On Feb 11, 2005, at 10:23 AM, John Howell wrote:
(And the Pink Panther theme remains the single most widely-heard
example of parallel 5ths since the 9th century!)
More than Smoke on the Water?
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On Feb 14, 2005, at 4:11 PM, Chuck Israels wrote:
Dear Hiro,
Newport is abandoned and only works in classic. I have replaced the
falls and doits in all active files with articulations from the Jazz
font. The Jazz Font shapes are a little too heavy for my taste, but
they are the best I can do
The code is on Jari's site. Not all of it, but he will give the rest to
anyone who requests it.
Some of us were kicking around the idea of pooling some money to pay
someone knowledgeable to port it over, but it's a losing proposition
for several reasons.
First of all, it will need
On the recommendation of various listers, I got Firefox (Mac OSX) and
installed it (if you can call that an installation, as I just dragged
the app over from the disk image). It seems to work surprisingly
similarly to Safari, except it doesn't choke on certain web pages. It
is quite zippy, and
On Feb 19, 2005, at 6:19 PM, Darcy James Argue wrote:
Hey gang,
Okay, my 18-piece band is going to start gigging soon and I'm going to
need to invest in some stands and stand lights for us. I'm looking
for recommendations.
The stands must be lightweight and collapsable -- not necessarily
That looks like the corrugated plastic one I mentioned! Good catch! At
less than 3 pounds each, you could take a bunch of these on the subway
no problem.
Christopher
On Feb 20, 2005, at 6:13 PM, Jim and Pat Sodke wrote:
I've known a few band to use the polystand from:
http://www.embeeideas.com/
Jacki,
You'll have to respace it before updating layout.
The easiest way to respace is Mass Edit tool, Select All (cmd-A) then
hit the number 4 over the E and R keys, which is the MetaTool for Note
Spacing. You may have to unlock the systems if they are locked, so that
the respacing actually
On Tuesday, February 22, 2005, at 10:00 AM, Johannes Gebauer wrote:
I think the Martians would probably be impressed, actually. (By the
gates, not by the schools.)
I wished I was in New York to be able to see it. When Christo did the
Reichstag in Berlin I missed it, and everyone who was there
. Don't the French use
mademoiselle the same way?
On Feb 22, 2005, at 3:34 PM, Christopher Smith wrote:
Umm, just wondering, but what makes you think Crystal is young?
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On Feb 22, 2005, at 11:24 PM, David W. Fenton wrote:
I see no one in this discussion making any attempt whatsoever to
dissuade you or Crystal or anyone else from their personal esthetic
reactions to art -- all the disputation has been entirely on non-
esthetic issues.
And some of the non-esthetic
On Feb 23, 2005, at 1:41 AM, shirling neueweise wrote:
GENERAL
* Text can be assigned to an individual note or measure (as with the
old Expression Tool) or to a page or range of pages (as with the old
Text Tool).
* Once assigned, default positioning of the individual Text can be
altered or
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
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
On Feb 25, 2005, at 10:47 AM, shirling neueweise wrote:
kurt, johannes (and others),
From: Kurt Gnos
I would NOT mingle the two tools since they have an entirely other
functionality. However, I'd like some of the things you mention, but
in the Text Tool where I might use them.
actually they
On Feb 25, 2005, at 12:40 PM, David W. Fenton wrote:
Given the new capabilities of text expressions (multi-line, control
of automatic placement), why would any one use a measure-attached
text block, rather than a measure-attached expression?
Justification. Can't do it in the new text expressions.
Revelation!
I often need to clear a staff style for a measure or two, and have done
it for a number of years now by selecting Clear Staff Styles from the
Staff menu. I just now discovered that I can do the same thing with one
key, Clear on the Mac (I imagine it's the backspace above Enter for
Linda,
I have a CD (it's the example set of CD's from Samuel Adler's book The
Study of Orchestration that has index numbers in addition to track
numbers. This means that Track 1 has five or so examples, each with
their own index number, so Track 1.1, 1.2, etc. He manages to squeeze
many
On Feb 25, 2005, at 7:08 PM, Dennis Bathory-Kitsz wrote:
Christopher's suggestion of index numbers probably won't work. We have
players capable of that at the radio station, but nobody's ever
actually
tried to use that feature!
