Re: [Finale] Mysterious Repeat Behavior in FinMac 2008b
Leigh Daniels wrote: Hello All, I'm just starting an orchestral score using Bill Duncan's MediumOrchestra8x11.mus template. When I play it using the Playback window, the repeat count gets incremented to 2 when playback enters the second measure. I did not enter any repeats. The Repeat tool does not show any handles for repeats. The Check Repeats function says Playback route: 1-178 with 178 being the last measure in the score. Here's all I've done. I deleted the staves for piano and harp, set up the GPO configuration and assigned the staves to the appropriate channels. I entered 4 notes in the first measure of the flute staff, cleared it and then entered single whole notes in the first measure of each of the strings. The file is at: http://tinyurl.com/8lasod I'd appreciate any suggestions. I'm on Windows, not Mac, so I don't have any of your fonts and the score looks strange, but I could find no explanation for the behavior -- removing the staff styles in measure 2 doesn't change anything, changing the barlines doesn't change anything. Very curious -- is it bothering you because of the change in repeat number or is it having a negative effect somehow? Seems to me as it isn't affecting anything other than the repeat count. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Midmeas clefs in 2008
How can I forcibly enter a mid-measure courtesy clef change in 2008. In 2007 when you double-clicked a measure you got an option to create one, but I'm not seeing it in 2008. I need to restrike the same clef as is already in effect because when I put in a cue that changes the clef I like to show the clef change again for the real entrance. In particular, this is a viola part that was in alto clef that has a violin cue right before an entrance where the violist changes to treble. I show the violin cue in treble clef with a 60% clef, and now I want to show the viola entrance with a 75% clef. I was able to make it work using a convoluted process with my Mass Copy plugin, but surely there must be a straightforward way. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TGTools
There's something strange going on with TGTools and my computer: the gray / key doesn't work as the = key anymore. Any solution? Barbara ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: Chord identification
Would anyone like to identify this chord: C#;D;F#;A;d;c# I thought it was Dmajor7 but this is being disputed - Does the C# in the bass change things? Thanks, Lawrence -- Lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Chord identification
On 17-Jan-09, at 17-Jan-09 1:32 PM, Lawrence Yates wrote: Would anyone like to identify this chord: C#;D;F#;A;d;c# I thought it was Dmajor7 but this is being disputed - Does the C# in the bass change things? How is it being disputed? It certainly contains all the same notes as Dmaj7/C# (the slash indicates the bass note in the case of an inversion) but the context is everything. What key are you in and what are the chords on either side? What is the style? Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Chord identification
I've no idea what the context is - one of my students has asked me to help her identify it - her music teacher says it's not Dmaj7. Maybe it's the slash C# that's missing and the teacher is being pedantic. Thanks anyway. Any other offers would be welcome. Thanks, Lawrence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Chord identification
On Jan 17, 2009, at 1:56 PM, Lawrence Yates wrote: I've no idea what the context is - one of my students has asked me to help her identify it - her music teacher says it's not Dmaj7. Maybe it's the slash C# that's missing and the teacher is being pedantic. Thanks anyway. Any other offers would be welcome. It's possible for it to be C#7(sus4,b9,b13), kind of like a triple suspension V chord in the key of F# or F#m. I hear a lot of it in Chabrier, Ravel, DeFalla and other Spanish and Spanish-influenced composers. It is also quite common in jazz (think that chord alternating with C#7). I think I remember it also being the second chord in Bach's Air for a G String (in the key of D, of course.) Without a context, or even a style, it's hard to say. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] TGTools
Is the key still assigned as you want it in TGTools -- Options... -- Key remapper? -Original Message- From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of Barbara Touburg Sent: Saturday, January 17, 2009 9:29 AM To: finale@shsu.edu Subject: [Finale] TGTools There's something strange going on with TGTools and my computer: the gray / key doesn't work as the = key anymore. Any solution? Barbara ___ 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] OT: Chord identification
Apologies to all and thanks on behalf of my idiot, cloth eared student. Having spoken to her teacher, it now seems that the child (aged 18 years!!!) incorrectly identified the chord as a DOMINANT 7th then didn't listen to what her teacher said in reply. And they say standards aren't falling! Sorry, Lawrence (who meant well) -- Lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Chord identification
