Re: [Finale] Re: Changing clefs in Staff Styles ADD Finale default documents
Allen, All that said and done, HOW does one, for example, get a file that is based on Engraver Fonts instead of Maestro. I know the work arounds and basically that is what i am currently having to do, but questions do remain. 1 why is it that finale defaults itself to maestro when the default document is not present? 2 why is it that if, in program option, the default document ONE sets is different than maestro, the Wizard does NOT see that document, and creates any any new file by using the Finale default of Maestro Font Default.FTM ? Whereas if one asks for the default document of preference in the same wizard window, it will show under default document as set in Program Options. 3 why is it not possible for a person to choose in a sub-window of Wizard whether one wishes to use Engraver, Maestro, Jazz, etc? Basically what I have learned to do is create my 1 Staff default document to my wishes, etc. Then first thing I do AFTER the document is created is go into StaffTool and create the instruments desired, finally deleting the top reference staff and maintaining my desires required with the variables - Thus rendering the potentially good idea of Staff Wizard at the opening of finale or in the New Documents completely useless. As have said many of my colleagues on this forum, it is the incoherencies in FINALE that make it difficult to understand, and thus work-arounds are necessary to avoid certain pitfalls later down the line. Fortunately, as I am sure you can see, there is an awful lot of comraderie here, and if many of the ideas and help aids were implemented, Finale could potentially have no real competitors. Gregory On Mon, 06 Jun 2005 17:09:34 +0300, Allen Fisher [EMAIL PROTECTED] wrote: , rename it Maestro Font Default and replace the one in Component files... -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression positioning
Dag Barbara.. Which set of triangles are you using? You can set them to either above the staff or below the staff through the expressions dropdown list. The expressions that are attached to above the staff will be handled by the upper set of triangles, and those from below the staff by the lower set of triangles. For personal purposes, I have created a separate set of expressions expressly for vocal staves for precisely that reason. Mine are all attached to above the barline or staff with the following measures. Additional entry offset : 0.020285, and Additional baseline offset : -0.62618. I find that I have much better control of the whole situation. Just put a little note to yourself in the Description Box to let you know what it is all about Groetjes uit ergens anders. Gregory On Mon, 06 Jun 2005 14:55:41 +0300, Barbara Touburg [EMAIL PROTECTED] wrote: I'm trying to put expression marks _above_ a vocal staff, but the positioning triangles just won't work. Both for note positioning and measure positioning the expressions are defined to go below the staff baseline (or entry) and I want to drag them up for that vocal staff. The lyrics positioning triangles work just fine. What am I (or is Finale) doing wrong? Barbara NL (Finale 2005a, Win2000SP4) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Changing clefs in Staff Styles ADD Finale default documents
Thanx for the info on the instrument.txt doc. I looked there and EVERY non transposing instrument is at useKeySigs = 1 -- so I just left it alone. the problem was resolved by removing the Set To Clef in the transposition dialogue box. One question Jef, how well do you understand the workings of text files in Finale? and is there a way to really alter the default document? Also WHERE is the default document located for the Wizard? I have tried to alter several files, but it is always coming up with Maestro, and a whole other slew of things I really prefer not using, so I have taken the round about way of creating a template file I like with a single staff line, and then going to Wizard to add the instruments I wish. I am sure there must be another way to slay this beast. Gregory On Sun, 05 Jun 2005 01:04:57 +0300, shirling neueweise [EMAIL PROTECTED] wrote: Gregory wrote: Never did think of looking there, because I don't even remember having set up the bassoon as a transposing instrument! in instrument.txt doc, ALL instruments defined to not use key signatures are set as transposing instruments, with a transposition interval of 0. useKeySigs = 0 this might be why it was set that way. -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Changing clefs in Staff Styles
I am having a problem with staff styles. I have created a style for bassoon (doubling instrument). The problem is that when I am in TRANSPOSED MODE in options, and need to change clef, the clef doesnt show... it only remains in the original clef of F fourth line. It only shows if I show the score in C, which of course FUBARS the clarinets and other transposing instruments and when I go back to Transposed score, the clef disappears once again. Am I missing something, or is Finale missing something??? Windoze XP, WinFin 2K5b Thanx, Gregory -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Changing clefs in Staff Styles
