Re: [Finale] Winfin2012 crashing

[Rob Franks]

Lawrence, does it only crash when you play audio?  Does it crash when 
you play audio logged in as a different user?

Rob

On 2/8/2012 02:31, Lawrence Yates wrote:
> I found the Finale.ini file and deleted it and, as you said, it created a
> new one when I opened Finale again.
>
> Finale worked for about 90 seconds then crashed again.
>
> This sounds like God telling me to buy a new computer (which I can't afford)
>
> Lawrence
>
> Lawrenceyates.co.uk
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Re: [Finale] Winfin2012 crashing

[Rob Franks]

In that case it may have nothing to do with Finale, but be related to 
your audio drivers.

Can you play music from any other program?

On 2/7/2012 11:55, Lawrence Yates wrote:
> No, Rob, it didn't work.
>
> It seems to be something to do with the playback - I've just discovered
> that when I stop playback, the sound (the last chord played) continues. It
> stops when I change anything in the "audio device setup" box.
>
> I'm sorry to clog the list with this.  I just hope that I can give enough
> clues for someone to recognise what the problem is.  As I said, this seems
> to have started since I tried to add an audio track, but to the best of my
> knowledge, I didn't actually change anything.
>
> On 7 February 2012 19:50, Rob Franks  wrote:
>
>> That's a safe way of fixing many registry problems.  Hopefully it will
>> work.
>>
>> Claude is suggesting that you create a new user in XP, then use Finale
>> as that user.  That's a possible workaround for registry problems, but
>> running as a new user will make your life more complicated, which you
>> don't need right now.
>>
>> Rob
>>
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Re: [Finale] Winfin2012 crashing

[Rob Franks]

Agreed.  I was hoping the uninstall and registry cleaning would do the 
trick, but no luck.

Rob

On 2/7/2012 11:56, Darcy James Argue wrote:
> Running as a new user will, however, help isolate the problem. If it still 
> crashes even under a brand-new user account, then that is confirmation that 
> something is seriously amiss.
>
> Cheers,
>
> - DJA
> -
> WEB: http://www.secretsocietymusic.org
>
>
>
> On 7 Feb 2012, at 2:50 PM, Rob Franks wrote:
>
>> That's a safe way of fixing many registry problems.  Hopefully it will work.
>>
>> Claude is suggesting that you create a new user in XP, then use Finale
>> as that user.  That's a possible workaround for registry problems, but
>> running as a new user will make your life more complicated, which you
>> don't need right now.
>>
>> Rob
>>
>> On 2/7/2012 10:04, Lawrence Yates wrote:
>>> Rob,
>>>
>>> I've now completely un-installed Finale (I simply re-installed before
>>> without un-installing first, and I'm now running a registry cleanup
>>> programme.  Then I'll try reinstalling.
>>>
>>> Claude wrote: "simply use Finale from a new account (without re-install)" -
>>> I don't know what this means.
>>>
>>> Thanks for these suggestions - please keep them coming!
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Re: [Finale] Winfin2012 crashing

[Rob Franks]

That's a safe way of fixing many registry problems.  Hopefully it will work.

Claude is suggesting that you create a new user in XP, then use Finale 
as that user.  That's a possible workaround for registry problems, but 
running as a new user will make your life more complicated, which you 
don't need right now.

Rob

On 2/7/2012 10:04, Lawrence Yates wrote:
> Rob,
>
> I've now completely un-installed Finale (I simply re-installed before
> without un-installing first, and I'm now running a registry cleanup
> programme.  Then I'll try reinstalling.
>
> Claude wrote: "simply use Finale from a new account (without re-install)" -
> I don't know what this means.
>
> Thanks for these suggestions - please keep them coming!
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Re: [Finale] Winfin2012 crashing

[Rob Franks]

Have you tried deleting the Finale registry entries?  Bad or corrupted 
values in there are often not replaced when re-installing, or even 
removing the program.

Rob Franks
Institute of Marine Sciences
University of California
Santa Cruz, CA 95064  USA

On 2/7/2012 09:34, Lawrence Yates wrote:
> Initially I just re-installed the program, now I've re-installed everything
> - no better still crashing after seconds. I'm on Windows XP Home.
> Everything was working perfectly until yesterday.
>
> I'm afraid I'm getting quite desperate now - the next option seems to be to
> buy a new computer.
>
> I'd be grateful for any suggestions.
>
> Lawrence
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[Finale] Expression Metatool Menu settings

[Rob Deemer]

I using the latest version (2011c) and need to adjust the Expression
Metatool settings - these used to be in the Expressions Menu, and the manual
still lists Metatools as being in the menu, but when I go there, it does not
list anything for metatools. Any idea where the settings are located?
Thanks!

