Re: [Finale] fun with MIDI/composer-client public relations
Thanks to everyone for their suggestions; you have all been most helpful in shaping my next tack. Actually, upon one of the suggestions I actually listened to the MIDI file of my latest revision at the point in question (I just loathe hearing the piano in MIDI so I had been avoiding it, to be completely honest), and, in fact, it was playing the rhythms perfectly. Our composer simply can't count his own music, which is a different problem, I'm afraid. I had remembered older Finale versions that slaughtered tremolos so I chose to avoid listening to it for no good reason, apparently! I agree completely as a fellow professional pianist (and musician in general) that I'm appalled that anyone would rely on MIDI to learn something; we're really and truly lost if that's the case. I forbade my students when I was a university professor from listening to recordings while they were learning pieces lest they just come in and parrot these versions back to me, and I remember similar sentiments expressed to me by my own teachers, including the late Marilyn Neeley. I told her once I had been listening to a certain recording of the Grieg Concerto, and she quickly snapped at me that she didn't need a Philippe Entremont clone coming into the lesson. If only more people thought this way and listened to multiple recordings AFTER learning a piece and not during the formative process...oh well, that's wishful thinking in a YouTube world, isn't it? Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] fun with MIDI/composer-client public relations
Dear Finalelist, I am happy to report that my situation from the summer resolved itself amicably, so thanks to everyone who gave me advice on that aspect. I have a new issue, different, but concerning, all the same. I'm working on engraving a piano sonata for someone who advertised through the Orchestralist that I contacted. Actually, they were looking to have it recorded, and when it was sent, I told him it needed engraving, first. This person seems to be a journeyman composer, and frequently isn't even sure of what he wants, so somewhere along the way he asked me to create MIDI files for him. I told him I would give them to him at no extra charge, but I wasn't responsible for how they sounded, as I wasn't being paid, nor is there enough time in the day, to worry about programming human-style playback as far as I'm concerned. I mean, it's a piano sonata, not an orchestral piece, and these were in preparation for someone making actual recordings. What has happened is he has latched onto the idea that the MIDI is this perfect demonstration of his music, so if anything sounds a little off to him (not note-wise, mind you, but tempo), he goes crazy and starts asking me to alter where things go. I told him, for instance, that a rit. is a rit. as far as Finale analyzes things, that it doesn't know poco and molto unless they're programmed, and, again, I ain't doin' it! So, in one movement, there are tremolos between two chords, and we know how the convention goes for how they are written; these particular ones fill big measures (12/4) bars), so there are lots of double whole notes. Finale looks at these and is literally playing one set of whole notes and then the other set of whole notes, and it doesn't know how to tremolo so it sounds pretty silly. I received this note concerning these bars: It troubles me a little, however, to have the MIDI misreading your score so that it comes out sounding differently from what I meant. From my corres-pondence with other pianists, I get the impression that they like to rely on the MIDI to help them learn a piece faster. Thus, if the MIDI gives the wrong impression it could confuse them, or cause them to have to unlearn the slow tempo after they have learned it, which could waste a lot of time. Can you find a way to notate it so that the MIDI plays it right? Listening to it a few more times, I think the whole section with the tremolos (meas. 61 to 68) is slowed down to half the tempo I intended. Is there nothing can be done about this? I told him that this would be an issue, and he still isn't listening to me. I really can't believe that the pianists he picked are so stupid (yes, I said it) that they can't learn the music from looking at the score rather than relying on a computer-generated sound file. I'm at a loss to know how to respond; this is probably the fourth time he's told me the MIDI is right and I need to change something to make the MIDI better, that the MIDI is more accurate than I give it credit for, etc, etc. In this case there isn't a thing I can do for him; the convention is the convention. Let me iterate that these are in about four bars of music that is causing this major concern for him. Again, how stupid can these performers be? Count and figure it out! He's given metronome markings, so just play the blasted note values! I censored myself, there, if you hadn't noticed. I'm glad I had the chance to vent; anyone care to comment on this? I'm about to tell him to just forget it as this is taking way too much time for the way too little money I asked for to do this, anyway. Thanks in advance, as always! Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] arranging and transcription pricing
