Is this what you want?
Haroldo
On Feb 26, 2019, at 10:21, Barbara Touburg wrote:
> Key signature 3 flats.
> At the end od the system, I need to show a "new" key signature of 4 flats.
> At the beginning of the next system, I need to *only* show 3 sharps, without
> cancelling the previous
Document Options>Key Signatures>cancel outgoing key signature UNchecked.
Christopher
> On Feb 26, 2019, at 8:21 AM, Barbara Touburg wrote:
>
> Key signature 3 flats.
> At the end od the system, I need to show a "new" key signature of 4 flats.
> At the beginning of the next system, I need to *on
Key signature 3 flats.
At the end od the system, I need to show a "new" key signature of 4 flats.
At the beginning of the next system, I need to *only* show 3 sharps,
without cancelling the previous 4 flats.
How do I achieve this?
Thanks!
___
Finale ma
On 18-10-2016 17:01, Rafael Leonardo Junchaya wrote:
> add some extra space between the cancelled key
> and the new one
Erm, how do I do that?
___
Finale mailing list
Finale@shsu.edu
https://lists.shsu.edu/mailman/listinfo/finale
To unsubscribe from fin
Sorry, I thought I’d read time signature, not key.
***
J D Thomas
ThomaStudios
> On Oct 18, 2016, at 7:43 AM, Barbara Touburg wrote:
>
> I'm copying a piece that has the outgoing key signature *before* the
> barline and the new key signature *after* the barline.
> Is
On 18-10-2016 17:01, Rafael Leonardo Junchaya wrote:
> By outgoing, do you mean the naturals that are cancelled? If that's the
> case, use the normal new key signature (with the cancelling naturals
> shown), hide the barline, add some extra space between the cancelled key
> and the new one and add
By outgoing, do you mean the naturals that are cancelled? If that's the
case, use the normal new key signature (with the cancelling naturals
shown), hide the barline, add some extra space between the cancelled key
and the new one and add a smart shape line as barline.
R.
On 18 October 2016 at 17:
Being that this is a completely redundant notational request, my thinking is
the best and fastest way around it would be to create an expression for the 2nd
time signature, using the default font so it matches.
***
J D Thomas
ThomaStudios
> On Oct 18, 2016, at 7:43 AM,
I'm copying a piece that has the outgoing key signature *before* the
barline and the new key signature *after* the barline.
Is there a way in Finale to accomplish this?
___
Finale mailing list
Finale@shsu.edu
https://lists.shsu.edu/mailman/listinfo/final
'Courtesy Key Signature'
Sometimes ‘Cancellation of Outgoing Key Signature’
Steve P.
> On 21 Feb 2015, at 10:23, dc wrote:
>
> Good morning,
>
> Is there a term in English for the key signature that appears at the end
> of a movement (and at the end of the page) for the following movement or
Thanks for the info. I woke up in the middle of the night with the idea that
holding the part to pitch and going up a 6th to Eb just might come out to C, or
no signature... and this morning I found it did, just as Ryan suggested.
Thanks to you both.
Katherine Hoover
___
Make sure the Transposition is set to none in the Manager Score and eventually,
when setting the new key, Choose Hold the Notes to Original Pitches.
Giovanni
Giovanni Andreani
www.giovanniandreani.eu
>I have a very chromatic alto sax part. When it was originally copied
>(hand copy)
For transposition, choose "other," then choose Chromatic Transposition, Eb up
M6.
The key signature should go away and accidentals will be added automatically.
Sent from my iPad
> On Jul 6, 2014, at 6:46 PM, Katherine Hoover
> wrote:
>
> I have a very chromatic alto sax part. When it was o
I have a very chromatic alto sax part. When it was originally copied (hand
copy) this movement was done without a key signature. Finale insists on
putting it in A major, and I have not been able to convert it to "C major" with
the notes in the same place, and the "nonstandard" doesn't help ei
Bill, it is very simple. For the people for whom the Finale
distinction is helpful, the feature is there. For those for whom it
is not, they can ignore it and always treat key sigs like a major key,
no matter what the mode.
