Michael Withers wrote:
Is the Finale list still working? I haven't received any postings in the
last couple of days.
I'll get things rolling:
I finally tried 2011 to see if a procedure worked and I was
surprised that when I selected the Staff tool
double-clicking on the staff handle didn't
) 937-9760
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
dhbailey
Sent: Tuesday, July 27, 2010 5:14 AM
To: finale@shsu.edu
Subject: Re: [Finale] List seems very quiet
Michael Withers wrote:
Is the Finale list still working? I haven't
Unless it's one of those we almost had it in time for the
initial release but missed it by that much (insert Maxwell
Smart hand gesture) and they'll bring it out in the amazing
Finale2011a or b release, soon to be announced. :-)
David H. Bailey
Darcy James Argue wrote:
Since Finale 2011
David McKay wrote:
I've only put my toe in the water, but I'm liking FinWin 2011. I used to
upgrade every time, but our previous upgrade was FinWin 2004. The years
flash by as I get closer and closer to 60...
I like the way the program opens up 2 pages on my 19 inch monitor. I
previously only
David W. Fenton wrote:
On 10 Jul 2010 at 5:59, dhbailey wrote:
my post was quoted by Blake Richardson, who
then went on the tirade against stupid things done in the
name of copyright protection.
No, those were done in the name of enforcing performance rights,
which is distinctly different
Blake Richardson wrote:
[snip] All sorts of scary stuff is happening in Europe
under the umbrella of
artists' rights. There's a proposal (don't know whether it's made it into
law yet) to give sculptors and painters the right of first refusal on sales
of their work. Under such a system, if
John Howell wrote:
At 1:41 PM -0400 7/11/10, Blake Richardson wrote:
From: John Howell john.how...@vt.edu
If there IS a single problem, it's obviously the one we've all been
aware of all the time: the progress of technology has made new
crimes not only possible but really, really EASY!
Darcy James Argue wrote:
As far as the Nicole Simpson murder, you are correct, but
of course O.J. Simpson was convicted of armed robbery,
kidnapping, and other felonies on Oct. 3, 2008, and is
currently serving a minimum 9-year sentence.
You're correct -- I should have been more specific that
John Howell wrote:
From: dhbailey dhbai...@davidbaileymusicstudio.com
Let's be fair about things here. Yes, there's a problem with people who
believe that just because the internet makes it easy, they're entitled to
whatever they want without paying. But you also have to take into account
dhbailey wrote:
John Howell wrote:
From: dhbailey dhbai...@davidbaileymusicstudio.com
Let's be fair about things here. Yes, there's a problem with people who
believe that just because the internet makes it easy, they're
entitled to
whatever they want without paying. But you also have to take
Graeme Gerrard wrote:
I am from an older generation, but kids these days have the attitude that the money goes
to multinational companies, with only a trickle to the composers and performers, their
heroes.
My generation bought into the arrangement and that's who passed the laws (same
with
Cecil Rigby wrote:
I'm not trying to pick a fight here, just understand
WHY, exactly, is it offensive in any degree that anyone can (having
enough money and a willing seller) become a holder of copyrights?
The individual artist's rights are NOT abridged just because someone may
buy
Thank you very much for sharing this with us -- it seems
like it will make things easier for us who might be trying GPO4.
David H. Bailey
David Froom wrote:
Hi,
I got some excellent advice from Make Music Tech Support (Travis S.), as
I've been struggling to get this to work.
What I want
Nigel Hanley wrote:
Cecil, in many ways I agree with you. Full stop. I 'm
equally not trying to pick a fight, but am merely
attempting to understand why the original owners of such
monumental works of popular music such as the Beatles'
library are forced to undergo legal proceedings to retain
Noel Stoutenburg wrote:
Nigel Hanley wrote:
Cecil, in many ways I agree with you. Full stop. I 'm equally not
trying to pick a fight, but am merely attempting to understand why the
original owners of such monumental works of popular music such as the
Beatles' library are forced to undergo
Blake Richardson wrote:
Interesting article in the Times just this week that highlights how
creativity and innovation in the food / high cuisine industry is managing to
thrive despite no copyright protections.
Thought it might be of interest given the discussion going on here.
John Howell wrote:
[snip]
The former is exactly true, as I've pointed out before. But I'm not
sure the latter really is. If you ever walked through a record company's
distribution warehouse (and I have), you realize that of all the records
that company fronted for and released, only a few
I had gotten the link to that blog from a different list
(orchestralist maybe?) and as always am intrigued by the way
that many people seem to think that additional exposure to a
potential wider buying audience is what we musicians want,
whether we be composers or performers. I can't remember
Mariposa Symphony Orchestra wrote:
Wow! I thought I was the only one who knew that movie!
