I really would not like it to move the other notes nor even to enharmonically
change all if you change one.
There are a ton of useful things that the current behaviour enables.
These include hang-ons and back or forward ties through first and second
repeats endings.
Steve P.
On 26 Oct 2011, at
Just E13 is fine.
This would be (nicely voiced) as E B D G# C#
Steve P.
On 28 Oct 2011, at 17:42, Robert Patterson wrote:
> Another question for the accumulated jazz wizdom of this list. I need to
> indicate an E dominant 7 chord with the 6th (or if you prefer, 13th) added.
> None of the suffi
I can't really get decent sound from the midi files that finale produces.
I print and play the parts in to DAW in realtime from a keyboard.
You then get a 'personality' behind each part with tiny variations in timing
and dynamics.
Steve P.
On 31 Oct 2011, at 13:45, Nigel Hanley wrote:
> To
On 2 Nov 2011, at 02:34, Klaus Smedegaard Bjerre wrote:
> So I made an alias of the plug-ins folder and called it Finale 2012 Plug-ins
> henvisning,
This is the best way to deal with Plugs.
I have it permanently in my window's sidebar.
Steve P.
___
I agree entirely with this post!
It's an object lesson in page-turning for copyists.
So much so that I'm going to duplicate it because it's easy to miss..
1. Blank or mostly blank pages are often preferable to bad turns - especially
if you are copying for live or studio rather than publication (w
In line with what John is saying, sometimes reducing the system size by a
couple of percent will get you out of trouble.
Steve P.
On 5 Nov 2011, at 20:03, John Howell wrote:
> At 12:26 PM -0700 11/5/11, Dean M. Estabrook wrote:
>> Good thoughts John as usual. The accordion fold idea is
Is this good news?!
Garritan have always been very responsive and good to deal with.. MM the
opposite..
Steve P.
On 20 Dec 2011, at 18:25, Darcy James Argue wrote:
> Hi Jari,
>
> That is all good news! Thanks for sharing.
>
> Cheers,
>
> - DJA
> -
> WEB: http://www.secretsocietymusic.org
I've been here too
The cause was lack of any sense in which kind of text box for any given text.
The solution (there may be a better one) was to delete from all parts then
reinput properly.
One case was severe enough that I printed out and started from scratch.
There may also be some mileag
On 21 Dec 2011, at 12:04, Dennis Bathory-Kitsz wrote:
> Never again want a cleanup job like that!
I've found that most 'clean-up' work is quicker if I receive it on paper and
start from zero!
Steve P.
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You may have had a better answer by now..
IMO it's never worth fiddling with this kind of thing when you have a paper
copy that can be reinput. Much less error IME than transferring a midi file
across. It is too easy to miss mistakes in the original file.
It may be just me, but if I have a paper
Ah.. please ignore my solution...
When did Finale gain Don's solution?
Steve P.
On 5 Jan 2012, at 03:33, Don Hart wrote:
> In 2010, I believe, staff styles are what you're looking for
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Make a score first that looks correct and sounds wrong.
Then duplicate file and change independent sigs to look wrong but sound right.
Steve P.
On 5 Jan 2012, at 00:54, Dr. Benjamin Ayotte, Ayotte Custom Musical Engravings
wrote:
>
> Dear Collective Wisdom:
>
> I am working on a show in which
Ignore even more that my posts arrived out of order.
Steve P.
On 5 Jan 2012, at 10:44, Steve Parker wrote:
> Make a score first that looks correct and sounds wrong.
> Then duplicate file and change independent sigs to look wrong but sound right.
>
> Steve P.
>
> On 5
Unbelievably I use staff styles all the time without ever noticing that I could
change the way I approach doubling!
Steve P.
On 5 Jan 2012, at 12:06, "David H. Bailey"
wrote:
> On 1/5/2012 5:47 AM, Steve Parker wrote:
>> Ah.. please ignore my solution...
>> W
As always with my replies, someone will reply afterwards with a proper
solution... ;-)
I just use smart-shape lines to do this.
Steve Parker
On 18 Jan 2012, at 10:30, Giovanni Andreani wrote:
> I apologize for the double thread; I'm reposting this message thank's to
> Denn
.
This is easier than it sounds and not difficult to line up nor to fudge part
names etc.
Steve Parker
On 18 Jan 2012, at 13:19, Giovanni Andreani wrote:
> The reason for this is that I need to represent two melodies, the second
> being performed as a canon and starting on measure 2 with mea
In MT the spread mark is used often for octaves. The word 'Bell' is written a
fair bit too if the notes are so functioning.