I don't complain about features that are in the program that I don't
use
At 8:49 PM +0100 4/22/12, Steve Parker wrote:
>
>If a copyist cannot see the difference between
>major and minor in a score then find another
>copyist.
Historically, however, typesetters (in the 16th
and 17th centuries) or engravers (in the 18th and
19th) were craftsmen but not necessarily
m
On 22 Apr 2012, at 20:03, bill sinclair wrote:
> However, a copyist dees NOT know which kind it is when he sees the key
> signature. He just sees
> "two flats." So, giving them an artificial name is nonsensical.
If a copyist cannot see the difference between major and minor in a score then
fin
At 3:03 PM -0400 4/22/12, bill sinclair wrote:
>I talked to a couple of composers I know:
>
>Thay don't make any distiction between Major and Minor keys, i.e.
>G natural minor is the same as Bb major as far as they're concerned.
>
>[snip]
>In other words, the composer/arranger does not
>say "by th
I talked to a couple of composers I know:
Thay don't make any distiction between Major and Minor keys, i.e.
G natural minor is the same as Bb major as far as they're concerned.
If it was harmonic or melodic minor, they put accidentals where appropriate.
But for them it's notation on a printed
Ugh... 'there are..'
On 21 Apr 2012, at 18:38, Steve Parker wrote:
> If we're talking scales then there is
>
> 1. Natural - in G minor Bb and Eb
> I really don't think this is the same as Bb major unless superficially the
> drawing of two flats on the stave.
>
> 2. Melodic minor - Bb E and
If we're talking scales then there is
1. Natural - in G minor Bb and Eb
I really don't think this is the same as Bb major unless superficially the
drawing of two flats on the stave.
2. Melodic minor - Bb E and F# ascending but F Eb and Bb descending
3. Harmonic minor - Bb Eb and F#
People us
What you say is true, BUT
There are three different patterns.
1) Natural minor is 2 flats, on B and E. That's
identical to the Bb major key. (standard)
2( Melodic minor is 1 flat on E.
3) Harmonic minor if one flat (E) and one sharp (F).
Practically all orchestraters or composers would just use the
Thanks, Listers.
I was hoping there was a straight forward fix. I remember having to call it
Bb Major in the past. But when putting in chord symbols, it's a big pain to
be working in the wrong mode. What I've done though is make the first
measure in Bb, then the following measures in G Minor and i'
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.
Try (in FIN 2010)
I'm not sure this will work, but you can start with
Documents > Document Options > Key Sign
Christopher Smith wrote:
You can use a Bb major key signature (hold note to same pitch so they
don't tranpose up a m3!) which might mess up your minor-mode
enharmonic defaults, but that is easy enough to fix.
C.
On Tue Apr 20, at TuesdayApr 20 7:59 PM, Ryan wrote:
I've forgotten the cure f
You can use a Bb major key signature (hold note to same pitch so they
don't tranpose up a m3!) which might mess up your minor-mode
enharmonic defaults, but that is easy enough to fix.
C.
On Tue Apr 20, at TuesdayApr 20 7:59 PM, Ryan wrote:
I've forgotten the cure for this:
Going from Eb M
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 mod
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 mode to minor mod
> >
> >> I find it curious, and I am trying to wrack my brains
> (feeble though
> >> they may be) as to just when I became aware of that sort
> of stuff. I
> >> definitely was aware of it long before I got to college,
> and I don't
> >> recall ever having it explained to me. I just was obse
Owain Sutton wrote:
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of dhbailey
Sent: 25 May 2007 10:25
To: finale@shsu.edu
Subject: Re: [Finale] Key signature question
I find it curious, and I am trying to wrack my brains (feeble though
they may be
John Howell wrote:
[snip]
Or simply have a 1-credit course for all music majors, a 1-hour, once
a week for a semester class on notation, including all the basic clefs,
Depends on what you include in "basic," all nine or just the usual four?
