Re: [Finale] Another Chord Question
Jacki Barineau wrote: I knew I'd have another question as soon as I sent the last note! It's been 23 years since I took music theory in college, and though I remember a lot, this song interpretation is really challenging my old brain here!! What I did is have the piano player play the song into a midi file so I could interpret the chords he's playing and notate the song for the composer (the piano player plays by ear only)... What is the rule of thumb on when you call a chord a 9th, 11th, or 13th? I remember something about the 7th needing to be present or otherwise you'd call it a 6th instead of 13th or an add2 instead of a 9th...?? This particular chord definitely has the dominant feel/sound to it and is used in that way as it leads to the tonic. The song is in Cm. This chord I'm trying to define is: G - F - C - Eb - G - Bb Would this be a Gm13? Or what?!! I'd call this a Cm7sus4. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
I would say, Cm11/G Because of the lower structure, G as bass note and f it has a certain dominant function (kind of similar to g sus), but I could not see it as Gm7 11 b13, because the b13 is too strong and would make it a C minor or Eb Major chord anyway. Without the G bass it could be a Fsus (Cm7/F), but Fsus/G doesn't make much sense. And dominant, interestingly, not in direction of Cminor, but rather G minor or Bb Maj7. In any case it is not a common chord, so you will have trouble describing it using normal chord symbols Kurt At 01:16 29.04.2006, you wrote: I knew I'd have another question as soon as I sent the last note! It's been 23 years since I took music theory in college, and though I remember a lot, this song interpretation is really challenging my old brain here!! What I did is have the piano player play the song into a midi file so I could interpret the chords he's playing and notate the song for the composer (the piano player plays by ear only)... What is the rule of thumb on when you call a chord a 9th, 11th, or 13th? I remember something about the 7th needing to be present or otherwise you'd call it a 6th instead of 13th or an add2 instead of a 9th...?? This particular chord definitely has the dominant feel/ sound to it and is used in that way as it leads to the tonic. The song is in Cm. This chord I'm trying to define is: G - F - C - Eb - G - Bb Would this be a Gm13? Or what?!! Thanks a bunch! Jacki ___ 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] Finale: Sharp and crisp PDFs.
dc wrote: Fisher, Allen écrit: EPS/PS listings require a PS printer driver. Why? This makes little sense. In any case, it is rather amusing that we used to get this warning when EPS didn't work (even with the PS printer driver). And now that it does seem to work, the indispensable warning is gone... Dennis Thus we can conclude that the manner in which they programmed the display of the warning was the whole reason all along that it didn't work, right? :-) It does make some sense, in that otherwise Finale would have to license PostScript from Adobe and include all the routines for producing PS output internally. By calling on a PS printer driver, it avoids having to license that technology but still gets the data and the routines it needs. Now if they could just put that warning back without disabling the actual PS/EPS output again . . . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale: Sharp and crisp PDFs.
dc wrote: dhbailey écrit: It does make some sense, in that otherwise Finale would have to license PostScript from Adobe and include all the routines for producing PS output internally. By calling on a PS printer driver, it avoids having to license that technology but still gets the data and the routines it needs. I'm not sure you need to license anything to output a postcript listing. Sibelius produces it's own PS and EPS output without needing a postcript printer driver. Sibelius may have licensed the Postscript routines from Adobe. Or not, I really have no clue, was just thinking out loud. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On Apr 29, 2006, at 7:00 AM, dhbailey wrote: Jacki Barineau wrote: I knew I'd have another question as soon as I sent the last note! It's been 23 years since I took music theory in college, and though I remember a lot, this song interpretation is really challenging my old brain here!! What I did is have the piano player play the song into a midi file so I could interpret the chords he's playing and notate the song for the composer (the piano player plays by ear only)... What is the rule of thumb on when you call a chord a 9th, 11th, or 13th? I remember something about the 7th needing to be present or otherwise you'd call it a 6th instead of 13th or an add2 instead of a 9th...?? Right. Most musicians understand added extensions in parentheses as meaning add, like Cm7(11) instead of Cm7(add11), so this can save some space when marking detailed chord symbols. This particular chord definitely has the dominant feel/sound to it and is used in that way as it leads to the tonic. The song is in Cm. This chord I'm trying to define