Re: [Finale] I can’t remember how to insert a space in lyrics!

[Doug Walter]

I think it’s Option-Space on Mac (assuming you mean adding a space within one 
word or syllable).

Doug

> On Sep 12, 2019, at 9:16 AM, Dennis Bathory-Kitsz  
> wrote:
> 
> On 2019-09-12 12:14, Raymond Horton wrote:
>> And the documentation is no help. Frustrating!
> 
> On Windows, a hard space (ALT+0160) should do it. Don't know hard space on 
> Mac.
> 
> Dennis
> 
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Re: [Finale] OT: pop orchestration

[Doug Walter]

You’ll probably get a lot of good answers; here are a few great examples I can 
vouch for from personal experience:

Don Sebesky - “The Contemporary Arranger”

Rayburn Wright - “Inside the Score: A Detailed Analysis of 8 Classic Jazz 
Ensemble Charts by Sammy Nestico, Thad Jones, and Bob Brookmeyer”

Sammy Nestico - “The Complete Arranger”

In case “our” Chuck Israels doesn’t plug his own excellent book, I will - 
“Exploring Jazz Arranging: An Interactive Guide to the Techniques and 
Aesthetics”

There are of course many more, but these are all comprehensive and outstanding.

Doug

> On Jun 2, 2019, at 10:49 AM, Greg Scheer  wrote:
> 
> I turn to this list often for Finale therapy; this time I’d like to pick your 
> brains about the music itself.
> 
> I’m on a lifelong quest to become a better orchestrator. For classical 
> orchestration the path is fairly clear, with a host of orchestration books 
> and scores/recordings available for study. In the world of pop, jazz, and 
> rock orchestration the path is less traveled. There are many examples—The 
> Beatles, Chet Baker & Strings, Sufjan Stevens, etc—but to my knowledge no 
> source for score study and only a handful of jazz/pop orchestration treatises.
> 
> I know many of you are fine orchestrators in a variety of idioms or engrave 
> music for exceptional arrangers. I would love any leads you can provide: 
> stellar examples of orchestrated pop/jazz/rock, sources for scores, books 
> you’ve found valuable, websites of particular arrangers, or general pearls of 
> wisdom.
> 
> If you’re interested in hearing some of what I’ve composed, take a listen to 
> the St. Sinner Orchestra, which is a hybrid of band and string orchestra: 
> https://stsinnerorchestra.bandcamp.com/releases 
> 
> 
> Thanks so much for entertaining my rabbit trail!
> 
> Peace,
> 
> Greg
> 
> =
> What is it you plan to do with your one wild and precious life? —Mary Oliver
> -
> Greg Scheer
> g...@gregscheer.com
> 
> 
> 
> 
> 
> 
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[Finale] Multi-part staves in large scores (Fin 25)

[Doug Walter]

I know the topic of trying to use voiced parts (all but useless to me as it 
stands) has been covered and I’ve tried all the workarounds at various times 
and know the issues, so I’m not asking about that. The TGTools plug-in “Smart 
Explosion of multi-part staves…” often yields better results, but it’s still 
not the close-to-100% solution I’m looking for. I’ve also had some success with 
the JW Staff Polyphony plug-in. To be clear, this is not just to make the score 
look good; I want to retain the convenience of linked parts so I don’t have to 
go back to extracting individual parts, etc.

So after years of trying every method I can think of, I thought I’d approach it 
from the other direction this time in an orchestral score I’m working on. This 
time I set the score up with each woodwind and brass instrument on its own 
line, which of course would necessitate the use of a microscope to read the 
score even on 11 x 17 paper at the reduction necessary to fit all the staves on 
each page. But my hope is that by using the JW Staff Polyphony plug-in to 
combine 2 staves into 1 where possible (Flute 1/2, Clarinet 1/2, etc.) and then 
hiding the staves with individual parts in the score, it might be less tedious. 
It seems to be promising, but I still end up with double sets of expressions - 
dynamics, for instance.

I can make all this work one way or another and have many times, but I’m 
writing in case there is a plug-in I haven’t yet explored out there, or in case 
someone knows a way to set the ones I’m using to yield results that don’t 
require as much “clean-up” afterwards. BTW, the “old way” - creating 2-part 
staves and exploding them later - has been tried both with and without using 
separate layers, and I’ve discovered some of those pitfalls as well.

Thanks for any approaches I may not have thought of,

Doug


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Re: [Finale] Dorico 2

[Doug Walter]

I’m not anywhere near switching, but I’ve been following Dorico’s development 
with more than a little interest. Such informative posts like this one are 
quite useful and much appreciated - thanks for such a detailed, 
well-thought-out, well-stated comparison and review.

Doug

> On May 31, 2018, at 11:18 AM, dfr...@smcm.edu wrote:
> 
> I bought Dorico when it came out, and have been learning it, on and off. 
> Generally, I’ve stopped when I encounter a problem, confirm with John Barron 
> or Daniel Spreadbury that my problem is something not yet addressed. Then, 
> when an update comes out (there have been 3 or 4 free updates — this one was 
> paid), I take it up again. Rinse and repeat.
> 
> There is nothing Dorico does that Finale can’t do. I began with Finale at 
> 1.0, so I know its DNA, and can usually guess what to do to solve whatever 
> needs solving. That said, there are some remarkable things about Dorico, and 
> it may indeed by my go-to program. But not yet.
> 
> The font is beautiful. The default notation and layout choices — all of which 
> can be overridden — are almost all really smart ones. So, generally speaking, 
> out of the box, things look great. The program is stable and launches 
> quickly. You get only one computer-based license, and if you want to move 
> from computer to computer regularly, you need to put the license on a dongle. 
> You don’t need a dongle if you can use it on only one computer.
> 
> Things that are faster in Dorico:
> 
> The new divisi, which is quite good. The same method can handle ossias. Also 
> pianos adding and dropping staves. Quick to implement, easy to use, easy to 
> edit.
> 
> Pedalling (piano and vibes) of any style is amazingly easy to use.
> 
> Note spacing algorithms are quite good. I find only a very few things I need 
> to fix.
> 
> General layout control — what goes where on what page — is a bit hard to 
> learn, but once you have it, the control you have is astonishing. 
> 
> Cross-measure beaming is a snap. This (and other things) arise from Dorico 
> not thinking in terms of measures, but flows of notes. It knows the rules — 
> but you can change or insert meter changes at any time — or work without 
> meter — and Dorico rebeams properly. And, of course, things can be overridden.
> 
> Keyboard shortcuts are customizable — all of them. So I changed them to match 
> my Finale habits, and had to learn very few (to match the Dorico conception 
> for things like tuplets, dynamics, and a few other things). I find I was 
> able, after doing a short piece or two, to get my speed up to my Finale speed.
> 
> Every user wants different things. For me, the last two deal-breakers are:
> 
> You can’t have two (or more) instruments on a single staff and then break 
> them out into separate parts in the parts layout. I’m shocked that this is 
> still so, given that they clearly want to sell to people doing large ensemble 
> composing/arranging. I HAVE to assume this will be fixed soon, but it 
> seriously isn’t there — and there is no easy workaround (other than separate 
> files). 
> 
> Playback doesn’t read trills nor string harmonics (tremolos are fine). I am 
> led to believe that NotePerformer is as good as Garritan? I don’t know this 
> first hand, but that’s what people say (actually, they say it is better). 
> That’s now being integrated (though a separate purchase), so, generally 
> speaking, playback should be good. They provide a way to use Garritan, but it 
> is not simple to do, and I’ve not figured out how to get Garritan to work as 
> well as is does with Finale. Dorico people acknowledge that the problems with 
> all of this are on their end.
> 
> I paid for the first version because I want to support their efforts and 
> continuing development. I believe Steinberg was forcing them to release this 
> to prove they were going to start to recoup their investment. I bought the 
> upgrade because I want to continue supporting them, and every release so far 
> has been a big step forward. They are getting close.
> 
> The other reason I paid up is that I got a great deal — academic cross-grade 
> — on the initial purchase. On the upgrade, they had shown that they have 
> committed themselves to fix things continuously, acknowledge the 
> shortcomings, and release multiple, substantial improvements for free for a 
> good long time (about a year?). They also have fabulous communication — 
> especially Daniel Spreadbury and John Barron, both of whom are looped 
> completely into the development of the program, both of whom are completely 
> honest (and humble), and both of whom seem to respond within minutes to 
> queries that come in 24/7.
> 
> My two cents,
> David Froom 
> 
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Re: [Finale] What is the Finale strategy?

[Doug Walter]

I don’t have any insights as to what their plans might be, although given the 
decades of work that I’ve done with the program, I certainly hope they keep it 
alive.

Mostly I’m responding here to second (LOUDLY) the desire for vastly improved 
layout capabilities. It’s only thanks to the wonderful JW and TGTools plug-ins, 
among others (JW Copy Part Layout is a huge time-saver), that I can even stand 
the whole layout and collision-avoidance process at all. But formatting scores 
to avoid collisions is still a huge time commitment and especially annoying 
when dealing with large orchestra scores as I am currently. While I’m not 
always happy with how Sibelius's (I own it but don’t use it very often) 
Magnetic Layout places things, I have to applaud them for including such a 
function in the first place. And it seems that it does far more good than harm. 
As opposed to, say, Finale’s Vertical Collision Remover, which results in such 
grossly exaggerated spaces (at least in large scores) that it’s all but 
unusable for me.