Steve P.
On 6 Feb 2012, at 02:13, Linda Worsley wrote:
> This is not really a Finale question as much as a notation question. After
> all these years, I should know thi
I definitely use one over each. For short
fermata I use triangle ones.
They also look less fussy chained up.
Steve P.
On 10 Feb 2012, at 14:51, Aaron Sherber wrote:
> Hi all,
>
> Does anyone have any ideas for putting a wide fermata in Finale?
>
> Example of use: All instruments have a ferm
I would put them in whichever part looks best - usually near the top of the
score - above is even better if the top instrument plays the tune.
I wouldn't switch staves more than once.
If there is an resting staff at the top they can be cued there.
Where the rhythm or melisma are different to th
Just actually looked at the score.. Definitely would be clear to put them above
the top phrase.
Are you definitely using the anglicised lyrics?
Steve P.
On 18 Feb 2012, at 15:29, SN jef chippewa wrote:
>
> i am doing a short orchestral score and in the final section the
> whole orchestra (an
Yes, above flutes.
'phrase' should have been 'stave'...
Steve P.
On 18 Feb 2012, at 16:02, SN jef chippewa wrote:
>
>> Just actually looked at the score.. Definitely would be clear to put
>> them above the top phrase.
>
> above the flutes?
>
>> I wouldn't care about register at all.
>
>
I'm anal about snipping on mac.. But from phone by the time I've removed
the whole message three times, twice copied it to four times its original
length and forgotten what I was writing in the first place I give up..
Steve P.
On 18 Feb 2012, at 20:04, Darcy James Argue wrote:
> Geoff,
>
I'm not for one second suggesting writing choral music without regard to
register. I'm suggesting that the conductor who is reading the score is
unlikely to stop the audience singalong and demand that they sing in the flute
register.
It's a singalong for goodness' sake!
Everyone will sing along
On 19 Feb 2012, at 01:52, Raymond Horton wrote:
> Read my post, Steve. I read yours!
>
> Raymond Horton
>
>
> On Sat, Feb 18, 2012 at 8:50 PM, Steve Parker wrote:
>
>> I'm not for one second suggesting writing choral music without regard to
>> register. I&#
Below is such a good idea it should become standard. It will be for me!
Steve P.
On 20 Feb 2012, at 11:40, Raymond Horton wrote:
> Actually, perhaps a better clef suggestion for an instrumental player of
> unknown gender would be a treble clef with a very small 8 under it, but in
> parenthesis
one
> understands the octave transposition that's
> intended.
>
> John
>
>
>
>
> At 12:03 PM + 2/20/12, Steve Parker wrote:
>> Below is such a good idea it should become standard. It will be for me!
>>
>> Steve P.
>>
>> On 20 Fe
0 Feb 2012, at 18:14, "David H. Bailey"
wrote:
> On 2/20/2012 12:19 PM, Steve Parker wrote:
>> I think an (8) with the brackets is a nice and elegant clarification that
>> the parts are for m and/or f.
>>
>
> I wouldn't understand that at all -- wh
Attacca indicates play through as if one piece.
Segue indicates applause (possibly) but no wait for dialogue or action.
Steve P.
On 14 Mar 2012, at 01:25, Mark D Lew wrote:
> John Howell wrote:
>
>> Subtle differences. Segue ("follows") indicates
>> moving directly to the next thing, whi
This list is absolutely invaluable to me.
Steve P.
On 16 Apr 2012, at 14:48, George Brooke wrote:
> I echo Frank's comment. I also am a long time lurker and find that this list
> regularly provides helpful information and the discussions that get started
> are very interesting as well
>
> Geo
But there aren't three choices..
All three are identical in preferring Eb over D#, Bb over A# and F# over Gb.
The order of likelihood of any spelling is the same.
Steve P.
On 19 Apr 2012, at 14:29, bill sinclair wrote:
> Actually, for G harmonic minor you would use B flat and F sharp.
> For
I would rather it made more distinctions.
I would like hitting the 9 key to change to the key and mode first without
trying seven exotic options before an Eb major triad.
I would also like 'prefer flats' or 'prefer sharps' to be expanded to 'prefer G
minor' etc.
Steve P.
On 18 Apr 2012, at 17
'Melodic minor' is neither a key nor a mode. It is a melodic or harmonic choice
within a minor key (or momentary minor key).