And just FWIW: it wasn't a balloon. It was anothersimilar.latex item.
Does anybody remember the subtitle to that movie? This is a
quiz -- I do remember what it is.
--
David H. Bailey
John Howell wrote:
At 4:19 PM -0400 7/7/10, dhbailey wrote:
And that also assumes that the string player wouldn't use an
electronic tuner to get the A and then tune by ear from there. I
never suggested that they use the tuner for all their strings, just
that if everybody were using
watching it way back when it
was actually in a theater in Cambridge, MA.
David H. Bailey
Bob Morabito wrote:
What is--The Decline of the West in C# Major ?
Bob Morabito
On Jul 8, 2010, at 7:18 AM, dhbailey wrote:
Mariposa Symphony Orchestra wrote:
Wow! I thought I was the only one who
-US:officialsa=Xei=kek1TK6mE8SqlAe2oNXSBwved=0CBIQvwUoAQq=the+Decline+of+the+West+in+C%23+Major+orchestra+Rehearsalspell=1
--OR--
http://tinyurl.com/2gy4f2k
Thanks Bob
On Jul 8, 2010, at 10:24 AM, dhbailey wrote:
I think not -- could be my bad memory, but I recall it as being:
The decline and fall
Ryan wrote:
If there's no oboe in the orchestra (pit orchestra), what's the next best
choice to tune to? Muted trumpet? Ha. In all seriousness; Clarinet? Flute?
According to the League of American Orchestras, The penetrating tone of the
oboe is easy for all players to hear, and its ability to
David W. Fenton wrote:
On 7 Jul 2010 at 15:07, John Howell wrote:
And for string players, tuning to a meter means tuning tempered 5ths,
not pure 5ths.
Er, doesn't that depend on what temperament you have your electronic
tuner set to?
And that also assumes that the string player wouldn't
I have a question regarding the use of these fonts in Finale
or in Sibelius - I didn't think either program was unicode
compliant yet. Am I mistaken about this? If a program
isn't unicode compliant how does one access any of the
characters above character number 256?
The demo for
:45 -0400
From: dhbailey dhbai...@davidbaileymusicstudio.com
Subject: Re: [Finale] JazzSymbol commercial music chord symbol font
released
To: finale@shsu.edu
Cc: sibelius-l...@yahoogroups.com
Message-ID: 4c25d92d.6020...@davidbaileymusicstudio.com
Content-Type: text/plain; charset=ISO-8859-1
dc wrote:
I can't remember where one sets the initial view to Page view when
opening a file. I can't find it in Program options (Fin2008).
Can anyone remind me?
On the New page is a place to set the default view for any
new file to Page, Studio or Scroll view.
Can't make this stuff up --
mmathew1...@comcast.net wrote:
Isn't the Preferences, program options, new document windows where you set the opening page view option: scroll, page or studio view?
I usually miss something, so, please be kind when you correct me!
[snip]
Yes, that's right. But it's not called New
trumpe...@verizon.net wrote:
Hello all---I cannot get a passage to play 2nd time only
on a section that has a 1st and 2nd ending. I have Finale
2007 and have used the expression tool to create the
words 2nd time only and set the key velocity on 0 and
play only on 1st time then set key velocity
Lee Dengler wrote:
Hi All,
I seldom write for percussion and I an not figure out how to create a snare
drum playback. I am on Finale 2010. Thanks to anyone who can help me with
this.
You have to define the staff to be a percussion staff (use
the Staff tool, then under Notation Style
Katherine Hoover wrote:
Dear finalelist,
I'm working on a fairly new mac with finale 2004.
1. Is it time to upgrade to 2011?
2. I have a score with 4 staves. Is it possible (for formatting) to
move a single staff up or down within a single system ?
1. Only you can answer if
David W. Fenton wrote:
On 16 Jun 2010 at 11:18, Dennis Bathory-Kitsz wrote:
Trim it to about 20 seconds. Save it as mp3 with file extension mp3
(or mid for older phones). Works great!
Seems to me that the older phones that used mid files were not
playing MP3s, but had a software synch, and
Ryan wrote:
Where should the chorus be placed in a score for concert band? Below the
brass and above the percussion?
There is no standard for placement of chorus in band scores.