is: G - F - C - Eb - G - Bb Would this be a Gm13? Or what?!! I'd call this a Cm7sus4. Hmm not really, since there IS a third as well. Sus4 usually means the 4th REPLACES the 3rd. It would depend on the usage, since she mentioned that it was going to a Cm, and I assume there is the G in the bass, which affects things quite a bit. I would call this Cm7(11)/G with no other information to guide me, and it seems like rather a weak cadence chord going to Cm, as there are too many common tones. It appears to have a similar function to a cadential 6/4 in classical music, and so I would expect it to go to a stronger G dominant of some type before resolving. If I ABSOLUTELY had to name it with a G root, I would go with Gm7(b13 11) with the b13 and 11 stacked, but I wouldn't be happy. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
Just played this on the pno. and it sounds odd, in that I don't know the context. What are the preceding chord and melody and bass notes, and the following? Stan Lord On 29 Apr 2006, at 12:07, Kurt Gnos wrote: I would say, Cm11/G Because of the lower structure, G as bass note and f it has a certain dominant function (kind of similar to g sus), but I could not see it as Gm7 11 b13, because the b13 is too strong and would make it a C minor or Eb Major chord anyway. Without the G bass it could be a Fsus (Cm7/F), but Fsus/G doesn't make much sense. And dominant, interestingly, not in direction of Cminor, but rather G minor or Bb Maj7. In any case it is not a common chord, so you will have trouble describing it using normal chord symbols Kurt At 01:16 29.04.2006, you wrote: I knew I'd have another question as soon as I sent the last note! It's been 23 years since I took music theory in college, and though I remember a lot, this song interpretation is really challenging my old brain here!! What I did is have the piano player play the song into a midi file so I could interpret the chords he's playing and notate the song for the composer (the piano player plays by ear only)... What is the rule of thumb on when you call a chord a 9th, 11th, or 13th? I remember something about the 7th needing to be present or otherwise you'd call it a 6th instead of 13th or an add2 instead of a 9th...?? This particular chord definitely has the dominant feel/ sound to it and is used in that way as it leads to the tonic. The song is in Cm. This chord I'm trying to define is: G - F - C - Eb - G - Bb Would this be a Gm13? Or what?!! Thanks a bunch! Jacki ___ 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] Chord Symbol Question
On Apr 28, 2006, at 7:40 PM, Jacki Barineau wrote: On Apr 28, 2006, at 7:28 PM, ThomaStudios wrote: Always put the highest altered extension on top, and go down in order. IOW: #9 #5 in one ( ) Thanks a bunch for the clarification! Now the question is - how do I DO this in Finale?! I mean - how do I make it put these 2 intervals in one ( ) and underneath each other? I can't figure out how to type it in that way! You don't say which font you are using, but the JazzFont default comes with a bunch of pre-made suffixes (suffices?) that are stacked more or less correctly, though as you point out in a later message, they don't all contain the proper parentheses nor do they all adhere to the best conventions of chord notation. Chord suffixes are a HUGE pain in the tuches, and I have already sent long and detailed suggestions to MakeMusic on how to improve things, so far to no avail. Bill Duncan has the best solution to date for Maestro/Engraver type fonts, incorporating all kinds of neat workarounds for Finale's inadequacies http://gwmp.com/MusicFontsFrameset.htm click on ChordSymbol, ChordSuffix while JazzFont, included in Finale, is a barely adequate solution for JazzFont documents. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Instrument names in the first system
When I intially laid out my score, I changed the placement of the names of the instruments from centered text ( default) to left or right justification. Turns out the publisher likes centered text. I also have changed the font and the sizing. Is there a sure fire method of centering the text, other than just doing it visually?Any suggestions greatly appreciated. Oh should I put the notes for the Timpani on a second line in ( )?E.G. Tympani (D-A-G-B) right now I can NOT center that 2nd line of the notes, is there a way that I can?Thanks so much Kim Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
Christopher Smith wrote: G - F - C - Eb - G - Bb If I ABSOLUTELY had to name it with a G root, I would go with Gm7(b13 11) with the b13 and 11 stacked, but I wouldn't be happy. Nor would I. In fact, I'd see this as incredibly confusing, if not outright wrong, as b13 is a tension of a dominant-function chord. It could be seen as Eb6-9/G as well as Cm7(11)/G. At its essence it's a pentatonic scale sounded as a quasi-cluster. What I'd call it would depend entirely on context - what are the preceding and following chords? What's the key? --- Neal Schermerhorn ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Instrument names in the first system
