Re: [Finale] OT: Vocal Underlay of "Mrs.:
[ Robert Patterson: ] FWIW (joking aside) my copy of Merriam Webster correctly identifies "missus" as dialect in one of the definitions, and I would rather avoid that implication. In that case, how would "Mr - s." go? But that might cause the singer to start pronouncing "Mister" - although surely as they got to know the line they would realize it's not that, so it shouldn't be an issue. (Nothing seems truly satisfactory.) Maybe "mis-sus" or "miss-us" in parentheses underneath the "Mr - s." would look like a pronunciation guide rather than dialect. Or, alternatively, "Mrs. -" (the hyphen acting as a syllable extension and going under the second note). That wouldn't need the pronunciation guide underneath in parentheses. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] test
[rglan:] test Not sure what you're testing (just whether you're using the correct e-mail address to post?), but I got it. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] OT: score order for a chamber group
[Michael Meyer:] A student of mine wrote their end-of-year composition project for my Music Theory class for soprano accompanied by clarinet, violin, bass clarinet, and cello. For a chamber group, what order would you put the instruments in? It seems weird to put them in strict orchestral order (which would put the soprano in the middle, and I would think she should be at the top). Happy to hear opinions! Thanks! I think I would put the soprano at the top, but the rest in normal orchestral order. I have an idea that chamber music does usually follow orchestral order, with a few exceptions - such as piano (when present) at the bottom, or a solo singer at the top. If I recall correctly, Schubert's Octet has the score arranged in the order: Clarinet; Horn; Bassoon; Violin 1; Violin 2; Viola; Cello; Double-Bass. (The Horn is another exception to orchestral practice - put above the Bassoon, in average order of descending pitch, so classifying all the wind together.) Beethoven's Septet (with almost the same instrumentation) does similarly in copies of that score I've seen. So I would feel safe in doing what I just listed above. Hope that helps a little. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Finale doesn't change key signatures correctly.
My thanks for all the suggestions from various people. I will try everything suggested and see how it goes, but I'm a bit busy now with other things, so it may take me a little while to do that and/or respond to any posts that I may like to follow up further. Thanks. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] Finale doesn't change key signatures correctly.
Hallo.
I have a problem in Finale with changing key signatures. There
are two basic options in Finale for this - to cancel the old key
signature (partially or entirely) with naturals before inserting the new
one, or just inserting the new one.
I always use the former option for this - the older, traditional
method - but Finale usually doesn't do this correctly, and I'm wondering
if this is a known problem and if there is anything I can do about it.
As I'm sure most here would know, you cancel the entire old key
signature if you go from sharps to flats or vice-versa; but if you go
from sharps to a smaller sharp signature or flats to a smaller flat
signature, you cancel only the flats or sharps in the old signature that
won't be in the new one. And if you are going from a smaller to a
larger signature of the same type, then, and only then, do you have no
naturals at all.
However, most of the time, I find that Finale puts in all the
naturals for the entire old signature regardless - sometimes even in the
last case I mentioned where none are needed.
To make things more complicated, it sometimes seems to do things
correctly, which is why I just said "most of the time". That seems to
suggest that there are unknown, invisible circumstances in each
situation that govern whether this problem occurs or not. In a case
where it does it incorrectly, though, no amount of tweaking or re-doing
it seems to make any difference.
This seems such an obvious problem that I would find it incredible
that it has not, over all the years Finale has being going, been noticed
and corrected.
(To forestall anyone asking, yes, I have tried different settings
in the menu item that controls key signature changes. It does change
some behaviour, but not in a way that is correct according to the normal
rules for changing key signatures, as I described above.)
Is this a known problem, and is there a remedy, please? Or am I
possibly doing something wrong that I just don't know about?
Thank you.
Michael Edwards.
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Re: [Finale] Extraneous note appears inexplicably in organ music playback.
[Klaus Smedegaard Bjerre:] >Tedious, but you could make a copy of the file. There you could >delete all notes in the offending bar. Then listen if there is an >artifact in the bar. If not add the notes one by one and listen after >each entry, whether something wrong occurs. If so check if the >offending note is a resultant pitch of the notes entered so far. If >everything comes out well, then go on working from this file. The >error then were a one-off corruption in the original entry process. > >If there is an artifact in the bad bar, my first attempt would be >about deleting the whole stack of that bar. Then listen whether the >artifact is rooted in a different bar. If not then insert a new bar >and then re-enter the contents of the stack again. Most certainly not >by copying from the original file. > >I am a retired teacher and without knowing any code it has been >helpful to me treating the computer like a kid with learning >disabilities: Cut up the process in its smallest bits and check after >each step. Hallo, Klaus. Thanks for your suggestion. Should have thought of that - maybe would have in time. I will try that, so thank you. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] In playback, some notes don't last as long as they are notated (piano, organ music).