[snip]
I was thinking of all nine, including the p
At 5:25 AM -0400 5/25/07, dhbailey wrote:
It always amazes me that people who have obviously performed a lot
of music and have spent enough hours at it above the average, enough
to be able to pass an audition to get into college music
departments, and who care enough to want to pursue further
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED] On Behalf Of dhbailey
> Sent: 25 May 2007 10:25
> To: finale@shsu.edu
> Subject: Re: [Finale] Key signature question
>
> I find it curious, and I am trying to wrack my brains (feeble t
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED] On Behalf Of dhbailey
> Sent: 24 May 2007 23:52
> To: finale@shsu.edu
> Subject: Re: [Finale] Key signature question
>
>
> John Roberts wrote:
> > Pardon my ignorance,
John Howell wrote:
At 8:22 PM -0400 5/24/07, Darcy James Argue wrote:
Personally, I think that's terrible practice. There is a key change
before a quarter-note pickup? Use an accidental, fercrissakes, and
change the key sig at the beginning of the next bar.
I would certainly agree (not necess
At 8:22 PM -0400 5/24/07, Darcy James Argue wrote:
Personally, I think that's terrible practice. There is a key change
before a quarter-note pickup? Use an accidental, fercrissakes, and
change the key sig at the beginning of the next bar.
I would certainly agree (not necessarily in precisely t
My feelings exactly, Darcy. And what I'm planning on doing (probably without
double barlines :-).
Thanks for all the replies.
John
On 5/24/07 8:22 PM, "Darcy James Argue" <[EMAIL PROTECTED]> wrote:
> Personally, I think that's terrible practice. There is a key change
> before a quarter-note pi
On May 24, 2007, at 5:31 PM, John Roberts wrote:
Pardon my ignorance, but can I legally change the key signature in the
middle of a measure?
For the past 50 years, you can do absolutely anything you like with
notation. Whether a given notation is advisable is another matter.
And in moder
Personally, I think that's terrible practice. There is a key change
before a quarter-note pickup? Use an accidental, fercrissakes, and
change the key sig at the beginning of the next bar.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 24 May 2007, at 7:50 PM, John Roberts wrote:
At 06:52 PM 5/24/2007, dhbailey wrote:
>Finale will only allow you to change key at the start of the measure, so
>you're right you have to futz around with making that measure with the
>mid-measure key change into 2 measures and making the barline of the
>first of the two resulting measures hidden
Thanks for the reply. As to the why, that's the way it is in the guitar
manuscript I'm typesetting, no double barlines, and several successive key
changes for 4-bar phrases, with the key change before a quarter-note length
pickup.
John
On 5/24/07 6:52 PM, "dhbailey" <[EMAIL PROTECTED]> wrote:
John Roberts wrote:
Pardon my ignorance, but can I legally change the key signature in the
middle of a measure? And in modern practice, do I still need a double
barline with a change of key signature? If not, and if the answer to my
first question is "yes," how would I accomplish that in Finale?
Pardon my ignorance, but can I legally change the key signature in the
middle of a measure? And in modern practice, do I still need a double
barline with a change of key signature? If not, and if the answer to my
first question is "yes," how would I accomplish that in Finale? (Hidden
barlines and l
Agreeing with Owain, I'm going to have to say that it looks like a
development section, where the tonal centre isn't going to be around long
enough to warrant a modulation. Schoenberg has *ideas* about that sort of
thing. But, without any knowledge of the context, I'm going to go with, "it
looks
Richard Yates wrote:
Aside from deliberately trying to make things difficult for note entry and
sight-reading, why would anyone notate the following passage this way:
http://www.yatesguitar.com/misc/Janacek1.jpg
instead of this way:
http://www.yatesguitar.com/misc/Janacek2.jpg ?
(The whole piece i
On Nov 12, 2004, at 5:19 PM, Richard Yates wrote:
Aside from deliberately trying to make things difficult for note entry
and
sight-reading, why would anyone notate the following passage this way:
http://www.yatesguitar.com/misc/Janacek1.jpg
instead of this way:
http://www.yatesguitar.com/misc/Jan
Aside from deliberately trying to make things difficult for note entry and
sight-reading, why would anyone notate the following passage this way:
http://www.yatesguitar.com/misc/Janacek1.jpg
instead of this way:
http://www.yatesguitar.com/misc/Janacek2.jpg ?
(The whole piece is only three pages
47 matches
Mail list logo
