Re: [Finale] System Divider only in score

in the score: select divider, hide, unlink, unhide. I have created a system divider, //, in a score but it shows up in the parts. If I delete it from the parts, it gets deleted in the score. How do I define the system divider for the score but not the parts? -- neueweise -- fonts for

Re: [Finale] Automatically Hyding Tuplet Numbers

it is not possible to "automate" this in finale, but the task can indeed be streamlined ;-) two easy ways, with the first you will see no traces of the tuplets and later perhaps have difficulty ascertaining if there are tuplets assigned/defined; the second hides them -- they appear in

Re: [Finale] Find where expression or articulations are assigned

don't know of any way to do this as you would like it, but i usually edit the object to make it 72 or 120 point (depending on the percentage reduction of the systems) and flip through the score pages to locate instances. -- neueweise -- fonts for new music (and traditional) notation

Re: [Finale] Down-Bow Symbol as Conventional Full Stop Instruction

i would definitely recommend NOT using a symbol that already has a clear and indisputed meaning. by assigning yet a new meaning to an existing symbol you contribute to the confusion of contemporary (as in "today's practices") notation. as much as i support and champion new and expanded

Re: [Finale] Laissez Vibrer

use the neueweise Articulations font :P What is the best way for obtaining a few laissez vibrer symbols for cymbals on a percussion staff not using Engraver font? -- neueweise -- fonts for new music (and traditional) notation http://newmusicnotation.com/fonts.html shirling & neueweise |

Re: [Finale] ISO B paper sizes

yes, this has been possible for many years! open up your "pagesizes.txt" and make the changes you want. you can rename as you want to see it in the print and setup menus and can use any measurement unit in the settings (default is inches) and can mix with no probs. for example, if you

Re: [Finale] Unusual Tuplet

It is not possible to place two dotted halves in four quarter, under a quintuplet sign; one of the two halves has to be without dot. someone has already pointed out that you have seemingly completely misunderstood what was being asked. but i don't quite understand the reasoning or the

Re: [Finale] Unusual Tuplet

criticizing a particular notation without knowing the context, piece or composer is wrong (and silly). there is no need to subtly slam new complexity composers, this rhythm is hardly complex, and the OP asked how to do it, not if it was "wrong". further, to discredit an entire practice

Re: [Finale] same part in C and transposed

hey christopher, thanks. good to knowi'm on the right track, i have never needed to do this before. and yeah i probably know about the distinction between applying to SC and/or PTs ;-) That¹s how I make parts that are identical except for transposition (like baritone treble clef Bb or

[Finale] same part in C and transposed

wondering if anyone has a better or more clever way to do this? SC in C, no transposing instruments. i'm asked to provide a voice part (only, no other instruments) transposed down a M2. in case there is ever a request/need for the original, i'm thinking to do everything in C and create 2

Re: [Finale] [OT] voice part only

i find really very little of what clients ask me to be unusual ;-) and providing what they request is my usual approach. but in any case, it turns out the other musicians are transposing on sight and only the singer wanted a transposed part to perform from. jef At 11:10 AM +0200

Re: [Finale] [OT] voice part only

not a waste at all. but i don't know, didn't ask and don't really need to know. they asked me to transpose it in exchange for some eurobucks and are a highly skilled 35-yr old ensemble so i will assume they know what they're doing and take them up on their offer :P At 8:53 PM -0400

Re: [Finale] [OT] voice part only

, Edwardsville (IN) United Methodist Church Retired Bass Trombonist, Louisville Orchestra, 1970-2016 On May 5, 2019, at 11:49 AM, SN jef chippewa wrote: yeah they explicitly said they don't need the score, only a transposed part (i don't know where the transposed score is or if there in fact is one

Re: [Finale] [OT] voice part only

yeah they explicitly said they don't need the score, only a transposed part (i don't know where the transposed score is or if there in fact is one), and there is a fixed (small) budget that is just too small for me to do the entire score even if i wanted to. thanks! In my experience, the

[Finale] [OT] voice part only

i only rarely encounter voice in the ensemble scores i do, so any advice would be appreciated. i've been asked to create the vocal part (no other parts) for a late-18th century french song for voice, violin, cello and piano. just wanted to make sure that nothing aside from a couple of cues

