Re: [Finale] indication of hands in keyboard music
Having never seen any other example of your 2nd notation, No. 1 looks like most of the keyboard literature I have. Looks normal to me and easy to understand, especially with only one voice part. Sometimes, with 4 or 5 voices, it gets problematic and a r.h. or l.h. may be added , and then its whatever works for the player. t On May 28, 2010, at 7:47 AM, dc wrote: I didn't get many (or any) replies to my first message on this subject, so I thought I'd try again with an example to make my question clear. This is a question mainly for keyboard players. Which of these two notations do you prefer? www.collins.lautre.net/files/hands.jpg 1 makes the hands more apparent, but 2 makes the beats clearer, of course. Amusingly, the preface to these pieces says that the composer has made things easier by using 1, though in the music itself he generally uses 2. Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale timothy.key.price timothy.key.pr...@valley.net ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] indication of hands in keyboard music
This bad keyboardist votes for #1. #2 is difficult to decipher without repeated looks. RBH On May 28, 2010, at 7:47 AM, dc wrote: I didn't get many (or any) replies to my first message on this subject, so I thought I'd try again with an example to make my question clear. This is a question mainly for keyboard players. Which of these two notations do you prefer? www.collins.lautre.net/files/hands.jpg 1 makes the hands more apparent, but 2 makes the beats clearer, of course. Amusingly, the preface to these pieces says that the composer has made things easier by using 1, though in the music itself he generally uses 2. Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. Secco recitatives
On May 28, 2010, at 9:57 PM, Christopher Smith wrote: The other thing that is structurally very cool (hah!) about West Side Story is that the whole thing is based around the tritone interval... Many of the tunes use the tritone melodically in prominent position. In my youth, I used the beginning of Maria to help my sight singing of tritones, and I've also pointed it out to others for the same purpose --Andrew ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Rondeau layout
Write out the last A in full (as Couperin often did), with a final barline at the very end and regular double-bars everywhere else. Players will automatically assume that if they haven't encountered a final bar, the piece isn't over yet. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/ On May 29, 2010, at 3:32 AM, dc wrote: I have a piece in rondeau form ABACADAEA, where A is only written out the first time in the source, the repeats being marked by a Da Capo. But since I can't possibly get it to fit on two pages, so I have several solutions to limit the number of page turns to one, the best of which would seem to be: ABCD on 2 facing pages EA on the third page My question: assuming all the Da Capo marks at the end of B, C and D, have a double bar, as I believe is the rule, how do I let the player know the piece goes on after D? In other words, is there any conventional way to distinguish between the last Da Capo and the others? Thanks, Dennis ___ 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] O.T. Secco recitatives
On Sat May 29, at SaturdayMay 29 10:02 AM, Andrew Stiller wrote: On May 28, 2010, at 9:57 PM, Christopher Smith wrote: The other thing that is structurally very cool (hah!) about West Side Story is that the whole thing is based around the tritone interval... Many of the tunes use the tritone melodically in prominent position. In my youth, I used the beginning of Maria to help my sight singing of tritones, and I've also pointed it out to others for the same purpose Heh, heh, I did the same thing. Nowadays my students use The Simpsons for the tritone (same three notes!) I point out to them that the whole theme is HIGHLY reminiscent of The Jetsons and they look at me blankly. No wonder some blatant plagiarism goes undetected. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. Secco recitatives
Hah! Right! The first four notes are actually C-H-B-A (the worm variant, as one of my composition teachers used to call it) up a semitone. Nice catch. Christopher On Sat May 29, at SaturdayMay 29 9:47 AM, Guy Hayden wrote: So far no one has mentioned that the fugue subject is a version of B-A-C-H (transposed) so I do. Guy Hayden -Original Message- From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of Christopher Smith Sent: Friday, May 28, 2010 9:57 PM To: finale@shsu.edu Subject: Re: [Finale] O.T. Secco recitatives On Fri May 28, at FridayMay 28 9:10 PM, Andrew Stiller wrote: On May 27, 2010, at 6:06 PM, Christopher Smith wrote: Now, the fugue from Cool in West Side Story, I would have to check it again, but I think I remember that it is actually 12 tone. I might be wrong, or maybe it just isn't strict, but I seem to have a memory... Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] O.T. Secco recitatives
