[Finale] Keystroke for small natural?
At http://www.finalemusic.com/UserManuals/Finale2014Mac/Content/Finale/Maestro_Font.htm#IX_Accidentals_4 I cannot understand the keystroke for the small natural. Actually I can’t even read the sign after the first dash, as the resolution is too low for my eyes. But even if I could read that sign, the keystroke looks like a sequence of two keystrokes. How to apply these? I would be grateful for a good explanation. I am working on a Beethoven transcription, which has a small natural in front of a turn. I cannot make the combined sign into an articulation, but I already have made the similar combination of a small sharp and a turn into an expression. My workaround for now is about using the full size natural at point size 16. Klaus ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Keystroke for small natural?
Thank you very much! This gave me an idea about what the plain text equivalent sign is. Klaus Sendt fra min iPhone Den 25/01/2015 kl. 11.46 skrev SN jef chippewa shirl...@newmusicnotation.com: it is the character È (capital E with accent grave) according to the manual, but it seems to really be é (lowercase e with aigu, slot 233). it is a 2-key process to get it on a US keyboard layout (opt-e followed by e for é), but on french and some other keyboards it is a single key. so on the US keyboard layout you can't select it using the keyboard in the Symbol Selection dialogue box (to choose an alternate character for the accidental. howeer, you should be able to type it in a text expression. -- NEW!!! neueweise -- fonts for new music and traditional notation shirling neueweise | http://newmusicnotation.com new music notation + translation + arts management [FB] http://facebook.com/neueweise | [TW] http://twitter.com/neueweise ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] Keystroke for smal natural?
At Maestro Font | | | | | | | | | | | Maestro FontYou are here: What does this do... Character Sets Maestro Font Maestro Font Notes and Augmentation Dot Notehea... | | | | View on www | Preview by Yahoo | | | | | I cannot understand the keystroke for the small natural. Actually I can’t even read the sign after the first dash, as the resolution is too low for my eyes. But even if I could read that sign, the keystroke looks like a sequence of two keystrokes. How to apply these? I would be grateful for a good explanation. I am working on a Beethoven transcription, which has a small natural in front of a turn. I cannot make the combined sign into an articulation, but I already have made the similar combination of a small sharp and a turn into an expression. Klaus ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Keystroke for small natural?
it is the character È (capital E with accent grave) according to the manual, but it seems to really be é (lowercase e with aigu, slot 233). it is a 2-key process to get it on a US keyboard layout (opt-e followed by e for é), but on french and some other keyboards it is a single key. so on the US keyboard layout you can't select it using the keyboard in the Symbol Selection dialogue box (to choose an alternate character for the accidental. howeer, you should be able to type it in a text expression. -- NEW!!! neueweise -- fonts for new music and traditional notation shirling neueweise | http://newmusicnotation.com new music notation + translation + arts management [FB] http://facebook.com/neueweise | [TW] http://twitter.com/neueweise ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Ideas for drum set notation - multimeasure rests
I appreciate everybody's ideas on the subject of percussion notation, especially jazz drumset parts. It seems to me that there is not a best practice. There are clearly some poor practices, and that multi-measure rest thing is an example of that, which is why I asked for help. And there are some better practices. But there is certainly not a one-size-fits-all solution. I don't always know who will be playing my arrangements, so my goal is to have the very simplest drum part that will give the drummer the essential information he or she needs to play the arrangement. Again I refer to Guide to Standardized Drumset Notation by Norman Weinberg. I find this enormously helpful. And even though he is attempting to lay out best practices, it still goes for 40 pages. I think this is a subset of the larger problem of clearly notated music. Back when everything was literally engraved by a few master craftsmen, styles were more consistent. Today, you see everything, and most of it is really poorly done -- even published scores. I had a rehearsal this evening where we did our first reading of 22 charts we will play in a show in a couple of weeks. Of all of those charts, mine were very clear and well edited. There were probably 5 other charts at that same level. Everything else ranged from really poor to almost unreadable. Rhythms were spelled poorly. Symbols were stacked on top of one another. They were lacking structure (double bars and rehearsal marks.) The worst of the lot had big measure numbers on every measure ABOVE the measure and on at least 1/3 of the measures the number covered up a note or accidental. The really curious thing is that I'd say 18 of those arrangements were musically quite acceptable and some were outstanding artistically. It seems a shame that the state of engraving should be so poor. On 1/25/2015 4:10 PM, Chuck Israels wrote: different drummers respond to notation differently. Some hate to see figures written out (though sometimes I want something specific and need to notate it), most like to see the band rhythms notated above slashes, but I still have to explain that I want the drummer to set up the figures by playing something that makes the arrival of those figures sound inevitable, not just to hit the figures with the band (typical college big band drummer style). I work with a drummer here in Portland - lovely fellow and committed musician, and I have yet to figure out just how to communicate best with him, and I know he is doing his best to understand what I want. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] VArious