Dear Finale List, This has always been a point of a big question mark with me, but I wanted to get some ideas of pricing structures, even gross, ballpark ones from what seems to be in the market today. I recently had a deal go very badly where I created over 100 pages of documents and now the client is balking at the price. I have always charged by the page, which I have always also said, per part, per score. I have charged the same price for part and score, and I have said that I will even do revisions after payment until the client is completely satisfied. What happened is the client suddenly viewed this, after the fact, as I was charging, twice per line. I said I had to do revisions and editing to all the parts, and that it wasn't just a magically created part (or unedited, for that matter), so time and care for page turns, adjusting of dynamics, etc. must be accounted for in some way. As far as I saw it, my price per page was so low that this was the only way I could make any money. In the case of this project, I was also doing arranging and not just transcription, which I had never charged differently for, so I came up with a higher rate, but kept the per part, per score clause. On top of this, as a lot of these arrangements were meant to go with piano parts that already existed, I not only didn't put the piano parts into the arrangement or the score, but the client benefited since it didn't cause the score to go a bunch of extra pages. I had to write in a piano part for one particular piece due to transposition, and I was apologetic about it. Now the client is saying that the scores, which were primarily for rehearsal purposes, only, are simply ways to charge them twice. I should also throw in that this was after the client kept adding more and more pieces to arrange and then kept checking in, saying that the music wasn't being produced fast enough. I was sending it as it was going, all parts and scores, and pages could have been counted; then I suddenly get an email asking why I hadn't said the price would be so high. This has all been very distressing. I will come out and say it; for over 100 pages of music, scores and parts, the total for everything came out to a little less than $1500, calculated on $10/page for transcription and $15/page for arranging. I have been doing this professionally for more than ten years; I really would like to know your thoughts, either privately or publicly as you wish. I took three weeks of my time working into the night on many occasions to meet this deadline, for so little money, really, and now the client has my music but doesn't want to pay; to make matters worse, I have known the client as a close friend and associate for over ten years, and this may well terminate our friendship. Am I being unreasonable? I haven't moved my rates since I began, because I haven't even known how to do so. Any and all thoughts are welcome. Michael Wittenburg Ridgewood, NJ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Nice Present (ACTUALLY from Michael Wittenburg)
My apologies to everyone; I go to work and come back and I apparently have emailed the world. If only I could be so productive. Please do not open the link. I have since changed my password, so my account is again secure. A funny last thought is I had people email me whom I hadn't heard from in ages. Amazing how a spam email can help reestablish contact with people you've lost touch with. Back to matters Finale... Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] beaming issue
I'm using 2011 for Windows, and I HAVE turned that off, and it STILL insists on grouping in fours. Is there another switch somewhere that I'm missing that I need to also turn off to stop this? The one that really kills me is it's still beaming over rests, which I see as a modern thing, but has no place in my transcriptions/arrangements of Vivaldi. Is there another place where THIS issue is handled separately from the document options? Thanks in advance, Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Unwanted Update Layout
In a message dated 3/21/2011 1:01:41 P.M. Eastern Daylight Time, finale-requ...@shsu.edu writes: Once in a while, after I've finished this fine-tuning I'll save the file and move on to doing something else to the piece like entering the title or credit information. But then I'll look at one of the systems I fine-tuned, and it's back to the way it was *before* editing. When I look at the undo/redo list, I see that either before or after the document saved entry (I can't remember which, now, and I can't seem to reproduce the problem), there's an Update Layout, which I didn't ask for. I have automatic update layout turned off, and I did not type Ctrl-U. Saving the file seems to trigger it, but I'm not 100% sure about that. I have a corollary question; what do you do when you find a measure that has some odd spacing going on in it, and you want to just reset it back to zero as it were? I have tried all kinds of measures (no pun intended), but short of deleting the measure and starting again, I haven't had much luck. Even Speedy Entry on the measure won't reset things. Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: giant fermatas