As a conductor, I've seen the chorus placed at the top of
the score, the bottom of the score, and in the middle,
Aaron Sherber wrote:
On 6/6/2010 9:00 AM, Craig Parmerlee wrote:
The upshot is that for Finale to be taken serious as a rendering tool,
it needs to either produce independent WAV files per track or else
become an order of magnitude easier to achieve a reasonable mix.
Personally, I don't think
Mark D Lew wrote:
I suggest you contact MakeMusic (even if you don't upgrade to Fin2011)
and ask that they should keep the old way as well. Or display the
distance as text as you suggested.
Yeah, I'll add it to my list.
For so many years I was so far behind on upgrading it seemed almost
Dennis Bathory-Kitsz wrote:
[snip]
Why would they have to do that? Counting is counting, isn't it? Doesn't make
sense to me.
True -- but suggesting that counting is counting assumes
that all musicians are able to think of the counting while
playing, which isn't true in my experience. I
Dennis Bathory-Kitsz wrote:
On Tue, June 1, 2010 10:48 am, dhbailey wrote:
But to get to my statement which you quoted, I'm not sure
why it should bother you. It seems like a tautology that if
the performers don't understand the notation they won't
perform the music correctly.
I'm talking
n...@npcimaging.com wrote:
David Bailey wrote:
Also out of print is Gardner Read's work, Sourcebook of
Proposed Music Notation Reforms from 1985.
Â
I beg to differ... I have two copies in stock ri ght now! :)
Along with many other Gardner Read titles.
Nick
I see that the edition you have
Dennis Bathory-Kitsz wrote:
On Mon, May 31, 2010 3:25 pm, Graeme Gerrard wrote:
If a program such as Finale can only do a subset of things or things only in
a defined way, that helps to determine what becomes canonic.
Innovations that composers might have initiated are restrained by an
Graeme Gerrard wrote:
This raises an important issue in the development of notation.
If a program such as Finale can only do a subset of things or things only in a
defined way, that helps to determine what becomes canonic.
Innovations that composers might have initiated are restrained by an
Dennis Bathory-Kitsz wrote:
On Tue, June 1, 2010 6:45 am, dhbailey wrote:
It's all well and good for a composer to feel that some new
notational device is necessary for correct communication of
what he/she wants the music to sound like, but if nobody
among the performers understands
Ray Horton wrote:
On my side - I keep one eye open for good reasons to start the Sib
learning curve. So far, I haven't seen them. Could still happen, but
not so far.
I hadn't seen a reason to start the sib learning curve when
I initially purchased the program and installed it and found
Patrick Sheehan wrote:
Da Capos and D.S.'s should be outlawed. Why not just write it out again?
Less confusion, I say.
You don't play outdoor concerts where breezes make limiting
the number of pages open for any one piece a good thing, do you?
Da Capo and D.S. should provide no more
dershem wrote:
[snip]
There are always arguments on either side. Use what works best and
causes the fewest potential problems.
[snip]
Well, if you're going to think logically . . . ;-)
--
David H. Bailey
dhbai...@davidbaileymusicstudio.com
___
Eric Dannewitz wrote:
Anyone notice on the new features page they have fonts listed twice? On the
left they say new fonts then on the right they have alphanotes which also
happens to be mentioned on the new fonts page..
Seems like they needed some padding there or something and had to
Ray Horton wrote:
John Howell wrote:
Hardly a spy! I've monitored the FinaleList much longer than I've
been on the SibList, since our Department adopted Finale before being
forced to drop it when our students were ready to show up with new OSX
computers. And I find the different
Lora Crighton wrote:
--- On Tue, 5/25/10, Christopher Smith christopher.sm...@videotron.ca wrote:
Click on the video to see how lyric entry and spacing is
improved. Does that seem like enough to you guys who do
choral music?
After many years of not bothering with the upgrades - I have 2006 -
David W. Fenton wrote:
On 25 May 2010 at 11:27, Ryan wrote:
I would be much more inclined to purchase 2011 if they offered a
tiered pricing structure. The if you're upgrading from 2010, you pay a
lower price than someone upgrading from 2009, etc etc.
I must be missing something. If you're
Phillips, Justin wrote:
Hi Ryan,
We do run discount pricing promotions for 2009 and 2010
users upgrading to Finale 2011. If you did not receive
an email this morning with this information, definitely
contact customer support at the link below and we can get
you signed up to receive special
Darcy James Argue wrote:
That's a bad kludge. Find another, better way to get the result you want. In
recent versions, printing forces an update layout. This is a good and sensible
thing.
