Wow... this one's a keeper!
Thanks Jari!
Steve P.
On 18 Feb 2013, at 10:16, Jari Williamsson
wrote:
> Hello!
>
> A new plug-in called "JW Staff Polyphony" is now available for download
> from the tips site.
> www.finaletips.nu
>
> It's for Finale 2010 and later versions and it's a multi-pu
> (Now, if he could only get me off the Igor Noteheads mailing list, then he
> would be a true hero!)
Me too!
Four years into daily Finale use I still hit things that were far quicker in
Igor.
Basic thinks like slur entry, dynamic entry, hairpin entry, proper linked parts,
ability to grab anyt
irely different beast for pro copying than any of them.
So.. what are you thinking?
(Asked with great interest because your plugs go a long way in turning Finale
into something!)
Steve P.
On 21 Feb 2013, at 13:57, Jari Williamsson
wrote:
> On 2013-02-21 14:02, Steve Parker wrote:
>
>>
I do this all the time. It usually works fine but is occasionally odd like
this.
My solution is to go back and forth between note-, rhythmic- and time-signature
spacing and update layout.
If that fails I delete the bars completely and do it again.
Steve P.
On 20 Mar 2013, at 09:58, Marcello
Used one without problem.
Steve P.
On 28 Mar 2013, at 17:15, Phil Buglass wrote:
> Anyone have any experience with the Korg nanokey2
> controllers? My comparison shopping seems to be
> leading in that direction. If anyone has horror
> stories about them, I would sooner hear them now
> t
I use a mix of tenor and bass to get the bass tone right. Sometime the GPO bass
sound is perfect but not for long at a time!
Steve P.
On 15 May 2013, at 18:38, Klaus Smedegaard Bjerre
wrote:
> I don't have the J&BB library, but the GPO and the band versions. The band
> version has light ver
I don't think there is any way without redoing.
I didn't answer before because I was hoping someone might know better.. :-(
Steve P.
On 17 Sep 2013, at 09:52, Dan Tillberg wrote:
> Interesting discussions about Finale's future; this is obviously topics
> that engages people. I am tempted to j
Maybe I'm alone in not wanting every program to do everything..
If I need to mock up or (increasingly) produce a high-quality audio version of
something then Digital Performer is perfect.
If I need players to play it or it needs to be published then I want absolute
control over what it looks lik
I think all staves in score must be showing and destination must have identical
staff setup.
Steve P.
> On 24 Sep 2013, at 07:01, Chuck Israels wrote:
>
> Copying from one document to another. The source has varied time signatures,
> but they are not copying to the new document. Copy All
another differing opinion..
I sightread a lot for a living, but I don't like cautionarys without
parentheses - I find they make my eyes skip back to the key sig. or original
accidental to check.
In keyless music, parantheses are usually redundant.
Steve P.
On 10 Nov 2013, at 20:27, Christopher
This is nuts!
Steve P.
> On 19 Nov 2013, at 15:36, Patrick Sheehan
> wrote:
>
> Courtesy accidentals (ANYWHERE) are for the weak. If you *need* them in the
> part, then that means you're not following the key signature. Back to
> school!
>
> patricksheehanmu...@gmail.com
> -Original Me
In my experience it is better to always use accidentals to cancel different
octaves. If it happens a lot, depending on the tonality of the piece, you may
not need parentheses.
Bb to B is an augmented octave.
Maybe a better solution is to write a genuine minor ninth of Bb to Cb?
Steve P.
> On
In the time signature dialog you can tick 'use a different time sig for
display' and set it to 2/2.
Also set time sig in document preferences to abbreviate cut common.
Steve P.
> On 8 Dec 2013, at 15:37, Martin Banner wrote:
>
> In Finale 2008, I have a movement in 4/2 time (marked alla bre
If it helps I have a similar scheme of costs on my website:
www.eisik.com
Steve P.
