There are two perfectly good solutions to this problem that, while not obvious, are in no way kludges and in every way that matters work. They both start with the same first step as follows:
1. Set the transposing instrument's staff to Independent Key Signature. 2. (Method 1) Set the key of the staff to C and set the transposition to Chromatic Transposition. 3. (Method 2) Set the key of the staff to the key of transposition. (E.g, for horn in F set the key to F.) Either way you change the key signature, you will want to select Keep Notes Enharmonically. Method 1 is clearly better if you plan to display the score in C. Method 2 may or may not have an advantage over Method 1. In the bad old days before Chromatic Transposition, it was the only solution on the block. For some reason my gut tells me there may some advantage in some peripheral function. But my gut could be out of date. However, I generally Method 2 in traditional scores, probably just because it's the first one I learned. On Sat, Jan 29, 2011 at 9:23 AM, Steve Parker <st...@pinkrat.co.uk> wrote: > This may be one of my kludges.. > I make the key sig. independent in that part, change the part's key sig to > C with keep notes enharmonically, transpose notes if needed still. > Steve P. > > On 29 Jan 2011, at 14:34, <delius...@aol.com> wrote: > > > I have only recently gotten used to processing parts from within the main > > Finale document; I just had a case where an orchestration project made me > > enter everything in "C" and then transpose. Now that I know the > "display in > > concert pitch" tab is in the document menu, this isn't a problem, however > > for things I've already inputed... > > > > I went back this morning to change my horn in F and trumpet in Bb parts > for > > proper printing. It's a Verdi banda part, so I wanted to have a similar > > look to their regular opera parts, i.e. no key sigs. Why is it that > after > > I applied my transposition, the moment I hit "ignore key signature" it > > applies an additional transposition? Logically this should make the key > sig go > > away and then replace everything with accidentals. NOT move notes > around. > > Perhaps I need a new rubric; could someone give me a better list of > steps > > if one needs to "attack" a part in this manner? What was weird is that > > the horn part acted differently than the trumpet even when following the > same > > exact steps. (The key of the piece was Eb, by the way, which may > account > > for the minor third extra transposition that happened when I hit the > > "ignore" button). I tried doing steps one at a time, as well as doing > the > > transposition and ignore all in one step. Various havoc followed. > After the > > screaming stopped, I somehow coaxed the notes and accidentals to where > they > > needed to go, but it was maddening to have natural signs where none were > > needed, and then no accidental when it clearly WAS needed. > > > > Any advice? Other than I should do some deep breathing exercises? > > Michael Wittenburg > > _______________________________________________ > > Finale mailing list > > Finale@shsu.edu > > http://lists.shsu.edu/mailman/listinfo/finale > > _______________________________________________ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
