Re: [Finale] Hyphenating text underlay
One really great assignments we had at NEC was to transcribe vocal and instrumental versions of the same song, including the accompaniment. The goal here was, in fact, to make the vocal transcription as exact as possible -- not as something you'd ever give to a singer, but as a written document of the recording. I compared the Frank Sinatra and Keith Jarrett recordings of "In The Wee Small Hours of the Morning." I admit that I was stunned at how closely Keith's phrasing of the melody resembled Frank's -- I don't think most people would ever think of Frank Sinatra as an influence on Keith Jarrett. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Apr 2007, at 12:57 PM, John Howell wrote: In my vocal arranging class, I used to require students to transcribe from recordings (which is, after all, something arrangers are often called on to do). Give it a try with some Sinatra recordings! It is beyond the capability of ANY written language to indicate, on paper, what he does with the individual phonemes in a syllable, or to indicate exactly where he places them. And the point of that assignment, of course, was to give them a crash course in judging when to give up on exact transcription of a singer whose performance is highly stylized, and revert back to a sort of Urtext notation which singers can actually read!! (Toni Tennile is almost as bad.) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Hyphenating text underlay
>You can't be totally rigid, though. A prominent exception is >words in "-ire" (as fire, tire, mire) that are very frequently >pronounced in two syllables (esp. in poetry) but which you >will never see hypenated in any dictionary. Not to mention the large number of diphthongs (think long a, i, o) in English in which one letter spreads across two sounds. Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hyphenating text underlay
At 10:32 AM -0500 4/29/07, Robert Patterson wrote: This is probably gonna start a religious war, but I would like to read the members' opinions about hyphenating text underlay. Is there any consensus about whether one should hyphenate according to the dictionary as opposed to how one sings the word? For example, "light-ing" vs. "ligh-ting" I will find opinions backed by corroborations from published scores to be more interesting, esp. any examples that differ from dictionary hyphenation. (Or published examples where they printed dictionary hyphenation even though it is counter to how one sings the word.) I agree completely with what Christopher and Mark have said. ALWAYS use conventional hyphenation because that's the English language. It's what singers are used to seeing, and the good ones know exactly how to handle the necessary adjustments. Changing hyphenation will simply annoy the experienced, while not helping the clueless at all. Fred Waring's "tone syllables" in the old Shawnee Press publications were underlaid not in place of conventional lyrics text, but under them as a reminder of how to realize the tone syllables in practice. But ALL well-trained choral conductors and ALL well-trained choral singers know to apply at least the basics of Fred's system (i.e., consonants are attached to the next syllable). In my vocal arranging class, I used to require students to transcribe from recordings (which is, after all, something arrangers are often called on to do). Give it a try with some Sinatra recordings! It is beyond the capability of ANY written language to indicate, on paper, what he does with the individual phonemes in a syllable, or to indicate exactly where he places them. And the point of that assignment, of course, was to give them a crash course in judging when to give up on exact transcription of a singer whose performance is highly stylized, and revert back to a sort of Urtext notation which singers can actually read!! (Toni Tennile is almost as bad.) 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] Test of a PDF on Mac
