Re: [Finale] Dylan - Blowin' in the wind

[Peter Taylor]

- Original Message - 
From: "Barbara Touburg" 
To: 
Sent: Wednesday, February 24, 2016 3:24 PM
Subject: Re: [Finale] Dylan - Blowin' in the wind


>A warm thank you to everyone who has responded on this list and privately.

Barbara, anyone could make that mistake after all this time.
Donovan did have a song about the wind - "(I May As Well Try And) Catch the 
Wind"

:)

Peter 


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Re: [Finale] Preferred method for entering notes/etc into finale2012

[Peter Taylor]

From: "David H. Bailey" 
To: 
Sent: Wednesday, February 17, 2016 7:26 PM
Subject: Re: [Finale] Preferred method for entering notes/etc into 
finale2012

> I use speedy entry -- sometimes with a midi keyboard but more frequently
> using the computer's keyboard.  Arrow keys up and down to select the
> pitch, number keys to select the rhythm.

After using Finale for over 25 years and trying out all methods of note 
entry,
I can say without any doubt that David's method is the fastest and, once you
become practised at it, the most accurate.

Left hand on the up/down arrows for the pitch and right hand on the number
pad keys for the durations.  When copying sheet music I now only need to
glance at the screen every once in a while and never at my fingers - I can
keep my eyes firmly on the original music for long periods and this makes
it very fast indeed.  There are many keyboard shortcuts and you can set up
metatools to make things even faster.  Taking my hand away to use a MIDI
keyboard would really slow me down, as does using the mouse.

Don't be tempted into thinking that scanning music or using Hyperscribe will
speed things up, it doesn't.  It ends up as a mess which you have to spend
even more time cleaning up.

> I don't usually use templates, preferring to set each new document up
> precisely for that particular project.  But then I don't usually work on
> projects which have to be "just so" for a particular publisher.

Here's where I differ from David and agree with Mike G.  It takes a long,
long time fiddling with all the settings and making expression and 
articulation
libraries etc,  before you get them the way you want.  A blank template file
stores them all, instantly ready for the next project.  I do have one 
template
in a particular style for a publisher, but mostly I use my own "house 
style".

Peter



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Re: [Finale] 2nd time only playback

[Peter Taylor]

That's how I do it too David.  The secret is to assign the "2nd time only" 
or "tacet 1st time" expression with zero setting to play on the *first* pass 
and place the hidden "Play" expression with normal setting at the end of the 
first time repeat, ideally assigned to a rest if possible.

However I would recommend using Controller 11 (Expression) rather than key 
velocity, because if you need to place any dynamics after the "2nd time 
only", you will lose your zero setting.  You could also use Controller 7 
(Volume) but properly this should be used for adjusting "channel pressure", 
for balancing instruments to each other, and not altered once set.

Peter


- Original Message - 
From: "David H. Bailey" 
To: 
Sent: Wednesday, January 20, 2016 11:37 AM
Subject: Re: [Finale] 2nd time only playback


> On 1/19/2016 6:38 PM, Robert Patterson wrote:
>> Does this work in Fin14.5? I've tried using volume control, key velocity,
>> and controllers 1 & 11 (based on googling). I always get playback every
>> time, despite the "tacet 1st time" expressions that supposedly set the
>> controller of choice to zero.
>
> I just tried an experiment and got it to work.
>
> 1) created a 3 measure piece with a repeat sign at the end of the 3rd
> measure
> 2) Defined an expression "2nd Time Only"
> 1a) set the Playback for Velocity set to 0
> 1b) set the "Play on Pass" to 1
> 1c) assigned this to 2nd measure.
> 3) Tested my experiment -- the 2nd measure was silent the first time,
> but so was the third measure and all the measures on the repeat since
> the change in velocity remained as set until I reset it as follows:
> 4) Defined an expression "Play" setting the text to "hidden"
> 4a) set the Playback with Velocity set to 100 (this would need to be
> edited in each
> instance to match the velocity of the surrounding music
> 4b) set the "Play on Pass" to 1 (once it's set it will remain in effect
> until altered)
> 4c) assigned this to the 3rd measure
> 5) Tested my experiment - on the first pass the first measure played,
> the 2nd measure was silent, the 3rd measure played and on the 2nd pass
> all the measures played
>
> So that's how I would accomplish a 2nd time only playback.
>
> I hope others come up with other suggestions.
>
>
> -- 
> David H. Bailey
> dhbai...@davidbaileymusicstudio.com
> http://www.davidbaileymusicstudio.com
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Re: [Finale] Always skip first ending

[Peter Taylor]

I'm not up with recent versions, but in Fin 2005 and 2007 there is indeed an 
option in the endings dialog of "Go to measure #".  Do you not have it?  But 
anyway, it's very easy to create it if MakeMusic don't include it in the 
modern default files.

Peter


- Original Message - 
From: "David H. Bailey" 
To: 
Sent: Wednesday, January 13, 2016 12:13 AM
Subject: Re: [Finale] Always skip first ending


>
> Thank you, Lawrence and Gerald.  I had fun trying to figure out how to
> solve the problem.
>
> But even though my workaround is easy enough to accomplish, it certainly
> begs the question of why MakeMusic haven't built into the endings
> dialogs the option "Ignore this ending - jump to measure #[target 
> measure]."
>
> I hope the MakeMusic people who monitor this list take this under
> advisement.
>
> The problem of using the "ignore repeats" in the Playback is that
> sometimes, as in this situation of Robert's, perhaps there is one first
> ending that should be ignored on playback but others that need to be 
> taken.
>
> My solution solves that problem but it's a bother and should be an
> option in the repeat dialog.
>
> Thanks,
> David H. Bailey
>
>
>
> > On 1/12/2016 6:49 PM, Lawrence Yates wrote:
>> Excellent - thank you!
>>
>> Cheers,
>>
>> Lawrence
>>
>> On 12 January 2016 at 23:35, GERALD BERG  wrote:
>>
>>> Brilliant David! GJB
>>>
>>>
>>>From: David H. Bailey 
>>>   To: finale@shsu.edu
>>>   Sent: Tuesday, January 12, 2016 6:05 PM
>>>   Subject: Re: [Finale] Always skip first ending
>>>
>>>
>>> On 1/12/2016 1:05 PM, Robert Patterson wrote:
 Is there away to set an ending always to be skipped? I have an optional
>>> 1st
 ending that I never want to hear in playback, regardless of "Ignore
 Repeats" settings. The option to skip the ending is not jumping out at
>>> me.
>>>
>>> I don't see any easy way, but the workaround I've found isn't too 
>>> onerous:
>>> 1) in the repeat tool duplicate the D.S. al Fine instruction and edit
>>> the font to be hidden.
>>> 2) select this new hidden D.S. al Fine in the repeat tool and set the
>>> target measure number to be the start of the 2nd ending.
>>>
>>> This worked in my short 3 measure example so I see no reason why it
>>> shouldn't work for you in a more major piece.
>>>
>>>
>>> --
>>> David H. Bailey
>>> dhbai...@davidbaileymusicstudio.com
>>> http://www.davidbaileymusicstudio.com
>>>
>>>
>>>
>>>
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>>>
>>>
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>>
>>
>>
>>
>
>
> -- 
> David H. Bailey
> dhbai...@davidbaileymusicstudio.com
> http://www.davidbaileymusicstudio.com
>
>
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Re: [Finale] Notes/rests in hidden layers still affect spacing

[Peter Taylor]

Hello Darcy, presumably the hidden layer is for playback?  My way round this 
is to save separate files, one for playback and one for printing with the 
extra notation deleted.  (I also save a separate split file for extracting 
the parts, but that's another story).

Peter


- Original Message - 
From: Darcy James Argue djar...@icloud.com
To: finale@shsu.edu
Sent: Friday, August 21, 2015 8:26 PM
Subject: [Finale] Notes/rests in hidden layers still affect spacing


 Hi all,

 Is there a way to prevent notes and/or rests hidden with the Blank 
 Notation staff style from affecting music spacing? I have some fairly 
 dense notation in Layer 1, hidden with a staff style, and it's affecting 
 the spacing of Layer 4 (the visible layer).

 Cheers,

 - DJA
 -
 WEB: http://www.secretsocietymusic.org


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Re: [Finale] Folders

[Peter Taylor]

Lawrence - do you know you can open many files simultaneously?  Just 
highlight all the ones you need when you're opening a file.  I do it very 
often when I'm making minor changes to a score and set of parts (I still use 
Fin2005).  Then you can save each file one by one in the folder that Windows 
remembers.

Peter


From: Lawrence yateslawre...@gmail.com


 Thank you - I feared as much. Is there no way to change it. I have my 
 music organised into a fairly deep system of folders and it's driving me 
 mad to have go through a whole forest path when I need to open more than 
 one file, especially like, as was the case yesterday, I was dealing with 
 music created in old Finale where every instrument was a separate file and 
 I needed to open each one to print it. (They were quite heavily formatted)


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Re: [Finale] Crashes and AutoSave

[Peter Taylor]

Completely agree.

I remember having problems with AutoSave and backups way back in version 2, 
when the system would lock up while it was saving, and I think we had 
virtually this same discussion soon after I joined the list about 15 years 
ago, probably regarding Fin3.7 or 2001, and that's why I never use it.  I 
might be wrong but ISTR the problem is connected with temporary files not 
being deleted.  As said before, the best thing is to get into the habit of 
saving manually.

Peter


From: Chuck Israels cisra...@comcast.net
To: finale@shsu.edu
Sent: Tuesday, February 17, 2015 9:27 PM
Subject: Re: [Finale] Crashes and AutoSave


 Hi John,

 I have not been able to get AutoSave to work correctly either.  It doesn’t 
 cause crashes, but something in my system (I’m guessing either 
 SmartScroll - an app that allows incremental horizontal scrolling with 
 arrow keys, or the software for my Logitech mouse) i interfering with it. 
 I can get it to work when I restart everything and set it up, but it soon 
 (haven’t figured out when) just stops working.  It has not caused any 
 crashes and I am finding 2014d to be pretty stable.  Nevertheless, Command 
 S is becoming a habit.

 Chuck


 On Feb 17, 2015, at 11:38 AM, John Roberts an...@nycap.rr.com wrote:

 Am I right that if* Finale 2014 crashes, as well as losing the file
 you're working on the AutoSave file disappears as well?

 *when

 This seems to happen to me and I'm wondering if that's the case or
 whether I might not have set AutoSave up correctly.


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Re: [Finale] Fw: [FinaleUsers] Sizing

[Peter Taylor]

If you're on Windows you could try the Magnifier.  It's a small application 
in the Accessibilty group intended for people with impaired vision and 
enlarges part or all of the screen according to your settings. If you can't 
find it in your program list, click Start  Run, and enter magnify in the 
box.

If you're on Mac I can't help but I expect it has something similar.

Hope it helps you.

Peter

- Original Message - 
From: John Witmer wit...@nctv.com
To: finale@shsu.edu
Sent: Monday, December 15, 2014 7:37 PM
Subject: [Finale] Fw: [FinaleUsers] Sizing



 - Original Message - 
 From: 'Tom Gentry' tgb...@aol.com [FinaleUsers]
 To: finaleus...@yahoogroups.com
 Sent: Monday, December 15, 2014 1:52 PM
 Subject: [FinaleUsers] Sizing




 Does anyone out there know how to make the icons and headers and palettes 
 and such larger on Finale 2012? I zoom in on my arrangements themselves 
 just fine, but how do you make everything else on the page larger. Thanks!



 Tom Gentry


 __._,_.___

 
 Posted by: Tom Gentry tgb...@aol.com
 

  Reply via web post  . Reply to sender  . Reply to group  . Start a 
 New Topic  . Messages in this topic (1)

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Re: [Finale] doubling question

[Peter Taylor]

That would do the job asked for, but it would be written with an 
incorrect key signature.

I have serious doubts this is the right thing to do. I presume the 
notes in Layer 2 are a cue and there's a separate Bass Clarinet part 
with these same notes transposed for Bb.  Any cue notes written on the 
Bari part are intended to be played by an Eb Bari Sax only, so should 
not be transposed for Bb.

 Assuming you don't care about playback:

 1. Edit-Move Copy Layers (copy layer 1 to layer 2)
 2. Switch to layer two.
 3. Select Show Active Layer Only
 4. Transpose.

 If you need playback, you may be able to disable playback for layer 
 2.


 On Mon, Nov 3, 2014 at 8:56 PM, dershem ders...@cox.net wrote:


Working on a piece where there is an optional double from Bari 
 sax to
 Bass
clarinet.  The original has both parts on the same line - stems 
 up and
 stems
down, which seems pretty efficient.
Question is:  How to copy the notes in layer 1 to layer 2, and 
 transpose
only layer 2 to conform.  Any ideas?  I could do it 1 note at a 
 time,
 but am
hoping there's a simpler, faster way to have the computer do it 
 (that's
 why
we have them, right?).
Thanks in advance.
Carl
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Re: [Finale] doubling question

[Peter Taylor]

 No - no separate part for the Bass clarinet.  This is a big band 
 chart,
 and I dont want the book any more bloated than it already is.

 cd

Aha!  In that case I would have the Bass Clar notes on a separate staff 
with Bb transposition and apply the Hide Staff style to all the tacet 
measures.  That would get around the key sig issue.
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Re: [Finale] Repeat bracket question

[Peter Taylor]

On 20.10.2014 05:07, Lee Dengler wrote:
 I am engraving a piece that has a repeated section.  The first ending 
 is
 very long - about 4.5 systems.  I have the beginning bracket for the 
 first
 ending left open on the right end.  I have the ending bracket only in 
 the
 least measure of the first ending.  It has the left end open.  I 
 tried to
 continue the bracket through the entire first ending.  Two of the 
 systems
 would only had the line with no beginning or ending.  That bracket 
 line -
 all by itself with no beginning or ending hook looks odd on those 2
 systems.  Is there some rule about this that I am not aware of?  
 Thanks to
 anyone who can help.

