Re: [Finale] new and improved text tool
David W. Fenton wrote: What I *would* support is if the text expression dialog's text box at the top were instead replaced with the standard Finale text editor. Then you could put anything in the text expression that you could put into the text editor, and the user interface would be exactly the same in both places. Text expresssions would then be text blocks with additional expression-only properties added to them. This is exactly how expression works in Fin2004 and later. Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Condensed Lyric Font
I sometimes use Minion Condensed. It is OK for tight lyrics, but personally I don't like the looks for further text use. There is also a normal Minion. But I don't know if this is a freeware font... Good luck, Minke - Original Message - From: Darcy James Argue [EMAIL PROTECTED] To: finale@shsu.edu Sent: Thursday, February 24, 2005 2:28 AM Subject: [Finale] Condensed Lyric Font Hi all, Does anyone know of a decent, free, *condensed* Times lookalike font that would be suitable for lyrics? I know I can buy Times Condensed, but perhaps there's a good freeware alternative? - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] new and improved text tool
Kurt Gnos wrote: At 09:15 23.02.2005, you wrote: It's a nice list, but I think that getting compact and reliable PS, EPS, and PDF output would be sufficient for one year's upgrade. If this is supposed to be a tool for publishing, it has got to be able to output in the principle formats for publication. Amen! Just my point of view! I have sworn to myself if they won't do it in the next upgrade, I will swich to Sibelius... Kurt Before taking that step, if you know somebody who has Sibelius, try it out to be sure you'll like it. It would be sad to be able to get those formats of output but to be unable to produce the output you want or are hired to produce. I'm not saying you won't be able to (I don't know what sort of music you are engraving), just that you should be sure you will be able to work with Sibelius. It is as idiosyncratic in its ways of forcing you to work as Finale is. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] new and improved text tool
On the other hand I am pretty sure the feature set for 2k6 has already been decided anyway, so we are talking about 2k7, maybe 2k8, so that really shouldn't be a reason. Johannes Kurt Gnos wrote: At 09:15 23.02.2005, you wrote: It's a nice list, but I think that getting compact and reliable PS, EPS, and PDF output would be sufficient for one year's upgrade. If this is supposed to be a tool for publishing, it has got to be able to output in the principle formats for publication. Amen! Just my point of view! I have sworn to myself if they won't do it in the next upgrade, I will swich to Sibelius... Kurt ___ 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] new and improved text tool
Dennis Bathory-Kitsz wrote: Have a look at this: http://maltedmedia.com/photos/toolbar.gif It still escapes me why this kind of thing cannot live happily in two different tools. Before the expression tool was improved I could see that there was some overlap between measure text blocks and measure text expressions, however, all these problems are now indeed covered in the expression tool in my opinion, and I see no need to merge the two tools. That is not to say that both tools could be vastly improved. Coming back to the original feature request, although you can make any feature request you like, I don't really see the benefit of making one like this, since firstly it is unlikely that MM will actually make such a major interface change and at the same time merge tools (to which a lot of people have either objected or don't really follow the need for it), and secondly I sort of feel that merging the two tools is going to make things worse. In fact, I fear that by the end we will have a merged tool with the same design problems we have already, and none of the shortcomings of the text block tool fixed. Given that choice I'd rather see major improvements to the text block tool, and a better selection dialog for expressions, then let MM invest their resources into merging the two without any benefit that I can see. I would like to see the kind of toolbar you invented for the two tools, of course, but separately. The kind of text I type into the text tool I would never want to use in the expressions tool, and vice versa. This was a little different before expressions allowed multiple fonts and multi-line items, but now that that problem is solved I simply use expressions, and only use measure attached textblocks in very specific cases, which do not overlap with the expression tool. Johannes 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] Condensed Lyric Font
