[Finale] Fwd: HENLE Material of the Plates
Anfang der weitergeleiteten E-Mail: Von: Heinz Peter Kuett [EMAIL PROTECTED] Datum: 15. Oktober 2006 23:24:52 MESZ An: [EMAIL PROTECTED] Betreff: HENLE Material of the Plates Hallo fellows, SEE http://www.henle.de/index.cfm?open=01 Originale Notenstichplatte – ein dekoratives Unikat aus Blei, Antimon, Zink, 22 x 30 cm HN 901 € 30.– The Engraver in the video is Mr. Hans Kuehner, he's living and working for HENLE at the Wuerzburger Universitaetsdruckerei Stuertz regards from munich Peter Kuett___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] WinFin2007: showing expressions in parts
I have just completed a score that began in Fin2006 and is finishing in Fin2007. I have setup the score such that measure expressions and measure numbers are displayed only on certain staves in the score (like I've always done.) With the linked score/parts, when I generate the parts, those expressions remain hidden in the parts but the measure numbers display just fine. Under the Document menu there is an option Display Expressions and Repeats in Parts which I have checked. Those measure expressions remain hidden in the parts. How do I get them to display in the parts but not in the score on those staves? The help file is not surprisingly quite mute on this subject. It does tell me how I can link/unlink measure expressions but not how I can get them to show in the score but not how I can get them to display in the linked parts if the staff in the score is set for them not to display. I would have thought that would have been what the Display Expressions and Repeats in Parts option would have been for. Of course, if I go back to the score and set those staves to display those items, they'll show up in the linked parts, but that makes the score ugly as heck and forces me to keep editing those staff settings. If anybody knows of a way out of this dilemma I'd appreciate some assistance. :-) I'm about to go brave the world of Finale's web-site tech-support quagmire to see if I get a response from them. Thanks. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale eggcorns
Several of my eggcorn sitings (I almost typed citings!) are listed in the database after having been reported to Arnold or Chris. um, perhaps, sightings? I submitted voiceterous a while ago. RY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] WinFin2007: showing expressions in parts
On 17.10.2006 dhbailey wrote: I have setup the score such that measure expressions and measure numbers are displayed only on certain staves in the score (like I've always done.) That's the wrong way to set this up for measure expressions, you will have to use staff lists. You should always have all staves set up to display expressions, and use the options when creating a new staff list (accessible when you assign new measure expressions by hand, not using a metatool, or from the context menu when you right-click on the expression handle). There are separate columns for parts and score. Under the Document menu there is an option Display Expressions and Repeats in Parts which I have checked. This is called ..._for_ Parts, and it is for displaying the expressions as though you were viewing the parts, it should be unchecked! It is simply for checking how things _would_ look in the parts. This menu item confused me for years... Hope this helps, let us know if you need further instructions. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Copy non-standard key sig between docs?
Is there a way to copy a non-standard key sig from one document to another? I would hate to have to set up the quartertone key sig each time... Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] WinFin2007: showing expressions in parts
Johannes Gebauer wrote: On 17.10.2006 dhbailey wrote: I have setup the score such that measure expressions and measure numbers are displayed only on certain staves in the score (like I've always done.) That's the wrong way to set this up for measure expressions, you will have to use staff lists. You should always have all staves set up to display expressions, and use the options when creating a new staff list (accessible when you assign new measure expressions by hand, not using a metatool, or from the context menu when you right-click on the expression handle). There are separate columns for parts and score. Well, as they say learn something new every day! Guess I can go back to bed now that I've learned my something new for today. It will definitely take a major shift in my working methods, but I am glad to know how to accomplish what I was hoping for. Under the Document menu there is an option Display Expressions and Repeats in Parts which I have checked. This is called ..._for_ Parts, and it is for displaying the expressions as though you were viewing the parts, it should be unchecked! It is simply for checking how things _would_ look in the parts. This menu item confused me for years... To be truthful, I hadn't noticed it until just now, so it has only confused me for a single morning. But I do see now how it's supposed to work and now I can take tomorrow off since I've already learned TWO new things for today! Hope this helps, let us know if you need further instructions. Thank you for pointing out the proper method for doing this -- I should be all set with this from now on. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Copy non-standard key sig between docs?