 Lee Dengler

I'm interested to hear views on this too Lee.  I had exactly the same 
situation earlier this year, a fairly rush job so I didn't have time to 
ponder or research it.  I put in the open-ended line above the systems 
and, although it does look strange as you say, I can tell you the 
amateur band players had no difficulty understanding and following it, 
which is what counts in the end in my book.
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Re: [Finale] Bizarre playback bug

[Peter Taylor]

On 17.10.2014 10:41, Lee Actor wrote:

 the notes for one of the clarinet staves play but now do not turn
 off.  Even All Notes Off under MIDI/Audio doesn't turn them off.

 Has anyone seen something similar to this?

Yes, I've seen exactly this phenomena too, except it was trombones in 
my case.  Although I had Troms 1 and 2 on separate staves, they were set 
to use the same MIDI channel, and the hanging notes occurred when both 
parts played the same note together (in unison).  I'm wondering if that 
might be the case with your clarinets.  The answer was to give each part 
its own channel.
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Re: [Finale] Chord symbols with rhythmic notation

[Peter Taylor]

On 20.09.2014 10:08, trumpe...@verizon.net wrote:
 Hello all. I'm having a problem with writing chord symbols in piano 
 or
guitar parts with rhythmic notation. For example, if I'm writing 
 in bass
clef and write the rhythms on the third line D, when it plays 
 back, I keep
hearing a D even though I've applied staff styles to rhythmic 
 notation or
percussive notation. I'm trying to avoid going to studio view and
 muting the
piano part. Any suggestions? I'm using Windows 7 and Finale 2012.

Thanks in advance.

I would create an expression to mute the channel and then it can be 
unmuted with another expression later if desired.  In the expression 
playback setting, choose Controller in the Type box, select controller 7 
- Volume and set the value to zero. (To unmute it set the value to 127). 
Muting will work OK if the text is hidden.

This works with MIDI playback, I don't know if it will work with VST 
instruments.  You don't say which you are using.
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Re: [Finale] Half time change?

[Peter Taylor]

On 18.09.2014 13:32, dershem wrote:
 Recently got an arrangement for a samba that is written in 4/4 
 instead of
2/2.
I plugged everything into Finale (FinWin 2010b) with the intent of 
 just
going in and doubling the duration of everything and re-beaming it 
 to 2/2.
That doesn't seem to work - it only changes the duration of notes, 
 not
rests.
Any idea what else to try?
I can re-do it all by hand, but was hoping not to have to.
Thanks!
Carl

2/2 is cut time, there's no need to double the durations.
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Re: [Finale] Keyless Signature

[Peter Taylor]

Hi John, for instance:  With a Bb trumpet or clarinet, the part is 
transposed up a major second from concert pitch - so if the concert key of a 
piece is Eb, the trumpet and clarinet part will be transposed to F.  This 
doesn't change if you're working without a key sig. - the part still has to 
be transposed up M2 from concert.  If a keyless score has an E with a flat 
accidental, the part will show an F with no accidental.

Whether you're working on a keyless score or one with a key sig., unless 
you're really used to working with transposing instruments it's safest to 
enter all the notes in concert pitch and then add the transpostions later 
and let Finale work out the accidentals for you.

Peter


- Original Message - 
From: John Witmer wit...@nctv.com
To: finale@shsu.edu
Sent: Saturday, July 26, 2014 7:18 PM
Subject: Re: [Finale] Keyless Signature


Darcy, Please explain.
If a chart doesn't have a key to begin with, how can it be transposed?

Just looking to learn.

John Witmer
Clemson Downs Retirement Center
  - Original Message - 
  From: Darcy James Argue
  To: finale@shsu.edu
  Sent: Saturday, July 26, 2014 1:38 PM
  Subject: Re: [Finale] Keyless Signature


  Keyless scores are not the same as concert pitch scores. Keyless scores 
are often transposed — just transposed without using key signatures.

  Cheers,

  - DJA
  -
  WEB: http://www.secretsocietymusic.org

  On Jul 26, 2014, at 1:32 PM, Dean Rosenthal deanrosent...@gmail.com 
wrote:

   Hi Darcy,
  
   Yes, that makes sense. I wouldn't know about the staff styles because I
   don't use that feature (or don't understand it, I just work with the 
staves
   directly, I should probably learn this, I don't know what Staff Styles 
does
   that I can't do antoher other way). However, is the use of keyless for
   transposition any different from show in concert pitch – that's what 
I've
   always used, both to score and to print. You can even flip back and 
forth
   this way. I suppose it's nice to start a document from scratch without
   altering the score with a keyless signature.
  
   Best,
   Dean
  
   On Sat, Jul 26, 2014 at 1:00 PM, finale-requ...@shsu.edu wrote:
  
  
   -- Forwarded message --
   From: Darcy James Argue djar...@icloud.com
   To: finale@shsu.edu
   Cc:
   Date: Fri, 25 Jul 2014 14:37:41 -0400
   Subject: Re: [Finale] Finale 2014: Looking back, looking forward
   Transposing instruments and staff styles don't use key signatures in
   keyless scores.
  
   Cheers,
  
   - DJA
   -
   WEB: http://www.secretsocietymusic.org
  
   On Jul 25, 2014, at 2:29 PM, Dean Rosenthal deanrosent...@gmail.com
   wrote:
  
   I also look forward to learning how a keyless signature is any 
different
   than writing in C or A min
  
  
  
  
  
   -- 
   Dean Rosenthal
   www.deanrosenthal.org
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Re: [Finale] Accidentals in chromatic music

[Peter Taylor]

Have you tried the Cautionary Accidentals plugin?  Uncheck the No 
Cautionaries On Repeated Notes


From: Michael Lawlor mjlaw...@virginmedia.com
To: finale@shsu.edu
Sent: Thursday, July 10, 2014 9:22 AM
Subject: [Finale] Accidentals in chromatic music


 Is there a way to set up Finale so that an accidental only applies to
 the note to which it is attached and if another is needed it will also
 display, without having to remember to force the accidental to appear?
 Michael Lawlor


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Re: [Finale] Finale Digest, Vol 130, Issue 25

[Peter Taylor]

As I said before, change the notation style to Standard, so you're not using 
a map, and use a normal bass clef.  Then you'll be able to enter notes on 
the staff in their positions according to their MIDI numbers.  Note 38 is 
D2, which is the D space below the bass clef staff.

Once you've entered all the notes on your drum staff the sounds will be 
correct but the staff positions all wrong.  This is where the map comes in. 
Turn the Percussion style back on and play around with your map to move the 
notes to the staff positions you want.

Peter




From: Bill Baker bill_ch...@earthlink.net
To: finale@shsu.edu
Sent: Sunday, June 01, 2014 6:24 AM
Subject: Re: [Finale] Finale Digest, Vol 130, Issue 25


 How do I enter MIDI note 38 in speedy entry?  I don't have a synthesizer
 keyboard, only a regular qwerty computer keyboard.

 On 05/31/2014 11:48 PM, Ryan Beard ry.squa...@gmail.com  wrote:
 Ah, you're not defining which notes you play to get the sound you want, 
 you're defining where the snare drum note heads appears on the staff. To 
 enter a snare drum note in speedy entry, you'll always use midi note 38. 
 Finale will place it on the staff wherever you define in the percussion 
 map designer.
 This distinction confused me for some time as well.

 Sent from my iPad


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Re: [Finale] Percussion playback

[Peter Taylor]

Golden Rule (not to be broken):

** Do not enter notes on the percussion staff while you have a map applied. 
**

They most likely won't sound correctly, or maybe not sound at all.  This is 
why you're not hearing anything on D1, which should be a High Tom.  Always 
enter the notes as I described, in Standard notation style, and remember 
what I said about the black notes.

The notes are jumping way below the staff because you haven't configured the 
map properly.  The maps are not pre-configured.  Once you've entered all the 
notes on the staff in standard style, make a list of all the different MIDI 
note numbers you've used, and only then can you go on to edit your map.

In the map edit window, click on each note number you've used in the list to 
highlight it and then check the Highlighted Note box, which places an 
asterisk against it.  You can give it a name if you wish, then drag the 
handle up or down to the required position on the staff and choose the 
closed and open notehead shapes you want for it.  Do this routine for every 
MIDI note number you've used.  When you exit the edit window and choose 
Select, the notes will jump to the positions and shapes you've set and the 
playback will still be correct.

You can always add different sounds later if you want, but *always do it in 
Standard style* and then edit the map again.

Good luck!

Peter


- Original Message - 
From: Bill Baker bill_ch...@earthlink.net
To: finale@shsu.edu
Sent: Sunday, June 01, 2014 3:00 PM
Subject: Re: [Finale] Percussion playback


 OK, I tried that, but when I enter a D below the bass clef staff, then
 turn on percussion style playback and select my map, it goes to the
 space below the 10th ledger line below the staff.  If I use the D on the
 bass clef staff, it shows up where I want it to, but no sound comes
 out.  When I turn on the percussion style for that, the notes go to the
 7th ledger line below the staff again.  But it does sound like a snare 
 drum.

 On June 1, 2014, at 3:40 AM, Peter Taylor pe...@euphonium.plus.com 
 wrote:
 As I said before, change the notation style to Standard, so you're not 
 using
 a map, and use a normal bass clef.  Then you'll be able to enter notes on
 the staff in their positions according to their MIDI numbers.  Note 38 is
 D2, which is the D space below the bass clef staff.

 Once you've entered all the notes on your drum staff the sounds will be
 correct but the staff positions all wrong.  This is where the map comes 
 in.
 Turn the Percussion style back on and play around with your map to move 
 the
 notes to the staff positions you want.

 Peter


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Re: [Finale] Percussion playback

[Peter Taylor]

Ryan, I'm using Fin2005 and the percussion map issue is the same as 2001. 
Entering notes while Percussion notation style is applied simply doesn't 
work, I've spent many exasperating hours trying to figure it out.  Maybe 
there is a better method I haven't discovered, but entering notes in 
Standard style definitely does.

Later versions may have simplified percussion entry a lot, but there are so 
many other bugs and issues to contend with.  I upgraded in 2007 and 2009 and 
found myself wasting time trying to figure out and learn workarounds all 
over again, so I've gone back to using 2005 (without embedded parts, which 
aren't helpful for me), because of, well, its simplicity and reliability. 
:)

Peter


- Original Message - 
From: Ryan ry.squa...@gmail.com
To: finale@shsu.edu
Sent: Sunday, June 01, 2014 6:02 PM
Subject: Re: [Finale] Percussion playback


 The percussion clef uses the same staff positions as the treble clef. So
 MIDI 38 will appear many ledger lines below.
 Make sure when defining the staff that you choose Percussion notation
 rather than Standard. Since you're still using Fin2001, I don't recall the
 specific steps. Things are easier in the more recent versions of Finale.
 You might want to consider upgrading.


 On Sun, Jun 1, 2014 at 7:00 AM, Bill Baker bill_ch...@earthlink.net 
 wrote:

 OK, I tried that, but when I enter a D below the bass clef staff, then
 turn on percussion style playback and select my map, it goes to the
 space below the 10th ledger line below the staff.  If I use the D on the
 bass clef staff, it shows up where I want it to, but no sound comes
 out.  When I turn on the percussion style for that, the notes go to the
 7th ledger line below the staff again.  But it does sound like a snare
 drum.

 On June 1, 2014, at 3:40 AM, Peter Taylor pe...@euphonium.plus.com
 wrote:
  As I said before, change the notation style to Standard, so you're not
 using
  a map, and use a normal bass clef.  Then you'll be able to enter notes 
  on
  the staff in their positions according to their MIDI numbers.  Note 38 
  is
  D2, which is the D space below the bass clef staff.
 
  Once you've entered all the notes on your drum staff the sounds will be
  correct but the staff positions all wrong.  This is where the map comes
 in.
  Turn the Percussion style back on and play around with your map to move
 the
  notes to the staff positions you want.
 
  Peter


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Re: [Finale] Percussion playback

[Peter Taylor]

Bill, if you're using Finale 2001 then you're probably using a MIDI synth 
rather than Garritan samples, am I right?  Finale just sends MIDI data and 
it's the synth the generates the sounds.  Finale has lots of irritating 
habits, but I think it's unfair to blame Finale here.

First off, are using a Percussion map in staff attributes?  The map moves 
notes from their true pitch to the lines and spaces that drummers 
understand.  If you're using a map you might need to check which sounds have 
been activated. You won't hear the snare sound if it hasn't been set.  If 
this is confusing, I suggest you change the notation style in Staff 
Attributes from Percussion to Standard, and then you'll be able to hear 
every percussion sound on its relative line/space on the staff.

Unlike the other channels, where each note has a different pitch, on channel 
10 each semitone has a different instrument.  As you drag your note up and 
down on the staff, you'll hear only the sounds which fall on notes in the C 
scale (i.e. the white keys on a piano) and you're skipping over the sounds 
assigned to the black keys.  If you sharpen the note (using the + key in 
speedy) before dragging you'll find there are a lot more sounds you hadn't 
discovered before, and hopefully you'll find what you need.  Having said 
that, the snare drum sounds are on notes in the C scale, so there might be 
something else going on here.

The manual has a chart showing which percussion sounds are on which notes on 
channel 10.  It's called the General MIDI Percussion Map Table, in the 
appendix section.  The acoustic snare drum is on note number 38, or D2 
(where middle C is 60 or C4).  The electric snare is on note 40 (E2).

Hope this helps.