Steve P.
On 19 Apr 2012, at 14:13, bill sinclair wrote:
> You could set up up a "non-standard" key signature for melodic minor,
> for
> instance for G melodic minor, use
2011 mac fine for me.
Steve P.
On 19 Apr 2012, at 13:20, Christopher Smith
wrote:
>
> On Thu Apr 19, at ThursdayApr 19 2:14 AM, dershem wrote:
>
>>
>> The only option I would like that 2010 doesn't have is to hide staves in
>> the piano part, and I am used to doing that with a T-square and
> We haven't mentioned this yet, but cues that are designed ONLY to help the
> player know what is happening before an entrance (never meant to be played)
> should never be visible to the conductor.
Even this depends..
If i'm preparing music for a recording where the players are sight reading
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
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
It really can be a useful thing! I've never had a problem with signing to
someone that the cue I'm giving is their cue rather than their entrance.
Steve P.
On 22 Apr 2012, at 00:07, John Howell wrote:
> At 10:02 AM +0100 4/21/12, Steve Parker wrote:
>> If i'm prepari
ave never been cued by the conductor on a cue in the
> part, only on my own entry (that's when they bother giving a lead at all).
>
> Cheers,
>
> Lawrence
>
>
>
>> On 22 Apr 2012, at 09:54, Steve Parker wrote:
>>
>>> It really can be a useful thing
Depends what you want to do.
I have one of the first intel MacBooks and that will run Finale with no probs
and record 24+ (probably very +) tracks of 24/44.1 audio and run a ton of large
sample libraries.
Unless you specifically need to do something more than this then anything you
can curren
ss-cue" to be played if the designated
> instrument is not available.
>
> The old guys didn't worry about any of these
> things. They expected their musicians to be able
> to read and count! They didn't use bar numbering
> or rehearsal numbers/letters either.
&g
This is conventional wisdom and very good advice.. but still depends on how
much you need to do at once.
My ageing MacBook has no problem recording 16 tracks or 24/44 to the internal
4200rpm drive.
External drives are so cheap though...
Steve P.
On 22 Apr 2012, at 18:53, Eric Dannewitz wrot
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
Not really hard drive space.
More throughput. Recording to a different drive to the one running the OS.
Steve P.
On 22 Apr 2012, at 22:06, Nick Raspa wrote:
> hard drive space is more the concern. Is my understanding correct?
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s in flash
>> drive) similar to hard drive partition except that the second drive
>> (partition) is external?
>> Nick Raspa
>> NJR Music Enterprises
>>
>> On Apr 22, 2012, at 04:39 PM, Steve Parker wrote:
>>
>> Not really hard drive space.
>>
Any idea which virtual orchestra?
As has been said, Finale with Garritan runs very lightly.
I run easy west symphonic orchestra gold and that runs best from an external
FireWire.
EWSI Platinum is best run from at least four separate drives for brass, wind,
strings and percussion as it uses mult
nt. ?I've been using Garritan and probably will
> continue to use it, however, I know there are some other good sound libraries
> out there, so I will have to investigate them and see what will work best for
> me. ?It sounds like the issue lies more with space and that a second dr
On 24 Apr 2012, at 21:29, Nick Raspa wrote:
> It sounds like I should take a close look at DP before investing in Logic.
DP is one of those pieces of software that you'd have to prise from my cold,
dead (virtual) fingers..
I'm still waiting for the same emotional attachment to Finale!
> It ha
Works fine for me..
Open one document, drag another into the side drawer. Save or save as.
Is that how you're doing it?
Steve P.
On 1 May 2012, at 14:04, Christopher Smith
wrote:
> Hi combined MacOSX wisdom,
>
> I have a whole bunch of single-page files that I want to combine into one
> PD
Oh.. out of interest what is different?
Steve P.
On 1 May 2012, at 18:29, Darcy James Argue wrote:
> It works differently in 10.7.
>
> Cheers,
>
> - DJA
> -
> WEB: http://www.secretsocietymusic.org
>
>
>
> On 1 May 2012, at 12:32 PM, Steve Park
Looks like another reason to stay on 10.6.8. I wonder why apple changed the
simple way it worked?
Steve P.
On 2 May 2012, at 09:29, Jonathan Smith wrote:
> I can answer this one.
>
> Put all the pdfs you wish to combine into one folder, get these files in the
> order you want them to print
On 1 May 2012, at 19:55, Darcy James Argue wrote:
> It now works the way I described it to Chris, instead of the old way.