[David H. Bailey:] >But I can offer possible suggestion as to why the problem in this >message happens -- if you have multiple notes all sounding on the same >midi channel, when a note-off command is sent for some of the notes on >that channel, it affects the whole channel, so other notes you think >should continue to sound stop sounding at the same time. > >The only way around that that I'm aware of would be to make a copy of >the finale file, and then in the copy, add extra staves and explode >those chords onto the extra staves and assign each staff to its own >midi channel. That way the notes which are supposed to keep sounding >won't be affected by the note-off commands since they won't be on the >same channels. Thanks for your suggestions, David. This goes way beyond my current knowledge of Finale, so I will probably just have to ignore it, and pretty well not use playback as a useful rendering of a piece. (My music tends frequently to include slightly strange situations like this.) I can only say that, once I do know those midi matters generally, I will refer to what you said and use that to help me solve it; but for now it goes way over my head. I suppose I naively thought there might a simple fix I just didn't know about. As I said before, I used two layers in each manual staff, to distinguish the notes which stop earlier, and the few that continue sounding: the layers that contain the notes which stop earlier contain the complete chord (four notes in each hand), whereas I used extra layers to duplicate, and give a longer note value to, the few which continue; that is, the low G in the right hand, and the F and B in the left hand. Also, the B/Cb duplicated in the layers uses two different enharmonic spellings: the one which is in the big chord is written as Cb to reflect the spacing of the total chord all in thirds, but the copy in the notes which continue longer is written as B, because those three notes act like the penultimate G7 harmony in a C major close. Is it possible that putting the same note in two layers but using different enharmonic spellings could somehow be causing this, or at least complicating it? I don't really want to change the notation, because I think there are good reasons for doing it this way. It doesn't seem likely to me, though. Much the same thing happened in a piano piece which is totally diatonic for dozens of bars, so there are no accidentals whatever. I had a situation where the bass notes change bar by bar, going down one step for each new bar, but the sustaining pedal is meant to merge them all together for three or four bars (the upper harmonies were compatible with this), accumulating them one by one into a mini-cluster - and I used layers and the v1/v2 device to tie these notes and gradually let them pile up until there was a cluster of about 4 adjacent notes tied over - and the same thing happens when I try to play that back. So it doesn't sound like enharmonic anomalies such as in the organ piece are the problem, but just too many notes, tied for differing numbers of beats. (I fear this may come up again and again and again, as I do tend to write very intricately voiced music to highlight the structure.) I didn't fully understand your suggestions, David, about the extra staff, midi channels, and so on - but would this alter the actual appearance of the score on the page? I've got that looking the way I want it (except that I still have dozens and dozens of minor tweaks about note positioning and so on), and it does reflect exactly what I want - so I wouldn't really be keen on changing the visual appearance of the score in order to solve playback problems. This piece uses the normal three staves for organ music, but it sounds like your suggestion would involve using one or more extra staves, which I don't think are necessary at least for visually reading the score. Anyway, I think I will have to put this in the "deal with later on" category. But thanks all the same for your suggestions. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Extraneous note appears inexplicably in organ music playback.
[Christopher Smith wrote:] >I am suspecting that the left hand Bb is tied over, and the note it >is tied over to is actually a B natural. Thanks for your suggestion, Christopher. I thought for a moment you had it, and kicked myself for not checking. I've just looked again, and I'm afraid it's not that. I neglected to say in which octave this rogue B appeared, and it's in the lower octave. The Bb that ties over is the one almost an octave above Middle C - but the rogue B is definitely an octave below that, adjacent to Middle C. Nonetheless, in case the octave was deceptive, I used the asterisk to show the accidental to check out what you said - and the higher Bb definitely is a flat, not a natural. There is definitely no B or Cb anywhere in that bar. There is in the following bar (which contains the same chord shifted down a perfect 5th) - is it beyond the bounds of possibility that the Cb from there is somehow being shifted a bar or so earlier by the Finale playback? So I'm afraid the matter is still unresolved. Can it just be a software or memory glitch or bug that does such a thing? Perhaps I just need to delete the whole bar and do it again from scratch, and see if it happens again. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] In playback, some notes don't last as long as they are notated (piano, organ music).