FINMAC 2012c 1. I want to save the tool selection metatools (such as [on Mac] Control-F for Speedy, etc.) But I've forgotten what that process is called, what library is being saved. Can someone remind me or tell me how to save it? 2. Finale insists on putting a decrescendo into the playback of anything with a longish ending, even though in Human Playback prefs I have made sure to de-select that choice. What am I overlooking or what trick can I use to defeat that at least long enough to get a playback as desired? 3. I've never had much luck trying to understand how to adjust or select those slant-lined symbols for rit. even after poring over the docs. Recently, for example, I put rit. in the score and it seemed to ignore it for two measures, then dump everything it had into the final two measures. Any illumination welcome. Thanks for help with any one of these! RH ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Ideas for drum set notation - multimeasure rests
Exactly! And if there are figures after the 4th measure, a (4) placed over the 4th measure helps clarify things. I vacillate between overwriting for drummers and not putting in things they need to remind them of what to play. I never seem to get it just right. And there are some for whom nothing is needed after the first couple of run throughs. Rhythm section parts in jazz arrangements are often best interpreted loosely, but if that loose interpretation results in things the arranger/composer doesn’t want, then more specific notation is required. Ellington wrote as little as possible in his bass parts (probably for the drums too). I end up copying specific rhythm section harmonies, with the included ancillary passing changes, in parts for soloists - partly out of having gotten into the habit of reading Bill Evans’ chord charts when I was playing with him. Now, years after all those performances with Bill, I realize that many of those details were important in the head and in giving direction to the bass part, but Bill often ignored them in his own improvisations - hewing only to the general harmonic outlines and leaving the passing chord details to the accompaniment. I expect my soloists to do the same - so they have to “edit out” extraneous information as they read changes. But I like to let them know what’s there, in case they want to incorporate the information. It’s a balancing act - often successful when the soloist allows the passing harmonies to clash momentarily and then resolve. Written music is an impoverished version of what we hear in good performances. It’s a wonder we even come close. Drum parts remain somewhat mysterious and are best tailored to the drummer of the moment. That said, I agree that MM rests are rarely a good solution. Chuck On Jan 25, 2015, at 11:03 AM, Darcy James Argue djar...@icloud.com wrote: What Jef said x1000. Multimeasure rests (instead of actual measures) in the drum part are the worst. Just use slash marks, with a little (8) above the final measure of an eight-measure system, etc. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On Jan 23, 2015, at 4:14 PM, SN jef chippewa shirl...@newmusicnotation.com wrote: simplest solution: since it isn't a rest, don't use MM rests :-) -- that would effectively distinguish it from a MM rest. 8 measures per system (for ex.) with no text indications or whatever doesn't clutter the part. and if the band needs to start from a particular measure in such a passage, everyone who needs to play has it as a real measure. just sayin'. -- NEW!!! neueweise -- fonts for new music and traditional notation shirling neueweise | http://newmusicnotation.com new music notation + translation + arts management [FB] http://facebook.com/neueweise | [TW] http://twitter.com/neueweise ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] GPO
Thanks much, Klaus! James Cooper Composer, classical guitarist, songwriter www.ModeZ.com/default.asp Join me in helping homeless families in Albuquerque: Family Promise of Albuquerque, familypromiseabq.org On Sat, Jan 24, 2015 at 8:12 PM, Klaus Smedegaard Bjerre yorkmaster...@yahoo.com wrote: Sorry, forgot to compare to the inherent Finale sounds Since I got the GPO, I never use the Finale sounds. Within the instruments covered GPO has a way better variety. Specialties like alto and bass flutes are also covered much better. Klaus Sendt fra min iPhone Den 25/01/2015 kl. 03.45 skrev James Cooper j...@modez.com: Can any of you share your experience using the full Garriton Personal Orchestra vs. the package that comes with Finale? I am on FinWin 2014, and trying to figure out if it is worth it to me to get it. Thanks -- James C. -- James Cooper Composer, classical guitarist, songwriter www.ModeZ.com/default.asp Join me in helping homeless families in Albuquerque: Family Promise of Albuquerque, familypromiseabq.org ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Ideas for drum set notation - multimeasure rests