Peter







From: Bill Baker bill_ch...@earthlink.net
To: finale@shsu.edu
Sent: Saturday, May 31, 2014 6:46 PM
Subject: [Finale] Percussion playback


 I'm a casual user of Finale and I haven't upgraded since 2001, but I'm
 trying to figure out how to enter percussion parts so that they'll play
 back correctly.  What I've done so far is to enter a note on a staff and
 test its playback.  If what I get isn't the correct sound, I'll drag it
 to a different position in speedy entry, listening to all the sounds it
 plays while I'm dragging the note.  However, none of the sounds are of a
 snare drum.  Is that sound really so rare that Finale didn't include it
 in its percussion sounds?  The instrument list says I'm using Standard
 Kit on channel 10, program 1.  I've tried to find the answer online and
 in the documentation, but everything I've read tells me to build my own
 percussion library with no specific instructions on how to do it.  Can
 anyone help me with this?

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Re: [Finale] Notes scrunching together

[Peter Taylor]

Hi Lawrence, have you tried increasing the width of the bar (in Measure 
Attributes with the measure tool) before you enter any notes?  A width of 
1200 EVPUs should make your job easier.  The width will be corrected when 
you space the music.  Use scroll view, as measure widths are scrunched to 
fit in page view.

Peter


From: Lawrence Yates yateslawre...@gmail.com

 Hi,

 I'm currently transcribing a piece which includes lots of
 semiquavers/demi-semiquavers (don't know what that is in American).

 Using speedy entry, as I type in the notes they all scrunch together so
 that I can't read what I'm writing.

 Is there any way I can stop this happening as I type as opposed to hitting
 update layout at the end of every bar (which doesn't solve the problem 
 of
 individual bars being illegible as I type anyway).

 Cheers,

 Lawrence

 -- 
 Lawrenceyates.co.uk


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Re: [Finale] Notes scrunching together

[Peter Taylor]

Hm, that doesn't happen to me.  Maybe there's a setting somewhere - 
Automatic Update Layout comes to mind immediately, I always have that turned 
off.  Or possibly there's a setting in the Speedy menu?   I'm still using 
FinWin2005 and there's been some major changes since then!  :)


 Hi Peter,

 Thanks - everything's happening like you said - works beautifully until I
 switch to another stave, then it corrects itself so that I have the same
 problem again.  Is there a way to fix the width change until a expressly
 ask it to correct?  I'm sure there must be and I'm missing it.


 On 24 May 2014 10:57, Peter Taylor pe...@euphonium.plus.com wrote:

 Hi Lawrence, have you tried increasing the width of the bar (in Measure
 Attributes with the measure tool) before you enter any notes?  A width of
 1200 EVPUs should make your job easier.  The width will be corrected when
 you space the music.  Use scroll view, as measure widths are scrunched to
 fit in page view.

 Peter


 From: Lawrence Yates yateslawre...@gmail.com

  Hi,
 
  I'm currently transcribing a piece which includes lots of
  semiquavers/demi-semiquavers (don't know what that is in American).
 
  Using speedy entry, as I type in the notes they all scrunch together so
  that I can't read what I'm writing.
 
  Is there any way I can stop this happening as I type as opposed to
 hitting
  update layout at the end of every bar (which doesn't solve the 
  problem
  of
  individual bars being illegible as I type anyway).
 
  Cheers,
 
  Lawrence
 
  --
  Lawrenceyates.co.uk


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 -- 
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Re: [Finale] Notes scrunching together

[Peter Taylor]

So I see.  After I started the reply my wife made me go out in the garden to 
deal with a dead baby deer of all things (got at by a fox I imagine).  I 
posted my message about 15 minutes later and then I saw Jef's - grr. 
Anyway, I'm glad you're sorted.

Peter



 Yes, Jef suggested that and between you both you've solved the problem for
 me,

 Thanks.

 Lawrence


 On 24 May 2014 12:18, Peter Taylor pe...@euphonium.plus.com wrote:

 Hm, that doesn't happen to me.  Maybe there's a setting somewhere -
 Automatic Update Layout comes to mind immediately, I always have that
 turned
 off.  Or possibly there's a setting in the Speedy menu?   I'm still using
 FinWin2005 and there's been some major changes since then!  :)

 Lawrenceyates.co.uk
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[Finale] OT Horn question

[Peter Taylor]

Advice please.  I'm doing a rush job (as always!) to prepare wind parts from 
a composer's printed manuscript, which is in concert pitch throughout (and 
so reduced in size that I need a magnifying glass).  The band due to play it 
has only one horn at present and I'm having to cue the other three horns 
onto other instruments where necessary.

In one place where the horns are not covered, their notes have + 
articulation marks above them.   What does this mean and what is the effect 
on the sound?  The notes are close to middle C so I have a wide choice of 
instruments to cue them to.  What would be the most suitable band instrument 
to imitate this sound?

Thanks
Peter


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Re: [Finale] OT Horn question

[Peter Taylor]

Sorry, that should say wind band parts.



 Advice please.  I'm doing a rush job (as always!) to prepare wind parts

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Re: [Finale] OT Horn question

[Peter Taylor]

Many thanks for the lightning-fast replies, Robert  Don.  Unfortunately all 
the brass enters unmuted immediately after this 4-measure section, so 
there's no time to remove the mutes.  And one of the horn lines is below the 
oboe range, so they're out too.

The only other instruments playing here besides the horns are a piccolo and 
a keyboard, accompanying a child's solo voice and all at p or pp, with the 
horns playing rhythmic chords.  I think a bassoon sound would probably be 
too intrusive at this level.  I was thinking of the euphonium for the lowest 
notes, but its mellow sound isn't reedy.  I have to have the parts printed 
by Monday evening, so I don't have time to ponder about it.  I'm going to 
cue the horn notes onto the 2 altos and tenor sax, marked pp, and it can 
always be changed at rehearsal if the MD wishes.

Kim, this piece was written in 2012 for Queen Elizabeth's diamond jubilee. 
I won't name the composer but you'll know him.  I'm pretty sure the + 
doesn't indicate a trill - it wouldn't be suitable here I think - but it 
could very well have indicated a tremolo, and that's why I needed to ask. 
As you can tell, I've never played a horn - it would be nice to try though!

Thanks again.


- Original Message - 
From: Don Hart donhartmu...@gmail.com
To: finale@shsu.edu
Sent: Saturday, May 17, 2014 11:34 PM
Subject: Re: [Finale] OT Horn question


 The plus signs indicate stopped horn. Maybe a double reed, or tenor or
 bari sax in that register would work. On horn the effect is buzzy and
 nasal. Hope that helps.

 Don Hart

 On Saturday, May 17, 2014, Peter Taylor pe...@euphonium.plus.com wrote:

 Advice please.  I'm doing a rush job (as always!) to prepare wind parts
 from
 a composer's printed manuscript, which is in concert pitch throughout
 (and
 so reduced in size that I need a magnifying glass).  The band due to play
 it
 has only one horn at present and I'm having to cue the other three horns
 onto other instruments where necessary.

 In one place where the horns are not covered, their notes have +
 articulation marks above them.   What does this mean and what is the 
 effect
 on the sound?  The notes are close to middle C so I have a wide choice of
 instruments to cue them to.  What would be the most suitable band
 instrument
 to imitate this sound?

 Thanks
 Peter


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Re: [Finale] OT Horn question

[Peter Taylor]

Robert, you hit the nail on the head.  The band has two bassoonists - 2nd is 
a highly accomplished player but his attendance is intermittent.  1st 
Bassoon is an 84 year-old gentleman who is very deaf and plays very, ahem, 
distinctively.   :)

From: Robert Patterson rob...@robertgpatterson.com


 Bassoon can play quite softly around middle-C and mixes well with your
 (one) existing horn. It depends on the level of the player(s) of course.


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Re: [Finale] attach text to last page in document

[Peter Taylor]

How about a blank last measure with text attached (which you can make zero 
width), and INSERTing the extra measures in front of it, rather than ADDing 
measures at the end?

Peter

- Original Message - 
From: SN jef chippewa shirl...@newmusicnotation.com
To: finale@shsu.edu
Sent: Tuesday, May 13, 2014 5:02 PM
Subject: [Finale] attach text to last page in document



 does anyone have a trick to set up a template with text on the last
 page taht will work even when measures are added / deleted in the
 course of making a SC?  i tried by setting up a blank page at the end
 of the document but when measures get added, they are added AFTER the
 blank page.  and when measures are deleted in the middle of the
 document, the last blank page disappears.


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Re: [Finale] Opening new document - can I change page size

[Peter Taylor]

Lawrence, I edited the pagesizes.txt file in the Resources folder, deleting 
all the US page sizes and putting A4 at the top of the list.  Now every time 
I have to choose page size, in the Wizard or anywhere, A4 is always the 
default size.  However, I'm using an old version, you may find differences 
with a more recent version.

Peter

- Original Message - 
From: Lawrence Yates yateslawre...@gmail.com
To: finale@shsu.edu
Sent: Monday, May 12, 2014 12:33 AM
Subject: [Finale] Opening new document - can I change page size


 Hi,

 When I use the document setup wizard to create a new file the page size
 default is letter.

 Is there any way I can change this to A4?

 At the moment I have to manually change the page size every time and with
 my great age and weakening intellect I very often forget.  To have the
 default as A4 would make life easier.

 I tried changing the Maestro Default.FTM file but that didn't work.  Some
 time ago I tried altering another file somewhere and put A4 to the top of
 the list but the programme still defaulted to letter.

 I can't find anything in the manual that refers to this (unless they've
 called it something I haven't thought of.

 Cheers,

 Lawrence

 -- 
 Lawrenceyates.co.uk
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Re: [Finale] arco vs.pizz dynamics (repeated question)

[Peter Taylor]

I'm not into the more advanced playback techniques of later Finale versions, 
but in my FinWin 2005 I can put arco sounds on one layer and pizz. sounds on 
another, with separate MIDI channels and adjust the volumes independently 
for each layer using hidden expressions with MIDI controller 7 or 11 volume 
settings.  And assuming there are no bars with music on both layers then the 
print-out is perfect too - no need for extra staves, hidden or otherwise. 
So I think that's not a cheesy method at all.  That's exactly what I would 
do as a matter of course.

Peter


- Original Message - 
From: GERALD BERG gj.b...@rogers.com
To: finale@shsu.edu
Sent: Thursday, May 08, 2014 4:40 AM
Subject: Re: [Finale] arco vs.pizz dynamics (repeated question)


A very unsatisfactory solution is to put arco and pizz(a). in different 
layers with different midi channels hence different dynamics...very cheesy!

GJB



 From: dr.a.s. weinstangel dr...@hotmail.com
To: finale@shsu.edu finale@shsu.edu
Sent: Wednesday, May 7, 2014 5:32:36 PM
Subject: Re: [Finale] arco vs.pizz dynamics (repeated question)


Thank you David and Raymond;

Now I know the (ugly) truth! For a half-decent playback I just may have to 
copy onto additional staves the arco material that needs to be heard through 
the pizz. fireworks :-(

Best,

Dr.A.S.Weinstangel

sasha.weinstan...@utoronto.ca
NEW! cel.647-292-4605


 Date: Wed, 7 May 2014 17:20:07 -0400
 From: dhbai...@davidbaileymusicstudio.com
 To: finale@shsu.edu
 Subject: Re: [Finale] arco vs.pizz dynamics (repeated question)

 I believe the problem lies in the fact that the two different sample
 sets were not recorded at the same volume level. Apparently the
 pizzicatos were recorded much louder than the arcos, so at the same
 indicated dynamic level in your score they won't sound at the same volume.

 This is my biggest gripe about all the sample sets I've listened to (and
 most that I've purchased, alas!) -- the designers of the sample sets
 don't take the extra time to ensure that all the samples which pertain
 to the same instrument sound at the same volume level when played by a
 midi program at the same dynamic level.

 One solution is horribly painful in Finale -- it requires you to dig
 into the midi editing capabilities (sort of like watching sausage being
 made -- it's ugly, it's messy and it will turn you off ever wanting to
 do it again) and adjust the velocity and/or the volume for each note
 that you are unhappy with what you're hearing.

 One would think that it would be simpler than that, but it's not, from
 my experience.

 And I think the reason you received no responses to your first query is
 that nobody has an answer for you -- at least not one that's easy to
 accomplish and won't take many hours/days to get things right with.

 I hope I'm wrong, but Raymond's reply indicates I may not be. I gave up
 worrying about such things long ago -- what's left of my sanity was too
 valuable to me. :-)

 Good luck!
 David H. Bailey


 On 5/7/2014 2:13 PM, dr.a.s. weinstangel wrote:
 
  As there was no response, I'll try one more time (He who asks shall 
  find):
 
 
  From: dr...@hotmail.com
  To: finale@shsu.edu
  Subject: arco vs.pizz dynamics
  Date: Mon, 5 May 2014 16:23:04 -0400
 
 
 
 
  In the Finale (2012c PC) playback of my new string quartet I am getting 
  exploding pizzicatos and barely audible arcos.
 
  Is there a way to globally adjust the volumes of these independently, to 
  get an acceptable balance?
 
  TIA for your help.
 
  Dr.A.S.Weinstangel
 
  sasha.weinstan...@utoronto.ca
  NEW! cel.647-292-4605
 
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 -- 
 David H. Bailey
 dhbai...@davidbaileymusicstudio.com
 http://www.davidbaileymusicstudio.com


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Re: [Finale] Backward Slur

[Peter Taylor]

Very useful Chris, thanks.  On Windows it's Ctrl+= in Speedy for the second 
time ending backwards tie, and it only plays back properly when there is a 
final note in the bar *before* the first time ending - i.e. the note that 
ties to the second ending.  Strangely it doesn't matter whether or not that 
note actually has its forward tie!

The other problem I've found is when the last note in a first ending is tied 
back to the first note at the beginning of the repeated section, i.e. back 
to the forward repeat sign.  When the tie in the first ending is entered 
normally with = in Speedy, the note will tie to the first note in the second 
ending, with which it should have no connection, and it needs adjustment 
with the tie tool.  And you can't use Ctrl+= to enter a backwards tie at the 
forward repeat sign.  The tie never plays back properly either - the note at 
the beginning of the repeated section is always struck again on the repeat.