> On 10 Dec 2013, at 02:00, Shelley Huston wrote:
>
> I have a friend who needs a copyist for a set of 5 villancicos (carols), the
> longest of which is 7 parts and 244 measures, the others between 100 and 200
It's also only in equal temperament that the tonic of a mode doesn't assert
itself strongly. The idea (especially among jazzers..) that the modes are the
same pitches as major - only shifted - kind of creates the question in the
first place.
Steve P.
> On 13 Dec 2013, at 04:10, Douglas Brown
This is one of the things that would be helped with opaque empty text boxes
that could be set to the topmost graphics layer to hide things.
Always hoping that someone will tell me it's possible..
Steve P.
> On 19 Dec 2013, at 18:19, Christopher Smith
> wrote:
>
> Ossias (with the Ossia tool
No.. not better.. in addition too..
Create stave - use empty text box to cut away, so ossia can be as short as you
want.
Steve P.
> On 19 Dec 2013, at 23:03, Jari Williamsson
> wrote:
>
>> On 2013-12-19 23:41, Steve Parker wrote:
>> This is one of the things that would
If it's possible, how do I make an opaque text box?
I have a hundred uses for it!
Steve P.
> On 19 Dec 2013, at 23:03, Jari Williamsson
> wrote:
>
>> On 2013-12-19 23:41, Steve Parker wrote:
>> This is one of the things that would be helped with opaque empty text b
Can anyone try to open a file for me?
Finale says it can't open the filetype and the same with the .bak.
It opened fine five minutes ago..
Steve P.
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I've looked at the header in a hex editor and it is entirely different from a
finale file - closer to a web xml document.
Anyone have any idea how this could happen? Happened to anyone else?
Given that the actual data is not corrupt and only the header, is it
recoverable in any way?
Steve P.
__
I've worked with bassoonists who would rather a clef change for one note than
to read ledger lines. These players are happy to read B.C. ledger lines on
other instruments.
In the UK twenty or thirty years ago you could find pro big band or jazz bones
who couldn't read tenor. It's no longer the
I've also written, at least once (in a string quartet), ledger lines for the
purpose of awkwardness with a direction not to pencil in the notes.
An artistic choice where I'm happy if it's misread!
Steve P.
> On 15 Apr 2014, at 13:03, David Froom wrote:
>
>> On 14 Apr 2014, at 1:00 PM, Darcy
How about this?
http://www.eisik.com/examples/Example_Lead.pdf
Steve P.
> On 17 Apr 2014, at 05:40, Girard Bowe wrote:
>
> I'm trying to create a leadsheet for Benny Golson's Blues on My Mind, and
> there are rhythm kicks integral to the song. I wanted to notate them above
> the melody line a
If you need to notate pitch you can possibly use layers and reduce notehead
size.
Steve P.
> On 17 Apr 2014, at 05:47, Steve Parker wrote:
>
> How about this?
>
> http://www.eisik.com/examples/Example_Lead.pdf
>
> Steve P.
>
>> On 17 Apr 2014, at 05:40,
I always check every bar of every part. There's plenty to go wrong!
Steve P.
> On 22 Apr 2014, at 20:06, Steven Larsen wrote:
>
> When conducting a rehearsal for some pieces I recently arranged, two players
> discovered they were missing measures. The printed measure numbers at the
> beginning
Surely the point of asking here is to cut through the 16,000 with the hope that
some expert knowledge might be more useful...
> On 24 Apr 2014, at 03:26, Noel Stoutenburg wrote:
>
> Ryan wrote:
>> Are there any online cheat sheets on how to read medieval notation,
>> mensural notation, and what
Should have. Will dig it out.
Steve P.
> On 7 May 2014, at 12:45, Simon Troup wrote:
>
> Does anyone have a copy of Igor Engraver Classic? I'm presuming it's a
> music font for Igor engraver.
>
> It was used in an old score I've been tasked with updating but I don't have
> a copy of the font
I would use a double whole as per original.
I would split off the last movement to a new doc and change the default.
Steve P.