All that said, I’m always happy to be pointed to a technique or a tool I might 
have missed that solves problems like these and others.

Doug


> On Apr 18, 2018, at 3:22 PM, Craig Parmerlee  wrote:
> 
> The current owners took over the company in 2014.  They delivered 
> version 25, which provided 64-bit support and a few other odds and ends 
> -- while dropping some rather significant functionality.  I did find 
> Version 25 to be a little more stable, so I have lived with the feature 
> deprecation.  Since that time, there have been a couple of small patches 
> -- literally a few dozen bug fixes in 3 years and minimal new capability.
> 
> In the same time frame, Avid dismissed the Sibelius development team and 
> moved to development to Russia.  They went several years with minimal 
> product improvement, so Finale and Sibelius both seemed both to be on 
> the same dead end track.
> 
> Meanwhile MuseScore continued to evolve rapidly. And Presonus made an 
> investment in Notion. The big move was Steinberg/Yamaha hiring the 
> Sibelius team to develop Dorico.  During most of the past 4 years, that 
> was a "skunk works" or a very immature early product release for 
> enthusiasts.
> 
> But now that we are well into 2018, the notation world has changed 
> significantly. It appears to me that Finale is still on a dead end, and 
> the company is making no effort to communicate any significant plans.  
> The most revealing thing I could find was this from January:
> 
> https://www.scoringnotes.com/news/namm-2018-makemusic-smartmusic-finale/
> 
> To summarize that article, it sounds like most efforts are in 
> SmartMusic, with practically nothing happening with Finale.  It is 
> revealing that they are saying they are not planning anything in 2018 
> that would be significant enough to charge an upgrade price for.
> 
> Dorico recently delivered version 1.2, which brings it fairly close to 
> what one could consider a full-function, commercial-grade product.  It 
> is still lacking in a few areas, such as playback, but is a very viable 
> product in its own right.  And it appears they will launch a major 
> upgrade with Version 2 in the next few months.
> 
> In the past 12 months, Avid has been very active with Sibelius 
> development, putting out a series of updates, including the most recent 
> 8.4 last week.  These releases track with Dorico in making the layout 
> much more flexible and the spacing much more automatic.  Meanwhile, it 
> has been roughly a decade since we saw the last real improvement in 
> automatic layout in Finale.  I increasingly see Finale as a huge 
> time-waster.  It has become typical for 20% of my time on a project to 
> be consumed in final edits that are now mostly automatic within Dorico 
> and Sibelius.
> 
> If you can pardon my rant, my real question is if anybody sees any 
> reason to be optimistic that Finale is going to be anything more than a 
> dead end.
> 
> 
> ---
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Re: [Finale] Measure width before or after multimeasure rest

[Doug Walter]

Thank you, Chuck (and Jan)! I’ve got all the JW plug-ins and should have looked 
beyond the ones I use all the time.

Doug

> On Mar 23, 2018, at 10:35 AM, Chuck Israels <cisra...@comcast.net> wrote:
> 
> Hi Doug,
> 
> Jari Williamson - Space Empty Rests plugin. This solves most similar 
> problems, but I still find the occasional need to use measure handles to 
> reduce the size of one measure at the end of a line that contains something 
> like a 7 measure rest preceding it. You must update the layout after 
> adjusting the measure width. There are other ways to accomplish measure 
> proportions — adding or subtracting width using the Measure Attributes tool 
> is sometimes effective. Again, Update Layout must be invoked after any 
> adjustments.
> 
> In classical music mm rests are not proportional to their length, but I am 
> used to some visual signal that gives an idea of relative length, and I find 
> Jari’s plugin indispensable. It makes things look the way I like to see them.
> 
> Chuck
> 
>> On Mar 23, 2018, at 10:20 AM, Doug Walter <dewalt3...@me.com> wrote:
>> 
>> Has anyone found any sort of global solution to the annoying habit of Finale 
>> to make a single measure on a line that also includes a multimeasure rest 
>> WAY too wide?
>> 
>> Simplest example: first bar on the line (4/4) has, say, a quarter note on 
>> the downbeat followed by rests, then the next bar is a multimeasure rest of, 
>> say, 3 bars, although the number doesn’t seem to matter. Could be 2 or 20. 
>> Finale makes the bar with the note in it take up fully HALF the width of the 
>> line. I can grab the handle in the measure tool and drag the right barline 
>> to the left, but when I respace music (even with Incorporate Manual 
>> Positioning selected), it reverts to being too wide, although not *quite* as 
>> wide as it was.
>> 
>> And of course if I specify a fixed measure width for that bar, it affects 
>> every part and the score, which isn’t what I want.
>> 
>> I spoke with tech support years ago about this and they had no solution, but 
>> I’m hoping there’s a trick or workaround - or plug-in - that might address 
>> this now.
>> 
>> Thanks,
>> 
>> Doug
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> Chuck Israels
> cisra...@comcast.net
> (360) 201-3434
> 
> 8831 SE 12th Ave.
> Portland OR 97202
> 
> 
> 
> 
> 
> 
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[Finale] Measure width before or after multimeasure rest

[Doug Walter]

Has anyone found any sort of global solution to the annoying habit of Finale to 
make a single measure on a line that also includes a multimeasure rest WAY too 
wide?

Simplest example: first bar on the line (4/4) has, say, a quarter note on the 
downbeat followed by rests, then the next bar is a multimeasure rest of, say, 3 
bars, although the number doesn’t seem to matter. Could be 2 or 20. Finale 
makes the bar with the note in it take up fully HALF the width of the line. I 
can grab the handle in the measure tool and drag the right barline to the left, 
but when I respace music (even with Incorporate Manual Positioning selected), 
it reverts to being too wide, although not *quite* as wide as it was.

And of course if I specify a fixed measure width for that bar, it affects every 
part and the score, which isn’t what I want.

I spoke with tech support years ago about this and they had no solution, but 
I’m hoping there’s a trick or workaround - or plug-in - that might address this 
now.

Thanks,

Doug
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Re: [Finale] Bill Duncan Rehearsal fonts

[Doug Walter]

Exactly. That’s what Christopher suggested and it worked like a charm.

> On Mar 8, 2018, at 10:06 PM, Chuck Israels <cisra...@comcast.net> wrote:
> 
> You get that by putting a right facing rectangular bracket at the beginning 
> of the string of letters and a left one at the end. Then each letter acquires 
> both brackets. Hope I’m remembering this right. Don’t have Finale with me. 
> 
> Sent from my iPhone
> 
>> On Mar 8, 2018, at 9:20 PM, Doug Walter <dewalt3...@me.com> wrote:
>> 
>> Thanks, Chuck, but Christopher already had the solution. I had tried what 
>> you suggested, but it wasn’t “building” the enclosure without the leading 
>> “[“ and trailing “]” (left and right bracket) characters that I was able to 
>> insert in the letter sequence box.
>> 
>> Thank you both!
>> 
>> Doug
>> 
>>> On Mar 8, 2018, at 9:17 PM, Chuck Israels <cisra...@comcast.net> wrote:
>>> 
>>> Doug,
>>> 
>>> I’m recording in California this week, but when I get home, I can help you 
>>> with this. I think all you have to do is set up the sequencing letters and 
>>> choose the rehearsal font. 
>>> 
>>> Sent from my iPhone
>>> 
>>>> On Mar 8, 2018, at 6:28 PM, Doug Walter <dewalt3...@me.com> wrote:
>>>> 
>>>> I know there’s still a handful of folks here using Bill Duncan’s fonts in 
>>>> various combinations, perhaps most notably the chord symbol one(s). I 
>>>> still haven’t found or managed to create any chord symbol font that I like 
>>>> better than his and continue to use it in Finale files that I know I won’t 
>>>> have to “share” with someone else who may not have it/them installed. (And 
>>>> I keep hoping, probably in vain, that MakeMusic might someday purchase 
>>>> them to be included with the program as they did long ago with the Jazz 
>>>> Font.)
>>>> 
>>>> Lately I’ve been trying to branch out a bit and use a few more of his 
>>>> fonts, in this case the one called Rehearsal. Has anyone found a way to 
>>>> use those in Finale’s convenient Rehearsal Marks: Auto-Sequencing 
>>>> Rehearsal Letters with rectangular enclosures setup? Since Bill’s font 
>>>> requires at least 3 keystrokes (for a single letter) to create the 
>>>> enclosure with the “shadow” effect, I’ve had to create a separate entry 
>>>> for each letter of the alphabet to then assign as needed as rehearsal 
>>>> letters.
>>>> 
>>>> Not a huge deal, and of course you can create the library once and save 
>>>> it, but you end up losing the auto-sequencing feature which reletters the 
>>>> entire section following a letter or letters that you delete. Using Bill’s 
>>>> font you’d need to delete all the subsequent rehearsal letters after 
>>>> removing one and then reassign them, as we used to have to do in old 
>>>> versions of Finale.
>>>> 
>>>> I’ve got one or two more Bill Duncan-related questions but will start a 
>>>> separate thread as necessary to avoid confusion.
>>>> 
>>>> Thanks for any help,
>>>> 
>>>> Doug
>>>> 
>>>> 
>>>> 
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Re: [Finale] Bill Duncan Rehearsal fonts

[Doug Walter]

Thanks, Chuck, but Christopher already had the solution. I had tried what you 
suggested, but it wasn’t “building” the enclosure without the leading “[“ and 
trailing “]” (left and right bracket) characters that I was able to insert in 
the letter sequence box.