>
Can you still drag them to where you want within the document pagewise?
Steve P.
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Not a question nor anything I have any hope will ever get sorted...
Why oh why can finale not try normal spellings of notes before exotic ones..?
If I have F - A - B# why can Finale not know to try F - A - C when I push '9'
rather than Gbb - G## - C ?
I change every note individually b
e the triangle for a generic maj7 chord when handwriting but
haven't got around to sorting this for use with Maestro. Any suggestions here?
Thanks!
Steve Parker
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PC Imaging.
>
> If you want to see samples, I can send you a pdf.
>
> Chuck
>
>
> On May 30, 2012, at 4:05 AM, Steve Parker wrote:
>
>> Hi all!
>>
>> I'm having another bout of trying to sort everything that niggles me in
>> Finale... ;-)
&g
tions fonts in all my works
>>
>> Sent from my iSomething
>> --
>>
>> On May 30, 2012, at 12:35 PM, Steve Parker wrote:
>>
>>> Hi Chuck,
>>>
>>> Thanks, I'll look at these. Do you use them with a generally handwritten
>>>
In document preferences you can turn off courtesy key sig announcements.
I've not found a sensible way to achieve both kinds in the same piece.
Actually opaque boxes is my preferred way of dealing with all manner of things..
Steve P.
On 5 Jun 2012, at 16:13, Aaron Sherber wrote:
> Hi all,
>
matter you could click on anything and move it.
Finale is like copying with boxing gloves on in comparison!
Steve P.
On 5 Jun 2012, at 17:53, Aaron Sherber wrote:
> On 6/5/2012 12:40 PM, Steve Parker wrote:
>> In document preferences you can turn off courtesy key sig announcements.
&
Ah just noticed who question was from..
I'm clearly telling you stuff you already know..
Steve P.
On 5 Jun 2012, at 16:13, Aaron Sherber wrote:
> Hi all,
>
> I have a score with a cutaway staff. At the end of one system is a
> cautionary key sig change. In the cutaway staff, the last couple o
I've done a fair bit of work in Eastern Europe, some with traditional
instruments and tuning.
As far as anything is notated at all (AFAICS) it is in standard notation even
when the understood meaning is far from it.
This leads unfortunately to hashed,
cheesy performance when read by inexperienc
I don't find much unlistenable.. but you've hit on the worst two..
I'd rather listen to Justin Bieber than another opera star murder Someone to
Watch Over Me...
Steve P.
On 2 Aug 2012, at 21:02, John Howell wrote:
> But there are examples much closer to hand:
> baroque music being played wit
I just want shortcuts to switch between tools.. maybe it's possible but I've
never worked out how.
Apart from esc for the selection tool.
Steve P.
On 22 Aug 2012, at 02:12, "David H. Bailey"
wrote:
> Refresh my memory -- metatools are key combinations that work from any
> tool in the prog
I do this with linked parts by creating entirely new instruments/staves and
copying the music across to them.
I set up a score without the instruments I don't want.
Much more flexible in the long run.
Steve P.
On 24 Aug 2012, at 21:41, Dennis Bathory-Kitsz wrote:
> Hi all,
>
> Can I get a
I wish I could help more.. but it's something to do with embedded fonts.
I never have trouble with Preview but often have trouble with Adobe.
I just reopen it and sooner or later it works.
Steve P.
On 28 Aug 2012, at 16:21, Allen Cohen wrote:
> I am using Finale 2011 on Mac OS 10.5.8. Forgi
I've done this by faking it.
An extra staff above or below then copy and paste and hide in all other
systems.
Steve P.
On 29 Aug 2012, at 04:27, Darcy James Argue wrote:
> Hey all,
>
> I have an unusual request from a client -- is it possible to change the order
> of staves in a score for
bottom of the score,
> hidden in all other systems. I was hoping to avoid this but I don't think
> there's another solution, is there?
>
> Cheers,
>
> - DJA
> -
> WEB: http://www.secretsocietymusic.org
>
>
>
> On 29 Aug 2012, at 7:16 AM, Steve Pa
How can I set the Am/D slash to 'Under Root' as a default?
Thanks,
Steve P.
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Having decided to recreate my font libary from the ground up I've hit a couple
of questions:
How to I specify that the 'b' in Eb or Bb is closer to the E or B?
I can get the other symbols as close as I like but is it possible to specify
that the 'ø' say in Aø is closer to the 'A' than in Abø or
How can I permanently set the default chord baseline?
