[Finale] Reply-To...
Whatever was changed with the list now, was not the correct setting. The list now doesn't include a reply-to header at all anymore, making replying to the list more difficult. Please can we either have the old behaviour back, or the correct setting? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Music Spacing Problem with Tied Notes
(Finale 2002) I have been experiencing odd spacing between notes that, so far, appears to affect a single quaver (eighth note) tied to another note with stems up. These notes, using note spacing, are too far apart. I attempted to correct this by changing the minimum distance between notes with ties to be the same as the minimum distance between items. This has created another spacing problem: quavers joined by a beam are further apart than the groups of beamed quavers (q___qq___q). I realise I can, as a last resort, fix the spacing once the parts have been extracted, although they will probably look okay, but it is the score that looks clumsy. Any suggestions for a more professional-looking score will be gratefully received. Regards, Michael Lawlor ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Music Spacing Problem with Tied Notes
Michael, what is the minimum distance between items set to? If you like you can send a file to me personally and tell me where the problems are, and I will have a look at it tomorrow. It's hard to tell from the distance. Johannes [EMAIL PROTECTED] schrieb: (Finale 2002) I have been experiencing odd spacing between notes that, so far, appears to affect a single quaver (eighth note) tied to another note with stems up. These notes, using “note spacing”, are too far apart. I attempted to correct this by changing the “minimum distance between notes with ties” to be the same as the “minimum distance between items”. This has created another spacing problem: quavers joined by a beam are further apart than the groups of beamed quavers (q___qq___q). I realise I can, as a last resort, fix the spacing once the parts have been extracted, although they will probably look okay, but it is the score that looks clumsy. Any suggestions for a more professional-looking score will be gratefully received. Regards, Michael Lawlor ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Reply-To...
Le 05-08-14 à 04:38, Johannes Gebauer a écrit : Whatever was changed with the list now, was not the correct setting. The list now doesn't include a reply-to header at all anymore, making replying to the list more difficult. Please can we either have the old behaviour back, or the correct setting? Johannes You're right Johannes. Isn't the list's setting back to where it was a couple of years ago before we asked our dear list owner to change it? He may have been so deeply moved by David Fenton's 9 years old habit that he has changed the setting for the rest of us. All of this because of one person's whining. I was wondering why my answer to Dean Eastbrook didn't came up yesterday, now I understand. Now we'll have to endure again all this message exchange about that to get it back to where it was. Éric Dussault ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Reply-To...
Yes, please let's have the old reply-to setting back -- it worked correctly for the vast majority of list members. This new setting works correctly for no one. - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Thanks for your mail. My computer is going into the shop today, and I am away until Labor
Thanks for your mail. My computer is going into the shop today, and I am away until Labor Day. I will try to check my email/phone periodically...if you have sent an mp3 for evaluation, it will take place after Labor Day (Sept. 5th). If you are a Berklee student looking for an ensemble waiver, I will attend to that the first week of September as well. Thank you for your patience! ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Figured Bass Entered as Lyrics
On 14 Aug 2005 at 10:05, dc wrote: David W. Fenton écrit: e. the screen doesn't always update appropriately when you click a note. In some cases you have to force a redraw to see the lyrics you've just assigned, and in some weird circumstances I can't identify, Ctrl-D does not repaint the figures, and the only way to force it is to switch layers or zoom. What about Ctrl-U? That's what I use to update layout and get the lyrics to appear correctly. I don't enter lyrics or figured bass in page view, and, so far as I know, Ctrl-U does nothing in scroll view. Am I completely wrong on that? I can't really test, as the problem appears sporadically, not in any way predictably. Anyone have any comments on these? I'd like to put together a feature request built around this issue, and I would rather hear from others to see if they would find the features I'm requesting useful as well. And if anyone has any suggestions for making the process easier, I'm all ears, as well. I'd much prefer if the clicking and the editing used the same dialog box, which should be resizable. How many times do I spot something that needs correcting when assigning the lyrics! This would really make life much easier. Also, when entering figured bass, or even regular lyrics, it's very hard to locate in the editing box a specific figure if there are many repetitions (which is generally the case). . . . Well, I don't duplicate the figures. I enter them once and then click assign. I have tried type into score, but since most of the figures I'm using aren't actually accessible directly from the keyboard, I ended