Looks fine to me, David. I'm using Adobe Reader 7.05 with system version 10.4.9 on a G5. On Apr 29, 2007, at 10:59 PM, David W. Fenton wrote: A Mac user tells me this PDF: http://www.dfenton.com/Collegium/Scores/Gibbons-LordGrantGrace.pdf shows up with weird characters. Generally, I've had no troubles getting PDFs to her via my website, but this has happened once before. She said it was some problem with the rests of something (granted, it's a first draft, without proper editing -- I'm arranging a 7-part texture for playing by five viols). Are Mac users seeing proper noteheads/rests? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Test of a PDF on Mac
On 29 Apr 2007 at 20:13, Chuck Israels wrote: > This shows up alright on my Mac. It looks fine to me except perhaps > for placement of floating rests having to do with multiple vocal > parts. I have to assume they are placed where they were put by the > composer. No, Orlando Gibbons was dead several hundred years before Finale was invented! I just haven't bothered with the floating rests, simply because I'm actually going to eliminate the multiple voices and fold them into individual parts (which is the point of the exercise). Maybe that was what my correspondent was complaining about after all. -- 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] Test of a PDF on Mac
In a message dated 4/29/07 10:01:55 PM, [EMAIL PROTECTED] writes: > > Are Mac users seeing proper noteheads/rests? > > It displays properly here. ** See what's free at http://www.aol.com. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Test of a PDF on Mac
David, This shows up alright on my Mac. It looks fine to me except perhaps for placement of floating rests having to do with multiple vocal parts. I have to assume they are placed where they were put by the composer. Chuck On Apr 29, 2007, at 7:59 PM, David W. Fenton wrote: A Mac user tells me this PDF: http://www.dfenton.com/Collegium/Scores/Gibbons-LordGrantGrace.pdf shows up with weird characters. Generally, I've had no troubles getting PDFs to her via my website, but this has happened once before. She said it was some problem with the rests of something (granted, it's a first draft, without proper editing -- I'm arranging a 7-part texture for playing by five viols). Are Mac users seeing proper noteheads/rests? -- 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 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] Test of a PDF on Mac
A Mac user tells me this PDF: http://www.dfenton.com/Collegium/Scores/Gibbons-LordGrantGrace.pdf shows up with weird characters. Generally, I've had no troubles getting PDFs to her via my website, but this has happened once before. She said it was some problem with the rests of something (granted, it's a first draft, without proper editing -- I'm arranging a 7-part texture for playing by five viols). Are Mac users seeing proper noteheads/rests? -- 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] Hyphenating text underlay
On Apr 29, 2007, at 3:56 PM, dhbailey wrote: I wouldn't hyphenate "fi- re" for the same reason that I wouldn't hyphenate against dictionary hyphenation in general. I would trust that the person in charge of the music would understand that if the word isn't broken into two syllables, the note(s) which go with the 're' part of the word would not be heard clearly (it's hard to project when singing an 'rr' sound). I would hope that the context would make things clear. If not, I would add some sort of text explanation before the start of the piece explaining the proper pronunciation of that passage. I suppose two syllables in "fire" would be pronounced more or less "Fie-yer" with the short "e" sustained, not "Fie-yer" with the "r" sustained. It IS sung differently than a melisma would be; "Fah- ire". I honestly don't know how to notate the difference. I ran into a similar problem with an arrangement of the McGill school song, the line "Dear old Mc-Gill" could not possibly be sung in a legato fashion as written, so I wrote a footnote explaining to pronounce it "Ma-Gill" (after agonizing over "Mac-Gill" and similar variants.) Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] should we expect another upgrade?