Yes staff names, but I assumed that by moving them manually somehow I ruined the spacing that Finale could do automatically. Bad assumption on my part. Thank you! On 4/29/06, dc [EMAIL PROTECTED] wrote: Kim Patrick Clow écrit:Is there a sure fire method of centering the text, other than just doing it visually?Well, you can ask Finale to center it. Is this in the staff names? You canchose between Right, Left, Center alignment.Dennis___ Finale mailing listFinale@shsu.eduhttp://lists.shsu.edu/mailman/listinfo/finale -- Kim Patrick ClowThere's really only two types of music: good and bad. ~ Rossini ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On Apr 29, 2006, at 12:01 PM, Neal Schermerhorn wrote: Christopher Smith wrote: G - F - C - Eb - G - Bb If I ABSOLUTELY had to name it with a G root, I would go with Gm7(b13 11) with the b13 and 11 stacked, but I wouldn't be happy. Nor would I. In fact, I'd see this as incredibly confusing, if not outright wrong, as b13 is a tension of a dominant-function chord. It could be seen as Eb6-9/G as well as Cm7(11)/G. At its essence it's a pentatonic scale sounded as a quasi-cluster. What I'd call it would depend entirely on context - what are the preceding and following chords? What's the key? While I would agree with you in a common-practice jazz context, in modern jazz added b13ths appear on chord qualities other than dominant more and more frequently these days, starting with Herbie Hancock, Wayne Shorter, and so on. Furthermore, if this chord resolves to Cm, then a chord with a G bass IS pretty much functioning as a dominant, with or without the leading tone, and thus can easily take an Eb. I also agree with you that the best symbol to use would depend on the context. Your Eb69/G idea is actually a pretty good one, though as you said, it would be better to know the context. So while not actually wrong, I do recognise that the chord as voiced resolving to Cm is weak, and chord symbols are getting less and less useful to describe the structures that appear in modern jazz. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On Apr 29, 2006, at 11:47 AM, Stan Lord wrote: Just played this on the pno. and it sounds odd, in that I don't know the context. What are the preceding chord and melody and bass notes, and the following? Thanks, everyone, for helping me figure this out! Okay - I've taken a snapshot of the measure that includes the chord in question and a couple of measures after it... http://www.ourlittleplace.com/images/snapshot.jpg The chord I'm referring to is the 2nd chord in the first measure shown (following the Db9). While we're at it - I am calling the chord *after* the one in question (1st chord in the next measure) a Cm11 - is this also correct?! Like I said, this song is full of jazz chords that I'm just not familiar with!! Thanks again for the help with analysis! - Jacki ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
Jacki, Looks (and sounds) to me as if the C flat continues in that measure, which makes perfect sense harmonically. The result is not a C minor chord at all, it's a G 7 #5#9, and everything is right in the world of normal, functional, jazz harmony. Chuck On Apr 29, 2006, at 10:17 AM, Jacki Barineau wrote: On Apr 29, 2006, at 11:47 AM, Stan Lord wrote: Just played this on the pno. and it sounds odd, in that I don't know the context. What are the preceding chord and melody and bass notes, and the following? Thanks, everyone, for helping me figure this out! Okay - I've taken a snapshot of the measure that includes the chord in question and a couple of measures after it... http://www.ourlittleplace.com/images/snapshot.jpg The chord I'm referring to is the 2nd chord in the first measure shown (following the Db9). While we're at it - I am calling the chord *after* the one in question (1st chord in the next measure) a Cm11 - is this also correct?! Like I said, this song is full of jazz chords that I'm just not familiar with!! Thanks again for the help with analysis! - Jacki ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On Apr 29, 2006, at 1:17 PM, Jacki Barineau wrote: On Apr 29, 2006, at 11:47 AM, Stan Lord wrote: Just played this on the pno. and it sounds odd, in that I don't know the context. What are the preceding chord and melody and bass notes, and the following? Thanks, everyone, for helping me figure this out! Okay - I've taken a snapshot of the measure that includes the chord in question and a couple of measures after it... http://www.ourlittleplace.com/images/snapshot.jpg The chord I'm referring to is the 2nd chord in the first measure shown (following the Db9). Yeah, it's pretty clear that the 2nd chord in m 1 is Cm7(11), though I might have voiced it with C in the bass anyway. I'm not sure it's even necessary to say Cm7(11)/G even WITH the G bass, since the bass note is an arpeggiated second inversion anyway, which are not usually accounted for in chord symbols. Given the context, I might have made the FIRST measure the 2/4 measure, rather than the 2nd, so as to keep the impression of strong chord movement over barlines. That would make the second measure 3 beats of Cm11, 1 beat of F9, which is pretty common. Maybe I am being needlessly fussy, but I maintain that harmonic rhythm gives a stronger impression of meter than the actual time signature, so one should pay close attention to that. While we're at it - I am calling the chord *after* the one in question (1st chord in the next measure) a Cm11 - is this also correct?! Yep, Cm11 is a good symbol for that. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