> On 16 May 2014, at 19:55, Martin Banner wrote:
>
> Ryan,
>
> I checked the Dolmetsch book, and if I read it correctly, yes, double
> whole rests are the standard
For me, Finale has a lot of gotchas here..
I make individual PDFs and then combine those.
Steve P.
> On 3 Jul 2014, at 18:42, Nick Raspa wrote:
>
> I have a string quartet prepared in an older version of Finale. I am
> currently working in Finale 2014 and I want to have the score and parts
> WEB: http://www.secretsocietymusic.org
>
>> On Jul 3, 2014, at 4:21 PM, Steve Parker wrote:
>>
>> For me, Finale has a lot of gotchas here..
>> I make individual PDFs and then combine those.
>>
>> Steve P.
>>
>>> On 3 Jul 2
and if you're on mac, then the built in Preview will do this.
> On 5 Jul 2014, at 15:24, "David H. Bailey"
> wrote:
>
>> On 7/5/2014 9:56 AM, Nick Raspa wrote:
>> Hello all,
>>
>> Thanks for all the input.
>>
>> I tried turning off the staff names in parts but that doesn't work. I
>> believ
FWIW I've had exactly the same.
Just one on my list of things to work out why it happens when I actually have
some spare time..
Steve P.
On 25 Jul 2014, at 23:27, Craig Parmerlee wrote:
> I had a problem last week where Finale 2014c would not let me adjust
> hairpins horizontally. I could dra
25/2014 6:30 PM, Steve Parker wrote:
>> FWIW I've had exactly the same.
>> Just one on my list of things to work out why it happens when I actually
>> have some spare time..
>>
>> Steve P.
>>
>> On 25 Jul 2014, at 23:27, Craig Parmerlee wrote:
>>
I'm coming to this late..
So Finale 2014 doesn't work with quicklook??
That would dealbreak an upgrade..
Steve P.
On 30 Jul 2014, at 20:44, Good, Michael wrote:
> Dear Dean,
>
> I thought from previous emails that you had already heard a lot about
> keyless scores and were looking for practical
ion of doing a major architectural upgrade to a
> rather old codebase. Users get the impression that there are few
> benefits for such a long wait. But the benefits are there -- they are
> just realized over a longer time horizon.
>
>
>
>> On 7/30/2014 3:59 PM, Ste
My solution for this kind of thing may not be the best but..
I will finish as much as possible then save several well-named copies of the
file. I can then rearrange staves and groups per page and collate them when
printed. You have to watch out for bar and page numbers.
Steve P.
> On 21 Aug 20
this fairly standard thing!
Steve P.
On 21 Aug 2014, at 10:56, Dennis Bathory-Kitsz wrote:
> On Thu, August 21, 2014 4:28 am, Steve Parker wrote:
>> My solution for this kind of thing may not be the best but..
>> I will finish as much as possible then save several well-named copies
Just being able to use Speedy without having to enter the last half of the bar
blind would be good.
Half a bar in 21st century software then back to the eighties….
Steve P.
On 12 Sep 2014, at 04:01, Girard Bowe wrote:
> Hi, Michael - I'm glad to hear that Finale will continue to be improved &
I’ve done this before by saving as many files as needed (for each variance of
multi-measure rest) after completing everything else.
Then just delete bars.
It can be a smaller kludge than having to deal with bar numbers etc.
Steve P.
On 8 Oct 2014, at 06:00, Robert Patterson wrote:
> For this p
> talking more about partially
> thought-out implementations in this case.
I still think that Finale (and Sibelius) are still screwing up implementations
of things like linked parts and magnetic layout that Igor Engraver had right
decades ago.
Igor had (severe) problems but was designed from t
I’m having a curious problem with slurs in layers other than 1 sticking if I
flip, so I end up with two.
The original one is not selectable.
Any one else?
Steve P.
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Hi John,
No!
Steve
On 22 Oct 2014, at 18:35, John Roberts wrote:
> Doesn't it disappear with a redraw?
> JR
>
> On 10/22/14 11:45 AM, Steve Parker wrote:
>> I’m having a curious problem with slurs in layers other than 1 sticking if I
>> flip, so I end up with tw
Found another oddity..
