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Richard Yates wrote:
Is there any way at all, short of reentering all the notes, of getting a
Sibelius score into Finale (even just as MIDI)?
Richard Yates
It'll cost some money, but if you buy the MusicXML plug-in for Sibelius
from www.recordare.com, you can export the music into MusicXML
Aaron Sherber wrote:
At 09:17 PM 03/18/2005, Carl Dershem wrote:
I'm glad I'm not the only one that pulls their hair out when they run
across this. It looks so professional, it MUST be right! when the
parts make no sense at all...
Better: When you point out a wrong note in the
Jim Williamson wrote:
It may not define form and I don't care. However, I've seen it that way a
million times and I like it.
Jim
I see from your e-mail address that you're from Nashville -- I've always
heard that Nashville musicians have their own way of doing things, and
with the fantastic
Carl Dershem wrote:
John Bell wrote:
Computers arrived. One of the first problems I encountered then was
that players, given beautifully printed parts, couldn't believe that
there was a wrong note there -- it was printed as F# so it must be F#.
Some composers and arrangers found that using the
A-NO-NE Music wrote:
Darcy James Argue / 05.3.18 / 05:26 PM wrote:
No. Chris and Hiro are, with due respect, not adhering to standard
jazz practice here.
Ha-ha,
Let me ask you this.
A 32 bar standard jazz form with two bars of pickup measures,
Do you call this a 34 bar form?
I still call it 32
Dear all -
Maybe a lot of you know about this already, but I
found this site, and (so far) it has proved useful to
me in my beginning theory class. It allows you to
assign pre-designed theory drills that your students
can complete on their own time (on their own
computers, even), and then you
Richard Yates wrote:
Is there any way at all, short of reentering all the notes, of getting
a
Sibelius score into Finale (even just as MIDI)?
Richard Yates
It'll cost some money, but if you buy the MusicXML plug-in for Sibelius
from www.recordare.com, you can export the music into MusicXML
At 06:37 AM 03/19/2005, dhbailey wrote:
Aaron Sherber wrote:
Better: When you point out a wrong note in the (Finale-generated) part
and are told, No, I checked the score, and it's the same note there.
Well, that is a bit more difficult, isn't it? Especially for new works
for which there are
Thanks Noel,
I'm not sure that's it...Finale obviously has given us the ability to create
multi-line
text expressions within the expression designer. The Text menu for the
Expression
Designer has some, but not all, of the capabilities of the Text Tool and
Justification is
one of them. I'm just
On 19 Mar 2005, at 12:10 AM, Christopher Smith wrote:
I was ready to capitulate on the numbering-all-complete-measures
issue, but this went over the edge. You can say
Measure numbers have NOTHING TO DO with the form.
all you like, but in standard even-numbered forms, especially when
written in
Rob,
Justification is not one of the features that staff expressions have,
at least, not in the present version of Finale. Yes, I bemoaned that
fact, too, and sent off a request to Finale to include justification
next time, as that is the last thing you can do in Text expressions
that you
dhbailey / 05.3.19 / 06:31 AM wrote:
We definitely travel in different circles -- if I called out Start at
measure 7 everybody I've ever worked with would start counting from the
first printed measure and count until they got to the 7th printed
measure. I would have to say Start at the 7th
On Mar 19, 2005, at 6:31 AM, dhbailey wrote:
I've also played from published music where only half of the parts
had measure numbers (actual counting numbers) and the other half
didn't have anything.
I am currently rehearsing for a performance of the _Missa Solemnis_.
The chorus and orchestra
On Mar 19, 2005, at 7:28 AM, john harding wrote:
I'm no Finalist, but I did once save a Sibelius score as MIDI and then
open it in Finale. I wanted to see if it would (unlike Sibelius)
notate
multiple Scotch Snaps correctly, which it did. The formatting seemed
to
have flown out the window, and
On Mar 19, 2005, at 8:26 AM, Darcy James Argue wrote:
On 19 Mar 2005, at 12:10 AM, Christopher Smith wrote:
I was ready to capitulate on the numbering-all-complete-measures
issue, but this went over the edge. You can say
Measure numbers have NOTHING TO DO with the form.
all you like, but in
Dear Rob,
I don't think justification is allowed in text expressions. However,
you might be able to use a measure-attached text block instead. In
Scroll View double-click and drag a box large enough for the
expression. Text will wrap. The bounding box can be adjusted either
horizontally or
On Mar 19, 2005, at 6:31 AM, dhbailey wrote:
I've also played from published music where
only half of the parts had measure numbers
(actual counting numbers) and the other half
didn't have anything.
I am currently rehearsing for a performance of
the _Missa Solemnis_. The chorus and orchestra
At 12:21 PM 03/19/2005, Christopher Smith wrote:
OK, I have to ask. What's a Scotch Snap?
Sixteenth - dotted eighth.
Aaron.
___
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Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
At 12:45 PM 3/19/05 -0500, Darcy James Argue wrote:
On 19 Mar 2005, at 12:19 PM, Christopher Smith wrote:
Why?