There is a Key Sig library. Does that work? Allen -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Johannes Gebauer Sent: Tuesday, October 17, 2006 7:29 AM To: Finale Subject: [Finale] Copy non-standard key sig between docs? Is there a way to copy a non-standard key sig from one document to another? I would hate to have to set up the quartertone key sig each time... Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] WinFin2007: showing expressions in parts
On 17.10.2006 dhbailey wrote: It will definitely take a major shift in my working methods, but I am glad to know how to accomplish what I was hoping for. The drawback with this - and it is a really major drawback - is the fact that metatools cannot be used. Metatools will always assign measure expressions to all staves. Unfortunately I don't think there is a work around. Please complain to Makemusic. They should change this. The simplest possible change would be to allow a global setting which staff-list if any the metatools should automatically use. One would still have to enter some expressions by hand, the ones using other staff lists than the standard one. But it would at least help to a certain extend. I have the basic staff lists defined in my default file. This includes tempo indications (top staff for score, all for parts), repeat brackets (yes they use the staff lists as well now), Fine signs. Unfortunately one has to change even those occasionally (ie for piano scores the movement title is often displayed on top and on top of the piano part, repeat brackets need to be displayed on the top staff of each group, etc. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Copy non-standard key sig between docs?
On 17.10.2006 Fisher, Allen wrote: There is a Key Sig library. Does that work? How does it work? I think I got it, but how do I know which key sig it is? I somehow managed to do it, but this is extremely user unfriendly, and it makes absolutely no sense to me, why simple copying doesn't work for non-standard key sigs, it certainly should! Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] F2007 bug: program options/view
Hi jef-- I haven't seen this one either. Are you trying to use your 2k6 preferences in 2k7? Allen -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of shirling neueweise Sent: Sunday, October 08, 2006 12:44 PM To: finale@shsu.edu Subject: [Finale] F2007 bug: program options/view can anyone else confirm this? go to prog options, click on any of the left items, the appropriate dialogue box appears on the right. scroll through the items using the mouse, as the cursor moves through the list, the appropriate box appears... except for View. i'm on mac. -- shirling neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Wandering Augmentation Dots...REMEMBER?????
Jim-- Are these converted files? Allen -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Williams, Jim Sent: Friday, October 06, 2006 4:28 PM To: finale@shsu.edu Subject: [Finale] Wandering Augmentation Dots...REMEMBER? Group... Somehow I started this bekakte topic about whether or not Finale is a sequencer at about the same time I asked a question about wandering augmentation dots. Has anyone been bitten by the wandering dot bug? If so, are there definable circumstances that produce it? If so, what are they? If I know the steps that are guaranteed to produce it, I can search 120 pages of music for instances where I might have used those steps. Otherwise I will have to look at every dotted note in 120+ pages of music, much of which is in 6-8 or 3-4, thus teeming with dotted notes, at least a few of which have dots that have migrated rather far to the right of the note to which they are supposed to be attached. Any help? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] WinFin2007: showing expressions in parts
At 09:34 AM 10/17/2006, Johannes Gebauer wrote: The drawback with this - and it is a really major drawback - is the fact that metatools cannot be used. Metatools can be used -- but after you place the expression in the score (attached to all staves, as you noted), you have to go back in and change the assignment. For me, this is still quicker than non-metatool assignment to a staff list, but your mileage may vary. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] quartertone playback
Dennis Bathory-Kitsz [EMAIL PROTECTED] [...] Knowing that, though, you can create invisible expressions to bend each note the appropriate distance (if you can stand the trouble!). I did that for my Enneakaidekaphonic Variations, in which flats were distinguished from their nominally enharmonic sharps, and a right pain it was, too. I could have saved myself some transposition trouble during their composition by using the non-standard key signature facilities, but I suspect that they would have made playback even more difficult, so I might have had to redefine the key signature (and scale) back to normal before adding the pitch bends. -- Ken Moore ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT Spoonerisms [was: Finale eggcorns]
[EMAIL PROTECTED] wrote: A Spoonerism is a play on words in which corresponding consonants or vowels are switched (see metathesis), named after the Reverend William Archibald Spooner (1844–1930), Warden of New College, Oxford, who was notoriously prone to this tendency. Here is a limerick (composed c. 1930) concerning lack of confidence in someone who fails to keep his hat clean: This person hates sadly-boiled rats In the drain as quite messy, so that's A sign that I am Not to dust him a tram; Besides, he has spurious cats. Ken Moore ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Group names in linked parts?