Also, Somewhere (There's a place for us) begins with a minor 7th. Guy Hayden -Original Message- From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of Andrew Stiller Sent: Saturday, May 29, 2010 10:02 AM To: finale@shsu.edu Subject: Re: [Finale] O.T. Secco recitatives On May 28, 2010, at 9:57 PM, Christopher Smith wrote: The other thing that is structurally very cool (hah!) about West Side Story is that the whole thing is based around the tritone interval... Many of the tunes use the tritone melodically in prominent position. In my youth, I used the beginning of Maria to help my sight singing of tritones, and I've also pointed it out to others for the same purpose --Andrew ___ 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] Secondary beams over rests
Hi all, I've run into this before, but I'm finding myself frustrated with Finale's beaming options over rests. Here's a page that shows what I've got: http://aaron.sherber.com/beams With Extend beams over secondary rests on, I get the top row, and with it off I get the bottom row. But what I really want is A and D. In other words, I want Extend beams over secondary rests ONLY IF they connect to a beam on the other side of the rest. So what I always wind up doing is picking a setting and then going through the whole piece, either changing all B to look like D, or changing all C to look like A. Am I missing some other way to accomplish this, either in Finale or with a plugin? I've looked at TGTools Beam Breaker and Patterson Beams, but neither seems to be able to do what I want. Thanks, Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Rondeau layout
At 9:32 AM +0200 5/29/10, dc wrote: I have a piece in rondeau form ABACADAEA, where A is only written out the first time in the source, the repeats being marked by a Da Capo. But since I can't possibly get it to fit on two pages, so I have several solutions to limit the number of page turns to one, the best of which would seem to be: ABCD on 2 facing pages EA on the third page In the case of a 3-page part with reference back to the beginning, I would use accordion-fold, printed 1 side, not booklet form. That way all 3 pages can lie open on the stand. Conventional commercial usage. My question: assuming all the Da Capo marks at the end of B, C and D, have a double bar, as I believe is the rule, how do I let the player know the piece goes on after D? In other words, is there any conventional way to distinguish between the last Da Capo and the others? Well, if you have the last Da Capo written out (which is what your outline shows), it's no longer a Da Capo, right? You might want to put a rubric like Keep playing to the end just to be perfectly clear for sightreading. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Secondary beams over rests
On May 29, 2010, at 7:39 AM, Aaron Sherber wrote: I've run into this before, but I'm finding myself frustrated with Finale's beaming options over rests. I remember that problem from years past. I had one particular piece that was chock full of them. I'm semi-surprised that it still isn't fixed. It seems to me that B is the problem. Does anyone ever want that? I've never seen that style used on purpose. To me, it just looks like an error. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. Secco recitatives
On May 29, 2010, at 7:02 AM, Andrew Stiller wrote: In my youth, I used the beginning of Maria to help my sight singing of tritones, and I've also pointed it out to others for the same purpose I did that, too, but only for augmented fourths, not diminished fifths. Even if they sound the same, in my head I had to think them differently in order to have good intonation. For diminished fifths I used a first-year piano tune which still sticks in my head but whose title and composer I couldn't tell you. (I'm thinking it was a Soviet composer, like Kabalevsky or Khachaturian. Or maybe Rebikov?It goes ti-fa-ti-sol, do-mi-sol, ti-fa- ti-sol-do.) mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Hide Chords and Lyrics Again
I have that uh-oh feeling that the answer to this is so obvious that I'm going to be embarrassed. But I'll ask it again anyhow. At 12:00 PM 5/26/2010 -0500, I wrote: I have a dim memory of being able to hide chords and/or lyrics in display and/or printouts without removing them from the file, but can't remember what you do. I don't see it in the staff attributes dialog, or in the chord or measure pull-downs. Oh, 2004. Thanks in advance. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hide Chords and Lyrics Again
In Staff Attributes you have the option to display these things on a per-staff basis. The Global Staff Attributes plugin will do it for every staff in one go. If you only need to do this for a portion of a staff, create a Staff Style, which can do pretty much anything the Staff Attributes can, but you can apply it to only certain measures (or parts of a measure.) I think Staff Styles were available in 2004. Christopher On Sat May 29, at SaturdayMay 29 4:09 PM, Bob Clifton wrote: I have that uh-oh feeling that the answer to this is so obvious that I'm going to be embarrassed. But I'll ask it again anyhow. At 12:00 PM 5/26/2010 -0500, I wrote: I have a dim memory of being able to hide chords and/or lyrics in display and/or printouts without removing them from the file, but can't remember what you do. I don't see it in the staff attributes dialog, or in the chord or measure pull-downs. Oh, 2004. Thanks in advance. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] iMac i7 issues?