-Rob

Dr. Rob Deemer
Assistant Professor of Music
Head of Music Composition
School of Music
State University of New York at Fredonia
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[Finale] Re: Finale Digest, Vol 71, Issue 5

[Rob Deemer]

I'd put my bet on either a theme that evolved from one of the old silent
film compilation books that pianists & organists used to improvise from (Sam
Fox, etc.) or from one of the old Warner Bros. films scored by Carl Stalling
- he used a lot of pre-existing material but I wouldn't be surprised if he
came up with it and it just became a tune everyone remembered.

-Rob

-- Forwarded message --
> From: Andrew Stiller 
> To: 
> Date: Sat, 6 Jun 2009 18:16:36 -0400
> Subject: [Finale] What's this? (was: Snake Charmer?)
> On a slightly related topic, can anyone identify this? It's been diving me
> nuts for years:
>
> stacc. quarters: A C E A, accented half: F, 8ths: E D C B A
>

Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/


Dr. Rob Deemer
Assistant Professor of Music
Head of Music Composition
State University of New York at Fredonia
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[Finale] MusicEd and Fingering fonts

[Rob Deemer]

Hey all - I wasn't sure if this list was aware of several fonts put out by
my friend, Rafael Hernandez - he's put together a nice collection of
woodwind and brass fingering fonts and a good MusicEd font that allows for
notation in word processors (without spacing issues), solfege hand symbols
and piano fingering diagrams. It seems to be popular with music educators
but the fingerings can be used to designate extended techniques/multiphonics
as well...

http://www.musicteachertools.com/

-Rob

Dr. Rob Deemer
Assistant Professor of Music
Head of Music Composition
State University of New York at Fredonia
www.robdeemer.com
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[Finale] Re: Finale 2010 Rehearsal Marks

[Rob Deemer]

So far I've only seen the rehearsal marks discussed with letters (including
reordering)...any chance that that also goes for Rehearsal Numbers (that are
linked to whatever measure number the measure is displaying)?

-Rob
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[Finale] Re: Extended font characters in text blocks

[Rob Deemer]

Try PopCharPro (http://www.macility.com/products/popcharpro/)...it does what
you need and is very handy.

Does anyone know how I can enter some of the "off the keyboard" unicode font
> characters into a text block in Finale? Specifically, I'm trying to enter
> fractions from the OpenType version of New Century Schoolbook. The
> fractions
> show up as glyphs in the character palette but have no associated keyboard
> combination to enter them directly. I tried using the character palette to
> enter them into a TextEdit document and then copying and pasting them into
> a
> Finale text block, but all I got was a question mark in its place.
>
> Brian 
>
>
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Re: [Finale] Pivot monitor recommendations?

[Rob Deemer]

I have a 21" Syncmaster 213 at home and a 24" Dell at my office, both which
swivel, and I'd recommend them. I don't use it everyday, but it's very
effective when you're dealing with larger scores and other sundry items. I
would never spend the extra money for the Mac monitors - too expensive for
what they give you.
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Re: [Finale] Score Binding Question

[Rob Deemer]

>
> From: John Howell <[EMAIL PROTECTED]>
>
>>  It's entirely possible that the chains--especially Kinko's--would
>>>  refuse to handle it because it is copyrighted music.  You did realize
>>>  that it is copyrighted, right?  And that your copying it without
>>>  permission is an infringement?
>>>
>>
>> Yes, but neither I nor the LoC have a problem with it because both
>> composers
>> specifically allowed for copying for research purposes when they donated
>> their work to the Libray.
>>
>
> Are we really talking about "donation" here, or plain and simple deposit
> with LC as part of the copyright process?  And are the copyrights in the
> names of the composers, or in the names of the movie companies?  Not saying
> you're wrong by any means, but this certainly does skirt the edges of the
> copyright law.  Could you explain exactly how the composers "specifically
> allowed for copying for research," since there is no provision in the law
> itself that provides a procedure for that?
>
> I do wonder, as well, whether "research purposes," which are indeed
> permitted in SOME situations, covers making and distributing additional
> copies, which is exactly what you would be doing if you print up more copies
> and give them to LC.  If you've discovered a loophole that might apply to,
> for example, scores by Gershwin or others that are still under copyright,
> we'd be very interested in learning about it.
>

I'd be extremely surprised if the studios didn't own the copyrights to the
scores...Goldsmith and Horner were and are big, but it's very rare when a
studio lets the composer keep the copyright on their music. In this case,
there may be other issues at play - the studio may have allowed for the
scores to be archived somewhere else due to an agreement with the composers
as well as the lack of storage space (the MGM debacle being a scary reminder
of such things). Jeanne Pool with the Society of the Preservation of Film
Music might know more.

