On Thursday, Apr 3, 2003, at 20:00 Europe/Paris, [EMAIL PROTECTED] wrote:
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Today's Topics:
1. Let's talk about rates. (Mr. Liudas Motekaitis)
2. Re: Recent Resize page answer (Javier Ruiz)
3. Re: Expressions (Johannes Gebauer)
4. Break Multimeasure Rest with Expressions (Thomas Schaller)
5. Re: Let's talk about rates. (Johannes Gebauer)
6. Re: 7/8 (David H. Bailey)
7. Re: Recent Resize page answer (Harold Owen)
8. Re: Let's talk about rates. (Noel Stoutenburg)
9. Re: Break Multimeasure Rest with Expressions (Dennis Bathory-Kitsz)
10. Re: Break Multimeasure Rest with Expressions (Thomas Schaller)
11. Re: Break Multimeasure Rest with Expressions (Thomas Schaller)
12. Re: Break Multimeasure Rest with Expressions (Aaron Sherber)
13. Re: Recent Resize page answer (Brad Beyenhof)
14. Re: Let's talk about rates. (JD)
15. Re: Spacing staves equally (Andrew Stiller)
16. Re: Good resource for New Music Notation Standards ([EMAIL PROTECTED])
17. Re: Break Multimeasure Rest with Expressions (Robert Patterson)
18. Re: Break Multimeasure Rest with Expressions (Aaron Sherber)
19. Debussy music font (=?ISO-8859-1?B?yQ==?=ric Dussault)
20. Re: Debussy music font (d. collins)
21. Re: Debussy music font (=?ISO-8859-1?B?yQ==?=ric Dussault)
22. RE: Debussy music font (Jim Hale)
23. beaming in cut time (Eden - Lawrence D.)
24. Re: beaming in cut time (Aaron Sherber)
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Message: 1 From: "Mr. Liudas Motekaitis" <[EMAIL PROTECTED]> To: "finale list" <[EMAIL PROTECTED]> Date: Wed, 2 Apr 2003 20:21:45 +0200 Subject: [Finale] Let's talk about rates.
39 staves in the score. Page reduction of 38% and it barely fits. Staves
ranging from 2-lined percussion up to 10-lined and 5 lined bracketed stave
sets for contrabass. Here we have people blowing letters into their wind
instruments and working their way around within the various metal parts of
the two grand pianos. 2432 time signature changes. Amorphous squiggles and
up to 7 ppppppp. 42 pages of this. The score is supplied as a Finale file.
Parts and score are required.
If normal rates for a page of orchestral score are x, what is the multiple
to be applied for this?
Liudas
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Message: 2 Date: Wed, 02 Apr 2003 19:43:05 +0100 Subject: Re: [Finale] Recent Resize page answer From: Javier Ruiz <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>, Finale <[EMAIL PROTECTED]>
I don¹t have a copy of the message, but I am sure you will be able to find
it here:
http://mail.shsu.edu/pipermail/finale/
Where all the messages are stored for future reference of our grandchildren.
I believe Hal Owen (or someone on this list), recently posted a reply concerning how to fix the difference in printed output on FinMac 2003 (which has an 85% size compared to earlier versions of Finale at 100% output).
Unfortunately, I trashed that response on how to fix this. Could someone
resend that response to me asap. Thanks much for your help.
Martin Banner
_______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Javier Ruiz
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Message: 3 Date: Wed, 02 Apr 2003 21:09:07 +0200 Subject: Re: [Finale] Expressions From: Johannes Gebauer <[EMAIL PROTECTED]> To: Finale list <[EMAIL PROTECTED]>
On 02.04.2003 18:51 Uhr, Brad Beyenhof wrote
Dear Listers,
In the past, I have (for the most part) used only measure-attached
expressions. However, a composer has given me a file in which all of the
expressions are note-attached. Is there a way to convert those to
measure-attached? Or are note-attached better? I know TGTools has a
"measure-attached to note-attached" converter, but not the other way around.
This leads me to believe that note-attached are preferred... what, exactly,
is the difference?
I use both for different situations.
Note attached:
These are attached to a particular note, in only one staff, or even layer. I
use them for anything that is staff specific. I also use them for cresc.
etc, even if there is the same expression in every staff, unless I am
working on very large scores, which I don't do very often.
