Re: [Finale] same part in C and transposed

2019-05-08 Thread Christopher Smith
That’s how I make parts that are identical except for transposition (like 
baritone treble clef Bb or bass clef C, or alternate clarinet parts in A). Of 
course I know you are knowledgable enough to ONLY apply the staff style to the 
part. You can use JW Copy Part Layout and save a lot of formatting work, too.

Christopher


> On May 8, 2019, at 7:41 AM, SN jef chippewa  
> wrote:
> 
> 
> wondering if anyone has a better or more clever way to do this?
> 
> SC in C, no transposing instruments.  i'm asked to provide a voice part 
> (only, no other instruments) transposed down a M2.
> 
> in case there is ever a request/need for the original, i'm thinking to do 
> everything in C and create 2 separate parts for the same voice.  one would be 
> the original, and in the second defined part i would add a staff style to 
> transpose it accordingly.  (with the same approach, i could also create a 
> "part" that would be the transposed full score...)
> 
> would that be the easiest / best / cleverest way?  that would make sure any 
> changes are updated in all versions and i would always have direct recourse 
> to the original.
> 
> cheers,
> jef
> 
> --
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Re: [Finale] Lyrics warning (FinWin2014.5)

2019-05-02 Thread Christopher Smith
Right! Also, copy the contents to a scratch file, retrancscribe the other file, 
then copy just the lyrics over.

Christopher


> On May 2, 2019, at 4:02 PM, Barbara Touburg  wrote:
> 
> When I retranscribe rhythms (MIDI tool), Finale erases the lyrics!
> Solution: enter music, retranscribe rhythms, then only after that enter the 
> lycics.
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Re: [Finale] Muting layers in Finale 25

2019-04-30 Thread Christopher Smith
Also, in the Score Manager, there is a column called Mute. Click that beside 
the layer and it will… well, what it says. The advantage of this way is that it 
is way easier to get playback to work again than with David’s method.

Christopher


> On Apr 30, 2019, at 6:08 AM, David H. Bailey  wrote:
> 
> On 4/30/2019 3:07 AM, Don Hart wrote:
>> Hi all,
>> Where in Finale 25 can one mute a specific layer of a part.  Been a
>> while since I've done this and things have changed.
> 
> 
> The only way I could find to do that is very convoluted.
> 
> Open Score Manager.
> In the second column from the left, labeled NAME, click the triangle to the 
> left of the staff's instrument.  That opens a list showing all the layers as 
> well as chords and expressions for that staff.
> In the Device column for whichever layer you wish to mute, change that device 
> to NONE and it won't playback.
> 
> If there's an easier way to do that, I couldn't find it and I hope someone 
> will point it out to us.
> 
> 
> -- 
> *
> David H. Bailey
> dhbaile...@comcast.net
> http://www.davidbaileymusicstudio.com
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Re: [Finale] Collision of Noteheads

2019-03-20 Thread Christopher Smith
If I understand correctly, your noteheads will be F G G A. There is no way to 
get those on one stem without collisions. I suggest a split stem (Special 
Tools).

Christopher

> On Mar 20, 2019, at 6:46 AM, Michael Lawlor  wrote:
> 
> Finale 2014.5
> 
> I have entered pitches in a chord: F 1/4 sharp, G 1/6 flat, A flat, B 
> double-flat.  I wish the A flat to be G sharp and the B double-flat to be A 
> natural.  However, in my first step of changing B double-flat to A natural, 
> the note head collides with the G 1/6 flat below it.  I have checked "Music 
> Spacing" "Avoid Collision Of" "Unisons" "All noteheads" but it will not solve 
> the problem.  I have tried changing the A flat to G sharp but that creates a 
> real mess at the moment.  Is there another parameter that needs setting to 
> avoid collisions?
> 
> Regards,
> 
> Michael Lawlor
> 
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Re: [Finale] Moving measures

2019-03-12 Thread Christopher Smith
Are you in the Selection Tool? 

Otherwise, when Finale starts acting wonky, I quit, logout (or reboot the 
computer) and start again. That usually clears the problem.

Christopher


> On Tue Mar 12, at TuesdayMar 12 9:48 AM, Lawrence David Eden 
>  wrote:
> 
> Dear Listers,
> 
> I am running Fin 25 and Mac Mojave.
> 
> I used to be able to move measures from one system to another but can no 
> longer do that.  For example:  I have a 2 page document that needs to have 2 
> extra measures from page 3.  Used to be I could use my up/down arrows after 
> highlighting the offending measures, and Finale would move the extra measures 
> back onto page 2.  But it doesn’t work today.  What have I missed?
> 
> 
> Thanks,
> 
> Larry Eden
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Re: [Finale] Multi-part staves in large scores (Fin 25)

2019-03-04 Thread Christopher Smith
Hi Doug,

Your method of single instruments to create the score, then combining them 
afterward, is what I do generally.

To solve the doubled expression/articulation problem (which of course is WAY 
worse in V26 with stacked articulations!) I set the filter to copy only 
expressions and articulations, and copy over from one of the source staves. 
It’s a pain,  and it is far from perfect, but it’s what I do.

Christopher


> On Mar 3, 2019, at 11:51 PM, Doug Walter  wrote:
> 
> I know the topic of trying to use voiced parts (all but useless to me as it 
> stands) has been covered and I’ve tried all the workarounds at various times 
> and know the issues, so I’m not asking about that. The TGTools plug-in “Smart 
> Explosion of multi-part staves…” often yields better results, but it’s still 
> not the close-to-100% solution I’m looking for. I’ve also had some success 
> with the JW Staff Polyphony plug-in. To be clear, this is not just to make 
> the score look good; I want to retain the convenience of linked parts so I 
> don’t have to go back to extracting individual parts, etc.
> 
> So after years of trying every method I can think of, I thought I’d approach 
> it from the other direction this time in an orchestral score I’m working on. 
> This time I set the score up with each woodwind and brass instrument on its 
> own line, which of course would necessitate the use of a microscope to read 
> the score even on 11 x 17 paper at the reduction necessary to fit all the 
> staves on each page. But my hope is that by using the JW Staff Polyphony 
> plug-in to combine 2 staves into 1 where possible (Flute 1/2, Clarinet 1/2, 
> etc.) and then hiding the staves with individual parts in the score, it might 
> be less tedious. It seems to be promising, but I still end up with double 
> sets of expressions - dynamics, for instance.
> 
> I can make all this work one way or another and have many times, but I’m 
> writing in case there is a plug-in I haven’t yet explored out there, or in 
> case someone knows a way to set the ones I’m using to yield results that 
> don’t require as much “clean-up” afterwards. BTW, the “old way” - creating 
> 2-part staves and exploding them later - has been tried both with and without 
> using separate layers, and I’ve discovered some of those pitfalls as well.
> 
> Thanks for any approaches I may not have thought of,
> 
> Doug
> 
> 
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Re: [Finale] Key signature question

2019-02-26 Thread Christopher Smith
Document Options>Key Signatures>cancel outgoing key signature UNchecked.

Christopher

> On Feb 26, 2019, at 8:21 AM, Barbara Touburg  wrote:
> 
> Key signature 3 flats.
> At the end od the system, I need to show a "new" key signature of 4 flats.
> At the beginning of the next system, I need to *only* show 3 sharps, without 
> cancelling the previous 4 flats.
> How do I achieve this?
> Thanks!
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Re: [Finale] Metatools

2019-02-12 Thread Christopher Smith
Those are the default metatools. In the Selection Tool, 
6 down a step
7 up a step
8 down an octave
9 up an octave

Also useful:
5 beat spacing
4 music spacing
3 elapsed time
2 explode
1 implode

https://usermanuals.finalemusic.com/FinaleMac/Content/Finale/ht-metatools.htm?Highlight=metatools
 


Christopher


> On Feb 12, 2019, at 7:11 AM, Lawrence David Eden  wrote:
> 
> Finale 25.5 Mac OS Mojave
> 
> Where are the transposition meta tools stored?  I used to hit “7” to 
> transpose a measure down and octave, and “8” to transpose up an octave.  
> Right now, Finale is transposing up a whole step when I hit “7” and down an 
> octave when I hit “8.”  
> 
> Thanks in advance,
> 
> Larry Eden
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Re: [Finale] Hairpins

2019-02-02 Thread Christopher Smith
I like to set the filter to copy only beat-attached smart shapes, and copy them 
from staff to staff vertically. This works horizontally as well, but only if 
they are supposed to be the same length.

TG Tools has a function to align dynamics and hairpins horizontally. Many 
people use it extensively.

Christopher

> On Feb 2, 2019, at 10:48 AM, Martin Nickless  wrote:
> 
> 
> Hi there could I ask a simple question 
> “ how do you enter many hair pins into finale 
> Eg on every staff 
> And is there a metatool that can do this 
> And finally his can I ensure they will all be in line 
> Thanks very much 
> Martin
> Sent from my iPhone
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Re: [Finale] Sale: Dorico Pro 2 and Dorico Elements 2

2019-01-28 Thread Christopher Smith
Steve,

Thanks for the info. Are you saying that Dorico handles two instruments per 
score staff, but with individual parts separated, including cues and solos, 
very well? (I find this is a weakness in Finale).

Christopher


> On Jan 28, 2019, at 8:31 AM, Steve Parker  wrote:
> 
> I’m now using Dorico for all new projects. Dorico’s ability to have distinct 
> pieces in one file (‘flows’) that can be reordered saves so much time. For 
> each layout, these can be set to continue on the same page or to start a new 
> page, both with header information. Dorico handles cue superbly. The lengths 
> of these can be dragged to extend or reduce, all correctly labelled. Dorico 
> handles doubling players well, with automatic labelling. Dorico is also 
> strong for percussion writing. You can easily switch from a combined set to 
> individual instruments, because the underlying music representation is 
> distinct from the form of it on the page.
> 
> Dorico has some annoyances. IMO more engraving decisions should 
> auto-propagate to parts. This is easily dealt with, but can catch you out. 
> Sometimes cutting ties is the quickest method to enter dynamics etc. This 
> ‘reversing’ always feels uncomfortable. Undo/redo includes every selection 
> and click that you make. I hate this, but it does make me careful to think 
> things through rather than to do and undo. Dorico jumps around more than I 
> understand to focus the screen on something I don’t want to see (or worse I 
> don’t immediately know where I am). Conversely, I can’t reliably find a way 
> to link focus between score and parts.
> 
> My biggest hassle in Dorico is its inability to set bars-per-system over a 
> specified range of bars. You can do this one system at a time, but it’s 
> annoying that something so simple in Finale takes longer in Dorico. However, 
> Dorico’s first guess at system layout is far better than Finale’s.
> 
> On the whole, Dorico’s downsides lose me minutes, but its upsides gain me 
> days.
> 
> Steve Parker
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Re: [Finale] Parts

2019-01-19 Thread Christopher Smith
Hey, you don’t even have to edit the part before you print it (though it is 
highly recommended). Often there are collisions and bad system breaks that need 
correction in raw parts.

As of Finale 2007, we have linked parts, which is to say all the parts reside 
in the same file as the score. The previous method of making parts from a score 
involved “extracting”, which was creating completely different files, each with 
just a single instrument staff in it. Linked parts are automatically created in 
>2007 files from the Setup Wizard with no extra input from you, so if you ever 
open up an older file, you will have to Create the parts.

You can still extract the part if you need to, though I jump through hoops to 
avoid that. Linked parts are SO much better. Typically, I will extract a part 
if something needs to be radically different from the score, or if I ever have 
grace notes in a two-instrument staff (which is a stupid, stupid bug that is 
now TWELVE years old!)

When you hit Print, you have a dialogue box with the score and all the linked 
parts in it, so you select what you want to print. You don’t have to be in the 
part.

Christopher

> On Jan 19, 2019, at 7:04 AM, Lawrence David Eden  wrote:
> 
> Greetings,
> 
> Fin Mac 25.5.0.259
> 
> What is the difference between:  EDIT Parts   and EXTRACT Parts
> 
> Do I have to EXTRACT parts before printing, or can I PRINT parts directly 
> from EDIT parts?
> 
> Thanks for the lesson,
> 
> Larry Eden
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Re: [Finale] COPIED SEGMENTS GET TRANSPOSED!

2019-01-18 Thread Christopher Smith
Under Preferences>Edit uncheck “respect instrument ranges when copying” and 
leave it unchecked. 

This is the stupidest thing MakeMusic ever added as a “feature”. I can’t 
imagine anyone wanting this on, ever.

Christopher


> On Fri Jan 18, at FridayJan 18 1:26 PM, j...@thomastudios.com wrote:
> 
> I am on a Mac, but the first thing you may want to check in SM is the 
> settings for the clef.  I have encountered this numerous times with 
> Contrabass, etc.  And it happens no matter what the transposition is.  Worth 
> a quick look.
> 
> ***
> J D Thomas
> ThomaStudios
> 
> 
> 
>> On Jan 18, 2019, at 10:06 AM, dr.a.s. weinstangel  wrote:
>> 
>> Dear all;
>> 
>> Fin2601.0.1.655 Win10
>> 
>> I have created the string parts first and am now copy/pasting them into the 
>> blank score. Some segments end up transposed an octave down! "Out of range 
>> notes" are OFF, Score Manager shows transposition set to none, nothing 
>> unusual in the staff attributes etc. Any ideas?
>> 
>> Dr.A.S.Weinstangel
>> 
>> sasha.weinstan...@utoronto.ca
>> cel.647-292-4605
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Re: [Finale] Defining for a 'Set' of Notes

2018-12-14 Thread Christopher Smith
In music theory, the complete set of pitches used is called… (wait for it!)…

a set.

Yup, that’s the official music theory jargon term. Sometimes when other items 
are involved, you have to specify “pitch set”, but that’s all it is.

Christopher


> On Dec 14, 2018, at 4:50 AM, Giovanni Andreani  
> wrote:
> 
> If possible, this question is for those fond of the theoretical aspect of 
> music. Not merely related to Finale, although I thought that this list’s 
> opinion could favour some remarkable responses.
> How would you define, in a generic way, a set of notes to be used for 
> composing a melody? For example, how could  C,D,E,G,A - forming a pentatonic 
> scale - or C,D,E,F,G - forming a major pentachord - or A#,B,C - forming a 
> cromatic trichord - be commonly defined ? I can’t find a satisfying 
> definition: 'melodic structure’ implies aspects more related to the 
> architechture of the composition, ‘series' implies a set of sounds to be 
> taken in a particular order. “Ah! vous dirai-je, maman” is composed using the 
> first six notes of a major scale, thus forming an hexachord, but how would it 
> generally be defined?
> 
> Giovanni
> 
> 
> 
> 
> Giovanni Andreani
> 
> www.giovanniandreani.com
> www.ga-music.com
> 
> 
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Re: [Finale] Positions of accents

2018-12-12 Thread Christopher Smith
Oh sorry!

I misread your question. 

To have accents appear always ABOVE notes, rather than automatic placement, you 
would have to edit the default placement. Get to the Edit Articulation window 
(select an articulation in your score and hit Enter) and for default placement 
select Above. Done. 

If you only want this on some accents, not all of them, then duplicate the 
existing accent and change its default placement. Then use that one when you 
want it above, and the supplied accent when you want it placed using the 
default placement. I’m not sure why you want to do this, as the Finale default 
has the accents defined to be right in most cases. Files from old versions may 
not be as sophisticated.

If you have already manually moved accents, you will probably want to clear all 
their manual edits. This can be done in Utilities>Change>Articulations, the 
default is add zero to the default placement, which will make everything 
position according to its definition.

Christopher


> On Dec 12, 2018, at 10:25 PM, Martin Nickless  wrote:
> 
> Thanks will do
> Will the accents be above the note
> Best
> Martin
> 
> Sent from my iPhone
> 
>> On 13 Dec 2018, at 03:06, Christopher Smith  
>> wrote:
>> 
>> Martin,
>> 
>> That sounds really weird. I would write in to tech support, and include the 
>> file and a PDF that shows the problem.
>> 
>> For entering accents, in the default file supplied with Finale, there is a 
>> metatool assigned to the accent. Hold down the A key while in the 
>> articulation tool, and every note you click will get an accent. Or drag 
>> across a whole passage while holding down the A, and every note inside the 
>> dragged area will get an accent.
>> 
>> S is staccato.
>> 
>> V is marcato. 
>> 
>> There are others.
>> 
>> Christopher
>> 
>> 
>>> On Dec 12, 2018, at 9:37 PM, Martin Nickless  wrote:
>>> 
>>> Hi may I ask a question regarding accents  I use finale  25 on Windows 10
>>> On my score  my accents like neat and ok .However 
>>> When I print out the parts
>>> The accents are way too high above the notes
>>> Also when I enter accents how can I make it so that the accents  appear 
>>> automatically above all notes
>>> Thanks for any advice
>>> Martin
>>> 
>>> 
>>> Sent from my iPhone
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Re: [Finale] Positions of accents

2018-12-12 Thread Christopher Smith
Martin,

That sounds really weird. I would write in to tech support, and include the 
file and a PDF that shows the problem.

For entering accents, in the default file supplied with Finale, there is a 
metatool assigned to the accent. Hold down the A key while in the articulation 
tool, and every note you click will get an accent. Or drag across a whole 
passage while holding down the A, and every note inside the dragged area will 
get an accent.

S is staccato.

V is marcato. 

There are others.

Christopher


> On Dec 12, 2018, at 9:37 PM, Martin Nickless  wrote:
> 
> Hi may I ask a question regarding accents  I use finale  25 on Windows 10
> On my score  my accents like neat and ok .However 
> When I print out the parts
> The accents are way too high above the notes
> Also when I enter accents how can I make it so that the accents  appear 
> automatically above all notes
> Thanks for any advice
> Martin
> 
> 
> Sent from my iPhone
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Re: [Finale] OSSIA BARS

2018-12-12 Thread Christopher Smith
I would never touch the Ossia tool. It is a holdover from an earlier version of 
the Matrix, and is very difficult to kill.

A better way is to add another staff to your part, resize it if you want to, 
and use the Force Hide and Collapse staff style on it everywhere that you don’t 
need it. At this this method works consistently in a foreseeable fashion, 
unlike the Ossia Tool.

