a beat all of the time -- though of course those parts have to exist. That is, if a measure has only quarter notes, you can't select an eighth note out of the measure (half of one of the quarters). You do need to drag carefully. It may help to select a higher viewing percentage. I agree with Kurt - what's needed is a quantisation-type setting for this option. The need to 'drag carefully' is hardly an example of a well-designed tool. It's a pain sometimes - I think I've got what I wanted selected, and discover that I have a bit more or less after I've dragged. And Aaron is wrong, you can select part of a quarter - I've don't it by accident. Sometimes the dragging to get less than a beat is temperamental. It works differently in different staves(!) so I don't think it is a quantization or view percentage thing. Here is a way to get less than a beat selected when the dragging just isn't working: In the Edit menu, Select Region, choose edu in the popup beat/edu menu and type in 512, 256, 128 or less PLUS the number of EDUs for the beat (1 quarter note= 1024 EDUs). The first beat is zero EDUs. Complicated, but unfortunately necessary. --Randolph Peters ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] BTW - Select partial measures
Thanks! Great - Why not just being able to grab whatever I like to? But, anyway, thanks for the knowledge of where to tweak... Where you get that knowledge from, anyway? Kurt At 22:42 18.09.2005, you wrote: Here is a way to get less than a beat selected when the dragging just isn't working: In the Edit menu, Select Region, choose edu in the popup beat/edu menu and type in 512, 256, 128 or less PLUS the number of EDUs for the beat (1 quarter note= 1024 EDUs). The first beat is zero EDUs. Complicated, but unfortunately necessary. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Windows Save as Audio options for GPO
Could someone please remind me what the preferred solution was for recording Finale GPO output in Windows? On Mac, there is a freeware solution, using SoundFlower and Audacity (plus the slightly easier shareware solutions like WireTap Pro and Audio Hijack Pro)-- is there a freeware PC solution as well? Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Windows Save as Audio options for GPO
On 9/18/05, Darcy James Argue [EMAIL PROTECTED] wrote: Could someone please remind me what the preferred solution was for recording Finale GPO output in Windows? On Mac, there is a freeware solution, using SoundFlower and Audacity (plus the slightly easier shareware solutions like WireTap Pro and Audio Hijack Pro)-- is there a freeware PC solution as well? I'm not aware of anything that's actually free (except that certain soundcards have a Speaker Output in the driver that can be used to record any sound the computer makes), but TotalRecorder is a great shareware solution. http://www.highcriteria.com -- Brad Beyenhof [EMAIL PROTECTED] http://augmentedfourth.blogspot.com Silence will save me from being wrong (and foolish), but it will also deprive me of the possibility of being right. ~ Igor Stravinsky ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Windows Save as Audio options for GPO
At 05:23 PM 09/18/2005, Darcy James Argue wrote: Could someone please remind me what the preferred solution was for recording Finale GPO output in Windows? On Mac, there is a freeware solution, using SoundFlower and Audacity Audacity is for Win as well, and should record anything coming across the soundcard. (I haven't actually used it that way.) I prefer a little app called Wave Repair (waverepair.com). In freeware mode, it will do direct-to-disk editing of anything coming over the soundcard, and it will also do track splitting and cue sheet creation. For $30 you get the full feature set of a nice little editor specifically designed for cleaning up digital transfers of things like audio tape and LPs. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] strange transpositions
At 9:49 PM -0600 9/17/05, Bruce Petherick wrote: Hello, I am working on some vocal charts for a singer here in Calgary. She has asked me to transpose some of the charts into somewhat unusual keys. I am having great trouble with a chart that was written in C and she wants it transposed to B. The chart is a somewhat rearranged version of Cry Me a River and with the transposition, I have ended up with some A#13 chords. As these charts are for a band that is probably going to sight-read, I want to change this to Bb13. I just can not work out how to do this. The Enharmonic spellings seem somewhat confusing to me (and in this case, somewhat superfluous as there is no stable key in this particular section). Is this at all possible, or in the great Finale tradition, through which hoop must one jump to arrive at this solution? Hi, Bruce. Can't answer your Finale question, but I do have an opinion on what you want to do. (I know, you didn't ask for opinions!) First, a difference of a halfstep can make a world of difference for a singer, and if she knows that B works for her and C doesn't, that's why. It isn't arbitrary; it's a matter of physiology and musicality. Your question assumes that a keyboard player will find A#13 difficult to figure out, while Bb13 is easy to figure out, but that's taking the chords out of context. I'd say that any competent player is going to be much more comfortable if you keep the chord symbols where they belong in a given key so the overall harmonic pattern makes intuitive sense, and if you randomly transpose chord symbols based on whether an individual chord is easier to realize. A# is the leading tone in B major. So what's the problem? Now I'm not a keyboard or guitar player, so I'd be interested to know how others react to this, or Chuck as a bass player. It's just my instinct that you will be creating problems that don't already exist. 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 Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] strange transpositions