What Jef said x1000. Multimeasure rests (instead of actual measures) in the drum part are the worst. Just use slash marks, with a little (8) above the final measure of an eight-measure system, etc. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On Jan 23, 2015, at 4:14 PM, SN jef chippewa shirl...@newmusicnotation.com wrote: simplest solution: since it isn't a rest, don't use MM rests :-) -- that would effectively distinguish it from a MM rest. 8 measures per system (for ex.) with no text indications or whatever doesn't clutter the part. and if the band needs to start from a particular measure in such a passage, everyone who needs to play has it as a real measure. just sayin'. -- NEW!!! neueweise -- fonts for new music and traditional notation shirling neueweise | http://newmusicnotation.com new music notation + translation + arts management [FB] http://facebook.com/neueweise | [TW] http://twitter.com/neueweise ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Ideas for drum set notation - multimeasure rests
On 1/25/2015 11:24 AM, Chuck Israels wrote: Written music is an impoverished version of what we hear in good performances. It’s a wonder we even come close. Drum parts remain somewhat mysterious and are best tailored to the drummer of the moment. That said, I agree that MM rests are rarely a good solution. Chuck I wouldn't say 'impoverished' - instead I'd quote my uncle Sandy, who said that we call the sheet music a 'chart' because it isn't the music - its the map that leads us to where the music actually is. But yeah, writing drum parts is a black art. I try to give my drummers enough so that they can know what to expect and work from there, but not too much or too little. Carl --- This email has been checked for viruses by Avast antivirus software. http://www.avast.com ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Ideas for drum set notation - multimeasure rests
All the generous, good humored and deeply informed help I (and so many others on this list) have gotten from you since those days (how long ago!) more than makes up for whatever fortunately intelligent remark I made then. Trouble is - different drummers respond to notation differently. Some hate to see figures written out (though sometimes I want something specific and need to notate it), most like to see the band rhythms notated above slashes, but I still have to explain that I want the drummer to set up the figures by playing something that makes the arrival of those figures sound inevitable, not just to hit the figures with the band (typical college big band drummer style). I work with a drummer here in Portland - lovely fellow and committed musician, and I have yet to figure out just how to communicate best with him, and I know he is doing his best to understand what I want. It’s a different era, and guys like Art Blakey, Philly Joe, and Bill Goodwin, who grew up understanding that a large part of their job (after getting things to swing) was to delineate the form, are now few and far between. Things that are obvious to me are not so to many drummers, Contrast, drama, conducting the band - all kinds of things that are part of the unwritten code have been “overwritten” by the preponderance of mechanical pop and rock drumming. Drummers who could spend a lifetime concentrating on styles that are meaningful to me now need to play all kinds of things of little lasting interest in order to survive. Writing drum parts is now a harder job than it used to be. Fond regards, Chuck On Jan 25, 2015, at 12:48 PM, Christopher Smith christopher.sm...@videotron.ca wrote: Actually, Chuck, the very best advice I ever got about drum parts came from YOU at the Orford summer jazz camp when I was just starting to write. I asked you how to write drum parts and you said, You have to write enough information so that he plays what you want, without writing so much that he can't read it, or ends up ignoring it. When I pressed you for more detail, you demurred, saying, The drummer is sure to be a better drummer than you or me, so let him do what he does best. I never forgot it, and it was an open-ended enough answer so that I never figured that I know this now and kept on paying attention, even today. I think I owe you a beer for that one, at least. Christopher On Sun Jan 25, at SundayJan 25 2:24 PM, Chuck Israels wrote: Exactly! And if there are figures after the 4th measure, a (4) placed over the 4th measure helps clarify things. I vacillate between overwriting for drummers and not putting in things they need to remind them of what to play. I never seem to get it just right. And there are some for whom nothing is needed after the first couple of run throughs. Rhythm section parts in jazz arrangements are often best interpreted loosely, but if that loose interpretation results in things the arranger/composer doesn’t want, then more specific notation is required. Ellington wrote as little as possible in his bass parts (probably for the drums too). I end up