F#mi6 would have a D#, not a D nat. The chord in question is unambiguously DMA7/C#. - Darcy - djar...@earthlink.net Brooklyn, NY On 17 Jan 2009, at 2:49 PM, dhbailey wrote: Or it could be an F#m6. But I would dearly love to know what the original teacher is saying it is, if he/she is saying it isn't a Dmaj7. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ 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] OT: Chord identification
On 17 Jan 2009 at 14:13, Christopher Smith wrote: I think I remember it also being the second chord in Bach's Air for a G String (in the key of D, of course.) Well, yes, because of the descending bass passing through the leading tone while the tonic chord is still sounding, the vertical sonority is going to be a D chord on top of a C#, that doesn't make it a D Major 7 chord, because it's not functioning as a 7th chord at all. It's only a passing dissonance, and trying to analyze every single incidental vertical configuration will lead to complete madness. So, no, I wouldn't at all say that a D Major 7 in 3rd inversion occurs as the second chord of the Air. To say that makes a mockery of all functional harmonic analysis. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Chord identification
Darcy James Argue wrote: F#mi6 would have a D#, not a D nat. The chord in question is unambiguously DMA7/C#. Really? If the 6th is built from the natural minor? What rules govern this situation? Must it be the melodic minor one builds chords from? Of course if we're looking at the F#m6 as the ii of E, then you're right, but if we're looking at the F#m6 as the iii of D . . . And if we're looking at F#m6 as the vi of A, then it depends on the form of the scale one chooses to use, doesn't it? -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Chord identification
If you write the chord symbol F#mi6, then the correct voicing in all cases is F# A C# D#. There is nothing complicated or ambiguous about it. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 17 Jan 2009, at 4:46 PM, dhbailey wrote: Really? If the 6th is built from the natural minor? What rules govern this situation? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Chord identification
Yeah the 'popular' chord notation (anyone know where this came from originally?) ignores the key signature. 'm6' is short for minor 3rd, major 6th, probably just because this is far more common (i have a hard time hearing the minor 6th as a chord note in any context here, actually). You're thinking more like figured bass notation, which depends both on the keysignature, and on the bass note, where V64 under G in C major is differentf from V64 under D in C major... 2009/1/17 Darcy James Argue djar...@earthlink.net If you write the chord symbol F#mi6, then the correct voicing in all cases is F# A C# D#. There is nothing complicated or ambiguous about it. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 17 Jan 2009, at 4:46 PM, dhbailey wrote: Really? If the 6th is built from the natural minor? What rules govern this situation? ___ 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] Sibelius and Protools
Oh, good to know, then--I hadn't actually tried protools yet--I guess they also need to buy a company with a good midi editor ;-) I just stumbled on the new Cubase 5 release--the new midi editing features pretty much blow the competition out of the water for orchestral midi work--click on 'superconductor' on their new intro: http://www.steinberg.net/ 2009/1/16 Eric Dannewitz ericd...@jazz-sax.com No, because the Midi Sequencing in ProTools still sucks compared to Logic/DP/Cubase. It is a LOT better in PT8, but it still has a long way to go. Plus, any Virtual Instruments you want to use in an arrangement need have to have a RTAS version, which most do, but not all. You can use an adapter program to convert AU or VST instruments to RTAS but... It's not the holy grail at all. It is a good step to making PT catch up in an area where it is lagging... On Fri, Jan 16, 2009 at 1:28 AM, Adam Golding adamgold...@gmail.com wrote: it's true, it's a lame first step, and probably less functional than using MusicXML export in Cubase 4.1, but being that they've gotten started in this direction, and the two programs have the same ownership, wouldn't you say some Sibelius\Protools beats will 'almost definitely' be the first true hybrid of a notation program and sequencer, that holy grail for people who can both read AND hear? :p ___ 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] Sibelius and Protools
Um, well, then they failed then. Sibelius isn't a good midi editor. What they should have bought was MOTU butthey didn't. On Sat, Jan 17, 2009 at 4:42 PM, Adam Golding adamgold...@gmail.com wrote: Oh, good to know, then--I hadn't actually tried protools yet--I guess they also need to buy a company with a good midi editor ;-) I just stumbled on the new Cubase 5 release--the new midi editing features pretty much blow the competition out of the water for orchestral midi work--click on 'superconductor' on their new intro: http://www.steinberg.net/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] TGTools