When you say won't work, do you mean that not all the cues will be
On Feb 25, 2005, at 8:43 PM, Dennis Bathory-Kitsz wrote:
At 05:04 PM 2/25/05 +0100, Johannes Gebauer wrote:
I actually want the functionality of measure text blocks improved,
since
at the moment there is only very limited use for them. I want to be
able
to assign a _measure_ attached text block
On Feb 26, 2005, at 12:49 AM, Dennis Bathory-Kitsz wrote:
I've made changes to the toolbar mockup at
http://maltedmedia.com/photos/toolbar.gif to reduce Playback and
Duplicate buttons to icons, add Click and item number next to
Attached
to, add a justification droplist, and add a snap-to-grid
On Feb 26, 2005, at 1:05 AM, Don Hart wrote:
Jari,
Thanks for keeping up this website and for adding helpful things like
the
new interviews.
I read through most of Tyler Turner's interview (I didn't realize the
escape
key did that!) and I thought I'd put out a general question about
Simple
On Feb 26, 2005, at 11:46 AM, shirling neueweise wrote:
there will be user-definable default settings for the Text, including
not only font and size, but also leading and all other text attributes
(why this is not already the case escapes me...) and for the three
manners of attaching it.
On Feb 26, 2005, at 3:44 PM, A-NO-NE Music wrote:
Meanwhile, OSX comes with a little helper. Just hit Ctrl+Shift+F2 (if
nothing happens, hit Ctrl+Shift+F1 first then the feature is enabled).
See you can navigate menus with arrow keys then hit [ENTER]. I don't
like mousing and I got used to this
On Feb 26, 2005, at 4:48 PM, David W. Fenton wrote:
On 26 Feb 2005 at 16:38, Christopher Smith wrote:
I know how to start a second ending with a tied note, but how do I
start a coda with a tied note? The note in question is both tied over
from the previous measure AND tied to the next measure, so
On Feb 26, 2005, at 4:53 PM, Darcy James Argue wrote:
On 26 Feb 2005, at 4:48 PM, David W. Fenton wrote:
On 26 Feb 2005 at 16:38, Christopher Smith wrote:
I know how to start a second ending with a tied note, but how do I
start a coda with a tied note? The note in question is both tied over
from
On Feb 26, 2005, at 8:23 PM, Kurt Gnos wrote:
At 15:22 26.02.2005, you wrote:
When I import a midi file into Finale, the drums won't appear. Finale
is creating a drums staff, but it remains empty. I tried this out
using several midi files. The pity is the main reason ARE the drums -
I am
On Feb 27, 2005, at 12:18 AM, Brian Williams wrote:
Dear List,
I have been working on a Finale 2004 transcription project in MacOS
10.2.4
that simply involves a vocal staff with lyrics and 2 staves of piano.
I have
found that the only way I can get any usable speed is to enter all the
notes
in
On Feb 27, 2005, at 11:34 AM, [EMAIL PROTECTED] wrote:
Greetings! I'm new to the list (though not to Finale) and have a question about swing playback.
I scanned music, converted it to MusicXML format using SharpEye, then imported it into Finale 2005 for editing. The music contains standard
Kurt,
Give it a try. I'll check them out, and report back.
Christopher
On Feb 27, 2005, at 4:12 PM, Kurt Gnos wrote:
Christopher,
thanks for the answer. I could send you some midi files that won't
work for me - maybe they will work for you?
Kurt
At 12:34 27.02.2005, you wrote:
On Feb 26, 2005,
In a message dated 02/28/2005 12:42:28 A.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
Part of the problem is the notation you are dealing with; writing
swing
rhythms as dotted-eighth/sixteenth is a very old notation, and you
almost never see it any more in modern works. Unless the
On Feb 28, 2005, at 8:41 AM, Christopher Smith wrote:
In a message dated 02/28/2005 12:42:28 A.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
Part of the problem is the notation you are dealing with; writing
swing
rhythms as dotted-eighth/sixteenth is a very old notation, and you
almost
On Feb 28, 2005, at 10:11 AM, Henry Howey wrote:
A couple of keys on my EDIROL PCR-31 keyboard are not making a
circuit. Is there a spray or other means to (I assume) de-oxidize the
contacts for a better response?