Re: [Finale] Importance of 3rd Party Plugins to Finale

I find both yours and Jari¹s plugs are indispensable. I¹m happy to advertise them. Any user who doesn¹t have them is walking with their shoelaces tied together. behind their ankles. in knee-deep snow. at night. blindfolded. towards the cliff... -- neueweise -- fonts for new music

[Finale] [OT] piano fingering position

are there specific rules or a general best practice for the positioning of fingering numbers in piano music? i'm not home and have no scores to consult. looked a little around the internet. is it basically position them on the notehead side and as close to the notehead as possible, avoid

Re: [Finale] musx ≠ pdf for beam ext. / stem connect

this discrepancy seems to have been because i was using hidden noteheads (via JW change/noteheads/visibility), did some tests with different sizes of blank noteheads in my fonts and can find a workable solution. was using hidden noteheads and stems for very specific situations where the

[Finale] musx ≠ pdf for beam ext. / stem connect

any idea why the positioning is different on extended beams and stem connections? in the pdf, finale is in the background, acrobat in the front. https://www.dropbox.com/s/9lkkta76i34lmjn/SN_beamext-stemconnect.pdf?dl=0 the stem connection is set up in finale and already what it looks like in

Re: [Finale] retain beaming breaks when copying

hey gerald, thanks. something along the lines like that would work in some cases but here even when there are no beams across barlines, the beamed subdivisions of the measure are different in each voice. > I have gone to the lengths of copy measure then, insert measure then, change > time

[Finale] retain beaming breaks when copying

need help with a solution to nasty (default) behaviour. (F25) bajillions of 8th notes in various beaming groupings (beams and stems) i set up several patterns for it, but when copying these patterns to non-whole measures starting on different positions within the (constantly changing) meter

Re: [Finale] Beaming 5/16 in One Group

WAAHH! no way, that is awesome > .625 /2 in the composite time signature box would give you what you want, > with 5/16 for display. -- neueweise -- fonts for new music and traditional notation http://newmusicnotation.com/fonts shirling & neueweise |

Re: [Finale] Beaming 5/16 in One Group

use a composite time signature of 1+9/32 showing alternate 5/16. if you use a 32nd on the 1st beat, do the same thing but at the /64 level. > That will only give you 5 separate 16th notes. > Normally you would use the Composite Time Sig, but for 5/16th it doesn’t > quite work. > Normally you

Re: [Finale] OT Sibelius list

make sure you weren't subbed with 2 separate addresses (one of which is no longer subbed) - i see this regularly with people who use both a personal and academic address, or set up a separate "lists" email address. At 5:08 PM +0200 8/4/18, Lawrence wrote: Does anybody know how to get off

Re: [Finale] FINMAC - iKey?

i use yKey as well for many years now It's called yKey now and has been updated for 10.13. I replaced OX9 Quickeys with this. I believe there is now an OSX Quickeys, so it may be a better choice for you. But yKey does everything I need it to. --

[Finale] [OT] notation panels in darmstadt 24/27 jul

anyone around for the summer courses? i'm one of the invited guests on 2 panel discussions this week: "notation as imperative" (tuesday) and "open form" (friday). the starting point for tomorrow's discussion is "pression" (lachenmann), which i scored several years ago. the series is led by

Re: [Finale] Unusual Notation Question

yes, sorry your "divisi notes" caught me off-guard :-) but yeah that is what i meant, clusters of individual notes/instruments, all playing 6-let tremoli > but in the scan no "div." is indicated. It is not customary to mark wind/brass parts divisi, since they are always one-on-a-part

Re: [Finale] Unusual Notation Question

i would say that is also a possibility, top line left measure has (on all 3 beats) A-Bb on left part of split stem, Bnat-C on right. but in the scan no "div." is indicated. 3rd measure 3rd beat has 5 notes (B to Eb) with 3 stems for sure, possibly 4, maybe even 5 (very faint, hard to

Re: [Finale] Unusual Notation Question

top line sextuplet tremoli on clusters, others tied clusters, seems to me -- neueweise -- fonts for new music (and traditional) notation http://newmusicnotation.com/fonts.html shirling & neueweise | http://newmusicnotation.com new music notation + arts management + translation [FB]

Re: [Finale] F2010, illustrator, graphics on OSX.10

yeah they are definitely AI. i opened them in graphic converter but there was only one layer containing both the finale output and the drawn-over grphics. had i known what i know now :-) i could have saved only the graphics as separate files and might have been be able to work with those.