Christopher


> On Wed Dec 12, at WednesdayDec 12 2:58 PM, dr.a.s. weinstangel 
>  wrote:
> 
> Fin26. Win10.
> 
> In a string quartet there are occasional two and three bar segments with both 
> left hand pizz. and arco stuff mixed together and written with stems up and 
> down – rather difficult to read.
> 
> I have tried to separate the two, placing the pizz. layer into the ossia 
> bars. It copies everything from the “source” bar. Is it possible to have 
> different materials in the ossia bar? Also, is it possible to create 2 and 
> 3-bar long ossias? Is there a better way to accomplish this?
> 
> Thank you for your help!
> 
> Dr.A.S.Weinstangel
> 
> sasha.weinstan...@utoronto.ca
> cel.647-292-4605
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Re: [Finale] Automatically Removing Tuplet Numbers

2018-12-06 Thread Christopher Smith
I’m pretty sure the Utilities>Change>Tuplets function will do this.

Christopher 

> On Dec 6, 2018, at 5:48 AM, Giovanni Andreani  
> wrote:
> 
> I’ve received a score with zillions of triplets for which the tuplet number 
> needs to be removed. Is there a plugin able to do the job? Really not looking 
> forward to removing them manually…
> 
> Giovanni
> 
> 
> 
> 
> 
> Giovanni Andreani
> 
> www.giovanniandreani.com
> www.ga-music.com
> 
> 
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Re: [Finale] Finale 26 bug

2018-10-13 Thread Christopher Smith
Hi Chuck,

Is there a multimeasure rest inside the ending? A bug that has been present for 
quite a while is lack of access to ending brackets whenever there is a 
multimeasure rest in the ending. If not, then this is new.

I don’t have Fin 26 yet. I’m in the middle of a project, and know better than 
to try to upgrade in the middle.

Christopher

> On Oct 13, 2018, at 1:25 PM, Chuck Israels  wrote:
> 
> Hi All,
> 
> Please confirm: try to lasso repeat ending brackets and text in a part in 
> order to nudge them up or down. My experience — nudged once and then lost its 
> grip. Lassoed again — same thing. Once more and it wouldn’t highlight the 
> handles at all.
> 
> This is an annoyance, but more importantly, I was suckered in to an expensive 
> upgrade for little benefit.
> 
> Chuck
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Re: [Finale] Finale 26 -- Opinions?

2018-10-13 Thread Christopher Smith
The only thing missing from this would be the metatool assignments, which would 
be present in the included templates. I don’t care for the included templates, 
though, so I would manually assign the metatools after following Eric’s advice.

Christopher

> On Oct 13, 2018, at 11:27 AM, Eric Dannewitz  wrote:
> 
> Have windows install the fonts 
> 
> Move libraries to your libraries folder
> 
> Start new doc.
> 
> Load libraries 
> 
> Enjoy
> 
> Sent from my iSomething
> --
> 
> 
>> On Oct 13, 2018, at 1:04 AM, Martin Nickless  wrote:
>> 
>> Hi to all
>> Does anybody have any help they could give me on setting up the Bill Duncan 
>> Fonts etc
>> I purchased it and was able to download the files but that’s where it ends I 
>> did contact them but they didn’t know either!!
>> if anybody is familiar with the process that would  be  fantastic 
>> I’m on finale 25 using Windows 10 very best and thanks again Martin
>> 
>> Sent from my iPhone
>> 
>>> On 13 Oct 2018, at 04:32, Girard Bowe  wrote:
>>> 
>>> Thanks, Chuck - you're right. There are some problems with the Jazz 
>>> articulations, too. The tenuto has a blob on it, the staccato doesn’t space 
>>> properly, and the fermata is just plain ugly.
>>> 
>>> 
>>> 
>>> I should have spent that $150 on the Bill Duncan set instead of Finale 26.
>>> 
>>> 
>>> 
>>> Best regards,
>>> 
>>> 
>>> 
>>> Giz 
>>> 
>>> 
>>> 
>>> -Original Message-
>>> From: Finale [mailto:finale-boun...@shsu.edu] On Behalf Of Cisraels
>>> Sent: Thursday, October 11, 2018 6:21 PM
>>> To: Finale 
>>> Subject: Re: [Finale] Finale 26 -- Opinions?
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> I think you’d want the articulation font as well.   
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> There are jazz articulations that look appropriate with Maestro. Using Jazz 
>>> font articulations with Maestro looks awful and that discrepancy was why 
>>> Bill made the articulations (for Greg Hamilton and me).   
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> There’s lots in the package Nick sells you don’t normally need,but I’d be 
>>> unhappy to lose the things mentioned above and the use of the chord font 
>>> for slashes and rhythmic notation.   
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> Jazz charts look much better with them.   
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> Chuck   
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> Chuck Israels
>>> 
>>>  cisra...@comcast.net ( 
>>>  mailto:cisra...@comcast.net)
>>> 
>>> (360) 201-3434 (  tel:(360)%20201-3434)
>>> 
>>> 
>>> 
>>> 8831 SE 12th Ave.
>>> 
>>> Portland OR 97202
>>> 
>>> 
>>> 
>>>  
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
 
>>> 
> On Oct 11, 2018 at 11:26 AM,    mailto:girard.b...@verizon.net)>  wrote:
 
 
>>> 
 
>>> 
 
>>> 
 
>>> 
 I've considered doing just that, but unfortunately, the Bill Duncan fonts 
 are part of an expensive package. All I would really want is the chord 
 library. That doesn't seem to be an option on the NPC site.
>>> 
 
>>> 
 Giz
>>> 
 
>>> 
 -Original Message-
>>> 
 From: Finale [  
 mailto:finale-boun...@shsu.edu] On Behalf Of Eric Dannewitz
>>> 
 Sent: Thursday, October 11, 2018 1:56 PM
>>> 
 To:   finale@shsu.edu
>>> 
 Subject: Re: [Finale] Finale 26 -- Opinions?
>>> 
 
>>> 
 Jazz Font is a terrible font. You should switch to Bill Duncan’s 
 articulation font and use Maestro.  
>>> 
 
>>> 
 ___
>>> 
 Finale mailing list
>>> 
  Finale@shsu.edu
>>> 
  
 https://lists.shsu.edu/mailman/listinfo/finale
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>>> 
 To unsubscribe from finale send a message to:
>>> 
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>>>  
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>>> 
>>> 
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Re: [Finale] orch score part naming

2018-09-29 Thread Christopher Smith
Hi David,

There are three common solutions.

One is to have a separate file for the score, and then one other file for all 
the parts. Categories for expressions can be edited to change the sizes without 
having to edit each expression separately. Two separate files also simplifies 
other things like cues.

Second is to have TWO expressions, then hide one in the score and the other in 
all the parts. This can be done quickly in a couple of key presses if you know 
what you’re doing (read the section about the override key for the Show 
function carefully, it’s very powerful); again there is no need to go to EACH 
part separately.

Third (this is what I generally do) is to set the fonts to FIXED sizes. 
Typically, because of all the various fonts and sizes used in each expression, 
I create a tempo expression, select the whole thing in the Edit window, hit 
cmd-sh left arrow twice (to reduce the size of each character by two points) 
and then click Fixed for font size. This will make a 14 point text only 12 
points fixed, but in a part reduced at 85% it is very close to what the 14 pt 
text would be. In the score it will be 12 point fixed as I set it, which makes 
it large enough to be seen no matter what the system reduction is. It is a 
little quick-and-dirty, but it works fine.

Christopher


> On Sep 29, 2018, at 3:58 PM, David Froom  wrote:
> 
> Hi Robert, and thanks. Found this in the parts creation section.
> 
> Last question about this: do you (or does anyone) know if it is possible yet 
> to have tempo marks in different sizes in score and parts? In large ensemble 
> scores, small size tempi look silly in the score, while large size tempi look 
> silly in the parts.
> 
> Thanks,
> David
> 
> Robert Patterson wrote:
>> 
>> Part names are not in any way tied to staff names. You can name the staves
>> and/or groups one thing and the parts another.
>> 
>> On Fri, Sep 28, 2018 at 1:32 PM, David Froom  wrote:
>> 
>>> Hello all,
>>> 
>>> I suddenly (Finale 25, Mac) am stumped with having score staff names
>>> appear as numbers with a single group name, for example:
>>> 
>>>   1
>>> Flute
>>>   2
>>> 
>>> I can do this by making the group name show, removing flute and fl from
>>> the staff names (leaving them blank), and turning on automatic numbering in
>>> the score manager. However, this messes up the parts.
>>> 
>>> How do I have the score show as above, and then have the part names show
>>> as
>>> 
>>> Flute 1
>>> and
>>> Flute 2
>>> 
>>> 
>>> Thanks in advance,
>>> David Froom
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>> 
>> 
>> --
>> 
>> Subject: Digest Footer
>> 
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>> End of Finale Digest, Vol 182, Issue 11
>> ***
> 
> 
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Re: [Finale] Finale 2006-2012-2014 for Windows - Chord suffix selection - options buttons not present

2018-09-19 Thread Christopher Smith
I know what’s going on.

There are TWO different dialogue boxes called “Chord Suffix Selection”. One has 
the edit and create buttons; the other doesn’t. This IS a stupid thing, because 
I often want the create buttons when the one that lacks them is open, and I’ve 
complained about this for about a decade, but they aren’t interested in 
changing it.

To get to the one that HAS the edit buttons, enter a chord in your score, any 
chord. 

Make sure it’s selected in the Chord Tool (drag around it if you can’t see the 
tiny little handle) and hit Enter. The Chord Definition dialogue box opens. 

Click the button Show Advanced in the top right (if it isn’t already clicked) 
to open up more options (Finale will remember this setting so you don’t have to 
click it every time).

Almost at the very bottom, click Suffix ID> Select.

NOW you get the right dialogue box!

Once you are done, please open up a tech support ticket at MakeMusic to 
complain about this, because they will change it if they get enough complaints.

Christopher



> On Sep 19, 2018, at 8:27 AM, marcellon...@gmail.com wrote:
> 
> Hi to all
> 
> I never had the need to modify the chord library I used (Jazzfont or 
> Handwritten) but now
> I would want to group all the suffixes I use mostly one near the other.
> Well, the buttons from "edit" to "create" that are mentioned in the User 
> Manual aren't
> there in the Chord Suffix Selection window.
> Only zoom "-" and "+", "Select", "Cancel" and "Help"
> This happens on 2006, 2012 and 2014 versions I have installed.
> Please help.
> Thanks
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Re: [Finale] Missing Fonts

2018-09-12 Thread Christopher Smith
You can run the Font Utilities command (Check document fonts against system 
fonts, or something like that) and get each one by name.

Christopher

> On Sep 12, 2018, at 7:50 AM, Lawrence David Eden  wrote:
> 
> Dear Listers,
> 
> Finale 25 Mac
> 
> I recently asked about having missing fonts in a few of my arrangements that 
> were created with an earlier version of Finale.  The missing fonts cause some 
> of my text blocks to appear as squares with question marks in the center.  
> 
> How do I fix this issue, given that I don’t know which font is missing?
> 
> Thanks,
> 
> Larry Eden
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Re: [Finale] TRANSPOSITION CHANGE WITHIN THE PART

2018-09-05 Thread Christopher Smith
I don’t remember whether Finale 2012 has the new Change Instrument feature or 
not. If it does, select the passage and go to the Utilities menu. If the last 
item is Change Instrument, you’re in. Choose Alto Flute, and the transposition, 
playback, and abbreviated staff name in the score will all change for you 
automatically. 

If you only choose one measure, then the entire staff changes from that measure 
to the end of the document.

This is a very useful feature. No more need to screw around with independent 
key signatures and staff styles for transposition and the like. Whew.

Christopher


> On Wed Sep 5, at WednesdaySep 5 10:36 AM, dr.a.s. weinstangel 
>  wrote:
> 
> Dear colleagues;
> 
> 
> Picc. changes to alto flute in G.
> 
> 
> Win10 Fin2012c. Is it possible to get the correctly transposed playback?
> 
> 
> TIA.
> 
> 
> Dr.A.S.Weinstangel
> 
> sasha.weinstan...@utoronto.ca
> cel.647-292-4605
> 
> 
> 
> 
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Re: [Finale] Text blocks not taking flat symbol

2018-08-20 Thread Christopher Smith
Hi Chuck,

Ah, Andy and Francine have signed a treaty! Good to know. I love that guy.

About the pickup bar, yes turning that on screws with a whole host of things 
that rely on measure numbers, including clef changes. I never use the “pickup 
measure” option because of bugginess, preferring to do it the old-fashioned way 
by changing the first measure into a measure of 1/4 (or 2/4, or whatever is 
needed) with “display as…” enabled, and adjust the measure numbering to start 
in measure 2. “Do not include in measure numbering” is another trap that messes 
up things like the pickup bar option does, so I only use it when there is NO 
OTHER way to accomplish something.

Best,

Christopher


> On Aug 20, 2018, at 12:24 PM, Chuck Israels  wrote:
> 
> Hi Christopher,
> 
> A couple of weeks ago, Margot and I spent two days visiting Andy and Francine 
> Homzy in their home on Protection Island — a 10 minute ferry ride from 
> Nanaimo, 400 homes in the woods, no cars, no stores - but city sewage, water 
> and electricity. don’t think I want to live there, but their home is lovely, 
> and it is peaceful. They love being there.
> 
> If you have moment to check something for me, I’ve discovered what I think is 
> a bug in Finale, and I’m not sure if turns up everywhere, or only in some 
> files. If you have a document with a pickup measure (in my case, an 8th note 
> pickup), the election tool gets confuse by that when attempting to place clef 
> changes. Removing the pickup removes the confusion and clefs can be correctly 
> placed. Replacing the pickup measure after placing the clef changes doesn’t 
> disturb them.
> 
> Thanks — Margot and I send our fond regards,
> 
> Chuck
> 
> 
> 
>> On Aug 20, 2018, at 5:25 AM, Christopher Smith 
>>  wrote:
>> 
>> Hi Chuck,
>> 
>> Thanks for the test.
>> 
>> As it turned out, there was more to the story. All the text in the box had a 
>> blue highlighting, as if it was ALL a text insert (it wasn’t!). I could add 
>> a flat, but only AFTER the blue-highlighted text, not in the middle of it. 
>> This seems to be the case with text inserts, that they CAN be edited in the 
>> text box (rather than in the source dialogue box) but sharps and flats can’t 
>> be inserted. I don’t know how Finale came to think of this text as an 
>> insert, though.
>> 
>> I solved it by creating a new text box and re-typing all the information.
>> 
>> Thanks again.
>> 
>> Christopher
>> 
>> 
>>> On Aug 19, 2018, at 7:58 PM, Chuck Israels  wrote:
>>> 
>>> I finally get to help you! I just tried this, and it works correctly for 
>>> me, so it’s likely to be something within the file.
>>> 
>>> Fond regards,
>>> 
>>> Chuck
>>> 
>>>> On Aug 19, 2018, at 4:55 PM, Christopher Smith 
>>>>  wrote:
>>>> 
>>>> Finale V. 25, Mac High Sierra
>>>> 
>>>> I need to create a text block with the instrumentation, and I can’t get 
>>>> the flat symbol to appear, as in “Trumpet in Bb". Cmd-sh-F is supposed to 
>>>> do it, but no go, it gives me a lower case b. Copying and pasting from 
>>>> another place in the file also gives me a lower-case b. Is this a bug in 
>>>> FinMac V.25? Any tactics? My font is Times New Roman, the one that came 
>>>> pre-installed on almost every computer I’ve owned.
>>>> 
>>>> The document is one sent to me from another user, if that makes a 
>>>> difference.
>>>> 
>>>> Christopher
>>>> 
>>>> 
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Re: [Finale] Text blocks not taking flat symbol

2018-08-20 Thread Christopher Smith
Hi Chuck,

Thanks for the test.

As it turned out, there was more to the story. All the text in the box had a 
blue highlighting, as if it was ALL a text insert (it wasn’t!). I could add a 
flat, but only AFTER the blue-highlighted text, not in the middle of it. This 
seems to be the case with text inserts, that they CAN be edited in the text box 
(rather than in the source dialogue box) but sharps and flats can’t be 
inserted. I don’t know how Finale came to think of this text as an insert, 
though.

I solved it by creating a new text box and re-typing all the information.

Thanks again.

Christopher


> On Aug 19, 2018, at 7:58 PM, Chuck Israels  wrote:
> 
> I finally get to help you! I just tried this, and it works correctly for me, 
> so it’s likely to be something within the file.
> 
> Fond regards,
> 
> Chuck
> 
>> On Aug 19, 2018, at 4:55 PM, Christopher Smith 
>>  wrote:
>> 
>> Finale V. 25, Mac High Sierra
>> 
>> I need to create a text block with the instrumentation, and I can’t get the 
>> flat symbol to appear, as in “Trumpet in Bb". Cmd-sh-F is supposed to do it, 
>> but no go, it gives me a lower case b. Copying and pasting from another 
>> place in the file also gives me a lower-case b. Is this a bug in FinMac 
>> V.25? Any tactics? My font is Times New Roman, the one that came 
>> pre-installed on almost every computer I’ve owned.
>> 
>> The document is one sent to me from another user, if that makes a difference.
>> 
>> Christopher
>> 
>> 
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Re: [Finale] Big band drum parts

2018-08-19 Thread Christopher Smith
That seems right.

I reserve layer 3 for cues above the staff, and I set Layer Options so that 
Layer 3 is always stems up, ties up, and rests are displaced by 6 steps. I make 
sure the option is selected that this happens even when the other layers are 
empty.

I reserve layer 4 for cues below the staff, Layer Options stems down for Layer 
4, ties down, and rests displaced by negative 6 steps.

Layer 2 I use in choral parts and keyboard parts and stems down on drum parts 
(not to mention paired instruments on staves) so I don’t want that for cues.

You have to edit the Slash Notation staff style so that under Alternate 
Notation you edit it to show items in other layers. Otherwise, out of the box, 
Finale will NOT show anything else. I also add articulations and expressions in 
other layers to be displayed, because those things need to show, even in the 
drum part. 

I also like to Show Active Layer while in Layer 3, select the entire drum 
staff, and Change Note Size to 75%. I do this only once the whole drum part is 
done. Some people like the drum cues to be full-sized, but I find it gets 
crowded at 100%. Repeat for Layer 4.

Hope this helps.

