On Oct 4, 2006, at 2:44 PM, David W. Fenton wrote:
On 3 Oct 2006 at 22:31, Éric Dussault wrote:
Le 06-10-02 à 22:01, David W. Fenton a écrit :
How so? It is only a problem when Finale uses the wrong enharmonic
spelling. If you hit a black key you get either a flat or a sharp,
according to the enharmonic mapping in place for the key in
question.
Music really doesn't have to be complicated to mix sharps and flats.
Maybe it is unusual in baroque and pre-baroque music, but in the
music of Today, even tonal, it happens all the time.
I have to correct enharmonics in the music I enter via MIDI, yes, of
course. Is it slower to enter via MIDI and correct the enharmonics on
a second pass than doing it all at once with the computer keyboard?
Absolutely not!
I correct enharmonic errors on the first editing pass, the same one
where I do beaming and stem direction.
It's not what I call a time-saving entry method if you have to
correct it afterwards. My note entry in speedy with computer keyboard
is always correct the first time I enter music. I dare to believe it
saves me time. That's all, really.
The two passes are faster than one pass with the computer keyboard.
I've gotten to the point where I know what Finale is going to enter
(sharp or flat) so I can hit 9 to enharmonically flip it without even
looking, before entering the next note. I still make a second pass
(for articulations and the like), but it DOES cut down on tool
switching, which I find is my biggest slowdowner (made-up word!)
So David, I would respectfully submit that it is possible for two
people to use different work flow methods that are the fastest method
for each of them. Saying that it is "absolutely" faster to switch
enharmonics on the second pass rather than the first is not
necessarily true.
I do kind of wish that I had learned the new Speedy, though, as it
sounds very quick for those who use it. Ten years of habit is hard to
break, though.
Christopher
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