On Apr 29, 2007, at 3:49 PM, Andrew Stiller wrote: On Apr 28, 2007, at 3:40 AM, Mark D Lew wrote: I can't figure out how to use a metatool for an expression and not have it show up on every staff. I don't see a place to define that. What am I missing? I can't believe that for all the zillions of replies Mark's query generated, nobody every bothered to answer this question. The answer is this: Hey, don't be so hard on us! We DID answer it: you can't define staff lists with measure expressions entered as metatools. You have to use note expressions. Mark knew how to change types. Now your info about TG Tools was very good. But I hadn't omitted that because I didn't bother, I omitted it because I didn't KNOW that. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: mail (mac) and mime attachments
On 29 Apr 2007 at 7:25, Christopher Smith wrote: > I use Mail as well, and there is one of my colleagues on Pegasus that > sends me emails with the same problem. I haven't found a solution, > but at least you know that it isn't an isolated problem. It is only > the Mac users that can't read his attachments. I use Pegasus and send attachments to Mac users all the time. No one has ever told me they couldn't read them. Of course, I also don't use HTML formatting, so maybe that's the problem? -- 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] methods of entering and positioning expressions
> On Apr 29, 2007, at 3:54 AM, Johannes Gebauer wrote: > > > JFYI: I sometimes enter music with around 100 expressions per page. > > That explains a lot. Others do, too? > > mdl Ditto. Not hard to do when you're working with a large orchestral score. Lee Actor Composer-in-Residence and Assistant Conductor, Palo Alto Philharmonic http://www.leeactor.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hyphenating text underlay
Christopher Smith wrote: On Apr 29, 2007, at 3:39 PM, Andrew Stiller wrote: On Apr 29, 2007, at 1:36 PM, Robert Patterson wrote: I should have added that my instictive preference is for dictionary hyphenation, but I want to confirm that instinct. So far I haven't read any disagreement. You can't be totally rigid, though. A prominent exception is words in "-ire" (as fire, tire, mire) that are very frequently pronounced in two syllables (esp. in poetry) but which you will never see hypenated in any dictionary. You don't say what your hyphenation solution is for "fire", though. I have simply put it in as a melisma, but admittedly it won't be sung the same as if was split to two syllables. "Fi-re"? Any other solution? This is where the composer/arranger takes a leap of faith that the performer will understand what is meant. All notation is imprecise to a point, and some notation is more imprecise than others. I wouldn't hyphenate "fi- re" for the same reason that I wouldn't hyphenate against dictionary hyphenation in general. I would trust that the person in charge of the music would understand that if the word isn't broken into two syllables, the note(s) which go with the 're' part of the word would not be heard clearly (it's hard to project when singing an 'rr' sound). I would hope that the context would make things clear. If not, I would add some sort of text explanation before the start of the piece explaining the proper pronunciation of that passage. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] should we expect another upgrade?
On Apr 28, 2007, at 3:40 AM, Mark D Lew wrote: I can't figure out how to use a metatool for an expression and not have it show up on every staff. I don't see a place to define that. What am I missing? I can't believe that for all the zillions of replies Mark's query generated, nobody every bothered to answer this question. The answer is this: In the Expression menu, turn on Context Sensitive. Then when you use an expression metatool with the cursor placed directly on or below the note, a note expression will be placed. With any other cursor position, a measure expression will appear--on all staves. With regard to this, I would like to recommend TGTools/Modify/Expressions, which I find invaluable for orchestral scores and the like. Enter a dynamic as a measure expression in all staves, then apply the plug-in and turn them all into note expressions. There is even an option for deleting the expression from empty measures. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hyphenating text underlay
On Apr 29, 2007, at 3:39 PM, Andrew Stiller wrote: On Apr 29, 2007, at 1:36 PM, Robert Patterson wrote: I should have added that my instictive preference is for dictionary hyphenation, but I want to confirm that instinct. So far I haven't read any disagreement. You can't be totally rigid, though. A prominent exception is words in "-ire" (as fire, tire, mire) that are very frequently pronounced in two syllables (esp. in poetry) but which you will never see hypenated in any dictionary. You don't say what your hyphenation solution is for "fire", though. I have simply put it in as a melisma, but admittedly it won't be sung the same as if was split to two syllables. "Fi-re"? Any other solution? Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hyphenating text underlay
On Apr 29, 2007, at 1:36 PM, Robert Patterson wrote: I should have added that my instictive preference is for dictionary hyphenation, but I want to confirm that instinct. So far I haven't read any disagreement. You can't be totally rigid, though. A prominent exception is words in "-ire" (as fire, tire, mire) that are very frequently pronounced in two syllables (esp. in poetry) but which you will never see hypenated in any dictionary. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Is there a key command to select the Arrow tool in Finale?
