On Apr 19, 2004, at 8:01 AM, Phil Daley wrote:
Or just transfer them to PC Format disks, Macs with superdrives
(pretty much
any Mac after the SE) can format and write PC disks.
And newer Macs can read the old 800K disks?
My recently defunct Mac could read both PC disks and old 800K Mac
disks.
On Apr 20, 2004, at 3:15 PM, David W. Fenton wrote:
The workaround here is very easy, though (putting in an explicit
rest), but it could be a pain if you have to do it for a number of
measures (though hiding other layers and copying could get it done
pretty quicly).
Even quicker is the
On Apr 17, 2004, at 2:21 AM, Darcy James Argue wrote:
Also, some people -- like Mark Lew -- are particular about the
distance between staves -- when they increase or decrease the distance
between staves, they always do so by multiples of one staff space,
e.g., 24 EVPUs. It's not possible to
On Apr 17, 2004, at 6:03 AM, Darcy James Argue wrote:
I guess I'll have to recreate my preferences again. I *hate* doing
that. I just hope the problem doesn't keep coming back.
Do you have to recreate ALL of them?
Funny, I'm sloppy about backing up other things, but I make frequent
backup
On Apr 17, 2004, at 5:36 AM, Javier Ruiz wrote:
Ha! that´s a word that I don´t think exists in Spanish. And we need it,
yeah...
Darcy wrote (among other things):
innumeracy
It's a recently coined word, and it probably hasn't arrived in most
dictionaries yet.
About five years ago, someone wrote
On Apr 16, 2004, at 10:25 AM, David W. Fenton wrote:
Well, strangely enough, I liked the old way Finale copied music -- it
copied clef changes by default (I'm talking about the COPY EVERYTHING
situation).
[...]
For me, the old way was far preferable, because I copy horizontally
a lot more often
On Apr 15, 2004, at 1:49 AM, [EMAIL PROTECTED] wrote:
I hope I don't show my ignorance here, but I am working on a
composition in which the composer used a symbol that looks like a
fermata, but with 3 dots underneath. I am interpreting this as a
fermata, am I correct? Or is it something
On Apr 15, 2004, at 2:42 PM, Darcy James Argue wrote:
I get the feeling most people on this list are steering well clear of
MacFin2004. I probably should as well, but it's like when you force
yourself to sit through a bad movie you've rented -- I've been
anticipating it for years, I paid good
On Apr 11, 2004, at 1:10 PM, John Howell wrote:
I should also point out that Mark's suggestion makes reading the words
much quicker and intuitive. But of course a singer isn't going to
actually pronounce them that way. Tacking the consonant onto the 2nd
syllable is good vocal practice:
On Apr 11, 2004, at 4:27 PM, John Howell wrote:
Hey, read my message again. We're on the same side, here! I was
simply making the point that there are different criteria for printing
than for singing. Non-singers may not know that. And singers often
get hung up trying to write down the
On Apr 10, 2004, at 4:53 PM, Ryan Beard wrote:
I'm working on a choir piece based on Psalm 23. I'm
having trouble finding the correct syllabification of
some of the King James English words like maketh,
leadeth, restoreth, preparest all those -eth
-est words. The dictionaries I have don't
On Apr 6, 2004, at 3:01 PM, Darcy James Argue wrote:
Specifically, what happened was I quit Finale 2004 when several files
were open. Normally, Finale would have asked me if I wanted to review
unsaved changes, but this time it didn't. And Finale also decided to
overwrite one of the open
On Apr 6, 2004, at 5:04 PM, Richard Yates wrote:
This did not help much. It does not describe differences between light
and
full version. Maybe I should be more specific. For instance:
snip
After a long period of deserved skepticism about music scanning
technology
in genereal I am willing (and
On Apr 4, 2004, at 6:13 PM, David W. Fenton wrote:
New development: I tried deleting everything in the first two
movements, and when you get to the same measure, Finale dies. So, it
has nothing to do with the length of the file, and everything to do
with something in that particular measure.