Since Blake has no intention of distributing the work, much less publishing
it, I'm guessing there probably isn't an issue. Blake, you may want to
double-check with the studio to find out the specifics...there may be
allowances for "research" that include copying portions of the scores to be
included in a textbook, but the wholesale reproduction of the work might
make somebody nervous, and I'd hate for you to go through such an ordeal
only to run afoul of someone's legal department.

To be honest, I'm jealous - those are both great film scores and I wasn't
aware that the LoC had 'em...I feel a field trip coming on...

-Rob
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Re: [Finale] Score Binding Question

[Rob Deemer]

I agree with the other postings - Kinko's is a ripoff and they'll probably
bind it wrong in any case. My guess is those scores are going to be pretty
thick (as each page would only have 4-6 measures), so they'd have to punch
'em in several passes which only increases the chances of a screw-up.
Several folks have mentioned the Akiles binder from Coilmac - it's
definitely worth it. At $300, it would only take 60 binds to make your money
back based on what Kinko's charges.

I'm curious...how are you copying these scores? Bringing a laptop into the
Library of Congress on a daily basis and doing it there? And what are your
plans for the scores once they're done?

Rob Deemer
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Re: [Finale] Clefs before Time Sigs mid-staff

[Rob Deemer]

Thanks, Carolyn & Robert - I played with the expression positioning and came
up with something that isn't too time-consuming to deal with. I've always
been perplexed at how much flexibility Finale gives us within most contexts,
but not this one. A simple "Show clef always" button in the measure tool
with a radio button asking whether or not the clef should go before or after
the key sig/time sig in the document options doesn't seem to be a huge thing
to ask for.
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[Finale] Clefs before Time Sigs mid-staff

[Rob Deemer]

I'm doing the copy-work on a new edition of Schoenberg's "Models for
Beginners in Composition" and am running into an issue I've had with Finale
for some time. Many times in this project (and others) I've needed to force
the clef to show mid-staff - easy enough with the Clef Tool. However, if
that measure also needs a Time Signature to be shown (almost always), Finale
follows the standard rules of notation by placing the Time Sig first, then
the Clef. And as far as I can tell, there's no way to switch 'em.

Obviously I can place clefs and sigs as expressions, but that will be a
massive PITA, with all the times this happens - not to mention the spacing
headaches. Does anyone know of a way to force the clef to come before a time
signature mid-staff? Thanks in advance!

-Rob

-- 
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Composer/Conductor
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www.myspace.com/robdeemer

Assistant Professor
Head of Music Composition
School of Music
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[Finale] {Fraud?} {Disarmed} Hal Leonard gig

[Rob Deemer]

Figured someone might be interested in this on Finalelist...

HAL LEONARD CORPORATION -- Hal Leonard Corporation, the world's largest
music print publisher and the world's largest source for classical music
publications, is seeking to fill an entry-level editorial position on our
classical division team, an area of the company which includes development
of G. Schirmer and Boosey and Hawkes publications, among other pursuits.
This is a full-time, on premises position at company headquarters in
Milwaukee with full benefits. No working from home or remote location
inquiries. No free-lance or part-time inquires, please. Candidates must be
experienced classical musicians, and possess research skills and general
knowledge of standard classical literature. Because almost all classical
publications developed at Hal Leonard involve piano (piano literature, vocal
literature, solo instrumental literature), candidates must have excellent
keyboard ability at the level of an average college piano major, including
above average sight-reading. The appropriate candidate is good at detail and
thrives in studious musical tasks removed from performance or teaching. A
candidate must be able to work cooperatively in an office environment. Some
office experience of any kind is preferred. Flexibility is necessary in a
position that encompasses varied duties in developing publications and
learning all aspects of music publishing. At minimum a bachelor's degree in
music is required. Previous music publishing experience is not required, nor
is vast experience with Sibelius, Finale or other music engraving programs.
Rank: Classical Music Editor. Start Date: Immediately. Application deadline:
July 1, 2008. Cover letter and resume. Email applications preferred. Please
send to: Christopher Ruck, Hal Leonard Corporation,  W. Bluemound Road,
Milwaukee, WI 53213. Fax: 414-774-0747. Email:
[EMAIL PROTECTED]<../mail?view=cm&tf=0&[EMAIL PROTECTED]>.
No phone calls, please.
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[Finale] Test.