--
I don't know what kind of key contacts are on the Edirol, but there are
two
On Feb 28, 2005, at 3:59 PM, Kurt Gnos wrote:
But I guess there are many things in Finale that can be done
differently - from entering notes (not just with different tools, also
in different ways) until formatting and printout. There are also
people who like lyrics mass edit, which I cannot
On Feb 28, 2005, at 5:49 PM, Darcy James Argue wrote:
On 28 Feb 2005, at 8:50 AM, Christopher Smith wrote:
Anybody else out there with Mail can confirm? This only applies to your most recent message, not the first one.
This has been a problem for me with a number of people using AOL mail. I
to genuflect in her direction, mouth agape in
wonder.
You can also choose to set up percussion staves here (including a
percussion map...which Christopher Smith is a whiz at doing so maybe
you can pick his brain for this. :-)
Aww, shucks again! Actually, I am no whiz, I just waded through
On Mar 1, 2005, at 12:02 PM, Kurt Gnos wrote:
Hi Christopher,
At 16:44 01.03.2005, you wrote:
Karen is the all-knowing, all-seeing queen of MIDI files. She nailed
exactly what was going on, and then some. There is nothing I can add
to what she said, except to genuflect in her direction, mouth
On Mar 1, 2005, at 12:39 PM, d. collins wrote:
If MakeMusic would consider giving us backwards compatibility (at
least one version), no one would one have to run that kind of risk.
But, after reading the interviews on Jari's site, I realize the
chances of seeing this are more than slim. Too
On Feb 27, 2005, at 11:38 AM, Andrew Stiller wrote:
On Feb 26, 2005, at 4:38 PM, Christopher Smith wrote:
Greetings collected wisdom.
I know how to start a second ending with a tied note, but how do I
start a coda with a tied note? The note in question is both tied over
from the previous measure
On Mar 1, 2005, at 5:51 PM, shirling neueweise wrote:
the shape designer can hold at least 11488 shapes... in case you
wanted to know. i didn't particularly want to know, but just got a
new score to work on, containing hundreds upon hundreds of copies of
the same metatool-assigned
On Mar 2, 2005, at 3:48 AM, Jonathan Smith wrote:
This baffles me also. The 3 selection check boxes you get on 'copy and
filter' put smart shapes and score expressions into the same category,
therefore NOT allowing any real filtering. This destroys the whole
idea of having a filter in the first
On Mar 2, 2005, at 2:25 AM, [EMAIL PROTECTED] wrote:
Hi everyone---I'm printing a big band score using landscape format, 8 measures to a page. I found that the score prints the first 9 pages with about a 3 or 4 inch margin on the right side of the page, which means the 8 measures are slightly
My mother thanks you, my father thanks you, my clients thank you, and
me, well, that goes without saying...
No it doesn't.
THANK YOU!
We love you, and if you ever need your car washed, baby sitting, a hot
meal, a beer, you know where to go.
Christopher
On Mar 2, 2005, at 3:17 PM, Darcy James
On Mar 2, 2005, at 4:58 PM, A-NO-NE Music wrote:
Yes, under MacOS, the window position is supposed to be written to pref
file every time an app closes. Why Finale doesn't do that, is beyond
me :-(
I had a hard time with the new coloured buttons in OSX when I first
started. I couldn't figure
On Mar 2, 2005, at 4:26 PM, [EMAIL PROTECTED] wrote:
Greetings all,
mailing list newbie here. Glad to have found this.
The latest version of Finale I am familiar with is 2002, having refused to upgrade beyond that until they fixed some of the basic notational problems in Finale that always
It was Finale for all the Real Books after Vol 1. The font was a custom
font by the copyist, and they are guarding it jealously (I asked!)
