Re: [Finale] Omit letter J
Put in the marks until you get to the letter J. Control-click on the handle of this expression to make the context menu appear and choose Edit Rehearsal Mark Sequence. You can now restart the sequence at K. The same technique can be used to reset the sequence for a new movement. Michael On 11 Oct 2012, at 16:23, Robert Patterson rob...@robertgpatterson.com wrote: I am working on parts for a 19th cent. piece whose parts have to match the rehearsal letters in a printed edition of the score. Thus, I need to omit the letter J. Is this possible with auto rehearsal numbers? I know I could enter a fake J and hide it, but that would cause multimeas rests to break, right? Also, is there any way to reset the sequence for a new movement? Or should I just create a new rehearsal mark expression? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] LARGE TIME SIGNATURES
If you want one time signature for each section, the best way is to create a certain number of systems that only show time signatures. For these systems, you hide everything (staff lines, bar lines, etc.) apart from the time signatures. You set the systems which actually have music in them to not show time signatures. In Document Options Fonts set the font for Time (score) to something suitably large. With this technique, you have total flexibility in the vertical placement of the time signatures. Michael Cook On 21 Sep 2012, at 16:17, dr.a.s. weinstangel dr...@hotmail.com wrote: I've used to know how to create large time signatures (one for each section, rather than on each staff) in the score, but am now unable to do it. TIA for your help. Dr.A.S.Weinstangel sasha.weinstan...@utoronto.ca cel.647-292-4605 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Bb clarinet key signatures
As far as the simplify key command in Finale is concerned, 6 sharps is as simple as 6 flats. Combining this command with the correct transposition for producing Gb major in E major sections (a diminished third instead of a major second) should provide you with what you need. If you set the Bb clarinet transposition to: Simplify Key Interval: 2 Key Alter: -10 you should get all E major sections transposed to Gb major and all sections in other keys with the minimum number of accidentals in the key signature. Michael On 23 Jul 2012, at 03:41, Ryan wrote: Fin Mac 2012b Concert pitch is E major, thus the Bb Clarinet is in F# major. I'd like it to read as Gb major. Is there a check box I'm missing in the score manager dialog? I've chosen simplify key but it doesn't change anything. I've created a staff style with the correct Interval and Key Alter values. But, since the key signature changes frequently, I'd rather just make it a global setting for this document rather than apply the staff style for each passage. (I've already talked with the client about using a Clarinet in A, but it's not an option, unfortunately...) Thanks! ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] rests in layers
Yes: only use rests when absolutely necessary for clarity, or when the music is in strict counterpoint. Here's what Elaine Gould writes in her comprehensive guide to music notation, Behind Bars, in the section on part writing for keyboard instruments: Keyboard writing can move from a single line to any number of parts as required from beat to beat. (p. 310) To keep the stave as uncluttered as possible, use rests sparingly for additional parts: when both hands are already playing, the pianist does not want to read extra rests, except to clarify the placing of additional parts that have independent rhythm. (p. 311-312) Michael On 14 Jun 2012, at 11:25, Andrew Moschou wrote: Actually, no. Piano music can start/stop parts (layers) on a beat by beat basis. This is preferable in non-contrapuntal contexts and is usually perfectly clear. On 14 June 2012 17:51, SN jef chippewa shirl...@newmusicnotation.comwrote: needs rests ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] How do I insert 2 beats (part of a measure)?
Do you mean that all the music after the place where the two beats are missing is shifted two beats to the left? If that's the case, you can do this: - select all the measures from the one where the two beats are missing to the end of the piece. - drag and drop this selection two beats to the right. - at the appropriate place, paste in the two missed out beats. If you need to select part of a measure, you do it by drag selecting starting outside the staff. Michael On 1 May 2012, at 18:41, bill sinclair wrote: I don't know how it happened, but 2 beats got left out of the middle of my concert score. So I want to insert them in again. It's half a measure, so I can't use Add measure stack. Is there a quick and easy way to do that? The select part of a measure option apparently has been moved somewhere where I can't find it. bill sinclair billsi...@aol.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Whole Rests in Blank Notation
On 22 Apr 2012, at 09:54, Steve Parker wrote: It really can be a useful thing! I've never had a problem with signing to someone that the cue I'm giving is their cue rather than their entrance. Steve P. How do you show the musician difference between a cue and an entrance? Michael On 22 Apr 2012, at 00:07, John Howell john.how...@vt.edu wrote: At 10:02 AM +0100 4/21/12, Steve Parker wrote: If i'm preparing music for a recording where the players are sight reading it is often useful to write in helpful cues then as conductor to cue the cues rather than the actual entrance. Hmmm. As a player this would confuse the pants off me. (It would not be a pretty sight!) A conductor's cues are for entrances, period. And a really well-delivered cue can easily bring someone in at the wrong place, since the more confident you look the more they will question whether their counting was off! John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music School of Performing Arts Cinema College of Liberal Arts Human Sciences 290 College Ave., Blacksburg, Virginia 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html Machen Sie es, wie Sie wollen, machen Sie es nur schön. (Do it as you like, just make it beautiful!) --Johannes Brahms ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Wide fermata
You can certainly get hold of a score of Cosi Fan Tutte at http://imslp.org/ If the score is correctly engraved, you will see a long fermata over the whole of measure 26 in the Terzetto N° 2. The rhythm is dotted half note - quarter note, for Ferrando, Guglielmo and all the violins. In this case I simply go from beating in 2 to beating in 4, using the left hand to clearly indicate the two notes for the violins. There are surely other ways to notate what Mozart wanted, but this way is perfectly clear, at least for an orchestra used to playing opera. In Aaron's case, I see no problem with the wide fermata. I'd add dictated since it apparently accompanies dance moves. On 11 Feb 2012, at 19:24, John Howell wrote: At 11:32 AM +0100 2/11/12, Florence + Michael wrote: Wide fermatas are old notation: Mozart used them, for instance. In his operas you can find instances of wide fermatas over two or more notes. In most cases it's the singer who has several notes while the orchestra holds one note, but there are cases where the fermata extends over more than one note in the orchestra parts as well (for instance Cosi Fan Tutte, N° 2). Here Mozart writes colla parte. Thanks for that. I had never seen it, and I'd be curious about how it was written (or engraved). But in Mozart's case (and most other 18th century composers, for that matter), a fermata was very specificlly used to indicate where the soloist was to improvise a cadenza. (It was also used, of course, to indicate a Fine point after a Da Capo.) So in the case you describe, I would suspect that for the soloist it was a cadenza indication (which would, of course, break the tempo), while for the orchestra it might be an indication NOT to cut off and leave the soloist alone, which would otherwise have been the default behavior. Could you possibly give an example? The only score I actually have at hand is the piano-vocal score to Don Giovanni. Just to clarify my original point, I wasn't saying that this (or any other notational convention) should NOT be used, but that the composer might want to ask whether he or she is writing for musicians who will understand it and interpret it appropriately. And no matter where or when this may have been used, or by whom, it still isn't standard practice. (If it were, Finale would include it, right?!!) John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music School of Performing Arts Cinema College of Liberal Arts Human Sciences 290 College Ave., Blacksburg, Virginia 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html Machen Sie es, wie Sie wollen, machen Sie es nur schön. (Do it as you like, just make it beautiful!) --Johannes Brahms ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Wide fermata
In the parts it's the same as in the score (at least in the Bärenreiter edition): the violins (who play a dotted half + quarter) have a long fermata extending over the whole measure, the other instruments (who play a quarter on beat one followed by rests) have a long fermata extending over the rests. On 12 Feb 2012, at 20:29, SN jef chippewa wrote: and in the parts? You can certainly get hold of a score of Cosi Fan Tutte at http://imslp.org/ If the score is correctly engraved, you will see a long fermata over the whole of measure 26 in the Terzetto N° 2. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Wide fermata
Wide fermatas are old notation: Mozart used them, for instance. In his operas you can find instances of wide fermatas over two or more notes. In most cases it's the singer who has several notes while the orchestra holds one note, but there are cases where the fermata extends over more than one note in the orchestra parts as well (for instance Cosi Fan Tutte, N° 2). Here Mozart writes colla parte. I'd create the fermata in a graphics program and import it. On 11 Feb 2012, at 04:48, Aaron Sherber wrote: On 2/10/2012 12:20 PM, John Howell wrote: And unless you know that you are writing for musicians who are familiar with new notational conventions, I would urge you NOT to invent new signs, or new meanings for old and understood sings, which then have to be explained in text. If I came across Aaron's wide fermata I would have no idea at all how to interpret it, but I would NOT interpret it as he means it. Hmm. I take your point, John, but I'm quite sure that I'm not inventing this notation and that I've seen it in other scores. I want to say it was in vocal music, where the voice has a few melismatic notes over a held note in the accompaniment. That would be a situation very similar to the one I have, except that the vocal notes weren't dictated. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [OT] what is correct baseball bat notation?