What do you do if you don't want the group name to show in the linked part -- in, for instance, a piano part or harp part -- but *do* want it to show in the score? Cheers, - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale eggcorns
My favorite eggcorn, which I've never heard anywhere else, was from a person who used to be in our marketing department. To say we needed to stay in communication regarding an issue, she said we need to be on a touch basis. Now, I've often heard people say we need to touch base to mean we need to communicate periodically, which actually is a corruption of touch all the bases, which you need to do to score a home run in baseball. But, this was the only person who wanted to be on a touch basis. Since I was married, I had to pass the opportunity up. Richard Yates wrote: Several of my eggcorn sitings (I almost typed citings!) are listed in the database after having been reported to Arnold or Chris. um, perhaps, sightings? I submitted voiceterous a while ago. RY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Windows linked parts shortcuts
What are the Windows shortcuts for Hide/Show and Link/Unlink in All Parts? And what is the Windows override key for moving an object without breaking the link? Cheers, - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Windows linked parts shortcuts
At 01:24 PM 10/17/2006, Darcy James Argue wrote: What are the Windows shortcuts for Hide/Show Ctrl+Alt+Shift+H and Link/Unlink in All Parts? Ctrl+Alt+Shift+U and L, respectively. And what is the Windows override key for moving an object without breaking the link? Ctrl Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: score vs. finale
Dennis Bathory-Kitsz [EMAIL PROTECTED] wrote: unless, of course, you were referring only to (cough, cough) 19th century notation. MusicXML represents common Western music notation. So the less common the notation, the less likely it is that 1) MusicXML supports it, or 2) MusicXML software supports it. If the music itself has a limited commercial market, it's unlikely there is much of a commercial market for software that supports it. Changing this situation may require getting a non-profit institution to fund the necessary software development up front. Commonality is really the key, rather than century (at least from the 17th onwards). MusicXML and its software supports recent innovations in pop music notation better than innovations in non-pop. Another example is staggered barlines, which Mozart was using in the 18th century, never mind the 19th. But they are not common, then or now. MusicXML supports them, but our Dolet software reflects Finale and Sibelius's limitations there. Thanks for the pointer to your blog post. We're working on new features for MusicXML 1.2 so this is useful input. Kim Patrick Clow [EMAIL PROTECTED] wrote: The full version of Dolet can not translate the figured bass (which is input in Finale as a lyric), nor can it handle articulation markings such as daggers. :( When will those issues be addressed? Figured bass is tricky to export from Finale because there's no standard way to do it. Lyrics, chords, expressions, and text blocks are all possibilities, and third-party fonts are commonly used. Combine that with the general lack of market demand and you get something that probably needs to be paid for directly via a consulting project: http://www.recordare.com/xml/consulting.html I am not sure what you are referring to in terms of dagger articulation markings. Could you please e-mail me an example Finale score off-list so I can investigate further? Best regards, Michael Good Recordare LLC www.recordare.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Group names in linked parts?