Hi Christopher, I think you are missing the continuation of the C flat in that first measure - which would explain and rationalize everything. It's a B - and that makes the chord an altered G7! It's so easy to forget the continuation of an accidental. Moving the bar line doesn't help, in this case, as it would get rid of the C flat/B and get us back to that confusing, (and IMO) inappropriate chord. Chuck On Apr 29, 2006, at 10:54 AM, Christopher Smith wrote: On Apr 29, 2006, at 1:17 PM, Jacki Barineau wrote: On Apr 29, 2006, at 11:47 AM, Stan Lord wrote: Just played this on the pno. and it sounds odd, in that I don't know the context. What are the preceding chord and melody and bass notes, and the following? Thanks, everyone, for helping me figure this out! Okay - I've taken a snapshot of the measure that includes the chord in question and a couple of measures after it... http://www.ourlittleplace.com/images/snapshot.jpg The chord I'm referring to is the 2nd chord in the first measure shown (following the Db9). Yeah, it's pretty clear that the 2nd chord in m 1 is Cm7(11), though I might have voiced it with C in the bass anyway. I'm not sure it's even necessary to say Cm7(11)/G even WITH the G bass, since the bass note is an arpeggiated second inversion anyway, which are not usually accounted for in chord symbols. Given the context, I might have made the FIRST measure the 2/4 measure, rather than the 2nd, so as to keep the impression of strong chord movement over barlines. That would make the second measure 3 beats of Cm11, 1 beat of F9, which is pretty common. Maybe I am being needlessly fussy, but I maintain that harmonic rhythm gives a stronger impression of meter than the actual time signature, so one should pay close attention to that. While we're at it - I am calling the chord *after* the one in question (1st chord in the next measure) a Cm11 - is this also correct?! Yep, Cm11 is a good symbol for that. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] loudspeaker font
hello fin-listers, sometime ago i came across a font which included some little loudspeakers. anyone remembers or knows it? or any other font that includes such symbol? thanks in advance, marcelo ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Instrument names in the first system
On 29.04.2006 Kim Patrick Clow wrote: Yes staff names, but I assumed that by moving them manually somehow I ruined the spacing that Finale could do automatically. Bad assumption on my part. Why would you move them manually? Use the Set default staff name positions in the staff menu to do it. 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] Another Chord Question
On Apr 29, 2006, at 1:52 PM, Chuck Israels wrote: Looks (and sounds) to me as if the C flat continues in that measure, which makes perfect sense harmonically. The result is not a C minor chord at all, it's a G 7 #5#9, and everything is right in the world of normal, functional, jazz harmony. Chuck DUH THANK you, Chuck, for noticing that C flat! I had totally missed that and that definitely makes all the difference, especially since the G7 #9/#5 chord is used elsewhere in this same song - just spelled a little differently as far as voicing... I'm going to recheck all the chords I've analyzed and make sure I'm not missing anything else like this - hope you don't mind me asking for verification on a few others I've figured out just to make sure! Thanks again, EVERYONE, who helped in solving this mystery chord!! - Jacki ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re(2): [Finale] Clearing the Recent Files List
Noel, I don't have the Other options on FinMac2006d. According to Make Music: Submission Date: 4/28/2006 10:51:01 AM (Central Standard Time) Submitter: Customer Support Agent Trashing the Finale Preferences (Desktop): 1. Quit Finale 2006. 2. Locate on your Hard DriveUsersyourusernameLibraryPreferences. 3. Drag the file Finale 2006 Preferences to the trash can and empty it. Mike Customer Support Representative MakeMusic, Inc. **Leigh On Fri, Apr 28, 2006, Noel Stoutenburg [EMAIL PROTECTED] wrote: I use the dialog box found at Options Program Options Other options ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] The missing zero
Many thanks to Noel and Aaron re: my question about the _missing_ zero in Arial Narrow. I opened a text box, typed in zero from the keyboard. Viola!! a zero that fits perfectly. Have not reinstalled font from Windows CD yet, but I am sure there is an Arial Narrow zero lurking there. I will say again, Where would I be without this list? Thanks again, guys. Ken ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] The missing zero