There's also a recording of the piece, which could give additional insight into the composer's wishes. Go to the link originally given: http://www.marcgosselin.fr/compositeur/pour-instruments.html and click on the playback arrow next to Fantasme (as already stated, ouvrir will open a PDF of the piece). In this interpretation it sounds as if the baseball bat player (maybe the composer himself? - no information is given) is not observing the fermatas. On 4 Feb 2012, at 06:08, Darcy James Argue wrote: On 3 Feb 2012, at 1:41 PM, Whittall, Geoff wrote: I think a key question to answer, before you worry about the notated duration of the note, is what is the bat hitting (or, what is hitting the bat)? Did no one read the score Jef sent? It's in French, but he helpfully provided a translation. The performance instruction on the Baseball Bat staff reads: on the viola, with conviction and passion. Cheers, - DJA - WEB: http://www.secretsocietymusic.org ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Different Bar Lines in Same Score's Measure
For the moment all I can think of is this: Hide certain bar lines with a staff style, then replace them with graphic bar lines created with the Expression tool. Michael On 18 Jan 2012, at 11:30, Giovanni Andreani wrote: I apologize for the double thread; I'm reposting this message thank's to Dennis' advice about not clicking on an old thread for creating a new one. I need to show two different bar lines in two different staves in the same measure. The staves are grouped together. The measure attributes will change all of the bar lines in the same way and it looks like there's no way to create a staff style with such a behavior. Is there any way to accomplish this? Giovanni Giovanni Andreani www.giovanniandreani.eu ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Changing Maestro Default file in Fin12
When I look at the info for my Maestro Default File, the Hide Extension flag is greyed-out, but not set: I think this means that the file simply doesn't have an extension. I'd try omitting the extension. Michael On 12 Jan 2012, at 18:28, Robert Patterson wrote: I am trying to replace the Maestro Default File in Finale 2012, but it appears to have an extension other than .mus (in MacOS). The problem is that the Hide Extension flag is set in get info and the os won't let me change it. What's is the extension for Maestro Default File now? Or should I just omit the extension? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] measure width for whole rest (empty) bars
Ryan, This is a limitation of Finale. Whatever value you give for minimum measure width, Finale gives as much space for the default whole measure rest as it would for a whole note. However, you can remedy this with Jari's plug-in: JW Space Empty Rests (hey, why didn't he tell you that?). You'll find it on the Downloads page at his site: http://www.finaletips.nu/index.php?option=com_phocadownloadview=sectionsItemid=2 Best wishes, Michael On 30 Dec 2011, at 03:09, Ryan wrote: Thanks for your advice, but I'm still getting whole rest measures that are wider than measures with music in them. Minimum Measure Width: 0 spaces Maximum Measure Width: 1365.29167 spaces (I entered 10,000 and Finale lowered it to that value). Try this in a default document: Meter 2/4. No key signature. First measure, half note A-nat, Second measure, whole rest, Third and Fourth measures, eighth rest, Ab eighth note, quarter rest. (Pick an Ab lower in the staff so that the stem goes up and Finale adds space for the flag.) Apply note spacing. In my document the space of the half note measure is 7.04167 spaces, the empty measures is 10.5 spaces, and third and fourth measures are is 10.29 spaces. Where does Finale get the the width of 10.5 spaces for the empty measure? I'd like it to be skinnier so that it more closely matches the 7-spaces-wide measure with the lone half note in it. On Thu, Dec 29, 2011 at 5:43 PM, Darcy James Argue djar...@earthlink.netwrote: Hi Ryan, Your maximum width is set artificially low (which you did not mention). You should make it as big as Finale will allow. This setting doesn't seem to have any bearing on Finale's default measure width for a single measure of rest. It does if your minimum width is smaller than your maximum width. That value has to be somewhere, right? You can specify how wide you want a multi-measure rest, so I think you should be able to specify how wide you want single measure rest. Minimum measure width is in fact the variable that governs what you want. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 29 Dec 2011, at 5:38 PM, Ryan wrote: That didn't work, Darcy. It created the opposite of what I want. Did you perhaps mean to tell me to change the *maximum* width? That's already set at 75 spaces. This setting doesn't seem to have any bearing on Finale's default measure width for a single measure of rest. That value has to be somewhere, right? You can specify how wide you want a multi-measure rest, so I think you should be able to specify how wide you want single measure rest. On Thu, Dec 29, 2011 at 5:00 PM, Darcy James Argue djar...@earthlink.netwrote: Hi Ryan, You want to make the minimum width larger, not smaller. Try making the minimum width 150 points or similar. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 29 Dec 2011, at 4:56 PM, Ryan Beard wrote: I've tried that. Even with a minimum width of 1 space the empty measures are still wider than adjacent measures with music in them. On Dec 29, 2011, at 12:35 PM, Jari Williamsson jari.williams...@mailbox.swipnet.se wrote: On 2011-12-29 00:32, Ryan wrote: How do I globally change the default width for measures with default whole rests in them? All the steps I've taken so far have not changed anything. Change the minimum width and respace. Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notion music notation software for iPad
Apparently Notion for iPad cannot edit lyrics. Here's a comparison between Notion and Symphony Pro: http://techinmusiced.wordpress.com/2011/12/17/a-preliminary-comparison-of-notion-and-symphony-pro/ From that article: Notion 1.0 doesn’t allow for lyrics–but it CAN import lyrics. If you write a song with lyrics using another program (e.g. Finale, MuseScore, Sibelius) that has the ability to export MusicXML files, you can import (but not edit) those lyrics in Notion. Michael On 17 Dec 2011, at 23:11, Michael L Meyer wrote: David -- I've played with it a bit so far too, and it's very impressive. However, is it only instrumental tracks/staves? When I was checking out starting a new document, I didn't see any category that wasn't instruments. Anyone else who's been playing with the app, I'd love to hear if I've just missed something. The vast majority of my work is in choral/voice. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] rehearsal letters not showing
The answer is probably to be found in the score list for the Rehearsal Marks category. In the Expression Selection dialog, click on Edit Categories to get to the Category Designer. Have a look at the score list for Rehearsal Marks. Michael On 13 Nov 2011, at 10:40, Haroldo Mauro Jr wrote: On a finished score, I added two new parts: flute and tenor sax. The linked parts created for these instruments do not show rehearsal letters, as all the others do. I tried unlink and then relink to parts one of the letters (text expression) in the score. No use. Any suggestions? Thank you. Harold ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fin2012 upgrade
A full install is more than two and a half gigabytes (it's the Garritan sounds that take up most of the space). The installer needs to download those gigabytes from MakeMusic to your computer, taking more or less time depending on your connection speed and how busy the MakeMusic server is. On Mac there are two problems with the installer: first, it adds two zeros to the percentages, showing from 100% to 1%, and second, its estimate of the time remaining is wildly wrong. After a few minutes it told me that there was about a minute left until completion. It kept telling me this for two hours, which was unsettling. After a bit more than two hours, the installation was complete, which is normal for my internet connection and the size of the files. Michael On 22 Oct 2011, at 01:34, dershem wrote: A friend upgraded me (very nice of him - I guess when you do charts for people, they occasionally pay you back in unexpected ways!), but when I went to install, it froze. Froze solid. I downloaded the upgrade, and got to the screen where it says Installing - Please wait while Finale 2012 is being installed (which is actually bad grammar), and since then, it just sits there and stares at me. Re-try from scratch, or...? Any advice? cd -- http://members.cox.net/dershem/index.html http://projectselene.com === Email scanned by PC Tools - No viruses or spyware found. (Email Guard: 7.0.0.18, Virus/Spyware Database: 6.18500) http://www.pctools.com/ === ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Scrolling bar by bar in FM2012?
In order to scroll one bar at a time on Mac OS Lion, you can install Smart Scroll. It's free to evaluate from http://marcmoini.com/sx_en.html and I highly recommend it: using the default settings for right/left scrolling you can advance or go back one measure at a time using the keyboard. Michael On 12 Oct 2011, at 10:30, Klaus Smedegaard Bjerre wrote: Thanks! Yes, those were what I meant. I had upgraded to Lion on my Macs on the first day back in July. Which may be the core of the problem, as I had set scrolling to jump by the full page. I came to remember that and changed the system to scroll to the point where I click. So by clicking right next to the scroll marker, I now can make the small moves. Klaus Sendt fra min iPad Den 12/10/2011 kl. 09.59 skrev Bernard Nussbaumer bernard.nussbau...@gmail.com: Klaus, do you mean these triangles in the red circles in this picture? http://www.box.net/shared/iabop7g7j0ch300c00tj On WinFin2012, I think it hasn't moved. A click on them (in Scroll View) moves the score one bar left or right. I often use the Keyboard-shortcut to go to any measure. (Windows): in Scroll View, Alt-U, then enter any number, Enter. Bernard 2011/10/8 Klaus Smedegaard Bjerre yorkmaster...@yahoo.com Working on some counterpoint lines it would be practical for me to go back one or two bars to the left in scroll view. But I don’t see the small left and right triads to click like I used to. The score jumps by almost a full screen with. (My tech English is bad, so I likely use wrong terms). Klaus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] onward -two remaining questions
Look at the Speedy menu. - If Insert Notes Or Rests is selected, pressing a number key when the cursor is on a note will insert a note before the selected one. - If Insert Notes Or Rests is _not_ selected, Speedy will change the duration of the selected note when a number key is pressed. Michael On 24 Sep 2011, at 23:08, Christopher Smith wrote: On Sat Sep 24, at SaturdaySep 24 1:56 PM, Katherine Hoover wrote: I've spent some time and learned a lot - and I'm encouraged by those who say working in 2011 is easier in the end. There are 2 important things which are still eluding me: 1. I still can't turn finale's own audio on. I've got my midi keyboard working for input; but I need the finale audio for quick proofing. 2. Though I've hunted around under speedy and other commands I cannot find where to connect the number keys 3 4 5 6 etc. so that I can simply tap one to change a note from one length to another - such as quarter to an eighth. Almost there, I hope! Katherine I can't help you with the first, but what you describe in Speedy hasn't changed at all. If the Speedy tool is selected and the Speedy frame is open on a measure and the cursor is on a note, hitting 5 changes that note to a quarter note. If it doesn't, then there are serious problems with your system. Are you SURE you are in Speedy? Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
I've already seen this marking in baroque music: in a string part it denotes a measured Bogenvibrato, a change in intensity (not in pitch), created with the bow. Basically you should play the notes completely legato, in the same bow stroke, with a effect on each note. If it were written in a keyboard piece, it would signify a Bebung on a clavichord. Michael On 1 Sep 2011, at 19:00, Guy Hayden wrote: Neumann says this mark means Vibrato. Guy Hayden --Original Message- From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of Kim Patrick Clow Sent: Thursday, September 01, 2011 11:25 AM To: finale@shsu.edu Subject: [Finale] O.T. 18th century notation question Good day kind Finale users! I have a question about an Ordonez symphony source. There is a squiggly line above two notes, almost like a tie, but it's not. It's used several times and my editor and publisher is stumped by it (and he's a violinist). Any guesses? A screen shot is viewable @ http://i.imgur.com/6YbcE.png Thanks very kindly Kim ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OS X Lion
I find that if I click in the space next to the Number of Beats slider, it moves by one position, increasing or decreasing the number of beats by one. It gets a bit tricky to hit the space when decreasing from three to two beats: in this case, I find it quicker to move the slider left to the one beat position, then click once to the right of it. Michael On 26 Jul 2011, at 22:35, Darcy James Argue wrote: Hi Justin, One thing you might add to the OS X Lion compatibility page is that there is now a UI issue with the Time Signature dialog box. With the elimination of clickable scroll arrows, the Number of Beats and Beat Duration slider must now be dragged. (I find this a bit annoying as dragging the slider by just one position can be finicky.) Otherwise (knock on wood) no problems with Fin2011 + Lion so far. Of course, Fin2011 isn't Lion-native so it doesn't support 10.7's incremental auto-save or resume features -- you might also want to mention that on your info page. http://ht.ly/5NU1u Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 20 Jul 2011, at 1:37 PM, Phillips, Justin wrote: Here's our findings: http://makemusic.custhelp.com/app/answers/detail/a_id/4448/ -Original Message- From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of Darcy James Argue Sent: Wednesday, July 20, 2011 11:55 AM To: finale@shsu.edu Subject: [Finale] OS X Lion Hi all, So, anyone try installing the new OS yet? Obviously I'd be interested to hear about any issues with Finale -- especially considering that only Intel-compatible versions of Finale will run on Lion. Cheers, - DJA - WEB: http://www.secretsocietymusic.org ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OS X Lion
