What am I not thinking of?
Solo, Sop, Alto, Ten, Bass staves, part of a grouping. There are 6
bars of rest, then only the men sing for awhile. So there are plenty
of empty staves. Nothing I've tried will cause them to optimize.
* made sure all whole rests were default
* checked the group
You need to remove optimization, *then* change the group attributes,
*then* optimize.
After optimization, any change to group attributes only affects a
single system.
Another, perhaps easier solution -- use TGTools Staff List Manager.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 31
Um, special part extraction?
Richard Huggins wrote:
What am I not thinking of?
Solo, Sop, Alto, Ten, Bass staves, part of a grouping. There are 6
bars of rest, then only the men sing for awhile. So there are plenty
of empty staves. Nothing I've tried will cause them to optimize.
* made
On Oct 30, 2007, at 10:12 AM, Christopher Smith wrote:
I found, however, that the Mac version of Finale 2004 was very slow
on my Mac G4.
I run Finale 2004 on a Mac G4, and I've never noticed it being slow.
I wonder if the difference is in our systems, our work habits, or our
patience.
On Oct 30, 2007, at 7:00 PM, Chuck Israels wrote:
[answering Richard Yates]
The recent question about quarter-eighth tuplets received five
responses
(all with the same answer, by the way! Go team!) within a short
time. Mine
arrived very soon after I sent it and the others could not have
[EMAIL PROTECTED] wrote:
How come it's not Hes-Dur?
Because the B/H notation was invented before sharps and flats were, and
presumably Des, Es etc. came last.
B - flat sign
H - natural and sharp signs
--
Ken Moore
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Eric Dannewitz wrote:
I, so far, find Sibelius extremely backwards. Like putting articulations
on notes after I enter them. Still can't figure that out. Nor if you
decide you want to change an instrument on a score.
So far, I've tried to do two trios with Sibelius, but ended up going
back to
Chuck Israels wrote:
Hi Richard,
My response was sent quite soon after the question was posted, but it
took some hours to show up on the list.
I seem to recall some sort of similar delay happening a year or two ago,
which happened just before SHSU replaced their servers.
But it's
dhbailey wrote:
Chuck Israels wrote:
Hi Richard,
My response was sent quite soon after the question was posted, but it
took some hours to show up on the list.
I seem to recall some sort of similar delay happening a year or two ago,
which happened just before SHSU replaced their servers.
In the 12th century or something when introducing a 7th note to the
already existing hexachord, there was a babylonic confusion about the
name. We know that the first syllabe of each verse came out the hymne
for St Johannes (Ut..., Re..., Mi..., etc.) where indeed every
sentence started a
You can select the articulation from the keypad at the same time as the
rhythm. But I find that awkward unless you just need a few isolated
articulations. For me, articulation is most seamlessly applied to entire
regions (select any number of measures) rather than note by note. I also
stop
Did you enter the notes via Speedy? If so, make sure Speedy OptionsFill
with Rests at End of Measure is NOT checked. At times this can place whole
rests in the empty measures which would not allow you to optimize a system.
Steve
10/31/07 2:05 AM, Richard Huggins [EMAIL PROTECTED] wrote:
What
On Oct 29, 2007, at 8:04 PM, Darcy James Argue wrote:
Richard said it was a scale gliss, and also that his client wanted
a verbal description. I think his client is being a bit of an idiot
-- if you want to be extra-clear, the way to go is to put in the
first seven notes of the gliss as
Thanks to all for the helpful tips. The one below worked. Not seeing
the results of optimization onscreen, I wouldn't have thought there
was any sense in using Remove Optimization. I realize now that
optimization can be in effect, just not be being allowed by an
overiding attribute.
RH
This is another good reason to use TGTools. Not only can you
manipulate staves AFTER optimizing, there is a command to Update
Groups, which has helped me immensely in the past. Especially after
adding a new stave while editing a score that had been previously
optimized. Worth every
Heh, heh (I only giggle in commiseration, not AT you) I lost the
better part of a day on this a few years ago, before I realised that
I had to REMOVE optimisation before changing the group attributes.
And with Linked Parts, things have changed again (as Kim R discovered
in 2007).
And
I've often wondered how difficult it would be for MakeMusic to add a
warning box to pop up when someone tries to optimize something which has
already been optimized -- say, for instance, we receive a Finale file
from a client who just can't be bothered with it anymore but wants it to
look
This is the text of an item I recently published on my blog, Renewable
Music ( http://renewablemusic.blogspot.com/ ):
Fibs Sins, an update
I'm frequently asked for recommendations for notation programs, and my
answer is usually depends..., with an encouragement to consider a
variety of
Christopher Smith wrote:
before I realised that I had to
REMOVE optimisation before changing the group attributes.
Why not just use Scroll View, change the attribute there and then optimize?
Best regards,
Jari Williamsson
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Jari Williamsson wrote:
[snip]
Jari!
Welcome back to the list!