I'm sorry but I have to disagree that printing forcing an
update layout with no user control is not a
Mark D Lew wrote:
On May 20, 2010, at 11:09 PM, Darcy James Argue wrote:
That's a bad kludge. Find another, better way to get the result you
want. In recent versions, printing forces an update layout. This is a
good and sensible thing.
Ugh. OK, well at least that answers my question.
Dennis Bathory-Kitsz wrote:
On Fri, May 21, 2010 2:09 am, Darcy James Argue wrote:
That's a bad kludge. Find another, better way to get the result you want. In
recent versions, printing forces an update layout. This is a good and sensible
thing.
Ouch! That explains why my DO NOT UPDATE LAYOUT
dhbailey wrote:
Darcy James Argue wrote:
That's a bad kludge. Find another, better way to get the result you
want. In recent versions, printing forces an update layout. This is a
good and sensible thing.
I'm sorry but I have to disagree that printing forcing an update layout
Mark D Lew wrote:
That looks like standard Finale behavior to me. I would expect to have
to add space in a situation like that.
Finale's awareness of collisions between layers is incomplete.
And inexplicable after all these years, all these versions
and all these development dollars.
trumpe...@verizon.net wrote:
I'm using Finale 2007 and have already written a big band score but when I look
at the parts they have no names in the upper left hand corner. This is usually
established when using Document Wizard but everything is done and I see no way
of even putting the names
Adam Taylor wrote:
After fiddling with this for nearly half an hour and inventing some
rather colourful swear words directed at Finale, I've decided to tap the
collected wisdom of the list.
I am nearly finished my second Sonatine for marimba. In the final
movement, I have a D.C. al Coda
Christopher Smith wrote:
That would be The Art of Music Engraving Processing or I think the
complete title might be Teach Yourself the Art of Music Engraving
Processing by Ted Ross, the 3rd edition I have is copyright 1987. It is
widely considered to be one of the leading references for
Haroldo Mauro Jr. wrote:
Yes, that is scary all right. Last year I lost a whole
score. I only had the original and the backup. Both got
corrupted. Thanks for replying. I'm saving as with
names like myFile1, myFile2, etc., as David Fenton
suggested. Harold
Additionally, you might consider
Haroldo Mauro Jr. wrote:
Yes, I do have a copy saved as. I said that on my post. It gives the same error. All three files
give the same error: the main file, the .asv copy and the saved as copy. It seems as
if although the file was still open, it was already corrupted when both copies were
Haroldo Mauro Jr. wrote:
In a score for flute, clarinet, guitar, piano and double bass, I set midi
instrument flute (GM 74) to play the flute staff and midi instrument clarinet
(GM 72)to play the clarinet. However I hear only trumpets on both staffs.
Guitar sounds right. It is ironic that
Graeme Gerrard wrote:
[snip]
Some people seem to like the repeats re - presented in the letter notation:
AA BB BB CC
AA BB BB CC
DD
AA BB BB CC
The redundancy offends me a bit.
What do people think? The redundancy is good or confusing?
The answer is a resounding it depends. For people who
Darcy James Argue wrote:
I have given up on notating anything in compound meter. It is much too
difficult for players to sight-read for anything of even moderate rhythmic
complexity in such meters. Notating 6/8 figures in 2/4 (w/triplets), or 12/8
figures 4/4 (w/triplets), has the *huge*
Ryan wrote:
I've forgotten the cure for this:
Going from Eb Major to G Minor key signatures. Finale displays three
naturals to cancel the original key then two flats for the new key. I just
want the new key signature with one natural to cancel Ab.
I know it has to do with going from the major
Pierre Bailleul wrote:
Do you know the way to add naturals before the courtesy key signature at end of
staff system ?
(Fin 2010b Win)
Thanks.
Pierre
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In the
Aaron Rabushka wrote:
Not meaning to sounds too nit-picky, but if it's full, is it a pickup
measure?
The only way to really know for sure is to settle the
argument over how many angels can dance on a pin and then
survey them all and if a majority say one way or the other,
then the matter
J D Thomas wrote:
As someone said yesterday, there's no way Sibelius will ever open Finale
files. But lately I've done several xml transfers from FinMac 2K7 to
Sibelius 6. And it's not as bad as one might think. Granted, there is
work to be done, and it will take some time. But I was
Mark D Lew wrote:
So I ordered my upgrade tonight. Afterward the webpage asked me to
participate in a survey, so I said OK.