If you compare the Vol 1 to say Vol 2, the quality of the hand copying
in Vol 1 is quite astonishing, IMHO. I don't think I have ever seen
anything quite
On Mar 2, 2005, at 10:35 PM, David W. Fenton wrote:
On 2 Mar 2005 at 20:18, Christopher Smith wrote:
disappearing measures,
I've never seen that. What is that? I have occasionally seen measures
APPEAR to vanish, but that is usually because I had a multi-measure
rest where I later entered notes
Hmm, it shows up fine for me, in all window sizes in Safari. When I
make the window very narrow, it moves off the right border, but I have
a scroll bar that appears so I can get to it.
Apparently Firefox (which operates very similarly to Safari) handles
web pages that Safari has problems with.
On Mar 2, 2005, at 9:01 PM, Darcy James Argue wrote:
Hi Chris,
Presumably the Zoom button in AppleWorks doesn't zoom to an 8.5x11
page if you have a different page size selected for the active
document? If not, that's a bug.
With Safari, the zoom button takes you to the minimum width specified
On Mar 3, 2005, at 8:38 AM, Darcy James Argue wrote:
Hi Chris,
There's a good example of my confusion. The window goes to the
minimum width, good. However, the height is about half of my screen,
with a scroll bar appearing on the right, even though I am able to
manually resize the window so
On Mar 3, 2005, at 9:17 AM, Robert Patterson wrote:
If you knew anything about the convoluted way Finale stores pitch
information, this would not only seem not an oddity but rather all too
predictable. I learned years ago always to use major key signatures,
because apparently they are the only
On Mar 3, 2005, at 10:16 AM, James Gilbert wrote:
On Thu, 3 Mar 2005, Christopher Smith wrote:
On the other hand, if you enter a modulation from Eb major to C minor,
the key signature stubbornly re-appears as if the number of flats has
just changed. Grr.
See
Document options-Key Signature
On Mar 3, 2005, at 10:27 AM, Simon Troup wrote:
Still, considering the work that goes into templates and libraries,
I'm suprised that submission of finale files isn't a hot topic. I'd be
very concerned that composers wouldn't gut the files and use them as
templates, then just call me in for the
On Mar 3, 2005, at 11:05 AM, Simon Troup wrote:
Actually, I don't care enough about the secrecy of my libraries even
if I have spent a lot of time on them, and I DO give them away to
anyone who asks, particularly colleagues and students. If they like
my settings and copy them, then the world just
On Mar 3, 2005, at 4:29 PM, Simon Troup wrote:
I was however _fascinated_ in the topic as some peoples relationships
with their clients were very far removed from my own experience -
Dennis and others have been talking about issues which simply haven't
arisen for me in ten years in the
On Mar 3, 2005, at 11:27 PM, shirling neueweise wrote:
3) how do i override the automatic selection of alternate notehead
fonts and percussion notation style with (single-line) percussion
instruments (eg. triangle)? somewhere someone has defined the
functioning of StaffType and i want access!
On Mar 4, 2005, at 5:32 AM, [EMAIL PROTECTED] wrote:
I've also written a blog entry on this topic (Finale vs. Sibelius) on
my
website, would be interested in your feedback:
Very nicely put, but for my money (all 0$ of it!) I would have liked
more detail than just hairpin openings, particularly
I just lost 20 minutes on a foolish problem.
I am writing accompaniments to choral arrangements this week, and I
tried to play back a file as a test for when the choir director is
coming over. I don't use play back very often, but this was a special
case. Everything was fine (or as fine as can
On Mar 4, 2005, at 1:02 PM, Harold Owen wrote:
Christopher Smith writes:
I just lost 20 minutes on a foolish problem.
I am writing accompaniments to choral arrangements this week, and I
tried to play back a file as a test for when the choir director is
coming over. I don't use play back very
On Mar 4, 2005, at 5:00 PM, Mark D Lew wrote:
On Mar 4, 2005, at 7:06 AM, Michael Cook wrote:
There are many such instances in Strauss's works: he apparently
explained to the players that if they imagined the note hard enough
and looked as if they were playing it, nobody would hear the
On Mar 5, 2005, at 1:47 PM, Darcy James Argue wrote:
On 05 Mar 2005, at 11:18 AM, Chuck Israels wrote:
And John Denver is alleged to have used a scordatura tuning for his
guitar, allowing him to play figurations that would have been
unplayable in normal guitar tuning.
