On 17 Mar 2004 at 23:14, Mark D Lew wrote: > On Mar 17, 2004, at 6:44 PM, David W. Fenton wrote: > > [answering me] > > >> . . . For classic appoggiaturas, I redefine > >> the note lengths with the MIDI tool. . . . > > > > Can you explain that in more detail? I'm not getting what you're > > referring to here (I'd sure like a plugin to create on-beat > > appaggiaturas!). > > Sure. Suppose you've got a quarter note appoggiatura followed by a > half note, and you want it to play back like two quarters. Select the > MIDI tool and double-click in the measure. At the bottom of the window > you'll see a picture of the bar with handles on each note. (Not very > good UI here, alas, especially if the bar is crowded.)
I find that if you tip the bartender well, you get good UI even with a crowd. Er, uh, what was the context again? > When you double-click on a note, it gives you a window with a field > for start time and stop time. Both numbers are defined as EDUs. > Thus, for the appoggiatura, you want to change the stop time to 1024, > and for the half note you want to change the start time to 1024. > > Any field left at zero will default to where the note would normally > start or stop. That's why it isn't necessary to define the stop time > of the half note. The appoggiatura is a little confusing; you'd think > the intitial state would have shown a negative start time, but it > doesn't. As far as I can tell, the global definition for grace notes > is applied to any grace note which is unaltered in the MIDI tool, but > once you alter it that overrides the grace note definition and it then > plays like a normal note (with whatever alteration you entered). This is *extremely* helpful. > Whatever the reason, the trick works. Determine the length of the > appoggiatura in EDUs, and enter that number as the stop for the > appoggiatura and the start for the note that follows. EDUs make me crazy (the man behind the curtain is exposed), but I can deal with them. But I just fixed a section with lots of on-beat appoggiaturas without any need for blank notation! Yes! That's what I wanted! > >> . . . For cue notes, I turn off the > >> playback in the Edit Frames box. > > > > More info, please. If I could do this instead of setting key > > velocity to zero, that would be preferable. So far as I can see from > > it, though, you have to do it entry by entry, which is none too > > attractive. If I could turn it off measure by measure, that would be > > super. > > As far as I know, you have to do it entry-by-entry. Yes, it's a > nuisance, but I generally only need it for a couple of notes at a > time. > I use it in the voice staff when cue notes reflect different > scansion in a second verse. > > I assume you know how the Edit Frames box works, given your response > to the other message about the Playback field there. Yes. I just wish there was some way to do this to *all* entries in a frame at once. [] > >> When working on a file like this, I enter all the visible stuff > >> first, then copy the entire visible layer into the invisible > >> playback layer, then make the necessary changes to the playback > >> layer. That way, all of the playback for the entire piece is > >> coming from invisible notes, not just in some bars. > > > > Well, I can't see doing it that way. If copying between layers were > > easier, perhaps. If you're doing notation in a style where you're > > like to have that throughout the whole piece (say a continuo > > realization), it makes sense. But for pieces where less than 10% of > > the measures have playback that is different from the visible > > notation, it seems a pain. > > The piece I remember most vividly had those repeater beams through the > whole piece. I copied all the music to an invisible layer, then > passed it through the Rhythmic Subdvisions plug-in a few times. It > was tricky, but once I got the right scheme worked out it was a huge > improvement on typing them all out separately. > > For pieces in which only a few bars need a playback layer, you might > consider defining layer 3 as no-playback and layer 4 as invisible. > Then you can use layers 1 and 2 for most of the piece, switching over > the 3 and 4 for the bars that need altered playback. The problem is that in some of these pieces I'm already using layers 2 and 3 for different voices. > > Well, that's a pretty radical departure, and my problem with it > > would be that it's too easy for the two layers to get out of synch > > with each other (you change the visible layer and forget to alter > > the playback layer). > > That's definitely a hazard of my method. You have to be > well-organized and keep careful track of what you've done. I'd rather do only the exceptions. Indeed, I generally like the idea of layer 1-3 being the playback layers, with layer 4 being the layer for non-playing notation. But this is obviously not going to work, absent going through and turning off spacing for every entry in the frame. But at least now I have some methods for dealing with the whole problem with the verson of Finale I'm committed to. Mark, back when I had lyrics problems, you were the one who helped me most with that, and now you've come through, again. Thank you so much! You're a real asset to this list! -- David W. Fenton http://www.bway.net/~dfenton David Fenton Associates http://www.bway.net/~dfassoc _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