On the first page, it asks: Which Finale 2010 feature was the biggest
reason for your upgrade?
- Export lyrics
- Measure Numbers
- Percussion Notation
- Music Education
Ray Horton wrote:
Hey, guys, wait at least a week or two before you scare him off!
Except that Justin said in his original reply to my message
that MakeMusic *does* monitor these lists, implying that
they've been doing it for a while. Which means he's not
really new to this list, he just
that works right..finally.
I for one would jump ship to Sibelius if Sibelius had a way to just
OPEN Finale documents into Sibelius. Converting them into Sibelius is
just not going to be worth it to me, and take forever to do.
On Thu, Apr 1, 2010 at 11:55 AM, dhbailey
dhbai
John Howell wrote:
At 3:59 PM -0400 3/30/10, dhbailey wrote:
Any program which doesn't reside on my computer and the data files of
which I store in my own location separate from the vissicitudes of web
businesses failing is not anything I'm interested in.
For music files I certainly agree
Christopher Smith wrote:
On Tue Mar 30, at TuesdayMar 30 9:30 PM, John Howell wrote:
And just this afternoon I learned from the prof. who's been teaching
Apprec for many years that he's using a totally on-line course. It's
from a company that handles everything on line, there's no textbook,
David W. Fenton wrote:
On 30 Mar 2010 at 15:59, dhbailey wrote:
I won't use the internet for storing my
backups -- nothing's truly and verifiably secure on the
internet and nothing's to prevent some such company from
going out of business just at the time when I need to
restore those files
Christopher Smith wrote:
On Tue Mar 30, at TuesdayMar 30 9:49 PM, David W. Fenton wrote:
Last I checked, UMI PDFs of dissertations were graphics of scans of
the printed page, not produced from the text of the document. Even if
they *were* produced from the printed document, specifying dpi of
Chris Bell wrote:
http://www.noteflight.com/
What do we think of this?
I think it's great. I've used it a lot with my 12-15 year-old students,
especially those at schools that do not have any budget for Finale or
Sibelius.
It's free, online (which for some kids, makes it 'cooler'' to use).
Rich Caldwell wrote:
The composer of a piece I'm currently working on said I
should put my name on the last page of the score to
credit myself as the engraver. My first reaction was that
engravers don't normally do this, but I might be assuming
incorrectly. After all, if I'm wrong, I could lose
Barbara Touburg wrote:
I found this in a Dutch music magazine:
http://www.noteflight.com/
What do we think of this?
Barbara
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Any program which doesn't reside on
dc wrote:
Is there a standard (Italian?) term used as a heading for a piece that
has no title, in the context of a work where all the other movements
have a title?
Allemande
Courante
[???]
Sarabande
etc.
Thanks,
Dennis
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Nigel Hanley wrote:
I have enjoyed this reading this mailing list on and off for near on
fourteen years, correct me if it hasn't been around that long. I am a
Finale user since 2.0, currently Fin 2007. Has there ever been
discussion about taking this list to a blog format?
There's been no
David W. Fenton wrote:
On 22 Mar 2010 at 17:11, dhbailey wrote:
Perhaps if you were to explain more fully the road map for
the work in question, we could offer better insight to help
you make the music the clearest.
Maybe it's my early music background, but for one particular
situation, I
dc wrote:
What's the clearest way to write an |:A:|BACA piece if I don't write out
in full the three A sections (to avoid page turns). The original simply
has Da Capo at the end of B and C, and a fermata on the last note of A.
People with experience in the music of the period you're
Mike McGowan wrote:
Many of the old marches (certainly the ragtime marches) used an unusual
repeat system: the first strain has a first ending, second ending which
moves to the 2nd strain, and a fine' ending. After the third strain, one
will D.S. back to the first strain and take the fine'
dc wrote:
I have a piece with three endings, where 1 3 are identical. Is it
kosher to put them both under the same bracket, say, with
1. 3.
and then
2.
Thanks,
I've seen it done, but I do agree with Darcy that the answer
should be no.
The main reason is that the road map issues can
Dennis Bathory-Kitsz wrote:
On Wed, March 17, 2010 12:29 am, Michael Greensill wrote:
Now, after about 100 years, if we could just get string sections to
learn how to swing..
[Coffee-Sputter] Maybe Dudamel will.