The problem with just enlarging the existing fermata is that the lines got way too thick and the symbol looked ridiculous at the size I needed it to be. I noticed in my Baerenreiter Mozart scores that they have designed their own narrower line version to place as an umbrella over many notes. I wondered if anyone had a good design they'd be willing to share; mine is ok, but it looks a wimpy since it doesn't have at least a gentle broadening of the line in the middle. Christopher, thanks for the info on smart line; if that's something that's been there this whole time and I never knew it, then I'm just an idiot! You have to admit that it's a little counter-intuitive to go through smart shape options to get to that dialogue box, though; it seems the first time you click on a smart shape line that the dialogue should be triggered, just like dynamics or articulations. Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] giant fermatas
I have been finding more and more use of giant fermatas, especially in operatic rep transcriptions; is there a giant fermata hidden somewhere amongst the myriad random marks? I made my own, but it looks a little lame in my opinion, especially as it doesn't really have the same graceful serif that the regular fermata has. Or does someone have it included in their plugins, perhaps? Also a suggestion to the developers; make the dotted line smart shape be attachable to two different expressive texts (i.e. molto rit. - - - - - - - a tempo), which then will readily transfer to all parts without having to go and draw them in all over the place when you start the extraction process. Also, I really hate having to fiddle with the start and endpoints as they will frequently collide with the very thing you're linking. Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] transposition of parts in older scores: Fin 2011
I have only recently gotten used to processing parts from within the main Finale document; I just had a case where an orchestration project made me enter everything in C and then transpose. Now that I know the display in concert pitch tab is in the document menu, this isn't a problem, however for things I've already inputed... I went back this morning to change my horn in F and trumpet in Bb parts for proper printing. It's a Verdi banda part, so I wanted to have a similar look to their regular opera parts, i.e. no key sigs. Why is it that after I applied my transposition, the moment I hit ignore key signature it applies an additional transposition? Logically this should make the key sig go away and then replace everything with accidentals. NOT move notes around. Perhaps I need a new rubric; could someone give me a better list of steps if one needs to attack a part in this manner? What was weird is that the horn part acted differently than the trumpet even when following the same exact steps. (The key of the piece was Eb, by the way, which may account for the minor third extra transposition that happened when I hit the ignore button). I tried doing steps one at a time, as well as doing the transposition and ignore all in one step. Various havoc followed. After the screaming stopped, I somehow coaxed the notes and accidentals to where they needed to go, but it was maddening to have natural signs where none were needed, and then no accidental when it clearly WAS needed. Any advice? Other than I should do some deep breathing exercises? Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] left page to start
In a message dated 1/14/2011 6:29:07 A.M. Eastern Standard Time, finale-requ...@shsu.edu writes: Ah, but one can specify the offset page. When one defines a text block containing a page number, one can define the block to apply to only left pages or only right pages. So what I do is to define two blocks conmtaining page numbers with the same offset. I apply One block so that it applies to left pages, I apply tne other text block to right pages. Both blocks use the same page number offset (ikf a page number offset is needed), and in most cases don't need to give poage numbers another thought. ns This is exactly how I'm doing it. But Finale is following the real page 1 to give me a Right Page when I want it to follow the offset number 10 and give me a left. Steve P. Steve, I went through this just the other day as I got into a paper saving mode; it's two steps and much simpler than going and reversing the page text blocks. Just insert your page, then move to your new page 3 and right click on the page number block (in the text tool, of course), and change the page range back to 2, since it will have changed to 3. 15 seconds, and a lot less clicks than the whole, wait, what side of the page should this page number be on? Maybe that's from doing too much late-at-night work, but I need things that don't give me too many choices or my head explodes from the possibilities! And to everyone, thanks so much for the TG Tools advice; I'm going to see if I can't use that today and get some linked parts action going. I guess I have a lot to learn about all the toys in the TG Tools chest... Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Relink extracted parts: possible or not possible?