[Finale] F2010, illustrator, graphics on OSX.10

am on 10.10.4 and have some files that were done in 2007 that a few client revisions entered. was able to open using F2010 (although it took a long time though and told me the file was saved with a newer version and couldn't be opened) and can seemingly edit. so far so good, at least where

Re: [Finale] What is the Finale strategy?

i find these tools quite useful, and they are entirely genre- and platform-independent: they work just as awesomely for the newest of the new music notation as for basically all traditional approaches to music notation, western or other. https://youtu.be/mci6NVBJbvo > All that said, I’m

[Finale] [OT] TENOR 2018 Performer Lab - upcoming deadline

last call, DEADLINE is 5 april for the performer lab during TENOR in montréal in late may. TENOR 2018 -- Fourth International Conference on Technologies for Music Notation and Representation. >Date: Thu, 29 Mar 2018 09:33:31 -0700 (PDT) >From: Terri Hron >To:

[Finale] [OT] article: notation for electroacoustic/digital media

sooo yeah. finally got around to starting to commit some of this music notation stuff in my head to "paper". perhaps of interest to some here. was published in the latest issue of the online journal eContact! Typology and Problematics of Fixed Notation for the Representation of

[Finale] [OT] eContact! 19.3 - Notation for EA and Digital Media

perhaps of interest to some here. i coordinated the recent issue of eContact! and finally started writing down some of my own research and experiences in notation. -- PRESS RELEASE -- for immediate diffusion / pour diffusion immédiate Please forward at large. Communauté électroacoustique

Re: [Finale] Display Elapsed Time

oh maan, fantastic! that exists even back in F2012, how did i miss that?!! i also just discovered you can individually add enclosures to measure numbers (or individually edit measure numbers predefined to have an enclosure) yeah! >You can define a measure number to be time of mm:ss and

[Finale] stem connections not accessible (F2010/OSX10.4)

i have a 2010 score that needed one tiny correction and of course i have spent the entire morning trying to get the kinks out of the file. was originally done on 10.6.8, i've had to redo FANs for older version of my fonts and other tiny adjustments on 10.4 and it is largely fine now. 2

Re: [Finale] OT: iKey vs yKey

i'm on a different partition/system right now than where i use F2014.5 , so can't check the name, but it seems that the software was sold and auto-updated itself. i'm still using it (in its new manifestation), all is fine. the interface is a little different but nothing radical to adjust

Re: [Finale] downward offset when printing from finale

more strangeness but maybe this shows the problem is related to the margins and/or text blocks aligned to margins. i set the top page margin to 0 for one page (page numbers now touching page edge) but left the bottom margins as is (144, with a time/date stamp aligned to it) and the result is:

[Finale] downward offset when printing from finale

i can't find any reason why finale (mac 2014.5) would do this, but printing from A4 the entire image is lower than it should be, seemingly by an amount equivalent to my top and bottom page margins (144 EVPU, or 1.27 cm / 0.5 in). this occurs when using a printer as well as printing to PDF

Re: [Finale] NUMBERING DRUM PARTS

if you define a category for it you don't have to duplicate to retain the positioning and font characteristics and can adjust them globally at any time if you see the default positioning needs adjusting ;-) >I make sure that the first one I create has the right positioning (centre >between

Re: [Finale] Microtone accidental positioning

dude, why would you want to make your life so difficult? that is the absolute worst way to do microtonal notation. expressions are more reliable for positioning, but in any case, you will want to reset them all to the 0 position globally (once all are entered) before doing any real layout work.