Thanx Christopher, It seems as though the Set to Clef in Transpositions was set on Bass Clef, as you thought. Never did think of looking there, because I don't even remember having set up the bassoon as a transposing instrument! Gregory The bassoon Staff Style probably forces a certain clef to appear, which overrides any other clef changes you make. You can turn off the Set to Clef in your bassoon staff style, which might solve it, though you will have to set bass clef manually if, for example, it's on an alto sax part. Or you can make a NEW staff style which sets to tenor clef (or whatever clef you need) and apply it where needed. If you assign it to a Metatool and check Select Partial Measures Only, you will be able to assign it with a single mouse click wherever you need it. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Secondary Beams
Have you considered rebeaming, without the extend beams checked from document options. What you have written could be a simple 3/4 or even a 6/8 if they were eighth notes. If you were to beam them as 1/dotted half, you would obtain the wanted results. Do this via Mass Edit / Rebeam / Rebeam to time signature. This does not change your written time signature, only the way finale beams the notes together Also, this is measure specific, so you need only do the measures wanted. For a large quantity of measures set up a metatool, eg. via Tobias' tools if you are on Pc. For 6/16 use 1/dotted eighth. Since you are using two hands, the other way to do this is via cross measures staffs, but you first need to set up the timing correctly, and then instead of using layers use Cross Staffs from Note mover Gregory On Tue, 31 May 2005 17:15:50 +0300, Neal Gittleman [EMAIL PROTECTED] wrote: FinMac 2005b... Hard to describe in words, but I'll try... I'm doing a piano part of 16th notes split up among the two hands, eg. R R R L L L As the composer has notated it, the RH notes are beamed together and the LH notes are beamed together. I've entered it this way LAYER 1: RH: rest note rest note rest note LAYER 2: LH: note rest note rest note rest In Document Options/Beam Options I checked Extend Secondary Beams over Rests and things beamed correctly. Then I went back and made the rests invisible, at which point all the extended secondary beams reverted to unextended. Any suggestions on how I can get those secondary beams to connect either by giving me another step to do or by suggesting a different overall strategy for note entry? Thanks... ng ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 4-line staff
On Tue, 17 May 2005 23:51:03 -0400, shirling neueweise [EMAIL PROTECTED] wrote: i'd like to be able to have 4-line and 5-line staves interspersed, with the top and bottom staff lines of each aligning. by defining a custom staff with 4 lines, starting at the normal top position, and setting the staffline spacing to 32 EVPU, i get what i want, except for the fact that spacing between the time sig numbers is enlarged, and it and the clef sit too low, both seemingly as if the 5th line which i have removed were still there. is there a way of correcting this without resorting to measure-attached expressions for the time and clef, and adjustments in the parts to the space at the beginning of the measure? jef That was an easy one Jef First do your lines like you did in Staff Tool. Then go into Document Options/Clefs/ClefDesigner... Musical BaseLine Offset to 0.17997-- that will raise your clef a quarter tone about. Next for the Time - also in DO/TimeSignatures if you are using C time move the abbreviated symbol (top fill-in box under vertical adjustment) to 0.15875 and that should do it with a little pfutzing. Still when you enter in your music, you will have the five lines visible, just know that the bottom line is hidden so that what may have appeared like a middle C suddenly becomes a LA - and you may want to enlarge your music font by at least 2 pts to fill in the extra space created by widening the space between the lines Gregory -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 4-line staff