Measure attached:
These can be used both on individual staves and on several or all staves. My
main use for them is for expressions that appear in different staves for
scores and parts. Eg, tempo indications, like Allegro, should appear on the
top staff of every group in the score, but they should appear on _every_
part. Using measure attached expressions and a staff list this is easily
done.
I have never understood quite why some people recommend to use only note
attached expressions, other than when copying music from one doc to another
the staff lists of measure attached expressions are lost.
Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de
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Message: 4 Date: Wed, 02 Apr 2003 13:18:26 -0600 From: Thomas Schaller <[EMAIL PROTECTED]> To: Finale <[EMAIL PROTECTED]> Subject: [Finale] Break Multimeasure Rest with Expressions
Hi,
I've been absent from the list for quite some time, so maybe you guys have
discussed that in the past - sorry, if so.
When extracting parts from a score, I recently started using the Break
multi-measure rests-feature within the expression dialogue box rather than
doing the old fashioned way with the Measure Tool.
But today I discovered what looks like a bug: I have a score where some
parts break correctly and some don't. Can't figure out the reason behind it
- everything is set the same way.
Has anybody else experienced this? Is this a known bug?
The file is good, nothing corrupt there. It is in 2002. I made a little test
and upgraded the file to 2003 - but the same thing happens there as well.
Any insights?
Thanks,
Thomas Schaller
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Message: 5 Date: Wed, 02 Apr 2003 21:18:04 +0200 Subject: Re: [Finale] Let's talk about rates. From: Johannes Gebauer <[EMAIL PROTECTED]> To: Finale list <[EMAIL PROTECTED]>
On 02.04.2003 20:21 Uhr, Mr. Liudas Motekaitis wrote
2432 time signature changes.
Did you count them by hand?
Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de
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Message: 6 Date: Wed, 02 Apr 2003 14:18:46 -0500 From: "David H. Bailey" <[EMAIL PROTECTED]> To: Taris L Flashpaw <[EMAIL PROTECTED]> Cc: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> Subject: Re: [Finale] 7/8
The grouping should reflect the phrasing, in my opinion, so the parts
may be different. If the phrasing is all to be the same, then the
grouping should all be the same, which won't be too hard. You can use
mass mover to highlight whichever part you want to change and then under
the Mass Edit menu select Rebeam and then choose Rebeam to Time
Signature and then set your time signature to reflect the groups you want.
Taris L Flashpaw wrote:Hi all!
I've recently started work on a new piece for small orchestra, and
in the second movement, the time signature is 7/8. The movement starts
off with harp alone, and then after four bars adds a gorgeous english
horn melody.
My problem is that I entered the harp as 3+4, and, without realizing
(because it was offscreen), entered the english horn melody as 4+3. Is
this permissible? And when I go to add other parts surrounding this,
which one should I use (3+4 or 4+3)?
Taris
_______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
.
-- David H. Bailey [EMAIL PROTECTED]
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Message: 7 Date: Wed, 2 Apr 2003 11:13:54 -0800 To: [EMAIL PROTECTED], [EMAIL PROTECTED] From: Harold Owen <[EMAIL PROTECTED]> Subject: Re: [Finale] Recent Resize page answer
Martin Banner writes:
I believe Hal Owen (or someone on this list), recently posted a reply concerning how to fix the difference in printed output on FinMac 2003 (which has an 85% size compared to earlier versions of Finale at 100% output).
Unfortunately, I trashed that response on how to fix this. Could someone resend that response to me asap. Thanks much for your help.
Dear Martin,
Yes, it was I. Here's what I had sent in answer to Linda Worley's question:
==================================================
Dear Linda,
In Finale 2000 and earlier, staff size was fixed, and you adjusted the Page Size to fit your score on the page. However, since then you adjust the staff height instead. If you look at Options/Page Format/Score, you will see a field for Staff Height. That is the critical item. If it's about 82 EVPUs (about 0.28 inches), the staves in Page View will be about 85% their size in Scroll View. Scale Page is set for 100%. If you set Staff Height to 96 EVPUs (0.3333 inches), then you can use page % as you had done in the past. However, changing these figures in the Page Format for Score will not affect the score you have created. It will affect any new scores you create. You can adjust staff size in Layout/Resize System and Resize Page to get things to look right in Page View. You can get to the same dialog box by using the % Tool if you click at the left between staves of a system.