Thank you both!

Doug

> On Mar 8, 2018, at 9:17 PM, Chuck Israels <cisra...@comcast.net> wrote:
> 
> Doug,
> 
> I’m recording in California this week, but when I get home, I can help you 
> with this. I think all you have to do is set up the sequencing letters and 
> choose the rehearsal font. 
> 
> Sent from my iPhone
> 
>> On Mar 8, 2018, at 6:28 PM, Doug Walter <dewalt3...@me.com> wrote:
>> 
>> I know there’s still a handful of folks here using Bill Duncan’s fonts in 
>> various combinations, perhaps most notably the chord symbol one(s). I still 
>> haven’t found or managed to create any chord symbol font that I like better 
>> than his and continue to use it in Finale files that I know I won’t have to 
>> “share” with someone else who may not have it/them installed. (And I keep 
>> hoping, probably in vain, that MakeMusic might someday purchase them to be 
>> included with the program as they did long ago with the Jazz Font.)
>> 
>> Lately I’ve been trying to branch out a bit and use a few more of his fonts, 
>> in this case the one called Rehearsal. Has anyone found a way to use those 
>> in Finale’s convenient Rehearsal Marks: Auto-Sequencing Rehearsal Letters 
>> with rectangular enclosures setup? Since Bill’s font requires at least 3 
>> keystrokes (for a single letter) to create the enclosure with the “shadow” 
>> effect, I’ve had to create a separate entry for each letter of the alphabet 
>> to then assign as needed as rehearsal letters.
>> 
>> Not a huge deal, and of course you can create the library once and save it, 
>> but you end up losing the auto-sequencing feature which reletters the entire 
>> section following a letter or letters that you delete. Using Bill’s font 
>> you’d need to delete all the subsequent rehearsal letters after removing one 
>> and then reassign them, as we used to have to do in old versions of Finale.
>> 
>> I’ve got one or two more Bill Duncan-related questions but will start a 
>> separate thread as necessary to avoid confusion.
>> 
>> Thanks for any help,
>> 
>> Doug
>> 
>> 
>> 
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Re: [Finale] Bill Duncan Rehearsal fonts

[Doug Walter]

Hi Christopher,

You’re a genius! It never occurred to me that you could add leading or trailing 
characters in that box, but, sure enough, it works. I had thought that to 
accomplish this you’d need to be able to do something along those lines (as 
with measure numbers) but didn’t realize it was possible with the 
auto-sequencing letters/numbers. Thank you!

Doug

> On Mar 8, 2018, at 7:13 PM, Christopher Smith 
> <christopher.sm...@videotron.ca> wrote:
> 
> Hi Doug,
> 
> I don’t use the Duncan Rehearsal font for letters, but if you only need two 
> characters for the enclosure, there is a way (and possibly a way even if you 
> need more!)
> 
> Take one of the pre-made repeating rehearsal marks, make the font Rehearsal. 
> Then OUTSIDE the gray box, add the leading enclosure character BEFORE the 
> gray box, then the trailing enclosure character AFTER the gray box. It will 
> not sequence like the letters inside the box, so they will stay the same.
> 
> Try this out. If you need more specific instructions, write back.
> 
> Christopher
> 
> 
>> On Thu Mar 8, at ThursdayMar 8 9:28 PM, Doug Walter <dewalt3...@me.com> 
>> wrote:
>> 
>> I know there’s still a handful of folks here using Bill Duncan’s fonts in 
>> various combinations, perhaps most notably the chord symbol one(s). I still 
>> haven’t found or managed to create any chord symbol font that I like better 
>> than his and continue to use it in Finale files that I know I won’t have to 
>> “share” with someone else who may not have it/them installed. (And I keep 
>> hoping, probably in vain, that MakeMusic might someday purchase them to be 
>> included with the program as they did long ago with the Jazz Font.)
>> 
>> Lately I’ve been trying to branch out a bit and use a few more of his fonts, 
>> in this case the one called Rehearsal. Has anyone found a way to use those 
>> in Finale’s convenient Rehearsal Marks: Auto-Sequencing Rehearsal Letters 
>> with rectangular enclosures setup? Since Bill’s font requires at least 3 
>> keystrokes (for a single letter) to create the enclosure with the “shadow” 
>> effect, I’ve had to create a separate entry for each letter of the alphabet 
>> to then assign as needed as rehearsal letters.
>> 
>> Not a huge deal, and of course you can create the library once and save it, 
>> but you end up losing the auto-sequencing feature which reletters the entire 
>> section following a letter or letters that you delete. Using Bill’s font 
>> you’d need to delete all the subsequent rehearsal letters after removing one 
>> and then reassign them, as we used to have to do in old versions of Finale.
>> 
>> I’ve got one or two more Bill Duncan-related questions but will start a 
>> separate thread as necessary to avoid confusion.
>> 
>> Thanks for any help,
>> 
>> Doug
>> 
>> 
>> 
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[Finale] Bill Duncan Rehearsal fonts

[Doug Walter]

I know there’s still a handful of folks here using Bill Duncan’s fonts in 
various combinations, perhaps most notably the chord symbol one(s). I still 
haven’t found or managed to create any chord symbol font that I like better 
than his and continue to use it in Finale files that I know I won’t have to 
“share” with someone else who may not have it/them installed. (And I keep 
hoping, probably in vain, that MakeMusic might someday purchase them to be 
included with the program as they did long ago with the Jazz Font.)

Lately I’ve been trying to branch out a bit and use a few more of his fonts, in 
this case the one called Rehearsal. Has anyone found a way to use those in 
Finale’s convenient Rehearsal Marks: Auto-Sequencing Rehearsal Letters with 
rectangular enclosures setup? Since Bill’s font requires at least 3 keystrokes 
(for a single letter) to create the enclosure with the “shadow” effect, I’ve 
had to create a separate entry for each letter of the alphabet to then assign 
as needed as rehearsal letters.

Not a huge deal, and of course you can create the library once and save it, but 
you end up losing the auto-sequencing feature which reletters the entire 
section following a letter or letters that you delete. Using Bill’s font you’d 
need to delete all the subsequent rehearsal letters after removing one and then 
reassign them, as we used to have to do in old versions of Finale.

I’ve got one or two more Bill Duncan-related questions but will start a 
separate thread as necessary to avoid confusion.

Thanks for any help,

Doug



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Re: [Finale] Notation Question/Clarification

[Doug Walter]

My guess would be that the first note in the RH is supposed to precede the 
first note in the LH, with the last note in the RH being played at the very 
end, totaling 8 separate notes. I think it's just notated a bit sloppily.

Doug

> On Jun 23, 2017, at 8:06 PM, Blake Richardson  wrote:
> 
> I can't figure out what's going on with this piano line from John Williams' 
> score to DRACULA.
> 
> It looks like it's supposed to be some sort of octuplet, but there's only six 
> notes on the bottom and the top notes look like they're played in unison with 
> the first and last notes on the bottom.
> 
> Anyone have any ideas?
> 
> https://www.dropbox.com/s/ujmnomjnr2dbpyp/Dracula.jpg?dl=0
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Re: [Finale] (Not) reducing text expressions

[Doug Walter]

Good point - thanks. I even bought Keyboard Maestro a while back and haven’t 
managed to spend the time to get into it and program some of the macros I used 
to use all the time in QuicKeys. This is a perfect situation for a macro 
program.

Doug

> On Sep 21, 2016, at 10:33 AM, j...@thomastudios.com wrote:
> 
> This is another one of those really tedious workflows in Finale.  I get 
> around this by using a macro program called Keyboard Maestro.  It basically 
> solves the issue and only takes moment to program.  I’ve even taken this 
> approach when doing a specific editing routine for a client, even if it meant 
> just for that session.  It saves a bundle of time if you’re repeating this 
> over and over and I just delete the macro when I’m done.
> 
> Something to mull over, perhaps?
> 
> 
> ***
> J D Thomas
> ThomaStudios
> 
> 
> 
>> On Sep 21, 2016, at 10:29 AM, Doug Walter <dew...@earthlink.net> wrote:
>> 
>> I’ve always meant to ask this and it came up again . . .
>> 
>> When I add a text expression to reduced-size notes - cue notes, e.g. - if I 
>> don’t want the text reduced by the same percentage as the note heads, I have 
>> to Control-click the handle, select Edit Expression Assignment, then UNcheck 
>> the box in the next dialog that says “Scale Expression with Attached Note.” 
>> I’d just like to save all those keystrokes by making that (the unchecked 
>> box) the default state and I’ve never found a way to do it.
>> 
>> I know I could make each expression so it has a fixed font size, but I don’t 
>> want that either, because I may need to reduce the page or staff size and 
>> then the expression is way too big.
>> 
>> Thanks for any insights.
>> 
>> Doug
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[Finale] (Not) reducing text expressions

[Doug Walter]

I’ve always meant to ask this and it came up again . . .