On Apr 29, 2007, at 1:04 PM, Aryeh Har-Even wrote: Yes. In short, I use QuicKeys extensively with Finale. As the arrow key is probably selected more than anything, at least in my work, I have assigned F1 to this command. Easy to do and just a tap away. e.g. F1 Selection Tool, F2 Simple Entry, F3 Speedy Entry, F4 Mass Edit, etc. (you get the idea). Can't imagine using Finale without QuicKeys. I can understand the other shortcuts, but the Selection tool is hard- wired to the esc key, which is right beside the F1, so I don't get why you chose to put it there instead. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hyphenating text underlay
I should have added that my instictive preference is for dictionary hyphenation, but I want to confirm that instinct. So far I haven't read any disagreement. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] methods of entering and positioning expressions
At 11:26 AM 4/29/2007, Johannes Gebauer wrote: >On 29.04.2007 Aaron Sherber wrote: >> Personally, I feel sorry for Mac users who don't have the benefit of >TGTools Expression Browser, which alphabetizes text expressions and >can also group by font characteristics. > >They all can have the benefit of the TGTools Expression sorting, which I >guess goes some of the way. Yes, I had forgotten that. The Browser does do more, but the sorter is a big help on its own. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Is there a key command to select the Arrow tool in Finale?
At 10:21 AM 4/29/2007, George Ports wrote: >You can tap the esp key twice to bring up the arrow tool if you are using >windows. It normally only takes one tap on Esc to get the Selection Tool. The exception (and I think this is poor design) is when you're doing something for which Esc has a different meaning. For example, if you're in the Articulation Tool, just hit Esc once to get the Selection Tool. If you're in the SmartShape Tool and you've just been placing or editing a smartshape, hitting Esc once deselects the smartshape handles but leaves you in the smartshape tool. You have to hit Esc again to get the selection tool. In Win, you can also hit Ctrl-Shift-A to get the Selection Tool. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
re: [Finale] Is there a key command to select the Arrow tool in Finale?
Yes. In short, I use QuicKeys extensively with Finale. As the arrow key is probably selected more than anything, at least in my work, I have assigned F1 to this command. Easy to do and just a tap away. e.g. F1 Selection Tool, F2 Simple Entry, F3 Speedy Entry, F4 Mass Edit, etc. (you get the idea). Can't imagine using Finale without QuicKeys. Aryeh http://www.Har-Even.com MacBook Pro 2.16 GHz, 2 GB ram 10.4.8 Finale 2007 DP 5.11 MH ULN-2 Glyph GT050's Forwarded Message From:"Jim Fischer" <[EMAIL PROTECTED]> To:finale@shsu.edu Date: Sat, 28 Apr 2007 14:48:54 -0700 Subject: [Finale] Is there a key command to select the Arrow tool in Finale?Plain Text Attachment [ Scan and Save to Computer | Save to Yahoo! Briefcase ] Is there a key command to select the Arrow tool? Just tired of always mousing up to the top left corner. btw - haven't memorized the pdf manual yet :) thx, Jim :: j i m f i s c h e r :: p r o d u c e r :: m u s i c b o x p r o d u c t i o n s :: v a n c o u v e r, w a, u s a :: www.jimfischer.net -- :: mailto:[EMAIL PROTECTED] http://www.jimfischer.net <*(((>< - Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hyphenating text underlay
On Apr 29, 2007, at 8:32 AM, Robert Patterson wrote: This is probably gonna start a religious war, but I would like to read the members' opinions about hyphenating text underlay. Is there any consensus about whether one should hyphenate according to the dictionary as opposed to how one sings the word? For example, "light-ing" vs. "ligh-ting" I will find opinions backed by corroborations from published scores to be more interesting, esp. any examples that differ from dictionary hyphenation. (Or published examples where they printed dictionary hyphenation even though it is counter to how one sings the word.) Personally, I very strongly prefer "light-ing" in your example. To hyphenate "how one sings the word" would require moving nearly every consonant after the hyphen, and that leads to some extreme results that I think make the reader's eye balk. It also begs the question of why final consonants on one-syllable words aren't detached and elided to the following word. Another consideration frequently overlooked: in many cases the presence or absence of a consonant at the end of a syllable provides information to the singer (often subconciously) of the vowel sound. For example, if you hyphenate "promise" as "pro-mise", the singer is likely to see "pro-" and sing the vowel as if it were "pro-tect". There is an