On Wed, 18 May 2005 09:56:08 +0300, RegoR [EMAIL PROTECTED] wrote: On Tue, 17 May 2005 23:51:03 -0400, shirling neueweise [EMAIL PROTECTED] wrote: i'd like to be able to have 4-line and 5-line staves interspersed, with the top and bottom staff lines of each aligning. by defining a custom staff with 4 lines, starting at the normal top position, and setting the staffline spacing to 32 EVPU, i get what i want, except for the fact that spacing between the time sig numbers is enlarged, and it and the clef sit too low, both seemingly as if the 5th line which i have removed were still there. is there a way of correcting this without resorting to measure-attached expressions for the time and clef, and adjustments in the parts to the space at the beginning of the measure? jef That was an easy one Jef First do your lines like you did in Staff Tool. Then go into Document Options/Clefs/ClefDesigner... Musical BaseLine Offset to 0.17997-- that will raise your clef a quarter tone about. Next for the Time - also in DO/TimeSignatures if you are using C time move the abbreviated symbol (top fill-in box under vertical adjustment) to 0.15875 and that should do it with a little pfutzing. Still when you enter in your music, you will have the five lines visible, just know that the bottom line is hidden so that what may have appeared like a middle C suddenly becomes a LA - and you may want to enlarge your music font by at least 2 pts to fill in the extra space created by widening the space between the lines Gregory for a time signature like 2/4 -- leave the font alone, and in DO/TimeSignaturesvertical adjustment/ move the top number to .08 and the bottom number to .24 Finale will do the fine-tuning for you but things will look correct. -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: 4-line staff
On Wed, 18 May 2005 03:06:22 -0400, shirling neueweise [EMAIL PROTECTED] wrote: RegoR wrat: Musical BaseLine Offset to 0.17997-- that will raise your clef a quarter tone about. yeah, but that affects positioning globally, so all instances of all other staves will then have the time/clef too high. i need to be able to mix 5- and 4-line staves in the same document/instrument. by the way, you can uncheck use 5-line staff in the speedy entry menu so that the extra invisible staffline doesn't show when using staves with less than 5 lines. jef I really cant think of any other way do to this.. unfortunately, as you have stated, it affects everything, and Staff Styles, where it would be useful to find doesnt permit this type of function -- it seems to me as though you will be forced to go through the route of using Text/Shape designer and forcing the time and clef in to your desire. I can see the problems with that being that it means you have to add a clef to every staff line so altered in the piece. gregory -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: French translation
On Mon, 16 May 2005 09:53:19 +0200, Pierre Bailleul [EMAIL PROTECTED] wrote: Dear list, I think that the french translation off st in 4st solo in C major is quatrième? 2. Do you write 4st or 4ST? 3. Why not using 4th instead of 4st? Thanks for your english responses. Pierre. Pierre en anglais le st n'est que pour 1st nd est utilisé pour 2nd rd est utilisé pour 3rd th est pour 4th, 5th, 6th, 7th, etc: c'est probablement un erreur de la part d'un éditeur qui ne connait pas les régles d'anglais. Tes premières impressions sont correct. Gregory ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Allow Individual Staff Spacing vs. Optimization
If you do a lot with optimization, Tobias Giesen's Staff List Manager plugin (part of TGTools) is absolutely indispensable. It displays and allows you to edit the relative evpu spacing on each staff. It allows you to add or remove staves individually. And, it allows you copy an optimization on one system to any number of other systems. Thanx Robert, That is what I was looking for. I guess I just didnt delve far enough into some of Tobias' tools. Sort of like your tools, they are there, but I forget sometimes that you too have the answer, if I would only look. Gregory ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Allow Individual Staff Spacing vs. Optimization
David, I've found that in parts, I don't find optimized staff movement to be the best way to adjust things. Instead, I think it's better to change the vertical margins, as this is something you can do for a single system or a group of systems without effecting others. I agree with you here completely. I prefer to play around with the Distance Between Systems and then use Jari's System Spacer to compensate for those systems where I desire an extra amount of spacing, eg. in a multi mouvement piece, the system with the movement changes, indent and increased distance. That way those added changes are not lost, and for pages that are run of the mill no changes, I prefer Finales system spacer, because I find frequently with Jari's plugin that I loose the last system and then have to take micromeasurements away from the Distance Between Systems. The reason for that is that I find there are two competing layout problems, fitting music onto the page without crowding the top and bottom margins, and then also adjustments to individual staves to accommodate notes/expressions/etc. in extreme rangers. The ability to adjust multiple systems at one time in a quantifiable and systematic manner that isn't really available with positioning optimized systems. My big concern here is a score that is for SATB and wind quintet. sometimes to accomodate the lower notes of the Alto voice, I am forced to first descend the lyrics for her, and then frequently add additional space for the tenor. All well and good until i decide to change something on the page and then once again go around trying to approximate the distances or else go into the STAFF/Staff Usage and recalculate, with intricate mathematical figurings the appropriate space that needs to be used possible, but sure as hell a lot of undesired extra work. -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Allow Individual Staff Spacing vs. Optimization