If
On Apr 2, 2004, at 11:40 AM, Darcy James Argue wrote:
The RAVE act is absolutely not an urban legend. Go to the ACLU's web
page to find out more. The Republicans have been trying to pass this
for years, and they finally got it by appending it to the AMBER alert
bill (otherwise known as the
On Apr 2, 2004, at 1:44 PM, Bob Florence wrote:
This section is for 4 trombones. Trombone 1 plays 6 bars. He repeats
his
phrase and is joined by trombone 2. They continue their 6 bars and are
joined by trombone 3. They continue and are joined by trombone 4. This
is
a total of 24 bars. I added
On Apr 2, 2004, at 2:08 PM, David W. Fenton wrote:
Joe Lieberman is not really a Democrat.
Touché
But this is not a political list, so we should probably not go any
further with this. . .
Good point. I'll resist the urge to follow-up on Darcy's post. Either
that or we can take it elsewhere.
On Apr 1, 2004, at 10:56 AM, Dennis Bathory-Kitsz wrote:
Assuming Ken hasn't started yet, he could create a blank score of N
measures, set up the first two with the changing signatures and correct
barlines (dashed if needed), dragdrop the 2-measure pattern forward
N-1
times, then highlight hide
On Mar 31, 2004, at 12:48 PM, David W. Fenton wrote:
That's all true, of course, but I think the weird thing is the whole
idea of applying an NDA to a survey, especially one that involves
questions about a *competitor* product.
Beta testers, sure, as it's pre-release software.
But a survey?
On Mar 31, 2004, at 12:29 AM, Darcy James Argue wrote:
This kind of NDA (non-disclosure agreement) is very common -- I
imagine the same sort of restrictions apply to Finale beta testers,
for instance. It stands to reason that if they're paying people to
collect this information, they want to
I'm no expert on this stuff, but it seems to me that this could be a
job for scripts.
Surely a script has the capability to call up any item on the menu,
right? If so, then you could make a very simple script for every
plug-in you use. Then you could name and arrange those scripts however
Did others on the group receive the email from a guy at Sibelius,
inviting them to participate in a survey to discuss in a telephone
interview how they use notation software?
I was especially intrigued by this sentence:
Because of the
nature of this endeavour, if you would like to help us, we
On Mar 27, 2004, at 3:28 PM, David W. Fenton wrote:
Yes, apparently. But it's spotting *something* and I don't quite
understand why it thinks what it's seeing is the right thing to do --
I can't conceive of circumstances where the spacing it provides would
ever be correct, accidentals or dots
On Mar 27, 2004, at 5:38 PM, Mark D Lew wrote:
An example where this makes sense is not common, but not inconceivable
either. Imagine that [...]
Reviewing this, I see I'm overthinking it. A more common situation is
this: In the RH piano, the upstem voice is following the melody
On Mar 26, 2004, at 12:36 PM, David W. Fenton wrote:
Here's the problem:
If layer 2 is a chord instead of a single note, the spacing is
completely wrong -- the layer 1 note is spaced by itself and the
layer 2 chord is spaced way out to the right, as though the two
didn't occur in the same metric
On Mar 26, 2004, at 8:27 AM, George Ports wrote:
Had a problem with text.Can't seem to eliminate some
hyphens
(- - - - -) that appeared in a couple of measures. It is sorta hard to
explain but, they are from typing in text, I'm sure. Hope I don't have
to
re-do the measures all over
On Mar 24, 2004, at 10:41 AM, Randolph Peters wrote:
I'm seeking the collective wisdom of this list.
Shouldn't word extensions only apply to moving notes and not to tied
ones?
It seems as if the word extension plugins (both Finale's and TGTools)
on FinMac 2k3 are spotty and inconsistent AND
On Mar 23, 2004, at 9:34 AM, Clay Zambo wrote:
Now with the metatools, with time signature tool selected you hold a
metatool key and click a measure, and the new signature is popped
right in.
Wow! Now I _really_ can't wait for the os9 version!
It works on Fin Mac 2k2, as I described in an
On Mar 22, 2004, at 5:52 AM, David Froom wrote:
I just discovered the time signature metatools, Are they new to Fin
2004?