This happens regularly for me, for example when inner parts are playing 
syncopated rhythms with ties across barlines.  I forget about using ties 
altogether and enter them as slurs when I'm using the smart shape tool, and 
adjust them as I go.  There's a workaround for proper playback, but it's a 
bit too complicated to explain here.

Peter


From: Christopher Smith christopher.sm...@videotron.ca
To: finale@shsu.edu
Sent: Wednesday, April 09, 2014 12:46 PM
Subject: Re: [Finale] Backward Slur


 That's a tie. For a slur, attach it as a Smart Shape as usual, then drag 
 the right end backwards. In fact, I have sometimes used slurs when I 
 couldn't get the backwards tie to work, because they look pretty much 
 alike, depending on your settings.

 Apparently, the second-ending tie end is made with opt = on my Mac (would 
 that be alt = on Windows?) But it only works if there are notes in the 
 FIRST ending, last measure, which is not always the case. It also only 
 works when there IS a second ending, so you can't get it to work on say, 
 the first measure of a coda.

 A kludge I have used before is to put in a normal forward tie, then use 
 the Special Tool to drag the right end backwards, just like I did with a 
 slur. This can get complicated if the note is also tied for the next 
 several notes, as I have to keep repeating the procedure until I get to 
 the last tied note.

 Christopher



 On Wed Apr 9, at WednesdayApr 9 4:39 AM, marcellon...@gmail.com wrote:

 I'm not using Fin2012 yet, on 2011 it was:
 - create second ending
 - insert note
 - in Windows, ctrl+ would make the backward slur

 but several times I experimented that this does not always work and I
 could not find the reason.
 I also tried to modify the slur through the Edit frame window but
 without success...



 Il 09/04/2014 10:11, Giovanni Andreani ha scritto:
 I can't manage the way to generate a backward slur in Fin 2014 (from the 
 first note in a second ending measure).
 I remember doing it in Fin 2012 and just can't recall how.

 Giovanni


 

 Giovanni Andreani

 www.giovanniandreani.eu




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Re: [Finale] Saxophones and Clarinet and Trumpet transpositionquestion

[Peter Taylor]

Simplify Key doesn't work in this situation, because Finale seems to prefer 
sharps to flats when there's a choice.  You have to change the Bb staff 
transposition (or apply a Staff Style) to Other, with values 2 and -10.

From: Ryan Beard ry.squa...@gmail.com


 Select Simplify Key, I think. If that doesn't work, I often just supply 
 a staff style with the transposition set to display correctly. I think 
 it's interval 1, key alter -6, but I'm not in front of my finale machine 
 now, so don't take my word for it.
 Or just use Clarinet in A.

 Sent from my iPad

 On Apr 7, 2014, at 7:47 PM, Chuck Israels cisra...@comcast.net wrote:

 I am working on a passage in C# minor.  When I chose that key, Finale 
 transposes the Eb instruments nicely into 5 flats - fine, but the Bb 
 instruments show sharps (D#minor).  How can I control this so that the Bb 
 instruments show up in a flat key?

 Thanks,

 Chuck


 Chuck Israels
 8831 SE 12th Ave.
 Portland, OR 97202-7097

 land line: (503) 954-2107
 cell phone: (360) 201-3434

 www.chuckisraelsjazz.com

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Re: [Finale] PLAYBACK ISSUES

[Peter Taylor]

From: dr.a.s. weinstangel dr...@hotmail.com
To: finale@shsu.edu
Sent: Saturday, April 05, 2014 5:54 PM
Subject: Re: [Finale] PLAYBACK ISSUES


 Fin2012c. WIN8.1 64-bit

 Never had these problems before:

 In the middle of playback some staves get stuck and keep holding the 
 same note(s) until  Finale is closed. Or, while playing, inexplicably 
 starts to play from another spot, on top of the current playback.

This happens to me when two instruments are sharing the same MIDI channel 
and they hit the same note at the same time.  The answer (for me) was to 
give them a separate channel each.

 And BTW: is it possible to prevent arpeggio-ing of every pizzicato chord 
 in the strings? Really annoying!

This sounds like a Human Playback issue.  I never use it so I can't help, 
sorry. 


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Re: [Finale] OT Pistone?

[Peter Taylor]

Thanks Ray and Michael.  I was imagining a Pistone was possibly one of those 
old instruments in the brass family which have been superceded over time, 
like the serpent.  I though it might mean a kind of soprano flugelhorn 
possibly.  If it's a cornet then I'm pondering why it wasn't called a 
Cornetto Mib.

Someone has asked me to produce a modern (British) brass band set of a piece 
by Amilcare Ponchielli, and Henry has very helpfully directed me to his 
Pochiello website, which I'm sure is going to give me a lot of guidance.

Many thanks again
Peter


From: Raymond Horton horton.raym...@gmail.com
To: finale@shsu.edu
Sent: Sunday, March 16, 2014 3:50 AM
Subject: Re: [Finale] OT Pistone?


 Soprano Cornet suffices in brass band circles, yes. In any other
 context, Cornet in Eb or Eb Cornet would be necessary.


 Raymond Horton
 Bass Trombonist, Louisville Orchestra
 Minister of Music, Edwardsville (IN) UMC
 Composer, Arranger
 VISIT US AT rayhortonmusic.com


 On Sat, Mar 15, 2014 at 8:31 PM, Michael Lawlor
 mjlaw...@virginmedia.com wrote:
 Also known as a soprano cornet.
 Regards,
 Michael Lawlor

 On 14/03/2014 23:40, Peter Taylor wrote:
 What's the modern English instrument equivalent to a Pistone Mib
 please? Am I right in assuming it is a Soprano Eb, not a Tenor.


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[Finale] OT Pistone?

[Peter Taylor]

What's the modern English instrument equivalent to a Pistone Mib please? 
Am I right in assuming it is a Soprano Eb, not a Tenor. 


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Re: [Finale] OT Pistone?

[Peter Taylor]

Thanks Klaus, I'm surprised I've never heard of it before.


From: Klaus Smedegaard Bjerre yorkmaster...@yahoo.com
To: finale@shsu.edu
Sent: Friday, March 14, 2014 11:59 PM
Subject: Re: [Finale] OT Pistone?


 Eb cornet.

 Klaus



 From: Peter Taylor pe...@euphonium.plus.com
To: finale@shsu.edu
Sent: Saturday, March 15, 2014 12:40 AM
Subject: [Finale] OT Pistone?


What's the modern English instrument equivalent to a Pistone Mib please?
Am I right in assuming it is a Soprano Eb, not a Tenor.



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Re: [Finale] DS al Fin

[Peter Taylor]

- Original Message - 
From: John Witmer wit...@nctv.com
To: finale@shsu.edu
Sent: Saturday, February 22, 2014 2:32 AM
Subject: [Finale] DS al Fin


 How do you make a Finale playback actually stop at the Fine in a DS al Fin 
 with an embedded repeat?
 Finale wants to keep right on playing after the going back to the signe 
 and getting to the Fine.
 John Witmer
 Clemson Downs Retirement Center
 Clemson, SC

John, you can do this with a text repeat.  With the Repeat tool selected, 
double click in the measure AFTER the one you want to make the final measure 
and in the Repeat Selection dialogue box select Fine or create a new entry 
with your choice of text or symbol.  When the assignment dialogue box pops 
up, select the Stop on Pass # button and enter the pass number you want. 
You can edit the text to make it hidden if you prefer.

The Stop on Pass # button stops playback at the beginning of the measure 
and not the end, so you have to enter it in the measure AFTER your Fine. 
Alternatively you can enter the repeat in your Fine measure but you have to 
choose the Jump on Pass(es) button, enter the final pass number, and in 
the Target Measure box enter a number greater than the total number of 
measures in your piece (i.e. beyond the D.S.)  This has the same effect. 


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Re: [Finale] Repeats on D.C.

[Peter Taylor]

As I said at the beginning, to make Finale playback both times on a D.C. or 
D.S. you simply need to enter the pass numbers in the Ending Number(s) 
boxes, in this case 1,3 and 2,4.  These are simply the playback instructions 
for Finale, and if you find that confusing when reading the music, as I 
might too, you can override what is printed by entering what you *would* 
like to see printed in the Alternate Text in Ending boxes - a simple 1 and 
2 or something like Play both times on D.S.  if you have the space.  A 
text instruction at the D.S. Take 1st time bars on D.S. makes it clear.

By the way Craig, it's Peter, not Price.  I would have thought you'd know me 
after 15 years here!  :)


Craig Parmerlee wrote:

I see,  Then I think Price Taylor's suggestion should work.  I haven't
 actually done that, but Price's instructions match what I see in the
 documentation.  Have you tried that yet?

 On 2/23/2014 8:59 PM, Ryan Beard wrote:
 There is no coda. Just a DC al fine, with both sections having 1st and 
 2nd endings. I want the repeats in the first section to be taken in the 
 DC.

 Sent from my iPhone

 On Feb 23, 2014, at 3:43 PM, Craig Parmerlee cr...@parmerlee.com 
 wrote:

 Maybe I don't understand the problem. I think the issue is that you need
 to set the correct number in the To Coda marker for Jump on pass #.




 On 2/23/2014 6:15 PM, Ryan Beard wrote:
 Yeah of course an instruction should be there in the print. But, I'm 
 just concerned with getting the playback to behave how I want it.

 Sent from my iPhone

 On Feb 21, 2014, at 9:37 PM, Craig Parmerlee cr...@parmerlee.com 
 wrote:

 That sounds confusing.  If I were reading that score I'd play all 4
 times before proceeding to the next section.

 As far as making the playback work right, that is simply a matter of
 putting in the right number for jump on pass at the to coda mark.

 The way I normally see this indicated to the musician is to add a
 parenthetical comment under the D.C. or D.S. mark saying (Repeats 
 good
 on DC).  If you do it that way, there can be no confusion




 On 2/21/2014 7:20 PM, Peter Taylor wrote:
 - Original Message -
 From: Ryan ry.squa...@gmail.com
 To: finale@shsu.edu
 Sent: Friday, February 21, 2014 11:52 PM
 Subject: [Finale] Repeats on D.C.


 Can't figure out how to make Finale take the repeats on the D.C.
 Yes, I understand that repeats aren't usually taken on the D.C., but 
 I
 want
 it to this time.
 Sorry, that should be 1,3 in the first and 2,4 in the second.  Doh!


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Re: [Finale] Repeats on D.C.

[Peter Taylor]

- Original Message - 
From: Ryan ry.squa...@gmail.com
To: finale@shsu.edu
Sent: Friday, February 21, 2014 11:52 PM
Subject: [Finale] Repeats on D.C.


 Can't figure out how to make Finale take the repeats on the D.C.
 Yes, I understand that repeats aren't usually taken on the D.C., but I 
 want
 it to this time.

Type 1,2 in the Alternate Text box for the first bracket and 2,4 for the 
second 


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Re: [Finale] Repeats on D.C.

[Peter Taylor]

- Original Message - 
From: Ryan ry.squa...@gmail.com
To: finale@shsu.edu
Sent: Friday, February 21, 2014 11:52 PM
Subject: [Finale] Repeats on D.C.


 Can't figure out how to make Finale take the repeats on the D.C.
 Yes, I understand that repeats aren't usually taken on the D.C., but I 
 want
 it to this time.

Sorry, that should be 1,3 in the first and 2,4 in the second.  Doh!


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Re: [Finale] Beating my head against the wall on repeats

[Peter Taylor]

Brian Williams wrote:
 Sorry, I meant to use text repeat instead of expression in my last
 post.

Freudian slip?  :)

I'm with Christopher on this question - I *always* use expressions for text 
repeats, and cccasionally I've even inserted them in the measure AFTER a MM 
rest to make sure they're visible.  If I ever want to record the playback I 
use hidden text repeats - they work just as well. 


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Re: [Finale] Beating my head against the wall on repeats

[Peter Taylor]

Craig Parmerlee wrote:

 On 2/2/2014 3:34 PM, Peter Taylor wrote:
 I'm with Christopher on this question - I *always* use expressions for
 text repeats, and cccasionally I've even inserted them in the measure
 AFTER a MM rest to make sure they're visible. If I ever want to record
 the playback I use hidden text repeats - they work just as well.

 I must be missing something.  The issue is that I can't drag a road
 map marker when it falls with a multi-measure rest.  It seems to me
 that expressions don't show up at all in the parts when they are
 attached to the last measure of a mm rest.  I guess I could go and
 manually add them to the page layout for each part, but that doesn't
 seem like a very elegant solution.

Well, in my book you *should* break a MM rest to show embedded markers and
expressions etc.  To reach a D.S. or To Coda etc. before you've finished
counting the empty measures seems very wrong to me, and I guess to Finale's
authors too..

The exception is directions that fall right at the at the end of the MM 
rest, as in your
case, and I agree there should be a proper way of dealing with this.  There 
are a couple
of kludges you can try.  You can insert the direction as an expression in 
the measure
following the MM rest and position it over the bar line - just make sure 
that the system
break doesn't fall in that place.

Alternatively, you can insert an extra measure after the MM rest, insert a
whole note rest (to force it to split from the MM rest) and hide it.  Insert
your expressions or text repeats in this measure and make the barline
invisible and the width zero.  The expressions and/or text repeats in that
measure will still show up, but they'll appear to be at the end of the MM
rest.


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Re: [Finale] stem connections

[Peter Taylor]

As I'm still using FinWin 2005 I don't know if this will help you.  In my 
version I go to Document Options  Stems.  I check the Stem Connections box 
and click the button, and there I can adjust the stem connection to each 
different kind of notehead.


- Original Message - 
From: Ryan ry.squa...@gmail.com
To: finale@shsu.edu
Sent: Monday, November 18, 2013 5:47 PM
Subject: [Finale] stem connections


 Finale 2012c Mac

 Is there a way to individually adjust the stem/note head connection? Not
 looking for the Stem Settings in the staff attributes as those affect all
 notes.
 The grace note triangle note head is placed slightly higher on the staff
 than the full size note, and the stem continues past the note head.
 A staff style applied just to those notes won't work since the grace note
 is attached to the main beat. Finale will adjust both stems.