Not so unusual for
On Mar 5, 2005, at 11:45 AM, Roger Julià Satorra wrote:
No, what I want is a Bb7 (9, +11, 13), it's easier to write C/Bb7, but not by
finale!
Roger
Darcy gave you good advice about getting what you want on paper. I would gently suggest that while
C
Bb7
might be easier for you, it might be
On Mar 5, 2005, at 1:48 PM, Ken Moore wrote:
In message [EMAIL PROTECTED] Andrew
Stiller
writes:
Scordatura is sometimes notated that way, and sometimes at the actual
pitch, the convention varying with time, place, and circumstance. Any
unorthodox tuning of a stringed instrument is scordatura
There are a few varieties of contrabass trombone that I know of.
One is pitched in BBb, has a double slide (four tubes instead of two),
a single F trigger, and is played with a mouthpiece close to the size
of a tuba mouthpiece (makes sense, as the tessitura is so similar. The
model I am
On Mar 7, 2005, at 3:28 PM, Joe Laird wrote:
Hi Folks,
All this talk about bass trombones has got me wondering why the bass
trombone is the only non-transposing brass instrument in the
traditional British brass band. As I understand it, the practice of
transposing all the instruments in a
On Mar 8, 2005, at 9:01 AM, JD wrote:
on 3/7/05 10:16 PM, Darcy James Argue at [EMAIL PROTECTED] wrote:
So -- any ideas (1) what is causing these duplicate hairpins to occur,
and (2) is there any reasonable way of getting rid of them? I'm not
about to go through an existing document and try
At 07:41 AM 3/9/05 -0500, Darcy James Argue wrote:
Just FYI -- in case you've never heard the original version, with the
Paul Whiteman band and Gershwin at the Piano, you can listen to it
here:
http://www.redhotjazz.com/Songs/Whiteman/rhapblua.ram
There is also a version recorded in 1927 using
On Mar 10, 2005, at 2:21 AM, d. collins wrote:
Noel Stoutenburg écrit:
I've found it necessary, on account of hard drive failure, to
reinstall 2k4 three times, and the biggest inconvenience I
experienced was having to wait until the Finale office opened later
in the morning, to call and request
On Mar 10, 2005, at 3:55 AM, [EMAIL PROTECTED] wrote:
Someone wrote:
That's an easy one -- Rhapsody in Blue isn't jazz.
I recently heard a discussion on this very subject - whether R in B
was jazz
or not. Several wildly different recordings were called upon as
witnesses.
The conclusion was
On Mar 10, 2005, at 7:04 AM, dhbailey wrote:
Darcy James Argue wrote:
On 09 Mar 2005, at 5:30 PM, Mark D Lew wrote:
But I pretty much hate opera, so I'd best disqualify myself from
*that* discussion.
Well, if you must know, I pretty much hate jazz.
You know, it strikes me that both Mark's
On Mar 10, 2005, at 9:29 AM, d. collins wrote:
Christopher Smith écrit:
Well, strictly speaking, you can install 2004 and use it for 30 days
before it refuses to run. That should give you enough time to call
up, edit, and print any of your files.
I don't know how closely you've been following
On Mar 10, 2005, at 10:00 AM, Darcy James Argue wrote:
Just to clarify, I don't hate opera the way I hate, say, Celine Dion
or Kenny G or Andrew Lloyd Webber or American Idol. I hope that was
clear. It would be more accurate to say that opera leaves me cold --
with a handful of exceptions, I
On Mar 11, 2005, at 3:46 AM, Michael Cook wrote:
At 12:20 -0800 10/03/2005, Mark D Lew wrote:
It has been my observation that Wozzeck is most highly praised by
people who are very into orchestral music but have little interest in
opera. That is, the sort of people who like Wozzeck usually don't
Yes, apparently the underscore (along with the space and hyphen) is a reserved character telling Finale to move to the next syllable. You would have to find a similar character, mapped to a different keystroke in the font, to force the underscore to appear by itself. I don't know what font you are
In a message dated 3/12/2005 10:34:48 AM Central Standard Time,
[EMAIL PROTECTED] writes:
Yes, apparently the underscore (along with the space and hyphen) is a
reserved character telling Finale to move to the next syllable. You
would have to find a similar character, mapped to a different
On Mar 12, 2005, at 1:57 PM, d. collins wrote:
Mark D Lew écrit:
If so, this must be something new. There's never been any problem
with the underscore character up through Fin 2k2. Perhaps it has to
do with the new smart word extensions?