up doing a lot of Alt-Keypad-0160 and the like, which is not worth it. Click assignment is much easier. Now, if I were only using for figured bass the numbers on the keyboard, type into score would be fine. . . . Say you notice that a 6 needs to be changed to a slashed 6 in your score, and you have about 20 or 30 6's in the box... Or you want to resume assigning after making some other changes and your position is lost in the dialog box (which happens if you change verses, for instance). When you're click-assigning, there should be some kind of cursor or whatever in the box showing you where you are if you click on a note that already has a figure. (I don't know if this is clear, but anyone who's used to doing this will probably see what I mean.) It sounds to me like you're entering your figures in the order they appear in the score, and then click assigning. I don't do that. The only value to me of click assignment is in minimizing the number of figures entered. In any case, figured bass is very poorly designed (actually, it's not designed at all) in Finale, and the method you describe is but a kludge. I've been waiting for years for something more efficient and faster than this. It's still almost impossible to enter figured bass (at least as lyrics) without a third party or a homemade font! Yes, that's one of the big complaints. The Sibelius demo, however, gets you quite a good selection of figures in its Opus Figured Bass font. After trying at least three different methods all based on lyrics, I now think that the easiest is to use a specific font that allows you to enter all the figures in one verse only, such as what's-his-name's Figured Bass Font. I don't have that font and don't think I'd like it. It couldn't have the variety of alternate characters that Sibelius's figured bass font has, simply because it has to duplicate figures with the different vertical positions. One last thing: if you enter figured bass as lyrics, you can no longer use smart word extensions. There should be some way of turning these off for one category of lyrics only (section, or chorus, for instance), which could then be used for figured bass. Yes, it would be very useful if, for instance, there were a staff style for that. I don't have Finale 2004, so that's not an issue for me, but the one time I've used 2004, the smart extensions were a real time saver (I had an hour to transpose an opera aria, and if I'd done it in pre-2004, there just wouldn't have been any extensions at all). So, for a Baroque vocal piece, I'd definitely want to use figures without the extensions, and lyrics with them. I see two possible ways for MakeMusic to address this: 1. staff style, OR 2. a plugin to convert the auto-extensions to real extensions so you could then turn them off. What's the status with the word extension plugins after Finale 2004? Do they still work exactly the same (I believe somebody has a 3rd- party plugin, in addition to the one that ships with FInale, right?)? -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Reply-To...
On 14 Aug 2005 at 10:38, Johannes Gebauer wrote: Whatever was changed with the list now, was not the correct setting. The list now doesn't include a reply-to header at all anymore, making replying to the list more difficult. Please can we either have the old behaviour back, or the correct setting? I would agree. No Reply-To is worse than the duplicate Reply-To. The former inconveniences everyone, while the latter only inconveniences the few. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Feathered beams etc.
If one creates feathered beams according to the Manual (Finale 2005), i.e. inputs notes as the smallest note value and with special tools angles the beams as needed, there are leftover rests in the bar. Making them invisible still leaves the playback, the lineup etc. all messed up. Is there a better way? Also,is it possible to reduce the size of icons in the pallettes, in order to take less space along the margins of the screen? Much obliged for any suggestions. Dr.A.S.Weinstangel [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Feathered beams etc.
Le 05-08-14 à 15:54, dr.a.s. weinstangel a écrit : Also, is it possible to reduce the size of icons in the pallettes, in order to take less space along the margins of the screen? The palette called Traditional will take the less space among the choices given, I think. Other than having the highest screen resolution possible, I know of no other way to adjust the palette's size. I may be wrong... Éric Dussault ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Reply-To...
On 14 Aug 2005 at 7:23, Eric Dussault wrote: Le 05-08-14 à 04:38, Johannes Gebauer a écrit : Whatever was changed with the list now, was not the correct setting. The list now doesn't include a reply-to header at all anymore, making replying to the list more difficult. Please can we either have the old behaviour back, or the correct setting? Johannes You're right Johannes. Isn't the list's setting back to where it was a couple of years ago before we asked our dear list owner to change it? He may have been so deeply moved by David Fenton's 9 years old habit that he has changed the setting for the rest of us. . . . Well, I never requested removal of the list address from the Reply- To, only the duplicate of the poster's address. . . . All of this because of one person's whining. . . . I wasn't the only person who thought the double reply-to address was a problem. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Reply-To...