Finale isn't working at all for me with Lion. After downloading and installing Lion, I launched Finale 2011. I got a message saying that Java Runtime was needed. That's normal. Java was downloaded and Finale launched OK. However, now it crashes each time I try to launch it. I'm waiting for a reply from tech support, but maybe somebody here has an idea. I've already trashed the preferences and plist files: what else could I try? Best wishes, Michael On 20 Jul 2011, at 18:54, Darcy James Argue wrote: Hi all, So, anyone try installing the new OS yet? Obviously I'd be interested to hear about any issues with Finale -- especially considering that only Intel-compatible versions of Finale will run on Lion. Cheers, - DJA - WEB: http://www.secretsocietymusic.org ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Mac Scanner Acrobat question
If it used to work with Acrobat and still works with Preview, then it seems likely that the problem is with Acrobat. Have you tried trashing all preferences and .plist files for Acrobat? You could also look for other versions of the driver, from either Epson or Adobe. Michael On 26 May 2011, at 12:38, Johannes Gebauer wrote: To the wisdom of the list: I have an Epson Stylus DX4250 All in one machine, which I use only as a scanner. It used to work just fine, but the combination of MacOS 10.6.x, Acrobat 9.x and the available scanner driver doesn't work any more (and hasn't for over a year): When scanning black and white in Acrobat, a preview scan works fine, but the real scan aborts after 2 seconds. The scanner driver seems to crash. My questions: Does anyone know of a fix? Or, alternatively, do other scanners still work with this combination in Acrobat, or is there a problem in Acrobat itself? Note that scanning through Apple Preview works fine, but simply doesn't cut it for me. I occasionally have to scan 100s of pages of music, and Acrobat is far better. Currently I do this through Acrobat 7, which works fine, but is not Intel optimized and painfully slow. Johannnes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: grace note interpretation in von Weber
Coming before the two note figure it should certainly be a short grace note (see Leopold Mozart's Violinschule or Daniel Gottlob Türk's Klavierschule). In this situation, two sixteenths followed by an eighth would be an unusual rhythm: if Weber had wanted it to sound that way, he would have written it out, as Beethoven did in the last movement of his first piano concerto (in this piece Beethoven uses both the written-out notation to indicate the two sixteenths + eighth rhythm and the notation with grace note to indicate the short snap). The old treatises disagree if such short grace notes come on or before the beat (C.P.E. Bach's examples show them on the beat whereas Leopold Mozart's show them before the beat): use your own musical taste! I think that in fact it should be so short that it would be hard to tell the difference between on and before the beat. Michael On 26 May 2011, at 18:50, Ryan wrote: Hi List, A little unsure about the proper interpretation of this grace note in a Carl Maria von Weber tune. Clicking the link will download a 32KB jpg: files.me.com/ryanwbeard/dsc94z Should the grace note come before the beat? Or should it come on the beat, making the resulting rhythm 2 sixteenths followed by an eighth? Thanks! ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Horn in B natural
Ryan, You must be entering the numbers in Key Signature transposition. Note that I specified Chromatic transposition. I also specified that the staff should be set to have an independent key signature of C major. If you follow my steps exactly, you will have a staff for Horn in B natural with no key signature, no matter what the key of the piece is. Your numbers (8 and -5) work for Key Signature transposition. In this case, in order to ensure that the horn part has no key signature you'd need to give it an independent one of B major (unless the piece is already in B major, which it may well be). Michael On 11 Mar 2011, at 00:06, Ryan wrote: Michael, I think your intervals are off. When I tried your settings, Finale gave me what amounts to Horn in Ab (with the wrong key signature). On Thu, Mar 10, 2011 at 1:48 PM, Florence + Michael launay-c...@gmx.netwrote: If it's a horn in B natural alto, it's written a minor second higher than it sounds. For Finale, this means setting: - Chromatic Transposition - Interval 2 - Alteration -1 If it's a horn in B natural basso, then you'll need to set 9 for the interval. The alteration will still be -1. Also set the staff to have an independent key signature of C major. Michael On 10 Mar 2011, at 22:29, Lawrence Yates wrote: Alright, i give up! I want to write out a part for horn in B natural (with no key signature) No matter what I do, I can't get Finale to do this. What do I need to put in the transposition box to make it give me a horn in B natural. Can someone please put me out of my misery.. Thanks, Lawrence -- Lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Horn in B natural
If it's a horn in B natural alto, it's written a minor second higher than it sounds. For Finale, this means setting: - Chromatic Transposition - Interval 2 - Alteration -1 If it's a horn in B natural basso, then you'll need to set 9 for the interval. The alteration will still be -1. Also set the staff to have an independent key signature of C major. Michael On 10 Mar 2011, at 22:29, Lawrence Yates wrote: Alright, i give up! I want to write out a part for horn in B natural (with no key signature) No matter what I do, I can't get Finale to do this. What do I need to put in the transposition box to make it give me a horn in B natural. Can someone please put me out of my misery.. Thanks, Lawrence -- Lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Ignore barlines
Go to Document Options Notes and Rests and change the value for Spacing Before Music. If you set this to zero, the first note of the measure will be stuck to the barline, so its better to just reduce it to maybe half of the default value. You can also set a negative value for Spacing After Music, so by trying out different combinations for these two settings you should be able to achieve the result you want. Michael On 26 Feb 2011, at 17:02, Andrew Parks wrote: Is there any way to get Finale's music spacing (Apply Note Spacing) routine to ignore barlines? What I need is for the barlines to still print, but no extra horizontal space to be allotted for them. Why would I make such a crazy request, you ask? I'm working on some hymns. If you look at older, hand-engraved hymn books, most of them employ this spacing technique. With several layers of lyrics, you usually have to steal as much horizontal space as you can to get everything to fit properly, so *not* leaving extra (wasted) space for barlines is one way to accomplish this. I've tried making the barlines invisible and re-spacing. This helps a little, but not enough. If I could somehow take out the barlines, respace, and put them back in (being careful not to re-re-space!) that might be an option, but it seems like that might have other unintended side effects. Have any of you had to do this? --Andy Parks ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] dotted notes
I have the Henle Urtext edition of that Nocturne, which should reproduce Chopin's notation: as far as I can see it is the same as in that example. We're discussing dotted notes that share noteheads: you can see some in measures 33 - 35. Another nice example is given the Nocturne in F# minor, opus 48 Nr. 2. The Henle Urtext edition shows a dotted half note sharing a notehead with a half note in the first measure. In measures 7 and 8, triplet eighth notes share noteheads with half notes or dotted quarter notes. I'm sure this was how Chopin wrote it. Other editions have tried to correct Chopin's notation, see for instance here: http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0073868 Putting aside the question of whether we should accurately reproduce Chopin's shared noteheads or not (I think we should), I'd say that the double notehead in measure 1 is OK, but the double noteheads in measures 7 and 8 are clumsy and hinder the reading of the passage. Michael On 8 Feb 2011, at 05:00, David W. Fenton wrote: On 7 Feb 2011 at 13:28, Steve Parker wrote: Found one on the web. http://www.music.informatics.indiana.edu/media/don/chopinnocturnediffd urs_context2.jpg There is so much 'technically' rhythmically wrong and unclear here. Of course it is perfectly clear and expressive. Imagine writing it as played and it feels like a different piece The F# Nocturne -- I played it. I don't know what your point is by citing it. It doesn't at all relate to the topic we were speaking about -- it introduces a whole host of unrelated issues (so far as I can see). And that's the Paderewski edition, which does not necessarily represent what was in Chopin's autograph. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] dotted notes
Ah yes, I'd forgotten how rude and condescending you can be. Why can't you just state your point of view without insulting people? Pertaining to how sure I am, I won't go into all the details of how many Chopin facsimiles I've seen or what I know about Henle Urtext editions: I'll just say that I would bet a considerable sum of money on those particular beamings and shared noteheads being the same in the Henle edition and in Chopin's manuscript. I'll also point out, once more, that the example Steve posted is indeed directly related to the original discussion, since it contains noteheads shared by dotted notes. Michael On 8 Feb 2011, at 14:26, David W. Fenton wrote: On 8 Feb 2011 at 10:33, Florence + Michael wrote: I have the Henle Urtext edition of that Nocturne, which should reproduce Chopin's notation: You seem to have a naïve idea about what a Henle Urtext actually is. It still has editorial changes to it, even though the Urtext designation would tend to make one think that it doesn't. And that often includes things that are considered notationally incidental (as this might of might not be for any particular editor). as far as I can see it is the same as in that example. We're discussing dotted notes that share noteheads: you can see some in measures 33 - 35. Another nice example is given the Nocturne in F# minor, opus 48 Nr. 2. The Henle Urtext edition shows a dotted half note sharing a notehead with a half note in the first measure. In measures 7 and 8, triplet eighth notes share noteheads with half notes or dotted quarter notes. I'm sure this was how Chopin wrote it. In other words, you've looked at Chopin's autograph, or a reproduction of it? If not, you have no basis at all for being sure of what Chopin wrote! At least, not for any definition of sure that I Other editions have tried to correct Chopin's notation, see for instance here: http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0073868 Putting aside the question of whether we should accurately reproduce Chopin's shared noteheads or not (I think we should), I'd say that the double notehead in measure 1 is OK, but the double noteheads in measures 7 and 8 are clumsy and hinder the reading of the passage. I'm agnostic on one or the other. I'm just a stickler for precision in the question of what notational practices derive from the composer. You can't assume anything about that unless you're looking at the composer's own hand, or (to a lesser extent), at an edition that is known to have been supervised by the composer. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] clef change and beaming
If it's possible, make the clef change where a beam already breaks, between two beats or between two phrases. If extremes of range force you to put a clef change in the middle of a beamed group, don't break the beam: it's important to show that the rhythmic grouping continues. If you break the beam, it could look as if a break in phrasing is desired. A beam broken in the wrong place can also hamper sight-reading, particularly if there are groups of very short values: if I'm playing passages in 32nd notes I want to see how they fall into beats. Michael On 4 Feb 2011, at 20:50, dc wrote: Does it make sense to break a beam after a clef change? Someone suggested this for a better legibility, and I see the point, but don't know if is permissible or not. Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] clef change and beaming
Well, yes, that corresponds to what I said: if it's possible, make the clef change where a beam already breaks, between two beats or between two phrases: if the phrasing already dictates a beam break, by all means put the clef change there. But if no break in phrasing is desired, it's a mistake to break a beamed group with a clef change. Michael On 5 Feb 2011, at 19:27, John Howell wrote: At 9:54 AM +0100 2/5/11, Florence + Michael wrote: If it's possible, make the clef change where a beam already breaks, between two beats or between two phrases. If extremes of range force you to put a clef change in the middle of a beamed group, don't break the beam: it's important to show that the rhythmic grouping continues. If you break the beam, it could look as if a break in phrasing is desired. Ah, but sometimes a break in phrasing IS desired. It's pretty common in baroque music for a given instrument to be outlining two separate, contrapuntal parts simultaneously, say a soprano and alto harmony or pedal point, or even a soprano and bass line with larger leaps. Many modern players don't play it that way, making it all linear, but it's there all the same. And it's the larger leaps that should trigger a clef change, if indeed one is actually needed. I am strongly opposed to gratuitous clef changes just to make the page look prettier! It impedes sightreading. If it's really needed, of course, that's different. I wish we could see an example of the original passage. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] dotted notes