I'm with you John! Context is everything. Bb 13th in the key of B major? Now that would make me hesitate! Cheers K in OZ Keith Helgesen. Director of Music, Canberra City Band. Ph: (02) 62910787. Band Mob. 0439-620587 Private Mob 0417-042171 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of John Howell Sent: Monday, 19 September 2005 9:48 AM To: finale@shsu.edu Cc: Bruce Petherick Subject: Re: [Finale] strange transpositions At 9:49 PM -0600 9/17/05, Bruce Petherick wrote: Hello, I am working on some vocal charts for a singer here in Calgary. She has asked me to transpose some of the charts into somewhat unusual keys. I am having great trouble with a chart that was written in C and she wants it transposed to B. The chart is a somewhat rearranged version of Cry Me a River and with the transposition, I have ended up with some A#13 chords. As these charts are for a band that is probably going to sight-read, I want to change this to Bb13. I just can not work out how to do this. The Enharmonic spellings seem somewhat confusing to me (and in this case, somewhat superfluous as there is no stable key in this particular section). Is this at all possible, or in the great Finale tradition, through which hoop must one jump to arrive at this solution? Hi, Bruce. Can't answer your Finale question, but I do have an opinion on what you want to do. (I know, you didn't ask for opinions!) First, a difference of a halfstep can make a world of difference for a singer, and if she knows that B works for her and C doesn't, that's why. It isn't arbitrary; it's a matter of physiology and musicality. Your question assumes that a keyboard player will find A#13 difficult to figure out, while Bb13 is easy to figure out, but that's taking the chords out of context. I'd say that any competent player is going to be much more comfortable if you keep the chord symbols where they belong in a given key so the overall harmonic pattern makes intuitive sense, and if you randomly transpose chord symbols based on whether an individual chord is easier to realize. A# is the leading tone in B major. So what's the problem? Now I'm not a keyboard or guitar player, so I'd be interested to know how others react to this, or Chuck as a bass player. It's just my instinct that you will be creating problems that don't already exist. 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 Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.11.1/104 - Release Date: 16/09/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.11.1/104 - Release Date: 16/09/2005 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] BTW - Select partial measures
In the online manual you can find a description of the Select Region dialog box on page 3-8 and 3-9. In older versions of Finale we had to rely on EDUs a lot more than we do now. I think this select region feature was around since the introduction of partial measures. Why we can't grab exactly what we want is a mystery to me as well. -Randolph Peters At 11:11 PM +0200 9/18/05, Kurt Gnos wrote: Thanks! Great - Why not just being able to grab whatever I like to? But, anyway, thanks for the knowledge of where to tweak... Where you get that knowledge from, anyway? Kurt At 22:42 18.09.2005, you wrote: Here is a way to get less than a beat selected when the dragging just isn't working: In the Edit menu, Select Region, choose edu in the popup beat/edu menu and type in 512, 256, 128 or less PLUS the number of EDUs for the beat (1 quarter note= 1024 EDUs). The first beat is zero EDUs. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] BTW - Select partial measures
Kurt Gnos wrote: Hi, I use select partial measures quite often, but I don't like the way only, say, in 4/4, quarters can be selected. I would like to select the part I'd like to select, often it is eights, sometimes even sexteenth. Is there a way? Here's are a couple of tricks I developed at one point: 1) before drag-selecting the region, select the measure tool, select the measure from which you want to select a partial measure, and change the measure width by adding a large number in the add ___ to width box, and selecting the box. When done selecting the desired partial measures, select the affected source measures again, unselect the add to width checkbox, and delete the entry in the box. 2) Select the desired region, and select the time-signature tool, and change the time signature in the affected measure so that the lower number is a larger valu, and designates a note smaller than the desired duration. Suppose that the original time signature in the measure happens to be 3/4, and you want to move 16'th bits; change the time signature to 24/32 or 48/64. Make the move, and when done, change the signature back to the original values. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