Best regards,
Hal -- Harold Owen 2830 Emerald St., Eugene, OR 97403 mailto:[EMAIL PROTECTED] Visit my web site at: http://darkwing.uoregon.edu/~hjowen FAX: (509) 461-3608
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Message: 8 Date: Wed, 02 Apr 2003 13:56:39 -0600 From: Noel Stoutenburg <[EMAIL PROTECTED]> To: finale list <[EMAIL PROTECTED]> Subject: Re: [Finale] Let's talk about rates.
"Mr. Liudas Motekaitis" wrote:
<description of work snipped, up to> The score is supplied as a Finale
file.
Parts and score are required.
If normal rates for a page of orchestral score are x, what is the multiple
to be applied for this?
For doing part extraction, and preparing score and parts, I'd quote the
equivalent of ten USD for each page of score, and five USD for each page of
part, and an hourly rate of twenty five USD per hour for any task that
required excessive time (creating a complicated shape expression, as one
example). I'd prepare an estimate on a per page rate, giving the client an
estimate as to what I think the total number of pages will be, and I'd take my
own working estimate, and double or triple it before quoting it to the
customer, since one can always charge less than the estimate, and it requires
considerably more tact and diplomacy than I possess to charge more than you
quote.
ns
Liudas
_______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
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Message: 9 Date: Wed, 02 Apr 2003 14:56:05 -0500 To: Finale <[EMAIL PROTECTED]> From: Dennis Bathory-Kitsz <[EMAIL PROTECTED]> Subject: Re: [Finale] Break Multimeasure Rest with Expressions
At 01:18 PM 4/2/03 -0600, Thomas Schaller wrote:But today I discovered what looks like a bug: I have a score where some
parts break correctly and some don't. Can't figure out the reason behind it
- everything is set the same way.
Has anybody else experienced this? Is this a known bug?
I had this problem, and it turned out to be my fault -- unless you consider
how dismal Finale's "ownership" features are.
You can't tell what expression or marking belongs with what measure or
note. In one notorious episode a few years ago, I entered rehearsal letters
as I had done for years: by clicking on the barline that identified the
division. It wasn't until the rehearsal that I discovered that rehearsal
letters do not belong to barlines, but rather belong to measures. Since
Finale doesn't have any sort of danger zone where clicking isn't allowed,
my rehearsal letters were variously on the measures to the left or right of
the barline. What a nightmare! Believe me, this is only obvious once you
know how it works. I've used Finale for hundreds of scores since 1993; I
don't know what version introduced special part extraction that respected
expressions, but it wasn't until that rehearsal that I learned the true
ownership of these markings!
This ownership problem actually goes for all sorts of expressions and
articulations and graphics and even notes. Just try to figure out what part
of a score owns some other part of a score when you haven't looked at it in
six months or six years.
What it comes down to is that Finale doesn't display enough information,
especially considering how Byzantine its ownership is (note, measure,
staff, page, document, program...).
I've asked for ownership rubber bands and info popups for years -- some
sort of hover feature, say, available with the pointer tool. Hover over a
measure and see everything that's attached to it. Hover over a specific
note or articulation or expression and see where it belongs. Hover over
cross-staff notes and see them appear ghosted in the correct staff. Hover
over a repeat and see info on the measure it points to. Hover over images
(such as white blocks) to find out what they are and who owns them. Hover
anywhere -- find bits & pieces that have fallen way off the page and out of
view (crashing some printer drivers, too). Hover over brackets to see the
'real' groups (I recall Barbara Touburg's loss of a brass section
relationship many months ago). Hover over notes to show their accidentals
(hidden or not, and tied across barlines, where the score may look good,
but demos badly where the accidental hasn't continued across).
Make such a feature user-configurable: Only ownership, only popups, or
both. Show layers or not, in colors vs. gray. Include a "show all
ownership" keystroke. There must be a dozen ways of doing this, but I wish
they would do *something* to allow this in a simple viewing method that
doesn't require changing tools, clicking, and a whole lotta guessing.
Dennis
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Message: 10 Date: Wed, 02 Apr 2003 14:00:12 -0600 Subject: Re: [Finale] Break Multimeasure Rest with Expressions From: Thomas Schaller <[EMAIL PROTECTED]> To: Finale <[EMAIL PROTECTED]>
Richard Huggins wrote:
In some cases it (finally!) is discovered that actual whole rests are
present rather then Finale's default whole rests. If an actual whole rest
has slipped into a measure by who-knows-how means, it will break a
multi-measure rest. To test this, go to the parts in question, highlight all
measures having a whole rest, use the Clear feature, then see if the
multi-measure rests work properly.