[Finale] PC keyboard help in staff tool?

i'm on mac, but helping a PC user learn finale. what are the keys / strokes to select non-adjacent staves in scroll view? this is to define staff sets. also, what is the key command to select a defined staff set (ctl-1 through 8 on mac; ctl-0 for all staves)? i know str-1 through 8 to define

Re: [Finale] Create multi-staff instrument

hi michael, the issue you mention is not a "problem", it is design. think of notation software as a digital grid, not blank 2D paper. the extra staff/staves you add are present in the entire document (i.e. all measures/systems) but can also be hidden selectively in an instant. there are

Re: [Finale] Create multi-staff instrument

i think the max # of staves for a single instrument is 3 (organ). these things are defined in the instrument database, which i fiddled with several years back. on mac, you had to ctl-click the programme icon, as i recall. and select "show package contents". somewhere there was a file that

Re: [Finale] shifting notes

i think you're stuck with manual adjustments in however many variations you might have on manual displacement needs, and then hopefully being able to copy at least some of it with robert's PI. because this can go screwy i have a "note to me" category (24 pt hidden; L-aligned to L of principal

Re: [Finale] shifting notes

>Sorry, me again. it's ok, we forgive you :P don't think so, but the next step (if there are are several to do) is obviously patterson's mass copy... >Is there a plug-in (or some other way than dragging each note) to shift >notes when two voices on one staff cross, such as here? --

Re: [Finale] tails through noteheads

i would move layer 2 further left, and find a balance between long stem and horizontal displacement that i like. engraver has tighter curves at the end of the flag and you would be able to "tuck it in" a little tighter than you will be able to with maestro as your flags font. >Is it

Re: [Finale] Mass Copy is Superior to Edit Filter

i heartily second the subject line. i have saved settings for stem+beam alterations, articulations only, measure-attached smart shapes and note-attached smart shapes as saved settings. e.g., for stems on 8th and smaller durations i extend 12 EVPUs when the note is (treble clef as example) a

[Finale] [OFF] interview on "scoring notes" blog

philip rothman has recently published an interview he did with me. we talk shop in areas of contemporary and traditional music notation, notation software choices, my custom fonts for new and traditional music notation... and the origins of the name shirling & neueweise. put on some of your

Re: [Finale] off topic: German for "competition music"?

true! >Jef, a required piece for a competition is not necessarily a >commissioned work. -- neueweise -- fonts for new music (and traditional) notation http://newmusicnotation.com/fonts.html shirling & neueweise | http://newmusicnotation.com new music notation + arts management +

Re: [Finale] off topic: German for "competition music"?

oops, sorry, i was reminded you had referred to wettbewerbsmusik, which would mean inverting my comments about masc./fem. and i just noticed another mistake, i used the word "fun" in a sentence about german grammar. >more fun german gender noun facts -- musikwettbewerb is masc. >because

Re: [Finale] off topic: German for "competition music"?

>A required piece for a competition would be "ein/das Pflichtstück" yeah but that is really awkward and may be used but is certainly nowhere as common as the term "auftragskomposition", which in the context of a competition is clearly understood to be mandatory (pflicht). -- neueweise --

Re: [Finale] off topic: German for "competition music"?

>here they use a similar for to wqhat i wrote above: >... Auftragskomposition des diesjährigen ARD-Wettbewerbs... forgot the link https://www.br-klassik.de/concert/ausstrahlung-1163426.html -- neueweise -- fonts for new music (and traditional) notation http://newmusicnotation.com/fonts.html

Re: [Finale] off topic: German for "competition music"?

more fun german gender noun facts -- musikwettbewerb is masc. because wettbewerb is masc.; doesn't matter that musik is fem. in this case (musik becomes an adj.). >Can someone help me with what a word would be in >German? I¹m looking for a word that would be >used for ³competition music,²

Re: [Finale] off topic: German for "competition music"?

Auftragskomposition is a common term (commissioned work), but i can't recall ever seeing the specific term you mention. could be something like Wettbewerbauftragskomposition. or Auftragskomposition zur Wettbewerb. careful, "w", not "v". also Auftragswerk

Re: [Finale] Dorico

david, it sounds to me like you should write an article or blog entry comparing the pros and cons of the three programmes ;-) -- neueweise -- fonts for new music (and traditional) notation http://newmusicnotation.com/fonts.html shirling & neueweise | http://newmusicnotation.com new music

[Finale] Dorico -- chord symbol tool for graphics?