Hallo. In certain passages of a piece where the texture is more complicated than usual (lots of extra sustained notes inserted either with an extra temporary layer or by the V1/V2 device in Speedy Entry, or a combination of both), I have noticed that some longer notes don't sustain nearly as long in playback as they should - I don't know if it affects short notes too, but they are too short for me to notice. I suppose I should really post sample bars here for anyone who can answer to look at, but I don't know how to do that yet. Is this, in general, a known problem, and is there any solution to it? I have so far entered only piano and organ music since I bought Finale some months ago, and this appears in both of these types of music. Here is an example in an organ piece I wrote many years ago but am now entering in Finale: three bars before the end, the following chord is sustained for several beats (in ascending order and all notes on manuals spaced in 3rds): Ped.: Db Ab at bottom of pedalboard; l.h.: F Ab Cb Eb; r.h.: G Bb Db F. A few beats later, all notes are released except for G in the right hand and F B in the left. Those notes are written as an extra voice in both manual staves, with the l.h. using B instead of Cb for its spelling, because that F B G serves as a dom. 7 before the final C major chord. Yet when the point comes where all the other notes are released, in playback the F B G does not continue to sound - everything ceases together. I've noticed this kind of thing in others contexts, too, in piano music. Is the arrangement of notes and voices just too complicated for playback to render correctly, or is there a way of fixing this? Thank you. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] Extraneous note appears inexplicably in organ music playback.
Hallo. In an organ piece I am entering, the following chord appears near the end, all notes named in ascending order and all spaced in 3rds: Ped.: Ab below middle C; l.h.: C Eb Gb Bb; r.h.: D F Ab C. A couple of beats later, all notes are released except the F in the right hand, which is sustained into a new chord (a similar chord based on Db in which the F becomes the top note). But at the point you release the first chord, in playback an extraneous note creeps in - a B (Cb) in the left hand which really jars. I have double checked, and that note is not notated anywhere in the chord (in either enharmonic spelling), and there are no missing or misplaced accidentals: I cannot see anything wrong at all about the notation in the score - yet that odd note chips in at the very end of the total chord. What is going on here? Is there a way of fixing it? Thank you. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Create multi-staff instrument
Hallo, Jef; thanks for the information you gave. You may quite well be right that I lack an understanding of the fundamental basis on which Finale works. Do you know if there are any of the help web pages that explain this basis? So far I have found various help pages that explain how to solve particular problems, with varying degrees of clarity (to me, at least), but they don't really give much information about that underlying structure of the software. Such a deeper understanding might help me solve problems more easily, so any pointers to where I can find this would be helpful. Thank you. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Create multi-staff instrument
Perhaps I can't comment directly on this issue as it's already emerged, but it does relate to an issue I expect to come up with my own work, but I just hadn't yet gathered what seemed like enough details to actually ask about it here yet. But perhaps I might try to briefly indicate my problem, and hope someone can please help me, since the topic has come up. My issue is with piano music, and there are a few pieces I have which will briefly require 3 or 4 staves, although I use only 2 for maybe 95 percent of systems in piano music. (And nothing I write requires more than two staves for the entire piece.) I think I found a utility for adding a staff, but there were two problems with it: Finale added the extra staff for all systems in the piece, not just the one or two where I wanted it; and the curly bracket at the start didn't lengthen to cover all staves, but just remained covering two staves it considered to be the original ones, and not the extra one or two. Are there easy solutions to this, please? Also, does creating an extra staff just for a couple of systems have implications if, as I edit the piece, repagination occurs and the distribution of bars on particular staves changes? Do I have to plan for that, or will Finale look after it if the bars do