Since I'm of the old school Finale users, having really cut my teeth on the program almost ten years ago, I never was used to the idea of linked parts, so I have continued doing the usual extraction method. I'm starting to regret this, especially as I didn't realize that this unlinks the parts from the score; I thought that linked parts meant linked extracted parts. I guess I need to read the directions a little more. Now that I've spent 30 minutes just making one pass to change of all things, the title, I'm really wanting my parts to be linked again. Is it possible to do an Indiana Jones-like switcheroo, where I insert the part file I've been working on and laid out beautifully into the rough-cut part file that Finale wants to use when I go to select the part in question? I realize that for certain things I'll probably need to still use some part extraction, but with that being the exception rather than the rule, I'll even allow for some extra cleanup if it will save me some time down the road. Conversely, if someone has a way I can literally cut-and-paste all the layout changes I've made and can superimpose them on the part with minimal damage, that would be acceptable, too. I don't think this will work where I've exploded the parts into multiple staves, though, such as my double wind lines. But perhaps there's a plugin for that, too? Thanks, Michael Wittenburg Sarasota Opera ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Smart Score: worth the price?
Dear List, The other day I had a cut-and-paste catastrophe involving some files; in moving from computer-to-flash-to-computer, some didn't make it, and I ended up having to recreate a lot of extracted, fully laid-out parts from scratch. I DID have pdfs of all the files that I had created using CutePdf, which I highly recommend; we use the Pro version at Sarasota Opera, but the free version has nice features if all you're looking to do is create them. At any rate, I had a moment where I thought, maybe I could print, scan, and use SmartScoreLite take a crack at them. But then I read the description and saw that it would leave too many things to fix. I didn't try it, anyway, though, so I only have my impression to go on. The upgrade price gave me sticker shock and I immediately closed the browser window rather than contemplate it for too long. So, my question is this: does anyone use the Lite version of this program, how useful is it as is, and how powerful is the full version? Is it really worth 200 bucks? I ended up staying up for about three hours replacing my files; at least my pdfs gave me a guideline to go on as to what my layout choices had been, and I even found things I wanted to improve on. So in my case, I don't know that three hours equals $200, but for others, it may totally be worth it. Comments, please! Michael Wittenburg Music Administrator Sarasota Opera ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TG Tools glitch with part explosion?
I have noticed an unfortunate bug in the TG Tools smart explosion of multi-part staves; when one extracts these parts, the fermatas over bars of rests as well as the manually entered whole rests, themselves, seem to disappear. This is particularly problematic in transcribing Bel canto opera, as there are vuota bars all over the place. For now I'm going to have to go in afterward and copy-paste these fermata-rest bars in where they are supposed to go; I just spent the last hour cracking open multimeasure rests that had overrun these fermatas for the simple reason as the program thought they were no longer there. Has anyone run into any other problems like this that might be a good heads-up to know about? Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] changing horn transpositions within a piece
Thanks for everyone's help thus far; I'm making real headway on my projects, even if I am working night-and-day. I have a new issue; I have a horn changing transposition from G to F in the middle of my selection; I was surprised this wasn't covered anywhere in the manual, as this is a common issue when reengraving 19th Century orchestral scores. Is there an easy way to create transposition regions? Thanks again, Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] changing horn transpositions within a piece
Yes, I believe you are following me; I have no problem with just assigning text to the player, but especially since I'm working with previously-unengraved music, I'm trying to get correct playback to verify my notes faster. I'm down to the final few pages except this one horn part. I will explore the staff style to see what I can do, but if someone could give me quick-and-dirty instructions in the meantime, I would appreciate it, as my deadline is tomorrow, and the time for experimentation is at an end! Thanks everyone, Michael In a message dated 12/14/2010 1:02:11 P.M. Eastern Standard Time, finale-requ...@shsu.edu writes: Use staff styles. (Sorry in a rush - have to go to work - if no-one else fills in the details of how to do this I'll write more this evening) Basically you setup a staff style for the particular transposition and apply it at changes. I think you need to us an expression (or just text) to indicate the change of crook to the player. All the best, Lawrence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Help! Sudden 2011 articulation glitch