For some reason I thought group names were permanently unlinked. If not, you can always do it with optimization. -Original Message- From: Darcy James Argue [mailto:[EMAIL PROTECTED] Sent: Tuesday, October 17, 2006 04:46 PM To: finale@shsu.edu Subject: [Finale] Group names in linked parts? What do you do if you don't want the group name to show in the linked part -- in, for instance, a piano part or harp part -- but *do* want it to show in the score? Cheers, - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale eggcorns (OT)
At 4:58 AM -0700 10/17/06, Richard Yates wrote: Several of my eggcorn sitings (I almost typed citings!) are listed in the database after having been reported to Arnold or Chris. um, perhaps, sightings? Works for me. You made citings (references to) after siting (locating--a little bit of a stretch, I know) and finally sighting (observing) the said eggcorns. 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] Finale eggcorns
On Oct 16, 2006, at 1:35 PM, Christopher Smith wrote: On Oct 16, 2006, at 1:26 PM, Andrew Stiller wrote: --Anyway, though, my collection is restricted to eggcorns unintentionally perpetrated in postings to *this list.* So I suppose you HAVE to include my ...that doesn't jive with current jazz performance practice instead of jibe? Yes I suppose I do--but you're grandfathered out, since your statement precedes my collection. It was, though, one of the ones that set me off. 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] Finale eggcorns
On Oct 16, 2006, at 2:37 PM, dc wrote: Algorhythm for algorithm is very precisely an eggcorn from what I read, since, with the (legitimate) word rhythm (instead of rithm), it follows exactly the eggcorn pattern, with egg instead of a. And, just as eggcorn can seem to have some meaning, algorhythm could also be some kind of rhythm. Which it is not. Oh OK. My problem w. it tho is that the algo- part of it has no meaning, unless this is about seaweed--which it demonstrably isn't. To me, algorhythm is a mere misspelling, just as [nukjulr] is a mere mispronunciation, not a mishmash of nuke and spectacular. 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] Finale eggcorns
On 17 Oct 2006 at 4:58, Richard Yates wrote: Several of my eggcorn sitings (I almost typed citings!) are listed in the database after having been reported to Arnold or Chris. um, perhaps, sightings? Good lord! In the process of fixing citings I fixed it wrong! This follows what one online community I participate in calls Coren's Law, named after the person who first observed that in correcting someone else's mistake, you inevitably make on of your own. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale eggcorns
At 04:42 PM 10/17/2006, David W. Fenton wrote: This follows what one online community I participate in calls Coren's Law, named after the person who first observed that in correcting someone else's mistake, you inevitably make on of your own. On of your own? Was that intentional? g Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] eggcorn of the day
Several of my eggcorn sitings (I almost typed citings!) are listed in the database Should be sightings. 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] Finale eggcorns
On 17 Oct 2006 at 16:52, Aaron Sherber wrote: At 04:42 PM 10/17/2006, David W. Fenton wrote: This follows what one online community I participate in calls Coren's Law, named after the person who first observed that in correcting someone else's mistake, you inevitably make on of your own. On of your own? Was that intentional? g Nope -- a perfect example of Coren's Law striking again. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] COPYING chord symbols
Sorry, I haven't been monitoring this List carefully, so this might have been previously covered. A colleague of mine just installed MacFin2007 and used it for a project. He discovered, to his dismay, that copying (option-click), from location to another, entries that included chord changes, was disastrous. It changed the symbols extremely and made that function unusable. He called MM and got an admission that it was a bug. Does everybody else know this? This REALLY needs to be fixed. I don't intend to buy the 2007 update until things like this are addressed. All the best, KIM R ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: spacing PI [was: score vs. finale]
i would also be VERY interested in this. From: Mark D Lew [EMAIL PROTECTED] If only I had the time and resources, I would love to pursue a project like that -- particularly with regard to lyrics. Back when I was still active (I haven't done any significant engraving work in a few years) I gave quite a bit of thought to what sort of algorithms I'd use for such a plug-in, roughly following my own standard operating procedure when cleaning up a piece. did you document it? From: ?ric Dussault [EMAIL PROTECTED] I am happy to see that some people on the list would like the spacing of Finale improved. It's not a matter of comparing Finale to Score, but to make Finale do the job better. I, Ansgar Krause and Dejan Badnjar have just sent a request (in the form of a pdf explaining with examples what we would like improved) to Randy Stokes of MakeMusic. I believe Tobias Giesen is aware of this document also. -- shirling neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: score vs. finale