[Rob]

Please ignore this message.

Rob Marti
Systems Administrator
Sam Houston State University
936-294-3804 // [EMAIL PROTECTED]

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Re: [Finale] Two honest-to-goodness Finale questions

[Rob Deemer]

On Sat, October 20, 2007 10:08 pm, Daniel Wolf wrote:
> (2) insert a nominal time signature of 2 and 2/3 quarters.

Another option may be to create an 8/6 signature using the shape
designer...not quite as many items to adjust.

-Rob
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Re: [Finale] importing .tiff graphics with a transparent background

[rob canning]

Noel Stoutenburg wrote:

rob canning wrote:

hi
i am trying to import .tiff graphics with a transparent background in 
to finale but all i get is a completely black image when i import it 
- though it shows up fine in osx's Preview.

i create .svg files in inkscape - then convert them to .tiffs in GIMP
anyone know what i might be doing wrong? 
I'm not sure what you're doing wrong, but it seems to me one solution 
might be to export the Finale pages as ~.tif files, and import them 
into GIMP, where you have control over transparency and the orders the 
layers appear in the stack.


ns

thanks noel,
i found that i needed to flatten the tiff image in gimp before i could 
import it into finale

rob


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Re: [Finale] importing .tiff graphics with a transparent background

[rob canning]

Dennis Bathory-Kitsz wrote:

At 04:43 PM 7/22/2007 +, rob canning wrote:
  

http://www.finalemusic.com/finale/features/graphics/default.aspx
does the image on this page not imply that the background is transparent
the way the tree on the left is higher than the text on the right..
of course i guess the text of the poem could be part of the image..



It looks that way. But you can select the text to make it appear on the top
of the lower layer, then do a screen scrape. That's what this looks like,
since it has the screen colors and the lyrics below the notes look like the
default entry font.

Just guessing. I tried every combination of entry, and the images always
appear above everything else once the screen is redrawn -- at least in
Finale 2007c. (Top/Forward/Backward/Bottom is really really needed.)

Anyone else?

Dennis
  


yes i think this really is something important that is needed
any sort of modern score with strange/complex graphics elements are 
imposible

how does one go about making a feature request to makemusic?
i know people may laugh and say dream on - but its worth directing to 
the relevant people at least...
maybe some people on this list have some clout, beta testers maybe could 
suggest it -

thanks

rob




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Re: [Finale] importing .tiff graphics with a transparent background

[rob canning]

shirling & neueweise wrote:


I don't believe Finale respects transparency (the alpha channel) in 
TIFFs.

Even many graphics programs don't.


although there is a checkbox "allow transparency" in finale's own 
export dialogue...


i also haven't found a solution; at some point i had a graphic with a 
white background, and was hoping that this would lead me to solving 
the problem, but i never figured out why it was white and the rest black.



http://www.finalemusic.com/finale/features/graphics/default.aspx

does the image on this page not imply that the background is transparent
the way the tree on the left is higher than the text on the right..
of course i guess the text of the poem could be part of the image..

would love to find a solution for this as its a real blocker for me at 
the moment :(


thanks,

rob



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Re: [Finale] importing .tiff graphics with a transparent background

[rob canning]

Dennis Bathory-Kitsz wrote:

At 03:43 PM 7/21/2007 +, rob canning wrote:
  
i am trying to import .tiff graphics with a transparent background in to 
finale



I don't believe Finale respects transparency (the alpha channel) in TIFFs.
Even many graphics programs don't.