increasing tendency in English toward hyphenating before any intervocalic consonant, but I suspect it's not related to singing at all. One sees the same tendency in non-musical publication (the Economist, for example is very avant-garde in its hyphenation). I think a more likely explanation is the influence of computer algorithms for hyphenation which don't adequately address the traditions and, even more, the influence of other non-English languages. I think it's a trend worth resisting in general, but in particular worth resisting where the hyphenation communicates vowel information (which is not an issue in your example). mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] methods of entering and positioning expressions
On Apr 29, 2007, at 3:54 AM, Johannes Gebauer wrote: JFYI: I sometimes enter music with around 100 expressions per page. That explains a lot. Others do, too? mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hyphenating text underlay
On Apr 29, 2007, at 11:32 AM, Robert Patterson wrote: This is probably gonna start a religious war, but I would like to read the members' opinions about hyphenating text underlay. Is there any consensus about whether one should hyphenate according to the dictionary as opposed to how one sings the word? For example, "light-ing" vs. "ligh-ting" I will find opinions backed by corroborations from published scores to be more interesting, esp. any examples that differ from dictionary hyphenation. (Or published examples where they printed dictionary hyphenation even though it is counter to how one sings the word.) I don't see any difference between lyric hyphenation and text hyphenation. I would treat them identically. I think most publishers hyphenate EVERYTHING according to the dictionary (inasmuch as dictionaries agree with each other on the subject) with the exception of certain educational publications. I actually disagree with the concept of hyphenation according to choral pronunciation, with an exception made for certain effects such as numming "pro(m)-me(n)-nade" holding the "m" and "n" closed-mouth, for example). As Mark D. Lew put it, if someone can pronounce the word properly in a choral context, the unusual hyphenation won't help, and if someone is an inexperienced enough singer to not to know that the consonants should go on the next syllable, then there are likely to be way bigger performance issues than this to deal with. In fact, I kept most of the discussion we had a while ago on this subject, most of it Mark's. Here it is, edited for readability. Christopher Hyphenation should be according to the way a good dictionary separates the syllables. Even though some dictionaries disagree on certain words (especially those that do not have traditional Latin, Greek, or German roots) you should choose a dictionary and stick to its interpretation consistently. Why not hyphenate according to the way singers are going to pronounce it, with the consonants delayed to the beginning of the next note? Like "fu-nny" instead of the traditional "fun-ny?" Other variations in hyphenation might go unnoticed, but something so obvious as "fu- nny" I expect would be consciously noticed by just about anyone. I've worked with scores using this practice, and my conclusion is that unless it's a special pedagogic edition, it's a bad idea. Singing on the vowel and placing the consonants at the beginning of the next note is a basic singing concept which needs to be learned separately anyway. The collection of singers who would be helped by such a reminder in the hyphenation is a rather small one, I think, sandwiched between those who already understand without extra help and those who wouldn't understand regardless. The more significant effect is to make the text confusing and less readable. If I'm singing a piece and I see "fun-", I know that it's going to be a word like "funny" or "fundamental" and I'm ready to start singing "fuh..." as I continue on to see what's next. If I see "fu-", then it looks like it will be a word like "future" or "fugitive" and I'm ready to start singing "fyoo" (In practice, all of this is probably happening reading a bar or two ahead, but the principle is the same.) Traditional hyphenation really is an indicator of pronunciation, albeit imperfect. The placement of consonants relative to the hyphen is a strong predictor of vowel pronunciation. Consider, e.g., "dem-o- crat-ic" vs "de-moc-ra-cy". In questionable cases, a good guide to follow is to consider which hyphenation makes it easier to anticipate pronunciation of the first syllable alone. Thus, one would choose "ev- er" and "e-ven", but "o-ver" and "ov-en". On first glance, that looks inconsistent, but in fact it reflects the pronunciation perfectly. On Wednesday, December 17, 2003, at 07:34 PM, Darcy