later get rearranged automatically (or I rearrange them manually)? And, about previous suggestions already given in this thread: suggestions were given to rename a part to another instrument - but would that cause the playback to switch to the renamed instrument, or would it continue to play back as the original instrument? (As I think I once said before, correct notation is paramount for me, but I do want to preserve accurate playback if that can be catered for in addition.) And also a distinction was made between extra staves for a single instrument and a "group" as solutions to Dennis's problem, and I don't really understand that. I've read a bit about it in the help pages, but didn't find it very clear. Would either of these matters already mentioned in the thread help my problem, as stated above? Thank you. Michael, Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] DC al fine
[Dennis:] >I have a piece that ends with a DC al fine, ABA. The last measure of A >is different the second time. If I use first and second endings for A, >what kind of barline do I put at the end of the last measure the first >time? A double thin? I probably should have commented on the direct question asked, about the type of bar-line. If you don't use the system I proposed in my previous post, I would probably, myself, use a thin-thick double bar. Just thinking about the Minuet movement of mine which I mentioned before (which is in handwritten manuscript which I don't have handy now) - I'm trying to recall how I did that; I certainly would have used what I thought was the most correct notation, adapted to the unusual situation but conforming to the rules as far as possible. The 1st-time bar has the normal concluding repeat sign; the 2nd- and 3rd-time bars don't need repeat signs - and I'm pretty sure I used a double, "thin-thick" bar-line for both of them, one after the other. So I think that would be applicable if your situation, too. To my eye, a double-thin bar-line might not separate sufficiently two bars which are written consecutively but are never played consecutively. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] DC al fine
[Dennis:] >I have a piece that ends with a DC al fine, ABA. The last measure of A >is different the second time. If I use first and second endings for A, >what kind of barline do I put at the end of the last measure the first >time? A double thin? Hallo, Dennis. I'm not quite sure what rules govern this, but I would consider not using first- and second-time bars at all, but instead using the "Coda" system, similarly to what you sometimes see in Beethoven piano sonatas. He puts an instruction at the end of the Trio section of Scherzos or Minuets that goes something like "Da capo al segno, e poi la coda". (I may not have got that quite right, as I'm recalling it from memory without any reference handy). In your case, the "segno" you insert would be at the start of the final bar of the A section. To be sure, the "coda" in the Beethoven examples was a whole short concluding section, but I don't see why you couldn't use it for a single bar that is just a different version of the final bar for the "A" section. I have a Minuet movement in a sonata that I have yet to put into Finale, which requires *three* endings - because the "A" section in binary form with both halves repeated requires two versions of the final bar, and then there is a 3rd version of that bar for the final "Da capo" occurrence of the "A" section. I dread the battle I will face when I finally try to get Finale to do that, because it seems very unorthodox, and I suppose I will have to use 1st, 2nd, and 3rd endings. But for just two endings where it's not a conventional repeat, I would very likely use the "e poi la coda" system. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Things to be done in the middle of a bar.
[Robert Patterson:] >>I don't agree it is "very complicated". You can achieve the result >> you want >>(mid-measure keys/timesigs) using a few extra steps. The result is >> robust >>and works exactly as you would wish it to, including playback. >> >>Finale does permit e.g. 3/8 in RH and 9/16 in LH, where the barlines >> line >>up. (I don't understand what you mean by 9/19 meter.) > > Did I type "9/19"? It was a typo; I meant 9/16. Oh - I forgot to add just now: it was both those in the left hand, not one in the right and the other the left. I think that was when I mentioned Scriabin's 10 Piano Sonata, which does that near the end. It may sound confusing to read about, but the score is perfectly clear and readable, and entirely logical. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Things to be done in the middle of a bar.