Christopher


> On Aug 19, 2018, at 8:50 PM, Martin Nickless  wrote:
> 
> 
> Hi there can any one writing big band charts please help me with my  drum 
> parts 
> I have searched all over finale manuals but with no luck
> I want to write small cue  size notes above the top staff and small cue size 
> notes just below the staff 
> With slash notation in the middle 
> If someone could bullet point the process I would be extremely grateful kind 
> regards Martin
> 
> Sent from my iPhone
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[Finale] Text blocks not taking flat symbol

2018-08-19 Thread Christopher Smith
Finale V. 25, Mac High Sierra

I need to create a text block with the instrumentation, and I can’t get the 
flat symbol to appear, as in “Trumpet in Bb". Cmd-sh-F is supposed to do it, 
but no go, it gives me a lower case b. Copying and pasting from another place 
in the file also gives me a lower-case b. Is this a bug in FinMac V.25? Any 
tactics? My font is Times New Roman, the one that came pre-installed on almost 
every computer I’ve owned.

The document is one sent to me from another user, if that makes a difference.

Christopher


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Re: [Finale] Polychord Symbol

2018-08-10 Thread Christopher Smith
Yes, that is a bug… darn it, I mean a lack of function.

There are a number of kludges to deal with this.

My favourite is to enter F over Ab without the 7. Then enter ON THE SAME BEAT 
enter an Ab7, and at 400% zoom, carefully drag it into position over the 
existing Ab. This may seem odd, but it will perfectly match all the other poly 
chords in your piece, and will play back properly, too (I turn off chord 
playback myself, since I can’t stand the ham-fisted way Finale plays them back, 
but this is important to some people).

Some other people enter F over Ab and add the 7 as an expression. Some others 
enter F and Ab7 separately on the same beat, drag them into position and add 
the line as an expression. Others enter Ab7 and enter both the F and the line 
as expressions. Too fiddly and too much to screw up in those versions for me, 
but you might find them useful.

Christopher


> On Aug 10, 2018, at 1:28 PM, William Huber  wrote:
> 
> Dear All,
> 
> I need to enter a polychord symbol into a score and parts. The polychord is 
> an F over an Ab7. I want to show the polychord with the F directly over the 
> Ab7 with a horizontal line between them. (I use a slash mark to depict chords 
> with an alternate bass note.)
> 
> I am using manual input for the chord symbols, typing in the following: 
> “F_Ab7”.  But when I move to the next chord, Finale removes the “7” so that 
> all I get is an “F/Ab”. My hope is to have just a chord symbol rather than a 
> chord symbol with a “7” added as either an expression or text file. I am 
> using Finale 2014.5 for this file, running Mac OS 10.11.6. 
> 
> All help is gratefully accepted.
> 
> With Thanks in advance,
> 
> Bill Huber
> Nashville, TN
> Finale List Digest Subscriber
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Re: [Finale] Band/wind ensemble questions

2018-08-08 Thread Christopher Smith
Unlike in orchestra scores these days, transposed is overwhelmingly the choice 
of concert band and wind ensemble composers and arrangers.

If you decide non-transposed, C score (rather than strict concert score) is 
suggested, otherwise your piccolo, string bass, xylophone, and glockenspiel 
parts will be littered with ledger lines or 8vb markings. I suggest the octave 
clefs in that case. I hate not knowing what octave is meant when I look at a 
score.

But I would vote for transposed.

Christopher


> On Wed Aug 8, at WednesdayAug 8 2:02 PM, David Froom  wrote:
> 
> Again, many thanks to Ryan Beard and Christopher Smith for all of the advice.
> 
> Very last question:
> 
> C score or transposed score? Again, coming from the orchestra world, I 
> learned from conductors who say that they want to see in front of them what 
> the players see — so when they ask about, for example, the Eb clarinet’s C# 
> in measure 74, they are asking about the written note C# that they and the 
> player sees, instead of having to translate from seeing a C-score E-nat (or 
> saying “concert E-nat”). So, all of my instincts and working methods tell me 
> that I should write a transposed score. But what do band directors want to 
> see?
> 
> Does this answer depend on the band? This is for a professional group, with 
> no expectation that it ever would be done by high school or amateur or 
> non-conservatory college bands.
> 
> Thanks again,
> David
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Re: [Finale] Band/wind ensemble questions

2018-08-07 Thread Christopher Smith
You should double up parts on the score. Since cues, grace notes, and the like 
screw up linked parts in that case, you should probably have a separate file 
for all the parts, each on its own staff. I prefer to work this way, and 
combine to make the score at the end. It makes copying from one part to another 
much easier.

Piccolo alone
Fl 1+2
Ob 1+2
Cl 1
Cl 2+3
etc., generally leaving the first part alone on a staff when there are odd 
numbers of instruments. 

I indicate “One player” when I want that. You can apply it to the Clar 2+3 
staff and it will attach to BOTH parts by default. You can reassign it if you 
only need it on one layer.

Go ahead and write three or four trumpet parts. That is doable and common 
(though, as I said, it is more common to mass the section with everyone 
available).

I often use 11x14 for scores. Taller seems to flap a bit on page turns. 11x15 
is fine too.

> On Aug 7, 2018, at 5:10 PM, David Froom  wrote:
> 
> Hi Christopher and Ryan,
> 
> Thank you both for amazingly helpful responses!!! 
> 
> This leads two more questions: 
> 
> Paper size: 
> If you are not removing any staves, this is pretty tiny! I printed out a test 
> page, and even with some of my tricks (thicker staff lines, bigger notehead 
> size), it seems small. I printed out a first page on 11x15 paper, which is 
> what my publisher recommends as largest standard (just a bit smaller than 
> European A3). I know that 12x18, largest my personal printer can handle, is 
> rather cumbersome on the stand. What paper size do you use and/or what do you 
> see when others give you band/w.e. scores?
> 
> Massed clarinets:
> If I decide to go with massed Bb clarinets (they are typically 5-4-4 on three 
> different parts), do I use solo/tutti as I would for string sections? How 
> otherwise would I indicate I really want just one of them at any particular 
> time? 
> 
> And some comments — please let me know if I’m going astray here:
> 
> 1) I am thinking of writing for all trumpets, no cornets. The conductor says 
> all cornets double trumpet, and my guess is that they all had trumpets as 
> their main instruments in grad school. That said, I won’t use all 8 of them 
> (their normal setup is 2-2-2 cornets plus 2 trumpets). I might use, instead, 
> 3 or 4. I am doing this because I DON’T have experience writing for cornets, 
> and so don’t have that sound in my head.
> 
> 2) The list I have of available players doesn’t say massed flutes, just picc, 
> then three flutes with two doubling the first part. I am leaning towards picc 
> plus just two flutes.
> 
> Thanks again!
> 
> David
> 
>> Christopher Smith  wrote:
>> 
>> Hi David,
>> 
>> I conduct a wind ensemble, and arrange for it.
>> 
>> 1. I?ve seen both, but the modern preference is for bassoons to go below the 
>> low clarinets.
>> 
>> 2. Again, I?ve seen both, but trumpets, horns, trombones is the way I see it 
>> most often. This is even more universal than the bassoon placement.
>> 
>> 3. The string bass is as you said. It only makes sense to put it at the very 
>> bottom if there is an actual string section. In this case, it?s a pairing 
>> with tuba.
>> 
>> I?m glad you have separate cornet and trumpet parts. I prefer that, 
>> especially with someone who can write for it and players with the correct 
>> instruments.
>> 
>> The doubled parts are for weight, so as to allow say Clarinet 1 to be heard 
>> as easily as Trumpet 1. I might be happy with one to a part in the trumpet 
>> section, but bands that work the way you outlined let the trumpets play 
>> warmly, so one player doesn?t HAVE to carry the weight by himself. Trumpets 
>> play much more often in concert band than in orchestra, so they can use the 
>> endurance help of playing more softly. The clarinets are the workhorses in a 
>> concert band, so the numbers you say are by no means outrageous. It?s nice 
>> to allow them to balance the sax section, or the trumpet section, by 
>> themselves, the same way that strings are massed in an orchestra.
>> 
>> Massed flutes are quite common, too. I?m surprised that a band of that size 
>> doesn?t have at least six flutes. But they are very often the high octave of 
>> some other part, so the way you said is not entirely out of line. 
>> 
>> Band or ?wind ensemble? doesn?t change the score order, but with ?wind 
>> ensemble? it may be more common to have suggested weights of sections, as 
>> you mentioned. Bands generally mass a lot of parts. This goes back to Sousa, 
>> who more-or-less came up with the woodwind-heavy doubling we see commonly 
>> today. You can specify ?one only? whenever you want. But I s

Re: [Finale] Band/wind ensemble questions

2018-08-06 Thread Christopher Smith
Hi David,

I conduct a wind ensemble, and arrange for it.

1. I’ve seen both, but the modern preference is for bassoons to go below the 
low clarinets.

2. Again, I’ve seen both, but trumpets, horns, trombones is the way I see it 
most often. This is even more universal than the bassoon placement.

3. The string bass is as you said. It only makes sense to put it at the very 
bottom if there is an actual string section. In this case, it’s a pairing with 
tuba.

I’m glad you have separate cornet and trumpet parts. I prefer that, especially 
with someone who can write for it and players with the correct instruments.

The doubled parts are for weight, so as to allow say Clarinet 1 to be heard as 
easily as Trumpet 1. I might be happy with one to a part in the trumpet 
section, but bands that work the way you outlined let the trumpets play warmly, 
so one player doesn’t HAVE to carry the weight by himself. Trumpets play much 
more often in concert band than in orchestra, so they can use the endurance 
help of playing more softly. The clarinets are the workhorses in a concert 
band, so the numbers you say are by no means outrageous. It’s nice to allow 
them to balance the sax section, or the trumpet section, by themselves, the 
same way that strings are massed in an orchestra.

Massed flutes are quite common, too. I’m surprised that a band of that size 
doesn’t have at least six flutes. But they are very often the high octave of 
some other part, so the way you said is not entirely out of line. 

Band or “wind ensemble” doesn’t change the score order, but with “wind 
ensemble” it may be more common to have suggested weights of sections, as you 
mentioned. Bands generally mass a lot of parts. This goes back to Sousa, who 
more-or-less came up with the woodwind-heavy doubling we see commonly today. 
You can specify “one only” whenever you want. But I suggest that loud passages 
use everyone available.

I don’t remove empty staves at all, unless it will save me score pages (say, 
for long passages where entire sections rest), so I agree with Gould. As a 
conductor, the placement on the page is an important indicator to me where I am 
pointing my cues, and my expectations. This isn’t Beethoven’s 5th, that 
everyone and his brother can conduct from memory, and is published in masses 
that need to save paper. Your piece is a new and presumably more complex piece 
that needs all the help you can muster, and not that much paper.

Hope this helps.

Christopher


> On Mon Aug 6, at MondayAug 6 1:01 PM, David Froom  wrote:
> 
> Hi all,
> 
> I’m really hoping to enlist someone who regularly writes for band to give me 
> some advice.
> 
> I’m writing this for a top notch, professional group. Some questions:
> 
> For score order, there seem to be some variations from orchestral standard. 
> But different sources say different things. Here are my questions:
> 
> 1) Some say bassoons go between Ob/Eng Horn and Clarinets. Others say they go 
> below clarinets. Which is more standard these days for professional bands?
> 
> 2) Some say the trumpets above the horns, others say this is changing these 
> days to standard orchestral (horns above trumpets because they often mingle 
> with the saxophones). Which is more standard these days for professional 
> bands?
> 
> 3) Double bass, I’m told, goes below the tuba, but above piano — then timp 
> plus percussion on the bottom. Is this standard these days for professional 
> bands? My orchestral instincts want it at the very bottom.
> 
> The group I’m writing for could be full band or wind ensemble (my choice), so 
> as many as Eb clarinet, 12 Bb clarinets (4 to each of three parts), 2-3 low 
> clarinets (bass, contra, alto), 6 cornets (2 to each of three parts) plus 2 
> trumpets — though any of the cornet players could play trumpet, picc trumpet, 
> or flugelhorn. Then 2 euphoniums, 3 tubas. 
> 
> I’m leaning towards asking for one to a part (clarinets as Eb, 2 Bb, alto cl, 
> bass cl); 3-6 trumpets, 1 euphonium, 1 tuba. Can anyone advise as to why I 
> should go with all the doubled parts? Thinking as someone coming from the 
> orchestra world, all those extra clarinets, trumpets, euphoniums/tubas seem 
> to be a strange and troublesome counterbalance to the rest of the group (pic, 
> 3 fl, 2 ob, eh, 2 bn, cbn, sax quartet, 4 horns, 3 trb, btrb).
> 
> And does band vs wind ensemble change any of the score order? 
> 
> Final question: According to Gould in "Behind Bars,” people do NOT remove 
> empty staves! She grants that timp/percussion can be removed from the page if 
> they aren’t playing, but everyone else stays, doesn’t have empty staves 
> removed from any of the pages. Is this really true!!!???
> 
> Thanks very much in advance!
> 
> David Froom
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Re: [Finale] FinMac 2014.5 CUES!

2018-07-25 Thread Christopher Smith
Hi David,

Short answer: no.

These are all valid problems with having the same parts and score file. It gets 
even worse if you ever have two instruments on the same score staff, but 
separated (voiced) linked parts. Cues break completely in that case, along with 
some other things. The amount of kludges involved in getting something simple, 
like a clef or whole rest, different from the score and parts is monumental. A 
graphic whole rest can be done with the default whole rest hidden, but that has 
to be hidden manually in the score. It all piles up.

I think having different score file and one other file for all the parts is by 
far the best solution. Frequent incremental backups are the solution to the 
overwrite bug. I incrementally change the number on the filename “Symphony 
001.musx” then Symphony 002.musx” etc.

Christopher


> On Jul 25, 2018, at 8:36 AM, David Froom  wrote:
> 
> Hello all,
> I’m hoping for some wisdom from the group.
> 
> I’ve been in the habit of having a score file separate from a parts file — 
> basically, to get the score looking great, then make a copy of it to make 
> parts so as not to have to deal with things that conflict. The downside is 
> that errors I discover in the parts aren’t fixed automatically — and I fear 
> having two files open, having been bitten by the “overwrite” bug!
> 
> I decided, however, in my current project, to try having just one file.
> 
> I am using TG Tools to create the cues. That puts the cue into layer 4 and a 
> forced whole rest (no matter the meter) into layer 1.  Then, in the score, I 
> apply the staff style called “Blank notation with rests: Layer 4.” 
> Conveniently, it is triggered with the keyboard shortcut “Q,” so I assume 
> this was created for use with cues.
> 
> I’ve run into two problems. One is if the cue has a different clef from the 
> prevailing part. So, in the staff style, I indicate that it should NOT show 
> the clef. That’s fine, except when, in the score, the staff style starts at 
> the beginning of the system. Then I lose the clef there. I can work around 
> this by putting in a graphic clef in the score and hiding it in the part. OK. 
> Is there a better solution?
> 
> Problem two is something for which I can’t find a work around. In the part, I 
> often need to move the cue’s layer 1 whole rest, as the default position is 
> sometimes too high — or above the staff when I’d prefer it below. However, 
> this moves it in the score! I can’t seem to unlink it. 
> 
> Can anyone who has mastered having score and parts in one combined file 
> please share some tips on how to do this? Is there a better staff style? Or a 
> better method?
> 
> Thanks in advance,
> David Froom
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Re: [Finale] Unusual Notation Question

2018-07-20 Thread Christopher Smith
I would have to agree. The forked stems mean all the notes sound at the same 
time (just like a chord), while the 6 underneath and the beams mean sextuplet 
tremolos. Must be a number of players on that staff.

Christopher

> On Fri Jul 20, at FridayJul 20 12:25 PM, SN jef chippewa 
>  wrote:
> 
> 
> top line sextuplet tremoli on clusters, others tied clusters, seems to me
> 
> -- 
> 
> neueweise -- fonts for new music (and traditional) notation
> http://newmusicnotation.com/fonts.html
> 
> shirling & neueweise  |  http://newmusicnotation.com
> new music notation  +  arts management  +  translation
> [FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise
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Re: [Finale] Dynamics placement

2018-06-15 Thread Christopher Smith
Yes! That might be a better solution than mine, unless you have a ilbrary with 
positions you’ve tweaked (which I do).

Christopher

> On Fri Jun 15, at FridayJun 15 11:12 AM, Don Hart  
> wrote:
> 
> When I've opened old files and encountered this situation I've had pretty
> good luck moving all the dynamics from the miscellaneous category to the
> dynamics category.  Make sure the dynamics positioning is what you want,
> and you may have to "reset to category" all the expressions you moved and
> possibly select those expressions in the score and hit "clear," which
> resets to default category positioning.
> 
> Good luck!
> 
> Don Hart
> 
> On Fri, Jun 15, 2018 at 9:01 AM, j...@thomastudios.com 
> wrote:
> 
>> Additionally, you could change the settings for the dynamics already in
>> the file without having to delete the old ones and reassign new ones.  But
>> it’s tedious; you have to edit each dynamic individually for its
>> positioning and set it where you prefer.  You may also have to tweak the
>> position in you file after doing this.
>> 
>> ***
>> J D Thomas
>> ThomaStudios
>> 
>> 
>> 
>>> On Jun 15, 2018, at 5:33 AM, Christopher Smith <
>> christopher.sm...@videotron.ca> wrote:
>>> 
>>> It sounds like you’re working on an old document, perhaps dating from
>> before automatic expression placements (that’s REALLY old!)
>>> 
>>> What I would do is load a library of dynamics that have the placements
>> set already (almost any modern document, for example). You will have to
>> remake all the metatools, though, if you want to use them.
>>> 
>>> If you want to replace the existing dynamics, do this.
>>> 
>>> Open up the Expression Selection dialogue box and delete the old
>> dynamics one at a time. Each time you get the message “This is in use, what
>> do you want to do?” you choose Replace and choose the new dynamic to
>> replace it. Repeat this for the whole list. Now all your dynamics in the
>> document will be the ones with automatic placement. You might have to
>> select them all and hit the Clear button to remove manual adjustments, but
>> from then on any new dynamics you enter will be right.
>>> 
>>> Christopher
>>> 
>>> 
>>>> On Jun 15, 2018, at 8:16 AM, Lawrence David Eden 
>> wrote:
>>>> 
>>>> Listers,
>>>> 
>>>> I am using Finale 25 on a Mac running OS 10.13.5.
>>>> 
>>>> My dynamics are being automatically  placed directly on the note head
>> instead of under.  How do I fix this?
>>>> 
>>>> Thanks,
>>>> 
>>>> Larry Eden
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Re: [Finale] Dynamics placement

2018-06-15 Thread Christopher Smith
It sounds like you’re working on an old document, perhaps dating from before 
automatic expression placements (that’s REALLY old!)