NumLock on? -Original Message- From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of Barbara Touburg Sent: Saturday, January 17, 2009 11:20 AM To: finale@shsu.edu Subject: Re: [Finale] TGTools Richard Yates wrote: Is the key still assigned as you want it in TGTools -- Options... -- Key remapper? Yes, it is. ___ 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 Across Grace Notes
I've got an eight-note/eighth-rest sequence with a grace note before each eighth-note and the normal beaming process doesn't want to work. Is there another way to beam across a grace note and a rest? It's probably something simple I've overlooked. I've posted screen shots of what I'm talking about at the link below. http://gallery.me.com/btr1701/100016 The first image is the Finale document as is, without the beams. The part I'm talking about is the third measure in the Horn part. The second image is the original handwritten manuscript and shows the passage as I'd like it to appear. [For those who are curious, this is part of a film cue called The Basket Game from Raiders of the Lost Ark. It's the part where the evil swordsman challenges Indiana Jones to a duel with an elaborate flourish of his blade, and Jones just sighs and shoots him.] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Chord identification
On Jan 17, 2009, at 3:08 PM, David W. Fenton wrote: On 17 Jan 2009 at 14:13, Christopher Smith wrote: I think I remember it also being the second chord in Bach's Air for a G String (in the key of D, of course.) Well, yes, because of the descending bass passing through the leading tone while the tonic chord is still sounding, the vertical sonority is going to be a D chord on top of a C#, that doesn't make it a D Major 7 chord, because it's not functioning as a 7th chord at all. It's only a passing dissonance, and trying to analyze every single incidental vertical configuration will lead to complete madness. So, no, I wouldn't at all say that a D Major 7 in 3rd inversion occurs as the second chord of the Air. To say that makes a mockery of all functional harmonic analysis. I guess I wasn't clear. Your explanation above would be a very GOOD reason why Dmaj7 is not a good name for the chord (though some would use that chord symbol any way, but go ahead and try to reason with THEM!) 8-) Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Chord identification
On Jan 17, 2009, at 7:06 PM, Adam Golding wrote: Yeah the 'popular' chord notation (anyone know where this came from originally?) Strangely, it came from an adaptation of classical figured bass. This is why the exception to the all chord members are major unless otherwise specified rule is THE SEVENTH, which is minor by default, because the first 7th chord in classical music was a dominant seventh chord. The thing I have to remind all my jazz theory students is that jazz/ popular chord symbols have nothing to do with the key. They are completely independent. A C7 is the same four notes no matter what the key signature is. Incidentally, if you want an F#m triad with a D added, you would call it F#m(b6) in the most standard system. This is the second chord in the James Bond main theme, in case anyone thinks it is too far out to consider in popular music. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Beaming Across Grace Notes
Yes, this is strange new (I think) behaviour in Finale 2009 (maybe even 2008). In Speedy, you have to hit the / key on the second grace note AND then on the second eighth note. If you hit it on the same note twice, it won't work no matter how many times you hit the slash key on the other note (so if you have already tried this several times and have pressed the slash key an EVEN number of times, you won't get it to work until you have pressed it ONE more time and moved on to the other note. I remember this behaviour as being position the cursor on the GRACE note and hit the slash (instead of the more obvious: position the cursor on the EIGHTH note.) But now you have to do it on BOTH notes, and only an odd number of times, never even! Christopher On Jan 17, 2009, at 10:08 PM, Blake Richardson wrote: I've got an eight-note/eighth-rest sequence with a grace note before each eighth-note and the normal beaming process doesn't want to work. Is there another way to beam across a grace note and a rest? It's probably something simple I've overlooked. I've posted screen shots of what I'm talking about at the link below. http://gallery.me.com/btr1701/100016 The first image is the Finale document as is, without the beams. The part I'm talking about is the third measure in the Horn part. The second image is the original handwritten manuscript and shows the passage as I'd like it to appear. [For those who are curious, this is part of a film cue called The Basket Game from Raiders of the Lost Ark. It's the part where the evil swordsman challenges Indiana Jones to a duel with an elaborate flourish of his blade, and Jones just sighs and shoots him.] ___ 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