Wow. I just tried this in Fin Mac 2k2 and it works there, too.
It's slightly different from what you describe, though. Possibly it's
just my own template, but I found
On Mar 19, 2004, at 9:19 AM, Andrew Stiller wrote:
Mozart asks the singers to sing -o e il on a single note. The note
is a long one, but you will never hear a singer divide it in three;
rather, it usually comes out Quest' e 'l fin or Questw'il fin
You're right that it usually comes out as one
On Mar 18, 2004, at 7:40 AM, David W. Fenton wrote:
EDUs make me crazy (the man behind the curtain is exposed), but I can
deal with them.
EDUs don't bother me much, and sometimes I even like them. Even so, I
think it would make a lot of sense if Finale allowed for use of any of
its units in
On Mar 18, 2004, at 7:44 AM, David W. Fenton wrote:
Now, can we get a rundown of which versions exhibit the problem? It
looks like it's still there in Finale2K4, if Johannes is seeing it. I
think somebody had Finale2K2 and said the problem was there? Can
anyone confirm this?
In FinMac 2k2 blank
On Mar 18, 2004, at 10:38 AM, David W. Fenton wrote:
Well, you can tell by starting with it unspaced, check for beat
chart, then space using metatool 4. If there's a beat chart then and
it includes handles for the hidden note values, then it's doing what
Johannes said (so far as I understand
On Mar 18, 2004, at 2:16 PM, John Howell wrote:
I believe that each vowel gets its own note, unlike languages like
English which are full of diphthongs and triphthons. You often find
bisyllabic Italian words on a single note, and the singer has to know
to divide the note in 2.
Perhaps it's
On Mar 16, 2004, at 1:37 PM, David W. Fenton wrote:
Well, don't hesitate to tell us, as I may be ignoring something
obvious. What I've been doing is spacing with with time-signature-
based spacing, then adding the handles necessary to manually space.
It's not horribly difficult, but the big
On Mar 16, 2004, at 3:39 PM, Aaron Sherber wrote:
I have a piano staff with notes entered in the treble staff and some
of them dragged down to the bass staff. I find I am unable to get
articulations positioned correctly on the cross-staff notes -- even
when I drag them to where I want them,
On Mar 16, 2004, at 4:09 PM, David W. Fenton wrote:
Don't you ever do any find positioning? I believe that Coda has told
us that to get absolutely accurate positioning (i.e., so that what
you see onscreen is precisely what you get in printouts), you need
only position at 400%.
If they do say
On Mar 17, 2004, at 1:27 AM, Johannes Gebauer wrote:
[answering me]
I still think there's something I'm forgetting. When you run TG
tremolos on a bar and it creates invisible playback notes in layer 4,
those notes don't affect spacing. Why not? What is TG changing that we
could change manually?
On Mar 17, 2004, at 10:53 AM, David W. Fenton wrote:
The puzzling part for me is that others are reporting that they can't
replicated it. Here's how to get it to happen:
I can replicate it.
I'm in Fin Mac 2k2 and my experience matches yours exactly. I too am
finding that Finale always spaces
On Mar 17, 2004, at 4:31 AM, Aaron Sherber wrote:
Well, then it's gotten worse in 2004. In order to get the artic to
move down, I have to drag it up, and vice versa.
Now that you mention it, I remember encountering this behavior before,
too. Something to do with stem directions, I think. I
On Mar 17, 2004, at 5:05 PM, I wrote:
Try it and see. If you make a TG tremolo, then go into the playback
layer and make all the notes visible, they still don't affect spacing.
There must be something else about them that's different. But what is
it?
Aha, I found it. In the Edit Frames box,
On Mar 17, 2004, at 6:44 PM, David W. Fenton wrote:
[answering me]
. . . For classic appoggiaturas, I redefine
the note lengths with the MIDI tool. . . .
Can you explain that in more detail? I'm not getting what you're
referring to here (I'd sure like a plugin to create on-beat
appaggiaturas!).
On Mar 17, 2004, at 11:14 PM, Mark D Lew wrote:
I assume you know how the Edit Frames box works, given your response
to the other message about the Playback field there.