What I would do is load a library of dynamics that have the placements set 
already (almost any modern document, for example). You will have to remake all 
the metatools, though, if you want to use them.

If you want to replace the existing dynamics, do this.

Open up the Expression Selection dialogue box and delete the old dynamics one 
at a time. Each time you get the message “This is in use, what do you want to 
do?” you choose Replace and choose the new dynamic to replace it. Repeat this 
for the whole list. Now all your dynamics in the document will be the ones with 
automatic placement. You might have to select them all and hit the Clear button 
to remove manual adjustments, but from then on any new dynamics you enter will 
be right.

Christopher


> On Jun 15, 2018, at 8:16 AM, Lawrence David Eden  wrote:
> 
> Listers,
> 
> I am using Finale 25 on a Mac running OS 10.13.5.
> 
> My dynamics are being automatically  placed directly on the note head instead 
> of under.  How do I fix this?
> 
> Thanks,
> 
> Larry Eden
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Re: [Finale] OT: score order for a chamber group

2018-06-11 Thread Christopher Smith
Chamber music is most usually ordered high to low, with solo instrument or 
voice at the top, and piano at the bottom. So for this consort I would put it 
almost exactly as you wrote it (violin above clarinet, though):

voice
violin
clarinet
bass clarinet
cello

Christopher

> On Mon Jun 11, at MondayJun 11 3:17 PM, Michael Meyer  
> wrote:
> 
> Hoping for the (not-necessarily-Finale) knowledge of the list!
> 
> A student of mine wrote their end-of-year composition project for my Music
> Theory class for soprano accompanied by clarinet, violin, bass clarinet,
> and cello.
> 
> For a chamber group, what order would you put the instruments in? It seems
> weird to put them in strict orchestral order (which would put the soprano
> in the middle, and I would think she should be at the top).
> 
> Happy to hear opinions! Thanks!
> 
> — Mike
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Re: [Finale] Slur metatool

2018-06-11 Thread Christopher Smith
Oh yes, I forgot about the slur metatool. There is only a metatool to SELECT 
the slur, which is S. But as I mentioned, I leave the slur selected all the 
time, so I never use the metatool for that. You still have to double-click the 
first slurred note. If you release immediately, it creates a two-note slur. If 
you double-click and drag, you can create a three or more note slur. No 
shortcuts, I’m afraid.

Christopher


> On Jun 11, 2018, at 7:57 AM, martin nickless  wrote:
> 
> Thank you very much for your answer so may I ask
> What is the short  ccut to get to smart shapes (from speedy entry ) and
> then what is the metaltool to  press to add slurs quickly
> 
> Also I meant to ask in my question when in speedy entry what is the quick
> way to add a tie?  at the moment I’m having to press equals which is a bit
> clumsy thanks again Martin
> 
> On Mon, 11 Jun 2018 at 12:51, Christopher Smith <
> christopher.sm...@videotron.ca> wrote:
> 
>> Unfortunately, if you are in Speedy you have to change tools to get slurs
>> in. The Smart Shape tool remembers what item you have clicked on, so I
>> leave it selecting the slur, and use metatools for OTHER Smart Shapes (<
>> and > for cresc and dim, mostly.)
>> 
>> There are assignable metatools to select the TOOL, though! So you can
>> switch quickly to the Smart Shape Tool and switch back to Speedy without
>> having to move the mouse over to the toolbar, then again to switch back.
>> 
>> Christopher
>> 
>> 
>> 
>>> On Jun 11, 2018, at 7:26 AM, Martin Nickless 
>> wrote:
>>> 
>>> Hi there I know this is a basic question could someone tell me the best
>> way to enter slurs in finale 25 I use mostly speedentry
>>> I m on windows 10
>>> assume it would be via a metatool again if someone can explain how to
>> use the metatool
>>> That would be great thanks
>>> Martin
>>> Sent from my iPhone
>>> 
>>> 
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Re: [Finale] Slur metatool

2018-06-11 Thread Christopher Smith
You have to assign the shortcut to get to a tool. This answer is from Peter 
Thomsen.

"In the Mac version of Finale you can program eight tool metatools to the 
keyboard shortcuts {ctrl + one the the keys F - G - H - J - K - L - semicolon 
(;) - feet (')} 
(on the middle row of the alphabet keyboard). 

To program a tool metatool, hold down ctrl and alt, and press one of the eight 
keys F - G - H - J - K - L - semicolon (;) - feet ('). 

The dialog box Master Tool Palette appears, letting you choose the tool you 
want to assign to the key you pressed."

Me talking now. To add a tie in Speedy the = button is very close by on a 
full-sized keyboard on the number keypad. On a laptop you might find T to be 
easier to hit. It does the same thing, and is easy to remember (T = tie).

Christopher


> On Jun 11, 2018, at 7:57 AM, martin nickless  wrote:
> 
> Thank you very much for your answer so may I ask
> What is the short  ccut to get to smart shapes (from speedy entry ) and
> then what is the metaltool to  press to add slurs quickly
> 
> Also I meant to ask in my question when in speedy entry what is the quick
> way to add a tie?  at the moment I’m having to press equals which is a bit
> clumsy thanks again Martin
> 
> On Mon, 11 Jun 2018 at 12:51, Christopher Smith <
> christopher.sm...@videotron.ca> wrote:
> 
>> Unfortunately, if you are in Speedy you have to change tools to get slurs
>> in. The Smart Shape tool remembers what item you have clicked on, so I
>> leave it selecting the slur, and use metatools for OTHER Smart Shapes (<
>> and > for cresc and dim, mostly.)
>> 
>> There are assignable metatools to select the TOOL, though! So you can
>> switch quickly to the Smart Shape Tool and switch back to Speedy without
>> having to move the mouse over to the toolbar, then again to switch back.
>> 
>> Christopher
>> 
>> 
>> 
>>> On Jun 11, 2018, at 7:26 AM, Martin Nickless 
>> wrote:
>>> 
>>> Hi there I know this is a basic question could someone tell me the best
>> way to enter slurs in finale 25 I use mostly speedentry
>>> I m on windows 10
>>> assume it would be via a metatool again if someone can explain how to
>> use the metatool
>>> That would be great thanks
>>> Martin
>>> Sent from my iPhone
>>> 
>>> 
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Re: [Finale] Slur metatool

2018-06-11 Thread Christopher Smith
Unfortunately, if you are in Speedy you have to change tools to get slurs in. 
The Smart Shape tool remembers what item you have clicked on, so I leave it 
selecting the slur, and use metatools for OTHER Smart Shapes (< and > for cresc 
and dim, mostly.)

There are assignable metatools to select the TOOL, though! So you can switch 
quickly to the Smart Shape Tool and switch back to Speedy without having to 
move the mouse over to the toolbar, then again to switch back.

Christopher



> On Jun 11, 2018, at 7:26 AM, Martin Nickless  wrote:
> 
> Hi there I know this is a basic question could someone tell me the best way 
> to enter slurs in finale 25 I use mostly speedentry 
> I m on windows 10
> assume it would be via a metatool again if someone can explain how to use the 
> metatool
> That would be great thanks
> Martin
> Sent from my iPhone
> 
> 
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Re: [Finale] Score and Parts

2018-05-18 Thread Christopher Smith
You have a bunch of issues here. I am suspecting some of them are exacerbated 
by using old templates in new versions of Finale, as they were for me. Bite the 
bullet and transfer your settings to a brand-new Finale document to use as a 
template.

> On May 18, 2018, at 8:07 AM, Lawrence David Eden  wrote:
> 
> Finale 25
> Max OS 10.13.4
> 
> Dear Listers,
> 
> I am still confused about how to get my parts to the printer.  When I used 
> Finale 2011, I printed my parts directly from the “Edit Parts” menu and it 
> worked fine.  In Finale 25, this does not work.
> What is the correct procedure for getting my score divided into parts and 
> sent to the printer?  Are we back to extracting parts or should “generate 
> parts” give me a printer ready document?

Hitting command P should open the print dialogue, as it does for all Mac apps. 
The command is “Print” from the File menu, as it is for all Mac apps, and it 
has been that way for as long as I remember. I have never seen Print in the 
Edit Parts menu. The Print dialogue is a little different in v25, which might 
be confusing you.

You should probably format your parts a bit before printing them, unless you 
have the absolute part format settings handed down by God himself and have 
managed to avoid all collisions. Normally in newer versions of Finale with 
linked parts (2007 and later) whenever you add an instrument to the score, the 
part is automatically generated according to the settings in Document>Page 
Format>Parts, which MAY not be the settings in the present parts if you have 
made some changes. If you open up a pre-2007 file, the parts need to be 
generated first manually (Document>Manage Parts>Generate), and the settings may 
not be what you need, so there will be a bit of fudging around to get them 
right. Once you have them the way you like, use that file as a template to 
avoid having to go through this again. If you ever open a pre-2007 file again, 
it may be easier to simply copy the contents to a new Finale document and add 
the titles manually.

> 
> Another Question:  I noticed that titles from previous arrangements are 
> finding their way into new pieces.  For example:  I arranged a "Trumpet 
> Voluntary."  I closed this document then opened a different arrangement and 
> the title showed up on my new piece as “Trumpet Voluntary.”  Is there a fix 
> that I am overlooking?

This sounds like a very old bug from a previous version of the Matrix rearing 
its ugly head. I am suspecting some sort of corruption involving the temp 
files. Quit Finale immediately, restart the computer, and when you reopen 
Finale find out where it stores its temp files and go to that folder. It should 
be empty, so delete any files you find there and empty the trash. This bug has 
caused the content of entire files to switch out, so don’t play games with this.

> 
> 
> Final Question:  every staff in my parts has the abbreviated instrument name 
> in the margin.  While I want the instrument name on each part, I only need it 
> to appear once.  I am looking for a global fix.
> 

Plugins>Scoring and Arranging>Global Staff Attributes plugin. Click the box 
“Staff Name in Parts” until it is blank, and hit OK.

BTW, you shouldn’t be showing the staff name AT ALL in parts, unless it is a 
multistaff part like a choral score, or clarinet 1 and 2 on the same part. The 
instrument name for the part should be in a Text box, upper left-hand corner of 
all parts and score, with the Text menu>Insert>Part/Score Name added to it. The 
part name is the staff name, unless you have changed it in the Part Definition 
dialogue box.

> 
> 
> Thanks in advance for any light you Finale mavins can shed.
> 
> Larry Eden
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Re: [Finale] No volume /sound on playback note entry

2018-05-11 Thread Christopher Smith
I had a similar problem on every file. Before, I used to get this from time to 
time, and it was just that the sounds hadn’t loaded yet, and finding and 
clicking Reassign Sounds from one of menus forced loading sounds. But then I 
couldn’t get ANY sound ever, and after a LOT of messing around, I determined 
that Finale had “lost” the Garritan samples. I downloaded the installer from 
MakeMusic and reinstalled just the Garritan Sounds and Aria Player (custom 
installation). Then everything was fine. I hope this helps you.

Christopher

> On May 11, 2018, at 4:35 AM, Martin Nickless  wrote:
> 
> Hi there
> Can someone help me as I seem to have no volume or sound whatsoever on 
> entering notes or playback not sure how to correct this thanks very much 
> Martin
> 
> Sent from my iPhone
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Re: [Finale] Showing Dc al Fine etc on all parts

2018-04-24 Thread Christopher Smith
Yes, the plugin Global Staff Attributes. You can edit anything that appears in 
the Staff Attributes all at once for all staves, or only on certain staves, as 
you wish.

Christopher

> On Apr 24, 2018, at 6:59 AM, Lawrence Yates  wrote:
> 
> Thank you - that's it!
> 
> It's solved my immediate problem but I've had to go through each individual
> part (the music was needed for this afternoon) but is there a way to do
> this universally?  I'm sorry, I have gone on about this before but can't
> find my records.
> 
> Thanks again.
> 
> On 24 April 2018 at 11:55, Marcello Noia  wrote:
> 
>> Could be on Staff properties menu?
>> 
>> Il 24/04/2018 12:37, Lawrence Yates ha scritto:
>>> Please could someone remind me how to change the default that DCs etc
>> don't
>>> appear on parts.  (Asap)
>>> 
>>> Cheers,
>>> 
>>> Lawrence
>>> 
>> 
>> 
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> 
> 
> -- 
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Re: [Finale] Finale Linked Parts: what's missing?

2018-04-22 Thread Christopher Smith
Ooh, ooh, ooh! I got this!

Fewer files is a HUGE time saver! You can enter all the cues with copy and 
paste (or the plugin, which I find buggy) without pasting between documents, 
you can change the font sizes for tempi and rehearsal letters ONCE (or anything 
else ONCE) and have it apply to all parts at once, if you find something 
colliding in all parts you move it ONCE and it is solved everywhere, and you 
can take advantage of JW Copy Part Layout to regularize the page layout. Later 
edits, too, have to be done twice (once in the score file, once in the part 
file) but in extracted parts you have to make edits in ALL files, which can be 
maddening.

Christopher


> On Apr 22, 2018, at 5:38 PM, Lee Actor  wrote:
> 
> Makes sense.  It seems to me you'd also be able to change the tempo marking 
> font size in the linked parts score; I change several global settings in the 
> version of the score I extract parts from that I want to apply to all parts 
> and not to the score.
> 
> With two separate copies of the score, though, I don't see the advantage of 
> linked parts over extracted parts, other than fewer files.  How does this 
> save time and effort?

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Re: [Finale] What is the Finale strategy?

2018-04-18 Thread Christopher Smith
Hahaha! Yes, of course!

Christopher

> On Apr 18, 2018, at 6:49 PM, SN jef chippewa  
> wrote:
> 
> 
> i find these tools quite useful, and they are entirely genre- and 
> platform-independent: they work just as awesomely for the newest of the new 
> music notation as for basically all traditional approaches to music notation, 
> western or other.
> https://youtu.be/mci6NVBJbvo
> 
>> All that said, I’m always happy to be pointed to a technique or a tool I 
>> might have missed that solves problems like these and others.
> 
> -- 
> 
> neueweise -- fonts for new music and traditional notation
> http://newmusicnotation.com/fonts
> 
> shirling & neueweise | http://newmusicnotation.com
> new music notation + translation + arts management
> [FB] http://facebook.com/neueweise | [TW] http://twitter.com/neueweise
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Re: [Finale] Bill Duncan Rehearsal fonts

2018-03-09 Thread Christopher Smith

 On Mar 9, 2018, at 7:55 AM, Chuck Israels  wrote:
 Christopher is always right.

   Ha ha! Tell my wife that!
   I am screenshot-ing this, printing it, framing it, and putting it in my
   living room.
   :-)
   Christopher
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Re: [Finale] Bill Duncan Rehearsal fonts

2018-03-08 Thread Christopher Smith


> On Thu Mar 8, at ThursdayMar 8 10:20 PM, Doug Walter <dewalt3...@me.com> 
> wrote:
> 
> Hi Christopher,
> 
> You’re a genius!

Yes.

Yes, I am.

Thank you for noticing. (blush)

Actually, I think I’m more along the lines of Bill Murray’s character in 
“Groundhog Day”, where he knows all these things just because he has been 
through it all before, many, many times.

C


> It never occurred to me that you could add leading or trailing characters in 
> that box, but, sure enough, it works. I had thought that to accomplish this 
> you’d need to be able to do something along those lines (as with measure 
> numbers) but didn’t realize it was possible with the auto-sequencing 
> letters/numbers. Thank you!
> 
> Doug
> 
>> On Mar 8, 2018, at 7:13 PM, Christopher Smith 
>> <christopher.sm...@videotron.ca> wrote:
>> 
>> Hi Doug,
>> 
>> I don’t use the Duncan Rehearsal font for letters, but if you only need two 
>> characters for the enclosure, there is a way (and possibly a way even if you 
>> need more!)
>> 
>> Take one of the pre-made repeating rehearsal marks, make the font Rehearsal. 
>> Then OUTSIDE the gray box, add the leading enclosure character BEFORE the 
>> gray box, then the trailing enclosure character AFTER the gray box. It will 
>> not sequence like the letters inside the box, so they will stay the same.
>> 
>> Try this out. If you need more specific instructions, write back.
>> 
>> Christopher
>> 
>> 
>>> On Thu Mar 8, at ThursdayMar 8 9:28 PM, Doug Walter <dewalt3...@me.com> 
>>> wrote:
>>> 
>>> I know there’s still a handful of folks here using Bill Duncan’s fonts in 
>>> various combinations, perhaps most notably the chord symbol one(s). I still 
>>> haven’t found or managed to create any chord symbol font that I like better 
>>> than his and continue to use it in Finale files that I know I won’t have to 
>>> “share” with someone else who may not have it/them installed. (And I keep 
>>> hoping, probably in vain, that MakeMusic might someday purchase them to be 
>>> included with the program as they did long ago with the Jazz Font.)
>>> 
>>> Lately I’ve been trying to branch out a bit and use a few more of his 
>>> fonts, in this case the one called Rehearsal. Has anyone found a way to use 
>>> those in Finale’s convenient Rehearsal Marks: Auto-Sequencing Rehearsal 
>>> Letters with rectangular enclosures setup? Since Bill’s font requires at 
>>> least 3 keystrokes (for a single letter) to create the enclosure with the 
>>> “shadow” effect, I’ve had to create a separate entry for each letter of the 
>>> alphabet to then assign as needed as rehearsal letters.
>>> 
>>> Not a huge deal, and of course you can create the library once and save it, 
>>> but you end up losing the auto-sequencing feature which reletters the 
>>> entire section following a letter or letters that you delete. Using Bill’s 
>>> font you’d need to delete all the subsequent rehearsal letters after 
>>> removing one and then reassign them, as we used to have to do in old 
>>> versions of Finale.
>>> 
>>> I’ve got one or two more Bill Duncan-related questions but will start a 
>>> separate thread as necessary to avoid confusion.
>>> 
>>> Thanks for any help,
>>> 
>>> Doug
>>> 
>>> 
>>> 
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Re: [Finale] Bill Duncan Rehearsal fonts

2018-03-08 Thread Christopher Smith
Hi Doug,

I don’t use the Duncan Rehearsal font for letters, but if you only need two 
characters for the enclosure, there is a way (and possibly a way even if you 
need more!)

Take one of the pre-made repeating rehearsal marks, make the font Rehearsal. 
Then OUTSIDE the gray box, add the leading enclosure character BEFORE the gray 
box, then the trailing enclosure character AFTER the gray box. It will not 
sequence like the letters inside the box, so they will stay the same.

