[Finale] OT Extract DVD audio on a mac?
Just wondering what Mac users on this list might be using to extract audio from a DVD. Free or cheap get the nod over bells and whistles for me on this. Thanks, Don Hart ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: burner
a smokin' hot, pounding muthaf of a piece. une ostie d'bonne tune en français (de la france) je ne crois pas qu'il existe une expression avec la même couleur d'expression, par exemple, putain, mais c'est bon fait pas l'affaire pas en toutte. -- 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: Hiding stems
I was told to click the Staff Tool and double-click the staff, then in the Items to Display section to uncheck stems and click OK. BUT--in my version of Finale 2002 there is no check-box marked stems. i think this feature might have been added in 2003, but not sure I can remove the stems by going to the Special Tools Tool Custom Stem Tool, selecting the stems, and shortening each to the position of the notehead. (Double-clicking a stem in this situation does not open the Shape Selection Dialog Box, so I can't go this route). it sounds like you selected the wrong (the stem with arrowhead upwards) special tool; try the one with three stems and noteheads there is also a TGTools plugin to remove all stems in the selected region, and optional simultaneous break beams -- 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] Re: Hiding stems
[EMAIL PROTECTED] wrote: I am entering chant for the first time in Finale 2002 with reasonable success. But I need black notes, and am having difficulty hiding quarter-note stems. I was told to click the Staff Tool and double-click the staff, then in the Items to Display section to uncheck stems and click OK. BUT--in my version of Finale 2002 there is no check-box marked stems. I can remove the stems by going to the Special Tools Tool Custom Stem Tool, selecting the stems, and shortening each to the position of the notehead. (Double-clicking a stem in this situation does not open the Shape Selection Dialog Box, so I can't go this route). Can someone explain to me (simply!) what I am missing? Aaron has made a suggestion on what might be easier. Another one would be to simply enter all the notes as whole notes, then use the Mass-Mover to select notes (use Partial Measures to select individual notes or a couple out of the measure) and then use MassEdit/Change/Notehead to change the selected whole note(s) to the black notehead. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Army Music (Way OT)
David W. Fenton wrote: On 23 Feb 2007 at 17:12, Brian Williams wrote: At Disneyland, the trumpet players play Retreat after the color guard takes the rope from the pole, then the band plays the National Anthem while the flag is lowered. I believe this is consistent with Military protocol. This is the way we did it at Illinois Boys' State for the 15 years I was assistant music director. And, of course, our National Anthem was always preceded with a canon blast. ;) I recall, though, that there was some agreement that we were actually not doing it entirely correctly, though I don't recall the details. It is my understanding that when using a bugle, To the Colors would be played in place of the National Anthem being played by a band. I base this on nothing other than what I've read at the Army page concerning bugle calls. The Retreat Ceremony involves playing Retreat to signal the end of the official day, and To The Colors to honor the flag as it is lowered. To The Colors is also played in the morning to honor the flag as it is raised. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Hiding stems
At 06:42 AM 2/24/2007, shirling neueweise wrote: there is also a TGTools plugin to remove all stems in the selected region, Oh, I forgot my own mantra: If it looks like it can't be done, try TGTools! Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Army Music (Way OT)
It is my understanding that when using a bugle, To the Colors would be played in place of the National Anthem being played by a band. I base this on nothing other than what I've read at the Army page concerning bugle calls. The Retreat Ceremony involves playing Retreat to signal the end of the official day, and To The Colors to honor the flag as it is lowered. To The Colors is also played in the morning to honor the flag as it is raised. That's the way we did it while I was a military bandsman. cd -- http://www.livejournal.com/users/dershem/# http://members.cox.net/dershem ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] O.T. Collective photographic website about famous landmarks in classical music?
