Hello!
A new plug-in is now available for download from the tips site, called
JW Live Sync:
www.finaletips.nu
(click on Downloads to the left and use the Plug-ins subsection)
It's for Finale 2010 and later. This plug-in is for documents that use
live performance data (instead of Human
Hi all,
I don't have Finale 2012 yet, so can't play with this. But a student just
bought F2012 (Windows) and none of the music fonts are embedded in his PDFs.
He used a default install and the new export-to-PDF feature.
He'll be in class this afternoon. Any help before then is very much
On 2012-10-01 13:06, Dennis Bathory-Kitsz wrote:
I don't have Finale 2012 yet, so can't play with this. But a student just
bought F2012 (Windows) and none of the music fonts are embedded in his PDFs.
He used a default install and the new export-to-PDF feature.
He'll be in class this
On Mon, October 1, 2012 7:56 am, Jari Williamsson wrote:
I don't get that behaviour. When I open the Finale-created PDF in
Acrobat Reader to see the font list, all used fonts (both for notation
and text) says Embedded Subset.
Has he upgraded to 2012c?
I'll find out this afternoon. He just
I did some more messing around and discovered it had nothing to do with the
expressions. The Garritan player was somehow confused. I changed the
playback instrument from Contrabassoon Solo to Bass Clarinet Solo which
caused the instrument to start playing again. Then I changed it back and
all was
Maybe I'm misunderstanding but if I make a concert score (never by choice..) I
make liberal use of octave displaced clefs.
Steve P.
On 1 Oct 2012, at 04:50, Robert Patterson rob...@robertgpatterson.com wrote:
I am writing a contrabassoon part in a C score. The way I usually handle C
scores
Octave displaced clefs is certainly one way to do it. I find them to be
overly fussy and potentially not as clear as regular clefs. One could
change the glyph for the octave displaced clefs (and I have tried this),
but then you can't tell the octave-displaced from the regular, so you could
I agree. A concert-pitch score with unmarked octave transpositions can be
quite confusing. Octave clefs clear any confusion quite easily, without
explanation needed.
Raymond Horton
Bass Trombonist, Louisville Orchestra
Minister of Music, Edwardsville (IN) UMC
Composer, Arranger
VISIT US AT
Hello Andrew,
I've been working with QuicKeys in Mountain Lion and it works as expected.
If you use the Toolbars then you will have problems but that really is the
only thing not working properly, at least in all of my workflows. I have
lots of complicated scripts in Finale and lots that work
I am finding that certain passages (grace notes, trills) are ending up with
hidden V2 notes inserted. Does anyone know a quick way to erase V2? Right
now I have to go in one by one and delete them.
___
Finale mailing list
Finale@shsu.edu
Would it work for you to use MM's plug-in Voice 2 to Layer and choose an
open layer (possibly 4) then switch to Show active layer only, go to
that layer and clear. This could all be setup using QuicKeys so it could
be done with one key stroke.
Steve
On 10/1/12 12:01 PM, Robert Patterson
Very clever. Thanks.
On Mon, Oct 1, 2012 at 12:08 PM, Fiskum, Steve fisk...@jspaluch.com wrote:
Would it work for you to use MM's plug-in Voice 2 to Layer and choose an
open layer (possibly 4) then switch to Show active layer only, go to
that layer and clear. This could all be setup using
Hi Robert,
Do you generally work with concert pitch scores? I seemed to recall you
normally work with transposed scores. In transposed scores, you'll only ever
see the octave-displaced clefs if you have Display in Concert Pitch
temporarily turned on (for, e.g., note entry). But they don't show
I switched back to concert pitch a few years ago. In my advancing years I
want no unnecessary barriers. Another reason is that in recent years I have
started writing a lot of vocal music, and no singer should ever be
presented a transposed score, not unless the singer has perfect pitch, or
unless
Darcy, they claim that expressions in 2012c now chase correctly if you start
playback from the middle of the piece. Have you tested that to see if it fixed
now or not? My simple tests all worked, but maybe you spank it harder than I do.
Christopher
- Original Message -
From: Darcy
Hello, everyone,
Isn't there a chase capability/setting in the playback window?
Michael
mmathew_musicp...@yahoo.com
http://www.musicengravers.com/cgi-bin/engravers.pl
http://oregonmts.com/mathew/
From: christopher.sm...@videotron.ca
Yes there is, but it doesn't always work.
Cheers,
- DJA
-
WEB: http://www.secretsocietymusic.org
On 1 Oct 2012, at 2:52 PM, Michael Mathew mmathew_musicp...@yahoo.com wrote:
Hello, everyone,
Isn't there a chase capability/setting in the playback window?
Michael
Hi Chris,
I'm actually having trouble getting GPO pizz. and arco expressions to work
*at all* in Fin2012c, let alone chase correctly from m.1. This is admittedly in
scores imported from earlier versions of Finale, but I can confirm that there
are still significant issues.
Cheers,
- DJA
-
At 1:04 PM -0500 10/1/12, Robert Patterson wrote:
I switched back to concert pitch a few years ago. In my advancing years I
want no unnecessary barriers.
Hi, Robert, and of course to each his own on
questions like this one. I personally find that
a concert pitch score presents me with
No, I mean vocal chamber music with transposing instruments.
On Mon, Oct 1, 2012 at 1:35 PM, John Howell john.how...@vt.edu wrote:
At 1:04 PM -0500 10/1/12, Robert Patterson wrote:
I switched back to concert pitch a few years ago. In my advancing years I
want no unnecessary barriers.
Hi,
My music has no key signatures, so there is no notational cue what the
transposition is. I struggle to remember at any given moment if it is
clarinet in A or clarinet in Bb, for example. For a while I was putting the
transposition in with the instrument abbrev. name, but that takes up space
and
At 2:41 PM -0500 10/1/12, Robert Patterson wrote:
No, I mean vocal chamber music with transposing instruments.
Ahhh. That didn't occur to me. Sorry. But why
is that really a problem? 90% of singers
couldn't read a viola part in alto clef, either,
but *I* would want to see it where it
The business about providing a C score for singers is a recommendation that
comes from bitter experience. I wrote a cycle for soprano, horn,
percussion, and piano. The singer is working from score. Originally it was
a transposed score, but I quickly discovered the singers were much more
Way back in undergrad theory, we were painstakingly, over a period of
time, analyzing the Wagner Tristan Prelude and Liebestod from the
miniature full scores. If you recall, that is a particular challenge,
besides the obvious harmonic ones, as it features such transposing
favorites as a pair each
One could discuss all day longs things that singers should and should not
do. I think books have been written on the subject. But they are beside the
point here.
What I am saying is, if you want the best performance out of the most
number of singers, I highly recommend providing a C score. I have
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