 Thanks!
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Re: [Finale] Playback Weird Behavior Playing a Semitone Lower

[Peter Taylor]

From: Giovanni Andreani i...@giovanniandreani.eu
To: finale@shsu.edu
Sent: Thursday, May 09, 2013 3:14 PM
Subject: Re: [Finale] Playback Weird Behavior Playing a Semitone Lower


 It happens with the keyboard turned off as well! It occurs, I've lately 
 discovered, when closing the Playback Controls window and triggering 
 playback with the space bar-mouse click combination. Playback with the 
 Playback Controls window opened is ok. Unwantes transposition although 
 happens on two staves grouped for a synthesizer to play with a trombone 
 timbre (the sound set for these staves)

It definitely sounds like a buried MIDI message to me.  It seems Finale is 
sending a pitchbend or transpositon command on one channel, your keyboard 
will stay in that state until either you send a correcting command or you 
reset it.  Switching the keyboard on and off resets it, or it can be done by 
sending a software GM reset command, but sadly there is no easy way to do 
this with Finale.

Do you have Chase from First Measure selected in the box against Dynamics 
and Markings in the Playback Settings window?  If you don't, then playing 
back with the spacebar will cause Finale to use the current pitch setting it 
last read.  Playing back from the Play control window will normally start at 
the beginning anyway.

Can you identify the measure or approximate place where the transposition 
occurs?  First check any expressions there that might have a playback effect 
causing this.  It's easy to use an expression that was set previously, maybe 
even in a different file.  If that doesn't cure it, with the MIDI tool 
select the measure(s) and press the backspace key.  This will delete all 
MIDI data, visible or not.  Remember to reset the keyboard before testing 
each time. 


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Re: [Finale] FinWin 2011 - Transposing instruments

[Peter Taylor]

I'm sure there's a more elegant way to do this, but one quick and dirty 
trick is to give the Alto staff an independent key sig (in the staff 
attributes box in my version).  Of course you have to remember it's 
independent and won't change key automatically like the other parts, but for 
only one or two key changes it's not a big problem.  Entering the notes 
first then changing to independent key sig avoids the drudge of transposing.

I once had all three Eb tenor horn players complain about too many sharps in 
a section of one of my pieces, even though they were only playing sustained 
notes.  An independent key sig allowed me to choose any key I wanted and use 
accidentals, which they found much easier to play!  :)

Good luck
Peter

- Original Message - 
From: Marcello Noia marcellon...@gmail.com
To: finale@shsu.edu
Sent: Friday, May 03, 2013 10:32 AM
Subject: [Finale] FinWin 2011 - Transposing instruments


 Hi, surely my problem has been discussed before but I cannot recall if a
 solution was found.
 I have a score in Db major where a section goes in A major. Applying the
 trasposition to the
 alto sax part, the result is Bb major  F# major. Is it possible that
 the section in F# major could
 be displayed in Gb major? Selecting/deselecting the simplify key
 leaves things unchanged.
 Thank you
 Marcello

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Re: [Finale] sforzando-piano

[Peter Taylor]

Phil, if i was doing that task I'd use a sequencer program and a MIDI file, 
rather than with Finale.  You can make sfz's and cresc., dims, fade-outs etc 
so much more easily by inserting controller messages for attack, volume, 
velocity, expression etc.  In the program I use (XGWorks) I simply select 
the controller and the pencil tool and draw a sloping line over the required 
time frame.

Once you have all the notes entered in Finale you can export to MIDI and go 
from there.

I'd be pleased to help if you wish.

Peter

BTW I'm neither the football manager nor the famous journalist!  :)


- Original Message - 
From: Phil Buglass bloke...@comcast.net
To: finale@shsu.edu
Sent: Sunday, March 17, 2013 9:14 PM
Subject: Re: [Finale] sforzando-piano


[Ok, I guess I can't send the file.  At 46KB, it
is too big, unless approved by the
moderator.  So, maybe this message will arrive
again later, with the file attached, who  knows?]


Yeah, I was thinking about the
photographer...   I am pretty sure that I *am* THE Phil Buglass!

I couldn't figure out how to make the 'shape'
affect the sound.  It didn't seem to matter how I
changed things, the sound was just the same - or as far as I could tell.

I ended up having a fortissimo 8th note, followed
by a roll, crescendoing from piano to FFF.
That gives me the punch I was looking for - and
this is to be played by the computer, rather than
looked at by musicians.   I am working on a piece
to be played in church in the summer, when we (the choir) aren't singing.

What I am getting now, though, is still pretty
strange.   The roll crescendos nicely till the
end of the measure, where the note is tied over
to the next measure, and right in the middle of
the crescendo.  The volume drops, and then starts to crescendo again...

I am sending the test file I was working with, so
you can see what I mean.  It's pretty small, so
shouldn't hurt anyone's download speed.

The main purpose of this was to figure out how to
do a roll properly, and at least that part is
working.   I am reading up on a bunch of
orchestration books, trying to figure this stuff
out.  Percussion is the biggest bugbear though,
they don't use the same notation as 'real'
musicians (ducking and running for cover...)

Have a listen to this file, and see if it makes sense to you.

Thanks,

Phil.


At 03:34 PM 3/17/2013, you wrote:
Probably not the David Bailey you're thinking about -- I never am.  ;-)

I'm not David Bailey the jazz drummer, nor am I David Bailey the
photographer, nor am I the David Bailey who is a percussionist and
conductor around the greater Boston area.

There are way too many of me in this world -- Among the people who know
me, I like to consider myself *the* David Bailey.  But I'm hardly famous
outside of a small circle of friends.  :-)

Concerning the playback, I didn't know if it was a shape that had been
defined for playback or a single controller such as Velocity.

David H. Bailey



On 3/17/2013 9:12 AM, Phil Buglass wrote:
  I guess you mean the 'shape' of it?   I have
  looked at that, and I really haven't got a
  clue.   I think it must be velocity, but looking
  at some of the shapes there, I really can't tell
  what they are doing - or how!
 
  When I get back from church, I will dig into the
  manual, but I suspect that this is a bit too
 deep to be covered much in there.
 
  If you could give a hint, I would be grateful.
 
  You aren't *the* David Bailey, are you?
 
  Phil.
 
  At 06:50 AM 3/17/2013, you wrote:
  On 3/16/2013 10:36 PM, Phil Buglass wrote:
  I have a tympani roll that I want to be hit hard,
  then immediately drop to almost nothing and
  crescendo.   I haven't really messed with
  percussion much, but I have the roll I want, and
  the crescendo is fine.  I can't seem to get it
  *hit* hard enough (or at all!).  The expressions
  dialogue has a 'sffz', but again, there is not enough *attack*.
 
  Is there something I am missing here?
 
 
  Edit the playback aspect of the definition to give you the hit that you
  want.
 
  --
  David H. Bailey
  dhbai...@davidbaileymusicstudio.com
  http://www.davidbaileymusicstudio.com
 
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  Outside of a dog, a book is a man's best friend.
  Inside of a dog it's too dark to read. ­ Groucho Marx
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--
David H. Bailey
dhbai...@davidbaileymusicstudio.com
http://www.davidbaileymusicstudio.com


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Re: [Finale] Windows 7, FinWin2008

[Peter Taylor]

- Original Message - 
From: David H. Bailey

 On 3/13/2013 10:59 AM, Dennis Bathory-Kitsz wrote:
 On Wed, March 13, 2013 10:54 am, Barbara Touburg wrote:
 No, it isn't. I'm thinking of re-installing Finale. That, however, won't
 fix the invisible pdf driver, I'm afraid.

 Unless you have a PDF printer driver, I thought there was only Compile
 Postscript Listing.


 In that case, then any PDF printer driver should show up as one of the
 possible printers to choose from in the printer selection dialog,
 reached by clicking the down triangle beside the default printer which
 shows up when the Print dialog is opened.

The problem with printing direct from Finale to a PDF driver such as 
CutePDF, is that the staff lines appear to be of varying thicknesses when 
you view the PDF file.  Curiously they actually print OK on paper but they 
look really ugly on the screen.  They certainly don't create a good 
impression!

The way round this is to use the Compile Postscript Listing command (in the 
File menu), which creates a .PS file.  You can't send this directly to 
your printer on Windows, so I use a free utility program called Printfile:
 http://www.lerup.com/printfile/

You simply drag the PS file onto the Printfile icon and it is sent directly 
to your PDF driver.  The output is superb. 


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Re: [Finale] Windows 7, FinWin2008

[Peter Taylor]

- Original Message - 
From: Dennis Bathory-Kitsz bath...@maltedmedia.com
 I haven't used Compile recently because (at
 least with FinWin 2011)  printing to PDF works correctly on screen 
 displays
 and produces compact files.

 Dennis

That's great news, but the OP is using 2008 and I don't think that prints 
any more correctly to PDF than my 2007. 


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[Finale] Ledger lines on cued notes

[Peter Taylor]

Does anyone know of a way to reduce the length of the ledger lines 
temporarily when one reduces the size of notes in cued passages?  In my own 
house style I have ledger lines for normal notes set a little longer than 
Finale's default, but this means when a note is reduced in size the ledger 
lines look too long.

Maybe this has been addressed in later versions.  I'm still using 
FinWin2005, the last edition prior to linked parts.  ;)

Thanks
Peter 

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Re: [Finale] enclosures

[Peter Taylor]

Katherine, for some reason, enclosures for expressions are hidden in the 
expression selection panel.  After you select the expression and return to 
the score the expression will be visible.

 On Sun, Sep 9, 2012 at 11:20 AM, Katherine Hoover 
 khoo...@papagenapress.com
 wrote:

 Finale 2011.  I go to enclosures and choose a simple circle.  But it
 doesn't go on the 1, and I see no way to make it appear.  I can edit
 it (unnecessary here) but there is nothing to check to finish  the
 process and make it appear. There was one apparently in the previous
 finale, but not in 2011.  Anybody knowthr secret?

 Thanks, Katherine

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Re: [Finale] Ledger lines on cued notes

[Peter Taylor]

Thanks Jef.  I was hoping there was some way of doing it with a staff style 
or a plug-in.   Never mind, there are too many to mess about like that. 
I'll shorten the default length slightly.

.  - Original Message - 
From: SN jef chippewa shirl...@newmusicnotation.com
To: finale@shsu.edu
Sent: Sunday, September 09, 2012 11:30 AM
Subject: Re: [Finale] Ledger lines on cued notes



 nope.  but if there aren't too many, or if you really insist on it,
 you can set the region to hide ledger lines and set up a shape
 articulation with 1 line, topnote-attached and define up a metatool
 for quick application (drag-enclose).  set 2-line and 3-line ones as
 needed.

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Re: [Finale] enclosures

[Peter Taylor]

Yes, I know that, but there you can't see the text!  :)

The enclosures aren't visible (i.e. they're hidden) in the
Expression selection dialogue box, you can only see the text when you select
the text expression.  The enclosure only appears in the score.

From: SN jef chippewa shirl...@newmusicnotation.com

 they aren't hidden at all, they are in the main dialogue of the
 individual expression definition (expression designer: enclosure
 shape)

Katherine, for some reason, enclosures for expressions are hidden in
the expression selection panel.  After you select the expression and
return to the score the expression will be visible.

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Re: [Finale] enclosures

[Peter Taylor]

From: SN jef chippewa
Subject: Re: [Finale] enclosures

The enclosures aren't visible (i.e. they're hidden) in the
Expression selection dialogue box, you can only see the text when
you select the text expression.  The enclosure only appears in the
score.

 ... and where you actually define the enclosure parameters:
 http://newmusicnotation.com/TEMPFILES/F2012_textenclosure.pdf

 sorry, i don't see the problem here, can you clarify?

Katherine asked why she couldn't see the circle enclosure she'd defined for 
her 1 expression.  I'm simply pointing out that even though she had 
defined it properly, she won't see the enclosure in the expression selection 
panel, just the text.  For some reason the enclosure is not shown there, it 
only appears around the text when she places the expression in the score.

Let's say you make two similar text expressions, e.g. A, and you define an 
enclosure around just one of them and leave the other unenclosed (or you 
define a circle round one and a rectangle round the other), you can't 
determine which is which in the selection panel - you will only see the two 
unenclosed As.

Katherine knows how to see the enclosure in the definition pane - that isn't 
what she wants to know and doesn't really answer her question. 

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Re: [Finale] [OT] stuck notes on MIDI keyboard

[Peter Taylor]

On 06.06.2012 07:53, Peter Taylor wrote:
 On 06.06.2012 06:21, SN jef chippewa wrote:
 trying out a new (but borrowed) MIDI keyboard and a couple of things
 not working right.  i am not terribly familiar with MIDI input, so 
 if
 anyone has any ideas?  it is a USB evolution eKeys (37) that i
 plugged in, piddled with a few settings until i got it to work :-)

 1) there seem to be notes stuck sometimes and other times certain
 notes don't play.

 2) i can't turn off the playback (despite having unchecked 
 Speedy/Playback)

 i have these issues in F2012 and 2010, so can i assume that (1) the
 keyboard is wonky, and (2) i just don't know what i am doing enough
 to figure this one out?

 m, i remember MIDI thru having something to do with something,
 no? so, do i need it?

 One suggestion that might help - check to see you have Match Note
 On/Note Off checked in MIDI Setup.  This is often the reason notes
 stick.

 Also, if you can, give each stave its own MIDI channel.  If two
 staves sharing a channel hit the same note simultaneously the Note 
 Off
 messages sometimes become confused.

 Peter

Jef, I read your reply to this but I can't find it now.  I'm away from 
home
and using webmail, maybe that's the reason.