Hi all: I wondered if there was a resource for photographs on the Internet that has photographs of so many places, buildings, cities that we read about in biographies about classical composers, but all under one roof. I know you could do a Google search for each item, say for example, I found a photograph of Telemann's memorial in Hamburg (finally), but it was only on the Wikipedia German article on him. I only found this because an Mattheson expert mentioned this to me in a private E-mail. For many many years, I have read about the famous music library in Darmstadt. When a friend of mine was doing research there for a over year, she was kind enough to take photographs of many of the sites there for me. While I am sure many of the buildings/landmarks were destroyed in WW2 or even earlier (e.g. apparently Telemann's grave was destroyed in a fire in 1841), but I wondered if anyone else has given much thought to having such a collective website, if it doesn't already exist? Any ideas or suggestions appreciated. Kim Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MULTIMEASURE catastrophe
Thanks Aaron. On Feb 24, 2007, at 10:00 AM, [EMAIL PROTECTED] wrote: Date: Fri, 23 Feb 2007 22:30:06 -0500 From: Aaron Sherber [EMAIL PROTECTED] Subject: Re: [Finale] MULTIMEASURE catastrophe To: finale@shsu.edu, FINALE FINALE LIST finale@shsu.edu Message-ID: [EMAIL PROTECTED] Content-Type: text/plain; charset=us-ascii; format=flowed At 09:48 PM 2/23/2007, Kim Richmond wrote: I quickly learned that that meant there were measures filled with music not showing on the part. The solution was, on each part, with the Measure Tool selected, choose Create Multimeasure Rests. That reveals the hidden music. But it has to be done on every part. Doing it when viewing the score doesn't do it. You can also do Measure | Multimeasure Rest | Create for Parts/Score and do all the parts in one go. Or you can go to Document Options | Multimeasure Rests and check Update Automatically. Then as you add music, MM rests in the part should break themselves as needed. I think the downside to this is that Finale actually recalculates each MM rest when you switch to the part, and you will lose any manual edits. For example, if you have adjusted the endpoint of an MM rest to avoid a clef change, you will lose that edit. It appears this 2007 version has a LOT of problems. Maybe, but this is actually working as designed. Take a look at 37-23 in the manual, which spells most of this out. I'm not saying this is the best approach, but it's not a bug either. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. Collective photographic website about famous landmarks in classical music?
On Feb 24, 2007, at 10:51 AM, Kim Patrick Clow wrote: Hi all: I wondered if there was a resource for photographs on the Internet that has photographs of so many places, buildings, cities that we read about in biographies about classical composers, but all under one roof. That would be sweet, and I'll watch the thread to find out what others have found, but I think, by its nature, the internet doesn't have a repository of all things anywhere. As you look around, you'll no doubt find some sites that are organized the way you work and you'll use them most often. For me, the googal images database does well: http://images.google.com Type Darmstadt into the search window and you get a bunch of images. Most are not useful for publishing, but I find this resource to be a treasure trove for art on CD covers I make to decorate the CD's that I make of their LP collections. Let us know what you find. Dick H ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: burner
At 12:23 PM +0100 2/24/07, shirling neueweise wrote: a smokin' hot, pounding muthaf of a piece. In other words, a barn burner. I haven't come across it without the barn! 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] TAN: burner
John Howell wrote: At 12:23 PM +0100 2/24/07, shirling neueweise wrote: a smokin' hot, pounding muthaf of a piece. In other words, a barn burner. I haven't come across it without the barn! John Me neither, but then I think we're showing our age, John. ;-) -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Elbow on conga
I have a composer who wants me to notate a conga effect -- the player plays five strokes on the conga head with his right hand while putting pressure on it with his left elbow. (Or vice versa -- it doesn't matter.) He starts with a lot of elbow pressure but gradually applies less pressure, so the effect sounds like five descending notes. (The effect is common in Afro-Cuban playing but I've never had to notate it before). The composer initially wanted to use noteheads on different staff lines to indicate the descending figure, but I think that's misleading because the effect is played entirely on a single conga. (Other measures have parts for two congas notated on different staff spaces.) What do you think the most concise way of notating and explaining the desired effect would be? (The part is for a classical percussionist.) Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Straight line gliss to notes with accidentals
Hey all, When using the straight line gliss, I usually like to have the line attach directly to the noteheads. But what if there's an intervening accidental that gets in the way? What's your preferred solution in this case? End the line before the accidental (although sometimes spacing is very tight and this would cause the gliss line to almost disappear)? Hide the real accidental and put it in as an articulation above the note? Or just live with the collision? Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Elbow on conga
What do you think the most concise way of notating and explaining the desired effect would be? (The part is for a classical percussionist.) since it's classical and not latin percussionist, i would go for a 2-line staff (use treble staff lines G/D) with below the line open and above the line closed/elbow (lower and higher pitch). gliss line (straight) and make all but start/end noteheads blank. i have done similar and percussionists find this kind of thing intuitive to read. explain it in the legend if it happens more than once, otherwise a text note in the score where it occurs. -- 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] Elbow on conga