Try this out. If you need more specific instructions, write back.

Christopher


> On Thu Mar 8, at ThursdayMar 8 9:28 PM, Doug Walter  wrote:
> 
> I know there’s still a handful of folks here using Bill Duncan’s fonts in 
> various combinations, perhaps most notably the chord symbol one(s). I still 
> haven’t found or managed to create any chord symbol font that I like better 
> than his and continue to use it in Finale files that I know I won’t have to 
> “share” with someone else who may not have it/them installed. (And I keep 
> hoping, probably in vain, that MakeMusic might someday purchase them to be 
> included with the program as they did long ago with the Jazz Font.)
> 
> Lately I’ve been trying to branch out a bit and use a few more of his fonts, 
> in this case the one called Rehearsal. Has anyone found a way to use those in 
> Finale’s convenient Rehearsal Marks: Auto-Sequencing Rehearsal Letters with 
> rectangular enclosures setup? Since Bill’s font requires at least 3 
> keystrokes (for a single letter) to create the enclosure with the “shadow” 
> effect, I’ve had to create a separate entry for each letter of the alphabet 
> to then assign as needed as rehearsal letters.
> 
> Not a huge deal, and of course you can create the library once and save it, 
> but you end up losing the auto-sequencing feature which reletters the entire 
> section following a letter or letters that you delete. Using Bill’s font 
> you’d need to delete all the subsequent rehearsal letters after removing one 
> and then reassign them, as we used to have to do in old versions of Finale.
> 
> I’ve got one or two more Bill Duncan-related questions but will start a 
> separate thread as necessary to avoid confusion.
> 
> Thanks for any help,
> 
> Doug
> 
> 
> 
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Re: [Finale] [OT] article: notation for electroacoustic/digital media

2018-03-08 Thread Christopher Smith
Nice! Keep up the good work, jef!

Christopher


> On Thu Mar 8, at ThursdayMar 8 4:07 PM, SN jef chippewa 
>  wrote:
> 
> 
> sooo yeah.  finally got around to starting to commit some of this 
> music notation stuff in my head to "paper".  perhaps of interest to 
> some here.  was published in the latest issue of the online journal 
> eContact!
> 
> Typology and Problematics of Fixed Notation for the Representation of 
> Electroacoustic and Digital Media: Preamble; Part I. Waveform display 
> notation
> http://econtact.ca/19_3/chippewa_notation-waveform.html
> 
> i also wrote the editorial... and i think it is one of my best in a long time
> http://econtact.ca/19_3/editorial.html
> 
> enjoy!
> jef
> 
> -- 
> 
> neueweise -- fonts for new music (and traditional) notation
> http://newmusicnotation.com/fonts.html
> 
> shirling & neueweise  |  http://newmusicnotation.com
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Re: [Finale] Time sig contextual menu

2018-03-07 Thread Christopher Smith
There’s no way I know of to do that. 

However, you CAN copy a time signature using stack selection and the filter. If 
you do this on staff set that doesn’t include any staves with music in them, 
the actual music shouldn’t copy over, but even if it does, you can clear the 
measure in one keystroke.

Christopher


> On Mar 7, 2018, at 9:28 AM, Simon Troup  
> wrote:
> 
> Does anyone know how you set a preset for the time signature contextual
> menu?
> 
> 
> 
> I've got a time signature pattern that I need to use over and over again
> that isn't in there 7/8 (4+3) then 7/8 (4+3) then 2/8. It would be really
> handy to have 7/8 (4+3) in that list.
> 
> Kind regards,
> Simon Troup.
> 
> 
> --
> 
> Simon Troup | BA Hons (Mus)
> 
> http://www.digitalmusicart.com
> 
> Partners: Simon Troup & Jennie Troup
> VAT Registration: 982 4230 17
> 
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> 
> *This email is a private communication between the sender and the intended
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> information and files contained in the message remain copyright of the
> author, artist or original copyright holder and may not be used without
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Re: [Finale] Staff names

2018-02-18 Thread Christopher Smith
There was no attachment, so I can’t see anything.

But it sounds like the staves are out of order. Hit cmd-K to open the Score 
Manager, click on the Instrument List tab, and use the left-most icon (three 
horizontal lines) to drag the instrument into the position you want.

Christopher


> On Fri Feb 16, at FridayFeb 16 12:18 PM, Lawrence David Eden 
>  wrote:
> 
> Fin 25. Mac OS High Sierra
> 
> Dear Listers,
> 
> Here is a screen shot of my file.  Notice that Trpt 1 and Hn show up in the 
> middle of the score.   How do I fix this?
> 
> Thanks,
> 
> Larry Eden
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Re: [Finale] Keyboard short cuts for entering numbers

2018-01-18 Thread Christopher Smith
I think the lyric tool might be the best way. You can adjust baselines easily 
with the four arrows to the left of the staff when the Lyric Tool is selected.

Christopher


> On Thu Jan 18, at ThursdayJan 18 3:11 PM, Martin Nickless 
>  wrote:
> 
> Hi  there I’m writing some Counterpoint exercises 
> For some students and they are required to put the intervals between notes eg 
> 1-8
> How do I put numbers under notes 
> With say corresponding numbers on the keyboard
> Eg a meta tool short cut
> 
> Thanks for any help
> Martin
> 
> 
> 
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Re: [Finale] layers and stems

2018-01-12 Thread Christopher Smith
That’s unusual, but all you have to do is uncheck in Layer 1 “Apply 
Adjustments…”

Christopher


> On Fri Jan 12, at FridayJan 12 3:48 PM, dc <den...@free.fr> wrote:
> 
> Le 12/01/2018 21:38, Christopher Smith écrit :
>> Yes, in Layers in Document Options. It should be fairly obvious. “Apply 
>> adjustments only when notes are in other layers.” I set my rests in Layer 1 
>> to displace by 6, and Layer 2 by -6 (negative 6).
>> 
>> Just so you know, “normal” means that they flip up or down depending on 
>> their position in the staff. As soon as you add Layer 2, the Layer 1 stems 
>> will all be up.
>> 
>> Christopher
> 
> Thanks, but that's not what I I want. I want all the stems in layer 1 to 
> remain as they would be if there were no layer 2, and all the stems in 
> layer 2 to be reversed (from their normal position).
> 
> See Elain Gould, Behind Bars, p. 449, who recommends this disposition 
> for alternative rhythms.
> 
> (But I'm no longer sure I'm going to do this, because the smaller 
> noteheads then mess up the layout.)
> 
> Dennis
> 
> 
> 
> 
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Re: [Finale] layers and stems

2018-01-12 Thread Christopher Smith
Yes, in Layers in Document Options. It should be fairly obvious. “Apply 
adjustments only when notes are in other layers.” I set my rests in Layer 1 to 
displace by 6, and Layer 2 by -6 (negative 6).

Just so you know, “normal” means that they flip up or down depending on their 
position in the staff. As soon as you add Layer 2, the Layer 1 stems will all 
be up.

Christopher


> On Fri Jan 12, at FridayJan 12 3:30 PM, dc  wrote:
> 
> Is there a setting that would let me automatically always have "normal" 
> stems in layer 1 and stems in the opposite direction in layer 2?
> 
> Or, failing that, is there any way to reverse all the stems in a given 
> layer?
> 
> Thanks.
> 
> Dennis
> 
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Re: [Finale] PRINTING PARTS

2018-01-09 Thread Christopher Smith
Don’t select Edit Parts. You can print anything from anywhere in the document. 
I don’t know why Finale is doing what you described, unless somehow your 
Trumpet 2 part got named Tuba instead.

Hit cmd-P
A dialogue box will open. Hit Clear All and scroll to the tuba part and check 
it.
Hit Okay.
Now you will be at the OS print dialogue, and all should be okay.

Christopher


> On Jan 9, 2018, at 7:24 PM, Lawrence David Eden  wrote:
> 
> FinaleMac 25. Mac mini running 10.13.2 (High Sierra)
> 
> Dear Listers,
> 
> Finale is displaying strange behavior that I don’t understand.  
> 
> I automatically generate parts for my arrangement.
> When I go to print,   (I write for brass quintet and needed a copy of the 
> tuba part.)  I select EDIT PARTS and select TUBA from the list.  Finale25 
> opens the Trumpet 2 part instead of tuba.
> 
> In my previous version of Finale (2k11) that is all I needed to do to print 
> parts.  Go to EDIT PARTS and select the part I wanted to print and Finale 
> printed that part.
> In Finale25, this doesn’t work.  Instead I have to EXTRACT PARTS in order to 
> print the part I want.  Do we no longer print from our generated parts?
> 
> Is this a new “feature” of Finale25 or am I making a mistake somewhere along 
> the line?
> 
> Thanks for helping,
> 
> Larry Eden
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Re: [Finale] Extraneous note appears inexplicably in organ music playback.

2018-01-07 Thread Christopher Smith
I am suspecting that the left hand Bb is tied over, and the note it is tied 
over to is actually a B natural. You have to be careful in Simple Entry that 
tied notes also get the alteration, otherwise it may LOOK like a tied B flat, 
but actually be a B natural, which disturbs playback. You said that you 
checked, but in Speedy try hitting the asterisk key, which forces the 
accidental to appear. If it shows up B flat, then I am confused and I have no 
answer. If it shows up B natural, you can hit * again to hide it, and - to 
alter it down to B flat.

Christopher


> On Jan 7, 2018, at 7:45 AM, Michael Edwards  wrote:
> 
> Hallo.
> 
>  In an organ piece I am entering, the following chord appears near 
> the end, all notes named in ascending order and all spaced in 3rds:
> 
>   Ped.: Ab below middle C;
>   l.h.: C Eb Gb Bb;
>   r.h.: D F Ab C.
> 
>  A couple of beats later, all notes are released except the F in 
> the right hand, which is sustained into a new chord (a similar chord 
> based on Db in which the F becomes the top note).  But at the point you 
> release the first chord, in playback an extraneous note creeps in - a B 
> (Cb) in the left hand which really jars.
>  I have double checked, and that note is not notated anywhere in 
> the chord (in either enharmonic spelling), and there are no missing or 
> misplaced accidentals: I cannot see anything wrong at all about the 
> notation in the score - yet that odd note chips in at the very end of 
> the total chord.
>  What is going on here?  Is there a way of fixing it?
>  Thank you.
> 
> Michael Edwards.
> 
> 
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Re: [Finale] Help please with instrument. Names

2017-12-22 Thread Christopher Smith
Sounds to me like you need to reboot the computer. Whenever funny things start 
happening, that’s my first try.

Christopher

> On Fri Dec 22, at FridayDec 22 9:44 AM, Martin Nickless 
>  wrote:
> 
> Hi again the plot thickens 
> Just tried putting in instrument names on another laptop 
> And it works 
> Strange 
> Martin
> 
> Sent from my iPhone
> 
>> On 22 Dec 2017, at 11:58, David H. Bailey  wrote:
>> 
>> I just ran an experiment, started with the default single-line file. Opened 
>> Score manager, clicked on Full Name, typed Alto Saxophone.  Then I clicked 
>> on Abbr. Name and entered A. Sax and everything is working like it should 
>> once I clicked OK.  The new names appeared instantly on screen.  I was in 
>> scroll view when I entered them, so the only thing which showed up was the 
>> full name, but the instant I switched to Page view, both the Full Name and 
>> the Abbr. Name appeared just as I had entered them.
>> 
>> So the only thing I can think of might be that you didn't click OK after 
>> entering the new names?
>> 
>> I'm using Finale2014.5 on Windows10 -- I don't have Finale2012 installed.
>> 
>> David H. Bailey
>> 
>>> On 12/22/2017 6:22 AM, Martin Nickless wrote:
>>> Hello there I
>>> Have a score where I want to write alto sax 1 for the alto sax
>>> I went to score manager typed that in where it sayes Full Name ... but 
>>> nothing appeared
>>> when I do the same for abbr.name
>>> I get nothing also
>>> Thanks for any help
>>> I’m on finale 2012
>>> Windows 10
>>> Thanks
>>> Martin
>>> Sent from my iPhone
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>> 
>> -- 
>> *
>> David H. Bailey
>> dhbaile...@comcast.net
>> http://www.davidbaileymusicstudio.com
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Re: [Finale] Copy and paste

2017-12-19 Thread Christopher Smith
This is a new “feature” that is turned on by default in the new versions. It 
might be useful for an amateur who doesn’t know instrument/voice ranges, but 
for pros it’s annoying as heck.

To turn it off, Finale menu>Preferences>Edit, uncheck “Respect instrument 
ranges when copying or changing instruments”. Save preferences and it will 
never bother you again… until the next update.

Christopher

> On Dec 19, 2017, at 7:48 AM, Lawrence David Eden  wrote:
> 
> Fellow Listers,
> 
> I recently started using FinaleMac 25 (I upgraded from 2K11) and I have a 
> question about copy and paste.
> Finale seems to be applying an octave transposition when I paste.  I don’t 
> know why this is, but I want it to stop.
> Clearly, I have something set wrong in my program options…or is it something 
> else?
> 
> I look forward to reading your replies and wish you all a fine holiday season.
> 
> Larry Eden
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Re: [Finale] First and second time bar brackets too low !!

2017-12-08 Thread Christopher Smith
Very old bug, still there.

C

> On Fri Dec 8, at FridayDec 8 10:21 AM, martin nickless <mnnickl...@gmail.com> 
> wrote:
> 
> Thanks when you say bug is that just 2012 or the same on finale 25 as well ?
> M
> 
> On Fri, 8 Dec 2017 at 15:20, Christopher Smith <
> christopher.sm...@videotron.ca> wrote:
> 
>> If there is a multi measure rest under the repeat box, then the handles
>> are not editable. This is a stupid bug, but I know the workaround. They are
>> editable in Scroll View. You have to guess, but cmd-E on a Mac (control E
>> on a PC) toggles the view, so you can go back and forth a few times until
>> they are right if you have to.
>> 
>> Christopher
>> 
>>> On Fri Dec 8, at FridayDec 8 9:40 AM, Martin Nickless <
>> mnnickl...@gmail.com> wrote:
>>> 
>>> Hi again
>>> Did as you said but know luck
>>> 
>>> Sent from my iPhone
>>> 
>>>> On 7 Dec 2017, at 13:10, Christopher Smith <
>> christopher.sm...@videotron.ca> wrote:
>>>> 
>>>> Use the Repeat Tool. Handles will appear, drag around them and either
>> drag or use the Up arrow to move them all at the same time.
>>>> 
>>>> BTW, if you ever forget or can’t figure out which tool created which
>> item, use the Selection Tool and double-click the item. The tool that
>> created it will now be selected.
>>>> 
>>>> Christopher
>>>> 
>>>>> On Dec 7, 2017, at 7:04 AM, Martin Nickless <mnnickl...@gmail.com>
>> wrote:
>>>>> 
>>>>> Hi There
>>>>> Could I ask ?
>>>>> I have a score just finished however a problem !
>>>>> 
>>>>> I have a first and second time bar but the bracket is cutting through
>> a flute parts ledger lines how do I adjust and make the bracket higher ?
>>>>> Very grateful for any help
>>>>> Martin
>>>>> 
>>>>> Sent from my iPhone
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Re: [Finale] First and second time bar brackets too low !!

2017-12-08 Thread Christopher Smith
If there is a multi measure rest under the repeat box, then the handles are not 
editable. This is a stupid bug, but I know the workaround. They are editable in 
Scroll View. You have to guess, but cmd-E on a Mac (control E on a PC) toggles 
the view, so you can go back and forth a few times until they are right if you 
have to.

Christopher

> On Fri Dec 8, at FridayDec 8 9:40 AM, Martin Nickless <mnnickl...@gmail.com> 
> wrote:
> 
> Hi again 
> Did as you said but know luck 
> 
> Sent from my iPhone
> 
>> On 7 Dec 2017, at 13:10, Christopher Smith <christopher.sm...@videotron.ca> 
>> wrote:
>> 
>> Use the Repeat Tool. Handles will appear, drag around them and either drag 
>> or use the Up arrow to move them all at the same time.
>> 
>> BTW, if you ever forget or can’t figure out which tool created which item, 
>> use the Selection Tool and double-click the item. The tool that created it 
>> will now be selected.
>> 
>> Christopher
>> 
>>> On Dec 7, 2017, at 7:04 AM, Martin Nickless <mnnickl...@gmail.com> wrote:
>>> 
>>> Hi There
>>> Could I ask ?
>>> I have a score just finished however a problem !
>>> 
>>> I have a first and second time bar but the bracket is cutting through a 
>>> flute parts ledger lines how do I adjust and make the bracket higher ?
>>> Very grateful for any help
>>> Martin
>>> 
>>> Sent from my iPhone
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Re: [Finale] Measure numbers on parts

2017-12-07 Thread Christopher Smith
Use the Measure Tool>Edit Measure Number Regions. The settings should be 
obvious. Don’t delete measure numbers manually; that’s nuts.

Christopher

> On Dec 7, 2017, at 7:06 AM, Martin Nickless  wrote:
> 
> Windows 10 finale 12
> Could I ask ?
> I have measure numbers on all bars in the parts how do I get them at the 
> start of the staff only
> ( need a number mid line if the start of a new section) and delete the ones I 
> don’t need
> 
> Many thanks 
> Best
> 
> Sent from my iPhone
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Re: [Finale] First and second time bar brackets too low !!

2017-12-07 Thread Christopher Smith
Use the Repeat Tool. Handles will appear, drag around them and either drag or 
use the Up arrow to move them all at the same time.

BTW, if you ever forget or can’t figure out which tool created which item, use 
the Selection Tool and double-click the item. The tool that created it will now 
be selected.

Christopher

> On Dec 7, 2017, at 7:04 AM, Martin Nickless  wrote:
> 
> Hi There
> Could I ask ?
> I have a score just finished however a problem !
> 
> I have a first and second time bar but the bracket is cutting through a flute 
> parts ledger lines how do I adjust and make the bracket higher ?
> Very grateful for any help
> Martin
> 
> Sent from my iPhone
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Re: [Finale] Hi all can I ask ? I ask have a score just finished how do I get the title of the chart on all the parts the score is ok but blank on all the parts thanks

2017-12-07 Thread Christopher Smith
Well, that’s just weird.

If you made the title with the Text Tool (looks like a capital A) WHILE IN PAGE 
VIEW (this is important, otherwise it attaches to the staff only) then it 
should appear in all parts as well automatically.