On Feb 23, 2005, at 5:28 PM, Darcy James Argue wrote: Does anyone know of a decent, free, *condensed* Times lookalike font that would be suitable for lyrics? I know I can buy Times Condensed, but perhaps there's a good freeware alternative? I like Minion Condensed a lot, but it's not free. I've looked around for a good condensed traditional serif -- or even a non-condensed serif that had a narrow set -- that was free but I couldn't find any I was satisfied with. In my experience, most fonts that can be downloaded for free are gimmicky display fonts. There are very few basic serif faces that are free, and of those about half of them are crap. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] new and improved text tool
At 11:58 AM 2/24/05 +0100, Johannes Gebauer wrote: It still escapes me why this kind of thing cannot live happily in two different tools. jef suggested two. My followup suggestion was to combine at least seven tools (text, expression, articulation, chord, lyrics, clef, time signature) and let any item be assigned any feature. No matter. It was just a wish. Maybe somebody at Finale will notice. As I said to Noel, My only reason to jump in was to suggest re-thinking the *entirety* of these entries and perhaps get a unified and transparent palette out of it as a nice consequence. (I've stopped with F2K3 because later versions are victimware. If I'm eventually gonna have to buy victimware anyway, I might as well make suggestions while I shop around!) Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] EPS
I am, again, writing to MM about this. I hope others will also, perhaps even those who do not have a need for this feature but recognize the importance of the problem in the big picture of Finale's long term viability. Richard Yates - Original Message - From: d. collins [EMAIL PROTECTED] To: finale@shsu.edu Sent: Wednesday, February 23, 2005 11:30 PM Subject: Re: [Finale] Re: new and improved text tool shirling neueweise écrit: dennis, it seems to me that people mention broken EPS quite often... Broken EPS export is mentioned quite often by myself and a few others. But I don't recall much talk about broken EPS import. Which means on PC we have no way of importing professional-quality graphics into our scores. There is no work-around for this, and it's a major problem. These things have been broken for at least five years now. I'm not interested in any improvements of existing features, nor in any new features, until the broken things are fixed. As a few others, I'm seriously considering Sibelius if MakeMusic confirm they don't intend to take care of this. I know we can't all agree on what we would like to see in the next edition. And since MM probably has some kind of priority scheme based on the number of complaints or requests, I hope many will write and demand EPS compatibility. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] beaming
I'm transcribing a song that transitions from 4/4 time to 6/8 time. For some reason, the eighth notes aren't being beamed together (into 2 sets of 3) like they normally are in 6/8 time. Anyone know of a quick fix? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Question About Staff Order
At 5:46 PM -0500 2/23/05, Jacki Barineau wrote: Hi - I'm notating a song that has a vocal staff and an alto recorder staff. Is there a rule about which staff should be the top one in each system? The recorder begins the song, then the vocals take over, then the recorder re-enters in the middle of the song... Thanks! Jacki Don't know about a rule, but my wife and I would put the obbligato part above the vocal. John ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notation for Recorder
At 6:09 PM -0500 2/23/05, Jacki Barineau wrote: Hi, Everyone - I have another question about notating for alto recorder! Does anyone know how you notate those slides they do - like when they hit a low note and kind of float up to a higher note? Or when they hit a note and kind of droop down to the next note. Don't know if I'm explaining this right, but it's done frequently in Celtic style recorder playing! I have an mp3 file (18 seconds) that would show what I'm talking about but I wasn't sure if it's okay to post attachments to this list! Thanks for any help with this! I've never notated for recorder before, so between that and learning Finale(!) - I just figured out how to do the grace notes, but just wasn't sure how to notate these slide things... It isn't part of Baroque recorder technique, but I'd suggest using the jazz signs for pull up and fall off to get the idea across. Also, just to make sure you know, unless your player asks for something else it should be notated in treble clef at concert pitch (not transposed) in the octave from the F above middle C to the F two octaves higher (F1-F3 Helmholtz notation). That way a Celtic flutist can read from the same part. Alto players reading from vocal notation read from notation an octave lower and play it up an octave, but solo parts are almost always notated at pitch. John - Jacki ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] beaming
For time signature, choose 2 as the number of beats (not 6) and dotted quarter as the denominator value. This will cause eighths to be beams to the time signature. 6/8 is really 2/dotted quarter after all. When you make the change, choose Rebeam music for the beams to change, otherwise only the NEWLY entered music will be affected. Christopher On Feb 24, 2005, at 10:35 AM, Clarissa Cox wrote: I'm transcribing a song that transitions from 4/4 time to 6/8 time. For some reason, the eighth notes aren't being beamed together (into 2 sets of 3) like they normally are in 6/8 time. Anyone know of a quick fix? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] beaming