--Richard
No, I'm talking about the opposite - the problem has nothing to do with
actual whole rests - I'm talking about making a score/note expression break
a mutlimeasure rest (a feature added in 2002) - but in some weird cases they
actually did NOT break a multimeasure rest. (only a few parts were affected
by that, with no logical cause that I could find)
Anybody having seen that?
--__--__--
Message: 11 Date: Wed, 02 Apr 2003 14:11:31 -0600 Subject: Re: [Finale] Break Multimeasure Rest with Expressions From: Thomas Schaller <[EMAIL PROTECTED]> To: Finale <[EMAIL PROTECTED]>
Dennis Bathory-Kitsz wrote:
You can't tell what expression or marking belongs with what measure or note.
Hi Dennis,
thanks for the thought - but that's not it either - it's hard to explain,
but some parts break at those places and some parts don't - there is no
input error here, there are no different settings for the different parts,
it's just buggy.
Thomas Schaller
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Message: 12 Date: Wed, 02 Apr 2003 16:10:45 -0500 To: Finale <[EMAIL PROTECTED]> From: Aaron Sherber <[EMAIL PROTECTED]> Subject: Re: [Finale] Break Multimeasure Rest with Expressions
At 03:00 PM 4/2/2003, Thomas Schaller wrote:No, I'm talking about the opposite - the problem has nothing to do with
actual whole rests - I'm talking about making a score/note expression break
a mutlimeasure rest (a feature added in 2002) - but in some weird cases they
actually did NOT break a multimeasure rest. (only a few parts were affected
by that, with no logical cause that I could find)
Anybody having seen that?
Yes. I sent a bug report to Coda in January -- received back a solution
that had nothing to do with the problem, but no confirmation of the bug. In
my case, I found that it occurred while I was using WinFin2003a to work on
scores which were originally created in WinFin2003 or earlier. I attach
below my description of this problem to Coda. I'd be interested to know
whether this matches what you're seeing.
Aaron.
==================
Let me try restating the bug I'm reporting, in case I wasn't clear. I have
a score with several rehearsal letters inserted as measure-attached
expressions. These expressions have their 'Break multimeasure rest'
property set to true, so that extracted parts which have rests on either
side of the rehearsal letters will break the multimeasure rest in two,
displaying the rehearsal letter. I extract the parts, and everything works
as expected.
Now I add another rehearsal letter, same as the others, assigned to the
same staff list. This staff list is set to display only on certain staves
in the score, but on all parts. I extract a part -- specifically, one of
the parts for which the rehearsal letters do not display in the score. In
the part, in scroll view, all rehearsal letters appear. All these
expressions have their 'Break multimeasure rest' property set to true. Yet
when I go into page view in the part, the multimeasure rest surrounding the
new rehearsal letter is *not* broken -- it's one big mm rest, and the
letter does not display.
I did some more testing. I cannot reproduce this problem in new scores
created in 2003a, but I can recreate it in several scores which were
originally created in 2003 or earlier and with which I am now working in
2003a. In addition, this only happens when the extracted part is one which
does not display the expression in the score but which does display it in
the part.
--__--__--
Message: 13 Date: Wed, 02 Apr 2003 13:21:59 -0800 Subject: Re: [Finale] Recent Resize page answer From: Brad Beyenhof <[EMAIL PROTECTED]> To: Finale 2 <[EMAIL PROTECTED]>
on 4/2/03 10:43 AM, Javier Ruiz wrote:
I don¹t have a copy of the message, but I am sure you will be able to find
it here:
http://mail.shsu.edu/pipermail/finale/
What I often do is to go search in Google with the search parameters as
"site:mail.shsu.edu finale [my desired finale-list search terms]." Using
this method I can directly search the archives without having to scan
through every list of posts, or without even needing to know the date of the
post for which I'm looking.
------------- Brad Beyenhof Music Theory/Composition major Point Loma Nazarene University San Diego, CA
--__--__--
Message: 14 Date: Wed, 02 Apr 2003 13:30:39 -0800 Subject: Re: [Finale] Let's talk about rates. From: JD <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>
on 4/2/03 10:21 AM, Mr. Liudas Motekaitis at [EMAIL PROTECTED] wrote:
39 staves in the score. Page reduction of 38% and it barely fits. Staves
ranging from 2-lined percussion up to 10-lined and 5 lined bracketed stave
sets for contrabass. Here we have people blowing letters into their wind
instruments and working their way around within the various metal parts of
the two grand pianos. 2432 time signature changes. Amorphous squiggles and
up to 7 ppppppp. 42 pages of this. The score is supplied as a Finale file.