It could be attached to the top staff only, it could be an Expression instead 
of a Title (Text), it could have its attributes set so that it is off the page 
in the parts but correct in the score, there are all kinds of reasons why it 
might not be working. The Finale Default file has a title with its attributes 
correctly set; I take it you didn’t use that?

Christopher


> On Dec 7, 2017, at 7:01 AM, Martin Nickless  wrote:
> 
> 
> 
> 
> Sent from my iPhone
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Re: [Finale] NUMBERING DRUM PARTS

2017-11-17 Thread Christopher Smith
The easiest way to get them into a new document is to create a measure where 
ALL the expressions you want are assigned, then copy and paste that measure to 
the new document. You can clear that overcrowded measure afterward, but the 
expressions will stay in the library. They won’t have their meta tool 
assignments, though. You’ll have to do that manually, but that’s the same if 
you imported a library. The best tactic for meta tools is to use the document 
with the meta tools assigned as a template.

I could save an expression library, but that saves ALL the expressions, not 
just the measure numbers, and the time it would take me to delete all the 
unwanted ones before saving the library is not advantageous.

Christopher


> On Fri Nov 17, at FridayNov 17 6:47 AM, Martin Nickless 
>  wrote:
> 
> Hi there thanks 
> Do you position them so that they are always in the Center of the bar 
> And is it possible to save them to a Library for future projects 
> Thanks
> M
> 
> 
> Sent from my iPhone
> 
>> On 17 Nov 2017, at 11:27, Ryszard Pusz  wrote:
>> 
>> Hi Martin,
>> 
>> I create them in the Expression tool.
>> 
>> cheers
>> 
>> Ryszard
>> _
>> 
>>> On 17/11/2017, at 9:33 PM, martin nickless wrote:
>>> 
>>> HI can anyone suggest the quickest way to put reminder bar numbers on a big
>>> band drum part so say i have first bar slash notation then 31 bars the same
>>> how do I put bar numbers above the staff  at say four bar intervals4
>>> 8   12 etc
>>> please note tried the plug in  didnt work
>>> 
>>> kind regards
>>> martin
>>> 
>>> 
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Re: [Finale] NUMBERING DRUM PARTS

2017-11-17 Thread Christopher Smith
The plugin only works when the measures repeated are identical in all ways. 
Plus, I hate the size of the numbers and their default position, and if I 
change them, then when I run the plugin again it creates NEW numbers with the 
old default!

So what I do is create a (4), (8), (12) etc. expression, assign it to a meta 
tool F for “four”, E for “eight”, T for “twelve”, S for “sixteen” and click 
them in. I make sure that the first one I create has the right positioning 
(centre between barlines, at a height I can accept) and duplicate it to create 
the others. Sometimes I need a (6) or (10) or some other numbers in those cases 
I clone an existing one and enter it manually, without the meta tool.

If I am thinking ahead, I create a phrase with all the number expressions, then 
copy that phrase elsewhere and edit it when necessary. But sometimes I am not 
thinking ahead!

Christopher


> On Fri Nov 17, at FridayNov 17 6:03 AM, martin nickless 
>  wrote:
> 
> HI can anyone suggest the quickest way to put reminder bar numbers on a big
> band drum part so say i have first bar slash notation then 31 bars the same
> how do I put bar numbers above the staff  at say four bar intervals4
> 8   12 etc
> please note tried the plug in  didnt work
> 
> kind regards
> martin
> 
> 
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> 
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Re: [Finale] Microtone accidental positioning

2017-11-14 Thread Christopher Smith
Hmm, I have never had trouble with this. There might be something in the 
position settings that is messing things up (avoid staff lines?) 

You should submit this to the Forum, where you can include an attachment for 
people to look at.

Christopher

> On Nov 14, 2017, at 4:53 AM, Michael Lawlor  wrote:
> 
> Finale 2014.5
> 
> I am working on a piece with a lot of microtone accidentals, using the 
> articulation tool.  Even though I have specified horizontal and vertical 
> positions for the articulation, this is ignored every time and I have to 
> position each and every accidental.  Is this broken as designed or is 
> there a way around it?
> 
> Regards,
> 
> Michael Lawlor
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Re: [Finale] Drum parts numbering

2017-11-14 Thread Christopher Smith
For the plugin to work, you need the bars to match exactly, and for there to be 
more than three of them. Since I often put in one-bar repeats (or slashes, in 
the case of a drum part) that messes up the count. Even a dynamic in the first 
bar will cause the plugin to consider it as different. I find this plugin to be 
problematic.

I have taken to numbering the repeated bars manually, using the numbers from a 
previous time that I ran the plugin and moving them down a bit. But then if I 
run the plugin another time somewhere else, Finale doesn’t reuse the same 
numbers, but creates MORE numbers, until my text expression box is overrunning 
with numbers!

Christopher


> On Nov 14, 2017, at 4:31 AM, Martin Nickless  wrote:
> 
> Hi 
> I’m trying to number many bars on my drum part
> Eg.  4,8,12,16etc
> Using the plug in but I keep getting the message 
> I need more than three bars 
> I’m on finale 2012
> Windows 10
> Help here would be very grateful
> Thanks 
> Martin
> 
> Sent from my iPhone
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Re: [Finale] Title pages

2017-11-14 Thread Christopher Smith
Check the alignment of the text box where the title is. If it is set to be, 
say, a certain distance from the left margin, that distance will be different 
on differently-sized pages. You probably want it to be centred. You probably 
want the instrument name to be left-aligned to the page margin, too.

Christopher

 
> On Nov 14, 2017, at 4:28 AM, Martin Nickless  wrote:
> 
> Hi just finished a score 
> When I went to edit parts 
> I noticed the title of the chart was missing 
> And the instrument name was way off from where it should of been
> Could I please ask for help on this one 
> Martin
> I’m using finale 2012 
> On windows 10
> 
> Sent from my iPhone
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Re: [Finale] Accidentals not playing back correctly

2017-11-14 Thread Christopher Smith
I am suspecting that you used a non-MIDI method of entering the notes, and did 
not apply the flat to the second E that was tied over a barline from the E 
flat. It would make no difference to the notation, but it WOULD affect the 
playback.

Christopher


> On Nov 14, 2017, at 4:25 AM, Martin Nickless  wrote:
> 
> Hi there
> Can some one please help 
> I have just finished a score 
> When I played it back 
> I heard some strange notes 
> I noticed notes that were tired for example 
> Say an Eb or any note with an accidental wasn’t playing the accidental on the 
> second half of the tie  therefore sounding E natural
> My concern is when the parts are printed and transposed this error will also 
> be in the parts
> Can someone advise if this will be the case 
> Thanks greatly 
> Martin
> 
> 
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Re: [Finale] Copy pasting then eliminating notes from a voicing

2017-10-25 Thread Christopher Smith
There are a couple of different solutions available.

Finale’s Explode function might very well do the trick. You can explode to ONE 
staff (the same staff) and distribute the voices as you like and discard the 
others. It’s all in the dialogue box.

I generally use JW Staff Polyphony though. Much more comprehensive and the 
settings are easier to understand.

Christopher


> On Oct 25, 2017, at 6:01 AM, Martin Nickless  wrote:
> 
> 
> Hi does anybody out there know how to after say copy and pasting trombone 
> voicings over to the saxophones how to then eliminate various notes from the 
> voicing 
> for example four notes
>> From the bones Copied onto the tenor one part but now you want to eliminate 
>> two of the notes from the voicing 
> how would you do this leaving the remaining two notes intact ?
> 
> 
> Thanks for any help
> Martin
> Sent from my iPhone
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Re: [Finale] Create multi-staff instrument

2017-10-13 Thread Christopher Smith
Can’t you just add a piano, then rename it to “cimbalom”? That seems way easier 
than digging into the configuration documents.

Christopher

> On Fri Oct 13, at FridayOct 13 1:11 PM, Dennis Bathory-Kitsz 
>  wrote:
> 
> Hi all,
> 
> Finale 25 Windows 10
> 
> This has got to be simple, but I've never done multiple staves except by using
> groups or calling on Finale's built-in multi-staff instruments (piano, harp,
> etc.).
> 
> I want to add a cimbalom as a multi-staff instrument rather than as a group.
> 
> I can find nothing about how to do create a multi-staff instrument, nor a
> configuration file with this information ... must be just overlooking
> something obvious.
> 
> Help?
> 
> Thanks,
> Dennis
> 
> 
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Re: [Finale] muting audio instrument

2017-09-29 Thread Christopher Smith
If the cue notes are in a separate layer, you can mute the entire layer in 
Score Manager. Click on the instrument list, open up the arrow, and all the 
layer have their separate Mute and Solo buttons, in addition to being able to 
load completely different sounds (if that ever comes up!)

My tactic is to save the playback file under a completely different name and 
tweak it there. Nothing I do will make it into the print file, so I can edit to 
my heart’s content.

Christopher


> On Sep 29, 2017, at 1:55 PM, Haroldo Mauro  wrote:
> 
> It is easy to mute a note played by a MIDI instrument by setting its velocity 
> to zero. But how do I accomplish that on a Garritan instrument? I have three 
> cue notes on a Garritan Flugel that shouldn’t sound during playback, but I 
> don’t know how to mute them. Maybe I need to deal with volume? How? Thanks.
> 
> Harold
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Re: [Finale] PDF export and placed graphics

2017-09-12 Thread Christopher Smith
Hi Johannes,

I had trouble exporting partial pages from any page after page 1. The margins 
were not what I selected. The solution tech support gave me was to use 
View>Looseleaf Style: Current Page Only. This was the only way I could export 
partial pages. Let us know if this helps you.

Christopher


> On Tue Sep 12, at TuesdaySep 12 11:28 AM, Johannes Gebauer 
>  wrote:
> 
> Some time ago I found that exporting a selection to PDF would not 
> include placed graphics.
> 
> Well, today I found that it does, only it places them somewhere else on 
> the page, and there is a fix: Graphics need to be positions in relation 
> to the page margin and not the page edge.
> 
> I have a feeling that this is actually a very old bug which I probably 
> encountered years ago with graphic export. However, it seems to only 
> happen when exporting to PDF (and EPS) not to bitmap formats.
> 
> Oh well, I hope the next time I have to do this I will remember. At 
> least I can fix it in my thesis before it goes out to be printed for 
> good. Vector graphics do print much better.
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Re: [Finale] Unwanted text linking

2017-09-02 Thread Christopher Smith
This might be related to the file contents replacement bug, too. Check your 
folder where temp files are located (the location is in Finale Preferences), 
then quit Finale. Do all the files clear out? Manually empty the folder (while 
Finale is quit) and restart the computer, if the folder isn’t already empty.

Apparently, this might be related to different text blocks having the same 
identification number in Finale’s internal filing system. This happens when 
temp files don’t get cleared, I imagine.

If Robert’s suggestions don’t help, you can copy the contents of the file to a 
virgin file, and you will have to redo all formatting and titles, so obviously 
this is a last resort. At least it’s better than exporting through MusicXML, 
which strips even more information.

Christopher


> On Sep 2, 2017, at 7:48 PM, Raymond Horton  wrote:
> 
> Thanks, Robert! I will try all of those things.
> 
> On Sep 2, 2017 7:40 PM, "Robert Patterson" 
> wrote:
> 
>> It sounds to me like there are several things going on here. The first and
>> most important is that you may have file corruption. My suggestion is to
>> open a fresh new file, perhaps a "document without libraries" and use my
>> Settings Scrapbook plugin to copy the File Header from the fresh file to
>> your file. You can then reenter your data for those fields. If this doesn't
>> work, I would love to get a copy of the problematic file, because I have
>> made some effort with Settings Scrapbook to have it resolve issues like
>> this.
>> 
>> Beyond this, Makemusic introduced a behavior that imho is a terrible design
>> mistake and regression. They allow you to edit the underlying text insert
>> inside title headers. This presents two challeges. The first is that you
>> must constantly be aware of whether you are enter text with a thin cursor
>> or thick cursor. The second is, there are cases where you are screwed no
>> matter what you do. Frequently I have to entirely delete titles and start
>> all over.
>> 
>> Finally, the menu items of which you speak are now on the File Info tab of
>> the Score Manager.
>> 
>> 
>> 
>> On Sat, Sep 2, 2017 at 6:29 PM, Raymond Horton 
>> wrote:
>> 
>>> This problem gets weirder and weirder. Between the title, subtitle, and
>>> composer, one will substitute for the other when I don't want it. And
>> just
>>> now, when I attempted to insert a part/Score same text insert on a title
>>> page of the score, I get the title! And it's not the current title,
>> either,
>>> it's the title of the original old file that I opened to arrange for a
>> new
>>> group. (This reminds me. Didn't we used to have, under the file menu, a
>>> place to define the title and other things about the file?) Again, thanks
>>> for any help offered.
>>> 
>>> On Sep 2, 2017 6:34 PM, "Raymond Horton" 
>> wrote:
>>> 
 Yes, I already tried that some, and it doesn't seem to help. Thanks!
 
 On Sep 2, 2017 5:08 PM, "David H. Bailey" 
>>> wrote:
 
> On 9/2/2017 4:53 PM, Raymond Horton wrote:
> 
>> This is happened two or three times, and it is quite frustrating for
>>> me.
>> I
>> start editing an old file in Finale Windows 25, and when I try to
>> edit
>> the
>> title or the composer, I find that they are linked and anything I put
>>> in
>> one field automatically turns up in the other. Does anybody know how
>> to
>> turn this off? Thanks for any help!
>> 
> 
> I don't know how to turn it off, but one place to look would be the
> Text/Inserts dialog.  Perhaps data got corrupted and both of those
>> text
> items have been interpreted as being the same thing, either title or
> composer.  You may need to delete one and recreate it so the other one
> isn't of the same type of insert.
> 
> 
> 
> --
> *
> David H. Bailey
> dhbaile...@comcast.net
> http://www.davidbaileymusicstudio.com
> 
 
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Re: [Finale] Assigning Text Blocks to Measures - Shortcut?

2017-09-01 Thread Christopher Smith
In scroll view, the default placement is measure-assigned. Double click your 
measure, type your text, and drag it into place. This would be for things like 
long instructions that would take more than a line or two to write with a text 
expression.

But for dynamics, you should use the Expression Tool. There are shortcuts. Hold 
down the 4 key and click the note, and the forte mark will automatically be 
placed correctly (more or less) in your score, and it will work in the parts, 
too. If you don’t know the shortcut, double click the note and the selection 
box will open up. You can select it there, and when you do, take note of the 
shortcut key, which will be in the upper right hand corner of the frame, if 
there is one assigned.

Christopher


> On Fri Sep 1, at FridaySep 1 5:59 PM, Dean Rosenthal 
>  wrote:
> 
> Is there a shortcut to assigning text blocks to measures or is one
> compelled to open the Frame Attributes and type in the measure number and
> select the assigned staff? Seems like there should be a quick way to do it,
> like assigning dynamics into the score. Thanks! Dean
> 
> -- 
> Dean Rosenthal
> www.deanrosenthal.org
> www.stonespiece.com
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Re: [Finale] Interesting article on battle over copyright for "We Shall Overcome"

2017-08-10 Thread Christopher Smith
Okay, but apparently if you use the lyric “we will overcome” and “down in my 
heart” instead of “we shall” and “deep in my heart”, you are good to go; this 
version is in the public domain still.

Whew.

Christopher


> On Aug 10, 2017, at 7:19 PM, Raymond Horton  wrote:
> 
> Interesting article on battle over copyright for "We Shall Overcome"
> 
> https://www.yahoo.com/music/effort-free-civil-rights-anthem-120722464.html
> 
> Raymond Horton
> Composer, Arranger
> Minister of Music, Edwardsville (IN) United Methodist Church
> Retired Bass Trombonist, Louisville Orchestra, 1971-2016
> Visit us at rayhortonmusic.com
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Re: [Finale] Just bought Finale - is downloadable manual available (or third-party books on Finale)?

2017-08-05 Thread Christopher Smith
Michael, 

I’m pretty sure MakeMusic has an option for having the help files available 
locally on your computer. I’ve never had to do that, so I don’t know what it 
involves, but it should be possible.

Christopher

> On Aug 5, 2017, at 9:59 AM, Michael Edwards  wrote:
> 
>  Thanks for that, Lawrence and David.
>  Lawrence, would you mind please giving me a link for the help file 
> section you mentioned?  I tried looking around on the Finale site, but 
> might have been looking in the wrong area or possibly even the wrong 
> site.
>  David, I'll make a note of those books and see if I can find them.
>  I will be glad if I am able to get answers here.  But my purpose 
> in wanting a manual was twofold: I would have something to refer to when 
> I'm not on the Internet and able to post here; and also I do expect to 
> have dozens and dozens of probably quite elementary questions, and it 
> would save a lot of posting of fiddly little questions here (which have 
> probably been posted dozens of times before) if I was able to find out 
> at least the more basic things on my own.
> 
> Michael Edwards.
> 
> 
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Re: [Finale] wandering articulations

2017-07-21 Thread Christopher Smith
If the score dates from before these kinds of articulations were “smart”, they 
might resist editing in the usual way. 

I suggest loading in a modern version of the articulation or smart shape from a 
new file. The easy way to do this is to create a measure in a new document, 
enter a note and assign every articulation and Smart Shape you are likely to 
need, and copy that measure to your target document. Hit Clear immediately 
after copying it in, and the articulations and Smart Shapes will be there in 
the selection dialogue boxes now. Assign a metatool (say, A to the accent) and 
select the accent you want to replace, double tap A, and the new articulation 
will be there.

Smart Shapes don’t have as easy a way, unfortunately. You’ll just have to 
delete and replace them.

If there is some sort of corruption in the file (very common, in my 
experience!) you might have to “launder” the file. Copy the contents into a 
fresh, modern file all at once (so you preserve time signature and key changes) 
but you will still lose all titles and page formatting. 

If the corruption is very tenacious, then export as Music XML and import it 
into a new document.

Christopher


> On Jul 21, 2017, at 11:57 AM, Elizabeth R. Austin  wrote:
> 
> I'm correcting a score which was entered with a much earlier Finale
> version-however, the articulations cannot be 'update page' and save'd
> adequately-the 8ve dotted line continues on and on, for instance, and the
> pedal line wanders..I've tried deleting the original articulations and
> reentering after the 'Edit'  but this did not work. Nothing seems to help.
> Thanks for tips.
> 
> Elizabeth R. Austin
> 
> *Elizabeth R. Austin, ACA, BMI*
> *www.elizabethaustinmusic.com* 
> *http://composers.com/elizabeth-r-austin*
> 
> *http://www.amc.net/ElizabethRAustin* 
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Re: [Finale] Notation Question/Clarification

2017-06-24 Thread Christopher Smith
Yes, that looks like it to me. Notice the first six notes are 32nds, while the 
last note is a 16th, so it does add up. The first note is a different note in 
the right hand, while the last note is just a unison. You caught the tiny, 
faded treble clef in the left hand, right?

