If the music is used under colored lights, the red will disappear. For that
reason I've found that it's best to keep everything black.
Just sayin',,,
Lon
On May 12, 2013, at 2:57 AM, Haroldo Mauro wrote:
I want to assign a red color for coda and segno signs but at the same time
keep all
There's Booklet Creator:
http://bookletcreator.com/
Works for me, although I've been creating booklets in Preview by adding files
by dragging them into the sidebar. But that's for creating booklets that are
just straight front-to-back with comb binding.
Lon
On Apr 20, 2013, at 2:32 PM, Ryan
I've been using Finale since 2000 and I've found that when I need truly
realistic playback I need to go elsewhere for it. In my case I use MOTU's
Digital Performer. I DO NOT try to import or export MIDI files, as I've found
that to be too problematic. So I end up doing all of the work twice,
In my somewhat less than humble opinion, you're driving yourself nuts trying to
do this in Finale, when a MIDI sequencing program, such as DP or Logic, is much
more suitable.
On Apr 7, 2013, at 1:21 PM, Phil Buglass wrote:
Hi,
This is a great idea. The problem is that these
tempo marks
This is really good info to know. I just set up my New Jazz Template with JABB
3 sounds as first priority, GPO 4 as second. Got the sounds to reload, and
also customized the view so that everything shows. I'm liking the Score
Manager more and more.
Thanks,
Lon
On Mar 29, 2013, at 12:27
The Garritan for Finale library does contain saxes, and no, installing GPO will
not erase anything. You'll then have your choice of which library to draw from
for each individual instrument in your score.
On Feb 22, 2013, at 4:23 PM, Phil Buglass wrote:
Thank you for the input. Most people
Why not just delete the unwanted staff? That's what I do in this case.
On Mar 16, 2012, at 11:14 PM, John Blane wrote:
Yes, you can remove the empty staff.
2 things to check:
1) in the staff attribute for the LH staff, make sure the Allow hiding when
empty box is checked
2) Staff Tool:
I just worked on a chart in which the composer (a guitar player) wrote
E7(add2). I'd call that E9, but the guitar player said that he would put the
9th in a top voice in my case, and an inner voice in his. I argued that the
chord symbol is not meant to indicate voicings, only the notes to be
I just tried extracting a part in Fin (Mac) 2012. It looks exactly the same as
the linked part, so yes, you must be doing something wrong. Can't say what it
might be. Are the parts displayed correctly in the Score Manager? (found in
Window Menu)
On Dec 14, 2011, at 3:24 PM, Lawrence Yates
Hi Linda,
I'm sending you the Fin 2010 Help Files via YouSendIt.com. Hope this helps.
Lon
On Dec 4, 2011, at 8:09 AM, Linda Worsley wrote:
Thanks to everyone for the help on courtesy accidentals. They all work,
but take about four times as long as I remember. I seem to remember a set
of
You need to create a new part that includes both the vocal and the piano. In
Manage Parts, select New Part. Under Available Instruments, piano is listed
with an arrow next to it. Select Vocal and add it, then select Piano, and add
it. That should give you what you need.
On Nov 21, 2011, at
E13
On Oct 28, 2011, at 9:42 AM, Robert Patterson wrote:
Another question for the accumulated jazz wizdom of this list. I need to
indicate an E dominant 7 chord with the 6th (or if you prefer, 13th) added.
None of the suffixes in the default list jumps out me as the right one. What
should it
I've had the exact thing happen, with the same result when quitting and
restarting. Haven't clue why this happens.
On Sep 25, 2011, at 10:48 PM, Ryan wrote:
Finale 2010. Mac OS 10.5.8
It seems temporarily lost the ability to Undo. I never changed anything, and
in the Program Options -
At least you guys know singers who can read at all. When I took first semester
sight singing an North Texas, the worst readers in the class were the singers.
On Sep 16, 2011, at 2:49 PM, David W. Fenton wrote:
On 16 Sep 2011 at 11:18, Patrick Sheehan wrote:
To clarify, I do not have a
Last year I worked as copyist on a big job for Tori Amos. It was for orchestra
of varying sizes, from small to huge. Sometimes I would reduce the harp to one
staff, in order to save room in the score. There was also a synth part in one
tune that only required one staff. In fact, we reduced
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