The wavy line for a piano spread chord seems to split up.
Steve P.
On 22 Oct 2014, at 18:35, John Roberts wrote:
> Doesn't it disappear with a redraw?
> JR
>
> On 10/22/14 11:45 AM, Steve Parker wrote:
>> I’m having a curious problem with slurs
's actually made up of one
> tilde-like glyph that repeats like a dashed line.
>
> Christopher
>
>
> On Wed Oct 22, at WednesdayOct 22 1:56 PM, Steve Parker wrote:
>
>> Found another oddity..
>> The wavy line for a piano spread chord seems to split up.
n many different tools.
>
> Christopher
>
> On 22-Oct-14, at 22-Oct-14 11:45 AM, Steve Parker wrote:
>
>> I’m having a curious problem with slurs in layers other than 1
>> sticking if I flip, so I end up with two.
>> The original one is not selectab
I use Twisted Wave.
Steve P.
> On 10 Nov 2014, at 18:27, Thurletta Brown-Gavins
> wrote:
>
> Thanks for the tip, John. I'll check that out as well.
> Thurletta
>
> --
>
> On Mon, 10 Nov 2014 John Roberts wrote:
>
>> I have used Amadeus for quite a while now. Like
Twisted Wave is fantastic.
Steve P.
> On 28 Nov 2014, at 08:50, Chris Bell wrote:
>
> Otherwise GarageBand is free.
>
> / C
>
> On Nov 5, 2014, at 1:59 AM, Graeme Gerrard wrote:
>
>> ? I am running Yosemite and Audacity 2.0.2.0 still seems to work fine.
>>
>>> On 4 Nov 2014, at 10:30 pm, Th
Or for those that wish their music to be sight-read safely during a session
costing £20,000+.
And a dozen other reasons.
Music is not an extreme sport where the ‘real men’ don’t use safety kit…..
Steve P.
> On 26 Nov 2014, at 18:45, Patrick Sheehan
> wrote:
>
> Let's hope so! Cautionary (and
I do a lot of sight-reading too, including an increasing amount of stuff
printed for audition from the internet in keys like E#..
Cautionarys without parentheses cause my eyes to skip back and check the key or
the previous accidental .
My preference is:
If the note is changed by the accidental,
> Surely this issue has something to do with the context. Highly chromatic
> music requires more frequent courtesy accidentals, and once you reach a
> certain point, parentheses simply become needless clutter.
Absolutely. Complex or non-tonal or non-ET is a different case.
But these things are
" The first order of business will be to shore up and modernize the systems and
processes we use for building Finale, which means we are not racing to release
another upgrade. Look for us to deliver several more incremental updates over
the coming year to improve stability and speed. We’re going
Is anyone else having trouble with text boxes in 2014d?
‘Part/Score Name’ insert disappears completely if I close and re-open a file?
Driving me nuts!
Steve P.
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To u
ut I can't rule it
> out.) I would reach a point in certain files where I simply could not add a
> text block to a page. The way I worked around that problem was to use my
> Page Title Mover plugin to move titles from a scratch doc onto the pages of
> my real doc.
>
> Robe
On a side note and if you’d not come across it:
Jari’s ‘JW Copy Part Layout’ plugin is tremendous and saves a huge amount of
time.
Steve P.
> On 30 Dec 2014, at 20:09, Aaron Sherber wrote:
>
> I've done that and *still* had Finale print a page differently than it
> appears on screen. Not oft
I’ve asked this before and tried the suggestions and put in a support request…
but maybe someone has sussed it.
Input name for Score in Score Manager.
Create text box with Part/Score name insert.
Lovely!
Close file.
Text box and insert gone.
Actual name for score in Score Manager also gone.
Arghh
7;re using but I find all of those fields in the File
> info section very quirky unless you *tab* out of the field once you've
> entered it.
>
> On Dec 31, 2014, at 5:12 PM, Steve Parker wrote:
>
>> I’ve asked this before and tried the suggestions and put in a support
Well, Finale seems to be having a funny New Year for me..