Robert What I am refering to is the separate voices/parts included within a system. These 'staves' once optimized can be moved either with the top (all the same staff within the piece) or with the bottom box (the staff within a single system). My problem is that when I adjust a single staff within a single system, How can I get that single system with all of its staves back to default without having to screw up the entire layout by applying the default measures to the entire piece via page - ie Respace Staves seems to be total document oriented. As I said in another msg in this thread, it is a problem that comes up systematically for me when I am having to work with choral/instrumental pieces, and dont want to have a reduction that needs a magnifying glass to read when the piece is printed on A4. I never touch the page in percentages, only systems and staves. On Sun, 15 May 2005 13:40:17 -0500, Robert Patterson [EMAIL PROTECTED] wrote: I'm not sure what you are talking about. Optimization can be applied to any number of systems from zero to all, and every combination in between. The only default optimization I'm aware of is Scroll View spacing, and removing optimization from a particular systems restores the system to Scroll View spacing. My top/bottom system margins are always zero and also the distance to the first staff is always zero, but of course that is a personal preference. I find that it provides the greatest flexibility in the work I do. I separate the systems using Distance Between Systems. An incredibly useful tool for doing this is JW Space Systems, a free plugin. I repeat the first sentence: I really am not sure what you are talking about. But it seems you may still be using page scaling instead of system scaling. Before ca. Fin01, the best practice for page layout was page scaling. But starting with whichever version it was, system scaling became much better practice. It does require a different way of thinking and working than before, however, and retrofitting older files is not recommended. Better, how? Precise margins on every page, irrespective of percent reduction. (In, e.g., orchestral scores, different systems/pages may have different reductions.) Easier system layout on pages. (It is much easier to get the systems you want on a page, then use JW Space Systems to spread them out evenly.) No need for fixed font sizes on page titles. (Pages are always 100%.) This allows you subsequently to scale a page up or down, for example, to print a miniature score. But, perhaps you are already using system scaling. From your descriptions of what you are doing, I can't tell for certain. In any case, anyone who is wedded to page scaling may certainly continue to work that way. David W. Fenton wrote: On 15 May 2005 at 9:11, Robert Patterson wrote: RegoR wrote: Does anybody know if there is a way to revert back to default system spacing for a single staff on a single page that has been moved. When the staves are moved individually, I see nothing anywhere that indicates the height or distance moved, like for example one sees when one moves lyrics up and down to accomodate a low note. The easiest way would be to turn off optimization and turn it back on (using any of the several available methods.) This will revert to the default (actually, Scroll View spacing) for sure. Er, no, that does *not* revert to the default spacing -- it changes the formerly-optimized system's margins to replicate the same spacing it had when optimized and dragged. If you do a lot with optimization, Tobias Giesen's Staff List Manager plugin (part of TGTools) is absolutely indispensable. It displays and allows you to edit the relative evpu spacing on each staff. It allows you to add or remove staves individually. And, it allows you copy an optimization on one system to any number of other systems. I've found that in parts, I don't find optimized staff movement to be the best way to adjust things. Instead, I think it's better to change the vertical margins, as this is something you can do for a single system or a group of systems without effecting others. The reason for that is that I find there are two competing layout problems, fitting music onto the page without crowding the top and bottom margins, and then also adjustments to individual staves to accommodate notes/expressions/etc. in extreme rangers. The ability to adjust multiple systems at one time in a quantifiable and systematic manner that isn't really available with positioning optimized systems. -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: file names on PC (german characters)