Not that it likely matters with Finale, but are the Gimp's TIFFs still
transparent when you load them back in from the file? (I haven't used it
for a while and don't have it installed now.)
  


yes transparency is preserved in GIMP when reloaded from the tiff file.
its a pity it this isn't possible as i want to insert images to notate 
over and when i try now the notation always gets lost behind the image.


thanks
rob

Dennis



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[Finale] importing .tiff graphics with a transparent background

[rob canning]

hi
i am trying to import .tiff graphics with a transparent background in to 
finale but all i get is a completely black image when i import it - 
though it shows up fine in osx's Preview.

i create .svg files in inkscape - then convert them to .tiffs in GIMP
anyone know what i might be doing wrong?
i have also tried .eps files - but these don't show up in the score on 
screen (i guess this may be normal).
i need the images to either be transparent or forced to stay in the 
background so i can notate over them in finale.

thanks,
rob c
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[Finale] independently scalable boxes

[Rob Canning]

hi

i am trying to create independently scalable boxes to enclose fragments 
of music in an aleatoric score.


if i create a box in shape designer when i edit the shape of one 
instance of the box in the score all the other boxes also change -


is there a way to make a box independent or do i have to create a shape 
expression for each different box i want?


thanks

rob

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[Finale] New Question

[Rob Deemer]

The request for new topics plus the fact that there's a Mythbusters marathon
going on got me thinking about confirming or busting a notation myth. I've
heard many composers state that composing/arranging on paper with pencil is
not only preferable but artistically "better" than composing directly into a
computer notation application.

What are your thoughts? Discuss.

-Rob

--
Dr. Rob Deemer
Composer/Conductor
www.robdeemer.com
www.myspace.com/robdeemer

Assistant Professor
Composition Department Chair
School of Music
SUNY-Fredonia

The Composer Next Door
Producer/Host
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[Finale] Re: Finale Digest, Vol 46, Issue 23

[Rob Deemer]

shirling & neueweise wrote:


> people study composition to get university positions; i spoke once
> with a uni prof who was sad to see that many of his master's and PhD
> students weren't really interested in composition.  in fact one of his
> PhD students at the time had actually told him he was studying
> composition to get a comfortable job in a university.


Andrew Stiller wrote:


I find this extremely hard to believe. There are only a few hundred
U.S. university jobs available to composers, of which only a handful
are open every year. Each such job opening will receive dozens, perhaps
hundreds, of applications from new-minted PhDs, most of whom (me
included) will never find work in the field. Hardly the way to go job
hunting!

Saying you're studying composition in order to get a university job is
entirely equivalent to saying you're studying violin in order to get a
job with a major orchestra.



I'll take Andrew's statement one step further. This year there were 96 (at
last count) positions posted for theory, theory/comp, composition and comp
specializing in electro-acoustic music. To give you an idea of why it's not
a great idea to get a DMA for a university gig, there were only 10 gigs for
composers, 3 for E/A composers and 11 for theory/comp. By the rejection
notices sent out from schools, there were over 180 applicants to many of
these positions. I'd compare it more to studying a wind instrument to get a
job with a major orchestra (which very few openings  every year). Attitudes
towards composition in the university are slowly changing, by the way...the
idea of forcing students to write in one style or another is pretty
antiquated anymore. There's so many musical innovations happening these
days, the monostylistic concept just isn't feasible anymore.

By the way, I accepted one of those composition jobs this year (after three
years on the market). :-)

--
Dr. Rob Deemer
Composer/Conductor
www.robdeemer.com
www.myspace.com/robdeemer

Composition Department Chair (beginning Fall of 2007)
SUNY-Fredonia
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[Finale] Re: 6/4 & 3/2

[Rob Deemer]

This topic has touched on a huge interest of mine - the psychology of
notation. Different musicians will react to and interpret beat durations
very differently depending on what context they're performing in - if a
composer decides to have the beat at something other than the quarter-note
(or dotted quarter-note), they may get the feel they want but they're gonna
need extra rehearsal time to get it right.

I started out as a jazz arranger/composer for many years before I got into
film scoring and finally concert composing, which is what I'm mainly up to
these days. A few years ago, I was commissioned to write an arrangement for
the jazz singer Kitty Margolis. The tune was a blues, but with a 12/8 feel
so there were a lot of places where you had 2 against 3, of course. I had
been immersing myself in 20th century compositional techniques for a few
years so I went against my jazz intuition and wrote the whole thing in 12/8.
The rehearsal fell flat on its face. That night I re-scored the entire chart
in 4/4 and made a note that it should be a 12/8 feel. The change was night
and day - the players were much more comfortable with it.

I also had to make sure I didn't over-articulate either - stuff like that
just frustrates good jazz performers (I knew this intuitively years before
but it became more difficult with all the new techniques I had learned).