Because consistency is good, and a lack of consistency invites
confusion.
Or happy creative accidents. :)
Happy today,
Dennis
___
Finale
Whenever I write an arrangement and then create parts via export, I
spend (unnecessary?) time tweaking the individual parts. Specifically,
how do I--
--have the name of the instrument appear on all pages following p. 1.
--keep spacing of systems consistent after p. 1
--make page breaks appear
At 01:46 PM 03/19/2005, Gerry Kirk wrote:
Whenever I write an arrangement and then create parts via export, I
spend (unnecessary?) time tweaking the individual parts. Specifically,
how do I--
--have the name of the instrument appear on all pages following p. 1.
I don't believe there's a good
On 19 Mar 2005 at 0:31, Christopher Smith wrote:
On Mar 18, 2005, at 5:22 PM, David W. Fenton wrote:
On 18 Mar 2005 at 14:08, Christopher Smith wrote:
For that matter, in the example I cited above (BEFORE the revision)
I had a pickup measure with 7 eighths in it. I didn't bother making
I was hoping to make a small library of articulations (simple guitar
fingerings) to send to a friend still using Finale 97. A quick experiment
seems to indicate that to do even this little thing I would need to create
the library in Fin 97 or earlier. Is this indeed the case or is there a way
to
In the Windows version, those options aren't even present at all in the
expression designer.
They may just be relicts of the section of code that the text expression
editor shares with the text-tool editor, but not be applicable. I don't
see how they could be if the data files are identical
A-NO-NE Music wrote:
dhbailey / 05.3.19 / 06:31 AM wrote:
We definitely travel in different circles -- if I called out Start at
measure 7 everybody I've ever worked with would start counting from the
first printed measure and count until they got to the 7th printed
measure. I would have to
In message [EMAIL PROTECTED] David W.
Fenton writes:
On the other hand, notating it as a full measure with a rest would
tend to obscure the upbeatness of the entire measure.
Do you have a view on Elgar's Cockaigne overture, the first bar of
which starts with three quarter rests?
--
Ken Moore
[EMAIL PROTECTED] wrote:
I'm fairly sure that this is a daft question and that I know the answer
already, anyway, here goes.
I engraved the score and parts for a work which was recorded for CD today.
During the recording session, the composer had second thoughts about a
number of things,
Gerry Kirk wrote:
Whenever I write an arrangement and then create parts via export, I
spend (unnecessary?) time tweaking the individual parts. Specifically,
how do I--
--have the name of the instrument appear on all pages following p. 1.
--keep spacing of systems consistent after p. 1
--make
Harold Owen wrote:
Dear Rob,
I don't think justification is allowed in text expressions. However, you
might be able to use a measure-attached text block instead. In Scroll
View double-click and drag a box large enough for the expression. Text
will wrap. The bounding box can be adjusted either
On Sat, 19 Mar 2005 15:48:02 EST, [EMAIL PROTECTED] wrote:
Is there any way of linking the score and extracted
parts so that the changes I make in the score are reflected in the parts so
that I don't have to re-extract them (I don't want to have to re-tweak
them)
The link isn't going to
On 19 Mar 2005 at 16:04, dhbailey wrote:
[EMAIL PROTECTED] wrote:
I'm fairly sure that this is a daft question and that I know the
answer already, anyway, here goes.
I engraved the score and parts for a work which was recorded for CD
today.
During the recording session, the
Carl Dershem wrote:
dhbailey wrote:
How do you handle those situations, say with a 6-bar intro, and 2
written-out choruses of a 32 bar song form? If you ask for bar 7,
which do you mean: the first bar of the first time through the
song-form, or the 7th bar of the first time through the song
dhbailey wrote:
How do you handle those situations, say with a 6-bar intro, and 2
written-out choruses of a 32 bar song form? If you ask for bar 7, which
do you mean: the first bar of the first time through the song-form, or
the 7th bar of the first time through the song form or the 7th bar
dhbailey wrote:
Carl Dershem wrote:
dhbailey wrote:
How do you handle those situations, say with a 6-bar intro, and 2
written-out choruses of a 32 bar song form? If you ask for bar 7,
which do you mean: the first bar of the first time through the
song-form, or the 7th bar of the first time
On 19 Mar 2005 at 20:19, Ken Moore wrote:
In message [EMAIL PROTECTED] David W.
Fenton writes:
On the other hand, notating it as a full measure with a rest would
tend to obscure the upbeatness of the entire measure.
Do you have a view on Elgar's Cockaigne overture, the first bar of
On Mar 19, 2005, at 3:30 PM, John Roberts wrote:
I was hoping to make a small library of articulations (simple guitar
fingerings) to send to a friend still using Finale 97. A quick
experiment
seems to indicate that to do even this little thing I would need to
create
the library in Fin 97 or
Thanks Christopher (and everyone else who has offered help with
this),
That sounds like an easier way than doing everything twice. I'll
experiment with it and see if any problems appear.