What can you say only 26 letters to accommodate 12 vowels sounds, 10 dipthongs and and 18 consonants... of course with certain consonants competing with each other for the rights to the sound cookie vs. kooky. no wonder the world is confused. And FWIW the US has only continued in the grand old tradition of the British Empire -- bon grès, mal grès (or should that be grey, or gray, or grai?). Unfortunately until we are all functioning with a minimum of UNIX codes and 128bits the problem will continue to probably exist. Gregory On Fri, 13 May 2005 02:43:42 -0400, shirling neueweise [EMAIL PROTECTED] wrote: hey hiro, what do you mean by the file names are broken, they don't appear properly, non-ascii characters are replaced by others? did you zip the finale files before sending, or just send them as straight finale files? i know you can register websites in germany with addresses which include extended characters, why the *?% can't we exchange files using extended characters (a fairly colonial / anglo-centric term in any case...) today!? perhaps it would have been understandable 10 years ago... lovely. the american standard code for information interchange controls the effectiveness of international exchanges. ack. From: A-NO-NE Music Sorry. Not OK. I just tried it for you, with my OSX to Win2K, file names with these non ASCII are all broken. -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Help with copying beam alterations
Christopher, Do you have your measure edit focus set on partial measures? If that is the case, unless the entire measure is selected by a double click, you will not be able to transfer the broken beams. In fact many items only correctly copy and paste if they are considered as belonging to an entire measure and not a partial measure. Gregory winfin2k5 On Sat, 07 May 2005 08:46:09 -0400, Christopher Smith [EMAIL PROTECTED] wrote: Ok, I'm getting frustrated with this now. FinMac 2K5b I have a long passage of sixteenth note triplets in 6/8. I have broken the secondary beams between each third note so that I don't have double beams for nine consecutive notes, but I have done this in the first bar, intending to copy the beam edits to the succeeding bars. I cannot do this, however. I still haven't got my brain around the new copying behaviour. When I select MAss EditCopy ItemEntry Items... Stem and Beam alterations, as I expected to work, I get no effect whatsoever when I drag the first measure onto the second. I tried the new Shift-cmd-C and selected EntriesStem and Beam Alterations, but when I pasted onto the second measure I got rythmic wierdness, plus the entries themselves copied over. Can somebody step me through this, as if I was an idiot (which I appear to be?) Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: treble clef in 18th century cello parts
On Tue, 3 May 2005 02:35:24 -0400, Andrew Stiller [EMAIL PROTECTED] wrote: BTW, just to show you that things could always be worse, I am currently engraving an early symphony by Lejaren Hiller, whose legitimate distaste for the tenor clef led him, in this youthful score, to place high-lying bsn. and vc. passages in the alto clef! Needless to say, I'm overriding the MS on this one. On behalf of the bassoonists (and probably also vcl'ists) in the world --- thank you Andrew. gregory ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: clef changes
On Tue, 19 Apr 2005 12:36:26 -0400, Andrew Stiller [EMAIL PROTECTED] wrote: On Apr 18, 2005, at 2:42 PM, Darcy James Argue wrote: if I find anything in the manuscript that is notationally unclear, or looks like a mistake, or represents nonstandard practice, I will ask about it. That's precisely my point: you ask about it. You don't go off on your own and make a unilateral decision, because the composer's wishes are sovereign. Andrew, I disagree and agree with your statement of a composer's wish being soverign. In as far as the elements of music for interpretation, true the composer is soverign, however, IMHO clefs have nothing to do with the composers intention. Darcy is correct in saying that he asks the composer about compositional questions, ie. crescendo, dynamics, positioning of elements, note questions. However, when it comes to clefs, no matter what clef is used, it is only an element of reference and of convenience. It changes nothing of the compositional qualities. So at risk of sounding absolutely like a rabid radical, I feel it is the copist's/engraver's duty to render the music READABLE for what ever the instrument conventions are for that instrument, be it voice, guitar, harp, cello, percussion, etc. The purpose of written music is to give the references points to another person who frequently does not have access to the composer so that s/he can properly and easily interpret it respecting the the composer's wishes as much as possible with the given information. (The fact that we call