--
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Composer/Conductor
www.robdeemer.com
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[Finale] Articulation/Ties question

[Rob Deemer]

A quick articulation question - Finale is great about dealing with articulations that have to go inside slurs or ties and TG tools is great about dealing with collisions with slurs and articulations, but I've been running into difficulty with accents colliding with ties. Does anyone have an idea of how to get around this? The only way I can see is to create a new accent with a slightly higher vertical setting. Thanks!
-Rob
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[Finale] Clef Question (literate or not...)

[Rob Deemer]

Apologies for breaking into y'all's chat on generational gaps, immigration and American Idol...I've been working on some examples for a textbook gig and have been frustrated by one of Finale's (albeit totally rational) issues. For a normal piece of music with key changes and clef changes, key changes are placed first in a measure and then the clef change. But in textbooks or similar contexts, it is common to show several measures with various clefs and keys in a row but display them clef then key, as if they were at the beginning of a system. Is there anyway to force the key signature to show after the clef change or are we still relegated to "creating" a key signature with expressions or other workarounds?
Thanks in advanceRob
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[Finale] Re: Keyboard Controllers

[Rob Deemer]

I've had great luck with the Edirol PCR-1 - you can choose one that acts as a MIDI controller or an audio interface (RCA & Optical). It's light, thin, 25-key, easy to use and plug in (USB) and transportable - I wrote my dissertation (30-min. ballet) on it sitting in coffeeshops all over Austin. I've got a Gator bag that I carry that, my laptop, USB numeric keypad, mouse, noise-reduction headphones, etc...it's not very expensive either.
-Rob
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Re: [Finale] Fermattas in resting parts

[Rob Deemer]

Darcy,

This may be too left-field for the gig, but you could just change the
meter of the measure in question to 2/4. This would get rid of any
"extraneous" beats. Just a thought.

-Rob

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re:[Finale] fermatas

[Rob Deemer]

> How do you put a fermata on a barline instead of a note, and is there any
> way to make it play back?
>
> Thanks,
> Lora

Per Christopher's suggestion, I would create a measure expression that
is center justified and over the left barline. For the playback,
adjusting the tempo would probably get you the best results (as long
as you had another hidden or unhidden expression that changed the
tempo back later on). Just curious, why do you want a fermata over a
barline?

-Rob

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Re: [Finale] Cross-Group Time Signatures

[Rob Deemer]

At 02:07 AM 11/9/2005, Brennon Bortz wrote:
 >How does one create "cross-group time signatures", such as those
 >commonly seen in large-ensemble pieces?  I'm talking about the large
 >time signatures that don't just reside in one staff, but are exploded
 >to cross over multiple staves.

I have a three-step process...I'm sure others have different ways.

1. I pick three staves within the score - one near the top (but not
the top staff), one near the bottom (but not the bottom staff) and one
in the center of the system. Using the Staff Tool, I turn off "Time
Signature" in every other staff but these. I suppose you could only
have two if you wanted - I like three to cover the main areas of the
score.

2. In Document Options - Fonts I change the Time Signature font size to 120.

3. In Document Options - Time Signature, I type ".35" into the top
staff Vertical Placement and "-.35" into the bottom staff Vertical
Placement.

I realize it might be a pain to some to undo this when they're going
to make parts, but the way I extract parts, it only takes one staff to
change and I'm done. Hope that helps.

-Rob

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[Finale] Re: Possible New Fonts (jazz chords and articulations)

[Rob Deemer]

Just chiming in...I tend to use November for most of my session
copywork (with the caveat that I usually switch out the noteheads for
Engraver Font) as well as my own concert work. I experimented with
Jazz and Ash and found it was clearer with the more "legit" fonts -
Darcy's technique of bringing in articulations when needed has worked
for me as well. Bill Duncan's fonts have been on my wish list for a
long time...

As has been mentioned previously, it's usually not the font that
causes trouble in the first place - it's the layout. If you're doing
session work and make the music too small or put too many measures in
a system, what font you're using matters absolutely zero.

(Bill - glad you've joined in. I've been on the list for years and
have throroughly enjoyed it so far.)

-Rob

Dr. Rob Deemer
Visiting Instructor of Composition
Composition Department Chair
The University of Oklahoma

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[Finale] Re: Printers (Laser 11x17)

[Rob Deemer]

Just my two cents - just purchased a Lexmark W812 a few weeks ago for
about $800 and it works as well as any of the HP large format printers
for a lot less. Hoping to get the duplex unit soon for another $200 or
so...

-Rob

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Re: [Finale] Feathered beams etc.