Parts and score are required.
If normal rates for a page of orchestral score are x, what is the multiple
to be applied for this?
Well, my first reaction was 'WHY?'. But then I realized that was
inappropriate. Depending on what you're being asked to do with this
monstrosity, I would quote a minimum of $65 per hour, give an estimate of
how many hours I would need to work on it, plus 20%, perhaps consider adding
in a frame rate of no less than $.75 per frame, and then get half up front.
Trust me, I am NOT exaggerating. I've been thru this and have done exactly
as I have just described. It has the added benefit of weeding out the
riff-raff.
HTH.
***************************
J.D. Thomas ThomaStudios West Linn OR
http://www.thomastudios.com [EMAIL PROTECTED]
***************************
Why do they sterilize needles for lethal injections?
--__--__--
Message: 15 Date: Wed, 2 Apr 2003 16:41:31 -0500 To: finale list <[EMAIL PROTECTED]> From: Andrew Stiller <[EMAIL PROTECTED]> Subject: Re: [Finale] Spacing staves equally
on 4/2/03 3:50 AM, Mario Aschauer at [EMAIL PROTECTED] wrote:
I have a score with lots of optimized systems. How can I (within
one particular system with 11 staves) respace the staves equally, like
one can globally with "respace staves" (I learned this option does not
work within only one system, does it?).
"Respace Staves" does work, and beautifully, with single, optimized systems. I find it considerably more reliable and easy to use in that regard than either JW's or TG's staff-spacing plugins.
-- Andrew Stiller Kallisti Music Press
http://home.netcom.com/~kallisti/
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Message: 16 Date: Wed, 02 Apr 2003 16:45:53 -0500 From: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> Subject: Re: [Finale] Good resource for New Music Notation Standards To: [EMAIL PROTECTED]
Where do I look up things that are found in New Music, like aphormous
squiggles, a variety of arrows, notehead shapes, things that look like
"++++++++", markings like "e", "z" "ppppppp", fractions like 1/32, etc.
etc. for the purpose of being able to discern whether these are markings
used by one composer or whether these (and countless other such markings)
are established and widely used in New Music notation practice?
One of the more interesting ressources I have found is Howard Risatti's "New
Music Vocabulary: a Guide to Notational Signs for Contemporary Music
(Urbana, IL, 1974). Even if it is starting to get dated where newer music
is concerned, it is still a usefull tool.
It is structured as a dictionary with a good index to refer to any specific
symbol or musical effect, which include varied uses for voice, strings,
woodwinds, brass, percussion, keyboards and harp. Then each example is
referenced to one or more specific works and/or composer who have used that
symbol in his work. So the same effect may have been notated in different
ways by different composers, and the book tells you how each composer used
his own particular symbol and in which piece he used it in.
Bernard Savoie
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Message: 17 Date: Wed, 02 Apr 2003 16:38:48 -0600 From: Robert Patterson <[EMAIL PROTECTED]> Reply-To: [EMAIL PROTECTED] Organization: Ars Nova Technologies, LLC CC: Finale <[EMAIL PROTECTED]> Subject: Re: [Finale] Break Multimeasure Rest with Expressions
Aaron Sherber wrote:Yes. I sent a bug report to Coda in January -- received back a solution
that had nothing to do with the problem, but no confirmation of the bug.
Your best bet is to send the offending file to them and tell them exactly how to reproduce the problem. I've had very good luck with this approach.
-- Robert Patterson
http://RobertGPatterson.com
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Message: 18 Date: Wed, 02 Apr 2003 17:44:09 -0500 To: Finale <[EMAIL PROTECTED]> From: Aaron Sherber <[EMAIL PROTECTED]> Subject: Re: [Finale] Break Multimeasure Rest with Expressions
At 05:38 PM 4/2/2003, Robert Patterson wrote:Your best bet is to send the offending file to them and tell them
exactly how to reproduce the problem. I've had very good luck with this
approach.
Yes, I did that as well. It didn't seem to help in this case.
Aaron.
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Message: 19 Date: Wed, 02 Apr 2003 21:58:00 -0500 Subject: [Finale] Debussy music font From: =?ISO-8859-1?B?yQ==?=ric Dussault <[EMAIL PROTECTED]> To: FINALE <[EMAIL PROTECTED]>
Hello,
Have someone on the list ever heard of a music font called Debussy?