i watched the video chuck mentioned and wonder if it could be hacked to provide a nice way to build a new music symbols library. normally i would do this with multiple text expressions, or (yuck!) as a multi-component shape expression; both these approaches are unsatisfying. for example, if

[Finale] [OFF] piece for live-composed score

please forgive a little self-promo but it's quite related to notation matters (if not finale-specific) :-) -- BERLIN -- 10 sept 2017 @ heimathafen (neukölln) | kontraklang concert series hey, anyone interested in seeing musicians make the score in real time that they will play from should

Re: [Finale] Assigning Text Blocks to Measures - Shortcut?

text tool, text menu: Assign To Measure > Is there a shortcut to assigning text blocks to measures... -- neueweise -- fonts for new music and traditional notation http://newmusicnotation.com/fonts shirling & neueweise | http://newmusicnotation.com new music notation + translation + arts

Re: [Finale] Staff question

hey patsy, your topline distance is the distance between the top stafflines of 2 adjacent (vertically) staves. if your value is 0 you are laying a new staff directly over the existing one. if your measurement units are set to EVPUs try a value of 275 or 300. but your best bet is probably

Re: [Finale] what other fonts did you use ca. 2000?

um... huh? robert, did i miss a post? because i really have no idea what you are talking about / what you are responding to. but they were two related fonts, no? percussion instrument/ mallet symbols. from jan's page:

Re: [Finale] what other fonts did you use ca. 2000?

ah, didn't go deep enough, but was already using your font comparison tool, thanks! >you will find character maps and download info to all the fonts you >mentioned here: >https://elbsound.studio/music-fonts.php > >The more or less Finale compatible OpenMusic font OMAntonin was also >designed

Re: [Finale] what other fonts did you use ca. 2000?

thanks for the tips, had forgotten a few. -- neueweise -- fonts for new music (and traditional) notation http://newmusicnotation.com/fonts.html shirling & neueweise | http://newmusicnotation.com new music notation + arts management + translation [FB] http://facebook.com/neueweise |

Re: [Finale] what other fonts did you use ca. 2000?

yes, right! thanks >Sonata -- neueweise -- fonts for new music (and traditional) notation http://newmusicnotation.com/fonts.html shirling & neueweise | http://newmusicnotation.com new music notation + arts management + translation [FB] http://facebook.com/neueweise | [TW]

[Finale] what other fonts did you use ca. 2000?

for those who were doing *contemporary* notation what were the fonts you used to supplement your arsenal of default fonts? the key ones, as far as i remember were: Fughetta and Tamburo Toccata Ghent Percussion MIDIDesign any others? with links to PDF character charts if possible. rock on jef

Re: [Finale] Things to be done in the middle of a bar.

not really "mid-bar" change, more like butt-splicing different pieces together, each with anacrusis and final "incomplete" measure. but yeah achieved in the same multi-step tasks in finale. thanks for the reminder that i haven't listened to this piece in awhile :P > Change time

Re: [Finale] Downloadable current manual.

>MakeMusic assumes that users are always online and they have decided >in their not-so-infinite wisdom that it's easier for them to keep >their online content up-to-date. i can't speak about why they did this but it is in fact a more logical approach, if managed properly. making corrections

Re: [Finale] OFF-TOPIC twirling pipes / magic tube

thanks, some fun links by those science guys! yeah the limit to 5 pitches (2nd-6th partial) seems to be the max speed a human can spin the thing, and the fundamental is always inaudible. about the name, what the industry and the users call them could be different. is there actually a name

Re: [Finale] Percussion ghost sounds?

found this via a link richard sent for twirly tube thingys, the screaming balloons are awesome! How To Make Spooky Sounds - Cool Science Experiment https://youtu.be/AkO7telYR_A -- neueweise -- fonts for new music (and traditional) notation http://newmusicnotation.com/fonts.html shirling &

[Finale] twirling pipes / magic tube (was: ghost sounds)

well, since richard brought it up, anyone able to verify the pitch of theirs for me? these seem to come in 28" models, would be interested to know the variation in pitch. mine (after a 3.75" piece broke off the end) registered the 2nd partial around G4-3/4# (428 Hz)

Re: [Finale] Percussion ghost sounds?