Thanks again!
Steve P.
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I'd found this solution but it is made much less useful by the transposition
hashes.
Thanks for your help with the other questions too. I was on Mac OS7 the last
time I messed around defining fonts.. I'll probably live with a compromise for
now till I have a spare week. ;-)
Steve P.
On 22 Se
generally
> means an actual polychord (C triad over E triad), while the diagonal ones
> mean just an alternate bass note. You don't want the musicians playing
> something unintended! Or did I misunderstand the question?
>
> Christopher
>
>
> On Sat Sep 22, at Sa
Having decided to recreate my font libary from the ground up I've hit a couple
of questions:
How to I specify that the 'b' in Eb or Bb is closer to the E or B?
I can get the other symbols as close as I like but is it possible to specify
that the 'ø' say in Aø is closer to the 'A' than in Abø or
Thanks for reply. I'm going to look at remapping the font for this and a couple
of other things.
Steve P.
On 22 Sep 2012, at 15:36, Jari Williamsson
wrote:
> On 2012-09-22 12:51, Steve Parker wrote:
>> How can I set the Am/D slash to 'Under Root' as a def
> From my
> corres-pondence with other pianists, I get the impression that they like to
> rely
> on the MIDI to help them learn a piece faster.
Hell no! Not me nor any other professional pianist..
Never!
Steve P.
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Maybe I'm misunderstanding but if I make a concert score (never by choice..) I
make liberal use of octave displaced clefs.
Steve P.
On 1 Oct 2012, at 04:50, Robert Patterson wrote:
> I am writing a contrabassoon part in a C score. The way I usually handle C
> scores is that I label each tran
My solution here is a vocal score with piano reduction (never to be actually
played) heavily marked with relevant instrumental cues.
It can be much better than leaving the singers to decipher their own cues.
Steve P.
On 2 Oct 2012, at 18:40, David Froom wrote:
> On 2 Oct 2012, at 1:00 PM, Ro
Hi Darcy,
Have you heard or seen the film of Royston Maldoom's project?
https://www.google.co.uk/url?sa=t&source=web&cd=5&ved=0CDYQFjAE&url=http%3A%2F%2Fwww.royston-maldoom.net%2Fprojekte%2Fdetailansicht.php%3Fid_text%3D54910%26id_language%3D2&ei=1_lvUJOMCIWohAe8sYCQDQ&usg=AFQjCNHi75PpMJPZNfaxkKF
My kludge:
Put tenor clef in second bar.
Remove barline from first bar.
Set pick up measure to 30EDU
Steve P.
On 9 Oct 2012, at 15:04, Robert Patterson wrote:
> I'm working on an 19th century piece that uses a convention that, for
> example, if a cello starts the piece in tenor clef, it shows b
Ah.. same answer as to Robert.
Steve P.
On 9 Oct 2012, at 15:16, Lawrence Yates wrote:
> Is it possible (in a cello part for example) to retain the bass clef when
> there is a violin cue in treble clef at the start of the piece? When I try
> this, it changes the opening clef to a treble clef.
I always use it and never have a problem.
Apart from chord respelling where Finale goes through ludicrous options before
finding the obvious..
Here I use '9' to respell notes individually.
Steve P.
On 12 Oct 2012, at 14:51, Robert Patterson wrote:
> When linked parts were introduced in Fin
> But I never hit the 9 key any more. It's broken beyond use.
Don't understand this? I hit it hundreds of times a day on F2011.
Never had a problem.
Steve P.
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> If there is anyone on the list who:
>
> (A) routinely uses scores where instruments are set to use chromatic (not key
> signature) transposition...
>
Yes.
> ... and...
>
> (B) *used* to experience problems using the 9 key to flip enharmonics under
> previous versions of Finale...
>
No. 20
I'm an old enough repetiteur that standard skillset includes reading and
reducing at sight orchestral, windband and brassband scores.
C scores give me (irrationally) the same kind of offence I would get from
transposing the works of Chopin into C major to make them easier to learn
Steve P.
it. There's a film? Is it
> available on DVD? I could not find any info about the film online.
>
> Cheers,
>
> - DJA
> -
> WEB: http://www.secretsocietymusic.org
>
>
>
> On 6 Oct 2012, at 5:30 AM, Steve Parker wrote:
>
>> Hi Darcy,
>>
> Once again we have the assumption that the use of C scores implies anything
> whatsoever about the skillset of the people that use them.