As well as the score and part names always disappearing, I now have space
systems evenly that positions systems increasing close as you get to the bottom
of the page.
I also have some bars where the notes all collide (in single instrument
I’d long been used to the blue one.
It would be nice to still have the option.
Steve P.
> On 18 Jan 2015, at 11:57, Darcy James Argue wrote:
>
> The old palettes were definitely broke — horrid and unprofessional-looking.
> YMMV but I think the new palette is a huge UI improvement.
>
> Cheers,
And the attached hairpins save a ton of time!
Steve P.
> On 18 Jan 2015, at 16:56, Linda Worsley wrote:
>
> I think what happens is that one gets used to the way a software works
> (especially when it works well) and when menus change, the look changes, or
> tools are renamed, it feels unfamili
Try Preferences: Edit: Respect Instrument Ranges
??
Steve P.
> On 23 Jan 2015, at 19:29, Don Hart wrote:
>
> Hi Everyone--Happy New Year,
>
> Got to the end of a bigger project and like a few others on this list,
> decided to break out 2014 (10.9.5 on a MacBook Air). I thought converting
>
For long periods of the same rhythm I use slashes, 8 bars a line or whatever is
structurally relevant, structural clues with thick barlines, big numbers at end
of line (in brackets) to indicate how many bars have passed.
Steve P.
> On 23 Jan 2015, at 15:06, Craig Parmerlee wrote:
>
> In most
It is the tradition for horns to write the parts transposed but
without key signature.
It is common these days to write key signatures for the horns and IMO
this should be done even if transcribing an earlier work.
Steve Parker
On 29 Oct 2010, at 13:42, James Cooper wrote:
I thought the
Fenton" wrote:
> On 29 Oct 2010 at 14:58, Steve Parker wrote:
>
>> It is the tradition for horns to write the parts transposed but
>> without key signature.
>
> It's not just tradition, but the only thing that made sense.
>
> But my question is *not* abou
Hi,
I'm finding that if I plug headphones (or unplug) whilst Finale is
running FInale hangs with a spinning disc.
Can anyone think of how this can happen?
I would have thought that Finale would have no idea if headphones are
plugged in or not?
Thanks!
Steve P.
_
FWIW...
Solved this by removing the .kext file for pocket audio.
Steve P.
On 19 Nov 2010, at 19:18, Steve Parker wrote:
Hi,
I'm finding that if I plug headphones (or unplug) whilst Finale is
running FInale hangs with a spinning disc.
Can anyone think of how this can happen?
I would
Hi,
I've adjusted expressions in the parts.
Is there any way to relink them to the score so that the score changes
rather than the parts?
Thanks!
Steve P.
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ave always found it quicker to workaround.
Steve P.
On 23 Nov 2010, at 19:21, Aaron Sherber wrote:
On 11/23/2010 1:06 PM, Steve Parker wrote:
I've adjusted expressions in the parts.
Is there any way to relink them to the score so that the score
changes
rather than the parts?
In general
Hi all!
Still on my track of trying to learn the stuff I've spent years
working round..
Is there a way to respell rhythms?
Say if I have a score with a ton of crotchet-tied-to-crotchet that I
would like to replace with minim?
Also, sometimes I paste and end up with wrong beaming.
Is the
Ugh.. the second question I know how to do.
The first I don't..
Steve P.
On 1 Dec 2010, at 11:35, Steve Parker wrote:
Hi all!
Still on my track of trying to learn the stuff I've spent years
working round..
Is there a way to respell rhythms?
Say if I have a score with a ton o
No, this doesn't do it.
Steve P.
On 1 Dec 2010, at 12:41, Darcy James Argue wrote:
Rebar Music.
Cheers,
- DJA
-
WEB: http://www.secretsocietymusic.org
On 1 Dec 2010, at 6:35 AM, Steve Parker wrote:
Hi all!