per musician: 2 pcs - 5-ft thick-guage chain 1 pc - 18x24" piece of 3/4" plywood on floor in front of feet randomly lift/drop chain on wood or, if they will let you, medium guage chain on the snare with the same technique is awesome and more complex (tone changes, plus metal clinking on rim

Re: [Finale] Percussion ghost sounds?

what about using the lyric tool and entering this text below the notes of each player: "oOoooOOO..." >I would like to make some "ghost sounds" from the percussion section >in a piece I am writing. I know about the single cymbal rolled on a >timpani head, which

Re: [Finale] large time signatures

you should also play with the values for "space before" and "space after" time sig in the score (Document Options/Time Signatures) -- neueweise -- fonts for new music (and traditional) notation http://newmusicnotation.com/fonts.html shirling & neueweise | http://newmusicnotation.com new

Re: [Finale] 1/4 tone keyboard notation

it is notated indeed transposed and that is part of the issue, but not from the traditional standpoint. i can choose to transpose the keyboard up or down, meaning a G3/4# in the score appears in the part as: 1) A when the electronic keyboard is tuned down a quarter tone 2) G# when the

Re: [Finale] 1/4 tone keyboard notation

it is indeed bought tuned down. the question is notation-related, has nothing to do with playback. i'm trying to decide what is best in this context, so was wondering if anyone else here has ever notated for 1/4-tone electronic instruments and if there is any dis/advantage to transposing up

Re: [Finale] 1/4 tone keyboard notation

yeah you are right, but this is a trio, not an ensemble or orchestral work. the part will be written in half-tones (natural, sharps). the question is whether there is any other factor than consistency (e.g., 1/4-tone vibe and keyboard both transpose down) -- perhaps similitude is a more

Re: [Finale] 1/4 tone keyboard notation

mmm, i assume you mean in the part. yeah the part will be "normal" (no 1/4 tones), but my question is about something else :-) >my guess would be, once it is established that the instrument is a >quarter tone detuned, normal notation would work the best. -- neueweise -- fonts for new

Re: [Finale] 1/4 tone keyboard notation

>No suggestions, sorry, but how do you get a vibraphone tuned down a >quarter tone? haha yeah maybe that wasn't clear, it comes that way, so actually tuned 1/4 lower than standard vibes however, if you prefer it to be tuned higher, all you need is a file and a lot of elbow grease ;-) --

[Finale] 1/4 tone keyboard notation

anyone have any preferences or suggestions about whether to transpose up or down? the musician plays piano as well as keyboard (most likely sitting on the piano), the keyboard is tuned 1/4 tone away from the piano. keyboard in the score is notated using 1/4 and 3/4 sharps (1/4 flats used

Re: [Finale] make invisible things transparent?

hi david, you could possibly (depending on the rest of the score) get around that problem more effectively by simply dedicating layer 4 (for example) to the hidden things in your score and setting it globally to not affect spacing. another advantage of having your score notation (that which

Re: [Finale] make invisible things transparent?

regarding the spacing, you might find it useful to integrate {DocOptions/Music Spacing/Avoid Collision of: Hidden Notes} into what robert already mentioned. if you use a specific layer ONLY for those hidden notes and nowhere else in the score, then DocOptions/Layers and uncheck "affects

Re: [Finale] Notation Question/Clarification

the last note is a 32nd as well, also in the upper voice -- i see 2 tiny extensions, the lower one is barely there, but there nonetheless. i agree with david, just a hastily notated tuplet (there would be no need to indicate 8 for 8-let, since they are 32nds...). and def think the 1st notes

Re: [Finale] Expressions

i'm trying to remember if i have seen it since moving to 2014.5, but certainly nowhere as often as in earlier versions. the finger "gliss" trick worked each time for me - sometimes i did LH+RH 4-3-2-1- repeatedly, just for a little variation on the technique :-). now thinking about this

Re: [Finale] Attaching Text Expressions and linked parts.

well goddammit that is another fine plugin i clearly don't know enough about and will explore better before opening my trap next time :P >Just to be clear: my plugin depends on all the built-in Finale >features described in this thread. It just takes them one step >further to providing

Re: [Finale] Attaching Text Expressions and linked parts.