Hey Jef, The system you mentioned isn't practical because there are two congas. I'm currently using a five-line staff with the top space indicating the high conga and the second-from-bottom space indicating the low conga -- I'd like to stick with that if possible. (I don't generally like single-line percussion staves -- they look old- fashioned to me.) The elbow effect only happens once. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 24 Feb 2007, at 7:54 PM, shirling neueweise wrote: What do you think the most concise way of notating and explaining the desired effect would be? (The part is for a classical percussionist.) since it's classical and not latin percussionist, i would go for a 2-line staff (use treble staff lines G/D) with below the line open and above the line closed/elbow (lower and higher pitch). gliss line (straight) and make all but start/end noteheads blank. i have done similar and percussionists find this kind of thing intuitive to read. explain it in the legend if it happens more than once, otherwise a text note in the score where it occurs. -- 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] Straight line gliss to notes with accidentals
When using the straight line gliss, I usually like to have the line attach directly to the noteheads. But what if there's an intervening accidental that gets in the way? What's your preferred solution in this case? End the line before the accidental (although sometimes spacing is very tight and this would cause the gliss line to almost disappear)? TGTools shift menu somewhere... i commonly use accis everywhere and so set up the default right end line positioning to always avoid the accis, since there are less edits this way for me. when the spacing is tight make it looser. lots, these small gliss lines look like shit and clutter the score, make it look like crap. the looser spacing everywhere else is compensated by clarity in the details of the score. Hide the real accidental and put it in as an articulation above the note? NEVER!!! guaranteed catastrophe. Or just live with the collision? despite my comments above, this is also a possibility, depending on the timeframe and budget... i have also sometimes had to have the whole gliss line offset because of density and inevitable collisions (eg. chords, two-note glisses that cross each other... cellists love those, write lots of them). see mm 420/432: http://www.savefile.com/files/515562 -- 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] Elbow on conga
The elbow effect only happens once. ah yes then the best would be to stick as close to your normal notation of the congas as possible. do the same thing using a 5-line staff. i would however suggest in general using the G/D lines (you could transpose your whole conga part down a 2nd before adding the gliss). then on the lines is ord. and your gliss will stand out visually and make sure the percussionist sees it. using different #'s of staff lines is really helpful in orchestral parts, especially where a number of different instruments are used. the different numbers function really well as cues; i typically only use 5-line staves for pitched instruments, and traditional (since early 20th) and orchestral parts use 1-liners commonly, it isn't at all old-fashioned! eg. if i have 4 WB and use a 3-liner, they stand out immediately from the 5-line staff, making insrument changes intuitive through visual cues. if in the same part 3 toms are used, i would put them on the lines, again, visually it stands out. another thing, using the lines as the ord. position/manner of playing, you can indicate centre/edge in the same manner as i described above. -- 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] Elbow on conga
Hey Jeff, What do you mean by blank -- you mean, like just a stem and no notehead? Hmmm. I'll have to think on that. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 24 Feb 2007, at 7:54 PM, shirling neueweise wrote: What do you think the most concise way of notating and explaining the desired effect would be? (The part is for a classical percussionist.) since it's classical and not latin percussionist, i would go for a 2-line staff (use treble staff lines G/D) with below the line open and above the line closed/elbow (lower and higher pitch). gliss line (straight) and make all but start/end noteheads blank. i have done similar and percussionists find this kind of thing intuitive to read. explain it in the legend if it happens more than once, otherwise a text note in the score where it occurs. -- 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] Straight line gliss to notes with accidentals
My preference is to move the accidental slightly closer to the notehead, increase the spacing between the two notes slightly, and to end the line visibly (i.e. between staff lines), and at an angle so that it still points to the notehead. No idea whether this matches up to any convention, though. A quick glance at a couple of scores (Ravel and Ferneyhough) turns up all sorts of inconsistencies in both. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Darcy James Argue Sent: 25 February 2007 00:50 To: finale@shsu.edu Subject: [Finale] Straight line gliss to notes with accidentals Hey all, When using the straight line gliss, I usually like to have the line attach directly to the noteheads. But what if there's an intervening accidental that gets in the way? What's your preferred solution in this case? End the line before the accidental (although sometimes spacing is very tight and this would cause the gliss line to almost disappear)? Hide the real accidental and put it in as an articulation above the note? Or just live with the collision? Cheers, - Darcy - [EMAIL PROTECTED] 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] Elbow on conga