Has anyone confirmed whether it's a problem with the
On Mar 13, 2005, at 3:51 PM, Jim and Pat Sodke wrote:
Christopher
Thank you so much. Any help on changing the midi playback instrument
at these points?
Jim
I just need to quote David Bailey's original reply. I'm not sure how
easy it is to do this in 2004, but it is dead easy in 2005, under
On Mar 13, 2005, at 4:29 PM, Owain Sutton wrote:
Apologies - your reply might have been one that arrived in my inbox
the afternoon I screwed up my system so badly I had to reinstall.
And I'm now scratching my head as to how I'd missed this before - the
option that's not on by default isn't for
On Mar 13, 2005, at 4:49 PM, Carlberg Jones wrote:
P.S. In order to avoid spills on computer equipment, may I suggest
altering
your work technique? Mount the equipment upside down on swivel posts
near a
comfortable bed.
Carlberg Jones
Very nice! However, that would still not eliminate the most
And I've never used Exposé, and I've had the bug, both with minimised
and not-minimised files, even before minimising existed.
Christopher
On Mar 14, 2005, at 7:10 AM, Darcy James Argue wrote:
Hi Jari,
Thanks for passing this on, but I'm afraid this person doesn't know
what he's talking about.
On Mar 15, 2005, at 9:34 AM, Leigh Daniels wrote:
Hi All,
I'm working on a string arrangement using FinMac2004 with MIDI playback
to my K2600R.
Is there a way for me to get Finale to tell the K2600R to play four
slurred 8th notes legato instead of articulating each note? Interpret
Slurs is checked
This is a real hard way to do it. Here's an easier way.
There is a staff style called Slash Notation. In the Staff tool, select the passage, hit S (for Slash). All of layer 1 is turned into slashes. If you hit R (for RHythmic) every thing turns into stemmed slashes.
As you noticed, you need
Go ahead and send me the file privately. I'll see what's wrong.
Christopher
On Mar 15, 2005, at 1:24 PM, George Ports wrote:
Changed to Slash Notation with no problem. Lost the Chords and Chord diagrams when I did it.
Tried to edit the Staff Style and couldn't figure out just how to do it.
On Mar 16, 2005, at 7:59 AM, [EMAIL PROTECTED] wrote:
I'm working with the demo version of F2005, which does not include any
documentation or online help (stupidly, if I may say so). If I want to
delete the contents of e.g. layer 4 in a given part, In Finale 2002
I'm used
to being able to select
On Mar 16, 2005, at 10:03 PM, Keith Helgesen wrote:
Amazing what you learn when reading threads for interest only!
I never knew about Alt-v-a- Wonderful! I really will find that useful-
Sure beats pulling down the menu!
How does one locate all these shortcuts, macros etc? (Still on Fin2001
BTW)
On Mar 17, 2005, at 7:14 AM, Carlberg Jones wrote:
At 7:07 AM -0500 3/17/05, Christopher Smith wrote:
Say, there isn't a Mac version of this shortcut, is there? Mackers,
anyone?
Don't know about that one in particular, but when I go to Mac help and
search for keyboard shortcuts I get a wealth
On Mar 17, 2005, at 3:54 PM, Eric Dussault wrote:
We normally count the measure from the first complete measure in a
piece or section. I think I remember reading something about a rule
that makes the pick-up measure by part of the measure count when it
has a certain length (like more than half
On Mar 18, 2005, at 5:20 AM, dhbailey wrote:
Christopher Smith wrote:
On Mar 17, 2005, at 3:54 PM, Eric Dussault wrote:
We normally count the measure from the first complete measure in a
piece or section. I think I remember reading something about a rule
that makes the pick-up measure by part
On Mar 18, 2005, at 10:18 AM, John Howell wrote:
At 7:53 AM -0500 3/18/05, Eric Dussault wrote:
Thanks everyone for your opinions. It fortunately confirms the
practice I always did.