those musicians interpreters already gives a huge clue as to their duties!! We don't call them slaves, although some interpret their roles as such, because once the composer is not there, they are free within the traditions of the day, OR their personal convictions as interpreter to do just that-interpret!) I feel that we have become slaves to nonserving conventions when we feel that we have to maintain a treble clef, because it was easier for the composer to use that clef since perhaps the notes required many fewer leger lines. If I read a G4 be it in bass, tenor, alto or treble clef, the note remains a G4. The only thing that can change that note are those extra elements aimed at interpretation. Gregory (the anarchistic radical) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: clef changes
A subtle distinction needs to be drawn here. My objection is not as a bassoonist, but as a composer. As a bassoonist, I have no beef w. the clef at all--but as a composer, I find it an unnecessary complication of the notational system. Andrew, Your point has been clearly made, and as a composer, I can agree with your reasoning, but then, as an instrumentalist, do you feel that it then becomes the duty of the copyist to satisify the needs of the performer and engrave the music using the clefs that are more comfortable for a performer to use? Also, do you feel that the full score should be engraved only in Treble and Bass Clefs, or should it be engraved to reflect the parts as they are written for the performer. If the latter, does this also mean that a score should be engraved TRANSPOSED, or should it be engraved as NON-transposed. Gregory ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Clip Files
On Sun, 17 Apr 2005 14:21:58 -0500, Robert Patterson [EMAIL PROTECTED] wrote: Does anyone know if it is still possible to use clip files? I've forgotten how to do it. The reason I want to try is that copy music to the clipboard is quite buggy when it comes to staff styles and articulations based on shapes. On PC 2005K it still is ctrl+ copy to clipfile from the edit menu. I still dont quite understand the difference... Ctrl+C is copy, but when you access the copy button from the edit menu you get copy to clip file Gregory -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: clef changes
I find that much easier to read, than, say, 8va basso. I would get totally lost in such a situation. So, I am wondering if this is also true of those above mentioned instrumentalists. As another bassoonist on the list, and contrary to Andrew, I have no dislikes as to music written in the tenor clef. However in general I prefer not to have things written in the trouble clef. That said, there are occasions where the treble clef is definitely more advantageous, like when the bassoon is hovering near E5. As to Phil's question about 8va or 8ba, personnally i dont like seeing them at all. What I see is what I want to play, and since many of the octave notes on the bassoon require completely different fingerings, it is more of a challenge than I enjoy dealing with. Gregory ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: clef changes
For instruments that are pitched so that they are most comfortable (viola and such), C-clefs are still useful, but they are uncommon, and becoming increasingly so with the vast majority of the music field getting more and more simplified. Ouch, this sounds like exactly what the world is complaining about... globalization based on the american standard After that inflamatory statement, I am an american who has passed the majority of his working career in Europe. In france you will find ALL musicians have learned ALL the clefs and are proficient in sightreading. Where the clefs really come in handy is for quick transposition. Eg. Name a horn player who can't read all clefs and transpose on sight from one tonality to another. The clefs are an indispensible tool of the trade. Our problem is our colleagues who do the dishonor of NOT teaching the tools needed to the future musicians. Perhaps there are some out there who will say that clefs are passe, but in that train of thought, so is the orchestra and the instruments whose origins are more than a couple of years. It is like Louis XIV furniture. Perhaps it is a bit demode for contemporary standards, but it sure can be beautiful. Gregory ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Boccherini String Quintets