Oops. I mean your other comment about the *Spacing* field there.
Playback is the one you would change in this case.
mdl
On Mar 9, 2004, at 8:48 AM, David Froom wrote:
Who knew being smart also means being slow?
Anyone with experience on old, speed-challenged computers. Any feature
that is constantly updating on the fly is going to slow down the
program.
mdl
___
On Mar 8, 2004, at 4:22 AM, Crystal Premo wrote:
Am I correct in my assumption that the double sharps and flats which
frequently appear when you transpose a piece are actually the *correct
pitches*? However awkward they may be, and however appropriate it may
be to simplify them through
On Mar 6, 2004, at 9:04 AM, Andrew Stiller wrote:
So wave goodbye to phenomenon, bacterium, datum, criterion, medium (of
communication), and doubtless others I can't think of right now. All
of these were in common use 30 years ago, but are now disappearing
rapidly, and I imagine they'll be
On Mar 6, 2004, at 1:51 PM, John Howell wrote:
I assume that was a typo, Crystal. A minor 3rd down from Eb would be
C. But choosing between C# and Db I would take Db every time.
Not me. Not every time.
I would tend to prefer Db, but you've got to consider the specifics of
the song. Suppose
On Mar 5, 2004, at 1:29 AM, Mario Aschauer wrote:
Carus puts the commata etc. right next to the syllable it belongs
before
the word extension. That will look okay, too, I think.
Wow. I've seen stigmata, dogmata, lemmata, and even melismata,
but commata is new to me. I can see the logic, since
I'm updating a database which contains instrumentation description and
got to decide the most suitable criteria (regarding the linguistic
aspect) for instrument's composite names. Which, between the
following, would you find most correct:
1. Diatonic Soprano Xylophone
2.
On Mar 5, 2004, at 2:51 PM, Crystal Premo wrote:
I do a lot of transpositions of Broadway and pop tunes for people to
use at auditions, and I have a question about what happens with
accidentals. Sometimes the new key is rife with double flats and
double sharps. Is it acceptable to simplify
On Mar 5, 2004, at 3:40 PM, Darcy James Argue wrote:
Regardless of the Greek derivation, the English word is commas. See
also, stadiums (not stadia), forums (not fora), one agenda,
two agendas (not one agendum, two agenda), etc -- notwithstanding
the odd individual who thinks himself clever
On Mar 5, 2004, at 4:13 PM, Darcy James Argue wrote:
Just to try to head this one off at the pass... I was unclear. I
didn't mean to say that celli and concerti were incorrect as such,
just that they are subject to the same trend towards regularization as
other foreign loan-words in English,
On Feb 28, 2004, at 7:52 PM, Aaron Sherber wrote:
I may be missing something obvious, but I can't find a document
setting to get Finale to do what I want, and I also can't find a tool
that will let me adjust the length of secondary beams within a
measure.
Am I missing something?
I've always
On Feb 29, 2004, at 2:16 AM, Mr. Liudas Motekaitis wrote:
Anybody know of an easier method?
Well, I don't know if my method is *easier* -- they're probably about
the same -- but I'm more comfortable with it. I get nervous with
anything that relies on pushing an element off the edge of the
On Feb 29, 2004, at 10:17 AM, Klaas de Jong wrote:
For your information: the program itself generates the text, so I'll
give the owner a hint, that people don't like the 'aggressive'
content...
Some of the whitelist messages I've received from others must allow the
user to enter his or her own
On Feb 29, 2004, at 5:39 AM, Aaron Sherber wrote:
I worked out an interesting kludge of my own which looks great for
this particular combination of rhythms; I'm not sure whether it could
always be used.