When I add a text expression to reduced-size notes - cue notes, e.g. - if I 
don’t want the text reduced by the same percentage as the note heads, I have to 
Control-click the handle, select Edit Expression Assignment, then UNcheck the 
box in the next dialog that says “Scale Expression with Attached Note.” I’d 
just like to save all those keystrokes by making that (the unchecked box) the 
default state and I’ve never found a way to do it.

I know I could make each expression so it has a fixed font size, but I don’t 
want that either, because I may need to reduce the page or staff size and then 
the expression is way too big.

Thanks for any insights.

Doug
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Re: [Finale] Bill Duncan fonts and Mavericks

[Doug Walter]

I had one more question about this and remembered this exchange from a month 
ago.

Which version of the Duncan fonts are folks using successfully - the original, 
or the updated ones that all have “FP” at the beginning of the name that came 
with the bundled Finale Productivity Suite sold by NPC Imaging after Bill’s 
death? I think that package was called Finale Productivity 5.1 (or 5.01?) as 
opposed to 5.0.

I’m using Finale 2014 (unhappily, I might add, especially considering the 
“focus” issue when switching back and forth from Digital Performer and having 
to click in the menu bar *every time* to get the arrow keys to work in Speedy) 
on a Mac Pro on Mountain Lion and am finally ready to make the jump to 
Mavericks as all my other software seems to be supported.

The other important issue for me is making sure to have the corresponding FAN 
files, as I still sometimes run into the problem of misplaced ties and 
articulations in rhythmic notation.

If anyone who has this working well responds, perhaps it would be helpful if 
you included the creation date of the Duncan fonts and FAN files you’re using 
as well.

Many thanks for any info,
Doug



On Mar 20, 2014, at 7:23 PM, Darcy James Argue djar...@icloud.com wrote:

 I'm on Mavericks and am not having any (more) problems than usual with the 
 Bill Duncan fonts — they have always been slightly wonky.
 
 As always, you need to install the PostScript versions — the TrueType 
 versions are a disaster under OS X — and use FontBook to make sure there are 
 no duplicates installed.
 
 It's also very important to make sure the fonts are included in Finale's 
 MacSymbolFonts file.
 
 Cheers,
 
 - DJA
 -
 WEB: http://www.secretsocietymusic.org
 
 On Mar 20, 2014, at 7:15 PM, Mike Casteel mike.cast...@mac.com wrote:
 
 Has anyone had any trouble installing the  Bill Duncan chord fonts in 
 Mavericks? I haven't upgraded to that OS yet but I'm collaborating with 
 someone who has, and is having trouble with the fonts being recognized by 
 the OS.
 
 As always, any help is greatly appreciated!
 
 Best,
 Mike Casteel
 
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Re: [Finale] Bill Duncan fonts and Mavericks

[Doug Walter]

Thanks, Chuck - that helps. That at least gives me a fighting chance once I 
jump into Mavericks.

And the slash and rhythmic notation (as well as the chord symbols) are my 
favorite improvements over the defaults as well, to the point that I go back to 
them only reluctantly when I'm working on a file that I know I'll have to share 
with another Finale user who doesn't have the Duncan fonts installed.

After all these years I still haven't come across a chord symbol font or 
library that I like any better than Bill's, but I fear that I'll have to make 
some hard decisions eventually since MakeMusic has never acquired or included 
those fonts as they did with the Jazz Font a while back (although I've never 
been a huge fan of that one), and it's probably only a matter of time till they 
stop working in Finale. Or perhaps someone will come up with an alternative 
that looks as elegant.

But for now I'd be happy if Finale 2014 worked as well as 2012 did for the kind 
of work I do!

Doug


On Apr 17, 2014, at 8:37 AM, Chuck Israels wrote:

 Hi Doug,
 
 I use the FP versions of the fonts, and they work well, although I had to 
 recreate FAN files for FPArticulations (yes, almost all of the symbols - one 
 at a time ugh) to use them in 2014 (also unhappily).  This process may have 
 been a result of not importing earlier FAN files correctly - never sure how I 
 am doing with things like this, but the fonts are working as expected now.  
 There are some I have come to prefer so strongly over the alternatives that I 
 would be unhappy without them - the soft chord slashes and rhythmic notation 
 being the most important.  
 
 All the best,
 
 Chuck
 
 
 On Apr 17, 2014, at 8:10 AM, Doug Walter dew...@earthlink.net wrote:
 
 I had one more question about this and remembered this exchange from a month 
 ago.
 
 Which version of the Duncan fonts are folks using successfully - the 
 original, or the updated ones that all have “FP” at the beginning of the 
 name that came with the bundled Finale Productivity Suite sold by NPC 
 Imaging after Bill’s death? I think that package was called Finale 
 Productivity 5.1 (or 5.01?) as opposed to 5.0.
 
 I’m using Finale 2014 (unhappily, I might add, especially considering the 
 “focus” issue when switching back and forth from Digital Performer and 
 having to click in the menu bar *every time* to get the arrow keys to work 
 in Speedy) on a Mac Pro on Mountain Lion and am finally ready to make the 
 jump to Mavericks as all my other software seems to be supported.
 
 The other important issue for me is making sure to have the corresponding 
 FAN files, as I still sometimes run into the problem of misplaced ties and 
 articulations in rhythmic notation.
 
 If anyone who has this working well responds, perhaps it would be helpful if 
 you included the creation date of the Duncan fonts and FAN files you’re 
 using as well.
 
 Many thanks for any info,
 Doug
 
 
 
 On Mar 20, 2014, at 7:23 PM, Darcy James Argue djar...@icloud.com wrote:
 
 I'm on Mavericks and am not having any (more) problems than usual with the 
 Bill Duncan fonts — they have always been slightly wonky.
 
 As always, you need to install the PostScript versions — the TrueType 
 versions are a disaster under OS X — and use FontBook to make sure there 
 are no duplicates installed.
 
 It's also very important to make sure the fonts are included in Finale's 
 MacSymbolFonts file.
 
 Cheers,
 
 - DJA
 -
 WEB: http://www.secretsocietymusic.org
 
 On Mar 20, 2014, at 7:15 PM, Mike Casteel mike.cast...@mac.com wrote:
 
 Has anyone had any trouble installing the  Bill Duncan chord fonts in 
 Mavericks? I haven't upgraded to that OS yet but I'm collaborating with 
 someone who has, and is having trouble with the fonts being recognized by 
 the OS.
 
 As always, any help is greatly appreciated!
 
 Best,
 Mike Casteel
 
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 land line: (503) 954-2107
 cell phone: (360) 201-3434
 
 www.chuckisraelsjazz.com
 
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Re: [Finale] Finale 2014a and Lion (OS X 10.7.5)

[Doug Walter]

Thanks, Eric. I know I'm headed that way eventually, so maybe I'll do it sooner 
rather than later if I can verify that all the software I'm using will work 
with Mavericks on this system.

Meanwhile, since we now have the ability in Finale 2014 to export a file as a 
2012 version, I did that and *the same file* opens fine in 2012 and behaves as 
expected - none of the delays I was experiencing in 2014 on the same file on 
the same system.

I know this doesn't really isolate the cause of the problem in 2014 on my 
machine, but it suggests to me that there's no obvious reason why the same 
document should behave differently (worse) in the newer version than the older, 
and that it's not necessarily a corrupt file.

And it makes me really skittish about doing any real work in Finale 2014 on 
this computer till I know what's going on.

Doug


On Jan 16, 2014, at 10:30 PM, Eric Dannewitz wrote:

 If you can, upgrade to 10.9.1 finale 2015 works fine and so do the
 original bill Duncan fonts
 
 Sent from my iSomething
 --
 Eric Dannewitz
 Musician/Polymath/Evil Genius
 http://www.ericdannewitz.com
 
 On Jan 16, 2014, at 10:03 PM, Doug Walter dew...@earthlink.net wrote:
 
 Despite the almost constant appearance of the dreaded Mac beach ball, my 
 first project in Finale 2014 has been no day at the beach . . .
 
 The issue is extremely - agonizingly - unacceptably - sluggish behavior when 
 doing ANYTHING. Changing tools, scrolling pages, anything. I'm on an 8-core 
 2.26 GHz Mac Pro with 18GB of RAM, and it's always been plenty fast on even 
 the largest scores up till now (in Finale 2012).
 
 Disclaimer(s): this project involved expanding a score originally done years 
 ago in a much earlier version of Finale (not even sure which one at the 
 moment) from a 6-piece combo to a 17-piece big band with vocal. So I know 
 I'm possibly asking for trouble by not copying and pasting the previous 
 information (or re-entering it from scratch) into a new native 2014 
 document. I know there can be lots of left-over garbage that can slow 
 things down.
 
 That being said, in every version up till this one, when I've had to do 
 exactly what I described above, I've still been able to work efficiently 
 with only the most minimal occasional slowdown or glitch, even in an 
 orchestral score that started life years earlier in another version. So I'm 
 wondering if some combination of old file format, custom fonts (Bill Duncan 
 chord symbol), older OS and machine, and who knows what else might be 
 causing this.
 
 I called tech support and his best guess was that it was file specific, and 
 I'm certainly hoping that's the case. I'll just have to finish this and then 
 start the next large score from scratch in 2014 and see if the same thing 
 develops as the score grows. Meanwhile, has anyone found that OS X10.7.5 
 (Lion) is just not up to the task of handling Finale 2014, as opposed to 
 Mountain Lion or Mavericks?
 