I think you said you couldn't find the Match Note On/Note Off setting.
This link from the 2012 manual should help you I hope:
http://www.finalemusic.com/usermanuals/finale2012win/content/finale/MMECONFG.htm

Of course this only applies to Finale playback.  If you mean the notes 
are
becoming stuck as you're physically playing the keyboard then this is 
probably
a fault with the keyboard itself, nothing to do with Finale.

One of the keys on my k/b (E4) has a fault - it's stopped recognising 
the key
pressure and sounds quieter than the others.  If it was an old piano I 
could
probably repair it, but this is out of my league.  Sorry I can't help 
further.

Peter


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Re: [Finale] [OT] stuck notes on MIDI keyboard

[Peter Taylor]

On 06.06.2012 06:21, SN jef chippewa wrote:
 trying out a new (but borrowed) MIDI keyboard and a couple of things
 not working right.  i am not terribly familiar with MIDI input, so if
 anyone has any ideas?  it is a USB evolution eKeys (37) that i
 plugged in, piddled with a few settings until i got it to work :-)

 1) there seem to be notes stuck sometimes and other times certain
 notes don't play.

 2) i can't turn off the playback (despite having unchecked 
 Speedy/Playback)

 i have these issues in F2012 and 2010, so can i assume that (1) the
 keyboard is wonky, and (2) i just don't know what i am doing enough
 to figure this one out?

 m, i remember MIDI thru having something to do with something,
 no? so, do i need it?

One suggestion that might help - check to see you have Match Note 
On/Note Off checked in MIDI Setup.  This is often the reason notes 
stick.

Also, if you can, give each stave its own MIDI channel.  If two staves 
sharing a channel hit the same note simultaneously the Note Off messages 
sometimes become confused.

Peter
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[Finale] Navigating layers in Speedy Entry

[Peter Taylor]

Can anyone kindly explain for me how I can navigate layers in Speedy Entry 
without having to take my hand off the number pad and grab the mouse?  The 
manual says the keyboard shortcut is the double quote (inverted commas) key, 
similar to the single quote for changing voices, but in 20 years of using 
Finale I've never been able to make this work.  Does it work for anybody or 
is it just me?

I wonder if it could it be something to do with the differences between US 
and UK keyboard layouts.  I've tried every key on my UK keyboard but maybe 
the keyboard mapping doesn't include this character.  Can I enter a Unicode 
or ASCII code? 

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Re: [Finale] Navigating layers in Speedy Entry

[Peter Taylor]

From: Lee Actor

 In Windows, the shortcut keys for switching layers are Alt-Shift-n, where 
 n
 is a number from 1 to 4.  Not sure about Mac.

Thanks Lee, I should have said I was on Windows.  That does the job OK, but 
as I enter notes with both hands at the right side of the k/b, moving them 
both away to press Alt + 1,2,3 or 4 (on the top row, not the number pad), is 
perhaps even worse than using the mouse.

Shift+up/down arrows is brilliant for moving the frame between staves, I 
just wish there was as simple a way of changing to another layer on the same 
staff!  :)

I was hoping there might be some way of getting the  to do it (as it's 
supposed to do according to Speedy Navigation in the Speedy menu).  I could 
do this very quickly with one finger of my left hand  without moving my 
right hand off the num pad - similar to changing voices or creating grace 
notes.

You might think I'm being lazy but it's not that - it's more about speed. 
Grabbing the mouse with my right hand and clicking on the layer buttons 
interrupts the flow and really slows me down.

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Re: [Finale] Navigating layers in Speedy Entry

[Peter Taylor]

Thanks Frank, that's the answer I needed!  Woohoo, as they say.  :)

On a US keyboard that's the quote character --, am I right?  This is what 
is given in the manual and the Speedy Navigation menu.  However, on a UK 
keyboard the quote character is Shift+2 (on the main k/b), which Speedy 
reserves for entering a 1/32 note.  Pressing Shift+-'- gives me the @ 
character, but strangely Finale still recognises this as the key to change 
the active layer, so it's the keycode, not the character, that the program 
uses.  Too bad the manual and the Speedy Navigation menu don't cater for 
international keyboard layouts.

Now I have to get into the habit of using it.  :)  Thanks again


- Original Message - 
From: Lee Actor lee.ac...@comcast.net
To: finale@shsu.edu
Sent: Thursday, May 03, 2012 10:41 AM
Subject: Re: [Finale] Navigating layers in Speedy Entry


 Brilliant!  I can't believe I never noticed this shortcut before.  Much
 better than the alternative!

 -Lee

 -Original Message-
 From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf 
 Of
 Frank Prain
 Sent: Thursday, May 03, 2012 2:28 AM
 To: finale@shsu.edu
 Subject: Re: [Finale] Navigating layers in Speedy Entry

 What works for me is Shift-' - this cycles me through all layers. (Windows
 Finale 2012)

 Frank



 On 3 May 2012 18:33, Lawrence Yates yateslawre...@gmail.com wrote:

 Using shift and the up/down arrows I can only make it change staves,
 not layers.

 Cheers,

 Lawrence

 On 3 May 2012 08:59, Michael Greensill m...@mikegreensill.com wrote:

   I use shift with the up and down arrows.
 
  Mike G.
 
  --
 Lawrenceyates.co.uk
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Re: [Finale] Navigating layers in Speedy Entry

[Peter Taylor]

- Original Message - 
From: Frank Prain frank.pr...@gmail.com
To: finale@shsu.edu
Sent: Thursday, May 03, 2012 12:06 PM
Subject: Re: [Finale] Navigating layers in Speedy Entry


 No worries, Peter.

 I'm actually on an Australian keyboard.

In  3 weeks' time we will be at Hurstville, near Sydney, to meet our new 
grandson.  Staying 8 weeks.  Can I buy you a beer?  :) 

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Re: [Finale] Flippin' fermatas!

[Peter Taylor]

From: Jamin Hoffman
I am trying to put fermatas over whole rests in a score (MacFin 2012a); I 
insert real whole notes, change them to real whole rests, and then put a 
fermata over the rest. So far, everything is fine. If I try to copy that 
into the measures below it, however, the fermatas flip to underneath the 
measure. If I put something into one of the other measures in the stack, 
then the fermatas flip. If I try to edit the linked part, the fermatas 
flip.

Is there a fix for this, or is there something obvious I am missing?

Agreed this is buggy.  You can choose to use the Main version for both 
above and below notes, and choose Above notes in the Articulations 
designer box, but it doesn't always work.  I place fermatas as expressions, 
and then you don't even need to create real rests.  But remember to make 
sure the fermata bar isn't  included in a MM rest group. 

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Re: [Finale] Flippin' fermatas!

[Peter Taylor]

- Original Message - 
From: Dennis Bathory-Kitsz bath...@maltedmedia.com
To: finale@shsu.edu
Sent: Friday, April 13, 2012 9:27 PM
Subject: Re: [Finale] Flippin' fermatas!


 On Fri, April 13, 2012 3:08 pm, J D Thomas wrote:
 I agree with David.  I do this all the time over the articulation route. 
 You
 can adjust them all at once or individually and set up other parameters 
 like
 breaking multimeasure rests, etc.

 A very worthwhile alternative option.

 I've never done this (except for large graphical rests). Do they play back 
 via
 human playback?

 Dennis


Not automatically, but they will if you program the expression to change 
tempo.
You then have to restore the original tempo if required, with another
expression, e.g. a tempo 

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Re: [Finale] grace notes in linked parts

[Peter Taylor]

Sorry Ryan, I thought you were talking about extracted parts, not exploded. 
As usual, I agree with Christopher!  :)

- Original Message - 
From: Christopher Smith christopher.sm...@videotron.ca
To: finale@shsu.edu
Sent: Friday, March 23, 2012 3:48 AM
Subject: Re: [Finale] grace notes in linked parts


 When you explode staves, measure-attached smart shapes do not get exploded 
 onto the new staves. I don't know why; they just don't, and never have for 
 as long as I have been using the program. You have to copy them separately 
 after exploding, using the filter and the selection tool copy function.

 However, if you are using my method, and just extract the voiced part, all 
 the measure-attached smart shapes are intact.

 Christopher


 On Thu Mar 22, at ThursdayMar 22 7:06 PM, Ryan wrote:

 No. In this case the hairpins are attached to the correct staff. They did
 not get exploded properly.

 On Thu, Mar 22, 2012 at 3:51 PM, Peter Taylor 
 pe...@euphonium.plus.comwrote:

 From: Ryan ry.squa...@gmail.com

 Thanks Darcy and Christopher,
 That's what I thought the solution was, but I was hoping that there was
 something more elegant in the newest version.
 By the way, why don't measure attached smart shapes (i.e. hairpin
 crescendos) get copied onto the exploded staves? Is that a bug or a
 feature?

 Usually they do.  I've found that sometimes they become attached to the
 staff below (or above) the required one when there are lots of ledger
 lines,
 e.g. in a tuba part, and when the staves are close together.  As you 
 enter
 a
 hairpin you'll see an arrow pointing up or down, indicating the staff
 you're
 attaching it to - sometimes it's necessary to actually draw the hairpin
 over
 notes and drag it down after extracting.

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Re: [Finale] grace notes in linked parts

[Peter Taylor]

From: Ryan ry.squa...@gmail.com

 Thanks Darcy and Christopher,
 That's what I thought the solution was, but I was hoping that there was
 something more elegant in the newest version.
 By the way, why don't measure attached smart shapes (i.e. hairpin
 crescendos) get copied onto the exploded staves? Is that a bug or a
 feature?

Usually they do.  I've found that sometimes they become attached to the 
staff below (or above) the required one when there are lots of ledger lines, 
e.g. in a tuba part, and when the staves are close together.  As you enter a 
hairpin you'll see an arrow pointing up or down, indicating the staff you're 
attaching it to - sometimes it's necessary to actually draw the hairpin over 
notes and drag it down after extracting. 

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Re: [Finale] Add 3rd Stave to 2 Measures

[Peter Taylor]

From: David H. Bailey

 What you do is to create the 3rd staff, which Finale will only allow for
 the entire work.

 Then you optimize the file and be sure to check the option to remove
 empty staves.  This will remove all the staves except for the sytem (or
 systems) where you have notes entered on that
 3rd staff.

 Then you use Staff Styles for any empty measures on that remaining staff
 because they are on the same system or systems which have the 3 measures
 with music in them.

What about the Ossia tool, isn't this what it's meant for?

I had so many problems with it in the early days I've never used since, but 
you're not going to tell me they haven't fixed it yet are you??  :)

Peter 

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Re: [Finale] postscript to pdf conversion

[Peter Taylor]

From: Madelon Mottet

I have made a score and have inserted a jpg image on the front page. Now I
 want to get a pdf file I can print that retains that image.

Hello Madelon.  I have run into trouble with this too.  I'm not expert on 
this, and there is nothing about it in the Manual, but I don't think Finale 
for Windows includes imported images when it compiles PS listings.  The 
image WILL be included if you print the file in the normal way to a PDF 
writer such as CutePDF or PDFCreator, but then you hit the old problem of 
the irregular thickness staff lines appearing on the screen when you use a 
PDF Reader.  However, they will be OK when you print to paper.

Alternatively you could try creating an initial PDF file from the PS listing 
(without the image), and then place the image into it separately, using 
Photoshop or similar. 

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Re: [Finale] Winfin2012 crashing

[Peter Taylor]

From: Darcy James Argue

 Hi Lawrence,

 It means the problem is due to something related to your Finale user 
 settings (which are preserved even when you uninstall/reinstall).

 Hopefully a Windows expert can tell you how to clear those out and start 
 again from scratch.

I don't know about WinFin 2012, I'm still using 2010, but user 
preferences/configuration settings are stored in a text file named 
FINALE.INI located in the root Finale directory in C:/Program Files.  If you 
delete or rename it, Finale will create a new file when you next start the 
program.

Hope it helps you Lawrence. 

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Re: [Finale] Fwd: [MLA-L] David Fenton

[Peter Taylor]

From: Mark D Lew markd...@earthlink.net
I see nothing to be gained by pursuing this further.

 mdl

I agree.  Our thoughts should be with David and his family.

I'm very sorry to hear of his sudden passing.  I often enjoyed his posts, 
controversial sometimes, plainly spoken and forthright, but they often 
raised a smile with me.

Peter




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Re: [Finale] Word extension question

[Peter Taylor]

I have the corrected proofs back.  Only a very few changes, mainly 
punctuation to comply with the approved printed text.  However, there's 
another question on which I'd like  your collective wisdom please...

Should a punctuation mark be after a word or at the end of the extension 
line? :

a)  peace; __

or

b)  peace __ ;

I like a), client likes b), but both of us will bow to your expert 
knowledge.  :)

FinWin 2005 can only do a) as far as I can see, b) is a kludge, by inserting 
the mark and a hard space at the beginning of the next word, but this 
doesn't work at the end of a system - I would need to use an expression.

Thanks 

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Re: [Finale] Word extension question

[Peter Taylor]

Thankyou everyone, that's unanimous.
The music will be off to the printers in the morning.

Peter



From: Mark D Lew markd...@earthlink.net

 On Oct 4, 2011, at 2:21 AM, Peter Taylor wrote:

 Should a punctuation mark be after a word or at the end of the extension
 line? :

 a)  peace; __

 or

 b)  peace __ ;


 There is some tradition for both, but (a) is more common in every era and 
 near-universal now.

 All the software packages have supported (a) and failed to implement (b), 
 and that has probably contributed to making (a) even more standard than it 
 was.  Excluding handwritten scores, I don't think I've seen (b) in 
 anything published in the last 50 years at least.

 I have a client who prefers (b) and always hand-writes that way.  I rather 
 like it, too.  But neither of us prefers it so much as to go to the 
 trouble of kludging it every time.

 mdl

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Re: [Finale] Word extension question

[Peter Taylor]

Just an update for those who were kind enough to help.  I took the proofs to 
show the composer today and when I showed her the bar in question she said, 
Oh, you mean THAT bar.  Those lines are to indicate where words have been 
missed out.  The priest sings a long sentence here, and there's no need to 
print all the words, just a few at the end as a cue for the congregation to 
know when to join in.