Hi to George Ports, Thanks for your reply to my zero question. Yes, I would appreciate a copy of CombiNunerals. Glad to hear from you. You're right. It is a great group. Ken ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Clearing the Recent Files List
Leigh Daniels wrote: I don't have the Other options on FinMac2006d. According to Make Music: Sorry. I didn't see where you specified the version, and failed to account for the re-layout of the User interface. As chance would have it, I was working on a client project with an older version. 2k6 instructions: Options Program Options Open, and about 1/3 of the way down, is a line in the right hand side, number of files in recent menu, with a box. To clear recent files, place a zero in that box, click apply, and then replace the zero with another desired value, and click either apply, or OK. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re(2): [Finale] Clearing the Recent Files List
Noel, Curiouser and curiouser! My Options Program Options Open is different. See http://www.leighdaniels.com/images/openopt.jpg **Leigh On Sat, Apr 29, 2006, Noel Stoutenburg [EMAIL PROTECTED] wrote: Leigh Daniels wrote: I don't have the Other options on FinMac2006d. According to Make Music: Sorry. I didn't see where you specified the version, and failed to account for the re-layout of the User interface. As chance would have it, I was working on a client project with an older version. 2k6 instructions: Options Program Options Open, and about 1/3 of the way down, is a line in the right hand side, number of files in recent menu, with a box. To clear recent files, place a zero in that box, click apply, and then replace the zero with another desired value, and click either apply, or OK. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] How big is exactly too big?
At 4:45 PM -0400 4/28/06, Kim Patrick Clow wrote: I've done some testing with 8.5 X 11.0 paper and A4 paper for creating booklets. The music just seems awfully crampt at those sizes of paper. Unfortunately in the US, most copy shops only have 11 X 17 inch paper, which rules out doing a bi-fold. I'd have to rely on some sort of spiral bounding, which can look kind of tacky. I use 11 x 17 paper for bifolds (i.e. 4 pages per sheet) all the time, stapled, both for scores and long individual parts. Perhaps I don't understand your question. My music is never cramped because I lay it out not to be (and to have good page turns when humanly possible). John -- 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] Clearing the Recent Files List
Leigh: I didn't read the entire message before I sent my earlier response. I am not well informed on issues related to the MAC OS, so it may be that the interface on the MAC is designed differently so that there is no way to set the number of previous files in the file menu on the MAC, and that what the people at MakeMusic suggested--trashing your Finale 2006 preferences folder--is the only way to accomplish your goal. I suspect, though that in using this method to clear the previous files listing, you will presumably at the same time trash all of the other values you have set that reside in the preferences folder, too, so that you'll have to redo any changes you've made to defaults. It appears that this is the generally accepted solution that MakeMusic recommends, because Allen Fischer posted the equivalent for Windows boxes in this thread.. To me, though, it sounds like an extreme solution. On the basis of the file name, though, it appears to me, though, that trashing your Finale 2006 preferences folder in order to clear the previous files, is about like using a 12-guage shotgun to kill a fly on the counter: it will do the job, but also is likely to cause a significant amount of unavoidable collateral damage in the process. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] loudspeaker font
At 04:11 PM 4/29/06 -0300, M. Perticone wrote: sometime ago i came across a font which included some little loudspeakers. anyone remembers or knows it? or any other font that includes such symbol? Not sure exactly what you need, but Texier's free Concreta font has all sorts of specialized symbols, including a speaker, tape recorder, headphones, etc. Google it or I can send a copy. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The missing zero
At 05:29 PM 4/29/2006, D. Keneth Fowler wrote: Viola!! a zero that fits perfectly. While that may be one definition of 'viola', I'm pretty sure what you meant here is 'voila'. g Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
At 19:52 29.04.2006, you wrote: Looks (and sounds) to me as if the C flat continues in that measure, which makes perfect sense harmonically. The result is not a C minor chord at all, it's a G 7 #5#9, and everything is right in the world of normal, functional, jazz harmony. Yes of course. So it makes sense. Spell the Cb as B natural, and all is fine and makes more sense than some pentatonic chord or sus chord. Sounds better, too. Kurt ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Multiple movements in a single document, rears it's ugly head, yet again!