 Thanks for any insight. I'm not ready to upgrade to Mavericks on the Mac Pro 
 yet, although Mountain Lion would be easy enough if that would help.
 
 Doug
 
 P.S. I'm not (knowingly) experiencing any loss of data or crashes or 
 anything of the sort - just a sluggishness that will have me running back to 
 2012 to do any real work from now on if this can't be solved.
 
 
 
 
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[Finale] Finale 2014a and Lion (OS X 10.7.5)

[Doug Walter]

Despite the almost constant appearance of the dreaded Mac beach ball, my first 
project in Finale 2014 has been no day at the beach . . .

The issue is extremely - agonizingly - unacceptably - sluggish behavior when 
doing ANYTHING. Changing tools, scrolling pages, anything. I'm on an 8-core 
2.26 GHz Mac Pro with 18GB of RAM, and it's always been plenty fast on even the 
largest scores up till now (in Finale 2012).

Disclaimer(s): this project involved expanding a score originally done years 
ago in a much earlier version of Finale (not even sure which one at the moment) 
from a 6-piece combo to a 17-piece big band with vocal. So I know I'm possibly 
asking for trouble by not copying and pasting the previous information (or 
re-entering it from scratch) into a new native 2014 document. I know there can 
be lots of left-over garbage that can slow things down.

That being said, in every version up till this one, when I've had to do exactly 
what I described above, I've still been able to work efficiently with only the 
most minimal occasional slowdown or glitch, even in an orchestral score that 
started life years earlier in another version. So I'm wondering if some 
combination of old file format, custom fonts (Bill Duncan chord symbol), 
older OS and machine, and who knows what else might be causing this.

I called tech support and his best guess was that it was file specific, and I'm 
certainly hoping that's the case. I'll just have to finish this and then start 
the next large score from scratch in 2014 and see if the same thing develops as 
the score grows. Meanwhile, has anyone found that OS X10.7.5 (Lion) is just not 
up to the task of handling Finale 2014, as opposed to Mountain Lion or 
Mavericks?

Thanks for any insight. I'm not ready to upgrade to Mavericks on the Mac Pro 
yet, although Mountain Lion would be easy enough if that would help.

Doug

P.S. I'm not (knowingly) experiencing any loss of data or crashes or anything 
of the sort - just a sluggishness that will have me running back to 2012 to do 
any real work from now on if this can't be solved.




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Re: [Finale] Chord notation question

[Doug Walter]

I seem to recall occasionally seeing that mean maj7, but I can't remember for 
sure. Might that make sense in context?

Doug

 On Nov 13, 2013, at 8:09 PM, dershem ders...@cox.net wrote:
 
 I'm doing a chart, and the composer has some chords as C (7)  but 
 instead of parentheses, the 7 is in a circle.  I have never run across 
 that variant before.
 What is he trying to specify?
 
 Carl
 
 
 
 
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Re: [Finale] Triplet Entry

[Doug Walter]

This used to bug me till I discovered that hitting Option-1 brings up the 
dialog box where you can enter any values you want. The good news, though, is 
that it seems to default to 3 eighths in the space of 2, so all you have to do 
is hit Enter or OK and you're ready to go.

Doug



On Mar 29, 2013, at 8:45 AM, Neal Gittleman nealg...@mac.com wrote:

 Greetings…
 
 Stupid question, I fear, especially from a since-2.0 user, but either I never 
 knew this or forgot it…
 
 FinMac 2012c.13
 
 I'm using Speedy Entry and have come to a point where I'm entering a triplet 
 made up of a quarter-note plus an eighth-note (all in the time of a regular 
 quarter-note.  My natural inclination is do this
hit Option-3 to turn on tuple
enter notes
 but when I enter the quarter note Finale decides that means I meant 3 
 quarter-notes in the time of 2 quarter-notes, not a quarter note within an 
 eighth-note triplet.  
 
 Is there any smooth way to do this properly or am I just stuck with one of 
 several workarounds?
 
 Thanks…
 
 Neal Gittleman
 
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Re: [Finale] Bill Duncan chord suffix woes

[Doug Walter]

Hi Chuck and Mike,

While this won't solve the underlying issue you're both talking about, I 
thought it would be worth mentioning another input method that can work in 
these situations that doesn't require using the mouse (which you may already 
know about). The drag is that is requires memorizing the suffix's placement in 
the library - the number of the box that it occupies (assuming the suffix 
exists already, of course).

While in Type into Score, you type the letter name of the root, followed by a 
colon, followed by the number of the slot from the library (e.g. my add9 
happens to be in slot 22, so if I type C:22 I get that symbol).

If you don't have too many suffixes that you need to do this way, it's not too 
cumbersome, although obviously it would be preferable to be able to just type 
as we do for the other ones.

Again, you probably know this already, but may not have had reason to use it in 
this context.

Doug


On Dec 17, 2012, at 10:26 AM, Chuck Israels wrote:

 I have a similar problem with sus4 suffixes.  I assumed that it was because 
 of the special keystrokes required to create the superscript text, key 
 combinations I don't have reason to remember after having created the 
 suffixes I need.  I always have to enter those suffixes by going into dialog 
 boxes and selecting them.  If there is an easy Type Into Score method for 
 this, I'd be grateful to know it too.
 
 Chuck
 
 
 On Dec 17, 2012, at 9:02 AM, Mike Casteel mike.cast...@mac.com wrote:
 
 Hello all,
 
 I have encountered a problem with Bill Duncan's ChordSuf font- namely the 
 (addX) suffix (it is not recognized, even if it is already in my library 
 when typing into score). I can create it easily if I enter it manually (in 
 the chord definition dialog box) but if I type into score it will not 
 work. Nor will it work if I create the suffix from scratch in the chord 
 suffix editor window. In each of those cases, I get unwanted characters. I 
 suppose this has something to do with Finale's Unicode font support?
 
 Has anyone encountered this specific problem and is there a way around it?
 
 Many thanks!
 Mike Casteel
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Re: [Finale] 2nd Quarter 2012 results

[Doug Walter]

Hi Jef,

I notice you're using iKey and I'm curious whether you've ever used QuicKeys. I 
used to use the latter and always found it a bit clunky, especially for more 
complicated tasks, so I left it alone for a few years and eventually came back 
to a newer version and had the same issues.

Currently I'm not using any third party software to automate things in Finale 
and would love to know if you've found iKey both relatively simple and 
reliable. After writing this I'll see if there's a demo I can try, but 
firsthand experience is most welcome. If it matters, I'd be using it in Lion 
(10.7.4).

Thanks,
Doug

On Aug 22, 2012, at 2:32 AM, SN jef chippewa wrote:

 
 they can be accessed from within the tool, but the tools themselves 
 can also be assigned metatools (ctl-f through ').  since they are per 
 tool, you have 35+ metatools for each of the tools i listed (so 
 something like 280+ in total).  if they were tool-independent, you 
 would only have 35+ TOTAL.
 
 i use iKey extensively for various tasks and task sequences which 
 give you even more metatools and that are generally 
 tool-independent; you can use a variety of key combinations in iKey, 
 for example, i press ctl-opt-n to call up the change expression 
 dalogue, cmd-ctl-t to run TGTools shift accidentals and dismiss the 
 dialogue on a selected region. you can also build dozens of tasks in 
 a single key command to across a variety of tools, essentially 
 building your own plugins, i suppose.
 
 Refresh my memory -- metatools are key combinations that work from 
 any tool in the program?  Or do you have to be in the tool for which 
 the metatool was programmed?
 
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[Finale] Macro program recap (was 2nd Quarter 2012 results)

[Doug Walter]

Thanks to Jef, J.D. and Nigel for their most helpful responses to my question 
about using iKey with Finale.

Jef is happy with iKey (although an earlier version, and now I do vaguely 
remember some discussion about later versions of it with some flavor of OS X 
possibly being a problem), and Nigel and J.D. both had good things to say about 
Keyboard Maestro. I think I'll try the demo of that one first - looks good and 
seems to be well supported.

I'll report in if there's anything out of the ordinary, either good or bad.

Thanks again,
Doug



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Re: [Finale] Trouble with 2012b Mac installer?

[Doug Walter]

Successful resolution:

Just to warn anyone else who might be succumbing to old habits, I had done 
something that turns out to be unnecessary for versions since 2010 - I had 
created a Finale 2012 folder inside my Applications folder and put the Finale 
2012 app inside it along with the Finale 2012 Preferences file. I've been doing 
that for years, because that used to be the only way to keep multiple versions 
of Finale on your hard disk and still keep them from trying to use each other's 
Preferences files.

I'm told that's no longer necessary, and in fact by creating a new Finale 2012 
folder in my Applications folder, the 2012b updater didn't find the original 
app and instead created a new (non-functioning) one outside my Finale 2012 
folder, leaving the original one alone. Once I dragged the 2012 app out of its 
own folder and reran the installer, it found it and successfully updated it.

I'm especially interested in using the new version to see if it will in fact 
generate new FAN files for the Bill Duncan chord symbol fonts so I don't have 
to search for the proper version of the FAN file if I'm using a document that 
can't find it for some reason. What keeps happening is that ties, etc. don't 
position correctly in Rhythmic Notation if you don't have the correct FAN file 
installed, so I'm hopeful this will smooth things out in that department.