[Rob Deemer]

The discussion about Feathered Beams reminded me...does anyone know
what happened with Philip Aker and his Feathered Beams plug-in? He was
working on a beta-version a few years ago that worked wonderfully, but
it of course didn't work with OSX. He mentioned that he was working on
it but that was a while ago. Dreaming it might come back someday :-)

Rob

-
Dr. Rob Deemer
The University of Oklahoma

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[Finale] Re: OT: OSX mass print to PDF

[Rob Deemer]

Brad,

I just tried to batch print via Finalescript making sure it was printing to 
Adobe PDF as
opposed to my printer and it seemed to create two separate PDF files and put 
them on the
desktop. I'm gonna have to remember this one...hope this helps.

-Rob

> In Finalescript, there's a ready-made script called "Batch
> printing".

I know and use this one quite a bit, but I haven't been able to make
it work for PDF printing in OSX.

> I don't know about Macs, but in Windows, printing to PDF is the
> same as printing to any other printer. I've done hundreds of
> files this way (music examples for a book).

Ah, so you *are* on Windows. Mac PDF printing is a bit trickier than
that. Have any Mac users on the list been able to print multiple PDFs
in one go?


Dr. Rob Deemer
Visiting Instructor of Composition
The University of Oklahoma

"There are three types of conductors: those who can count and those who can't."
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[Finale] Re: Copying problems & 7/8 proglem

[Rob Deemer]

Looks like I'm not the only one with copying problems...

I create parts by making a template and dragging a part from the original score 
over to
the new file...this used to be very handy because only note expressions would 
get
transferred and not measure expressions. Now (2005b)the measure expressions get 
taken
along for the ride as well. Not fun when I've already edited the rehearsal 
numbers in the
part template and subsequently get two sets of rehearsal numbers. Sounds like 
something
got "fixed"...

For the 7/8 problem, I'd change the meter to a composite (3/8+2/8+2/8) or 
whatever the
metrical scheme is and then display meter as 7/8. Has worked for me in the past.

-Rob

Rob Deemer
Doctoral Candidate in Music Composition,
Assistant Director, UT New Music Ensemble
The University of Texas at Austin

"There are three types of conductors: those who can count and those who can't."
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[Finale] Re: Justifying Text in Expression Designer

[Rob Deemer]

Thanks Noel,

I'm not sure that's it...Finale obviously has given us the ability to create 
multi-line
text expressions within the expression designer. The Text menu for the 
Expression
Designer has some, but not all, of the capabilities of the Text Tool and 
Justification is
one of them. I'm just trying to figure out what toggles that feature from 
greyed to
activated. 

I'm on a Mac, btw...

--- Noel Stoutenburg <[EMAIL PROTECTED]> wrote:
> Rob Deemer wrote:
> 
> >Hello all,
> >
> >I'm finishing up orchestrating a ballet (aka my dissertation) and I'm 
> >running into an
> odd
> >problem. When I'm working in the Text Expression Designer and have an 
> >expression that
> has
> >more than one line, the Justification tools are greyed out. Any ideas on why 
> >this is
> and
> >how I can get it working again? Thanks!
> >
> My best answer:  the designers of Finale consider that an expression is 
> going to be so short that it can fit into a single line, and that 
> therefore, justification is unnecessary, and didn't provide for 
> justification in expressions.  Best workaround:  hide the expressions, 
> and create a duplicate expression as a measure attached text-block if 
> you need the justification.
> 
> I haven't had the need to use this feature yet, so I've not tried this 
> second choice:  use hard [non-breaking] spaces to put the justification 
> in manually.  In windows, the nonbreaking space is created by pressing 
> down the "Alt-" key, while entering the digits  "0173" on the numeric 
> keypad.
> 
> ns

-Rob

Rob Deemer
Doctoral Candidate in Music Composition,
Assistant Director, UT New Music Ensemble
The University of Texas at Austin
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[Finale] Justifying Text in Expression Designer

[Rob Deemer]

Hello all,

I'm finishing up orchestrating a ballet (aka my dissertation) and I'm running 
into an odd
problem. When I'm working in the Text Expression Designer and have an 
expression that has
more than one line, the Justification tools are greyed out. Any ideas on why 
this is and
how I can get it working again? Thanks!

(Feel free to copy me directly as well as answer in the forum since I get it as 
a digest.)