So some of you were wise to advise checking with her.  We settled on using 
one dotted line, which I'm going to add with the smartshape tool.  Unless 
you have a better suggestion of course!  :)



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Re: [Finale] Word extension question

[Peter Taylor]

From: Mark D Lew 

 In that case I would use ellipses instead of underscores. Simple.

Done!  Thanks.


John, thanks but I'm on Windows.  An ellispis is Alt+0133 on the num pad.
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[Finale] Word extension question

[Peter Taylor]

I have a problem I've never had to deal with before.  I'm using WinFin 2005.

I know how to insert word extensions that cover two or more notes.  How do 
you insert one within
the span of one note?  (The opposite of a melisma).

I'm working on a choral score for a Mass.  One bar contains a breve (double 
whole note), on which the Celebrant has to sing :

| ___ and lead us to _ e | ternal  (ternal being in the 
next bar).

My client has hand-drawn extension lines on her m/s score before and and 
between to and e as shown, presumably to indicate to the Celebrant to 
draw out these syllables.  I'm sure there's a workaround for this, there 
always is!

Help much appreciated.  Thanks.

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Re: [Finale] Word extension question

[Peter Taylor]

- Original Message - 
From: Lawrence Yates yateslawre...@gmail.com
To: finale@shsu.edu
Sent: Tuesday, September 27, 2011 5:16 PM
Subject: Re: [Finale] Word extension question


 Can you not do this with an underscore on the keyboard?

Thank you Lawrence.  I did try that but the moment you enter the underscore
the cursor jumps to the next note.

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Re: [Finale] Word extension question

[Peter Taylor]

- Original Message - 
From: Dean M. Estabrook d.e...@comcast.net
To: finale@shsu.edu
Sent: Tuesday, September 27, 2011 6:53 PM
Subject: Re: [Finale] Word extension question


 The perfect drive..a diminishing sphere of white impaling the azure
 heavens in a graceful ellipticheight and distance vying for
 supremacy..compatriot's jowls lax, eyes huge, their raucous paeans
 thinly veiling jealousy..one stroke justifying a capricious  
 investment
 in the titanium industry.
 
 Dean M. Estabrook

I don't understand why you posted this.
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Re: [Finale] Word extension question

[Peter Taylor]

- Original Message - 
From: christopher.sm...@videotron.ca
To: finale@shsu.edu
Sent: Tuesday, September 27, 2011 7:41 PM
Subject: Re: [Finale] Word extension question


 To Peter, most likely your client misunderstands the use of word 
 extensions. They should only be used for non-hyphenated syllables under 
 more than one notehead. You should correct that in your work for him.

 But if you HAD to, just click Adjust Word Extensions (this will be in a 
 different place in 2011 than in previous versions) and handles will 
 appear. Drag the handle to change the length. Hyphenated syllables will 
 not have word extension handles, but you can add a Smart line manually. I 
 don't recommend either solution, as it is incorrect notation and will just 
 generate useless questions in rehearsal.

 Christopher

Thanks Christopher.  I called my client and explained the problem.  I said 
the reason it can't be done in Finale is because it is incorrect notation. 
She felt that was strange, she has other examples of it apparently, but she 
isn't adamant about the extension lines.

Anyway, I managed a fudge - the usual thing (if in doubt create an 
expression)  :o)

Thanks for your answer.

Peter 

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Re: [Finale] Word extension question

[Peter Taylor]

- Original Message - 
From: Howard Weiner h.wei...@online.de
To: finale@shsu.edu
Sent: Tuesday, September 27, 2011 7:45 PM
Subject: Re: [Finale] Word extension question


I would switch to another level, fill the bar with, say, eighth notes,
 enter the text where I want it (including word extensions), hide the
 notes, and then switch back to the original level.

 Howard


Hey, Howard, that works!  I'd thought of putting notes on another layer, but 
I didn't try it because I imagined the lyrics would disappear when you hide 
them, like note expressions do, but they don't!  I'll put that in my 
scrapbook of workarounds.

Thanks for your answer.
Peter 

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Re: [Finale] Word extension question

[Peter Taylor]

- Original Message - 
From: Harold Owen hjo...@uoregon.edu
To: finale@shsu.edu
Sent: Tuesday, September 27, 2011 8:07 PM
Subject: Re: [Finale] Word extension question


 Peter.

 In chant notation when several syllables are to be chanted on a
 single tone, no extensions are needed. If the choir sings a sustained
 chord (or unison} against a cantor or priest, there should still be
 no word extensions.

 Hal Owen

Thankyou Hal.  I asked my client about it and told her what you'd said (see 
my reply to Christopher).  I'm not well experienced in the rules of scoring 
liturgical music, and certainly not the Catholic Mass, so your help was very 
welcome.

Out of interest, would word extensions be correct if you wanted to pinpoint 
words to certain notes in an operatic cadenza?  I've always done that 
without any queries.

Peter




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Re: [Finale] Word extension question

[Peter Taylor]

- Original Message - 
From: Mark D Lew markd...@earthlink.net

 I don't agree with that. I understand that the standard is to only use a 
 word extension when a syllable continues to another note, but in a 
 situation where one voice has a long whole note while others are doing 
 something else, I think the irregular courtesy word extension does no harm 
 and could be helpful. If a client asks for such a thing, I don't think 
 it's an unreasonable request, I don't think it will cause any confusion in 
 rehearsal, and I wouldn't tell him it's incorrect notation.

Mark, I don't yet know what the choir will be doing while the cantor is 
canting.  This piece is a forced revision to my client's original work 
because there have been changes made to the actual church service.  I'm not 
a Catholic so I'm not familiar with this.  So far I only have the original 
score and the revisions to the booklet used by the congregation.  The 
revised score isn't ready yet.  The choir is holding a long note in the 
original, but I believe this is going to be changed.

I believe the extension lines were drawn because the cantor has to delay the 
words to an extent, or maybe more accurately, hold certain syllables, but 
until the score is completed I can't tie everything in together.


 But anyway, I don't think this is actually what Peter is asking for. His 
 real issue is that he's putting multiple syllables under one long note. 
 When you do this, Finale refuses to allow a space, hyphen or underscore 
 among them, because its UI treats that as a code to jump to the next note. 
 For the space you can substitute a hard space. For the hyphen you can 
 supposedly substitute a hard hyphen, though in many fonts it will look 
 wrong. For an underscore you're out of luck.

 What I would do here is to enter the whole intoned bit as a text box 
 instead of a lyric. (You may want to initially enter it as a lyric to help 
 with getting the font size and baseline properly aligned, but then delete 
 the lyric once you have the text box in place.)

 mdl


You've hit the nail on the head Mark.  I've actually entered the lines and 
words using a note expression.  It works fine, and of course it will move 
with the note if any layout changes are made later.

I'm treating this as a proofing draft for the time being.  I fully expect it 
will need to be changed later when I get the revised score.

Many thanks
Peter 

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Re: [Finale] Drum Parts

[Peter Taylor]

From: Eric Dannewitz ericd...@jazz-sax.com

 When I do big band charts, drummers complain that there is too much
 stuff in the part. They (drummers) like more sketches rather than a
 literal part. Like just with ens hits, important rhythms, etc..



Haha!  When I do brass band parts, drummers complain.  Period.  What a picky 
bunch!  :)

I'm with Chuck, hands up, feet down.  I've wasted too much time in the past 
changing parts to suit individual drummers and that's what I'm sticking with 
now, but I always put a note to tell the drummer what to bang on the first 
instance of a note in each line/space.  Nigel, do what YOU think is right 
and stick with that.

Peter 

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Re: [Finale] Tenor-singers Clefs Discussion wrapup

[Peter Taylor]

From: John Howell john.how...@vt.edu

Most of us 
have to make do with 5 (or only 4, in Guido's 
original chant notation).  That's why movable 
clefs were invented (by Guido himself!) in the 
first place.

As a child I once had the brilliant idea of using a
6-line staff, where each line and space is a
semitone, making key signatures and those d*mned
accidentals redundant.  It sounded great, but when
I tried to learn it it I found even a recorder needed
a grand staff!  :)

I've enjoyed this discussion.  Treble clef for tenors,
with or without the 8, seems the most natural to me,
because the voice range is similar to soprano, albeit
an octave lower.  But what about altos using
treble clef?  If anything, that seems more awkward than 
tenors using Treble8, yet nobody complains. 
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Re: [Finale] keeping old manuals

[Peter Taylor]

- Original Message - 
From: Michael Greensill m...@mikegreensill.com
To: finale@shsu.edu
Sent: Thursday, September 01, 2011 10:45 PM
Subject: Re: [Finale] keeping old manuals


 They WERE the best manuals for any piece of software I've ever
 learned, ever.

 Couldn't agree more! When I got Finale 3.0 I learnt most of the basics
 by reading the manual without the program even being open. It may be
 my age...but there's no way reading it on-line can in any way compare
 with reading and absorbing the manual. Just being able to flip back a
 couple of pages to check a term or some dialogue box seems an
 impossible chore on-line.

 Mike G.

Me too.  There was one early version that had separate spiral-bound manual 
and reference books in a black box with the original art deco conductor 
silhouette logo.  That was truly excellent quality, it made you feel the 
cost of the program was worth it just for that.  Sadly I lent my copy to 
someone and never saw it again.

I still keep the reference card from v.3.0 handy even today.  Some of it is 
out of date but the keyboard shortcuts and character sets are sooo useful 
for occasional users like me.

Peter 

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RE: [Finale] Bizarre playback

[Peter Taylor]

One thing you could try if you haven't already:

Click on the speaker icon button on the Playback Controls toolbar, then on
the 
Playback/Record Options button near the bottom of the panel.  Check that you
have
Selected Chase from First Measure in the Dynamics and markings box.

Hope it helps
Peter


 -Original Message-
 From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf
Of
 Michael Lawlor
 Sent: Wednesday, December 22, 2010 10:34 AM
 To: finale@shsu.edu
 Subject: [Finale] Bizarre playback
 
 [Finale 2009]
 I am encountering a range of unexpected results from playback.  I have
tried
 VST instruments (with and without human playback) and normal MIDI, but all
 suffer from the same problems.
 
 1)  If I play from the beginning I hear all the parts, but if I start
 playback elsewhere, some parts do not sound.
 
 2)  Although dynamics are specified, some parts play more quietly than
others
 (of the same kind: 6 oboes  6 bassoons) and some get quieter.  There has
 been a dim. a few bars earlier, but it should have been completed and a
forte
 should be in effect.
 
 3)  A tempo change (crotchet = 60 becomes crotchet = 90) only lasts about
1/2
 bar before reverting to the previous tempo.
 
 Any help would be appreciated.
 
 Michael Lawlor
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RE: [Finale] volume levels

[Peter Taylor]

 -Original Message-
 From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On
 Behalf Of Jari Williamsson
 Sent: Saturday, November 21, 2009 3:07 PM
 To: finale@shsu.edu
 Subject: Re: [Finale] volume levels
 
 Lawrence David Eden wrote:
  Fin Mac 2K7
 
  I want my MIDI to play back my Finale files at full volume 127, but
  something is telling my MIDI to set that level to 101.  I went to
  Playback Controls and set the key velocity level to 127 and this
 value
  shows up even after the MIDI has played back my file at 101. How do I
  fix this?
 
  There are no dynamics in my file.
 
 Velocity is how hard the attack should be (how hard a keyboard key is
 being hit), not necessarily connected to volume. IIRC, Fin2007 was
 before the Mixer and all those playback-related controls were
 introduced, so I think your solution would be to insert a
 volume-changing expression at the beginning of the staff.
 
 
 Best regards,
 
 Jari Williamsson

Larry, the 101 Volume is probably coming from the setting in the Instrument
List window, adjacent to the panning setting.  You can set a different
volume for each staff but the default is 101 for all.

Peter

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[Finale] Setting up a keyless horn staff

[Peter Taylor]

Sorry to bore you all with this, I'm sure it has been asked many times
before and if I could search the archives I wouldn't need to ask.

What's the recommended procedure for setting up a keyless horn staff and
entering notes?  I'd like the accidentals to appear automatically if that's
possible.

Thanks
Peter

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RE: [Finale] Setting up a keyless horn staff

[Peter Taylor]

 -Original Message-
 From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On
 Behalf Of Robert Patterson
 Sent: Sunday, November 08, 2009 8:23 PM
 To: finale@shsu.edu
 Subject: Re: [Finale] Setting up a keyless horn staff
 
 I sent a similar reply a while back, but I never saw it come thru.
 
 For music without a key sig, use Chromatic Transposition.
 
 For must with a key sig. use standard Transposition as follows:
 
 1. Set the horn staves to Independent Key Signature.
 2. Set the horn staves to F Transposition.
 3. Set the key signature of the Horn staves to F Major throughout,
 irrespective of the true key(s) of the piece.
 
 That will do it.

Thankyou Robert.  If I enter the notes between stages 2  3 and choose Hold
notes to original pitches when I change the key sig in stage 3, the
accidentals all appear as if by magic!  Brilliant.

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RE: [Finale] Setting up a keyless horn staff

[Peter Taylor]

 -Original Message-
 From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On
 Behalf Of Bob Morabito
 Sent: Sunday, November 08, 2009 8:35 PM
 To: finale@shsu.edu
 Subject: Re: [Finale] Setting up a keyless horn staff
 
 Hi Peter
 
 heres a place to search the archives:
 
 http://www.opensubscriber.com/messages/finale@shsu.edu/topic.html
 
 Bob
 
 PS Im not sure if you have to register-

Thanks Bob, that's a nice find for me!  I didn't need to register.
Peter

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RE: [Finale] OT: Dies Irae

[Peter Taylor]

One not mentioned so far I think is Edward Gregson's Partita
http://edwardgregson.com/en/works/44/partita/

Peter

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Matthew Hindson
Sent: 27 October 2009 04:09
To: finale@shsu.edu
Subject: [Finale] OT: Dies Irae

Any listers know of a list of 20C works that use the Dies Irae in some form
or another?