to add, Exactly as in: http://earthunit.net/images/timesig.jpg steve On Feb 24, 2005, at 10:04 AM, Christopher Smith wrote: For time signature, choose 2 as the number of beats (not 6) and dotted quarter as the denominator value. This will cause eighths to be beams to the time signature. 6/8 is really 2/dotted quarter after all. When you make the change, choose Rebeam music for the beams to change, otherwise only the NEWLY entered music will be affected. Christopher On Feb 24, 2005, at 10:35 AM, Clarissa Cox wrote: I'm transcribing a song that transitions from 4/4 time to 6/8 time. For some reason, the eighth notes aren't being beamed together (into 2 sets of 3) like they normally are in 6/8 time. Anyone know of a quick fix? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] beaming
Christopher Smith wrote: For time signature, choose 2 as the number of beats (not 6) and dotted quarter as the denominator value. This will cause eighths to be beams to the time signature. 6/8 is really 2/dotted quarter after all. When you make the change, choose Rebeam music for the beams to change, otherwise only the NEWLY entered music will be affected. ...only for ancient Finale versions. ;-) In recent versions, it's faster to select 6/8 from the contextual menu and then rebeam. This version of 6/8 will automatically group in 3. Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Condensed Lyric Font
Darcy, In his Finale Productivity Kit, Bill Duncan includes two good lyric fonts: TimesLyrics and TimesHelvetica. They are condensed, and slightly bold. My clients seem to like the TimesLyrics. Due to your past discussions of chord symbols, I think you already have this kit. Ryan __ Do you Yahoo!? Read only the mail you want - Yahoo! Mail SpamGuard. http://promotions.yahoo.com/new_mail ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notation for Recorder
on 2/23/05 6:26 PM, [EMAIL PROTECTED] wrote: When I've come across this type of thing it hasn't been notated, it's something you add as an improvised ornament. Would the standard glissando mark be used for this? I've seen the indication bend in some music which wants this type of thing, but this was jazzy type stuff, not Celtic. Thanks, Lawrence... I bet you're right about the gliss. Mark for the slides. So where you've seen the bend indication - is it just the word bend itself, or is there a symbol for this? Thanks again, everyone! Jacki ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Question About Staff Order
on 2/23/05 6:01 PM, dhbailey wrote: Generally I've seen this with the recorder on top (I just checked a German edition of a Handel Cantata for soprano and recorder and keyboard) with the vocal line next, and the keyboard (or other instrumental accompaniment) parts underneath that. Thanks, David - That makes sense! Jacki ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notation for Recorder
on 2/24/05 10:58 AM, John Howell wrote: It isn't part of Baroque recorder technique, but I'd suggest using the jazz signs for pull up and fall off to get the idea across. Also, just to make sure you know, unless your player asks for something else it should be notated in treble clef at concert pitch (not transposed) in the octave from the F above middle C to the F two octaves higher (F1-F3 Helmholtz notation). That way a Celtic flutist can read from the same part. Alto players reading from vocal notation read from notation an octave lower and play it up an octave, but solo parts are almost always notated at pitch. Thanks for the tips, John - I appreciate it! Jacki ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notation for Recorder
Hi Jacki, It just said "bend" in italics. I think sometimes there was a diagonal line too . I must admit I've not seen it very often as I tend to stay away from jazz in case it makes me ill. :-) All the best, Lawrence "þaes ofereode - þisses swa maeg"http://lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notation for Recorder
Title: Re: [Finale] Notation for Recorder on 2/24/05 1:18 PM, [EMAIL PROTECTED] wrote: It just said bend in italics. I think sometimes there was a diagonal line too . I must admit I've not seen it very often as I tend to stay away from jazz in case it makes me ill. :-) LOL!! :) Thanks, Lawrence that should make sense I would think... (the bend part I mean!) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] new and improved...
Johannes Gebauer wrote: On the other hand I am pretty sure the feature set for 2k6 has already been decided anyway, so we are talking about 2k7, maybe 2k8, so that really shouldn't be a reason. I'm guessing that the 2k6 upgrade is in well in Beta, that the programmers meetings are devoted to deciding what to put in the upgrades for 2k7, 2k8, and beginning to consider 2k9, as well. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] new and improved...