-Rob

Rob Deemer
Doctoral Candidate in Music Composition,
Assistant Director, UT New Music Ensemble
The University of Texas at Austin
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[Finale] Re:OSX Font Adventure

[Rob Deemer]

I had problems when I moved to OSX-FinMac 2004 with the November Font...I had to 
contact
the folks who created the font and after some time they came out with an updated font.
You may have to do the same thing...

-Rob

On Tuesday, Aug 10, 2004, at 06:54 America/Vancouver, Jonathan Smith 
wrote:

> Needless to say, like you, I now have thousands of files that are 
> rendered totally useless under FInMac 2004 and OSX! I would need to 
> alter every case of the font in text blocks, expressions and well, 
> everything.

> I have written this up and sent it to Make Music but so far have had 
> no reply likewise with a previous complaint on another subject.

> The strange thing is these fonts behave perfectly well in all the 
> other applications I use under OSX, MS Word, Appleworks, Filemaker and 
> wait for it.Sibelius. So it leads me to believe that it is Finale 
> that is at fault and not the OS or encoding problems.

=
Rob Deemer
Doctoral Candidate in Music Composition,
Assistant Director, UT New Music Ensemble
The University of Texas at Austin
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[Finale] Re: 2/10 Time Signatures

[Rob Deemer]

In case anyone's not sick of this thread yet, I did check the score of the Thomas Ades
piece I mentioned ("Catch") and in a selected measure of 5/12, Ades has 5 eighth-notes
with a triplet bracket over the first three and a triplet bracket underneath the last
three; in effect overlapping the triplets, but it's quite clear that he's intending one
measure consisting of 5 triplet eighth-notes. He also has a slightly more confusing
notation for a line that holds throughout that measure - he has a normal quarter note
follwed by another quarter note with a "(-2/3-)" bracket over it. Makes sense, but it 
did
take some explaining on the first rehearsal. 

Back to dissertating...

-Rob

=
Rob Deemer
Doctoral Candidate in Music Composition,
Assistant Director, UT New Music Ensemble
The University of Texas at Austin



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[Finale] Re: 2/10 Time Signatures

[Rob Deemer]

Yes, you are right. I think Rob's math was a little off. A sixth note 
is equal to one quarter in a quarter-note triplet. A twelfth note is 
one eighth-note triplet.

And I think you meant to say "6 dotted EIGHTHS only gives you a 
dotted half" instead of "6 dotted quarters only gives you a dotted 
half." The math is not readily obvious until you've worked with it a 
bit, you'll admit.

Christopher

Doh! My bad - I did indeed mean triplets. Sorry for the confusion!

"There are three types of conductors - those who can count and those who can't."

-Rob

=
Rob Deemer
Doctoral Candidate in Music Composition,
Assistant Director, UT New Music Ensemble
The University of Texas at Austin




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[Finale] 2/10 time signature

[Rob Deemer]

I can attest to the fact that unusual time signatures are becoming more prevalent - we
just performed a work by Thomas Adés that had 1/6, 4/6, 4/12 among other time 
signatures.
At first I thought it was simply a way of making things even more difficult for the
performers, but after contemplation I decided that it was a very clever metric 
modulation
technique: the "sixth" note is technically a dotted eighth note and a "twelfth note" 
is a
dotted sixteenth note. Using these new time signnatures could allow you to shift the
pulse to these rhythmic units without the typical calculus equation-ish tempo 
indication
that usually comes along with metric moduations. 

As a composer, I find it very interesting - as a copyist I'm curious...we still haven't
ansswered the original question: how does one substitute non-traditional numbers into 
the
lower section of the time signature?

-Rob

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Rob Deemer
Doctoral Candidate in Music Composition,
Assistant Director, UT New Music Ensemble
The University of Texas at Austin



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[Finale] Re: Font Question (a bit late)

[Rob Deemer]

Apologies to touch on something that's a couple of weeks old - I just got back from 
some
time in Chicago without e-mail. 

Some had been talking about some of the "jazz" fonts such as Jazz and Swing...I wanted 
to
let you know about three others which I feel are much better. At the Express Music
Website (http://shop.store.yahoo.com/expressmusic/index.html) you can check out three
different fonts - LeeMusic, AshMusic and RussMusic. All three are hand-drawn fonts
created by professional copyists and turned into fonts (which luckily work nicely with
2004 and OSX). I use AshMusic myself, but any of them beat the pants off of JazzFont. 

Just my two cents...

-Rob

=
Rob Deemer
Doctoral Candidate in Music Composition,
Assistant Director, UT New Music Ensemble
The University of Texas at Austin



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