[Robert Patterson wrote:] >I don't agree it is "very complicated". You can achieve the result you > want >(mid-measure keys/timesigs) using a few extra steps. The result is > robust >and works exactly as you would wish it to, including playback. > >Finale does permit e.g. 3/8 in RH and 9/16 in LH, where the barlines > line >up. (I don't understand what you mean by 9/19 meter.) Did I type "9/19"? It was a typo; I meant 9/16. >It will even playback >correctly. Check out Independent Time Signature in the staff dialog > box. >Where Finale truly presents "very complicated" challenges is if you > want >different meters with different barlines in different staves. (Think >Charles Ives for example.) Then there really is a great deal of tedium > to >accomplish it. Well, so far I don't think I need that (although I do recall years ago trying to write a piece in 4/4, but the two hands had permanently staggered bar-lines - and it made sense in terms of the rhythm I was using). But I have seen scores where some instruments are playing a fast, repeated figure in 3/8 time and other instruments are playing a slower theme in 4/4 time, and the barring is separate in these two sections, so that four 3/8 bars fit into one 4/4 bar - or similar. And it wasn't anything like Ives - I forget what, but it was a romantic, tonal symphony or something. And I have seen in Edgar Bainton's "Concerto Fantasia" a section where part of the orchestra is playing in 3/2 and another part in 4/4, with crotchets exactly the same in both, so that the bar-lines coincide sometimes, and don't at other times. Again, that is a romantic piece - nothing avant-garde. It is conceivable I could want to do things of that sort one day. I'll try looking at the thing you suggest, so thanks for that. But I am currently doing a piano piece where 4/8 and 12/16 play a roughly equal role, although one or the other may predominate at different times, and both may appear simultaneously at other times. I want to use each time signature strictly where it applies so as to make this dual aspect of the rhythm perfectly plain. I've already found out how to have 4/8 in one hand and 12/16 in the other (it plays back correctly, too, but mangles up if I try to copy and paste such passages anywhere); but I haven't yet found out how to make some of the key signature changes half-way through the bar, as is already required a couple of times; and there are one or two passages where both time signatures appear in one hand. I am suspecting that, if the last is possible, it will take some serious fakery. Would it work if I temporarily created three staves, so that two of them, for instance, can be assigned to the right hand, with the two different time signatures, and then, once I've filled in all the notes and other markings, I can put one exactly on the other, so that it looks like one staff - and I could then use a bit of graphic fiddling to hide the actual time signatures (which would be literally on top of each other once I superimposed the staves), and then put in a new graphic composite time signature for display and printing? To that end, can anyone please tell me how to create a temporary extra staff? I searched and searched in the help files on line and the 2009 manual for this, but couldn't find it - only a method for adding an extra staff for the whole piece, with bar-lines that don't join those in the two main staves, which I don't think is what I want - it seemed intended for adding a new instrument to the ensemble. Or do I have to do that, then remove the extra staff somehow from most systems that don't need it, and find a way of joining the bar-lines? Thank you. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Downloadable current manual.
[Raymond Horton:] >"when I finally got to creating the expression and >putting it into a score, it just kept trying to put a slur line > instead." > >Very sorry, but I lost track of who posted this. That's okay; it was I. >Windows Finale 25, I often >find the program will not put the expression or smart shape that I > want, >and will insist on putting only one. I have to exit Finale and start > it >again, or occasionally have to reboot. This has happened quite > frequently, >actually. Okay; thanks for that, Raymond. I'll try that and see if it helps. I was quite dumb-founded when I discovered how incredibly difficult it is to put in such a simple thing as a pedal marking, and wondered if I was missing something, or doing it the wrong way. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Things to be done in the middle of a bar.
That is rather disappointing and quite surprising to me, that these things can be accomplished only with a lot of very complicated fiddling around. I need to do all those three things moderately often in the music I compose. Key signature changes inside a bar are surely common enough that they should be a standard feature of a program like Finale. Perhaps one day they will add it. Repeat signs inside bars are just as common, too. Time signature changes inside bars aren't, I suppose - but the Beethoven example I gave was not just a sloppy practice of a composer notorious for his untidy manuscripts, but entirely, completely logical in the context. The 12/16 and 6/8 sections both start and finish with half-bars, and so the parts of the bars match up exactly. So I suppose if I ask whether it is possible to have two different time signatures in the same staff (such as 3/8 and 9/19 which can be found together in the left hand near the end of Scriabin's 10 Piano Sonata), I'm going to be told it's completely impossible, even in Finale, am I? [SN jef chippewa wrote:] >not really "mid-bar" change, more like butt-splicing different pieces >together, each with anacrusis and final "incomplete" measure. but >yeah achieved in the same multi-step tasks in finale. I don't think I agree that it's not really mid-bar. If you look at the passage, the half-bar before a change from 12/16 to 6/8 contains six semiquavers, grouped into two groups of three, and the half-bar after the change contains six semiquavers, grouped into three groups of two. It all adds up and I can think of no better way of notating that change. (The tempo changes, but I don't think that damages the logic of the situation.) >thanks for the reminder that i haven't listened to this piece in > awhile :P I first heard this sonata (no. 31 in Ab major, Op. 110) along with its predecessor, no. 30 in E major, Op. 109, as a child, on an L.P. played by Iso Elinson back around 1965, and it was like a window into a new world. I was obsessed with Beethoven, and this record was one of the earliest ones I got. I think the general style of notation I use was probably modelled on the Schirmer edition of the complete sonatas I got as a child, although I've done certain things differently to accommodate more modern musical styles than Beethoven used. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Downloadable current manual.
le, so I guess I'll probably let that go unless I later hear seriously good things about it. I have sort of got the impression (without any real evidence) that Sibelius is probably not as a good as Finale for some of the more unusual things I want to do. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] Things to be done in the middle of a bar.