Christopher


> On Jun 23, 2017, at 11:06 PM, Blake Richardson  wrote:
> 
> I can't figure out what's going on with this piano line from John Williams' 
> score to DRACULA.
> 
> It looks like it's supposed to be some sort of octuplet, but there's only six 
> notes on the bottom and the top notes look like they're played in unison with 
> the first and last notes on the bottom.
> 
> Anyone have any ideas?
> 
> https://www.dropbox.com/s/ujmnomjnr2dbpyp/Dracula.jpg?dl=0
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Re: [Finale] Problems Printing 11 x 17

2017-06-17 Thread Christopher Smith
Set Page Setup in Finale from the File menu, not from the Finder. That’s 
probably what you’re missing. The other steps are needed, too, and you did them 
right.

Christopher


> On Jun 17, 2017, at 12:05 PM, GERALD BERG  wrote:
> 
> blockquote, div.yahoo_quoted { margin-left: 0 !important; border-left:1px 
> #715FFA solid !important; padding-left:1ex !important; background-color:white 
> !important; } I believe this would be caused by failing to set the page size 
> in the finders print dialogue box. On my iPad so can't recall exactly...
> 
> 
> GJB
> 
> On Saturday, June 17, 2017, 10:32 AM, Michael Dutka  
> wrote:
> 
> Hi, folks. Running 2010 on OSX 10.8.5 (and yes, planning to upgrade as soon
> as I finish my current project).
> 
> Trying to print 11 x 17 scores, and but when I do, I get the error message
> that some of the pages don't fit the size of the paper in the printer.
> Pretty sure it's a Finale issues, not a printer interface, because I get
> the same error message even if I try to generate a .pdf with no printer
> selected.
> 
> The Page Size settings in the Page Layout menu look right - Tabloid Width
> 11 Length 17.
> 
> Is there some other setting that could be interfering? Any advice,
> recommendations?
> 
> Many thanks, and best regards,
> 
> Mike
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Re: [Finale] Finale Digest, Vol 166, Issue 11

2017-05-31 Thread Christopher Smith
Don’t forget that there is a BIG difference between reading a scan (prone to 
errors to the point of it not being worth it) and converting a PDF that was 
created from INSIDE a notation program, with all the character and font 
information included. PDF2Music reads these latter types, while there are some 
other programs specializing in reading scans.

Christopher


> On Wed May 31, at WednesdayMay 31 5:25 PM, Elizabeth R. Austin 
> <gink...@gmail.com> wrote:
> 
> Thanks for your suggestions about pdf to Finale conversion-I'll probably
> buy a suggested app.
> Elizabeth R. Austin
> 
> *Elizabeth R. Austin, ACA, BMI*
> *www.elizabethaustinmusic.com* <http://www.elizabethaustinmusic.com/>
> *http://composers.com/elizabeth-r-austin*
> <http://composers.com/elizabeth-r-austin>
> *http://www.amc.net/ElizabethRAustin* <http://www.amc.net/ElizabethRAustin>
> 
> 
> 
> 
> On Wed, May 31, 2017 at 1:00 PM, <finale-requ...@shsu.edu> wrote:
> 
>> Send Finale mailing list submissions to
>>finale@shsu.edu
>> 
>> To subscribe or unsubscribe via the World Wide Web, visit
>>https://lists.shsu.edu/mailman/listinfo/finale
>> or, via email, send a message with subject or body 'help' to
>>finale-requ...@shsu.edu
>> 
>> You can reach the person managing the list at
>>finale-ow...@shsu.edu
>> 
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of Finale digest..."
>> 
>> Today's Topics:
>> 
>>   1. Staff styles and parts (David Wolfson)
>>   2. Re: Staff styles and parts (Christopher Smith)
>>   3. pdf to musx and/or scanning (Elizabeth R. Austin)
>>   4. Re: pdf to musx and/or scanning (Christopher Smith)
>>   5. Re: pdf to musx and/or scanning (Ryan)
>>   6. Re: pdf to musx and/or scanning (Ryan Beard)
>> 
>> 
>> -- Forwarded message --
>> From: David Wolfson <da...@davidwolfsonmusic.net>
>> To: "<finale@shsu.edu>" <finale@shsu.edu>
>> Cc:
>> Bcc:
>> Date: Tue, 30 May 2017 15:39:44 -0400
>> Subject: [Finale] Staff styles and parts
>> I am applying staff styles (Slash notation, Rhythm notation) to certain
>> parts in the score. When I go to the parts, those staff styles are not
>> always there. It seems to make no difference whether I select “Show Staff
>> Styles in Score and Parts” in the contextual menu for a given staff style
>> or not; I have to re-enter the staff style in the part to get it to stick.
>> This is maddening. Anyone have any insights?
>> 
>> David Wolfson
>> davidwolfsonmusic.net
>> 
>> 
>> 
>> 
>> 
>> -- Forwarded message --
>> From: Christopher Smith <christopher.sm...@videotron.ca>
>> To: <finale@shsu.edu>
>> Cc:
>> Bcc:
>> Date: Tue, 30 May 2017 16:39:23 -0400
>> Subject: Re: [Finale] Staff styles and parts
>> With the Staff Tool, select ALL (cmd-A on mac, ctrl-A on PC) before you
>> select Show Staff Styles in Score And Parts. That command only applies to
>> the selection.
>> 
>> You should also complain bitterly to MakeMusic about this. This bug has
>> been there ever since linked parts have been there, which is TEN YEARS now!
>> 
>> Christopher
>> 
>> 
>>> On Tue May 30, at TuesdayMay 30 3:39 PM, David Wolfson <
>> da...@davidwolfsonmusic.net> wrote:
>>> 
>>> I am applying staff styles (Slash notation, Rhythm notation) to certain
>> parts in the score. When I go to the parts, those staff styles are not
>> always there. It seems to make no difference whether I select “Show Staff
>> Styles in Score and Parts” in the contextual menu for a given staff style
>> or not; I have to re-enter the staff style in the part to get it to stick.
>> This is maddening. Anyone have any insights?
>>> 
>>> David Wolfson
>>> davidwolfsonmusic.net
>>> 
>>> 
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>> 
>> 
>> 
>> 
>> 
>> -- Forwarded message --
>> From: "Elizabeth R. Austin" <gink...@gmail.com>
>> To: <finale@shsu.edu>
>> Cc:
>> Bcc:
>> Date: Tue, 30 May 2017 18:22:19 -0400
>> Subject: [Finale] pdf to musx and/or scanning
>> Does Import involve any 

Re: [Finale] Staff Styles

2017-05-31 Thread Christopher Smith
No need to do that. Just Select All and then click the Use Selected Staff 
Styles In Score and Parts. The key is “Select All”.

Christopher


> On Wed May 31, at WednesdayMay 31 1:08 PM, James Dukey  
> wrote:
> 
> I Delete and Regenerate Parts to get them to stick, always the Last thing I 
> do.
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Re: [Finale] pdf to musx and/or scanning

2017-05-30 Thread Christopher Smith
No.

For that you need a 3rd party app. PDF2MusicPro is what I use. It exports 
MusicXML, but it seems unclear on the difference between lyrics and text 
indications, and often offsets measures when there are notes in more than one 
layer. There will be cleanup to do.

If you only have a file or two, email me privately and I’ll convert it and send 
it back to you.

Christopher


> On May 30, 2017, at 6:22 PM, Elizabeth R. Austin  wrote:
> 
> Does Import involve any way to convert a pdf Finale score to musx?
> 
> *Elizabeth R. Austin, ACA, BMI*
> *www.elizabethaustinmusic.com* 
> *http://composers.com/elizabeth-r-austin*
> 
> *http://www.amc.net/ElizabethRAustin* 
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Re: [Finale] Staff styles and parts

2017-05-30 Thread Christopher Smith
With the Staff Tool, select ALL (cmd-A on mac, ctrl-A on PC) before you select 
Show Staff Styles in Score And Parts. That command only applies to the 
selection.

You should also complain bitterly to MakeMusic about this. This bug has been 
there ever since linked parts have been there, which is TEN YEARS now!

Christopher


> On Tue May 30, at TuesdayMay 30 3:39 PM, David Wolfson 
>  wrote:
> 
> I am applying staff styles (Slash notation, Rhythm notation) to certain parts 
> in the score. When I go to the parts, those staff styles are not always 
> there. It seems to make no difference whether I select “Show Staff Styles in 
> Score and Parts” in the contextual menu for a given staff style or not; I 
> have to re-enter the staff style in the part to get it to stick. This is 
> maddening. Anyone have any insights?
> 
> David Wolfson
> davidwolfsonmusic.net
> 
> 
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Re: [Finale] MIDI/jazz changes

2017-05-07 Thread Christopher Smith
I write a lot of jazz, and I never was able to get that to work properly. I 
would have to play the chord in the exact same voicing every time for it to 
work, and it’s hard to remember (and finger!) all those extensions. Plus, there 
are always chords that I don’t use very often and would have to stop and figure 
out a never-before-played voicing for them. I only have five fingers! Your 
method works okay up to 7th chords.

I generally type into score. When I have a chord suffix with stacked 
extensions, I have a Postit on my monitor with all my most-used suffixes and 
their numbers. Say 7(#11b13) is suffix number 103, then I type C:103 and get 
the proper suffix on a C. If I ever forget (or don’t know) a suffix number, I 
type C:0 (zero) and the suffix selector box pops up, where I choose my suffix. 
The suffix number is right there in the niche.

Christopher


> On May 7, 2017, at 3:27 PM, Martin Nickless  wrote:
> 
> Hi there was wondering if anybody that predominately writes big-band charts 
> Do they enter the changes by playing the cord on a midi keyboard ?
> May I ask if they have built up a library of the complex chords e.g. flat 13 
> sharp 11s etc
> Thanks
> 
> Sent from my iPhone
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Re: [Finale] Text enclosed in a box.

2017-05-01 Thread Christopher Smith
Sounds like you used a page-attached Text box. It really is easy, one mouse 
click, and enter the line thickness. Done. It stays attached to the text this 
way, which is better than drawing a separate rectangle, as that is super fussy.

Christopher

> On May 1, 2017, at 8:11 AM, Lawrence Yates <yateslawre...@gmail.com> wrote:
> 
> Thanks Christopher,  I'm sure I used to do it in a much easier way than
> that.  It's to enclose a set of details at the top of the first page
> including several text inserts (date, modification, duration etc.)  I'm
> sure that in the past I simply used to draw a rectangle around everything,
> although maybe I dreamt that.
> 
> Thanks.
> 
> On 1 May 2017 at 12:50, Christopher Smith <christopher.sm...@videotron.ca>
> wrote:
> 
>> Two ways. Text Tool, then click Standard Frame in the Text menu and add a
>> line thickness (4.5 EVPUs is what I use often.)
>> 
>> Or Expression Tool, create the expression and then mess with Enclosure
>> Shape until you get what you want.
>> 
>> The only advantages to the Text Tool method are it can be page attached,
>> and it has better text formatting possibilities. The advantages to the
>> Expression Tool method are it can be easily inserted more than once if you
>> ever need it multiple times, it automatically attaches to the staff (though
>> depending on what you need it for, that can be a disadvantage), and if you
>> need several different ones you can duplicate it and simply edit the text
>> instead of recreating the enclosure every time.
>> 
>> Christopher
>> 
>> 
>>> On May 1, 2017, at 6:34 AM, Lawrence Yates <yateslawre...@gmail.com>
>> wrote:
>>> 
>>> Hi,
>>> 
>>> Sorry to trouble you with so lame a question but in Finale 25 how do I
>>> enclose text in a box please?  I have done this many times in the past in
>>> previous versions but now have a complete mental block.  I can't find any
>>> reference in the manual because I don't know what terminology it uses for
>>> this.
>>> 
>>> Thanks,
>>> 
>>> Lawrence
>>> 
>>> --
>>> Lawrenceyates.co.uk
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> 
> 
> -- 
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Re: [Finale] Text enclosed in a box.

2017-05-01 Thread Christopher Smith
Two ways. Text Tool, then click Standard Frame in the Text menu and add a line 
thickness (4.5 EVPUs is what I use often.)

Or Expression Tool, create the expression and then mess with Enclosure Shape 
until you get what you want.

The only advantages to the Text Tool method are it can be page attached, and it 
has better text formatting possibilities. The advantages to the Expression Tool 
method are it can be easily inserted more than once if you ever need it 
multiple times, it automatically attaches to the staff (though depending on 
what you need it for, that can be a disadvantage), and if you need several 
different ones you can duplicate it and simply edit the text instead of 
recreating the enclosure every time.

Christopher


> On May 1, 2017, at 6:34 AM, Lawrence Yates  wrote:
> 
> Hi,
> 
> Sorry to trouble you with so lame a question but in Finale 25 how do I
> enclose text in a box please?  I have done this many times in the past in
> previous versions but now have a complete mental block.  I can't find any
> reference in the manual because I don't know what terminology it uses for
> this.
> 
> Thanks,
> 
> Lawrence
> 
> -- 
> Lawrenceyates.co.uk
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Re: [Finale] Undesirable enharmonics

2017-04-27 Thread Christopher Smith
Hi Elizabeth,

I think PCs have menu shortcuts, which Mac (my OS) does not have. So you might 
be already ahead of the game there.

As for correcting a region, if you can figure out the Spelling Tables (which I 
think might be broken) then in theory you should be able to set the Spelling 
Table to spell every scale degree in a certain way (if you aren’t using a key 
signature, it will assume that you are in the key of C). Then you can select a 
passage with the Selection Tool and hit Utilities menu>Respell Notes. This will 
change all the spellings to whatever you have set in the Enharmonic Spelling 
menu item. Even if Spelling Tables are broken, Favour Flats and Favour Sharps 
might get you a long way to what you want.

Christopher

> On Apr 27, 2017, at 7:23 PM, Elizabeth R. Austin  wrote:
> 
> Christopher, thank you so very much for this thorough answer!
> 
> I will see what Finale on my PC can deliver in terms of System Preference.
> I do not enter notes via MIDI and so some suggestions are out-I am also not
> a tonal composer, although I do use the surface figures of triads, etc. in
> my music.
> 
> I would hope that Finale could come up with a global correction if one
> selects a region, for example.
> 
> Setting the cursor om the notes and hitting 9 is what I've resorted to but
> there must be a handier way to do this!
> 
> Thanks,
> Elizabeth
> 
> *Elizabeth R. Austin, ACA, BMI*
> *www.elizabethaustinmusic.com* 
> *http://composers.com/elizabeth-r-austin*
> 
> *http://www.amc.net/ElizabethRAustin* 
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Re: [Finale] undesirable enharmonics!

2017-04-26 Thread Christopher Smith
Chuck,

You’re so kind! I’ll send you your usual cheque for “promotion”!

Christopher


> On Apr 26, 2017, at 3:32 PM, Chuck Israels <cisra...@comcast.net> wrote:
> 
> Hi Christopher,
> 
> MM ought to hire you to be their perfect explainer.
> 
> Margot and I send our fond regards,
> 
> Chuck
> 
>> On Apr 26, 2017, at 12:27 PM, Christopher Smith 
>> <christopher.sm...@videotron.ca> wrote:
>> 
>> There are a number of issues here.
>> 
>> First of all, if you tell Finale to use Default spelling, it sometimes 
>> doesn’t make the right decision. You can either change the spelling 
>> manually, or use a different default. I generally use this when I enter 
>> chords, because Finale will usually choose F Ab C rather than F G# C if you 
>> hold down an F minor chord. Chords it doesn’t recognize (like many jazz 
>> chords) are up for grabs. They may be spelled correctly, or not, according 
>> to the direction the wind is blowing and the moon phase.
>> 
>> Favour Sharps, or Favour Flats are two of the defaults I use regularly. 
>> There is no keyboard command to toggle these, so I have assigned them myself 
>> on my Mac using the System Preference. This is pretty much bulletproof, but 
>> you have to remember to set it, and if you enter a passage with the “wrong” 
>> setting, you have to go back and change them manually using one of two 
>> methods. This method is far from perfect, because if you have chosen one of 
>> these defaults and enter an F#dim7 chord, either the F# or the Eb will be 
>> spelled incorrectly.
>> 
>> There is also “Use Spelling Tables” and you can set them according to the 
>> key you are in, major or minor. These seem to be broken since many versions 
>> now, or else I simply don’t understand them, because they have never worked 
>> properly for me.
>> 
>> The two manual methods for flipping enharmonics (or three, really, but the 
>> third one is stupidly broken) are as follows:
>> 
>> 1. Set Favour Sharps or Favour Flats and with the Speedy cursor on the chord 
>> or note, hold down the pitch on the MIDI keyboard and hit Enter. Finale will 
>> use whatever setting is in the Enharmonic Spelling at the moment to spell 
>> the chord or note that way. This is the same as when you originally enter 
>> the pitch. Spelling changed this way will stick properly.
>> 
>> 2. For a while on single-note parts, I took to entering notes with 
>> accidentals as diatonic notes, then hitting + or - immediately after the 
>> fact to change it to a higher or lower alteration. This is also bulletproof.
>> 
>> 3. Finale’s OFFICIAL way to switch enharmonics in Speedy is to set the 
>> cursor on the note and hit 9. If you set the cursor on a chord and it is not 
>> exactly on a notehead, it will cycle through every possible spelling, 
>> starting with the lowest note in the chord, every time you press 9. If you 
>> ARE exactly on a notehead, it will only respell this pitch. But this has 
>> been broken for many, many versions now, as it doesn’t stick properly. It 
>> very well may flip back on you without you doing anything, even when you are 
>> working on some other staff. It is especially bad if you have ever hit 9 
>> more than once on the same stem. They claim to have fixed it, but it is 
>> still maddeningly broken. There is no telling how this will turn out, so 
>> never touch it, is my advice. Use one of the other methods.
>> 
>> Christopher
>> 
>> 
>>> On Apr 26, 2017, at 1:32 PM, Elizabeth R. Austin <gink...@gmail.com> wrote:
>>> 
>>> I had a copyist help with an orchestral (opera) score-now I'm adding all
>>> text, etc. and proofreading...as I go through all parts, there is
>>> inevitably a chordal misspelling, using a # instead of a *b*, etc...is
>>> there anything I can 'tell' Finale to do to avoid this?
>>> 
>>> *Elizabeth R. Austin, ACA, BMI*
>>> *www.elizabethaustinmusic.com* <http://www.elizabethaustinmusic.com/>
>>> *http://composers.com/elizabeth-r-austin*
>>> <http://composers.com/elizabeth-r-austin>
>>> *http://www.amc.net/ElizabethRAustin* <http://www.amc.net/ElizabethRAustin>
>>> ___
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>> 
>> 
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Re: [Finale] undesirable enharmonics!