James Argue wrote: Is it still customary when entering lyrics to use an apostrophe and dropped vowel to indicate a "merged" syllable in English (i.e., where the word as sung has fewer syllables than the dictionary hyphenation)? Or is that an archaic practice? In other words, should a two-syllable "opening" be written "o-pening" or "o-p'ning" For this example, I would choose "o-p'ning". I don't know that I'd generalize that as a rule to always use apostrophe, though. In other contexts it might be clearer to spell out what looks like two syllables but is pronounced as one. This is assuming that the melody is using the word in an ordinary way. If one is deliberately putting a space in the middle of the word with the "p" sound before the break -- as in "another ope-ning, another show..." -- then that's a special effect calling for a special hyphenation. In that case, I would use "ope-ning" -- or alternatively "op'-ning", but definitely not "op-'ning". I don't like "op-'ning" (as another po
[Finale] Hyphenating text underlay
This is probably gonna start a religious war, but I would like to read the members' opinions about hyphenating text underlay. Is there any consensus about whether one should hyphenate according to the dictionary as opposed to how one sings the word? For example, "light-ing" vs. "ligh-ting" I will find opinions backed by corroborations from published scores to be more interesting, esp. any examples that differ from dictionary hyphenation. (Or published examples where they printed dictionary hyphenation even though it is counter to how one sings the word.) -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] methods of entering and positioning expressions
On 29.04.2007 Aaron Sherber wrote: Personally, I feel sorry for Mac users who don't have the benefit of TGTools Expression Browser, which alphabetizes text expressions and can also group by font characteristics. They all can have the benefit of the TGTools Expression sorting, which I guess goes some of the way. 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] A font problem (Mac)
On 29-Apr-07, at 10:48 AM, John Roberts wrote: Thanks for the input. What with one thing and another, I didn't do the 2007 upgrade. I got the impression from a friend that it wasn't different from 2006, but I haven't done the experimentation with the specifics I know about. Well, the two big things (for me) in 2007 are linked parts and synchronisation to QuickTime video. Correct EPS coding might be a big thing for me soon, if it works, as I have a large thing I am preparing soon. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] A font problem (Mac)
Thanks for the input. What with one thing and another, I didn't do the 2007 upgrade. I got the impression from a friend that it wasn't different from 2006, but I haven't done the experimentation with the specifics I know about. Now you mention it, I seem to remember whole rests being a problem. I just don't even use 2006 enough to remember exactly what it was. 2005 had slightly different problems. John On 4/29/07 7:15 AM, "Christopher Smith" <[EMAIL PROTECTED]> wrote: > > On Apr 28, 2007, at 8:28 PM, John Roberts wrote: > >> I've been doing a project in Fin 2006c, exporting into PageMaker to >> assemble >> a book. I've always exported eps, but compiling eps still doesn't work >> properly. E.g. if I'm using a font with different weights of bold, >> even when >> I select the right one in the menu I only get one degree of bold - >> if I pick >> the "heavy," say, it reverts back to regular Roman in the eps. >> >> So I thought I'd try pdf, which I can import into PageMaker. This >> was fine, >> except the 16th note rest prints as a box. It's fine onscreen, fine >> when I >> print to paper directly out of Finale, but screwed up when I print >> out of >> PageMaker. (PageMaker is an OS9 Classic application, and I suspect the >> problem lies here). > > I think you are correct. > > >> >> Were fonts adjusted for OSX? > > Yes, they were. > > >> Are there any other characters I should watch >> out for? > > Hmm, I used to know this. Manually-entered whole rests (the default > ones are fine), double flags on sixteenths, I can't remember any others. > > >> Is there a solution? > > Well, the word from MM is that font embedding in EPSs works properly > in the OSX version of Finale 2007, so that might be a solution, but I > haven't tested this assertion myself. Frankly, I have found that some > "fixes" that were proudly announced were not fixed at all, so I take > everything with a grain of salt until I can make sure that it works > under MY conditions. But check it out anyway, and report back to us. > > Christopher > > > ___ > 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] Is there a key command to select the Arrow tool in Finale?