d. collins wrote: Noel Stoutenburg écrit: I'm guessing that the 2k6 upgrade is in well in Beta, that the programmers meetings are devoted to deciding what to put in the upgrades for 2k7, 2k8, and beginning to consider 2k9, as well. So, perhaps we can hope for EPS export and import in 2010. If we haven't all switched to Sibelius in the meantime. Dennis 2012 by the time the post-release bugs are identified and corrected... ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Condensed Lyric Font
Hi Ryan, I didn't buy the whole kit, just the fonts I wanted (the chord fonts and the enclosure fonts). I don't think the lyric fonts are available separately -- and, of course, I was hoping for a solution I wouldn't have to pay for. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 24 Feb 2005, at 11:49 AM, Ryan Beard wrote: Darcy, In his Finale Productivity Kit, Bill Duncan includes two good lyric fonts: TimesLyrics and TimesHelvetica. They are condensed, and slightly bold. My clients seem to like the TimesLyrics. Due to your past discussions of chord symbols, I think you already have this kit. Ryan __ Do you Yahoo!? Read only the mail you want - Yahoo! Mail SpamGuard. http://promotions.yahoo.com/new_mail ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] new and improved text tool
David W. Fenton wrote: Of course, I also seem to remember something about pre-defined vertical positioning having been added in a recent version of Finale, so I may be late with the idea. Indeed. In fact, expression positioning goes far beyond anything articulation can offer. The two are different, and for a reason, imo. 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] Question About Staff Order Treason and true patriotism: Beethoven, Bonhoeffer, and Alberto Gonzales
Quoted from Sojourners, a weekly email-zine of spirituality, politics, and culture http://www.sojo.net/ original with all formatting intact may be found at: http://www.sojo.net/index.cfm?action=news.display_archivesmode=current_opinionarticle=CO_050224_wylie-kellermann posted by Raymond Horton Bass Trombonist, Louisville Orchestra Treason and true patriotism: Beethoven, Bonhoeffer, and Alberto Gonzales by Bill Wylie-Kellermann We have for once learnt to see the great events of world history from below, from the perspective of the outcast, the suspects, the maltreated, the power-less, the oppressed, the reviled - in short, from the perspective of those who suffer. Dietrich Bonhoeffer to Hans von Dohnanyi and friends, Christmas, 1942. Letters and Papers from Prison. Don't think me an opera buff. The whole scenery is new to me, but a current production of Fidelio in Chicago resonates with vivid irony in history and our own political moment. Conducted by the son of a resister executed by the Nazis, and narrating the liberation of a political prisoner from the dungeons of 18th-century Spain, it lights up the morning headlines, raising questions straight from the confirmation of Alberto Gonzales as attorney general. Christoph Von Dohnanyi is the maestro conducting. His father, Hans, is historically notorious for drawing Dietrich Bonhoeffer, the German theologian, into political resistance and even coup conspiracy against Hitler. Both were imprisoned and martyred before the war's end. Fidelio is Beethoven's sole opera, with a tortured history all its own. The libretto recounts the intrigues of Leonore, wife of an imprisoned freedom fighter, Florestan. Disguised as a boy, Fidelio, she apprentices herself to the jailer and so manages to descend to the bowels of the prison, there reaching her husband with hope and protection sufficient to stay his death and enable his vindicated release. Lyric Opera of Chicago's contemporary set evokes a drab generic totalitarianism, but - for those with eyes to see - its brown-shirted guards with their crates of automatic weapons and the riveted industrial beams of the exposed prison structure readily suggest the death houses of Germany in the '30s (though the prisoners' jumpsuits evoke even more the arid atmospherics of Abu Graib). Christoph von Dohnanyi, currently the principal conductor of the London Philharmonic, was 13 when his parents were arrested and his father subsequently executed. He first conducted Fidelio post-war in his 20s, and though the opera is hardly a standard, he is perhaps its pre-eminent interpreter and current champion. The Lyric itself has a history with the opera, yet this current production is also at Dohnanyi's behest. One easily suspects a passionate drive at once interior, musical, and political. A bit of history is pertinent. Hans von Dohnanyi was married to Bonhoeffer's sister, Christine. As a member of the Ministry of Justice, and eventually the Abwehr (German counterintelligence), he was privy to information about the doings, policies, and outrages of the Nazi regime. He actually kept a day-by-day account, a chronicle of scandal, detailing news of the atrocities against the Jews, the concentration camps, the torture and mistreatment of prisoners, attacks on church leaders, on homosexuals and others. The document came to serve several purposes. It certainly helped to convince potential or wavering dissidents of the realities of horror, but eventually it also was secreted to provide public explanation post facto for an assassination attempt. Instead, of course, when found by the Gestapo, it became part of the case against him. Yet it was for this very reason - Dohnanyi's access to information - that Bonhoeffer was himself more knowledgeable of the German situation and earlier on than ordinary newspaper readers. Imagine the chronicle of scandal published akin