Doug


On Jun 26, 2012, at 10:38 PM, Phillips, Justin wrote:

 We haven't seen this before and this is pretty odd. Do you know if Finale was 
 running when you tried to update?
 
 Also, I would highly encourage you to contact our support team about this so 
 we can learn a bit more. 
 
 ---
 Justin Phillips
 Portfolio Manager-Notation Products
 MakeMusic, Inc. 
 763-772-3964
 
 
 On Jun 26, 2012, at 11:49 PM, Doug Walter dew...@earthlink.net wrote:
 
 Anybody else having any trouble updating FinMac 2012 to 2012b? I downloaded 
 the updater and ran it , seemingly without problems, but instead of updating 
 the Finale 2012.app, it created a separate Finale 2012.app in my 
 Applications  folder, but outside the Finale 2012 folder which contains 
 only the original app and the Finale 2012 Preferences file.
 
 Once it did that, all my Finale files on my disk now have generic file 
 icons. If I try to open a Finale file by double-clicking it, or if I try to 
 open 2012b by double-clicking the application icon, I get the message 
 Unhandled exception caught on a generic-looking document icon with a 
 pencil, a ruler and a brush(?) on it. If I OK out of that dialog, I get the 
 Finale quit unexpectedly dialog.
 
 8-core Mac Pro, recently installed Lion 10.7.4.
 
 I even reinstalled the original 2012 app and redownloaded the updater, but 
 same result. Also tried rebooting the computer.
 
 Any enlightenment welcome.
 
 Thanks,
 Doug
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Re: [Finale] Trouble with 2012b Mac installer?

[Doug Walter]

P.S. Meant to give Curtis at Finale tech support credit for helping sort this 
out. Thanks!

Doug


On Jun 27, 2012, at 9:09 AM, Doug Walter wrote:

 Successful resolution:
 
 Just to warn anyone else who might be succumbing to old habits, I had done 
 something that turns out to be unnecessary for versions since 2010 - I had 
 created a Finale 2012 folder inside my Applications folder and put the Finale 
 2012 app inside it along with the Finale 2012 Preferences file. I've been 
 doing that for years, because that used to be the only way to keep multiple 
 versions of Finale on your hard disk and still keep them from trying to use 
 each other's Preferences files.
 
 I'm told that's no longer necessary, and in fact by creating a new Finale 
 2012 folder in my Applications folder, the 2012b updater didn't find the 
 original app and instead created a new (non-functioning) one outside my 
 Finale 2012 folder, leaving the original one alone. Once I dragged the 2012 
 app out of its own folder and reran the installer, it found it and 
 successfully updated it.
 
 I'm especially interested in using the new version to see if it will in fact 
 generate new FAN files for the Bill Duncan chord symbol fonts so I don't have 
 to search for the proper version of the FAN file if I'm using a document that 
 can't find it for some reason. What keeps happening is that ties, etc. don't 
 position correctly in Rhythmic Notation if you don't have the correct FAN 
 file installed, so I'm hopeful this will smooth things out in that department.
 
 Doug
 
 
 On Jun 26, 2012, at 10:38 PM, Phillips, Justin wrote:
 
 We haven't seen this before and this is pretty odd. Do you know if Finale 
 was running when you tried to update?
 
 Also, I would highly encourage you to contact our support team about this so 
 we can learn a bit more. 
 
 ---
 Justin Phillips
 Portfolio Manager-Notation Products
 MakeMusic, Inc. 
 763-772-3964
 
 
 On Jun 26, 2012, at 11:49 PM, Doug Walter dew...@earthlink.net wrote:
 
 Anybody else having any trouble updating FinMac 2012 to 2012b? I downloaded 
 the updater and ran it , seemingly without problems, but instead of 
 updating the Finale 2012.app, it created a separate Finale 2012.app in my 
 Applications  folder, but outside the Finale 2012 folder which contains 
 only the original app and the Finale 2012 Preferences file.
 
 Once it did that, all my Finale files on my disk now have generic file 
 icons. If I try to open a Finale file by double-clicking it, or if I try to 
 open 2012b by double-clicking the application icon, I get the message 
 Unhandled exception caught on a generic-looking document icon with a 
 pencil, a ruler and a brush(?) on it. If I OK out of that dialog, I get the 
 Finale quit unexpectedly dialog.
 
 8-core Mac Pro, recently installed Lion 10.7.4.
 
 I even reinstalled the original 2012 app and redownloaded the updater, but 
 same result. Also tried rebooting the computer.
 
 Any enlightenment welcome.
 
 Thanks,
 Doug
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Re: [Finale] Trouble with 2012b Mac installer?

[Doug Walter]

Thanks for the quick reply, Justin. I don't *think* Finale was running when 
this happened, but it's certainly possible.

I'll call support this morning.

Doug


On Jun 26, 2012, at 10:38 PM, Phillips, Justin wrote:

 We haven't seen this before and this is pretty odd. Do you know if Finale was 
 running when you tried to update?
 
 Also, I would highly encourage you to contact our support team about this so 
 we can learn a bit more. 
 
 ---
 Justin Phillips
 Portfolio Manager-Notation Products
 MakeMusic, Inc. 
 763-772-3964
 
 
 On Jun 26, 2012, at 11:49 PM, Doug Walter dew...@earthlink.net wrote:
 
 Anybody else having any trouble updating FinMac 2012 to 2012b? I downloaded 
 the updater and ran it , seemingly without problems, but instead of updating 
 the Finale 2012.app, it created a separate Finale 2012.app in my 
 Applications  folder, but outside the Finale 2012 folder which contains 
 only the original app and the Finale 2012 Preferences file.
 
 Once it did that, all my Finale files on my disk now have generic file 
 icons. If I try to open a Finale file by double-clicking it, or if I try to 
 open 2012b by double-clicking the application icon, I get the message 
 Unhandled exception caught on a generic-looking document icon with a 
 pencil, a ruler and a brush(?) on it. If I OK out of that dialog, I get the 
 Finale quit unexpectedly dialog.
 
 8-core Mac Pro, recently installed Lion 10.7.4.
 
 I even reinstalled the original 2012 app and redownloaded the updater, but 
 same result. Also tried rebooting the computer.
 
 Any enlightenment welcome.
 
 Thanks,
 Doug
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[Finale] Trouble with 2012b Mac installer?

[Doug Walter]

Anybody else having any trouble updating FinMac 2012 to 2012b? I downloaded the 
updater and ran it , seemingly without problems, but instead of updating the 
Finale 2012.app, it created a separate Finale 2012.app in my Applications   
   folder, but outside the Finale 2012 folder which contains only the original 
app and the Finale 2012 Preferences file.

Once it did that, all my Finale files on my disk now have generic file icons. 
If I try to open a Finale file by double-clicking it, or if I try to open 2012b 
by double-clicking the application icon, I get the message Unhandled exception 
caught on a generic-looking document icon with a pencil, a ruler and a 
brush(?) on it. If I OK out of that dialog, I get the Finale quit 
unexpectedly dialog.

8-core Mac Pro, recently installed Lion 10.7.4.

I even reinstalled the original 2012 app and redownloaded the updater, but same 
result. Also tried rebooting the computer.

Any enlightenment welcome.

Thanks,
Doug
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Re: [Finale] grab and drag hot key

[Doug Walter]

Sounds like a great idea. I've always wished there were an easy way to switch 
between tools (not that it's hard to click, of course, but a keyboard 
equivalent that wouldn't involve hassling with QuicKeys or reaching for the 
mouse). In lieu of a preassigned keystroke for each tool, this would at least 
be a step in the right direction for me.

Doug

On Jun 17, 2011, at 8:35 AM, Don Hart wrote:

 Would anyone here find a hot key combination that would temporarily enable
 the grab and drag function of the selection tool to be useful?  Say, for
 example, shift/escape, and when you're done you're still in the tool you
 were working in.  Navigation between tools is not bad, IMO, but a function
 like this seems as if it would be handy at times.
 
 Don Hart
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Re: [Finale] Bill Duncan font questions

[Doug Walter]

Hi all,

Just reporting on a successful outcome with my Chord Symbol font adventures. 
Chuck graciously sent me the FAN file for that font, and when I installed it 
the tie problem went away. Along with adjusting the down stems to be shorter, I 
now can use rhythmic notation with stems down and everything looks better and 
displays properly. Probably the combination of using an older version of the 
font (pre-Finale Productivity 5.0 days) and not having the Font Annotation file 
installed for the version of Finale I'm using (2010) led to all the problems.

Thanks,
Doug
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Re: [Finale] Bill Duncan font questions

[Doug Walter]

Thanks, Eric - good to know. I didn't mean that the Font Annotation folder was 
empty; just that it was missing FAN files for the Duncan fonts. I'm looking 
forward to having the final piece of this little puzzle in place and kicking 
myself for not bringing this up much sooner.

Doug

On Nov 1, 2010, at 10:35 PM, Eric Dannewitz wrote:

 Fan files don't seem to go out of date. The fan files I have from the
 productivity package work and they are dated years ago.
 
 You also need fan files for the general music font you are using as
 well, so if you had nothing in the font annotation folder then you
 need to probably reinstall finale again
 
 Sent from my iSomething


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Re: [Finale] Bill Duncan font questions

[Doug Walter]

Since this subject came up, it reminded me of a couple things I've been meaning 
to ask. One is regarding sharing documents that use the chord symbol font with 
others who don't own it, and the other has to do with stem direction in 
rhythmic notation.