I've seen all those situations. The least common one seems to be two different dotted values: not because people use two noteheads in this situation (they usually don't), but simply because two dotted notes of different values on a unison doesn't happen as often as the other cases. One dotted value and one undotted value is very common. It's specially useful for repeated patterns. In 6/8 time you often have broken chords in quavers with the first note of each group of three held down for the length of a dotted crotchet (Schumann, Abegg variations, finale, for instance). As a pianist I don't think twice about this: I read the figure with the shortest note values and see the notes that have to be held longer. Elaine Gould also gives an example where a minim (half-note) shares a notehead with a crotchet (quarter-note): the notehead stays white. She says this is acceptable in the context of repeated patterns and I agree with her. If you can get your hands on a copy of Debussy's Etudes pour le Piano, have a look at N° XI, pour les Arpèges composés: shared noteheads with no dots, single dots, double dots... not always self-consistent but I don't think any pianist has doubts about what Debussy wanted. Michael On 4 Feb 2011, at 08:54, dc wrote: Thanks again to all for the comments on this. Michael wrote: I just leafed through some of my piano music: Henle Urtext, Wiener Urtext, Bärenreiter and other renowned European publishers. Two different valued notes sharing a notehead is a common occurence: putting double noteheads in all those places would clutter up the music unnecessarily. Are you referring to the specific situations I was asking about 1) one dotted value and one undotted value 2) two different dotted values Or simply 3) two different undotted values (say a quarter and and eighth)? Thanks again, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] dotted notes
I recently received my copy of Behind Bars, Elaine Gould's definitive guide to notation. She says that a dotted note and a note without a dot may share a single dotted notehead, unless this makes the rhythms ambiguous, in which case you should use separate noteheads. For the example you give, if it's a keyboard piece I think a shared notehead would be OK. But it's correct as you wrote it (you may also place the dotted notehead before the other one if you prefer). For your second example, Gould says that if both parts share the notehead, you only need one dot. If you have two noteheads, each one needs a dot. In cramped conditions the dots may be placed vertically one over the other in two different spaces, but otherwise it's better to separate the noteheads and put a dot after each notehead. For your example, I'd stay with the single notehead and single dot. Michael On 3 Feb 2011, at 16:26, dc wrote: I don't assume it's kosher to have two voices with only one notehead (and two stems), with a dot that only applies to one note. But I don't seem to find any confirmation of this in my reference books. Would the proper solution be to move the dotted note to the right and have two noteheads, as here? http://dl.dropbox.com/u/15830163/dot.jpg But then what does one do when both noteheads need a dot, but the values are different, such as in the following case - a unison between two voices with a dotted 8th and a dotted quarter: http://dl.dropbox.com/u/15830163/dots.jpg Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] dotted notes
I've been dipping into Gould's book since I received it about a week ago. I would certainly recommend it: I have found answers to almost all the questions I could think of, although sometimes it may not be immediately evident where to look. For unisons there are 14 different pages or page regions referenced in the index: in fact the second one led me to dotted unisons, which covers the questions you asked and more (what to do with dotted unisons on ledger lines, for instance). I don't have the courage to read the book from cover to cover, but I shall keep dipping in, either more or less at random or prompted by a particular question. I'll let you all know if I find anything that shocks me, or if I _don't_ find something that I think ought to be in there. For the moment I'm very impressed. Michael On 3 Feb 2011, at 18:05, dc wrote: Florence + Michael écrit: I recently received my copy of Behind Bars, Elaine Gould's definitive guide to notation. She says that a dotted note and a note without a dot may share a single dotted notehead, unless this makes the rhythms ambiguous, in which case you should use separate noteheads. For the example you give, if it's a keyboard piece I think a shared notehead would be OK. But it's correct as you wrote it (you may also place the dotted notehead before the other one if you prefer). For your second example, Gould says that if both parts share the notehead, you only need one dot. If you have two noteheads, each one needs a dot. In cramped conditions the dots may be placed vertically one over the other in two different spaces, but otherwise it's better to separate the noteheads and put a dot after each notehead. For your example, I'd stay with the single notehead and single dot. Many thanks, Michael. Would you recommend Gould's book? It seems to have answers to our questions! Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] dotted notes
I just leafed through some of my piano music: Henle Urtext, Wiener Urtext, Bärenreiter and other renowned European publishers. Two different valued notes sharing a notehead is a common occurence: putting double noteheads in all those places would clutter up the music unnecessarily. Context is everything. I wouldn't do this on a part where two wind instruments share the same staff, for instance, but pianists are used to music written this way. Michael On 3 Feb 2011, at 22:22, Steve Parker wrote: The note with stem up needs to be before the note with stem down. I seem to be in a minority.. but to me the idea of two distinctly valued notes sharing a notehead is just bad. As far as I see the only decision to be made is wether you can neatly have the noteheads touching with the dots close enough OR wether to have the down-stemmed note after both the note and the dot. I think this second version is almost always preferable. Steve P. On 3 Feb 2011, at 17:10, Noel Stoutenburg wrote: dc wrote: ... And I think having two noteheads would be more confusing and harder to read. I don't think there's a need for two noteheads in this situation, though if the time values were doubled, there obviously would be. However, if one were to decide to use two noteheads, I would be inclined to put the note with the longer duration, and its dot, after the note with the shorter, so that the fact that the rhythms of the two outer voices coincide is visibly indicated by the appearance on the page. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [OT] german for Edited by / Score design
Yes, Herausgegeben von is Edited by. I don't think I've ever seen the engraver credited on a score, but I think Gestaltung is OK. Or you could just say Design, which is also used in German. Michael On 31 Jan 2011, at 06:42, John Howell wrote: At 2:49 AM +0100 1/31/11, SN jef chippewa wrote: trying to find the best terms for the new edition of pression (lachenmann). i did the score but some of the notation, descriptions etc were done / corrected / improved by a cellist directly with the composer and also in discussion with me. i am thinking it could be: Gestaltung / Design - jef chippewa / shirling neueweise Edition / Editing - Lucas Fels am thinking of using Gestaltung / Design because Notensatz / Engraving seems to be too neutral in this case. any other ideas? or does this work? Design works well for me, considering that European copyright still has (I think) a copyright term for exactly that. For some reason it's stuck in my mind that Edited is Herausgegeben, but I could be completely wrong. I don't think I have a score handy right now to check. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
On 28 Jan 2011, at 16:49, Robert Patterson wrote: How about all the songs in the fake books. Jazz standards, Beatles, and the like. Yes. Something like Over The Rainbow or Yesterday should fit the bill. MIchael On Fri, Jan 28, 2011 at 8:32 AM, Richard Yates rich...@yatesguitar.comwrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Jazz chord names
These look like what you're after: http://www.sengpielaudio.com/ChordNameFinder.htm http://tools.markabout.com/cspell3.htm I don't know how good they are: maybe some of the the list members will play around with them and give their opinions. Michael On 27 Jan 2011, at 01:55, Matthew Hindson (gmail) wrote: Forgive if this is a dumb or simplistic question, but does anyone know of such a thing on the 'net wherein you can specify letter names and it will give the variety of jazz chord names for such a chord? Thanks in advance Matthew ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 5 more Mac plug-ins
Great! I tried the Merge Layers, Keep Line and Merge Articulations on my Mac (Intel Core 2 Duo, OS 10.6.6, Finale 2011c ): everything seems fine. Michael On 16 Jan 2011, at 12:23, Jari Williamsson wrote: Hello! These plug-ins are now also ported to the Mac: * JW Topline Notation * JW Tie * JW AlphaNotes * JW Merge Articulations * JW Keep Line Download at the Finale tips site, Downloads section, Plug-ins for Mac subsection. www.finaletips.nu Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] {Spam} default file (another question)
The reason for having two copies is to allow different user accounts to have different default settings. When a user starts using Finale, the files are copied to their user library. I don't know which location is more obvious to those not in the know: it may be a problem of the Mac OS that there are similar-looking folders called Library in different places. I think MakeMusic are right to have different copies of the default files for different users, so that when one user edit their defaults the other users are not affected; the problem is that it's too easy to come across the originals of these files and edit them instead of the copies in your user account. If you do this, first of all it won't have any effect on your Finale defaults, and second it _will_ have an effect when somebody subsequently uses Finale for the first time in another account. It would be better if the original default files were contained in the application package itself: then the only default files that a particular user could find and edit would be in their own user account. Michael On 10 Jan 2011, at 10:50, David H. Bailey wrote: On 1/9/2011 8:57 AM, Florence + Michael wrote: In that case, the pagesizes.txt that Finale is using is not the one you edited. The page sizes menu in the Setup Wizard is constructed from the pagesizes.txt file. On Mac, if you're using Finale 2011, you have to edit the file in the library in your user folder, not in the main library. And the reason they would have two different copies of the same file, one obvious to the user but the one the program really reads from in a different location is . . . ? -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] {Spam} default file (another question)
It could be that you also need to edit pagesizes.txt to put A4 at the top: my pagesizes.txt is already so edited. Michael On 9 Jan 2011, at 10:33, Steve Parker wrote: Mine shows it exactly as you describe. However, if I don't independently reselect the document style then I don't get A4. I don't have to select the page sizes only reselect the doc style. Steve P. On 9 Jan 2011, at 04:21, Florence + Michael launay-c...@gmx.net wrote: The Setup Wizard should open with the page size defined in the default Document Style. Also, if you have changed the page size in any particular Document Style, you should see this page size automatically selected when you select that style in the list on the first page of the Setup Wizard. Here's what I did: in my Document Styles folder I first replaced the Engraved Style document by Engraved Style (European), then edited this document to my taste, including changing the page sizes for score and parts to A4. My Setup Wizard now shows A4 when I open it. Michael On 8 Jan 2011, at 23:53, Rafael L. Junchaya wrote: I remember that the changes made in the default file applied also to the Setup Wizzard. I have changed the page sizes, in the score and parts, of the Maestro default file, also in the Engraver document style files, from Letter to A4, which we use here. I have also moved the A4-page size definition in pagesizes.txt to the top of the list, but everytime I open the Setup Wizzard it insist in showing Letter as the default sizes for score and parts, even though it is the second in the list. Is there a way to really change the default size in the Setup Wizzard? I cannot explain this behaviour. Thanks for your replies. Rafael Leonardo Junchaya :rjunch...@yahoo.com http://www.myspace.com/rjunchaya +358 452791949 De: Christopher Smith christopher.sm...@videotron.ca Para: finale@shsu.edu Enviado: sáb, enero 8, 2011 10:56:03 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 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. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] {Spam} default file (another question)
For the moment I don't know, but maybe we can work it out. When you open the setup wizard: - what document style is selected? - what page size is selected? Michael On 9 Jan 2011, at 11:52, Steve Parker wrote: I've already done this. I removed US Letter completely from this file. I still have to deselect then reselect the document style and only then do I get A4 - without touching the page sizes. Any other ideas - there may be some basic, obvious thing I've never learnt. Steve P. On 9 Jan 2011, at 09:53, Florence + Michael wrote: It could be that you also need to edit pagesizes.txt to put A4 at the top: my pagesizes.txt is already so edited. Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] {Spam} default file (another question)
More questions: What page size is selected _before_ you select String Quartet? Once you have got the page sizes menu to read A4, can you still find US Letter in it if you click on it? Michael On 9 Jan 2011, at 13:44, Steve Parker wrote: open setup wizard - select string quartet (already linked to a homemade doc style which includes score and parts at A4 size) But.. the page sizes say US Letter even though it is not in my pagesizes.txt! If I just click on my doc style it still doesn't change. I have to click on a different style and then back on to my doc style, then A4 is automatically selected. Steve On 9 Jan 2011, at 11:06, Florence + Michael wrote: For the moment I don't know, but maybe we can work it out. When you open the setup wizard: - what document style is selected? - what page size is selected? Michael On 9 Jan 2011, at 11:52, Steve Parker wrote: I've already done this. I removed US Letter completely from this file. I still have to deselect then reselect the document style and only then do I get A4 - without touching the page sizes. Any other ideas - there may be some basic, obvious thing I've never learnt. Steve P. On 9 Jan 2011, at 09:53, Florence + Michael wrote: It could be that you also need to edit pagesizes.txt to put A4 at the top: my pagesizes.txt is already so edited. Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] {Spam} default file (another question)