In my early attempts to transcribe music (already written) into Finale, I am finding myself wanting to do several things in the middle of a bar which Finale appears, by default, to do only between bars. If anyone knows how to do these, I would be grateful for any hints. I cannot seem to find information on how to do these in the help pages, or even any evidence that they can be done within bars. 1. Change key signature. So far, I have found out only how to do it between bars. And is it possible to change the default double-bar for a between-bars key signature change that seems to be the default? 2. Change time signature. I realize this is unusual, but I think it can make sense in certain situations. For example, it can be found several times in Beethoven's 31st Piano Sonata, Op. 110, where, in the last movement, 12/16 changes to 6/8 mid-bar, then back and forth another couple of times, always mid-bar: http://hz.imslp.info/files/imglnks/usimg/a/a3/IMSLP51805-PMLP01488-Beethoven_Werke_Breitkopf_Serie_16_No_154_Op_110.pdf 3. Put opening or closing repeat marks (or a mark containing both the end of a repeat and the start of a new one) - possibly also in conjunction with first- and second-time bars for the repeat that is finishing. Are there any ways of doing these things inside a bar? In all cases, it is far preferable if it plays back correctly - but if this is impossible, correct notation is in the end paramount. But I am willing to do things a harder way if they will also play back correctly. Thank you. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] Downloadable current manual.
Hallo. Following links I was given when I joined here a week or two ago, I tried to find a downloadable manual, because I am not on line a lot of the time when I use Finale; but so far I have found a manual only from 2009, and, while a lot of what it says is applicable to the current version, some things appear not to be. Perhaps I got the links I was given mixed up, but I still haven't found a current downloadable manual yet. Is there one? - or do MakeMusic assume users are always on line? If anyone can please point me to it, I would be grateful. (And if someone has already point to this, I apologize - it will mean I have got my information mixed up somehow.) Thank you. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] VOT
[Barbara Touburg:] >What is the Dutch translation for "override"? I really can't find any. >It seems that it doesn't exist in my language. Thanks! Google Translate just seems to give "override", so it does seem a bit of a puzzle (it seems unlikely that the Dutch is also "override", so this may be a way for Google Translate to draw a blank). But does the ancillary information given further on the page I saw give you any ideas that seem right? - here: https://translate.google.com.au/?hl=en=wT#en/nl/override Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Just bought Finale - is downloadable manual available (or third-party books on Finale)?
Thanks for that, Lawrence and David. Lawrence, would you mind please giving me a link for the help file section you mentioned? I tried looking around on the Finale site, but might have been looking in the wrong area or possibly even the wrong site. David, I'll make a note of those books and see if I can find them. I will be glad if I am able to get answers here. But my purpose in wanting a manual was twofold: I would have something to refer to when I'm not on the Internet and able to post here; and also I do expect to have dozens and dozens of probably quite elementary questions, and it would save a lot of posting of fiddly little questions here (which have probably been posted dozens of times before) if I was able to find out at least the more basic things on my own. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] Just bought Finale - is downloadable manual available (or third-party books on Finale)?
Hallo. After many years of considering which music notation software to buy, and a decade or more of forgetting entirely about notation software, I have finally bought Finale. I have been on this mailing list earlier on (possibly still am but my account was turned off, and I have started a new one), and posted quite often for a couple of years, but may well be long since forgotten by now. Of course there are many things about Finale I will need to find out, and I hope I can ask about some of them here. But perhaps a reply to my first question will save me from having to ask many future questions here. It is simply this: is there an up-to-date user manual I can download from anywhere? The most recent one I found was from 2009, and, while I expect a lot of information there will still apply, I expect quite a bit will have changed also. I do not have Internet access at home - only when at my mother's or at the local library - so I will not be able to read the on-line manual at home - only at my mother's, because I cannot install and use Finale on the library computers. So am I likely to find a current manual anywhere? Or can I ask MakeMusic to mail me a paper copy? Or, failing that, are there any third-party reference books published on how to use Finale (preferably referring to the current version)? Thank you. Michael Edwards. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