You can tap the esp key twice to bring up the arrow tool if you are using windows. George Ports - Original Message - From: "Jim Fischer" <[EMAIL PROTECTED]> To: Sent: Saturday, April 28, 2007 2:48 PM Subject: [Finale] Is there a key command to select the Arrow tool in Finale? Is there a key command to select the Arrow tool? Just tired of always mousing up to the top left corner. btw - haven't memorized the pdf manual yet :) thx, Jim :: j i m f i s c h e r :: p r o d u c e r :: m u s i c b o x p r o d u c t i o n s :: v a n c o u v e r, w a, u s a :: www.jimfischer.net -- :: mailto:[EMAIL PROTECTED] http://www.jimfischer.net <*(((>< ___ 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] methods of entering and positioning expressions
In my typical work I enter about five or six expressions per page. Ok, in that case I think you might as well stick with what you have. hm... quite possibly right. i have 230 expressions in my template (and several i have been meaning to add for some time now!), have worked on scores with 700+ expressions in the list. -- 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] methods of entering and positioning expressions
At 12:34 AM 4/29/2007, Darcy James Argue wrote: >And, as you point out, there's just no way selecting expressions from >the list can ever be remotely as efficient as working with metatools Personally, I feel sorry for Mac users who don't have the benefit of TGTools Expression Browser, which alphabetizes text expressions and can also group by font characteristics. Since all my dynamics are Maestro 24, and my tempo indications are 14 pt bold, and things like pizz are 12 pt, this has the effect of grouping similar *types* of expressions together. If I ever had to go back to the Final expression dialog, I'd shoot myself. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: mail (mac) and mime attachments
On Apr 29, 2007, at 5:49 AM, shirling & neueweise wrote: anyone have experience dealing with mime attachments? a colleague (on mail) has some filters set up to auto-forward certain messages to me (eudora). i have been receiving the headers inline and the body of the messages as mime attachments but need the entire message (especially the body) to display in text, since i need to be able to find/sort this info later. i have deselected "receive MIME digests as attachments" in eudora, but this hasn't changed anything. my colleague says there isn't anything he can do about it... but this only started happening 2 wks ago, prior to that i received text from him. i can only assume he has changed some prefs... I use Mail as well, and there is one of my colleagues on Pegasus that sends me emails with the same problem. I haven't found a solution, but at least you know that it isn't an isolated problem. It is only the Mac users that can't read his attachments. christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] methods of entering and positioning expressions
On Apr 29, 2007, at 3:38 AM, Mark D Lew wrote: As for Finale's templates, I don't think I've looked at a MakeMusic/ Coda-provided template since Finale 97. Now I can say with confidence that you are truly missing out. I know you can't use these default files out of the box (I can't either), but there are so many improvements with regards to implementation of new features that it is hard to imagine how you use the new versions of Finale without some reference. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] A font problem (Mac)
On Apr 28, 2007, at 8:28 PM, John Roberts wrote: I've been doing a project in Fin 2006c, exporting into PageMaker to assemble a book. I've always exported eps, but compiling eps still doesn't work properly. E.g. if I'm using a font with different weights of bold, even when I select the right one in the menu I only get one degree of bold - if I pick the "heavy," say, it reverts back to regular Roman in the eps. So I thought I'd try pdf, which I can import into PageMaker. This was fine, except the 16th note rest prints as a box. It's fine onscreen, fine when I print to paper directly out of Finale, but screwed up when I print out of PageMaker. (PageMaker is an OS9 Classic application, and I suspect the problem lies here). I think you are correct. Were fonts adjusted for OSX? Yes, they were. Are there any other characters I should watch out for? Hmm, I used to know this. Manually-entered whole rests (the default ones are fine), double flags on sixteenths, I can't remember any others. Is there a solution? Well, the word from MM is that font embedding in EPSs works properly in the OSX version of Finale 2007, so that might be a solution, but I haven't tested this assertion myself. Frankly, I have found that some "fixes" that were proudly announced were not fixed at all, so I take everything with a grain of salt until I can make sure that it works under MY conditions. But check it out anyway, and report back to us. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] methods of entering and positioning expressions
