On 5 Jan 2006 at 16:59, Andrew Stiller wrote: > If we can all get along with "expressions" and "smart shapes" and > "tuplets"--none of which are musical terms--and if we can get along > with "articulations" that do not include slurs, then we can get along > with preserved original notes when transposing.
I can get along with the implementation, as well. But that doesn't make it logical or the only possible way to have implemented the feature at hand. > Jeez, people, it ain't rocket science--or even isorhythm. And it *is* > right there in one of the most frequently used dialogs in the program. > I can see not reading the manual, but not reading the interface? > That's like asking someone to hold your fork for you. The fact that it is so frequently used is precisely why it is hard to find for those who've never noticed it is there. No one reads dialogs that they use frequently -- you just respond to the controls in the dialogs that you need. If you've never needed the "keep original notes" setting in transposition (or known that it was somewhere in Finale for you to use), you are unlikely after 100s or 1000s of uses of that dialog to suddenly notice that it is there. Nor are you likely to think immediately of that dialog as the place to look. Which is the whole point here. I was told to read the manual, but the manual doesn't help if it doesn't explain it in a place that looks relevant to your search. I can't imagine that I didn't look up DOUBLING and it points to transposition. But it didn't register for me, since the kind of doubling I wanted to do had nothing to do with transposition *in my mental model of what transposition does*. I'm not sure why I didn't look at the text and try it, but I didn't, apparently because I had conceptualized the transposition function in a way that could not accommodate the dobuling I needed to do. I understand perfectly well why it's implemented where it is. But I don't think there's any logical necessity for it being there. The only logic behind putting it there is programming logic, not musical. And since I didn't write Finale, I don't have access to the thought processes that led to octave doubling ending up being enabled by a feature of the transposition function. Dennis is right that there are tons of places in Finale where this kind of logic is present. Yes, once you know an answer, it's easy to remember, easy to connect to the logic of Finale as you've come to know it. But *before* that point, there is no intuitive way to get there in far too many areas. -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