On 14 Aug 2005 at 11:53, Darcy James Argue wrote: Yes, please let's have the old reply-to setting back -- it worked correctly for the vast majority of list members. This new setting works correctly for no one. I would agree with that, if the only choices are no Reply-To and the duplicated one. Since we know for a fact that Mailman has a setting for the correct Reply-To (the list address by itself, replacing the sender's Reply- To) that is what is most desirable. Perhaps one of the people on the list who administer Mailman lists could write to Henry and explain to him how its done, since implementing the setting seems not to be a completely obvious task. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Figured Bass Entered as Lyrics
David W. Fenton schrieb: Well, I think that font has hideously ugly numbers. I much prefer the numbers to be more of a text font type of font, rather than similar to fat time signature and fingering numbers. Absolutely, that's one reason I made my own font. Which is actually not very difficult. Secondly, the variations for the same figure are limited. For instance, the Opus Figured Bass font has these variations for 6: 6 6+ #6 b6 natural 6 6# 6b 6 natural slashed 6 (6) All of those variations are available as single font characters. If I understand correctly, your complaint is that you need to make up those figures from several characters. Personally I prefer that to a fixed set, especially as Ansgar's or my font actually have many more variants of a slashed six, and I prefer that. Sometimes, especially with French figured bass it does matter which way a 6 is slashed. YMMV. There are also multiple versions of slashed 4 and slashed 5, for instance. That's another reason why I made my own font. I used the same keyboard layout pretty much as Ansgar, but with more variants of slashed figures. While I don't know that converting the variant of figures in a source to a single modern version in any way compromises transmission of the figures, I much prefer conveying the exact text of the source, and I couldn't do that with a font that didn't have all the variations. But you can't do that with any font, other than a homemade one, which is why I did exactly that. I just add other figures if and when I need them. What I don't like about using the font with vertically-defined variants is that you then have to put in the whole string of figured bass (or, at least, every unique vertical configuration that occurs), I don't understand what you mean. If you want to enter 6 4 2 you press 6,r,s and it is there. Much easier than having to switch between lyrics. But perhaps I am not seeing your problem. whereas the method I use doesn't require that at all. I find it much easier to click assign from a list of unique single figures, rather than from a list of the unique combinations of figures. But that's not what Ansgar's font does. Have you tried the demo? Figuring out the latter is too much work, and would then make click assignment really difficult. Either you have to go through and figure out all the unique combinations first, and then put them in in a logical order, or you create them as needed, which means they are very hard to find for click assignment. Of course, the other option is putting everything in, including duplicates, and then just linearly click assigning the numbers. I have a feeling you have not quite understood how Ansgar's font works, but perhaps I am wrong and just not understanding your problem. As I said, the only thing that was a lyrics feature request that was specific to figured bass was switching verses easily within the click assignment window. Since I discovered that the scrollbar already allows you to do that, there are no longer any figured-bass specific feature requests in my list -- all of my requests would make lyrics entry easier in all contexts. I think the way Ansgar's font works actually would make your life even easier. YMMV. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Ansgar - Figured Bass Entered as Lyrics
Larry Kent schrieb: Well, I'm a big fan of Ansgar Krause's figured bass font, but I would also like to see a different type face for the numbers (or perhaps a choice. . . a font for the font???). That capability would also be helpful for entering editorial figures in a not-too-radical italic type, or something of that nature. Hoping Ansgar is following this thread. . . I wouldn't hesitate to sell my figured bass font, however, I actually think that what Ansgar is doing is illegal. He is simply using the glyphs from one of Finale's fonts, with certain changes. Those fonts are no doubt copyrighted, and I doubt very much that Ansgar has permission to re-sell the glyphs, yet that's what he is doing. I made my own font, which I actually believe to have certain advantages over Ansgar's fonts, besides using a different typeface. However, since the typeface I used as a base is copyrighted there is no way I could go about selling that font. Your best bet is to get a font editor and make your own font. It's not difficult. It will probably take you a few hours, but once it's done it's not a problem anymore. I can foresee a discussion on font copyright... Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Figured Bass Entered as Lyrics