In that case, the pagesizes.txt that Finale is using is not the one you edited. The page sizes menu in the Setup Wizard is constructed from the pagesizes.txt file. On Mac, if you're using Finale 2011, you have to edit the file in the library in your user folder, not in the main library. Michael On 9 Jan 2011, at 14:41, Steve Parker wrote: What page size is selected _before_ you select String Quartet? Letter Once you have got the page sizes menu to read A4, can you still find US Letter in it if you click on it? Yes - and all the others deleted from my 'pagesizes.txt' Steve ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] {Spam} default file (another question)
It should default to the first page size in the list. Make sure that this is exactly the same as the one in your document style. Michael On 9 Jan 2011, at 15:59, Steve Parker wrote: In that case, the pagesizes.txt that Finale is using is not the one you edited. The page sizes menu in the Setup Wizard is constructed from the pagesizes.txt file. On Mac, if you're using Finale 2011, you have to edit the file in the library in your user folder, not in the main library. You are correct! I'd edited one in a backup file. Now though it defaults to 'custom' and I have the same behavior of having to deselect and reselect the doc style. Thanks for help! Steve P. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Score help
Maybe I can help. How big is the file? Michael On 9 Jan 2011, at 16:10, Steve Parker wrote: Is it possible to send a score file to someone? I have an issue that seems like a bug and a general question. Finally enough of a break in between work to get my chops up.. Steve P. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: Playback in transposed scores while entering notes
Whether I work with a C score or a transposed one depends on the source I'm using: If I'm given a C score to transcribe, I'll enter the music in a C score. If I'm given a transposed score, I'll enter the music in a transposed score. When I'm working with a transposed score, I would much prefer to hear the music I'm entering at concert pitch. The way it works at present gets particularly annoying if the instrument in question has a large transposing interval: if I'm entering music for baritone sax, for instance (transposition a sixth + an octave), the music sounds far too high and squeaky as I'm entering it. If I use the Garritan baritone sax, some notes won't make any sound at all when I'm entering them, being above the range of the sample sounds. Clearly many of us want the option to hear concert pitch sounds while entering notes in a transposed part. Is somebody from MakeMusic reading all this? Should we all write letters expressing our wish? Michael On 8 Jan 2011, at 17:43, David Froom wrote: Gosh, what I've started... To sum up, many of us would love to have this as an option. Display in concert pitch is not a great option for me, because if one is thinking in transposed pitch, the eye and the ear get out of whack that way. There are dozens of reasons for writing and thinking in C scores -- many fine composers (Prokofiev?) wrote C scores. There are dozens of reasons for writing and thinking transposed scores. It isn't necessarily a pianist/non-pianist issue (I'm a pianist who has learned to think in transposed scores). For me the issue is seeing and thinking the way the performer will. It is important for me to get myself in the performer's head. If I don't do this, I make stupid errors of judgement. But that's me. There isn't a right and wrong. Finale is something we love because it gives everyone plenty enough rope to hang themselves -- almost everything is controllable and customizable. And, in fact, everything is possible, if you can be inventive enough. For now, I'll just have to double-transpose, or to turn the volume down. David ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] {Spam} default file (another question)
The Setup Wizard should open with the page size defined in the default Document Style. Also, if you have changed the page size in any particular Document Style, you should see this page size automatically selected when you select that style in the list on the first page of the Setup Wizard. Here's what I did: in my Document Styles folder I first replaced the Engraved Style document by Engraved Style (European), then edited this document to my taste, including changing the page sizes for score and parts to A4. My Setup Wizard now shows A4 when I open it. Michael On 8 Jan 2011, at 23:53, Rafael L. Junchaya wrote: I remember that the changes made in the default file applied also to the Setup Wizzard. I have changed the page sizes, in the score and parts, of the Maestro default file, also in the Engraver document style files, from Letter to A4, which we use here. I have also moved the A4-page size definition in pagesizes.txt to the top of the list, but everytime I open the Setup Wizzard it insist in showing Letter as the default sizes for score and parts, even though it is the second in the list. Is there a way to really change the default size in the Setup Wizzard? I cannot explain this behaviour. Thanks for your replies. Rafael Leonardo Junchaya :rjunch...@yahoo.com http://www.myspace.com/rjunchaya +358 452791949 De: Christopher Smith christopher.sm...@videotron.ca Para: finale@shsu.edu Enviado: sáb, enero 8, 2011 10:56:03 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 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. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Playback in transposed scores while entering notes
I have the same problem, and no solution. On 3 Jan 2011, at 22:44, Lawrence Yates wrote: I have whinged about this in the past - it's a ** nuisance which means I have to work from a score in C because the sounds Finale plays as I enter notes in a transposing score put me off. I wish it were fixable. If you find a way, please, please tell me. Cheers, Lawrence -- Lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Ossia problems in 2011
Welcome to the joys of ossia measures. The ossia measure is disappearing because you have attached it to the scratch staff. When you double click to create the ossia measure, make sure that you double click on a real staff, one that is not going to be hidden. In the Ossia Measure Designer you can change the source staff, but you cannot change the staff to which the ossia has been attached: once you've double-clicked on a staff, the ossia is attached to this staff for ever. all the best, Michael On 11 Dec 2010, at 08:28, delius...@aol.com delius...@aol.com wrote: I have never done an ossia in Finale before, let alone 2011. I followed the instructions, adding a scratch staff, marking my source measures, etc. However, in the process to hide the scratch system, it also hid the ossia itself! Does anyone know how to work around this issue? Thanks, Michael Wittenburg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Bill Duncan Smart Line question
There's Times+Musical by Matthew Hindson, but it's regular, not bold. If you want to download it (Mac only) from his site, it's free: http://www.hindson.com.au/wordpress/free-fonts-available-for-download/ Michael On 25 Nov 2010, at 22:34, Chuck Israels wrote: Hi Ryan, I'm not sure you can change the font for part of the text (like you can in Finale for the last few versions), once you are in Bill's Smart Line editor. If anyone knows that this is possible and how to do it, that would surely work. Otherwise, maybe there's a font that combines text and music symbols and looks enough like Times New Roman Bold (which is what I think Bill's BTimesBold is) that it would work. Advice appreciated. Chuck ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] smart shapes and parts
Yes, you're right and it's a pain. The only solution I've found is to do as you say: have a score file and a parts file. I've already said all I could about this to Makemusic, giving examples. Do complain to them as well! Michael On 24 Nov 2010, at 20:25, David Froom wrote: Dear collective wisdom, Is it really true that smart shape horizontal adjustment in the parts (to shorten a hairpin, for example) MUST always be linked to the score? That is, a hairpin crescendo under a half note in the part (which is fairly short) MUST be the same length as that same hairpin in the score (where that half note could be holding against 16th notes in another part, and would, therefore, need to be much longer)? I can't believe this is by design. Is it programming laziness? Or some quirk of the program that is impossible to get around? I know that I can get around it by having a score file and a parts file -- and by adjusting nearly every hairpin in the parts. If this is a feature of Finale, it is both stupid and sad. David Froom FinMac 2011 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: historical use of C clefs for voice parts
I recently received the conductor's score of Gounod's Faust (Henschelverlag Berlin, 1972). I was surprised to find C-clefs used for the voice parts in a score this recent: all female voices are written in soprano clef and the tenors in tenor clef. I thought this practice had died out in the 19th century. Can anybody point me to detailed information about the history of the use of C-clefs? And does anybody know of other 20th century editions that use them for voice parts? Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical use of C clefs for voice parts
On 6 Nov 2010, at 19:22, John Howell wrote: Gounod is hardly what I'd call a recent composer, since he died in 1910. And that score is undoubtedly a reprint of a much earlier edition. Of course Gounod isn't a recent composer, but that edition is recent and certainly not a reprint of an earlier edition. It was completely new in 1972, edited by Fritz Oeser who put back passages that Gounod had cut before the premiere. According to Gérard Condé in his book on Gounod (Fayard 2009), Oeser even changed things to suit his own taste, for example taking a chorus from the third scene of the last act and inserting it into the first scene of that act. I'm perfectly used to seeing C-clefs in voice parts in older scores, but this is the first time that I've come across them in a recent edition where the music has clearly been newly engraved for that edition. It just seems weird. The Urtext editions I have from around the same period (Neue Mozartausgabe, for instance) use G-clefs for sopranos and tenors. Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
The last time I had to mark up a set of orchestral parts from a critical Bärenreiter edition of a Mozart opera, there were two sets of horn parts. The horn players told me they preferred to use the parts written as in the original, without key signatures. As to David's original question, I would think that the key signature was just a mistake made by a careless engraver. Michael On 30 Oct 2010, at 02:57, John Howell wrote: At 8:22 PM -0400 10/29/10, David W. Fenton wrote: On 29 Oct 2010 at 16:53, Chuck Israels wrote: That is the explanation I expected, but it's hard for me to swallow the reasoning that this tradition should hold for modern valved horns and not for trumpets - more or less modern valved bugles. Conventions and traditions don't have to be logical, and often are not. And you might not like them, but that won't change them. I would be interested to know what the part sets that go with modern critical editions have in them, i.e., if they have both natural horn parts in C and parts notated with a key signature for horns in F. As you know, most modern part sets are reprints of public domain sets, so those normally have only the original parts. But Luck's, Kalmus, and perhaps others have made a point of preparing and publishing sets that include transposed parts for modern standard instruments, including clarinets in Bb, trumpets in Bb, and horns in F, and quite often trombone parts in bass clef as well. Highly experienced orchestral players often prefer to read from the original parts, feeling (as do many early music players) that they provide information that's lost in a modern edition. Critical editions are a different animal, and I'm not sure how those sets are handled. Since they are also almost always much more expensive than the reprints (especially the Bärenreiter editions), I usually see the reprint parts. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 6 flats instead of 6 sharps
The usual transposition for a Bb instrument is Interval 1 and Key Alter 2, meaning one step up and add two sharps. You need the trumpet part to be written in Gb major, so the settings should be two steps up and enough flats to cancel the four sharps of E major and create the six flats for Gb major. Use Interval 2 and Key Alter -10. Michael On 30 Oct 2010, at 11:17, Stan Lord wrote: Trying again, A few years ago I had to ask the same question and I got the solution. There was and easy answer which involved changing a number - like 6 to 7 - which would make the key sig flats instead of sharps. Stan Begin forwarded message: From: Stan Lord amus...@me.com Date: 28 October 2010 07:06:34 GMT+01:00 To: Finale@shsu.edu Subject: [Finale] 6 flats instead of 6 sharps Reply-To: finale@shsu.edu MacFin 2010. I have a piece in E major and the tpt transposition comes out as 6 sharps. How can I change this to 6 flats. Stan Lord ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] An Old Font Question
Use Font Book to get rid of duplicate fonts. Michael On 16 Sep 2010, at 22:50, Neal Gittleman wrote: Sorry to retread old ground... I just got a new system (MacBook Pro) and am opening a FinMac2k10 file for the first time. I have that annoying it's-not-the-right-fonts problem that always/often seems to pop up in these situations. I know there's something I need to trash or something I need to reinstall but I don't remember what it is. Can someone refresh my memory? Thanks! Neal Gittleman ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Corrupted file?