Hello all, Is there anyone out there with one of the new Core i7 iMacs who has been having any serious issues with Finale 2010? We are seriously thinking about biting the bullet and retiring our ancient trio of 10- year-old (!) G5 towers and replacing them with something from the 21st century, and the latest iMacs have been getting a pretty good press ... and are a lot cheaper than the Mac Pros. Any words of wisdom from the FinMac community would be most welcome. Eric Habsburger Verlag Frankfurt (Dr. Fiedler) www.habsburgerverlag.de eric.f.fied...@t-online.de e.fied...@em.uni-frankfurt.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hide Chords and Lyrics Again
Bob Clifton wrote: I have a dim memory of being able to hide chords and/or lyrics in display and/or printouts without removing them from the file, The only way I ever found to hide lyrics in FIN 2k4 is a kludge. Define the staff, and set the baseline position relative to the staff so that the lyric is off the page. So let's say you're doing multiple verses in a grand staff, and you want to hide the lyric for verse 3, and we'll assume further that you're using 8-1/2 x 11 inch (or for European readers, A4) paper. If you set the baseline for the lyric you want to hide at a +18 inches, the lyric will print well off the paper, and not be visible. I've never used chords, but I assume that the same principle might be applicable in that subsystem, as well. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] iMac i7 issues?
Dear Eric, I have a 27 i5, and it is fast and stable. Not sure the i7, which was not available locally when I bought this machine, is significantly faster with Finale. Anyway, no problems. Chuck Sent from my iPhone On May 29, 2010, at 2:04 PM, Eric Fiedler eric.f.fied...@t-online.de wrote: Hello all, Is there anyone out there with one of the new Core i7 iMacs who has been having any serious issues with Finale 2010? We are seriously thinking about biting the bullet and retiring our ancient trio of 10- year-old (!) G5 towers and replacing them with something from the 21st century, and the latest iMacs have been getting a pretty good press ... and are a lot cheaper than the Mac Pros. Any words of wisdom from the FinMac community would be most welcome. Eric Habsburger Verlag Frankfurt (Dr. Fiedler) www.habsburgerverlag.de eric.f.fied...@t-online.de e.fied...@em.uni-frankfurt.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] iMac i7 issues?
Why would there be serious issues with the new iMacs? I haven't heard a peep about any problems, and I frequent about 10 Mac devoted sites in addition to sites like Engadget.. I'd say, whatever you get, get lots of RAM. Using sampled sounds without enough ram will make even a Mac Pro slow to a crawl. At least 4 gigs if not Maxed out. I'd recommend MacSales.com as a good, cheap source of ram with lifetime warranties (and I had to use my warranty recently, and they were perfect) On May 29, 2010, at 2:04 PM, Eric Fiedler eric.f.fied...@t-online.de wrote: Hello all, Is there anyone out there with one of the new Core i7 iMacs who has been having any serious issues with Finale 2010? We are seriously thinking about biting the bullet and retiring our ancient trio of 10-year-old (!) G5 towers and replacing them with something from the 21st century, and the latest iMacs have been getting a pretty good press ... and are a lot cheaper than the Mac Pros. Any words of wisdom from the FinMac community would be most welcome. Eric ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