From: David W. Fenton [EMAIL PROTECTED] We're already in a precarious place with Finale and have been since Sibelius aggressively upgraded its software in the last two versions. um... because they have provided something that can unquestioningly be referred to as an upgrade in both cases. That means niche applications like Score and Lilypond, which can continue to exist below the radar because they aren't really commercially viable... also check out notewriter, i worked with the newest version of the programme briefly last year, and the difference from the previous version is radical. the developer, keith hamel, is also willing to take any user's need and implement it, according to available time and human resources to do so. -- shirling neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: score vs. finale
From: Dennis Bathory-Kitsz [EMAIL PROTECTED] The competitive model (for now) is acting against a commonality of data, and so one cannot yet choose a variety of interfaces, sets of manipulation tools, and output modules. The common formats that exist (such as Midi, XML, Unicode, etc.) are for now all highly circumscribed and insufficient to the task. this is a terribly important point. as i mentioned at the start, score has since its beginnings reflected the concerns of high-quality engraving, based on a long-standing tradition with many complex and inter-related protocols, norms, unwritten exceptions, while finale and sibelius came into the market with horrible default settings and have been plagued with - from the start - errors in programming, errors in templates, errors in files such as instrument.txt - and incomplete and inconsistent updates of tools. the incorporation of simple (standardized) typographical capabilities was for me very welcome, but you can't justify in the expression tool (note/measure-attached items), while you can in the text tool (measure/page-attached). this particular feature (some, albeit insufficient typographical control) is something that has been a standard in the print realm for centuries. implementation of this was half-ass and irresponsible. every year we receive new upgrades while errors, anomalies, improperly-functioning tools dating from several versions back continue to plague it. i haven't followed the digests for some time, but has EPS support returned to the windows version? many others have their own pet peeves with finale. regarding the (inevitable) question of whether it is justified to criticise finale so heavily for not being able to accomodate a user community with a huge number of interests, of musical backgrounds, of needs, well, in fact that is exactly how the product is marketed, as if everyone - composers, amateur musicians, non-musicians, church musicians, etc. - should be able to use the product (so please buy it now, and we'll even throw in a water bottle!), so in my view, they have a responsibility they have never lived up to. -- shirling neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] COPYING chord symbols
On Oct 17, 2006, at 5:43 PM, Kim Richmond wrote: Sorry, I haven't been monitoring this List carefully, so this might have been previously covered. A colleague of mine just installed MacFin2007 and used it for a project. He discovered, to his dismay, that copying (option-click), from location to another, entries that included chord changes, was disastrous. It changed the symbols extremely and made that function unusable. He called MM and got an admission that it was a bug. Does everybody else know this? This REALLY needs to be fixed. I don't intend to buy the 2007 update until things like this are addressed. What got changed? Can you be more specific? I don't use 2007 for the time being for a bunch of reasons, and this might be another. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: F2007 bug: program options/view
From: Fisher, Allen [EMAIL PROTECTED] I haven't seen this one either. Are you trying to use your 2k6 preferences in 2k7? the dumputer was giving me attitude earlier this week. i actually didn't copy any prefs over, i upgraded from 2005, and 2007 seems to have automatically taken my 2005 prefs as a model. -- shirling neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] fonts for jazz - comparison?
does anyone have examples of the various fonts used for jazz, ideally this would be the same sheet of music in X versions, corresponding to X fonts. i'm interested in the music and text fonts, and not just the ones bundled with finale. cheers, jef -- shirling neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: lyrics spacing (was Re: [Finale] Re: score vs. finale)
From: dc [EMAIL PROTECTED] For me, the biggest problem in tight settings is the loss of all sense of proportionality in the musical notation: you can end up with an eighth that is as long (if not longer) as a quarter note in the same bar... usually increasing the ratio of the spacing will solve this, jack it up to 2 in extremely tight circumstances. i have a number of sets of values i use in different situations according to the rhythmic/metric character of the passage or individual measure. just waiting for this to become a menu item, so i can select automatically instead of changing the basic settings of the doc... -- shirling neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] fonts for jazz - comparison?