There is Rachmaninoff, of course, and Michael Daugherty's Dead Elvis.
Also Crumb uses it now and then e.g. Black Angels, Makrokosmos II.  But any
others that come to mind? (Particularly important works?)

Matthew
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RE: [Finale] Old-style lyrics font

[Peter Taylor]

Dennis Bathory-Kitsz wrote:
just in case you like that sort of thing.

I do Dennis, very much.  It's just what I need for replacing missing or
damaged parts from 19th and early 20th C. band sets.  I've been using
Baskerville but your font looks much more the genuine article.  Thank you
for your hard work, and I'd like to download it if I may.

Peter

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RE: [Finale] Tempo Detection in Audacity

[Peter Taylor]

 From: David W. Fenton

My play project for the weekend is to analyze the tempos of various 
recordings of the Pachelbel Canon 

8-\  Sad or what?

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RE: [Finale] Playback problem

[Peter Taylor]

Try this:

MIDI/Audio  Device Setup  MIDI Setup...
Check the box marked Match On/Off in the MIDI Out panel

Peter



-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of 
Rudy Lupinski
Sent: 13 August 2009 15:14
To: finale@shsu.edu
Subject: [Finale] Playback problem

Sorry, I had already sent the following, but I used my other e-mail address 
which isn't on your subscribers' list.  I'm sending it again with the correct 
e-mail.

I am using Finale 2010 on my MacBook Pro, running OS 10.5.8.  I’ve just 
encountered a weird problem with one of my files when I try to play it back.  
All the sounds keep holding after they have been played and doesn’t quit 
sounding even when I stop the playback.  I literately have to close the file to 
get it to quit sounding.

I have it playing through Garritan instruments.  I tried using general midi 
sounds and it does the same thing.  It doesn’t do this with my other Finale 
files.  Somehow I must have changed something in the human playback settings, 
but I can’t seem to figure out what it is.  I’ve tried setting the human 
playback to NONE, but it does the same.

This file did NOT have this problem before.  The only thing I have done is I 
started messing with Hyperscribe on a completely different file and I updated 
my OS to 10.5.8.

Like I said before, none of my files have been effected.  They all playback 
normally.

My last resort is to copy everything and paste the music into a new file. I 
don’t want to do this yet until maybe someone may know how to solve this 
problem.


Rudy Lupinski
rp...@yahoo.com
rudylupin...@sbcglobal.net

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Re: [Finale] Getting a good guitar sound

[Peter Taylor]

George,

The programs you mention (Finale, PowerTracks, BIAB etc) do not generate the 
sounds - they simply send instructions to something called a MIDI Device, 
which converts the instructions into sounds.  MIDI devices can be either a 
piece of hardware (such as a soundcard inside your computer or an external box 
of electronics) or maybe a special software program.  You can see which MIDI 
device Finale is using if you click on MIDI in the top Menu bar and click on 
MIDI Setup...  The sound you are hearing is being made by the device listed in 
the box marked MIDI Out.

If you click on the little down arrow at the right of the MIDI Out box you will 
see a list of the devices installed on your machine.  You can try choosing any 
of these and then play your file to see if the sound it makes is any more to 
your liking.

If they all still sound like a piano then the problem is probably in your file 
- you may not have set up instrumental sounds for each of the staves in your 
score.  To do this, click on Window in the menu bar and choose Instrument List 
and you'll see a list of the staves and the instrument sounds for each one (if 
not, click on the button View by Staves at the bottom of the screen).  Make 
sure a guitar sound is selected for your guitar staff (for example enter 25 in 
the column marked Prog to get a Nylon Guitar sound), check the box at the 
bottom marked Send patches before Play then click on the X box at the top 
right corner to close the window.   

Hope this solves the problem!
Peter

  - Original Message - 
  From: George Ports 
  To: Finale Forum 
  Sent: Tuesday, January 16, 2007 5:46 PM
  Subject: [Finale] Getting a good guitar sound


  I want to notate a song in Finale, save it as a midi that has a good guitar 
sound. All of the different programs I've tried to import the midi file to such 
as Finale 2006b, PowerTracks version 11, and Band in a box 2004 don't seem to 
have a good guitar sound. They all sound like a piano trying to sound like a 
guitar. I was hoping someone might know of a way to get a good guitar sound 
without actually having to play the guitar into the computer to achieve this. I 
have winXP. Any help I can get would really be appreciated.
  Thanks,
  George Ports
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Re: [Finale] Getting rid of the attachments

[Peter Taylor]

- Original Message - 
From: Williams, Jim [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Thursday, October 12, 2006 1:10 AM
Subject: [Finale] Getting rid of the attachments



Friends...

I send my Finale posts via an email system established by my employer 
using MS Outlook Web Access.
For some reason unknown to me, attachments are created when I reply to 
posts on this list, consisting of a copy of the message to which I am 
replying and a copy of some kind of Finale group signature.


snip


I stand (well, sit) ready for advice.

Jim


Dear Jim, the attachments don't bother me at all ;)  However, I noticed your 
messages with attachments were sent in multipart format, whereas this one I 
am replying to, which has no attachment, was sent in plain text format. 
Maybe you've already sorted it out yourself?


Peter 


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Re: [Finale] music literacy

[Peter Taylor]

- Original Message - 
From: John Howell [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Saturday, April 01, 2006 3:37 PM
Subject: Re: [Finale] music literacy (long)



At 2:21 PM +0100 4/1/06, Peter Taylor wrote:

Gone are the days when a few ordinary-looking local lads



You know what?  I don't think that's true at all.


Yes, one of my sweeping statements I'm afraid.  There's still lots of 
genuine talent coming through all the time.  The problem for me is that too 
often they seem to cater to the current taste of the buying public rather 
than being creative.  Perhaps that's the real problem.


Also there seems to me to be too many cover versions of old songs being 
produced these days.  Is it possible there aren't enough good songwriters 
around?   Perhaps that's why rappers speak (shout) their lyrics rather than 
sing them.


When I mentioned the modern sounds and effects earlier I agree there were 
electronic sounds around in the late 60's - the psychedelic era?  I had more 
in mind stuff like some Punk, or mind-numbing, thumping, looped drum-machine 
sounds mixed with a few simple electronic orchestra-hit chords that go on 
and on without a break, keeping Ecstasy-induced ravers happy.  That's what 
I'd call musical illiteracy, far less creative than rap in my view.  I can't 
imagine any human drummer keeping that going for long before keeling over 
:)


Peter

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Re: [Finale] music literacy

[Peter Taylor]

- Original Message - 
From: Darcy James Argue [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Saturday, April 01, 2006 8:11 PM
Subject: Re: [Finale] music literacy



On 01 Apr 2006, at 8:21 AM, Peter Taylor wrote:

Gone are the days when a few ordinary-looking local lads in  Liverpool 
could form their own little group, write their own music,  practice at 
each other's houses, play at local dance halls and get  discovered by 
talent scouts.


Replace Liverpool with Sheffield and talent scouts with the 
internet (especially MySpace) and that's exactly the story of the  Arctic 
Monkeys, one of the most talked-about rock bands on the scene  right now.


- Darcy


But isn't that the point?  They decided to promote their music themselves on 
MySpace Music presumably because the record companies couldn't recognise 
they had any prospect as moneyspinners (but I don't have any knowledge of 
that).


Peter 


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Re: [Finale] music literacy

[Peter Taylor]

- Original Message - 
From: dhbailey [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Friday, March 31, 2006 9:54 PM
Subject: Re: [Finale] music literacy



Phil Daley wrote:


At 3/31/2006 12:43 PM, Owain Sutton wrote:

 OK, you started this one, so you can answer it first - how DO you 
define

 music?

Pitch and rhythm.  Words are secondary.

Rap has rhythm.  End of story.



Rap has pitch



Indeed, and some music has no rhythm

Peter 


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Re: [Finale] data-destroying bug, I've been bitten!

[Peter Taylor]

- Original Message - 
From: Eric Dussault [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Saturday, November 19, 2005 2:25 AM
Subject: [Finale] data-destroying bug, I've been bitten!



That's it, I've been bitten by the data-destroying bug today at work.


You know, this sounds suspiciously like the unpredictable and unfathomable 
problems caused by temporary files which have bugged Windows users ever 
since version 1.  I'm *still* finding TMP files left behind with 2005, even 
though I understand they were supposed to have cured it.  If you let the TMP 
files mount up this is exactly the sort of problem that results.


I appreciate you Mac users say you never see any undeleted TMP files, but 
Finale must write them while it is running and they only get deleted (if 
you're lucky) when you exit the program, not when you close a file.  So if 
you've had Finale running for days I think it's a distinct possibility 
you're being affected by the same issue.


Peter 


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Re: [Finale] data-destroying bug, I've been bitten!

[Peter Taylor]

- Original Message - 
From: Christopher Smith [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Saturday, November 19, 2005 3:19 PM
Subject: Re: [Finale] data-destroying bug, I've been bitten!




On Nov 19, 2005, at 9:35 AM, Peter Taylor wrote:

- Original Message - From: Eric Dussault 
[EMAIL PROTECTED]



That's it, I've been bitten by the data-destroying bug today at work.


You know, this sounds suspiciously like the unpredictable and 
unfathomable problems caused by temporary files which have bugged Windows 
users ever since version 1.  I'm *still* finding TMP files left behind 
with 2005, even though I understand they were supposed to have cured it. 
If you let the TMP files mount up this is exactly the sort of problem 
that results.


I appreciate you Mac users say you never see any undeleted TMP files, but 
Finale must write them while it is running and they only get deleted (if 
you're lucky) when you exit the program, not when you close a file.  So 
if you've had Finale running for days I think it's a distinct possibility 
you're being affected by the same issue.




I would be able to tell you if I COULD see them. They aren't called .tmp 
on the Mac, but what ARE they called? I know they must be somewhere, but I 
can't find them. Anybody Mac-oriented who can point me?


Christopher


Christopher - sorry I can't help with Mac. In WinFin 2005 I click on Options 
 Program Options and choose the Folders item.  At the bottom of the Folder 
lists is the location of Temporary Files.  For every new installation I 
create a discrete folder for Finale's temporary files (for which I create a 
shortcut on the desktop) and empty it manually very frequently.  This has 
been standard practice ever since I discovered the problems that temporary 
files cause.


They can even affect the general running of the machine, not just Finale - 
at least they used to before I knew what to do about it.  This includes 
slowing everything down. 


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Re: [Finale] data-destroying bug, I've been bitten!

[Peter Taylor]

- Original Message - 
From: Chuck Israels [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Saturday, November 19, 2005 5:22 PM
Subject: Re: [Finale] data-destroying bug, I've been bitten!


Question is: was the lesson quit and restart Finale often, empty temp 
file folder often, or both?


In my case, Chuck, because on Windows the deleting temp files on exit bug 
has been known about for ever (but not until recently acknowledged by 
Coda/MM) the answer is both.  I wouldn't recommend deleting the temp files 
whilst Finale is running, at least unless I had saved and closed every file, 
but that still feels risky.


In any case, this seems unusually buggy 2006 behavior, and MM should 
address it (among other things), but if the cure is this simple, at  least 
we can control it.


Yes, if you can get them to acknowledge it.  Unlike the users, I don't think 
they as developers use the program for long enough periods to generate an 
appreciable accumulation of temp files.


Glad your machine is back to normal
Peter 


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Re: [Finale] data-destroying bug, I've been bitten!

[Peter Taylor]

- Original Message - 
From: dhbailey [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Saturday, November 19, 2005 5:53 PM
Subject: Re: [Finale] data-destroying bug, I've been bitten!



What I have noticed, when I haven't cleared out my TEMP directory manually 
in a long time, is that the program foolishly reuses the old names, as if 
the programmers have decided on a finite number of temp file names and the 
program simply recycles them as needed.


Inspired post, IMHO, David.  I had assumed the different filedates and times 
reflected all my various Finale sessions - I would never have guessed that 
files are being overwritten.  The issue of deleting files on closing is 
another matter - if Finale overwrites it's own temp files *while they are 
still in use*, that would provide a plausible explanation for all manner of 
peculiar and unpredictable behaviour we've experienced.


Peter 


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Re: [Finale] data-destroying bug, I've been bitten!

[Peter Taylor]

- Original Message - 
From: David W. Fenton [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Saturday, November 19, 2005 10:12 PM
Subject: Re: [Finale] data-destroying bug, I've been bitten!



On 19 Nov 2005 at 19:02, Peter Taylor wrote:


I had assumed the different filedates and times
reflected all my various Finale sessions - I would never have guessed
that files are being overwritten.  The issue of deleting files on
closing is another matter - if Finale overwrites it's own temp files
*while they are still in use*, that would provide a plausible
explanation for all manner of peculiar and unpredictable behaviour
we've experienced.


Finale does *not* do this.

Period.


What makes YOU so cock-sure?

If you've never experienced the problems that a large accumulation of temp 
files can cause then you can't be much of a Finale power-user.  You need at 
least 500 *.tmp files in the folder before you begin to notice any effects 
and upwards of 700 it starts to cause real problems, maybe you've never got 
that far.  I can assure you I experienced very many strange, apparently 
unrelated, problems which disappeared when I discovered the trick of 
deleting the files and, irrespective of whether you've ever experienced 
them, that is a fact.  I thought we'd all agreed on this about 4 years ago.


I have to admit I haven't noticed any problems since about ver 3.0 when I 
had a slow 486 and Win 3.1, but then again I've been regularly deleting the 
temp files ever since then, so that kind of proves my point.  But anyway, we 
are talking about Mac problems now.


And I'm quite capable of writing batch files too, thankyou, but I want to 
see which files I'm proposing to delete before I delete them, so my 
time-honoured procedure suits me fine.


Peter 


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