this is great. I'll get some use from this.
Thanks for posting.
Mark McCarron
From: Brian Appleby
To: finale@shsu.edu
Sent: Sunday, December 9, 2012 12:30 AM
Subject: Re: [Finale] Transpositions in linked parts
You can create all the parts you wa
Yes. (though you must have meant "without having multiple STAVES in the score."
Multiple PARTS is what you want.)
Create a new part, name it, add the staff you want, now read carefully. WHILE
IN THE PART, go to the Score Manager (command K on Mac) and click "unlink all
instruments in this part.
You can create all the parts you want in scroll view, then hide the ones you
don't want in the score. The hidden parts all still appear in scroll view but
will not appear in the page view score or the printed score. They CAN be used
to create linked parts. I use this all the time for things l
Fellow listers,
I have been racking my brain and scouring the documentation but I can't
get the answer to my dilemma that I swear exists.
I want to write some charts/arrangements where I have four, five or six
parts, i.e. parts A, B, C, etc. I want to create multiple parts from
each part: i.e
At 6:17 AM -0500 2/27/07, Lawrence David Eden wrote:
I am working on a score written by Paul Hindemith. He wrote the
Klarinette part in B with a key signature, but the Trompete part,
which is also in B, has no key signature.
Can anybody tell me about this practice in orchestral music? It is
n
- Original Message -
From: "dhbailey" <[EMAIL PROTECTED]>
To:
Sent: Tuesday, February 27, 2007 1:05 PM
Subject: Re: [Finale] transpositions
> Marcello Noia wrote:
> > - Original Message -
> > From: "Lawrence David Eden" <[EMAI
Marcello Noia wrote:
- Original Message -
From: "Lawrence David Eden" <[EMAIL PROTECTED]>
To: "FinaleList"
Sent: Tuesday, February 27, 2007 12:17 PM
Subject: [Finale] transpositions
I am working on a score written by Paul Hindemith. He wrote the
Klari
- Original Message -
From: "Lawrence David Eden" <[EMAIL PROTECTED]>
To: "FinaleList"
Sent: Tuesday, February 27, 2007 12:17 PM
Subject: [Finale] transpositions
> I am working on a score written by Paul Hindemith. He wrote the
> Klarinette part in
I am working on a score written by Paul Hindemith. He wrote the
Klarinette part in B with a key signature, but the Trompete part,
which is also in B, has no key signature.
Can anybody tell me about this practice in orchestral music? It is
new to me. Why not give the trumpet and clarinet the s
; -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED] On Behalf Of Daniel Wolf
> Sent: 19 October 2006 13:21
> To: finale@shsu.edu
> Subject: Re: [Finale] Transpositions
>
>
> Bartók came from a class and an environment in which playing viol
On Oct 18, 2006, at 6:29 PM, Dean M. Estabrook wrote:
After analyzing Bartok's String Quartet work and his Concerto for
Orchestra, I have to believe that if he didn't play any string
instruments, he had some bloody good help in writing it.
This and similar comments mystifying the proces
Bartók came from a class and an environment in which playing violin,
piano, and perhaps cello were altogether ordinary skills, and music was
practically defined by the Austro-Germanic repertoire. As a pianist, he
became familiar with the Beethoven violin sonatas in his late childhood
or early t
Will Denayer <[EMAIL PROTECTED]> wrote:
[...] I usually write everything in C first and then write it over for
the transposing instruments. I understand now that I can write
everything as in C in Finale and then use the transposition tool where
needed. This is great.
The transposition tool is
On 19.10.2006 Owain Sutton wrote:
Offhand, I'm pretty sure that Shostakovich and Bartok didn't play any
string instruments.
To be honest, I have no idea. However, I didn't mean to master the
instrument. But at least learn to play a few notes, this will tell you
some of the difficulties, but
> Offhand, I'm pretty sure that Shostakovich and Bartok didn't play any
> string instruments.
Or Schumann, Brahms, Debussy, Ravel, Prokofiev, or others who wrote very
effective chamber music for strings (though Prokofiev is more effective than
idiomatic, as his string writing at times contains awk
After analyzing Bartok's String Quartet work and his Concerto for
Orchestra, I have to believe that if he didn't play any string
instruments, he had some bloody good help in writing it.
Dean
On Oct 18, 2006, at 3:22 PM, Owain Sutton wrote:
Offhand, I'm pretty sure that Shostakovich and
Offhand, I'm pretty sure that Shostakovich and Bartok didn't play any
string instruments.
Far more useful, for most composers, is an opportunity to work alongside
or collaborate with competent and receptive players.
-Original Message-
On 18 Oct 2006 at 21:36, Johannes Gebauer wrote:
>
On 18 Oct 2006 at 21:36, Johannes Gebauer wrote:
> Beethoven took violin lessons before he started out writing
> quartets. I am not sure you can write string quartets without playing
> at least one string instrument to a certain standard...Sorry if this
> sounds too negative.But I really think the
On 18.10.2006 Will Denayer wrote:
On a completely different note: does anyone of you know of a good source for writing quartets? I am writing a piece for cello solo right now (my first one ever) and I find that unbelievably difficult. I cannot imagine writing for quartet. The big problem is that I
> On a completely different note: does anyone of you know of a good
> source for writing quartets? I am writing a piece for cello solo
> right now (my first one ever) and I find that unbelievably
> difficult. I cannot imagine writing for quartet. The big problem
> is that I do know the instruments
Hello David, Noel, Thank you very much for your answers - they are much
appreciated. About the trumpet in C: I am sure I wouldn't hear the difference
and I didn't want to imply I would. It's also not that terribly important
because trumpet players can transpose while playing, but I was thinking
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