On 15 Aug 2005 at 0:27, Johannes Gebauer wrote: Sometimes, especially with French figured bass it does matter which way a 6 is slashed. That's actually news to me! I try to maintain the exact orthography of the source, in case there's something like that, but I didn't actually know there was a difference. Can you explain it or provide a web reference? -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Figured Bass Entered as Lyrics
On 15 Aug 2005 at 0:27, Johannes Gebauer wrote: David W. Fenton schrieb: [] That's another reason why I made my own font. I used the same keyboard layout pretty much as Ansgar, but with more variants of slashed figures. While I don't know that converting the variant of figures in a source to a single modern version in any way compromises transmission of the figures, I much prefer conveying the exact text of the source, and I couldn't do that with a font that didn't have all the variations. But you can't do that with any font, other than a homemade one, which is why I did exactly that. I just add other figures if and when I need them. On the contrary, the Sibelius figured bass font has every single variation I've ever encountered. Here's a printout of it: http://dfenton.com/SibeliusFiguredBass.pdf I just noticed today that the keyboard layout is logical, in that variations on, say 3, are vertically aligned with the 3 key in different rows of the keyboard. I don't much need to know that, because my method is to put all the figures in once and then click assign from there, so it's only a problem when I'm changing the variation (e.g., changing to #6, as is used in the Charpentier I'm transcribing this week from slashed 6, as used in the Bernier I was transcribing last week). I don't see anything at all missing there, including more variations on some of them than I'd ever encountered in my own transcription of Baroque music. What I don't like about using the font with vertically-defined variants is that you then have to put in the whole string of figured bass (or, at least, every unique vertical configuration that occurs), I don't understand what you mean. If you want to enter 6 4 2 you press 6,r,s and it is there. Much easier than having to switch between lyrics. But perhaps I am not seeing your problem. YOu're not. I'm click assigning *everything*. That means I put in the lyric text # b 2 3 #3 4 #4 5 #5 6 #6 7 8 9 (in whichever variation is used in the source I'm transcribing, i.e., if it uses slashed 6, I'd use that instead of #6) at the beginning in each of the 3 verses, then click assign the numbers from that list. Since I base my figured bass pieces on a template, I don't even have to do the basic entry, just adjust the variants (which I don't even have to bother with until the point at which I encounter it, though the danger there is losing a dual usage within a particular source; but I've never actually encountered that). Then I click assign. By far most of the figures are single figures, so it's pretty easy. Now that I've discovered the vertical scrollbar, switching verses is quite simple, as well. whereas the method I use doesn't require that at all. I find it much easier to click assign from a list of unique single figures, rather than from a list of the unique combinations of figures. But that's not what Ansgar's font does. Have you tried the demo? No, I haven't tried it, and I'm trying to explain why I wouldn't like using it. It requires too much work! Figuring out the latter is too much work, and would then make click assignment really difficult. Either you have to go through and figure out all the unique combinations first, and then put them in in a logical order, or you create them as needed, which means they are very hard to find for click assignment. Of course, the other option is putting everything in, including duplicates, and then just linearly click assigning the numbers. I have a feeling you have not quite understood how Ansgar's font works, but perhaps I am wrong and just not understanding your problem. Well, his font would require me to type in 6/4 as a single syllable, and 6/3 as a single syllable and 6/# as a single syllable and 6/5 as a single syllable. Whereas my method requires that I put in 6, #, 3, 4 and 5, and then I'm done, as opposed to having to put in all the 2- and 3-figure combinations. It doesn't sound like much of a time saver when you describe a single set of combinations, but if you consider that with your method, you'd stll have to enter bottom row 6, #, 3, 4 and 5, in addition to the combinations of 6 and those digits, whereas I don't have to do any of the combinations. I understand that it's easy to construct the groups of figures as a single syllable, but I find it easier to work from individual numbers, rather than having a large group of combinations, simply because it's much easier to manage the single numbers than it is to manage the combinations. As I said, the only thing that was a lyrics feature request that was specific to figured bass was switching verses easily within the click assignment window. Since I discovered that the scrollbar already allows you to do that, there are no longer any figured-bass specific feature requests in my list -- all of my requests would make lyrics entry easier in all contexts. I think the