Johannes, Try to contact Mlle. Laurence at +33 1 5379 8873. She should be able to give you more specific information about what you are looking for. I know when dealing with the French, it is best to have a name. She was the person with whom I spoke when I was looking for some scores via the photocopy method. I had of course been personally to La B.N. to order the scores, but when they never arrived, I contacted her, and she expedited the order. Gregory On Sun, 10 Apr 2005 16:54:56 +0200, Johannes Gebauer [EMAIL PROTECTED] wrote: I am wondering whether someone on this list can help me with this: I am desperately looking for either parts or score or both of the Boccherini String Quintet in D Fandango, G 341. I am not looking for the Guitar quintet version, only for the version scored for 2 Violins, Viola, 2 Celli. It seems that there is no available edition of this piece. The Bibliothek National in Paris seems to take a very long time to even reply to my enquireries, and I am getting a bit desperate. If anyone on this list has any information where I could find this piece, either in print or in manuscript, I'd very much like to be contacted privately. Thanks, Johannes -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Orchestral parts
I don't think it's coincidental that the countries where such parts are commonplace (France is not the only one) are also notorious for bad engraving and flimsy, acid-laden paper. I think that you will notice that most contemporary scores and re-engraved scores of French publishers are one part per person in the winds and brass. Fortunately too. I can remember playing some bassoon parts of old Durand scores where the solo was over a page turn -- definitely not convenientm especially when the second was playing at the same time. Gregory -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT -- Sarrusophone (was Bass Trom)
On Mon, 7 Mar 2005 18:10:19 -0500, John Howell [EMAIL PROTECTED] wrote: Sarrusophone Boehm did try to mess with the bassoon and create a more 'logical' group of fingerings for the instrument which we bassoonists never accepted because of the inherent weight of his monster. Already the bassoon is heavy enough without all those extra kilos (pounds for the americans who still refuse to admit that dealing with pounds inches are infinitely more complicated than kilos and centimeters.)But this was the sarrusophone NOT. This is referred to as the Boehm System Bassoon. http://www.idrs.org/publications/dr/dR8.2/dR8_2Joli.html is a site that gives a good explanation of what the sarrusophone really is. It was also used by such people as Ravel and Berlioz (if memory serves me correctly) because the basson français didn't have near the power of the good ol' Heckel fagott, and to get the range of the bassoon with the woodwind orchestrations, the sarrusophone was sometimes employed, especially to replace the contrabassoon. Gregory an american living in paris (sometimes) -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] instrument.txt file
On Thu, 03 Mar 2005 23:27:59 -0500, shirling neueweise [EMAIL PROTECTED] wrote: 1) TYPOS / MISSING DATA Another incorrect but easily corrected problem is the group instrumentation for a wind quintet. If you traditionally use the bassoon on the fifth line, being that it is usually the most bass instrument of the group, the groups brackets stop at clarinet, and are not extended through the bassoon. After having created your ensemble in setup as you wish, then To correct this, go into C:\Program Files\Finale 2005\Component Files\ensembles.txt Finale's default for Group is WW,WW,WW,BRASS,WW --- change that to read WW,WW,WW,WW,WW and the group lines now go all the way through from flute to bassoon (I have done some other tweaking, because sometimes I prefer A Clarinet as the default and not Bb) [GRP:WW Quintet(A)] Name=WW Quintet(A) InstNames=Flute,Oboe,Clarinet in A,Horn in F,Bassoon Group=WW,WW,WW,WW,WW ORD:=Wind Quintet [GRP:WW Quintet(B)] InstNames=Flute,Oboe,Clarinet in Bb,Horn in F,Bassoon Group=WW,WW,WW,WW,WW Name=WW Quintet(B) ORD:=Wind Quintet Gregory -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Finale Digest, Vol 18, Issue 28
What would be the best way to do two time signatures in the same staff? Say you had a triple meter that could be triple-duple or triple-triple (3/4 or 9/8), Try this... create TWO empty measures at the beginning of the piece, filing them in with actual rests and HIDE the rests... In the First measure put your first time signature, in the second measure put your second time signature, and to this time signature add a parenthesis that has been created with Expression Tool and applied to all measures. HIDE the barlines and reduce measures to _0_ width, and in the third measure, change the time signature to the one you need to use for the first measure of the piece eg. 3/4. HIDE this time signature with Measure Tool. That way, you can write what ever you want, and you dont have to worry about spacing collisions of the notes and the parenthesis... only caveat, you will need to verify the music spacing so that the first two measures don't get changed when doing music spacing updates before final printouts. On Fri, 21 Jan 2005 20:28:10 -0600, [EMAIL PROTECTED] wrote: What would be the best way to do two time signatures in the same staff? Say you had a triple meter that could be triple-duple or triple-triple (3/4 or 9/8), -- Using Opera's revolutionary e-mail client: http://www.opera.com/m2/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