Still on my track of trying to learn the stuff I've spent years
more specific. In a bar of 4/4 with quarter,
quarter-tied-to-quarter, quarter, Rebar changes the middle pair to a
half note for me in a default document.
Christopher
On Wed Dec 1, at WednesdayDec 1 8:04 AM, Steve Parker wrote:
No, this doesn't do it.
Steve P.
On 1 Dec 2010, at 12:41, D
Who is the composer?
That would likely determine wether it is a tempered quarter tone or
notation for a just interval.
Steve Parker
On 21 Dec 2010, at 19:12, Barbara Levy wrote:
Hello, everyone.
I've run into a symbol on an oboe part that I've never see
Not sure there is much to be done.
I've always moved every one individually.
Steve P.
On 24 Dec 2010, at 07:49, "Matthew Hindson (gmail)"
wrote:
> Does anyone have any good general slur settings they would like to share?
>
> I am getting rather sick of the enormous height of slurs that Fina
ristopher
On Wed Dec 1, at WednesdayDec 1 8:04 AM, Steve Parker wrote:
No, this doesn't do it.
Steve P.
On 1 Dec 2010, at 12:41, Darcy James Argue wrote:
Rebar Music.
Cheers,
- DJA
-
WEB: http://www.secretsocietymusic.org
On 1 Dec 2010, at 6:35 AM, Steve Parker wrote:
Hi all!
Another (kludgy) way to do it is to copy each layer to a different
stave then use 'Piano Reduction' with midi note lower than the lowest
note (ie '1').
This will merge all to the treble stave then copy all to the stave you
want and delete extra staves.
Steve P.
On 26 Jan 2011, at 21:32, Ja
Thought it might be good to have a settings thread.
I usually use thicker lines than Finales defaults, barlines, ledger
lines, staff lines etc
One I can't live without:
Repeat Endings Inset.06944
Also text fonts etc
Steve P.
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Sure you get this already..
I add smart shapes of exactly the same length to multiple staves with filtered
PASTE.
Steve P.
On 28 Dec 2010, at 23:26, "Matthew Hindson (gmail)"
wrote:
> Thanks Jari for your latest plugins - I look forward to using them when they
> get to OS X. It's very gene
It is a pain!
Not crippling but a source of confusion if you take your eye off the
ball.
I can (kind of) understand it with MIDI keyboard entry, but it behaves
the same way using the laptop keyboard.
Steve P.
On 3 Jan 2011, at 23:02, Lee Actor wrote:
I work in a similar setup to yours, and
It makes much more sense for me to work with a transposed score.
If I input a C into an alto sax part I should hear an A in the correct
octave as I input.
Anything else is a bug.
Steve P.
On 7 Jan 2011, at 20:02, Patrick Sheehan wrote:
Working with a C score is like none other. Transposed s
Hi Guys,
I've been writing in Ben Johnston's notation (up to 7-limit).
I've used the non-standard and non-linear key signature to create 6
accidentals between each diatonic step in C major only.
Three only apply upwards and three downwards. I don't like the
redundancy here but think it's need
> default.
>
> Cheers,
>
> - DJA
> -
> WEB: http://www.secretsocietymusic.org
>
>
>
> On 7 Jan 2011, at 5:07 PM, Steve Parker wrote:
>
>> It makes much more sense for me to work with a transposed score.
>> If I input a C into an alto sax
I can't argue with the fact that people seem to want it the way it is!
I still don't understand why. If you want the pitch to line up with midi entry
then a C score seems the way to go, rather than audio a tone or a fifth etc.
wrong.
I also mostly don't use a midi keyboard for entry, just the la
I thought that James and Darcy wanted to use it as is.
Steve P.
On 8 Jan 2011, at 14:57, Raymond Horton wrote:
On Sat, Jan 8, 2011 at 5:01 AM, Steve Parker
wrote:
I can't argue with the fact that people seem to want it the way it
is!
No one on this list wants to use it the way
Has anyone achieved quarter-tone playback by this method?
I have no interest in 24ET but if you've managed that then I should be
able to at least get further than I have.