All of a sudden while coming to the end of a piano vocal score project, the articulation tool went batty, and no matter what you clicked or typed, a right parenthesis started appearing (articulation 39). I would be holding down the A key for accent, and a right parenthesis. Or, I would group a bunch of notes to get the articulation assignment box to open, and suddenly all these notes had right parentheses. Since they appear whenever you click on a note, you can't even get the tool to open. Have I inadvertently invoked some macro that needs to be undone? I WAS very tired at the time, and my hands were migrating right on my laptop and were sometimes pressing wrong keys. Thanks in advance, Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Ossia problems in 2011
I have never done an ossia in Finale before, let alone 2011. I followed the instructions, adding a scratch staff, marking my source measures, etc. However, in the process to hide the scratch system, it also hid the ossia itself! Does anyone know how to work around this issue? Thanks, Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Fin 2011 score part extraction, articulation adjustments
After a rather long hiatus from Finale, I find myself once again doing a lot of engraving tasks on Finale, so I purchased the latest version. I am amazed that certain issues seem to have never changed. For instance, I don't know who has decided why the tremolo (or single or double slashes, for that matter) goes where it does, but as a player and engraver, the word stupid comes to mind! Is there a plugin or global setting I can change to fix these to stop having to tweak each and every one? Whole notes look especially wrong, but even on notes with stems, they usually are too far to the right, and then sometimes collide with the notehead if the stem lengths change; I don't know why, but they seem to measure from the end of the stem rather than from the notehead side. Accents are also problematic, especially as soon as you add a second layer in your score. I wish that they didn't make a global adjustment on these, but, rather, you could use the flip command like you do for slurs to get a bunch of them quickly to the other side of the note rather than dragging or holding down arrow keys. Can anyone point to a better setting or plugin to help this as well? Finally, in anticipation of what I'm going to have to do very shortly, I need some advice on multiple lines on a part and part extraction. The score which I'm engraving to create parts has all doubled winds on single lines, and all three trombones on a line. Is there an easy(ier) way to extract these lines yet again into two or three staves, or even on to separate parts altogether? I've only used layers where I absolutely had to, as I really hate the above problems with accents and staccatos having to be hand adjusted, so in my laziness I've made a lot of diads, or chords, in the case of the trombones. I don't care if this costs extra money at this point; I may be able to make my company pay for the plugins since it's helping their productivity. Any advice you might lend is greatly appreciated! Michael Wittenburg Music Administrator Sarasota Opera ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] having problems creating PDF in 2006c
I recently tried creating a PDF file in Finale 2006c to send a non-Finale user, but?for some reason I was unable to switch the printer to the Acrobat Distiller; it was not listed as an option.? I recently had a system failure which caused me to do a system repair, the one-step short of reformatting the hard drive.? I did have to do an uninstall and reinstallation of Finale, so I'm not sure if perhaps this wiped out some of my document options.? Has anyone else had this sort of problem, not being able to choose the Acrobat as the printer?? I tried sending the file as a Microsoft Image Document, but, bizarrely, when we tried opening it this morning, the notehead font had suddenly changed to WingDings, which was odd, because I thought that the image writer merely captured the picture of the page.? I can open the document on my own computer (meaning, outside of Finale), and the document looks perfectly fine.? Can anyone give me any advice?? I'm about to go out of town and I need! to be able to send readable documents back to my collaborator for the project we are creating. Thanks, Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] note spacing question