Excellent idea. I hadn't thought of using dots and hiding them. Your
way is about as
On Feb 29, 2004, at 11:44 AM, Darcy James Argue wrote:
Actually, based on the response on this list (and my own personal
reaction), I think it's fair to say that people don't like spam
whitelists, PERIOD. I received *12* junk emails from your
spamslammer telling me I needed to fill out a form
On Feb 28, 2004, at 12:52 AM, d. collins wrote:
I just tried it: there's a box to tick that says Allow punctuation
marks to be placed on last note of word extension, and another box to
fill in with the punctuation marks affected by this. The only problem
is that it seems to have absolutely no
On Feb 27, 2004, at 11:26 PM, d. collins wrote:
Well, the logic of having the punctuation after the extension is based
on the fact that the punctuation should come only once you've finished
singing the syllable. Pushing that logic step further, the last
consonant should come after you've
On Feb 28, 2004, at 2:33 AM, d. collins wrote:
I don't quite agree, because I see three reasons for putting it
before, and none for putting it after (whereas in the example you give
of quotation marks it makes no difference):
- traditional practice, from what I see both in most of the scores I
On Feb 28, 2004, at 1:54 PM, gj.berg wrote:
Ahhh, I get it! It's interesting that the wording of this letter (by
Mark and Ilesa I presume) actually assumes that I am a guilty spammer
and my only hope for non excommunication (BLACKLISTED!!! say it ain't
so!) is to prove I'm human.
The moral
On Feb 27, 2004, at 3:28 PM, Fisher, Allen wrote:
Are tuplet brackets allowed to fall inside the staff? (as you can
probably tell, I do very little with unbeamed tuplets...)
I don't know what the authorities say, but I think a tuplet bracket
within the staff lines looks horrible. I avoid it.
On Feb 27, 2004, at 8:36 AM, d. collins wrote:
I'd never noticed that the NBA did this, but you're right, I just
checked. I also checked my four reference books, and all agree that
this is wrong. I find it very weird to have a ; or a , after a word
extension, but I'd be interested in hearing
On Feb 26, 2004, at 11:01 AM, Jamin Hoffman wrote:
The problem is that any notes I entered into layer 2 do not get
moved correctly. The problem seems to be with the whole rests in
the measures that I didn't enter any layer 2 notes. While Finale
does change the duration of the notes, it doesn't
On Feb 24, 2004, at 11:04 AM, David W. Fenton wrote:
Since when are dynamics and articulations so incredibly unimportant
that you wouldn't want musicians learning them *from the beginning*?
Hm. On the one hand, I completely agree that dynamics should be
emphasized right from the beginning. In
On Feb 23, 2004, at 8:06 PM, David W. Fenton wrote:
Of course, I can't quite conceive of why having dynamic marks and
articulations in playback would interfere with aural proofreading, as
one person said, or why you'd want to redo everything in the score
from scratch in a hand-edited MIDI file,
On Feb 19, 2004, at 11:45 PM, Johannes Gebauer wrote:
You should use TGTools. It doesn't let you drag the way you want, but
it
does let you enter numbers in a much more convenient way.
Thanks, I'll look into it.
For many years I was working on an old system on which TG Tools was
inoperative,
On Feb 20, 2004, at 1:47 AM, Darcy James Argue wrote:
First off, Johannes is right, you should definitely start using
TGTools Staff List Manager (with the relative box checked) instead
of the Staff Usage dialog.
Thanks, that's now on my list of TG tools to investigate. I've been
busy with
On Feb 20, 2004, at 12:04 AM, d. collins wrote:
Why? And what do you mean by exact increment. A whole number of
spaces? Or do you accept fractions?
Yes, I mean a whole number of spaces, which is 6 points, or 24 evpus.
(I sometimes switch to evpus for smaller numbers or inches for larger
ones,
On Feb 19, 2004, at 5:52 PM, Darcy James Argue wrote:
I don't know about anyone else, I almost never want to move one staff
up or down and have all the subsequent staves hold their positions.
For me, I wouldn't say almost never. However, when it does happen,
my thinking is always something
On Feb 19, 2004, at 6:02 PM, Richard Yates wrote:
Sorry, but I apparently do not understand how what you want to do is
different from what Change--Tuplets does.
What he wants is to be able to use Change - Tuplets with all the
settings entered to match his Default Tuplet Definition. For a single
On Feb 15, 2004, at 12:06 AM, d. collins wrote:
Does this mean that in certain cases you do away with the hyphen? I've
often been tempted to do this, but many singers have told me this
makes the music much harder to read. Has this prompted any complaints
from the singers?