Thanks,
Steve P.
On 7 Jan 2011, at 22:47, Steve Parker wrote:
Hi Guys,
I've been writing in Ben Johnston&
hear C. Am I right? Because what you ask for is easily
obtained by just turning on Display In Concert Pitch, then turning
it off once input is done.
Christopher
On Fri Jan 7, at FridayJan 7 5:07 PM, Steve Parker wrote:
It makes much more sense for me to work with a transposed score.
If I
So, all options would be good!
I'll try to explain the problem as it manifests for me:
Sometimes I'll enter say some violin, then switch to Bb Clarinet,
enter a D written, hear a D concert, automatically delete the D
written and replace with a C written, hear the correct pitch (concert
C),
h Finale anymore because
it's far
more trouble than just asking somebody to play it. Sorry -- just
wanted to put
an answer in there.
Dennis
On Sat, January 8, 2011 10:26 am, Steve Parker wrote:
Has anyone achieved quarter-tone playback by this method?
I have no interest in 24ET but if
Being slightly clearer..
What I (and most other JI composers) want could be achieved by either:
Garritan allowing more than twelve notes per octave from the Scala
files (which do support this).
OR
Finale's Key Sig tool assigning an amount of pitch bend to each
accidental. It gets very c
A more general question..
Is it possible to save the non-standard key signatures I've created so
that they are available to any piece?
Steve
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If you make this change to your default file, it will always be there.
This is a pretty basic question on my part..
Do most start from a 'new default' document then add the title info
and instruments after?
Steve P.
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Thanks! Just one of the basic things I'd still not got to.
Steve P.
On 8 Jan 2011, at 17:07, Dennis Bathory-Kitsz wrote:
On Sat, January 8, 2011 11:32 am, Steve Parker wrote:
Is it possible to save the non-standard key signatures I've created
so
that they are available to any pie
creen. And I
would like to hear the sounding pitch from the computer at that
point, or if
I were to enter it from the computer keyboard.
--- James
On Sat, Jan 8, 2011 at 8:22 AM, Steve Parker
wrote:
I thought that James and Darcy wanted to use it as is.
Steve P.
On 8 Jan 2011, at
I've played a bit with this method.
The big drawback is needing to cancel the pitch bend after each
instance with another expression.
Finale is so close in already allowing any number of written
accidentals between diatonic pitches and also a different number for
each if wanted.
Steve P.
I understand this but, for a lot of us, looking at scores with parts
transposed one does imagine the real sound.
Steve P.
On 8 Jan 2011, at 17:47, marcellon...@gmail.com wrote:
Looking at director's scores with parts already transposed does not
give me to
me the "real" sound. My two cents,
e P.
On 8 Jan 2011, at 18:43, Noel Stoutenburg wrote:
Steve Parker wrote:
This is a pretty basic question on my part..
Do most start from a 'new default' document then add the title info
and
instruments after?
I generally use templates I've created myself, containing m
My last question for now I promise.
Can I get Finale to place the title and instrument name on each page
automatically?
Thanks,
Steve P.
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Thanks to all,
Works great!
Steve P.
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Well I'm working with linked parts, but now I've set it up it is
automatic for score and all parts 'Title, Subtitle, Part Name, Page 3/6'
On it's way to my template..
Steve P.
On 9 Jan 2011, at 00:02, dershem wrote:
Here's my question: Is there a way to have this set up in default
parts?
Try entering C69 rather than 6/9.
You may be happy with what it looks like, otherwise you will need to
define a new chord.
Steve P.
On 9 Jan 2011, at 00:18, dershem wrote:
For whatever reason, when I type in a 6/9 chord [Example C6/9] it
gives me something different [C6/G].
Why? How can
56:03 PM
Asunto: Re: [Finale] default file
I put my favourite default files in the Component Files folder, then
they show
up when I use the Setup Wizard as a style.
Christopher
On Sat Jan 8, at SaturdayJan 8 12:04 PM, Steve Parker wrote:
If you make this change to your default file, it will al
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