If your new version from the template satisfies your needs, that's fine. But one open document should not affect another. Have you checked the state of the Spacing Widths dialog in the bad file? Does it still have an empty spacing library? In case one open document really is affecting another (it shouldn't, but just to be sure), I recommend you try this: - Open only the bad file. - Check the state of the Spacing Widths dialog - If you haven't loaded any library into the file or changed a setting in the Spacing Widths dialog since you posted the file on your site, you will find that Use Spacing Width Table is selected, and when you click on Widths... you will see in the Duration Allotments dialog that only one duration is defined, with value zero for both duration and spacing width. - Now if you load a spacing width library, or set the option Use These Values, you can continue using the old file. Michael On 25 Aug 2010, at 23:55, Richard Huggins wrote: ...add it takes another odd turn I opened a new document (a template) and inserted the misbehaving file into it. No problems so far, but here's the oddity: the bad file also is open and is behaving perfectly. Should I presume that the template had the spacing library needed, loaded it into the program and that because of that the old file is now spacing correctly? It seems useful to note that on no other file did I use the template, or use Insert to create a new copy of the file. Richard On Aug 25, 2010, at 12:35 PM, Florence + Michael wrote: Look at Document Options - Music Spacing - Spacing Widths. The file is set to use a spacing width table, but the spacing width table is empty. Either load a spacing width table from the libraries, or set the option use these values in the Spacing Widths dialog. Michael On 25 Aug 2010, at 05:14, Richard Huggins wrote: On Aug 24, 2010, at 8:38 PM, Richard Huggins wrote: That should have been http://www.richardhuggins.com/finale/we_gather.mus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Corrupted file?
Have a look at measure attributes. It could be that Position Notes is set to Manually (by Dragging). If that's the case, change it to Using Beat-Chart Spacing. Michael On 24 Aug 2010, at 02:06, Richard Huggins wrote: I fear corruption in a file where if I make *any* edit to a measure of music, all the notes of that measure pile up on top of beat 1. Anyone have a clue or a tip? Richard Huggins ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] document styles?
This is a recognised bug in Finale 2011. The configuration files have a new location in Finale 2011. Finale should copy all the necessary files to ~user/Library/Application Support/MakeMusic/Finale 2011/ but in some cases this doesn't work correctly. To make things worse, there are several pages in the manual that still give the old location (I've alerted MakeMusic about this). The solution is to be found here: http://makemusic.custhelp.com/app/answers/detail/a_id/4085/ Download the copyFinale2011files.tool from the link on that page and run it. All the best, Michael On 24 Jul 2010, at 22:55, Klaus Smedegaard Bjerre wrote: Your problem appears to be similar to an oddity in my installations of FM2011 on my 2 OS10.6.4 Macs. Only the very application Finale 2011 goes to the applications’s folder. The Finale 2011 folder sits in a Library folder in what is called klaussmedgaardbjerre’s personal computer, where it cannot be searched by Finder’s search function. FM2011 works for me but for the fact that I cannot create new documents with the set-up wizard. My work-around is working from a template, which I can expand by means of the set-up wizard. As I see it this is bug in FM2011. Klaus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Message bar in 2011
The preference setting for the Message Bar is in Program Options New. Michael On 19 Jun 2010, at 04:00, Klaus Smedegaard Bjerre wrote: Obviously I upgraded to 2011. Only finished one smaller project so far and have not run into disasters yet. However I am annoyed by a minor detail. As I remember it, previous versions allowed some sort of preference setting, so the Message Bar never showed. Now it pops up every time I open a document and I have to remove it via the View menu. Any more permanent ways to make it disappear. Klaus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2011 Review
For new music? If you do a lot of music with lyrics, I'd say get it. It is much, much easier and faster to get good lyric spacing with the new version. For me, the upgrade is worth it for this improvement alone. Apart from that, the improvements in the way staff spacing is handled are very welcome, even if they may not be quite so important for a seasoned user. For new users, these changes should make staff spacing easier and more intuitive: they will never have to learn the process of optimization. I find it very useful that now you see all the music moving in real time with a staff when you move it up or down. Michael On 4 Jun 2010, at 19:02, Dennis Bathory-Kitsz wrote: On Fri, June 4, 2010 12:02 pm, Jari Williamsson wrote: I've posted a Finale 2011 Review (with a few usage tips as well) on the Finale productivity tips site: http://www.finaletips.nu Biggest question not answered: Is it worth getting? For new music, that is. I installed 2010 but only used it once (didn't get my money's worth there, that's for sure) -- still using 2007. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] What is the name of this piece?
In novels, three asterisks in a row on a line of their own indicate a change of scene, or time passes. Maybe interlude could be another suitable title for the piece in question? Michael On 1 May 2010, at 05:20, Richard Yates wrote: The contents page of Leopoldo Miguez's 12 Pecas Caracteristicas looks like this: http://www.yatesguitar.com/misc/MiguezTOC.jpg What is the title of piece #8? I seem to very vaguely recall this being a symbol for something (but my brain may be making that up!). Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] composers and new effects
On 17 Mar 2010, at 21:28, Andrew Stiller wrote: There's at least one exception to that. In an early-19th c. French book about the proper pinning of barrel organs, there's a detailed illustration of the pinning for a barrel to play the overture to The Marriage of Figaro. When the illustration is transcribed into MIDI and played back, the music turns out to be in very distinct (and rapid) notes inégales. Fascinating. Do you know where I could find a copy of that MIDI file? Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] extracting a movement
Instead of deleting measures, use the page layout tool to delete systems. Optimization and distances between systems/staves will move with the music. Michael On 11 Mar 2010, at 08:50, dc wrote: What's the easiest way to extract the last movement of a piece to make a separate edition of it? The most obvious solution - deleting all that precedes - loses all the optimization and the layout. (The only changes in layout required are on the first page of music, since I have to add a title, etc.) Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] removing unwanted changes
If I remember rightly, I just did a copy and paste. I had already set up the correct time signatures in the new file. If you import one of the measures such as you posted into a standard default file with copy/paste, is the spacing problem still there? Michael On 21 Feb 2010, at 16:31, dc wrote: Florence + Michael écrit: I don't think removing changes with special tools will help, since the beat charts are irregular in the examples Dennis gave. I had this problem with a file I was sent. I made a new empty template and imported the music from the original file into it: that did the trick. I tried that also. But how did you import the music? I didn't send the file to tech support: maybe you should try that. I will when I hear back from the guy who sent me these files. Perhaps he has some clue as to what he did. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] removing unwanted changes
Yes, generally copy and insert is preferable. But in this case I specifically wanted to get rid of the spacing anomalies in the original document. I don't know if pasting instead of inserting was what made the essential difference, but in any case I got the result I wanted: the new document spaced correctly. Michael On 21 Feb 2010, at 19:08, Darcy James Argue wrote: Copy and insert is much more reliable than copy and paste when copying across documents. Cheers, - DJA - WEB: http://secretsociety.typepad.com On 21 Feb 2010, at 12:58 PM, Florence + Michael wrote: If I remember rightly, I just did a copy and paste. I had already set up the correct time signatures in the new file. If you import one of the measures such as you posted into a standard default file with copy/paste, is the spacing problem still there? Michael On 21 Feb 2010, at 16:31, dc wrote: Florence + Michael écrit: I don't think removing changes with special tools will help, since the beat charts are irregular in the examples Dennis gave. I had this problem with a file I was sent. I made a new empty template and imported the music from the original file into it: that did the trick. I tried that also. But how did you import the music? I didn't send the file to tech support: maybe you should try that. I will when I hear back from the guy who sent me these files. Perhaps he has some clue as to what he did. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol 79, Issue 21
On 21 Feb 2010, at 19:23, David Froom wrote: Hi Dennis, I just tried what I think was wrong. My guess is that your guy did manual spacing with the special tools note mover thing, or he dragged things while in speedy note (it amounts to the same thing). But dragging like this does not change the beat charts. Look at the beat charts in the two examples that Dennis posted: they are irregular. Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] importing pdf as graphic
On 28 Dec 2009, at 21:44, David W. Fenton wrote: Do recent versions of Finale allow export to more web-friendly and/or more efficient formats? PNG would be ideal. Finale 2010 for Mac exports EPS, JPEG, PICT PNG and TIFF files. Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Is Bratschen Obsolete?
On 16 Dec 2009, at 17:36, John Howell wrote: At 5:56 PM -0800 12/15/09, Ryan wrote: Is the term Bratschen for violas obsolete in German? Would it be better to use Violen? If you like, I could ask on the OrchestraList. Or the ViolaList. I'm certainly not aware of any change from the traditional terminology, which is embedded in every German-published score I've ever seen, but there's no reason why I would be. I would think that there might be confusion between the term for alto-tenor violin and that for viola da gamba if that change were made, but then there's already confusion with the term viol in English, which mean viola da gamba but could be taken to mean bass viol (i.e. string bass or double bass or bass violin). There's no confusion and I have seen Violen or Viola in many German scores. If you look at lists of musicians on web pages of German orchestras you'll see both Bratsche and Viola being used (I just checked Mannheim, where I work, and SWR Baden-Baden, who both use Viola, and the Berliner Philharmoniker, who use Bratche). Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Is Bratschen Obsolete?