copying specific rhythm section harmonies, with the included ancillary passing changes, in parts for soloists - partly out of having gotten into the habit of reading Bill Evans’ chord charts when I was playing with him. Now, years after all those performances with Bill, I realize that many of those details were important in the head and in giving direction to the bass part, but Bill often ignored them in his own improvisations - hewing only to the general harmonic outlines and leaving the passing chord details to the accompaniment. I expect my soloists to do the same - so they have to “edit out” extraneous information as they read changes. But I like to let them know what’s there, in case they want to incorporate the information. It’s a balancing act - often successful when the soloist allows the passing harmonies to clash momentarily and then resolve. Written music is an impoverished version of what we hear in good performances. It’s a wonder we even come close. Drum parts remain somewhat mysterious and are best tailored to the drummer of the moment. That said, I agree that MM rests are rarely a good solution. Chuck On Jan 25, 2015, at 11:03 AM, Darcy James Argue djar...@icloud.com wrote: What Jef said x1000. Multimeasure rests (instead of actual measures) in the drum part are the worst. Just use slash marks, with a little (8) above the final measure of an eight-measure system, etc. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On Jan 23, 2015, at 4:14 PM, SN jef chippewa shirl...@newmusicnotation.com wrote: simplest solution: since it isn't a rest, don't use MM rests :-) -- that would effectively distinguish it from a MM rest. 8 measures per system (for ex.) with no text indications or
Re: [Finale] Ideas for drum set notation - multimeasure rests
Actually, Chuck, the very best advice I ever got about drum parts came from YOU at the Orford summer jazz camp when I was just starting to write. I asked you how to write drum parts and you said, You have to write enough information so that he plays what you want, without writing so much that he can't read it, or ends up ignoring it. When I pressed you for more detail, you demurred, saying, The drummer is sure to be a better drummer than you or me, so let him do what he does best. I never forgot it, and it was an open-ended enough answer so that I never figured that I know this now and kept on paying attention, even today. I think I owe you a beer for that one, at least. Christopher On Sun Jan 25, at SundayJan 25 2:24 PM, Chuck Israels wrote: Exactly! And if there are figures after the 4th measure, a (4) placed over the 4th measure helps clarify things. I vacillate between overwriting for drummers and not putting in things they need to remind them of what to play. I never seem to get it just right. And there are some for whom nothing is needed after the first couple of run throughs. Rhythm section parts in jazz arrangements are often best interpreted loosely, but if that loose interpretation results in things the arranger/composer doesn’t want, then more specific notation is required. Ellington wrote as little as possible in his bass parts (probably for the drums too). I end up copying specific rhythm section harmonies, with the included ancillary passing changes, in parts for soloists - partly out of having gotten into the habit of reading Bill Evans’ chord charts when I was playing with him. Now, years after all those performances with Bill, I realize that many of those details were important in the head and in giving direction to the bass part, but Bill often ignored them in his own improvisations - hewing only to the general harmonic outlines and leaving the passing chord details to the accompaniment. I expect my soloists to do the same - so they have to “edit out” extraneous information as they read changes. But I like to let them know what’s there, in case they want to incorporate the information. It’s a balancing act - often successful when the soloist allows the passing harmonies to clash momentarily and then resolve. Written music is an impoverished version of what we hear in good performances. It’s a wonder we even come close. Drum parts remain somewhat mysterious and are best tailored to the drummer of the moment. That said, I agree that MM rests are rarely a good solution. Chuck On Jan 25, 2015, at 11:03 AM, Darcy James Argue djar...@icloud.com wrote: What Jef said x1000. Multimeasure rests (instead of actual measures) in the drum part are the worst. Just use slash marks, with a little (8) above the final measure of an eight-measure system, etc. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On Jan 23, 2015, at 4:14 PM, SN jef chippewa shirl...@newmusicnotation.com wrote: simplest solution: since it isn't a rest, don't use MM rests :-) -- that would effectively distinguish it from a MM rest. 8 measures per system (for ex.) with no text indications or whatever doesn't clutter the part. and if the band needs to start from a particular measure in such a passage, everyone who needs to play has it as a real measure. just sayin'. -- NEW!!! neueweise -- fonts for new music and traditional notation shirling neueweise | http://newmusicnotation.com new music notation + translation + arts management [FB] http://facebook.com/neueweise | [TW] http://twitter.com/neueweise ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