When I know a score I've created is going to someone else to format and extract 
parts, to be safe I don't use any fonts that aren't native to Finale, but I 
really hate going back to the look of the default slash and rhythmic notation 
as well as the chord symbols especially. I remember that Bill had actually 
specified that it was OK with him to provide the fonts to someone else in such 
a situation, provided one didn't also include the detailed instructions on how 
to use them, so the recipient could presumably simply install the relevant 
fonts in their system and be able to view and print the document as intended. 
But it has always seemed that one is asking for trouble by doing this (not 
legal trouble, just complications), and there's no guarantee that everything 
ends up looking the same on the other person's system as it does on mine, so I 
haven't pursued it.

The other question is whether anyone has had any luck when using Bill's font(s) 
for rhythmic notation in setting the stem direction to down instead of up. It 
seems that sometimes I can get it to work, but often if I set stem direction to 
down (in both places where it's possible to do so), I end up with no stems at 
all and flags displaced - a real mess. I'm not talking about Bill's method of 
creating another staff for rhythmic notation that would eventually be 
superimposed on the original staff in order to get smaller slashes and stems in 
rhythmic notation; I'm talking about just using it in the main staff.

While I don't particularly mind the look of stems up, it's not the way I've 
always written it by hand, and of course once you add chord symbols and 
articulations (which for some reason always get placed too high vertically and 
have to be dragged down), things get crowded above the staff.

I know there are some folks on the list who use these things regularly, and I'd 
welcome any advice or perhaps an approach or setting that I've missed along the 
way. FWIW, I'm using Finale 2010 (Mac).

Thanks,
Doug

 
 
 Hi everyone,
 
 I recently purchased Finale Productivity 5.0 from NPC Imaging, and I
 have a few questions for the group.


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{Spam} Re: {Spam} Re: [Finale] Bill Duncan font questions

[Doug Walter]

Thanks for answering, Chuck. It occurred to me that one possible cause is 
having started a new score using an older one as a template. So who knows how 
many incarnations this particular document has gone through? So I opened a new 
document in 2010, added a staff and inputted some rhythmic notation and, sure 
enough, it worked fine with stems down. Among other things, I guess this is a 
good reminder to update my default document(s) with each new version; I have to 
admit I haven't made a habit of doing that.

I'm almost there. I got the stems shortened, but the final setting that I seem 
to be missing is for ties. If I tie any notes in rhythmic notation, the ties 
end up way above the staff. Oddly, if I flip them, they attach to the notes 
where you'd expect, but as soon as I flip them back, they jump up about half an 
inch. I looked at all the settings in Document Options  Ties but haven't yet 
figured out what to change if anything. I'll keep experimenting.

Thanks again for the help.

Doug

On Nov 1, 2010, at 2:42 PM, Chuck Israels wrote:

 Dear Doug,
 
 I always use rhythmic notation with the stems down (and stem lengths adjusted 
 to -36 evpus) and have had no difficulties.  I set this in the staff styles 
 dialog.  I don't know of another place to set this, so I can't tell if that 
 option is what's causing you trouble.
 
 I don't usually share Finale files with others, but on the rare occasion that 
 I need to do that, it is usually with another person who has Bill's fonts.  
 (For just sending music, I use pdfs.)  I'd be miserable going back to the 
 stock Finale slashes and rhythmic notation.  I imagine that it might be 
 possible to create other chord symbol solutions within Finale, though I'm 
 happy not to need to confront that task.
 
 If you provide more details about how you define rhythmic notation and where 
 the trouble shows up, I will try to duplicate it and see what I can discover.
 
 Chuck
 
 
 On Nov 1, 2010, at 8:27 AM, Doug Walter wrote:
 
 Since this subject came up, it reminded me of a couple things I've been 
 meaning to ask. One is regarding sharing documents that use the chord symbol 
 font with others who don't own it, and the other has to do with stem 
 direction in rhythmic notation.
 
 When I know a score I've created is going to someone else to format and 
 extract parts, to be safe I don't use any fonts that aren't native to 
 Finale, but I really hate going back to the look of the default slash and 
 rhythmic notation as well as the chord symbols especially. I remember that 
 Bill had actually specified that it was OK with him to provide the fonts to 
 someone else in such a situation, provided one didn't also include the 
 detailed instructions on how to use them, so the recipient could presumably 
 simply install the relevant fonts in their system and be able to view and 
 print the document as intended. But it has always seemed that one is asking 
 for trouble by doing this (not legal trouble, just complications), and 
 there's no guarantee that everything ends up looking the same on the other 
 person's system as it does on mine, so I haven't pursued it.
 
 The other question is whether anyone has had any luck when using Bill's 
 font(s) for rhythmic notation in setting the stem direction to down instead 
 of up. It seems that sometimes I can get it to work, but often if I set stem 
 direction to down (in both places where it's possible to do so), I end up 
 with no stems at all and flags displaced - a real mess. I'm not talking 
 about Bill's method of creating another staff for rhythmic notation that 
 would eventually be superimposed on the original staff in order to get 
 smaller slashes and stems in rhythmic notation; I'm talking about just using 
 it in the main staff.
 
 While I don't particularly mind the look of stems up, it's not the way I've 
 always written it by hand, and of course once you add chord symbols and 
 articulations (which for some reason always get placed too high vertically 
 and have to be dragged down), things get crowded above the staff.
 
 I know there are some folks on the list who use these things regularly, and 
 I'd welcome any advice or perhaps an approach or setting that I've missed 
 along the way. FWIW, I'm using Finale 2010 (Mac).
 
 Thanks,
 Doug


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Re: {Spam} Re: {Spam} Re: [Finale] Bill Duncan font questions

[Doug Walter]

Many thanks, Chuck. I got your other message about it being a FAN file issue, 
so I tried putting the FAN files I have into the Font Annotation folder for 
Finale 2010 (they weren't there already, so this is beginning to make sense). 
It didn't seem to have any effect on the ties, so I suspect the FAN files are 
outdated and perhaps don't match the ChordSym font. I'll dig out the Finale 
Productivity installation disk (that may take a minute) and try reinstalling 
the fonts and the FAN files from there and see if that solves it. Meanwhile, if 
you'd care to send your ChordSym FAN file I'd give it a try as well.

Many thanks for your kind offer and for generously sharing your time and 
expertise. This is about to solve something that I thought was unsolvable 
(insoluble?) for years and that I needlessly accepted as a small price to pay 
for the pleasure of working with Bill's fonts.

Doug


On Nov 1, 2010, at 8:48 PM, Chuck Israels wrote:

 Doug,
 
 Going to bed now.  If you are still having trouble with the ties tomorrow, 
 write me, and I'll give you the right things to put in the FAN files, or send 
 you my Chord Symbol Fan files.
 
 Chuck
 
 
 On Nov 1, 2010, at 6:40 PM, Doug Walter wrote:
 
 Thanks for answering, Chuck. It occurred to me that one possible cause is 
 having started a new score using an older one as a template. So who knows 
 how many incarnations this particular document has gone through? So I opened 
 a new document in 2010, added a staff and inputted some rhythmic notation 
 and, sure enough, it worked fine with stems down. Among other things, I 
 guess this is a good reminder to update my default document(s) with each new 
 version; I have to admit I haven't made a habit of doing that.
 
 I'm almost there. I got the stems shortened, but the final setting that I 
 seem to be missing is for ties. If I tie any notes in rhythmic notation, the 
 ties end up way above the staff. Oddly, if I flip them, they attach to the 
 notes where you'd expect, but as soon as I flip them back, they jump up 
 about half an inch. I looked at all the settings in Document Options  Ties 
 but haven't yet figured out what to change if anything. I'll keep 
 experimenting.
 
 Thanks again for the help.
 
 Doug
 
 On Nov 1, 2010, at 2:42 PM, Chuck Israels wrote:
 
 Dear Doug,
 
 I always use rhythmic notation with the stems down (and stem lengths 
 adjusted to -36 evpus) and have had no difficulties.  I set this in the 
 staff styles dialog.  I don't know of another place to set this, so I can't 
 tell if that option is what's causing you trouble.
 
 I don't usually share Finale files with others, but on the rare occasion 
 that I need to do that, it is usually with another person who has Bill's 
 fonts.  (For just sending music, I use pdfs.)  I'd be miserable going back 
 to the stock Finale slashes and rhythmic notation.  I imagine that it might 
 be possible to create other chord symbol solutions within Finale, though 
 I'm happy not to need to confront that task.
 
 If you provide more details about how you define rhythmic notation and 
 where the trouble shows up, I will try to duplicate it and see what I can 
 discover.
 
 Chuck
 
 
 On Nov 1, 2010, at 8:27 AM, Doug Walter wrote:
 
 Since this subject came up, it reminded me of a couple things I've been 
 meaning to ask. One is regarding sharing documents that use the chord 
 symbol font with others who don't own it, and the other has to do with 
 stem direction in rhythmic notation.
 