No, it's not obsolete. Both Bratsche (plural Bratschen) and Viola (plural Violen) are used in German. In spoken German I'm more used to hearing Bratsche; in printed scores I see both terms but I don't know which one is more common. Suit yourself! Michael On 16 Dec 2009, at 02:56, Ryan wrote: Is the term Bratschen for violas obsolete in German? Would it be better to use Violen? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2K7 beaming issue
If you click on Apply in the Document Options -Beams dialog, you should immediately see the results of any change you've made: no need to use rebeam or to select part of the document, since these settings affect the whole document. At the top of the dialog, there are four choices for Beaming Style: - Base Slope on End Notes Only - Flatten Beams Based on Standard Note - Flatten Beams Based on Extreme Note - Flatten All Beams Try choosing a different setting here and clicking Apply. Michael On 9 Dec 2009, at 20:09, 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/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] How to get rid of Garritan error message
I just installed Finale 2010 on my Powerbook G4. It doesn't have enough RAM for the Garritan instruments, so I didn't install them. Every time I launch Finale, I get this message. Your serial number is not correct. Please run the Registration Tool to enter the correct serial number for Finale GPO. The Finale serial number is correctly entered and the copy of Finale has been authorized. I cannot find any Registration Tool. Does anybody know how I can get rid of this annoying message? Thanks, Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The Finale nail in the coffin
An unsolicited mail offering you OEM software at unbeatable prices is almost certainly a scam. Have a look here: http://graphicssoft.about.com/cs/faq/a/softwarescams.htm Michael On 2 Oct 2009, at 19:18, Michael Greensill wrote: I just got an e-mail from some company called OEM software resellers, who are offering the full Finale 2010 for $119. A savings of $480 off the retail price. Is anyone else as pissed off as me that having owned Finale since 3.0 in 1992 and being forced to pay approximately $100 every year to upgrade...Finale must have cost me around $2400. They should at least give long time owners a free upgrade now and then just for loyalty. I'm pretty happy with 2010, so I think I'm done with upgrading. What else can they offer me? Unless they come up with some method of actually doing my work for me! Mike G. www.mikegreensill.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Interesting behavior
Guitar and bass are transposing instruments. I'm sure that if you look at the transposition options in the staff attributes, you'll find that simplify key is checked. Michael On 30 Sep 2009, at 19:40, Carl Dershem wrote: I'm working on a big band piece that has a section in 7 flats (C- Flat) in the middle. Oddly enough, the guitar and bass parts are in 5 sharps (B). FinWin2k4 Does anyone have any idea why Finale might do that? And if so, why the guitar and bass, but not the piano? And not the trombones? Very interesting. cd -- http://www.livejournal.com/users/dershem/# http://members.cox.net/dershem ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] staff list doesn't work
I don't know what the error code means: I guess the file is corrupted. I keep all my old versions of Finale, from 3.7 onwards, and never throw out the original versions of older files, since I'm wary of bugs in the process of importing files into newer versions. You could try sending the file to MakeMusic tech support. Michael On 29 Jul 2009, at 03:20, Haroldo Mauro Jr. wrote: Yes, I have only Xs. Under parts I put X for all instruments. Under score I put an X only for the 2 staves I wanted, but the signs show on all 5 staves when looking at the score. This is how I had it set the last time I opened the score. HOWEVER, I just tried to open the score now, and got this message from the finder: While attempting to open the file Nação.mus the File Manager reported an error. -39 Restarted the computer, no use... The file won't open. It may be corrupted. Now I'm afraid, since this problem has happened before, with other files, to loose those also. These are probably files from older versions that I've saved as something else in newer versions. Thanks Harold ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] staff list doesn't work
Strange: I don't know what's causing this. My S and Coda signs only appear on the staves I've defined in the staff list. A handle shows up on each staff, but only the handles on the chosen staves have a sign attached to them. Stupid things to check: 1: In the Text Repeat Assignment dialog, is the sign set to use the correct staff list? 2: Is the staff list correctly defined? There should be an X (for show) or an F (for force, to force the sign to appear even on staves which have been set not to show text repeats) by the staves where the sign should appear, and nothing at all by the staves where it should not appear. I can't think of anything else for the moment. Michael On 28 Jul 2009, at 19:13, Haroldo Mauro Jr. wrote: This happens all the time, and I could never figure out what is wrong. I have a score for 4 instruments: cavaquinho, guitar, bass and piano, in that order. I want the S (segno) and coda signs to appear only at the top instrument and top piano staff, in the score, and in all parts. So I mark, in the staff list: Cavaquinho and top piano staff under score; and all but the lower piano staff under parts. I get an unexpected result. The signs appear on every staff of the score. Am I forgeting something? (Happens in Finale for Mac 2008 and 2009) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tile pages
I can test this with Preview without a printer attached to the computer. In the Page Setup dialog I set the paper size for Any Printer. In the print dialog there's a menu which usually shows Copies and Pages: when I click on this menu I am able to choose the Finale 2008 option which gives the possibility of tiling pages before pressing the Preview button. Alternatively, you could choose Compile PostScript Listing in the File menu. This also gives the option of tiling pages. On 2 Jul 2009, at 23:54, josue moreno wrote: Sorry, it was my fault, I was told that I have to go back to Finale 2004 and I didn't check properly. Anyway, itdoesn't work exactly the same.I guess tile pages is printer dependent and I can't test it with preview, so I will have to wait until have access to the printer.Thank you very much and sorry for the noise.Josué. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Comparing notation systems
On 1 Jul 2009, at 11:02, Daniel Wolf wrote: Turandot, a nice little program from Hungary, very stable with nice looking out of the box output (very similar in look to EMB editions), suitable for standard classical repertoire. Well-suited for students. However, development stopped at version 1.0 due to legal threats from one of the major notation programs. That's interesting. Do you know what those legal threats were? Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tile pages
This still works in 2008. When you print the file, you will see that in the Mac print dialog there is a menu which has Finale 2008 as one of the choices. Choose this and you'll see the Tile Pages option. Look up tiling in the user manual for more details. Michael On 1 Jul 2009, at 19:35, josue moreno wrote: Hi there everyone,I just got involved in a project in which we will need to print a score in two landscape A3 pages, having as a result an A2 size page. (Don't ask why, my guess is that we have to do this because the lack of an A2 printer)I remember last time I did such a thing there was a possibility of doing this within Finale, but now in Finale 2008 it is not supported anymore, am I right?Is there any other way of doing this with Finale or another printing software that doesn't require to go back to Finale 2004?I am working on a Mac OS X 10.5.6 with Finale 2008Thanks in advance,Josue _ Chatea sin límites en Messenger con la tarifa plana de Orange http://serviciosmoviles.es.msn.com/messenger/ orange.aspx___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Status report
On 14 Jun 2009, at 01:22, Dean M. Estabrook wrote: The only prob I had with the User Manual, is that the Search function did nothing when I tried it. The bug has been acknowledged. It should work if you press Enter instead of clicking on the Search button. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Fin2010 announced
I can assure you that Speedy Entry has not been removed from 2010. All other tools (Travis Neville mentioned the Key Signature tool) are there as well. Michael On 29 May 2009, at 19:19, Stephen Lamb wrote: http://www.finalemusic.com/finale/features/enteringnotes/ simplenoteentry.aspx Under Entering Notes, they list: - Simple note entry - Hyperscribe - MicNotator - Scanning Is this an oversight, or did they really remove speedy entry? Stephen ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fin2010 announced
Damn: it seems I live in the wrong country. All I can find for Europe is a 35% discount for Finale users. This means I could buy Sibelius for £386.75. That's about 600 dollars! What's the reason for this huge difference in price between USA and Europe? Michael On 28 May 2009, at 20:41, Bob Morabito wrote: An even BETTER buy:) http://kellysmusicandcomputers.com/productinfo~id~1025548698.htm SIBELIUS 6 COMPETITIVE CROSSGRADE Our Price: $159.00 We save you: $40.00 Details for SIBELIUS 6 COMPETITIVE CROSSGRADE Need Help? Check out our Buyer's Guide for Notation Scoring Is this the latest version of SIBELIUS 6 COMPETITIVE CROSSGRADE? Manufacturer: SIBELIUS Platform: Hybrid Includes both a Mac and Windows version of the program. [...]Note: Offer only available to Finale, Encore, Mosaic and Sibelius Student Edition users residing within North, Central and South America ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sibelius 6
On 21 May 2009, at 22:09, David W. Fenton wrote: On 21 May 2009 at 9:45, Chuck Israels wrote: On May 21, 2009, at 8:54 AM, Eric Dannewitz wrote: the Magnetic layout is all there really is that stands out. I agree, but that seems extraordinarily attractive. I would second that (or, I guess, THIRD it). me too! I spent a while looking at the Sibelius 6 demo: the magnetic layout is really impressive. If I were starting from scratch and choosing a notation program, it would certainly make me lean towards Sibelius. It's clear to me that Finale desperately needs to catch up here. Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sibelius 6
On 22 May 2009, at 19:49, mu...@rgsmithmusic.com mu...@rgsmithmusic.com wrote: Sib 6 answer: The slur now has 6 (I think) control boxes that can pull it in many different directions. You can drag it with a mouse (clumsy) or the arrow keys (elegant), and they can be adjusted independently in parts and score. You really should check out the new slurs. They're greatly improved. As far as I can tell from the demo, the slurs in Sibelius 6 are very similar to Finale slurs. The six control points seem to work the same way: there's one that moves the whole slur (in Finale this main handle is bigger than the others), two for the ends of the slur and three to control height and curvature. In both programs it's possible to make an S-shaped slur, in exactly the same way. Both programs allow the control points to be dragged or nudged with arrow keys. Sibelius additionally allows their positions to be defined numerically. Sibelius also allows the thickness of any particular slur to be changed. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Key Signatures
Stephen, You can set up staff styles that force the instruments to transpose the other way for just these passages. For trumpets or soprano saxes, create the new staff style and select Transposition. Set Interval to 2 (notes are written two steps higher on the stave than the sounding pitch) and Key Alter to -10 (add ten flats: from E major this will get you to Gb major). For a tenor sax, the interval should be 9 and the Key Alter will still be -10. Best wishes, Michael On 26 Feb 2009, at 01:11, Stephen Lamb wrote: I'm copying a horn chart for an arranger that has sections that are in the key of E. The arranger wants the transposed trumpets and saxes to be in Gb instead of F#, and I can't find a way to force Finale to display it that way. Simplify Key under Staff Attributes / Transposition doesn't have any effect. Any suggestions? I'm using Fin08, both Windows and Mac. Thanks! Stephen Lamb p.s. I'm on the digest, so please copy responses to my e-mail, jstephenl...@jslweb.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Mac Finale 2009b crashes on launch
Hello all, I just updated Finale 2009 to 2009b on my Powerbook (I haven't used Finale on the Powerbook for several months). Now Finale crashes on launch: I see the splash screen, I see all the mesages that tell me stuff is loading, the spash screen disappears and then Finale quits. I've already tried trashing the Finale Preferences file and the plist file. Here's what the console says: sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file sh: -c: line 1: unexpected EOF while looking for matching `'' sh: -c: line 2: syntax error: unexpected end of file Finale 2009(194,0xa000ed88) malloc: *** vm_allocate(size=3893411840) failed (error code=3) Finale 2009(194,0xa000ed88) malloc: *** error: can't allocate region Finale 2009(194,0xa000ed88) malloc: *** set a breakpoint in szone_error to debug This is on a PowerBook G4 running 10.4.11 Do any Mac wizards on the list have any ideas? Thanks, Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mac Finale 2009b crashes on launch
I realised that I have already experienced this problem and that I in fact know the solution! It happens when I try to use Finale in a non- administrator account. The solution: log in as administrator and change the permissions of the Finale application folder (and everything inside it) to read and write for everybody. Finale 2009b now works fine and I have even restored the preferences file that I had put in the trash. So in this case it's not a corrupt file: it's the Finale installer that has set the permissions incorrectly for use by a non- administrator account. Thanks to all, Michael On 18 Feb 2009, at 18:47, Harold Owen wrote: Michael, I've had that problem occasionally. What works best for me on iMac G4 Deal, System 10.4 is to put the Finale Preferences file in the Finale Folder that contains the application and to make sure that it (or a copy) does no reside in any other location. I've done this because I still have Finale 2008 and use it from time to time. I keep 2008's preference file in with the 2008 application as well so that there's no confusion for the computer. Good luck. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] (no subject)
1. In the Speedy menu, remove the check mark by Insert notes or rests. 2. In Speedy Options (under Speedy menu), remove the check mark by Fill with Rests at End of Measure Michael. On 13 Feb 2009, at 01:31, Katherine Hoover wrote: Dear Finalelist, I still need answers to the following. 1. In Finale 2000 and before, I could hit say a quarter note with the 4 key (on a Mac) and it would turn into an 8th. My Finale 2004 will not do this. I have to erase and do over. Is there a way to reset this? 2. The program automatically fills in a measure, that I have not necessarily finished, with rests. I am told there is a way to reset this. Will I find it under options? Thanks for the help - Katherine Hoover ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Keeping dotted notes...