Dear Jef, I use Maestro combined with Bill Duncan's chord font (that I find to be beautiful, clear, and relatively compact in relation to its readability) and a few of his other special fonts for rehearsal letters and articulations. While there are some who like the Finale Jazz font, I find it unpleasant (I'm speaking in my courteous web voice - ask me what I really think!) and the idea of a fake handwritten font for computers simply doesn't work for me. Ash Music has a better one, but I end up coming down on the side of a font that looks like printing and using other elements of the graphic communication to convey the spirit of my music. Just an opinion from one who appreciates good graphic design and good music engraving and who is for sure a product of the jazz world. Chuck On Oct 17, 2006, at 4:21 PM, shirling neueweise wrote: does anyone have examples of the various fonts used for jazz, ideally this would be the same sheet of music in X versions, corresponding to X fonts. i'm interested in the music and text fonts, and not just the ones bundled with finale. cheers, jef -- shirling neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Trills question
I'm trying to figure out how to make a certain notated figure play back correctly, and am not sure how that's done. When you run across a bar that has, for instance, whole notes on A and B-flat, with three slashes between them, you know you play a trill between them for the duration of the bar. But how, if at all, do you notate that and have it play back correctly? Or do you just have to write it, and hope for the best? Thanks! cd -- http://www.livejournal.com/users/dershem/# ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale eggcorns
On Oct 17, 2006, at 10:14 AM, Bruce K H Kau wrote: My favorite eggcorn, which I've never heard anywhere else, was from a person who used to be in our marketing department. To say we needed to stay in communication regarding an issue, she said we need to be on a touch basis. Now, I've often heard people say we need to touch base to mean we need to communicate periodically, which actually is a corruption of touch all the bases, which you need to do to score a home run in baseball. But, this was the only person who wanted to be on a touch basis. Since I was married, I had to pass the opportunity up. Are you sure touch base derives from touch all the bases. Yes, you need to touch all four for a home run, but there are plenty of instances where you have to go back and touch the one you're on. Seems more logical that touch base came from one of those. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale eggcorns
On Oct 17, 2006, at 1:49 PM, Andrew Stiller wrote: Oh OK. My problem w. it tho is that the algo- part of it has no meaning, unless this is about seaweed--which it demonstrably isn't. To me, algorhythm is a mere misspelling, just as [nukjulr] is a mere mispronunciation, not a mishmash of nuke and spectacular. Not just spectacular -- vernacular, molecular, secular, circular, particular, perpendicular, vehicular, testicular, extracurricular, jocular, binocular, avuncular, muscular, corpuscular. There's a very large body of -cular words pulling the pronunciation in that direction, against virtually none that end with a sound like -cle-ar. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] eggcorn of the day
On Oct 17, 2006, at 2:07 PM, Andrew Stiller wrote: Several of my eggcorn sitings (I almost typed citings!) are listed in the database Should be sightings. Here here! mdl (waiting with baited breath) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: lyrics spacing (was Re: [Finale] Re: score vs. finale)
On Oct 16, 2006, at 9:09 AM, John Howell wrote: I can't imagine it looking any better, and the lyrics are very clean and easy to read. (And THANK you for ignoring the old-fashioned refusal to use beams; makes it SO much easier to read!) Thanks for the compliment, and to Christopher, too. I am now inspired to make two observations: First, I want to deflect some of that compliment to Michael Good, for being a rare publisher who could recognize, appreciate, and expect high engraving standards, and who, in spite of not being well-funded himself, nevertheless managed to come up with enough budget that I could spend time on details without feeling like I was giving my time away. Second, I am absolutely horrified to notice -- not two years ago when we did this piece, not two days ago when I tracked down the link on the Recordare site and looked again, but only just TONIGHT -- that the lyricist's name is mistyped as W.S. Gibert. How could that have gotten past me, Michael, both of you, and everyone else who has looked at the page?!? -- On Oct 16, 2006, at 9:34 AM, Christopher Smith wrote: I notice you don't mind eliminating hyphens—that seems to be the right decision here, though I always hem and haw when I have to do it. As well you should. It's not a decision I make lightly. I think it's appropriate here, but I typically think of omitting a hyphen as a negative. How much of a negative depends on the context and style, and then there's the matter of what are the alternative negatives it has to be weighed against. Even more strongly I resist omitting one hyphen while maintaining another in a word of three or more syllables, which I think looks rather bad, though I've occasionally resorted to it. If it's a compound, I don't feel so bad keeping the middle hyphen and dropping the others. (That sort of thing comes up quite a bit in German -- unfortunately, if the rhythm is dotqtr-8th-dotqtr-8th, it's usually the middle hyphen that you have least room for!) I also noticed that measure 5 is a little wider than it absolutely has to be, but the balance is quite nice as a result. I imagine You've was the deciding syllable there. I