I had one conductor explain to me that string players are so driven to be in
Dennis Bathory-Kitsz wrote:
On Wed, March 17, 2010 7:16 am, dhbailey wrote:
On the other hand, in my opinion, the reality of the
situation is that string players can't swing because
nobody's taught them how. Nobody's made them play swing
music. It's not that they can't, they just need
timothy.price wrote:
On Mar 14, 2010, at 2:03 PM, Robert Patterson wrote:
reversing the mouthpiece *definitely*
does.
As radical an idea as actual experimentation may be, I tried it on my
trumpet, and by gosh, you get a much louder sound
using the reversed mouthpiece. Imagine that !
John Howell wrote:
At 10:58 AM -0400 3/15/10, dhbailey wrote:
timothy.price wrote:
As radical an idea as actual experimentation may be, I tried it on my
trumpet, and by gosh, you get a much louder sound
using the reversed mouthpiece. Imagine that !
But you also get a different timbre, so
Robert Patterson wrote:
On Sat, Mar 13, 2010 at 7:47 PM, dhbailey
dhbai...@davidbaileymusicstudio.com wrote:
Perhaps the effect differs with different numbers of people doing it, but
I've heard it done quite effectively without anybody reversing mouthpieces.
So help me to understand. You
Guy Hayden wrote:
Not being a brass player, I find this suggestion difficult to understand.
Can you describe it a bit more clearly? Do you blow across the wrong end
of the mouthpiece like blowing across a beer bottle? What I cannot figure
is the idea of inverting the mouthpiece. Aren't they
Andrew Stiller wrote:
On Mar 12, 2010, at 6:27 PM, Robert Patterson wrote:
I clearly remember what our principal trumpet said one time to a
composer who had asked fro the effect (n the middle of rehearsal in
front of the entire orch. and conductor). You know, I have spent a
lot of money to
Robert Patterson wrote:
On Sat, Mar 13, 2010 at 4:17 PM, Andrew Stiller kalli...@ix.netcom.com wrote:
Are you saying the effect is impossible? If so, I can cite numerous
recordings from major composers proving you wrong. If it's not impossible,
then what are you saying? That it's beneath your
Kim Patrick Clow wrote:
Good day:
Hi all:
I am working on some 18th century manuscripts, many times I will see
poco F or poco piano or poco forte. The default text setting in
some music engraving applications is for italic (e.g. Sibelius); but
aren't italics traditionally seen as editorial
Eric Fiedler wrote:
The general rule, set forth for example in the chapter on the NBA in
Bärenreiter's Editionsrichtlinien (latest edition: Bärenreiter 2000),
is that _all_ additions by the editor should be clearly designated as
such. This means _cursive_ for added text, dotted slurs [in my
Don Hart wrote:
Solved with the Update smart word extensions and hyphens feature
in the *utilities menu*! A feature I was unaware of, (new since 2006,
I guess) that seems totally worthy of membership somewhere in the
Lyrics menu. Or so one would think. - DH
I've long ago given up trying
SN jef chippewa wrote:
is there something in the audio/MIDI setup that could be letting this
happen? i get a crash whenever plugging or unplugging a logitech USB
headset (headphones + mic).
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Barbara Touburg wrote:
dhbailey wrote:
I've long ago given up trying to decipher any logic in the MakeMusic
placement of menu items.
Should we send a request for editable menu structures, like M$ Word has?
Or can someone write a plugin for it?
I doubt a plug-in could change the menu
dc wrote:
If one has a change in time signature between 1st and 2nd endings,
should the first hook of the 2nd be placed before or after the new time
sig?
If the new time signature is part of the 2nd ending, then
the first hook of the ending bracket should be before the
new time signature,
Michael Lawlor wrote:
[Finale 2009] A couple of weeks ago I asked about a
problem with Finale failing while human playback is on.
I got no response to that, but I am now encountering
several problems with playback, including one I used to
have with an older version of Finale. Following is a
SN jef chippewa wrote:
i guess you can't specify which plate you would want if you order one?
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There wasn't an option when I ordered mine.
--
David H. Bailey
SN jef chippewa wrote:
sorry, should have mentioned chromatic trans, no key sigs. so just to
make sure, even though the part is for C tpt, since the player has just
taken the Bb picc tpt to play, the cue should be in Bb picc, yes?
tpt in C has a cue just before its entry (was previously
David W. Fenton wrote:
On 25 Feb 2010 at 13:57, Ryan wrote:
On Thu, Feb 25, 2010 at 1:46 PM, David W. Fenton
lists.fin...@dfenton.comwrote:
On 25 Feb 2010 at 22:35, Jari Williamsson wrote:
I highly recommend these Henle plates. It just becomes so much easier to
understand the reasons why
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