There is one situation where I don't know for sure what to do :
considering that the duration of the anacrusis is
On Mar 18, 2005, at 12:50 PM, David W. Fenton wrote:
On 18 Mar 2005 at 7:58, Christopher Smith wrote:
I'm thinking of one piece in particular of mine that I started with a
7 eighth-note pickup, but then amended later to be 9 eighth-notes,
which of course took up one measure and an eighth note
On Mar 17, 2005, at 11:00 PM, John Bell wrote:
I know that the Jazz font is quite popular with writers and players
who are accustomed to handwritten music. Personally I have always
regarded it as rather silly, if you're using a computer, to pretend
that you're not. But I do recognize that some
On Mar 18, 2005, at 5:09 PM, Andrew Stiller wrote:
On Mar 18, 2005, at 12:24 AM, A-NO-NE Music wrote:
The first measure is the beginning of the harmonic
rhythm, and should be dictated by the composer's intention.
This is by no means necessarily the case. Partial measures are not
numbered
On Mar 18, 2005, at 10:44 PM, Darcy James Argue wrote:
Hiro,
I don't know how many times I have to say this.
Measure numbers have NOTHING TO DO with the form.
You keep confusing two completely unrelated issues.
In a 32-bar AABA tune with a two-bar intro, you delineate the form
with double bars
On Mar 18, 2005, at 5:22 PM, David W. Fenton wrote:
On 18 Mar 2005 at 14:08, Christopher Smith wrote:
For that matter, in the example I cited above (BEFORE the revision) I
had a pickup measure with 7 eighths in it. I didn't bother making it a
7/8 bar, as that seemed needlessly fussy and would most
Rob,
Justification is not one of the features that staff expressions have,
at least, not in the present version of Finale. Yes, I bemoaned that
fact, too, and sent off a request to Finale to include justification
next time, as that is the last thing you can do in Text expressions
that you
On Mar 19, 2005, at 7:28 AM, john harding wrote:
I'm no Finalist, but I did once save a Sibelius score as MIDI and then
open it in Finale. I wanted to see if it would (unlike Sibelius)
notate
multiple Scotch Snaps correctly, which it did. The formatting seemed
to
have flown out the window, and
On Mar 19, 2005, at 8:26 AM, Darcy James Argue wrote:
On 19 Mar 2005, at 12:10 AM, Christopher Smith wrote:
I was ready to capitulate on the numbering-all-complete-measures
issue, but this went over the edge. You can say
Measure numbers have NOTHING TO DO with the form.
all you like
On Mar 19, 2005, at 3:30 PM, John Roberts wrote:
I was hoping to make a small library of articulations (simple guitar
fingerings) to send to a friend still using Finale 97. A quick
experiment
seems to indicate that to do even this little thing I would need to
create
the library in Fin 97 or
On Mar 19, 2005, at 12:45 PM, Darcy James Argue wrote:
On 19 Mar 2005, at 12:19 PM, Christopher Smith wrote:
Your point about the New Real Book not having measure numbers
illustrates my point even better than it does yours.
How, exactly? My point is that proper layout and use of rehearsal
On Mar 19, 2005, at 7:24 PM, Darcy James Argue wrote:
Written measure numbers are not usually found on lead sheets anyway.
We started this discussion talking about arrangements, and somehow we
segued into lead sheets -- two very different situations.
OK, I thought we WERE talking about lead
On Mar 20, 2005, at 5:34 PM, Keith Helgesen wrote:
x-tad-bigger/x-tad-bigger
x-tad-biggerIs it possible, in Win Fin 2001 to put a Small note cue melody line above a drum part which is largely staff style measure or double measure repeats./x-tad-bigger
x-tad-bigger/x-tad-bigger
x-tad-biggerI
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