I've never heard
On Feb 15, 2004, at 2:52 AM, d. collins wrote:
Gerou-Lusk: Another help in reading melisma is the proper alignement
of the lyric. The word or syllable, instead of being centered under
the note, should be aligned flush left with the left edge of the
notehead.
Ross: I personally see no musical
On Feb 15, 2004, at 4:33 PM, Darcy James Argue wrote:
This may be a stupid question, but when creating center-stapled parts,
what do you do when you have a single middle page, like for instance
in a five-page or six-page part? Since it can't be stapled, how do
you attach it? Do you just
On Feb 12, 2004, at 12:05 PM, Clay Zambo wrote:
From: Richard Huggins [EMAIL PROTECTED]
Sorry for the delay...I've been wanting to check my own Finale on my
computer but it's being moved. My recollection about adjusting
syllables is that while two handles appear, the bottom handle is the
only
On Feb 10, 2004, at 9:23 PM, Don Hart wrote:
Thanks, Mark and Christopher. You guys and a few notable others
always seem
to take the time to help out even (maybe especially) when Finale is
having a
little trouble holding up its end of the bargain.
Thanks for the kind word, but to the extent
On Feb 10, 2004, at 8:33 PM, Darcy James Argue wrote:
Thanks for posting your procedure -- I don't have too much experience
with vocal music, so I'm still trying to figure out what works and
what doesn't. As I turns out, I guess I must be doing at least
something right, because my procedure
On Feb 9, 2004, at 6:12 AM, Darcy James Argue wrote:
What is the standard way to notate a sixteenth quintuplet when only
the final note is played? What do you put under the bracket:
A quarter rest followed by the sixteenth note?
Two eighth rests followed by the sixteenth note?
Four sixteenth
On Feb 9, 2004, at 5:06 AM, Darcy James Argue wrote:
In 4/4, one normally shows beat 3 of a measure when it contains
eighth note values or smaller.
However, I've run into a situation where my source has the following
rhythm:
[...]
In other words, an eighth-note triplet starting on the and of
On Feb 9, 2004, at 4:28 AM, David H. Bailey wrote:
There's actually FOUR kinds of lies, to paraphrase Mark Twain (I think
he originated it): 1) Lies, 2) Damn Lies, 3) Statistics and
4) Marketing.
The line appears in Twain's autobiography, but he himself attributes it
to Benjamin Disraeli. More
On Feb 8, 2004, at 12:22 AM, Noel Stoutenburg wrote:
but I solve this problem by using a hard hyphen rather than a hard
space, so that on the first note after a system break in WIN FIN, I
would use an alt - 0173 hyphen as the character to which the
additional hypens in the succeeding system
On Feb 8, 2004, at 10:49 AM, David W. Fenton wrote:
3. things that one takes for granted as taken care of by default in
one program that need futzing around in the other.
All of those are issues that have an impact on usability, and the
balance may be very different for different repertories.
And
On Feb 7, 2004, at 12:34 PM, David W. Fenton wrote:
Meanwhile, since I'm stuck with WinFin2K3, what's the usual technique
for getting hyphens into a score after line breaks? I have never
figured out how to do it.
Many recommend putting a hard space under the first syllable after the
system
On Feb 6, 2004, at 9:29 PM, Harold Owen wrote:
I'm just getting up to speed with FinMac2k4. There have been only a
few changes since 2k2. Now [...]
Thanks for the updates. The fact that the lyrics window still has no
zoom is just insane. Any normal sized lyrics are going to look tiny on
the
On Feb 6, 2004, at 1:39 AM, Johannes Gebauer wrote:
I don't know whether the feature set for 2k5 has been decided yet, but
it
certainly wouldn't hurt to send those feature requests to MakeMusic
now.
It's going to be a few more weeks before I get around to upgrading to
2k4 (Mac), and I never
On Feb 6, 2004, at 11:30 AM, David W. Fenton wrote:
Finale's original pickup measure solution was (and still is)
terrible, so I think most of us just use measures in different meters
to accomplish the task.
