On 6 Jul 2005 at 12:19, Andrew Stiller wrote:

> On Jul 6, 2005, at 2:58 AM, Darcy James Argue wrote:
> 
> > .  Let's see if we can flesh something out on-list before
> > submitting.
> >
> > • First, Special Part Extraction would need to be revamped to be
> > able to save independent an layout for each staff....
> 
> Of all the long list of proposed features that follows, I'm not at all
> sure I feel a need for *any* of them.  Darcy is asking  for a
> profusion of new dialog boxes and windows, whereas I would have
> thought it  obvious that any dynamic parts linking  should be
> transparent: I change the score, the change is automatically (after
> signing off on an alert box) conveyed  to the parts. Period.
> 
> And as I wrote in a separate  post, even that  would be much  less
> useful to me  than the reverse: change a part and have  it
> automatically (after an alert box) affect the score.

I don't see why you'd want an alert box. The only reason I can see it 
is in order to break the habits of thought that independent file part 
extraction has built up in experienced Finale users, where they can 
do anything to the part and know that the score remains unchanged.

It seems to me self-evident that linked parts are the way Finale 
should have been designed from the beginning. The spawing of 
individual independent files, while perhaps dictated by the realities 
of computer processing power at the time Finale was designed, make no 
sense at all when Finale is viewed as a database program. The data 
file is a database, and there are various report views for showing 
that data and subsets of that data. That is a perfectly natural way 
to think of the program and the presentation of its data.

Then the only question is whether or not the different views are 
completely independent of each other in terms of the "view" 
characteristics (i.e., layout) or if subviews (individual parts) 
inherit characteristics from the global view (score).

I can't see any reason except the inertia of experience to not see 
linked parts as a huge advantage, especially for composers who are in 
Dennis's situation (i.e., making revisions to the piece based on 
feedback from a reading with actual musicians).

-- 
David W. Fenton                        http://www.bway.net/~dfenton
David Fenton Associates                http://www.bway.net/~dfassoc


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