-Randolph Peters
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At 10:30 PM -0800 10/30/07, Eric Dannewitz wrote:
I, so far, find Sibelius extremely backwards. Like putting
articulations on notes after I enter them. Still can't figure that
out.
I'll second everything David Bailey said, but add this. Sibelius
gives you choices, and one of those choices
John Howell wrote:
All notation is complex.
In this case, I think the complete opposite way. The problem as I see it
is that all music software of today are using technology from 30-40
years ago. If a music program was developed today, using the technology
invented during the last 5-10
John Howell wrote:
Nor if you decide you want to change an instrument on a score.
I assume that you mean same staff, change to a different instrument,
perhaps change clef or transposition, rather than the scenario David
explained. I know it can be done, but not how because I haven't had
Eric Dannewitz wrote:
John Howell wrote:
Nor if you decide you want to change an instrument on a score.
I assume that you mean same staff, change to a different instrument,
perhaps change clef or transposition, rather than the scenario David
explained. I know it can be done, but not how
Eric this may be what you want.
1. Right click on a blank part of the page for the context menu. At
the bottom of the menu is other. Open that up.
2. Select change instrument
3. Pick an instrument from the list.
4. Click the now blue (=loaded) arrow where you want to change the
There used to be a trick that worked in Finale up to 2007, but it
doesn't seem to work in 2008 (demo at least).
If you wanted to remove any strange placements of articulation
positions, you could switch to the articulation tool, and then do a
Command-A (Select all), then hit the clear key.
Jari,
when I read your message, I didn't agree. I doubt whether music notation, a
rather complex and not always logical process, can be handled in a simple
way.
But then I think I have been using Finale for almost 20 years. Even if they
were progresses, and big ones, you are right - the core of
Right clicking does not bring up any context menu that has OTHER in it.
I get Cut, Copy, Paste, Delete, Capture Idea, Voice, Hide/Show, Color
and Apply Color...
However, in the menu, there is Other buried under Create..
Sibelius 5.1...frustrating..
Richard Smith wrote:
Eric this
On 31-Oct-07, at 5:14 PM, dc wrote:
I have a piece in C time AA'BB'. My source has both repeat signs
for A in the middle of a measure. Would it make more sense to fill
in the last measure of A to have both repeat signs agree with
barlines?
Don't know if I'm stating this clearly.
There
Is anybody there?
I sent a query yesterday and have not received any digests since then.
Here it is again.
[FINALE 2002, Windows XP]
Are there any easy ways to create a retrograde (or inverted) copy of a
passage? I have looked at the canonic utilities but cannot make any sense
of how they
Hi Eric,
Still works for me. At least if I drag select the ones I want to
change.
Chuck
On Oct 31, 2007, at 5:03 PM, Eric Dannewitz wrote:
There used to be a trick that worked in Finale up to 2007, but it
doesn't seem to work in 2008 (demo at least).
If you wanted to remove any
Drag selecting seems to work fine, but you used to be able to select all
in scroll view (or page view) and then hit the clear key and it worked.
Chuck Israels wrote:
Hi Eric,
Still works for me. At least if I drag select the ones I want to change.
Chuck
On Oct 31, 2007, at 11:19 PM, Eric Dannewitz wrote:
Drag selecting seems to work fine, but you used to be able to
select all in scroll view (or page view) and then hit the clear key
and it worked.
Still works fine for me. Clear removes all manual positioning of
articulations when the
I think you misunderstood. You used to be able to, on the Macintosh
version, switch to Scroll or Page View, then switch to the articulations
tool, do a Command-A (or go to the edit menu and select it) and it would
select all the articulations. Then, you could press the clear/number
lock key
On 1 Nov 2007 at 2:22, Kurt Gnos wrote:
Fix its old bugs, but better reprogram it from scratch, using new
technologies
This is a really terrible suggestion. If you think the bugs in Finale
are bad now, wait 'til you see the new programmed-from-scratch
Finale. Consider the case of Netscape,
At 12:07 PM +0100 10/31/07, Hans Swinnen wrote:
In the 12th century or something when introducing a 7th note to the
already existing hexachord, there was a babylonic confusion about
the name. We know that the first syllabe of each verse came out the
hymne for St Johannes (Ut..., Re..., Mi...,
Since, from the tone of the list recently, the religious war between
Finale and Sibelius seems to be waning as both packages mature and since
world wide communications and data sharing have become so instant, I
have some questions for the list. What are your thoughts and why?
1. Have we
It sounds like your cursor was resting on some musical element when you
right clicked. You got the menu that opens when you are pointing to a
specific element. It's much shorter.
To get the longer list of options, you have to point to a blank space on
the page. Then there is a context menu
On 1 Nov 2007 at 0:19, John Howell wrote:
gamut
This term comes from the note added to the Greek scale, Gamma Ut,
which was below the A. That is, the Greek scale was a tetrachordal
system starting on A. The G below was added later, and called Gamma
Ut. I don't know how that got collapsed into
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