There are lots of articulations/bowings added but the notes themselves are
unchanged, but the parts
On Mar 19, 2005, at 12:45 PM, Darcy James Argue wrote:
On 19 Mar 2005, at 12:19 PM, Christopher Smith wrote:
Your point about the New Real Book not having measure numbers
illustrates my point even better than it does yours.
How, exactly? My point is that proper layout and use of rehearsal
Ken Moore wrote:
In message [EMAIL PROTECTED] David W.
Fenton writes:
On the other hand, notating it as a full measure with a rest would
tend to obscure the upbeatness of the entire measure.
Do you have a view on Elgar's Cockaigne overture, the first bar of
which starts with three quarter
David W. Fenton wrote:
Or they aren't even trying.
I think Finale, with its unlinked templates and unlinked libaries, is
terribly flawed at a basic conceptual level
My bet is the first notation software which does that (Sibelius,
Finale or the newly developping Notion software ... will
Harold Owen wrote:
On Mar 19, 2005, at 6:31 AM, dhbailey wrote:
I've also played from published music where only half of the parts
had measure numbers (actual counting numbers) and the other half
didn't have anything.
I am currently rehearsing for a performance of the _Missa Solemnis_.
The
In a message dated 19/03/2005 23:43:10 GMT Standard Time,
[EMAIL PROTECTED] writes:
In any
case, where's the first downbeat of Beethoven 5? If it's impossible
to determine, then what should be notated?
It's on the first beat of the bar - the very loud quaver rest.
All the best,
In a message dated 19/03/2005 23:45:10 GMT Standard Time,
[EMAIL PROTECTED] writes:
Slight
hijack: Why is it that choirs never seem to be able to use bar
numbers, even when provided in their edition? Why do conductors
always seem to need to say "Orchestra, from bar 68, choir, from
[EMAIL PROTECTED] wrote:
In a message dated 19/03/2005 23:43:10 GMT Standard Time,
[EMAIL PROTECTED] writes:
In any case, where's the first downbeat of Beethoven 5? If it's
impossible to determine, then what should be notated?
It's on the first beat of the bar - the very loud quaver
I think you guys should realize that you are arguing a pop vs. serious
thing and leave it at that.
This discussion rang a bell at rehearsal today. We were rehearsing for
a pop concert tonight with The Fifth Dimension (pop group from the 60's
- still going strong[?] after all these years,
[EMAIL PROTECTED] wrote:
I sat in the orchestra in front of the ladies of the choir in a gig a
while back. One of the many highlights of the rehearsal was when the
lady directly behind me turned to her neighbour and referring to the
conductor said, Look, he's doing it again - he keeps going
On 19 Mar 2005, at 5:45 PM, Christopher Smith wrote:
in a rehearsal. Say to the musicians, I would like the rhythm
section to break in bar 3. Which bar are they going to break on,
the 3rd bar of the form, or the 3rd full bar (which is the 2nd bar
of the form)?
If the chart had been properly
Carl Dershem wrote:
[EMAIL PROTECTED] wrote:
I sat in the orchestra in front of the ladies of the choir in a gig a
while back. One of the many highlights of the rehearsal was when the
lady directly behind me turned to her neighbour and referring to the
conductor said, Look, he's doing it
On Mar 19, 2005, at 7:24 PM, Darcy James Argue wrote:
Written measure numbers are not usually found on lead sheets anyway.
We started this discussion talking about arrangements, and somehow we
segued into lead sheets -- two very different situations.
OK, I thought we WERE talking about lead
dhbailey / 05.3.19 / 03:50 PM wrote:
What do you do with music you haven't written, or arranged, or engraved?
Say, when we play standard song, which my band usually use for closing
the set, we don't rehears. I mean, it's standard! We know it by heart,
and how we begin and end a standard song
On 19 Mar 2005, at 3:59 PM, dhbailey wrote:
As for the name of the instrument appearing on all pages following p.
1, there is no automated way for doing that,
Actually, there is: Robert Patterson's Copyists Helper plugin. It will
even keep track of the *current* instrument name for doubling
I AM arguing for consistency. I expect NO pickup measures to be
numbered, no matter whether they are complete or not.
What's the difference between a complete pickup measure and a
one-bar intro?
For any of the tunes I cited, is there any question? They are all
clearly pickups.
None of the tunes
Hi Richard,
As Noel and David have mentioned, you can use MusicXML format to go
between Sibelius and Finale. As with MIDI files, you write a MusicXML
file from Sibelius, then read the MusicXML into Finale. But you'll get a
lot more of the notation details with MusicXML than with MIDI, even with
On 15 Mar 2005, at 14:23, Gerald Berg wrote:
John
You're in the game now -- the hunt begins in earnest. At this point
you have your strings on channels 33-36
Midi channels 1-16 are set for playback in slot 1 (Midi set-up pop
down menu) -- channels 17-32 slot 2 etc. -- you can load two players
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