do think that the wideness of measure 5, relative to the others in the system, is a negative, but it's necessary to keep the measure reasonable proportional. To let it get distorted much more would have been worse, I think. That whole passage would have given me conniptions, and I would probably have spread the recit over three systems in a totally unbalanced way because I couldn't deal with the spacing properly. I have a lot to learn. I'm pretty sure it did give me conniptions, which is probably why it's the one I most remember for citing as an example. (Fortunately the rest of the song was a breeze, needing only the most routine tweaks, so that helped even out the workload for the piece.) I'm sure I wanted to spread the recit into more than two systems, but the overall page layout didn't take well to that. I don't recall if this was one of them, but there were times in the course of my Recordare work when I would write to Michael saying, This is too tight and I can't make it fit and still look good, I think we need to go to another page. Sometimes he'd agree, but other times he'd say, I've taken a look, and I think you can make it work. Try again. And that's another thing he deserves credit for. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: lyrics spacing (was Re: [Finale] Re: score vs. finale)
On Oct 16, 2006, at 6:03 AM, dc wrote: I was recently offered 5 USD per page of finished music by an American publisher, for a scholarly edition of vocal music. How much time can one spend tweaking the spacing of the music and the text at that rate? If that's a typical rate, it would go a long way toward explaining why one sees such butt-ugly spacing in certain published vocal books. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: lyrics spacing (was Re: [Finale] Re: score vs. finale)
On Oct 16, 2006, at 4:27 AM, Dennis Bathory-Kitsz wrote: There are hand-engraved scores where font width changes occur. I first noticed these many years ago when I was a pre-composer working in a public library, looking at scores I couldn't read. I saw operas where the letters were narrower on some words, and sometimes even turned vertical with common short words. (As a kid I'd also noticed how newspapers sometimes spaced letters in individual words further apart to justify lines of text. I must've been a stranger kid than I remember.) Ah! Sign of a true type-geek. I sometimes forget what a type-geek I am because I have a brother and a good friend who are two of the top professional type-geeks in the country, and I pale in comparison to them. Finale supports font changes in the edit lyrics dialog, but does not support vector resizing (as in typical graphics programs) or letter spacing (I forget if kerning is adjustable in Finale). This is a font-change example, using Arial and Arial Narrow: http://maltedmedia.com/images/finale/narrow-font.jpg By switching fonts in the same family, the text reading isn't hindered and the rhythmic spacing is undisturbed. I know that tracking (which I assume is what you mean by kerning) is available in text expressions, but my recollection is that it's one of several type modifications which is non-functional for lyrics in spite of appearing on the menu. Your example switching from Arial to Arial Narrow looks unattractive to me, and I wouldn't want to resort to that. A subtler adjustment using font-narrowing might be acceptable, but I'd have to see it to judge. My experience with non-music typography has been that small adjustments in tracking is less distracting to the eye than the equivalent adjustment by font-narrowing. Much easier would be to be able to tweak entries by narrowing them by eye or by a formula that would effect a compromise between adjusting font parameters and music spacing. One could set rules: 1. When any parameter adjustment would 'kick in' (the distortion percentage of rhythmic values). 2. Which parameters could be changed (letter spacing, kerning, font narrowing, font size changing, font family, rotation). 3. The order of parameter change. 4. The bounds for tightening the font (maximum allowed parameter change before the next parameter would be used). 5. The number of allowed changes per measure, system and page (so it doesn't look jumbled). I think that's a fine formula. I wonder how much difference there would be between our preferred settings for the various parameters. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: spacing PI [was: score vs. finale]
On Oct 17, 2006, at 3:32 PM, shirling neueweise wrote: From: Mark D Lew [EMAIL PROTECTED] If only I had the time and resources, I would love to pursue a project like that -- particularly with regard to lyrics. Back when I was still active (I haven't done any significant engraving work in a few years) I gave quite a bit of thought to what sort of algorithms I'd use for such a plug-in, roughly following my own standard operating procedure when cleaning up a piece. did you document it? I probably have notes somewhere, since I'm a compulsive note-taker. Finding them is another story A lot of it I've already summarized from memory in the main discussion thread. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Trills question
On Oct 17, 2006, at 8:21 PM, Carl Dershem wrote: When you run across a bar that has, for instance, whole notes on A and B-flat, with three slashes between them, you know you play a trill between them for the duration of the bar. But how, if at all, do you notate that and have it play back correctly? Isn't there a TG tremolo plug-in that does this by creating an invisible playback later. I seem to recall that the basic function was in the TG Lite that ships with Finale, but the full TG version gives you better control over the variables. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