Not from me.. That's why I used the word 'irrationally'.
Steve P.
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> I think "concert pitch" scores make a lot of sense for contemporary pieces
> that lack key signatures, because without the key signature as a cue, it is
> difficult to tell the transposition at a glance
I have written scores where the transposition from C us indicates but
bracketed. So a Bb t
> i think no
> conductor on earth would prefer a transposed score here.
In this situation I really would like a transposed score. Knowing exactly what
instruments are being used and seeing the pitches they are reading makes a lot
of difference fingering for different pitches etc.
Of course,
> What ruffles my feathers is the suggestion implied by
> more than one person in this discussion that a preference for concert pitch
> is ipso facto an admission of inferior aural/reading skills.
Probably I am one such person in this discussion..
It's not my opinion at all that preference for co
Any idea why I have black boxes round each measure?
They are like drag-pasting boxes but I can't get rid of them..
Steve P.
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2011
10.6.8
Steve P.
On 17 Oct 2012, at 17:58, "Phillips, Justin" wrote:
> What version of Finale and OS are you using?
> ---
> Justin Phillips
> Senior Product Manager
> MakeMusic, Inc
> 952-388-3064
>
>
>
>
>
>
>
> On 10/17/12 1
Yes.
Steve P.
On 17 Oct 2012, at 18:48, "Phillips, Justin" wrote:
> Have you installed the 2011c update?
> ---
> Justin Phillips
> Senior Product Manager
> MakeMusic, Inc
> 952-388-3064
>
>
>
>
>
>
>
> On 10/17/12 12:20 PM, "
Smart Find & Paint -> Deselect SmartFind Source Region.
>
> Cheers,
>
> - DJA
> -
> WEB: http://www.secretsocietymusic.org
>
>
>
> On Oct 17, 2012, at 11:06 AM, Steve Parker wrote:
>
>> Any idea why I have black boxes round each measure?
> Maybe standards are different in the States, but around here ALL the string
> players HAVE to check out the parts beforehand
...
Just to be obnoxious
I've seen orchestras and choirs in Britain sight-read crazy complex spectral
music at composer play-throughs with pages and pages of wri
If the students get the stuff in the guide, that seems to me not a bad basis
for a lifelong discovery of the best way to notate.
Plenty to argue with but some of that is due to it being instructions for a
specific situation rather than a general style manual.
If every new composition followed t
Unfortunately true:
http://www.nytimes.com/2012/11/06/arts/music/elliott-carter-avant-garde-composer-dies-at-103.html?nl=todaysheadlines&emc=edit_th_20121106
Although British I find much more compositional paternity from Ives and Carter
in the mainstream.
One of the best!
Steve P.
On 6 Nov 2012
Every bar?
I would set the time signature as stated.
Then use bars of actual 3/4 and 3/8 with signature announcement turned off.
I would definitely copy and paste these in!
Steve P.
On 19 Nov 2012, at 13:22, Lawrence David Eden wrote:
> 1 more question:I need a dashed barline between the 3/
Don't quite understand?
Bar 1 just 3/4 or?
I don't understand how to set this up as a signature over two bars???
Otherwise I'd do it as below with
3/4 dotted barline
3/8 (1 x dotted crotchet) hide time signature, normal barline
then copy and paste these through the score.
Am I missing some ve
I'm jumping in part way through a conversation I've not seen the beginning of
so ignore if useless...
Are you change staff transposition or the key of a section?
If you unlink a part then you can change the staff transposition without
affecting it.
But if you change key that will transpose every
This is not so far from a written version of what you might shout out to give
chords nor from figured bass..!
Steve P.
On 26 Dec 2012, at 06:12, "Williams, Jim" wrote:
> Sure...glad to help.
> I see some logic to it now--in D9(flat), the flat 9 is indeed flat--e flat.
> For E9(natural), the f
Trash the finale preferences?
Steve P.
On 7 Feb 2013, at 08:33, "Vosbein, Terry" wrote:
> Hello,
>
> I am having a problem trying to print parts. (I am using Finale 2012c Mac)
>
> I have a quintet score. I have edited the linked parts and am ready to print.
> When I select PRINT, I don't se
I find that trashing the preferences solves almost all of these odd problems.
In what way does it waste time as it takes only a few seconds to do?
Is it dangerous somehow?
Steve P.
>
>> Trash the finale preferences?
>
> this is the wildcard customer-support-time-wasting procedure that
> sho
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