to a Seymour Hersh exposé like one concerning Abu Graib or the pending moves against Iran. Would its news have turned a tide? But then again, do such scandalous exposés today? These two Germans knew - and acted on their knowledge. In Bonhoeffer, the acclaimed documentary by Martin Doblmeier that premiered last year, Christoph is among those interviewed. They became political activists because it was the only way of fighting the system. Many people most likely didn't realize what Hitler already did in those days with absolutely stupid and fanatic racism. As a man who knew about these things, my father had absolutely to go against it. I would be ashamed if he hadn't done it. When Hans von Dohnanyi was moved to the staff of the Abwehr, he successfully managed to get Bonhoeffer placed there as well. Now this was no small doing, nothing short of miraculous, as Bonhoeffer had been speaking and writing against the führer almost from day one. Witness, for example, the Barmen Declaration that he signed in 1934,
[Finale] Re: new and improved text tool
In message [EMAIL PROTECTED] you write: I am not against this, but I fail to see how I would benefit? There is no reason why I would want my title text blocks appear in the expression list, it would only convolut it more. OK, I know that you have ideas on how to get more organization into these lists. I have been thinking about this several times now, and I still don't see why I would want text blocks and expressions be merged into one tool. In what way would I then get faster results? In what way does this increase our flexibility? I would like to be able to reuse text blocks on more than one page in different places (IIRC WinFin3.5 would do this). In WinFin 2004, the best I can do is copy their contents. Also, in this version it is not possible (or maybe I have just not discovered how) to select multiple text block handles and move them all together, as it is with expressions and some other objects. -- Ken Moore [EMAIL PROTECTED] Web site: http://www.mooremusic.org.uk/ I reject emails 100k automatically: warn me beforehand if you want to send one ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: new and improved text tool
On Feb 24, 2005, at 1:49 PM, Ken Moore wrote: I would like to be able to reuse text blocks on more than one page in different places (IIRC WinFin3.5 would do this). In WinFin 2004, the best I can do is copy their contents. Also, in this version it is not possible (or maybe I have just not discovered how) to select multiple text block handles and move them all together, as it is with expressions and some other objects. I can't help you with the first, but to select and move more than one text block at a time, shift-click their handles, or drag around the handles to select several at once. You can then drag or nudge them at will, and restore default positioning by hitting the back arrow above the Enter key (Clear for Mac). If you don't mind creating the text block in the expression tool instead of the Text Tool, you can reuse them as much as you like (including entering them with a Metatool), but measure or note attached only, not page attached, as I assume you need. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] MusicXML 1.1 underway - suggestions?
We have been hard at work on Version 1.1 of the MusicXML format. Our customers have told us that while MusicXML software translates the music itself very nicely, they want more of the musical formatting to translate too. Since so many of our customers are using MusicXML to share files between Finale and other programs, I wanted to post an update on this mailing list. MusicXML 1.1 will improve music notation interchange by including more data about music formatting. This should be a big help for exchanging files between Finale and other programs, or between newer and older versions of Finale. We are also adding several new musical features to the format. Because we are adding features to MusicXML 1.0, not changing them, every valid MusicXML 1.0 file will also be a valid MusicXML 1.1 file. If there are features you would like to see in MusicXML, or in our Dolet plug-in, now is the time to let us know! If we don't hear about it, it won't get into MusicXML 1.1. Feel free to send suggestions via our contact form at http://www.recordare.com/contact.html The new features in MusicXML 1.1 are being discussed and reviewed on our MusicXML mailing list. These discussions get pretty technical, since we need to make sure that MusicXML 1.1's new features works well for software developers. If you are interested in following or joining the discussion, please sign up at: http://www.recordare.com/lists#MusicXML Thanks for your help! Michael Good Recordare LLC www.recordare.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Condensed Lyric Font
Darcy wrote, about looking for a condensed font for use in lyrics: This is something I've been looking for, too, and for that reason, collecting collections of fonts. I've found a few promising examples on the Broderbund Click Art Fonts 2 disk, and several more on the disk 4000 fonts, from www.topics-ent.com. A drawback to both of these sources is that while they may or may not be closely related to existing digital fonts, one cannot tell by the names. Also, the font families seem to be small in these sources, so you may have a regular and condensed width, but not a wide one. Another factor on the upside, is that while these are commercial products, they are not expensive; I think I paid $4.99 USD for the 4000 fonts disk, and about twenty or thirty for the Broderbund disk. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