I am adding staff styles to the 2nd and 3rd movements of this single Finale document. Just like the list has suggested. I have the following issue. When I get the measures all nice and pretty and sized just the way I want them. Get the spacing just right, so a movement ends at the bottom of the page, when I indent the next movement, and when I go to add the staff style so that the normal instrument name will appear to the left of the first system of this new movment, it screws up all my measurements for the measures, they revert to some default setting, and thereby destroying my beautiful layout. How can I somehow lock the measures so that when I do this, nothing gets changed while I'm doing this process. Thanks in advance, Kim Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
Jacki Barineau / 2006/04/28 / 07:16 PM wrote:
G - F - C - Eb - G - Bb
I am too late on this game. Chuck already caught it's a typo. However,
I just can't help on this one. Please allow me.
Of course depending on the context, but most likely this chord is F9
(sus4)/G (with the typo 'C').
It is so typical to voice C-7/F for F7(sus), and also very typical to
put the 9th ('G' in this case) on bass.
Since jazz theory is still young, it is very personal. I always believe
I have the best answer, after carefully examining all the possibilities
then to pick the best explanation.
What does this chord derives a scale?
It is not G- something because of Eb.
It is not C- something since it sounds dominant-like.
F mixo is the chord scale this chord dictates.
What chord scale is derived is the only key to name to chord correctly,
in my not so humble opinion. So, the other one:
G7 (#5, #9)
What chord scale would this derive? If you think that way, it must be
b13th instead of raised 5th. #5 means whole tone scale, then #9 will
contradict. If you put b13 then the chord scale is Mixo #9, b13.
By the way, if the first chord, the correct version:
G - F - Cb - Eb - G - Bb
is supposed to be reproduced exactly how it is, it must be spelled 'Eb
over G7'.
--
- Hiro
Hiroaki Honshuku, A-NO-NE Music, Boston, MA
http://a-no-ne.com http://anonemusic.com
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Re(2): [Finale] Clearing the Recent Files List
On Sat, Apr 29, 2006, Noel Stoutenburg [EMAIL PROTECTED] wrote: To me, though, it sounds like an extreme solution. On the basis of the file name, though, it appears to me, though, that trashing your Finale 2006 preferences folder in order to clear the previous files, is about like using a 12-guage shotgun to kill a fly on the counter: it will do the job, but also is likely to cause a significant amount of unavoidable collateral damage in the process. Noel, And the prefs file isn't XML, it's binary, so hacking it that way is out. Sometime when I have nothing better to do, I'll trash the prefs and recreate them and then save a clean version. Thanks for trying to help; it's what makes this such a wonderful resource. **Leigh ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] How big is exactly too big?
John Howell wrote: At 4:45 PM -0400 4/28/06, Kim Patrick Clow wrote: I've done some testing with 8.5 X 11.0 paper and A4 paper for creating booklets. The music just seems awfully crampt at those sizes of paper. Unfortunately in the US, most copy shops only have 11 X 17 inch paper, which rules out doing a bi-fold. I'd have to rely on some sort of spiral bounding, which can look kind of tacky. I use 11 x 17 paper for bifolds (i.e. 4 pages per sheet) all the time, stapled, both for scores and long individual parts. Perhaps I don't understand your question. I assume that Kim is running into what I sometimes do, where two systems per page on an 8-1/2 x 11 inch page are too cramped, and one system leaves so much space as to seem wasteful. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Multiple movements in a single document, rears it's ugly head, yet again!
Kim Patrick Clow wrote: I am adding staff styles to the 2nd and 3rd movements of this single Finale document. Just like the list has suggested. I have the following issue. When I get the measures all nice and pretty and sized just the way I want them. Get the spacing just right, so a movement ends at the bottom of the page, when I indent the next movement, and when I go to add the staff style so that the normal instrument name will appear to the left of the first system of this new movment, it screws up all my measurements for the measures, they revert to some default setting, and thereby destroying my beautiful layout. How can I somehow lock the measures so that when I do this, nothing gets changed while I'm doing this process. I'd try apply a system lock, in 2k6, select the mass mover tool, and from the drop down menu, select lock systems. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Fake Popular Music input strategies ..
Hello, I am a newbie to Finale 2005 I habe been a user of Sibelius for over ten years, and have used that time to make my own folio of fake music of popular songs (1920's thru to 1950's) for my own use as a theatre organist. Wonder if anyone on this list has done the same with Finale. Interested in interacting re input strategies with others who may have done the same. Cheers, Ronnie in NZ -- - Ronnie Pearcy [EMAIL PROTECTED] New Zealand --- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