2017-04-26 Thread Christopher Smith
There are a number of issues here.

First of all, if you tell Finale to use Default spelling, it sometimes doesn’t 
make the right decision. You can either change the spelling manually, or use a 
different default. I generally use this when I enter chords, because Finale 
will usually choose F Ab C rather than F G# C if you hold down an F minor 
chord. Chords it doesn’t recognize (like many jazz chords) are up for grabs. 
They may be spelled correctly, or not, according to the direction the wind is 
blowing and the moon phase.

Favour Sharps, or Favour Flats are two of the defaults I use regularly. There 
is no keyboard command to toggle these, so I have assigned them myself on my 
Mac using the System Preference. This is pretty much bulletproof, but you have 
to remember to set it, and if you enter a passage with the “wrong” setting, you 
have to go back and change them manually using one of two methods. This method 
is far from perfect, because if you have chosen one of these defaults and enter 
an F#dim7 chord, either the F# or the Eb will be spelled incorrectly.

There is also “Use Spelling Tables” and you can set them according to the key 
you are in, major or minor. These seem to be broken since many versions now, or 
else I simply don’t understand them, because they have never worked properly 
for me.

The two manual methods for flipping enharmonics (or three, really, but the 
third one is stupidly broken) are as follows:

1. Set Favour Sharps or Favour Flats and with the Speedy cursor on the chord or 
note, hold down the pitch on the MIDI keyboard and hit Enter. Finale will use 
whatever setting is in the Enharmonic Spelling at the moment to spell the chord 
or note that way. This is the same as when you originally enter the pitch. 
Spelling changed this way will stick properly.

2. For a while on single-note parts, I took to entering notes with accidentals 
as diatonic notes, then hitting + or - immediately after the fact to change it 
to a higher or lower alteration. This is also bulletproof.

3. Finale’s OFFICIAL way to switch enharmonics in Speedy is to set the cursor 
on the note and hit 9. If you set the cursor on a chord and it is not exactly 
on a notehead, it will cycle through every possible spelling, starting with the 
lowest note in the chord, every time you press 9. If you ARE exactly on a 
notehead, it will only respell this pitch. But this has been broken for many, 
many versions now, as it doesn’t stick properly. It very well may flip back on 
you without you doing anything, even when you are working on some other staff. 
It is especially bad if you have ever hit 9 more than once on the same stem. 
They claim to have fixed it, but it is still maddeningly broken. There is no 
telling how this will turn out, so never touch it, is my advice. Use one of the 
other methods.

Christopher


> On Apr 26, 2017, at 1:32 PM, Elizabeth R. Austin  wrote:
> 
> I had a copyist help with an orchestral (opera) score-now I'm adding all
> text, etc. and proofreading...as I go through all parts, there is
> inevitably a chordal misspelling, using a # instead of a *b*, etc...is
> there anything I can 'tell' Finale to do to avoid this?
> 
> *Elizabeth R. Austin, ACA, BMI*
> *www.elizabethaustinmusic.com* 
> *http://composers.com/elizabeth-r-austin*
> 
> *http://www.amc.net/ElizabethRAustin* 
> ___
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> https://lists.shsu.edu/mailman/listinfo/finale
> 
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Re: [Finale] the eternal lyric bugs

2017-04-23 Thread Christopher Smith
Hi Harold,

This was intriguing me, so I searched the internets and found this discussion. 
Let us know if it helps. It may be a bug, or simply corrupted preferences that 
cause it.

https://makemusic.zendesk.com/hc/en-us/community/posts/219259967-Disappearing-hyphens-in-lyrics
 
<https://makemusic.zendesk.com/hc/en-us/community/posts/219259967-Disappearing-hyphens-in-lyrics>

Christopher

> On Apr 23, 2017, at 6:42 AM, Haroldo Mauro <hma...@hmauro.com> wrote:
> 
> I’m using Times New Roman 12. Please take a look at this image, compare the 
> Lyrics Window with the music, and note how it seems that Finale chooses 
> randomly where to put hyphens and where to ommit them. 
> 
> http://hmauro.com/finale/hyphens.png
> 
> Harold
> 
> 
> On Apr 22, 2017, at 22:39, Christopher Smith <christopher.sm...@videotron.ca> 
> wrote:
> 
>> Well, what font are you using for lyrics? Try temporarily setting it to 
>> Times New Roman and see if the hyphens suddenly appear after you update 
>> layout.
>> 
>> Christopher
>> 
>> 
>>> On Apr 22, 2017, at 9:36 PM, hma...@hmauro.com wrote:
>>> 
>>> Thank you Chuck, that helps hyphenating, but I don't see how it could  
>>> help making Finale stop hiding the hyphens I typed. And it is not  
>>> because of tight space, as Christopher pointed out. There is plenty of  
>>> space.
>>> Harold
>>> 
>>> 
>>> Quoting Chuck Israels <cisra...@comcast.net>:
>>> 
>>>> Harold,
>>>> 
>>>> Don't know what's going on with Finale, but I do know that there is  
>>>> an auto-hyphenating website where you can copy in your lyric and it  
>>>> does a reasonable job of hyphenation.
>>>> 
>>>> I'll send the URL when I am back at my computer.
>>>> 
>>>> Chuck
>>>> 
>>>> Sent from my iPhone
>>>> 
>>>>> On Apr 22, 2017, at 3:06 PM, Haroldo Mauro <hma...@hmauro.com> wrote:
>>>>> 
>>>>> Just finished adding lyrics to my score. Finale shows hiphenation  
>>>>> only where it wants too. Some words have them some don’t, despite  
>>>>> their being there, visible, in the Lyrics Window. Is there a  
>>>>> solution for that? Do I have to type everything again?
>>>>> 
>>>>> Harold
>>>>> ___
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Re: [Finale] the eternal lyric bugs

2017-04-22 Thread Christopher Smith
Well, what font are you using for lyrics? Try temporarily setting it to Times 
New Roman and see if the hyphens suddenly appear after you update layout.

Christopher


> On Apr 22, 2017, at 9:36 PM, hma...@hmauro.com wrote:
> 
> Thank you Chuck, that helps hyphenating, but I don't see how it could  
> help making Finale stop hiding the hyphens I typed. And it is not  
> because of tight space, as Christopher pointed out. There is plenty of  
> space.
> Harold
> 
> 
> Quoting Chuck Israels :
> 
>> Harold,
>> 
>> Don't know what's going on with Finale, but I do know that there is  
>> an auto-hyphenating website where you can copy in your lyric and it  
>> does a reasonable job of hyphenation.
>> 
>> I'll send the URL when I am back at my computer.
>> 
>> Chuck
>> 
>> Sent from my iPhone
>> 
>>> On Apr 22, 2017, at 3:06 PM, Haroldo Mauro  wrote:
>>> 
>>> Just finished adding lyrics to my score. Finale shows hiphenation  
>>> only where it wants too. Some words have them some don’t, despite  
>>> their being there, visible, in the Lyrics Window. Is there a  
>>> solution for that? Do I have to type everything again?
>>> 
>>> Harold
>>> ___
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Re: [Finale] the eternal lyric bugs

2017-04-22 Thread Christopher Smith
Retyping them won’t help. Finale eliminates the hyphen when it judges the 
spacing to be too tight to let it be legible. Opening up a bit of space might 
help, or using a slightly more compact lyric font. Or maybe your lyric font 
doesn’t have a FAN, so Finale thinks all the characters are super-wide? That’s 
just a thought.

Christopher


> On Apr 22, 2017, at 6:06 PM, Haroldo Mauro  wrote:
> 
> Just finished adding lyrics to my score. Finale shows hiphenation only where 
> it wants too. Some words have them some don’t, despite their being there, 
> visible, in the Lyrics Window. Is there a solution for that? Do I have to 
> type everything again?
> 
> Harold
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Re: [Finale] Have a rectangle block which doesn't want to be deleted

2017-04-21 Thread Christopher Smith
Hmm, normally the Selection Tool will select almost anything, and double 
clicking an object with the Selection Tool will select it AND change to the 
tool the object was created with. Neither of these things work?

When Finale starts acting in unprecedented ways, it’s usually a sign I need to 
quit everything carefully and reboot the computer.

Christopher

> On Fri Apr 21, at FridayApr 21 7:10 PM, Elizabeth R. Austin 
>  wrote:
> 
> In a flute part, I remember adding a .tif line..now I want to delete it and
> cannot find any way it will budge-I even looked through all my photo files
> on the computer but couldn't find this-please advise!
> 
> *Elizabeth R. Austin, ACA, BMI*
> *www.elizabethaustinmusic.com* 
> *http://composers.com/elizabeth-r-austin*
> 
> *http://www.amc.net/ElizabethRAustin* 
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Re: [Finale] Different type barlines at a specific place

2017-04-16 Thread Christopher Smith
I just tried it in Finale v25, and you’re right, any group you add applies to 
the whole system, never to a partial system. Even though I applied it to ONLY 
measures 1 through 3, ALL the measures in the first system got their barlines 
extended between staves. At least it was only the system!

So I used jef chippewa’s suggestion, and after I made all the barlines in one 
system connect, I broke some of them using a staff style. That worked 
perfectly. That is what I suggest.

Strangely, I can force barlines to break, but not to appear by using a staff 
style. Strange.

Here’s a screen shot after I applied the new group to system 1.

https://dl.dropboxusercontent.com/u/27285617/Screen%20Shot%202017-04-16%20at%209.35.48%20AM.png

Christopher


> On Apr 16, 2017, at 9:14 AM, Barbara Touburg  wrote:
> 
> Well, I tried it after a good night's sleep and it still doesn't work.
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Re: [Finale] Different type barlines at a specific place

2017-04-15 Thread Christopher Smith
I think you can set Group Attributes for selected passages only, if you select 
them first.

C


> On Apr 15, 2017, at 3:06 PM, Barbara Touburg <btoub...@online.nl> wrote:
> 
> On 15-4-2017 18:36, Christopher Smith wrote:
>> It’s in the Group Attributes. In the Measure Tool>Measure menu>Groups>Edit 
>> there is an option.
> 
> On second thought, that didn't work. I want barlines between staves for 
> only a couple of measures.
> 
> In my Measure Menu there's no option Groups>Edit.
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Re: [Finale] Different type barlines at a specific place

2017-04-15 Thread Christopher Smith
Hi Barbara,

It’s in the Group Attributes. In the Measure Tool>Measure menu>Groups>Edit 
there is an option.

Christopher


> On Apr 15, 2017, at 12:26 PM, Barbara Touburg  wrote:
> 
> Hello,
> 
> I'm working on an organ piece in which the barlines on the top two 
> staffs are drawn through both staves, but incidentally I need barlines 
> between the staves.
> I know that there's a way to accomplish this, but I can't remember. Can 
> anyone help? Thanks!
> 
> FinWin 2014.5, Windows 7
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Re: [Finale] Problems emailing musx files

2017-04-15 Thread Christopher Smith
I’ve heard of this. What I do is to put the file inside a folder, name the 
folder without anything that looks like a file extension, and zip that folder. 
That usually works.

But recently I’ve taken to sending Dropbox links, which don’t get lost, are 
retrievable from anywhere, and can be any size of file. (Google Drive does the 
same thing.)

Christopher


> On Wed Apr 12, at WednesdayApr 12 3:30 PM, Andrew Levin  
> wrote:
> 
> Hi, all,
> 
> Does anyone have trouble emailing musx files? In recent months, some 
> colleagues of mine at the university and I are having trouble sending musx 
> files via email. The email goes through, but with the musx file stripped off. 
> A note from Postmaster accompanies this:
> 
> ===
> 
> This message was created automatically by mail delivery software. Your email 
> message was not delivered as is to the intended recipients because malware 
> was detected in one or more attachments included with it. All attachments 
> were deleted.
> 
> --- Additional Information ---:
> 
> Subject: Re: Messaging: Problem with .musx file attachments ISSUE=244251 
> PROJ=34
> Sender: ale...@clemson.edu
> 
> Time received: 4/5/2017 6:01:55 
> PM
> Message 
> ID:>
> Detections found:
> exam.zip jar
> 
> ==
> 
> I asked the university IT folks if we can just allow the musx file to go 
> through, to make an exception with this file type. It came back that it’s not 
> the file type, but "the issue does not seem to be the file extension, but the 
> META-INF portions of the file being seen as java executables. I will submit a 
> ticket to Microsoft about this mis-identification.”
> 
> So we wait, and I can’t send musx files as attachments. Zipping doesn’t help. 
> I tried sending the file from a different email account, but to no avail.
> 
> MakeMusic support suggests export the file to Music XML, but for some work I 
> need it to appear exactly as I have worked it out in the Finale file.
> 
> Has anyone else had this problem? Found a solution? Thanks in advance for 
> your help.
> 
> (Note: I’m on the digest, so I’d appreciate if you can also reply to me 
> directly).
> 
> 
> Dr. Andrew Levin
> Conductor, CU Symphony Orchestra
> Associate Professor of Music
> Clemson University
> 864-506-2344
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Re: [Finale] Quickest chord entry methord

2017-03-14 Thread Christopher Smith
That would be Utilities>CHANGE>chords… transpose. 

This only transposes chord symbols. I have to use it sometimes when I’ve copied 
a passage from a source where the key signature is C major to a target file in 
A minor.

Works fine in my newest version, Mac.

C


> On Tue Mar 14, at TuesdayMar 14 9:49 AM, Craig Parmerlee 
> <cr...@parmerlee.com> wrote:
> 
> In my most recent experience with F25, I couldn't transpose chord 
> symbols at all, if you mean using Utility-Transpose.
> 
> Finale will transpose chords if you copy to a transposing instrument. 
> And Finale will transpose chords if you change the key signature, but 
> Utility-Transpose changed notes, but not chords. That's how it worded 
> (or rather, didn't work) for me.
> 
> 
> 
> On 3/14/2017 8:46 AM, Christopher Smith wrote:
>> Also, don’t transpose chords by a DIATONIC third! Make it a minor third! 
>> That’s very important. It’s only coincidence that it worked with a C note; 
>> it won’t work with an E, for example.
>> 
> 
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Re: [Finale] Quickest chord entry methord

2017-03-14 Thread Christopher Smith
Hi David and Graeme,

David, you don’t have to attach chords to entries any more. So your method of 
entering 4 quarters and then trying things didn’t need the 4 quarters. This is 
a blessing and a curse, in that you don’t have to enter notes (or rests in my 
former case, so they don’t play back) but if you have rhythmic notation you DO 
need to enter notes (to turn into stemmed slashes) and that ends up spacing 
those surrounding measures differently. It also makes it next to impossible to 
resize chord symbols.

Also, don’t transpose chords by a DIATONIC third! Make it a minor third! That’s 
very important. It’s only coincidence that it worked with a C note; it won’t 
work with an E, for example.

Graeme, the way I would do that particular task is transpose the chords 
instead, which is only one operation. This can be found in Utilities 
menu>Change>Chords… Transpose. Make sure you transpose the chords up a minor 
third if the notes are in in alto key.

Christopher


> On Mar 14, 2017, at 7:31 AM, David H. Bailey  wrote:
> 
> On 3/14/2017 5:00 AM, Graeme Gerrard wrote:
>> Well, I have a question about chords and melodies.  I play alto sax and want 
>> to print my sax lines out transposed so I can read them.  But if I put chord 
>> symbols over the bar, Finale likes to transpose the chords too! I get around 
>> this by putting a second stave, for piano, and put the chord symbols in that 
>> staff.  So that’s ok as a work around and I just print the sax part, without 
>> the piano chords.
>> Do you get what I mean?
>> Is there a better way around this?  What do other sax players do?
>> 
> 
> Most of the time people playing transposing instruments would rather see 
> the chords in the correct key for their instrument.  So a C7 chord would 
> show as an A7 chord for alto sax so that an alto player looking to 
> improvise only needs to think about the A7 chord and doesn't have to 
> think "C7 should be A7 on my instrument."  But I can understand you 
> wanting to do as you ask if you want a pianist or guitarist to simply 
> play an accompaniment without doing anything with the melody.  Of course 
> you can accomplish that by creating your leadsheet for alto sax, 
> printing the alto sax part, then printing the same thing in concert 
> pitch and then your accompanist will see the proper melody and chord 
> agreement and you'll have the alto sax part to play from.
> 
> One way to accomplish what you want:
> 0) if playback is important, set the instrument as you want either in 
> the setup wizard or change the instrument using the Score Manager.
> 1) Document Menu - Display In Concert Pitch
> 2) enter the notes and chords in concert pitch
> 3) select the music, use the Utilities/Transpose to transpose down a 
> diatonic third
> 4) Use the key signature tool to change the key to what you want to 
> reflect the key you want the music in.
> You should end up with what you want -- the notes transposed for alto 
> sax and the chords in the original concert pitch.
> 
> I just did that experiment creating a measure in concert pitch, 4 
> quarter notes C with a C7 chord above the first note.
> 
> I ended up with the notes in the key of A but with the chord still 
> showing as C7.
> 
> I think that's essentially what you want.
> 
> 
> -- 
> *
> David H. Bailey
> dhbaile...@comcast.net
> http://www.davidbaileymusicstudio.com
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Re: [Finale] Quickest chord entry methord

2017-03-12 Thread Christopher Smith

> On Mar 12, 2017, at 7:55 AM, Jon Delfin  wrote:
> 
> On Sun, Mar 12, 2017 at 7:41 AM, David H. Bailey 
> wrote:
> 
>> For things that you only do occasionally and so aren't likely to
>> remember the complicated set of keystrokes, you may need to keep a
>> notebook of such things, or print out a single sheet which has all your
>> chord suffixes on it along with the keystrokes necessary to get the
>> result and put it on the wall in your office or something.
> 
> 
> Or type
> :0
> after the chord root to open the chord suffix selection box.

… and once you see the suffix number, remember it and next time type colon and 
the suffix number instead of zero.


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