The quantization setting you need is allow dotted rests in compound meters. If this setting is checked, the dotted breves will stay dotted breves. (Yes, I know that 3/1 isn't a compound meter, and that the problem affects notes as well as rests. Go figure. Tell MakeMusic about it: it's time they sorted this one out) Michael On 10 Feb 2009, at 19:50, dc wrote: I'm trying to convert a piece from 6/1 to 3/1 by dividing each measure in two. So I change the time sig and rebar the music. But all the dotted double whole notes (breves) get changed to two tied notes. How can I avoid this, or how can I change them back to dotted notes? Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Vertical Collision Remover plug-in
Noel, two questions: 1: What were the exact settings in the Vertical Collision Remover plug-in? 2: Are you on Windows or Mac? Michael On 18 Jan 2009, at 23:04, noel jones wrote: I have, since it was introduced to me by this list, had really good luck using this plugin... I type in verses of lyrics then: 1. Select PAGE LAYOUT 2. Select OPTIMIZE PAGE SYSTEMS 3. REMOVE Page System Optimization This gets rid of any adjustments I may have made manually. Then I choose Vertical Collision Mover and it makes room for the lyrics. Then I use PAGE LAYOUT to make any further adjustments to individual staffs. Staves. Staffs ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Beaming Across Grace Notes
I think it's always been like this. I checked in Finale 2004b: it is also necessary to use the slash key on both the grace note and the eighth note. I think there is also a difference depending on if you create the grace notes as you go along, or if you first write everything as normal notes (de-selecting the check for extra notes option) and then go back to turn some notes into grace notes. It's quite infuriating, since you can't see how many times the slash key has been pressed on a particular note. Michael On 18 Jan 2009, at 06:29, Christopher Smith wrote: Yes, this is strange new (I think) behaviour in Finale 2009 (maybe even 2008). In Speedy, you have to hit the / key on the second grace note AND then on the second eighth note. If you hit it on the same note twice, it won't work no matter how many times you hit the slash key on the other note (so if you have already tried this several times and have pressed the slash key an EVEN number of times, you won't get it to work until you have pressed it ONE more time and moved on to the other note. I remember this behaviour as being position the cursor on the GRACE note and hit the slash (instead of the more obvious: position the cursor on the EIGHTH note.) But now you have to do it on BOTH notes, and only an odd number of times, never even! Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Vertical Collision Remover plug-in
The vertical collision remover is a mess. I was very excited about it when it was announced in the beta testing round for 2007 and spent a lot of time testing it and figuring out how the options are meant to work. It was soon clear that even the people at MakeMusic weren't clear about how all the options should interact. Not only are the options unnecessarily complicated, there are combinations of options that produce the opposite effect to what is intended. At the time I went into this in great detail: I can't remember all of it now, but the plug-in is so full of mistakes that it is essentially useless. Don't waste time with this plug-in: do your vertical spacing by hand. Michael On 18 Jan 2009, at 17:10, Barbara Touburg wrote: Can someone explain how this plug-in works? It doesn't seem to do anything over here. Thanks, Barbara ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Apple Works (was Finale 4-Day Super Sale)
The apps in the iWork suite will open Apple Works documents as long as they are word processing (use Pages), spreadsheet (use Numbers) or presentation (use Keynote). I'm not sure what will open draw or paint documents directly: if you use AppleWorks first to incorporate a drawing into a word processing document, you can open it with pages. Michael. On 14 Jan 2009, at 07:55, Johannes Gebauer wrote: On a tangential subject: Does anyone know what I can do with my AppleWorks documents? Does any more modern piece of software read them? I still use AW. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expressions
Which version of Finale are you using? In 2009 there is no longer a distinction between measure- and note-attached expressions. In older versions, the attachment will depend on the setting chosen in the Expression menu. Michael On 13 Jan 2009, at 18:34, Barbara Touburg wrote: I thought expressions were automatically note-attached as long as I hover over a note and the cursor shows as a note? Instead, I get a measure-attached expression! Or am I wrong? Barbara ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expressions
Context Sensitive applies to expressions entered with Metatools. If you're using Metatools, the expressions will be entered as measure- attached or note-attached, depending on whether the little note shows on the cursor. If you are entering expressions with double click, the dialog will show the type of attachment you last used when you made a choice between measure-attached and note-attached when using this dialog. Michael On 13 Jan 2009, at 20:06, Barbara Touburg wrote: Since Context Sentivite already is selected, Measure or Note Attached really are superfluous. Context Sensitive just doesn't work! ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expressions
The menu setting has applied only to Metatools since it existed, that is to say since Finale 2000. In earlier versions, there were separate tools for Score Expressions and Staff Expressions, which were combined into one tool in Finale 2000: Score Expressions became measure-attached expressions and Staff Expressions became note- attached ones. Michael On 13 Jan 2009, at 20:38, Barbara Touburg wrote: Christopher Smith wrote: BTW, I didn't mention in my last reply that everything I said STILL WORKS the same way no matter what the menu setting is. The menu setting only applies to Metatools. It didn't always. When did it change, do you know? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] More notation help
I think the flat beams are fine. Of course you should move the hairpins up. You should also move the staves closer together: not only will this save space, it will look more balanced. Don't forget to move the stem of the second to last note in measure five to the other side of the note. As for the hand distribution, I'd leave it to the pianist. The passage doesn't present any particular difficulty and there is no special musical reason to play certain notes with the left or right hand. Each pianist will choose the distribution that suits them. Here's one other thing that I think could be stated: should the passage be played with pedal or not? Many pianists will automatically use the sustaining pedal, making a pedal change every measure. If you want this, a simple con pedale will suffice: there's no need to put in actual pedal markings. If you *don't* want this, it would be best to make it clear by adding senza pedale. Michael On 12 Jan 2009, at 02:28, Dean M. Estabrook wrote: Ah, I think I have it ... would this make my intentions more clear? Only with the hairpins closer to the lower staff ... and the beam in the last measure higher, of course. Does one have to bother to instruct the pianist as to when to use the right hand or not? I'm not sure the flat beams look better than angled ones, unless they make things visually more accessible ... Thanks again, DeanMAGNIFACATJONfin3.pdf Canto ergo sum Dean M. Estabrook http://deanestabrook.googlepages.com/home ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Clef problem
Fake it. Rewrite the notes in an extra layer in the treble clef so they look as they would in bass clef. Of course it won't play back correctly, but it's easy enough to get it looking right on the page Michael Long-time lurker here. I have some piano music which has an octave in the bass which is tied over several bars and held with pedal. Easy enough - however, during these bars the bass clef is changed to the treble and the left- and right- hands play around a bit until the left-hand returns to the bass clef - the tied octaves are just repeated every bar underneath. I can't work out how to change the clef without the held notes plummeting down as if they were in the treble clef. All suggestions gladly received. Thanks in advance Frank Oh ... using WinFin 2009 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2009B available
On 12 Dec 2008, at 02:36, Allen Fisher wrote: For example, add the tpt solo to the Technique Text group. Down at the bottom of the selection dialog, note the assign button click the little pop-up menu next to it. Create a new assignment list with the staves. Assign to the score Select all of the expressions in question hit the keystroke for unlink in all parts hit the keystroke for show The step Select all of the expressions in question isn't necessary, at least on Mac: when I use an assignment list to enter an expression on several staves, all copies of the expression are already selected. If the assignment list exists already, the routine is: Double-click in score Select expression Choose assignment list hit the keystroke for unlink in all parts hit the keystroke for show/hide Compared with the old method, if the staff list exists already: Double-click in score Select expression Make sure that Measure expression is checked Click on Select Choose Staff List Click on Select Of course it means changing habits, but once the habits are changed, the new method is no slower than the old one. Note that when the assignment lists is selected, you are immediately returned to the score with the expression selected: no need for an extra click on select (or press of return). Moreover, with drag-apply and option (or control) + down/up arrow you can, in most situations, enter expressions even faster than with assignment lists. Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2009B available
If you want to do this, use one of the techniques Allen describes. It'll mean a change of habit, but once you get used to it you'll find it's just as fast as the old method. In some situations (assigning an expression to a group of contiguous staves, for instance), it's faster. I prefer to abide by this rule of engraving: the conductor should see in the score exactly what the player sees in the part, unless there is a very, very good reason to do otherwise. You said you used to be able to name the lists: this criticism was addressed in the update. Since 2009a it is possible to name score lists. Michael On 11 Dec 2008, at 23:28, Christopher Smith wrote: I can think of something right now that would need more score lists. I use one for tempo marks, right out of the default settings. For the others, I can easily run through seven sets of expressions that I need in the parts but not the score, like a notation saying tpt solo on the parts that are not the trumpet, and a notation saying Alto Sax solo on the parts that are not the alto, and various notations like (bass) when it enters, or (voice) when it enters, that don't need to be on the score because the conductor HAS all the instruments in view and can see easily who is entering and to have it would be cluttered, but the musicians need the text on the parts. As it is, I would have to add the text into each part, hide it with the override key, then show it without the override key, a multi- step process that adds to the time required considerably. A score list (formerly staff list makes this task much easier, plus I used to able to NAME the lists to keep track of them! Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