I am working on a part extraction job for a composer and I have recently upgraded to 2006b, but am noticing many similarities to some of the peculiarities of 2003b. For instance, clicking the speedy note entry on any completed bar somehow helps reset the spacing of that bar, up to a point. I noticed this especially with part extraction, that many problems of the spacing could be solved simply by clicking through an entire part using speedy note entry and then clicking off to see all the measures get optimized. All except some specific bars, for some reason. Perhaps these measures had beentinkered with directlyin the score which brings settings (for better or worse) to the extracted part. At any rate, I have two questions; is there a better, more efficient manner of doing what I have described without simply having to click through an entire part using speedy note entry? Also, for the bars that seem to be frozen and do not respond to the above method (many of which have notes either very close or even spilling out over their respective barlines), how do I remove any settings which seem to be inherent in the measure? I have tried using the measure attributes dialogue box to no effect, and ended up having to go with the "nuclear" option and copying measures that weren't in bad repair and replacing entries. I'm hoping there is a simpler solution? I have one more gripe about a particular bug that existed also back in 2003. You're using page layout, you're playing around with the spacing between systems, you think you have the proper layout that just fits your pages, and then while you're working with the document, a line or lines will just reappear out of nowhere and end up on a new final page. Why is it that page layout will just allow systems to go into limbo, making it look like you've gotten your layout right, until you go through each page and notice that for some reason you have system 10 at the bottom of the first page, and system 12 at the top of the second? I can deal with this bug and check for it in three and four page parts, but in long optimized scores this seems like a serious pitfall. And I'm suspecting this bug has been around for more than just three years. Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] floating rest problem
I have received this question from my composer colleague with whom I work on engraving projects with. I can only passalong his own description of the problem because he is using Finale 2006 and I have not yet been able to upgrade from 2003. Apparently, he has a couple of quarter rests that have left their measures and migrated to a couple of weird spots on the page. On one particular page (in page view) he has a rest between two percussion staves, and a second one showing up well over on the desktop (as he has a widescreen monitor). He says he cannot attack these rests with the special tools because he can never get a handle for either rest. What's really too bad is that he has this whole score exactly as he wants it, excepting these two rests, and he's at the point where he'd rather white them out rather than risk damaging his entire layout. Has anyone had something similar happen to them, or does anyone have any ideas about how to go about search-and-destroying these rests? Thanks in advance, Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Merging files question
I have a question that has nagged me for some time, and is about to become my current nightmare. I have a multi-movement work in three files, and the composer who I am working for has asked whether or not these can be put into one file. I balked, especially thinking about all the hand adjusting that had been done to staves and such to make each score look right. Does anyone have advice on how to do this without ruining hours of tinkering? I offered to at least merge the extracted parts (as much as could be done with a shifting percussion instrumentation); can anyone give me a basic checklist as I go about this process so as to not get burned when printing out? Did I mention, my deadline for parts (the score was finalized today) is next Friday?? Thanks, Michael Wittenburg Copyist, Chattanooga Symphony and Opera ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] transpostion of percussion parts using mass edit tool
In a piece that I am working on with the composer, we have decided to collapse four percussion parts into two. I'm preparing to do the mass edit dump of one part into layer two of another. However, before I can even do that, I need "transpose" all of one of the percussion parts onto another space of the nonpitched staff so that they won't collide. We happened to write all all four of the percussion parts on the treble clef "C" space, so I'm wanting to move all of percussion two's part down to the "F" space, and then move percussion one up to the "E" space, to give them easy reading room. However, this became more difficult than it seemed, as the mass edit transposition dialog box won't even touch it. Not only will it not "transpose" the part down a fifth, it doesn't even come up in the edit undo/redo lists. Does anyone know a way around this? As we speak I'm manually moving all the notes of one part down, but I really don't want to have to move around ALL of the parts this way. Any help would be greatly appreciated! Michael Wittenburg ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] transposition question clarification
BTW, I'm using Finale 2003r.2. And since we need to have compatible versions, an upgrade at this time is not a viable option. Thanks! ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