Éric Dussault
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Message: 20 Date: Thu, 03 Apr 2003 08:27:10 +0200 To: FINALE <[EMAIL PROTECTED]> From: "d. collins" <[EMAIL PROTECTED]> Subject: Re: [Finale] Debussy music font
Éric Dussault écrit:Have someone on the list ever heard of a music font called Debussy?
Yes, it's a music font, but mainly used, from what I've seen, for music
notation in "regular" texts - introductions to musical editions, critical
notes to a score, etc. - mixed with a text font. I don't think it will work
as a font in Finale, because the character map isn't the same, to begin with.
Dennis
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Message: 21 Date: Thu, 03 Apr 2003 07:16:41 -0500 Subject: Re: [Finale] Debussy music font From: =?ISO-8859-1?B?yQ==?=ric Dussault <[EMAIL PROTECTED]> To: FINALE <[EMAIL PROTECTED]>
Le 03/04/03 01:27, "d. collins" <[EMAIL PROTECTED]> a écrit:
Éric Dussault écrit:Have someone on the list ever heard of a music font called Debussy?
Yes, it's a music font, but mainly used, from what I've seen, for music
notation in "regular" texts - introductions to musical editions, critical
notes to a score, etc. - mixed with a text font. I don't think it will work
as a font in Finale, because the character map isn't the same, to begin with.
Denni
Thank you Denni, but I need it to be able to read a text I received, so I
don't need it as a Finale font. Do you have an idea where it comes from?
Eric
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Message: 22 From: "Jim Hale" <[EMAIL PROTECTED]> To: "=?iso-8859-1?Q?'=C9ric_Dussault'?=" <[EMAIL PROTECTED]>, "'FINALE'" <[EMAIL PROTECTED]> Subject: RE: [Finale] Debussy music font Date: Thu, 3 Apr 2003 06:20:01 -0600
I found this (but it's prolly not the one you're looking for):
http://fontz.ch/browse/ex/debussy
Jim Hale --- 'Man Cannot Live By Bread Alone - He Must Also Have Peanut Butter' - Duffey,1986 --- The Hale Website Collection - 'The 'Bottoms' #1 Website!' General/Personal Site: http://hale.no-ip.org Image Galleries: http://halegallery.servepics.com eLearning: http://halelearning.no-ip.info GroupWare: https://halegroup.no-ip.org BlackNova: http://blacknova.servegame.com
Ya'll Come Visit Us Ya Hear? :)
-----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Éric Dussault Sent: Thursday, April 03, 2003 6:17 AM To: FINALE Subject: Re: [Finale] Debussy music font
Le 03/04/03 01:27, "d. collins" <[EMAIL PROTECTED]> a écrit:
Éric Dussault écrit:Have someone on the list ever heard of a music font called Debussy?
Yes, it's a music font, but mainly used, from what I've seen, for music notation in "regular" texts - introductions to musical editions,
critical notes to a score, etc. - mixed with a text font. I don't think it will work as a font in Finale, because the character map isn't the same, to begin with.
Denni
Thank you Denni, but I need it to be able to read a text I received, so I don't need it as a Finale font. Do you have an idea where it comes from?
Eric
_______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
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Message: 23 Date: Thu, 3 Apr 2003 07:51:47 -0500 (EST) From: "Eden - Lawrence D." <[EMAIL PROTECTED]> To: Finale List <[EMAIL PROTECTED]> Subject: [Finale] beaming in cut time
Got a question for you mavens out there...
I am doing a piece in cut time, but I prefer to have eighth note beams broken when a figure includes a rest. The way I have it set up now, Finale includes the rest in a group of 4 eight notes. How do I change this behavior? FinMac 2K3a
Larry
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Message: 24 Date: Thu, 03 Apr 2003 08:00:37 -0500 To: Finale List <[EMAIL PROTECTED]> From: Aaron Sherber <[EMAIL PROTECTED]> Subject: Re: [Finale] beaming in cut time
At 07:51 AM 4/3/2003, Eden - Lawrence D. wrote:I am doing a piece in cut time, but I prefer to have eighth note beams broken when a figure includes a rest. The way I have it set up now, Finale includes the rest in a group of 4 eight notes. How do I change this behavior? FinMac 2K3a
Options | Document Options | Beams | Extend Beams Over Rests
Aaron.
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