What do you mean by blank -- you mean, like just a stem and no notehead? Hmmm. I'll have to think on that. yeah, totally clear, this is quite common and avoids clutter, and you see the angle changing (again visual cue of the resulting sound as well as the performance action), which isn't the case if you use several small gliss lines between each pair of notes. position the line to cut across exactly where the noteheads would be. -- 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] Straight line gliss to notes with accidentals
-Original Message- there are many reasons why the convention might not be feasible, as in the example i posted a little while ago. ferneyhough's writing would certainly encourage some creative compromises... check out time and motion study 2 for vc. heh heh. good times. -- shirling neueweise ... new music publishers You're right - the reason I picked that score out is because he uses Finale, so I was interested to see what he did (it was Unsichtbare Farben, and there's all sorts of messy situations, with gliss lines going straight through parts of other accidentals etc.) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Straight line gliss to notes with accidentals
I usually just treat it like a harp gliss and specify the scale above the gliss YMMV TC Sent via BlackBerry from Cingular Wireless -Original Message- From: Darcy James Argue [EMAIL PROTECTED] Date: Sat, 24 Feb 2007 19:49:48 To:finale@shsu.edu Subject: [Finale] Straight line gliss to notes with accidentals Hey all, When using the straight line gliss, I usually like to have the line attach directly to the noteheads. But what if there's an intervening accidental that gets in the way? What's your preferred solution in this case? End the line before the accidental (although sometimes spacing is very tight and this would cause the gliss line to almost disappear)? Hide the real accidental and put it in as an articulation above the note? Or just live with the collision? Cheers, - Darcy - [EMAIL PROTECTED] 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] Straight line gliss to notes with accidentals
Hi Darcy, I always end the gliss before the accidental. I don't think making the accidental incidental by putting it above the note is a solution I'd be happy with. When spacing is tight, and there's no room for hand spacing, I sometimes choose to move the gliss to a position above the notes. Anyway, those have been my solutions. Chuck On Feb 24, 2007, at 4:49 PM, Darcy James Argue wrote: Hey all, When using the straight line gliss, I usually like to have the line attach directly to the noteheads. But what if there's an intervening accidental that gets in the way? What's your preferred solution in this case? End the line before the accidental (although sometimes spacing is very tight and this would cause the gliss line to almost disappear)? Hide the real accidental and put it in as an articulation above the note? Or just live with the collision? Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ 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] Feathered beams
What's the best way to handle these? Is there a plugin, or do we just hand-tweak with the beam angle tool? Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Feathered beams
Also, Any issues I should be aware of involving feathered beams over barlines? Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 24 Feb 2007, at 11:38 PM, Darcy James Argue wrote: What's the best way to handle these? Is there a plugin, or do we just hand-tweak with the beam angle tool? Cheers, - Darcy - [EMAIL PROTECTED] 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] Feathered beams
Finally, Is there any way to get double feathered beams? i.e., a single beam group that starts out with no secondary beams, feathers out to three secondary beams, and feathers back in to one? Can this be done over barlines? Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 24 Feb 2007, at 11:48 PM, Darcy James Argue wrote: Also, Any issues I should be aware of involving feathered beams over barlines? Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 24 Feb 2007, at 11:38 PM, Darcy James Argue wrote: What's the best way to handle these? Is there a plugin, or do we just hand-tweak with the beam angle tool? Cheers, - Darcy - [EMAIL PROTECTED] 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 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] multi-movement works
For the first time since starting to use Finale I need to use it to create a score and parts for a multi-movement work. Are there any special ways to do this? Would it work to just put a final bar in the middle of a score and continue from there? Also, how can you re-number the measures at the beginning of each movement? Aaron J. Rabushka [EMAIL PROTECTED] http://users.waymark.net/arabushk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Straight line gliss to notes with accidentals
On 24-Feb-07, at 8:08 PM, shirling neueweise wrote: When using the straight line gliss, I usually like to have the line attach directly to the noteheads. But what if there's an intervening accidental that gets in the way? What's your preferred solution in this case? End the line before the accidental (although sometimes spacing is very tight and this would cause the gliss line to almost disappear)? Hide the real accidental and put it in as an articulation above the note? NEVER!!! guaranteed catastrophe. I have to agree. i have also sometimes had to have the whole gliss line offset because of density and inevitable collisions (eg. chords, two-note glisses that cross each other... cellists love those, write lots of them). I don't have any problem with gliss lines being vertically displaced. They are commonly used this way even when they DON'T have to avoid accidentals, and are instantly recognisable. jef's other solution of loosening up the spacing a bit is good, too, but barring that, vertical gliss displacement is the way to go. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