I never even knew there was another pickup measure solution. I've
done it as a display
On Feb 6, 2004, at 1:26 PM, David W. Fenton wrote:
This is, of course, wrong, as PICKUP MEASURE is not one of the
choices under Document Options. This stymied me for quite some time!
Instead, it's just OPTIONS | PICKUP MEASURE.
My Fin Mac 2k2 doesn't have either of these menu items.
This uses
On Feb 5, 2004, at 2:58 AM, David H. Bailey wrote:
As a matter of fact, on the Sibelius list there was recently a
question concerning how one could tell at a glance if a score were
engraved with Sibelius or Finale or Score, and one wise-ass replied
that if you could spot a measure with the
On Feb 5, 2004, at 12:15 PM, musighi wrote:
I am preparing a collection of 30 children's piano pieces for
publishing and would like to create a unity of appearance throughout
the book. I find going through each piece one at a time and setting
standards for layout, margins, system spacing,
On Feb 3, 2004, at 1:50 PM, David W. Fenton wrote:
I'd also love to see what experienced Sibelius users would say about
all the items on the list.
And then I'd love to see a Siblius user's similar list about Finale,
with corresponding answers.
I second both motions.
mdl
On Jan 29, 2004, at 3:38 PM, Johannes Gebauer wrote:
You do know of the option of having artics taken into account for music
spacing? I know it is not exactly what you are after, and in many
situations
it probably won't work well.
Yes, but if there's a way to have the articulation definition
On Jan 29, 2004, at 12:06 PM, Andrew Stiller wrote:
Because of this confusion, I always treat these symbols as if they
were not merely abbreviations of the word sforzando (forcing), but
incorporated dynamic information as well. In my music, sfz means
specifically sforzando in forte--sforzandos
On Jan 29, 2004, at 2:33 AM, Johannes Gebauer wrote:
You could almost certainly use Robert's Tie Mover to get exactly what
you
want.
Hmm, I'll have to look into that. Thanks.
It would address 90% of my complaint if Finale's Tie Options were
expanded enough to include an option which says if
In FinMac 2k2 the command you want is Mass Mover - Change - Tuplets.
Change the Number and Shape to nothing and leave everything else
blank.
mdl
___
Finale mailing list
[EMAIL PROTECTED]
http://lists.shsu.edu/mailman/listinfo/finale
On Jan 28, 2004, at 10:56 AM, Keef wrote:
Very interesting argument but I was always under the impression that
fp, sf and sfz were *accents* not dynamics. Basically, you punch it
and get off of the punch as quickly as you can. That they look like
dynamics and use the same characters make
On Jan 28, 2004, at 12:33 PM, Darcy James Argue wrote:
For instance, if you had a long note with an accent () and an fp
indication below, how is that different from sfp or sfzp?
In my mind, this question has the same answer as the same question with
the p revmoved from both sides of the
On Jan 28, 2004, at 1:01 PM, d. collins wrote:
I have an 8th, followed by a 16th rest, and then a 16th, beamed
together. The secondary beam over the last 16th is too long. How can I
shorten it? I would like to get the same thing I get with a dotted 8th
followed by a 16th.
Sounds to me like you
On Jan 28, 2004, at 8:42 AM, Dennis Bathory-Kitsz wrote:
You're going to hate this solution! I do, because it doesn't play back!
[...]
1. Create staff expression, shape. [...]
I think Dennis's solution is the only one that works for what you need,
Johannes.
There are various ways to kludge
On Jan 28, 2004, at 4:25 PM, Owain Sutton wrote:
It's what I wanted for one particular case in something I'm copying,
but it also alters a huge number of other beamings. In particular,
16th-note tuplets which are 'note-rest-note' take a split second beam,
where the composer (who wants things
On Jan 27, 2004, at 3:24 PM, Javier Ruiz wrote:
Is the same Sfp and Sfzp?
I would say yes, except that I've never seen sfzp before.
As I understand it, sfz and sf are two different abbreviations for
the same thing: sforzando. Sfp is a hybrid, combining the meaning of
sf and fp. Presumably
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