if your staff set for tempo changes is set to show only on the top staff, you can use this already-existing category and change the positioning parameters accordingly for the 1st movement (and copy and alter for subsequent movements). if the staff set for tempo changes also shows on other

Re: [Finale] big time sig, always on top staff

make sure the time sig staff is set up to not be hidable if your top staff changes (sometimes piccolo, sometimes fl, etc.) you can apply a staff style to score only. >I am writing an orchestral score, using big time signatures. So, >following instructions on doing this, I have to set, in the

Re: [Finale] Different type barlines at a specific place

klaus, i wish i had the free time on my hands that you seem to have ;-) > On 16 April 2017 at 17:08 Klaus Smedegaard Bjerre > wrote: > https://www.dropbox.com/s/52jjkhys6kvini4/Barlines%20between%20staves.png?dl=0 > You have to set the line thickness in the Smart

Re: [Finale] Different type barlines at a specific place

sending again, tried to send a small attachment with the message, but limited to 40kb (WAY small) on the list :P -- let me know if you want me to send the image privately. -- OH MY GOD! please do NOT do this if you want the barlines between staves globally! there is a barline style in finale

Re: [Finale] Different type barlines at a specific place

try selecting the entire system (all measures in that system) and do it. this is what i was talking about, there is an easy trick to it once you get it :-) >It¹s in the Staff menu >>Groups and Brackets>>Add >Then there is a popup menu where you can select >³Draw barlines only between

Re: [Finale] Different type barlines at a specific place

staff tool : you can create a group for only 1 measure or a few. do your layout first because the barline appearances depend on the group the 1st measure on the system belongs to, as i recall. i'm away from finale at the moment so can't verify 100% the details of what i wrote :P but that

[Finale] [OT] concert in edmonton with LUX:NM

my fellow users of finale will inevitably ask about the notation i used for cooking of the classic italian tomato sauce? and what about the walnut cracked open, the shell's shards falling on the stage? and are the bike bells notated on a pitched 5-line staff or a 1-line percussion staff?

Re: [Finale] Finger snap and patsch symbols

> On 25 February 2017 at 21:53 Christopher Smith > wrote: > This is certainly possible in Finale, even easy. is that the only problem you > have? heh heh... well, no. do you want a list? ___ Finale mailing list

Re: [Finale] Finger snap and patsch symbols

100% in favour of 1-line staff (not as an extra, do it as a staff style) as robert proposed. also the use of normal noteheads. however, if the clapping is in a staff that has also music in another layer then yeah, do it (e.g.) in layer 3 with layer 3 prefs stems up. and in that case,

Re: [Finale] Break stem

add lines in shape designer that correspond to the thickness of your document's staff lines. add the expressions to your template and if your staff lines are 3.5 EVPU in one document and 3 or 4 in another you can always change easily, once the thing is set up right. seriously, this will be

Re: [Finale] Break stem

add staff lines on top of your opaque square ;-) (same trick i use for time sig denominators like 6, 10, 12...) -- neueweise -- fonts for new music and traditional notation http://newmusicnotation.com/fonts shirling & neueweise | http://newmusicnotation.com new music notation + translation

Re: [Finale] Mac 2014.5 confusion

>Where is the command to keep the staff spacing you made in scroll view when >you go to page view I think I remember that it was something like "retain >spacing in page view" but I'm probably wrong. staff tool -> staff menu/staff spacing and in the dialogue box that opens up there is an option

Re: [Finale] Copying overfilled measures

y-Kitsz <bath...@maltedmedia.com> > wrote: > > > On Thu, February 2, 2017 7:51 pm, SN jef chippewa wrote: > > and notation/convert mirrors as needed > > mirror tool :-) > > Got it. All the copying of layers has to be done *before* converting the > mirrors. Appa

Re: [Finale] Copying overfilled measures

and notation/convert mirrors as needed > mirror tool :-) > > > How do I keep Finale from rebarring these copied sections? ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message

Re: [Finale] Copying overfilled measures

mirror tool :-) > On 02 February 2017 at 23:54 Dennis Bathory-Kitsz > wrote: > > > Hi all, > > There was a solution to this, I think, but I can't remember it. > > I have a score with a number of 'overfilled' measures (invisible barlines, > notes that rhythmically

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