On 29.04.2007 Mark D Lew wrote: In my typical work I enter about five or six expressions per page. Ok, in that case I think you might as well stick with what you have. JFYI: I sometimes enter music with around 100 expressions per page. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: mail (mac) and mime attachments
anyone have experience dealing with mime attachments? a colleague (on mail) has some filters set up to auto-forward certain messages to me (eudora). i have been receiving the headers inline and the body of the messages as mime attachments but need the entire message (especially the body) to display in text, since i need to be able to find/sort this info later. i have deselected "receive MIME digests as attachments" in eudora, but this hasn't changed anything. my colleague says there isn't anything he can do about it... but this only started happening 2 wks ago, prior to that i received text from him. i can only assume he has changed some prefs... -- 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] methods of entering and positioning expressions
If any of the expressions are defined for playback, it's because they came that way in the MM template. I usually don't need to define anything for playback, because Human Playback interprets most of them (e.g., pizz., arco, mute) automatically. With every new version, I always look at the MM Maestro Font Default, and frequently there's enough good stuff in there that it's worth recreating my default file based on the MM-supplied one, rather than importing it from the earlier version -- or at least loading a few libraries. The expressions I have metatools for are the expressions that I'm going to enter frequently, like dynamics and the other ones I listed for you. It's certainly much faster to use metatools than typing out expressions like "sul tasto" or "unis." every time I need them. I may not use or much, but having metatools for ppp through fff is a massive time-saver, especially since those dynamics can be defined to position themselves correctly without need for further tweaking the vast majority of the time. I do do some retyping for rarely-used expressions, though -- generally, if I don't already have a metatool for an expression and I don't know exactly where it is in my expression list, I'm likely to enter it fresh rather than hunt for it. Anyway, there's just no question that you could benefit from using metatools for, at minimum, dynamics. You yourself admitted it's likely to be at least six times faster than your current method -- and with auto-positioning, it's likely to save you even more time, even if you do end up sometimes tweaking the positioning after placing them. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY Another thought that just occurred to me: I suppose you have many of those expressions defined for playback, in which case I can certainly see why you wouldn't want to just type them fresh each time. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] methods of entering and positioning expressions
On Apr 28, 2007, at 11:50 PM, Darcy James Argue wrote: Like most people, I have more than 12 dynamic expressions alone. Finale's template comes with 17 ( through , various fp's and sfz's, and a sub. p.). Since you do vocal music, you'd want a second set of dynamics set to auto-position above the staff or note, assigned to separate metatools. (There is a MakeMusic- provided vocal dynamics library that you can use as a starting point.) For orchestral music, I have metatools for all the dynamics; mute, mute out, and mute off; arco and pizz.; solo and tutti; div. and unis., a2, 1., 2., 3., 4.; sul tasto, sul pont., ord., and many others. Wow. This boggles my mind. I rarely do a piece that has more than 20 different expressions, much less that many that I'd want in a template for every piece. I'm pretty sure I've never used or anywhere. Different strokes for different folks, I guess. Another thought that just occurred to me: I suppose you have many of those expressions defined for playback, in which case I can certainly see why you wouldn't want to just type them fresh each time. I don't do playback, except for occasional rudimentary proofreading, so for me if I need, say, "rallentando", it's easier to just type it anew than to fish it out from among rit, ritard, ritardando, molto rit, rall, molto rall, and whatever else you've got on the list. As for Finale's templates, I don't think I've looked at a MakeMusic/ Coda-provided template since Finale 97. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