 When I know a score I've created is going to someone else to format and 
 extract parts, to be safe I don't use any fonts that aren't native to 
 Finale, but I really hate going back to the look of the default slash and 
 rhythmic notation as well as the chord symbols especially. I remember that 
 Bill had actually specified that it was OK with him to provide the fonts 
 to someone else in such a situation, provided one didn't also include the 
 detailed instructions on how to use them, so the recipient could 
 presumably simply install the relevant fonts in their system and be able 
 to view and print the document as intended. But it has always seemed that 
 one is asking for trouble by doing this (not legal trouble, just 
 complications), and there's no guarantee that everything ends up looking 
 the same on the other person's system as it does on mine, so I haven't 
 pursued it.
 
 The other question is whether anyone has had any luck when using Bill's 
 font(s) for rhythmic notation in setting the stem direction to down 
 instead of up. It seems that sometimes I can get it to work, but often if 
 I set stem direction to down (in both places where it's possible to do 
 so), I end up with no stems at all and flags displaced - a real mess. I'm 
 not talking about Bill's method of creating another staff for rhythmic 
 notation that would eventually be superimposed on the original staff in 
 order to get smaller slashes and stems in rhythmic notation; I'm talking 
 about

{Spam} Re: [Finale] re: large format scanners

[Doug Walter]

This thread caught my interest as I've got a Sharp photocopier that is at the 
point where the technician is recommending that I consider replacing it as the 
next service will be extensive and expensive. It handles up to 11 x 17 paper, 
and I used to use it to print and photocopy scores as well as to enlarge 8.5 x 
11 Finale parts to 9.5 x 12.5 on heavier paper. Now I use my HP 5100 printer to 
print directly on the 9.5 x 12.5 paper and thus have far less need for the 
photocopier.

I always assumed that large-format scanners would be prohibitively expensive 
and never really considered one, but I see Plustek has one on their site for 
something like $500-600. Now I'm thinking that I could use a large-format 
scanner for any such photocopying needs, and if I had to print out the 
resulting images on any weight or size of paper up to 11 x 17, the HP 5100 can 
handle it.

This seems like it would be economical both in terms of space and cost (toner, 
maintenance, etc.). Has anyone who previously used a photocopier regularly gone 
this route and found it a good alternative? And while I'm at it, if there are 
any specific brands/models of large-format scanners folks can recommend I'd be 
grateful.

Doug



On Oct 24, 2010, at 11:24 AM, David W. Fenton wrote:

 On 24 Oct 2010 at 11:07, Aryeh Har-Even wrote:
 
 Greetings all - I've been following the thread about printers and was
 wondering what luck you guys have had with large format scanners, i.e.
 about 11 x 17 which won't break the bank. It's rather strange that
 going
 from legal to this size, most of the manafactuers increase the price
 exponentially. I recall that one of the under $400.00 multi printers I
 looked at (I believe it was the Brother MFC-6890CDW) did large scans.
 Any good? I'm looking to archive a couple of file boxes worth of music
 sketched or copied at around this size and only want to go through the
 exercise once.
 
 I client of mine is on their second Plustek, having recently bought a 
 second one about six months ago to replace an ailing one. They are 
 delighted with it, and so am I. It's a huge improvement over the 
 previous one (which they also loved), with better speed and vastly 
 improved software. There are also lots of thoughtful touches in the 
 design (not least of which, hinging the lid on the long side instead 
 of on the short side at the back).
 
 It's more expensive than you might want to spend at first glance, but 
 in my opinion, it's worth every penny for anybody who needs to 
 regularly scan large items (as does my client).
 
 As to multi-function devices, I simply can't recommend them. You're 
 usually sacrificing quality in all the component devices just to save 
 some space, and in many cases, they are being purchased principally 
 for one particular purpose (as printer), and that main purpose is 
 usually substandard.
 
 However, I would say that Brother has proven itself to be a pretty 
 good manufacturer in terms of price/features/quality in the last few 
 years, so if you're set on a multi-function device, that's about as 
 good as it gets in terms of return on investment.
 
 -- 
 David W. Fenton


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{Spam} Re: {Spam} Re: {Spam} Re: [Finale] re: large format scanners

[Doug Walter]

Thanks, David. Here's the link to the 2 Plustek tabloid scanners:

http://www.plustek.com/product/series.asp?s_id=19

Doug

On Oct 24, 2010, at 6:24 PM, David W. Fenton wrote:

 On 24 Oct 2010 at 17:15, Doug Walter wrote:
 
 I always assumed that large-format scanners would be prohibitively
 expensive and never really considered one, but I see Plustek has one
 on their site for something like $500-600.
 
 I'm not sure I'd recommend trying to replace a photocopier with a 
 scanner, though the Plustek software allows you to set it up so that 
 you push a button on the scanner that will scan and send the result 
 to your printer. I'm not sure what it does with paper sizes, though, 
 as I've only used it with a printer that doesn't support ledger-size 
 paper.
 
 In regard to the Plustek, if I'm remembering correctly, there are two 
 models of the large-format scanner, and the lesser one has some 
 significant lacks which I forget know. Post the URL and I'll give it 
 a look.
 
 -- 
 David W. Fentonhttp://dfenton.com
 David Fenton Associates   http://dfenton.com/DFA/
 
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Re: [Finale] Finale 2011 now available for pre-order

[Doug Walter]

Even though we saw it coming, it's still annoying . . .


On May 25, 2010, at 8:11 AM, Phillips, Justin wrote:


Hi all,

FYI, we're now taking pre-orders for Finale 2011.

Click the link below to check out some of the new features!

http://finalemusic.com/Finale/New.aspx




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Re: [Finale] RE: score turns white

[Doug Walter]

Super-annoying, indeed. I'm on a Mac Pro, 10.6, Finale 2010b. In my  
case, more often than not when in Speedy the bar I just left (no pun  
intended) is what turns white, or the notes in layer 1 in the bar I'm  
working in (see above) turn white while I'm in layer 2.


This seems especially annoying since Finale 2009 sat unopened on the  
shelf while I worked all last year in 2k8. Now I finally started using  
the new version and was beginning to like it when this started  
happening. Yeah, I can get out of it by toggling between Page and  
Scroll views, but what an awful, seemingly inexcusable (forgive me)  
irritation at such a basic level of inputting.


I'm not a programmer and realize there is a staggering number of  
variables in software and hardware combinations to try to second-guess  
these days, but after 20-some years of buying every version of Finale,  
this is hard to swallow.


Doug

On Feb 2, 2010, at 7:55 AM, Darcy James Argue wrote:


Hi all,

I'm assuming this is a known bug? I definitely encounter it all the  
time. I've never had to quit, though -- usually just toggling  
between Page View and Scroll view a couple of times does the trick.


Super-annoying, though.

Cheers,

- DJA
-
WEB: http://secretsociety.typepad.com

On 2 Feb 2010, at 10:46 AM, SN jef chippewa wrote:



thanks, don't know if it means anything but i am on the exact same  
setup.


anyone else on this set up (i'm on a macbook pro) that does NOT  
encounter this problem?



I'm using Finale 2010b on Mac OS 10.6.


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Re: [Finale] 2K7 beaming issue

[Doug Walter]

There's also a Flat Beams check box as an option in the Staff  
Attributes dialog that can be toggled on or off for individual  
staves. I generally only use it for drum parts, but maybe that's  
what's happening here?


Doug

On Dec 9, 2009, at 12:27 PM, Andrew Stiller wrote:


Nope. Doesn't help.

--Andrew

On Dec 9, 2009, at 2:22 PM, John Blane wrote:


Andrew -

I think once you've changed the beaming options, you must run the  
Rebeam command to see the effects. Then, any newly created   
beams will use the current setting.



On Dec 9, 2009, at 1:09 PM, Andrew Stiller wrote:

In FinMac 2K7, I find that  beams covering more than three notes  
always come out flat. I tried changing the settings in Document  
Options/Beams, but nothing seems to make a difference. How can I  
restore Finale's (former) normal behavior in this respect?


Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/


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Re: [Finale] Flipping tuplets and slurs in FinMac 2008

[Doug Walter]

Thanks for your detailed reply, Darcy. Sadly, I DID spend quite a bit  
of time with the manual when I started using 2k8, but obviously  
either not enough time or not recently enough for me to have  
remembered that particular point.


I always find it tricky to strike a balance between a) approaching  
each new version as if it were brand new and trying to find and learn  
everything about it that is either unfamiliar or changed, and b)  
assuming that much of what I know from years of experience with the  
program will still be useful and relevant. I'm fine with the idea  
that a certain number of familiar habits and routines often have to  
be relearned to accommodate changes in the user interface, and I'm  
the first to admit that if it's in plain sight - i.e., in the manual  
- it's up to me to find it and absorb it. This, unfortunately, was a  
case where I had in fact found it once, but evidently didn't absorb it.


I don't know what I find more frustrating, though - the fact that I  
didn't consult the manual when this happened to me, or the fact that  
the tech support person I spoke with offered nothing remotely similar  
to Darcy's explanation and basically provided a workaround, despite  
my having described the problem to him exactly as I did here. But I  
realize that's REALLY another topic . . .


Doug


On Apr 21, 2008, at 6:33 PM, Darcy James Argue wrote:


As I always remind people when this topic comes up: it is really in  
your best interest to Read The Finale Manual, specifically the  
chapter on linked parts, which is very informative and well- 
written. I cannot recommend this enough. Linked parts are  
complicated and difficult to figure out on your own, but if you  
just take five minutes to read the relevant chapter, I guarantee  
that everything will make much more sense.


Cheers,

- Darcy


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