Dear Allen, I agree that Finale's default files could be made a little better. Here are some of my ideas (in no particular order):
- I think that it would be nice if there a larger range of default files, e.g. early music, contemporary music, Broadway style, etc., each of which may contain different setting depending on the different requirements of each musical style. For example, the contemporary music one may contain preloaded quarter-tone libraries. The Broadway one could have 4 bars locked per system. Also if user-created-default styles could be accessed from within the Setup Wizard... - Rehearsal Letters - these should be bigger and bold, 18 point. - I believe that staves should be brought closer together within keyboard parts. Say there is a violin and piano score, then it seems a bit nonsensical to have the same distance between each staff. Also, it would be great if there could be larger spaces between different orchestral families in a score (e.g. between the contrabassoon and horn 1-2 staves in an orchestral score). I guess that this would not be easy to implement? - Ledger lines (0.04cm) should be twice as thick as staff lines (0.02cm). Similarly, bar lines twice as thick. These small adjustments make a considerable difference to the appearance of a printed score. - There could be an increased number of text and shape expressions that come in the default files. For example, all the myriad of directions for the different instruments (e.g. "con sord.", "senza sord." etc.). These could be organized in instrumental families within the file. It could also include a quite comprehensive list of general text expressions, e.g. crescendo, cresc., diminuendo, dim., legato, espressivo, cantabile, dolce, pesante, simile, sim., subito etc. etc. etc. - These new text expressions could include a q=120 or whatever tempo marking done in EngraverText T so that we can finally be rid of those godawful tempo markings made in Petrucci or Maestro (via the Create Tempo Marking plugin). Better still, put a couple of there in so that beginners who can't work out how to duplicate text expressions can at least change the ones that are already there. - I use a bold 18 point for large above-the-staff markings (e.g. "Lento"). For other markings, e.g. "crescendo", I like 12 point italic, though some publishers prefer 14 point italic. I like 14 point italic for bar numbers. 10 point bold italic for tuplet numbers. - Increased numbers of custom smart shapes. For some examples, see the lines in Sibelius 2, but for example, there could be thick horizontal lines with arrows on either and/or each end, dotted lines with hooks and 'sul pont' or whatever written over them. Anything to save the users having to create them themselves, or at least, have a wider selection from which to choose. - Having a much wider range of arrows to attach to custom smart shapes, e.g. bigger, wider etc. - I like to leave about 1 space after the clef at the beginning of each line (via music options). It seems to make the music look less crowded, not packing as much in in a small space. - Grace notes should be sized between 60-75%. I find 50% too small. Either 66% or 75% is good, though some people believe 75% is too big. - I think that staves should all be automatically set for individual staff spacing from the outset. If you want to change them globally, then you can always drag the top handle. (Is this do-able within a default file?) - Reducing the smallest default bar width (i.e. via Music Spacing Options) to 3cm or 2.75cm rather than the 3.15cm or whatever it is at the moment. - Altering the default placement of the mezzo staccato and accents placed beneath the staves so that they never run into noteheads or bottom staff lines. - Fixing up the default placement of the tremolo markings so that they never run into noteheads. I must say that in my opinion, and in spite of all of these suggestions, it would perhaps be best worth Coda's while to follow the suggestion to employ an outstanding engraver to produce at least one really excellent default file. Sort of what you must have done with font designers to create the Maestro font, I suppose. That way, people who are not expert engravers, or who have no implicit desire to become expert, can still unwittingly gain the experience of someone that is. Thanks for soliciting opinions, and I hope that you get some good responses. Matthew -- Matthew Hindson - Australian composer [EMAIL PROTECTED] http://www.hindson.com || N.B. Due to overwhelming SPAM, my email is set up to automatically || reject bcc. email messages. || || If your email to me gets rejected, try sending || it to [EMAIL PROTECTED] instead. || [EMAIL PROTECTED] is still my primary email account || though, and you should send it there first. _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
