Dear Christopher, Thanks - still missing bar lines though. Where do I find them as expressions so I can place them in the part?
And, thanks for the suggestions about the text repeats. I will try to get them to look and work right. I never did get around to working out the routine of showing and hiding double entries of those expressions so that I could have sensible looking MM rests. Fond regards, Chuck On Sep 16, 2012, at 5:50 PM, Christopher Smith <christopher.sm...@videotron.ca> wrote: > BTW, Chuck, I was looking through the score, and I notice you use expressions > instead of Repeat Tool expressions. I, too, used to do that, because the > Repeat Tool items were so unpredictable, but there is something that might > persuade you to come back to the Repeat Tool for DSes, To Coda signs and the > like. It's that they APPEAR on parts even when they are in the last measure > of a multimeasure rest! Regular expressions do not, and you have to break the > multimeasure rest as you have done, or else re-enter them in the parts and > hide them in the score. > > I don't know exactly when this happened, but I noticed it in 2012b. > > C > > On Sun Sep 16, at SundaySep 16 8:06 PM, Christopher Smith wrote: > >> Hi Chuck, >> >> I just sent you an edited version. Because of the tuplets, the 1/4 solution >> won't be optimal. I used my solution instead. >> >> Hey, it's great that there ARE so many ways around this! >> >> Christopher >> >> >> On Sun Sep 16, at SundaySep 16 6:43 PM, Chuck Israels wrote: >> >>> Hi Darcy, >>> >>> I just sent you the score - to get a more specific opinion. But just so >>> you and Christopher know what I'm facing here, this is the bridge of Bill >>> Evans' "Five", in which not only are the measures divided as I describe, >>> but the melody is overlaid in groups of 4 quarters in the space of three >>> quarters (4:3 tuplets), starting on the second beat of the 4/4 measure. >>> (Of course, these are two rhythmically symmetrical phrases, so you only >>> have to solve it once). >>> >>> I played the bass part to this hundreds of times and never once thought >>> about how it might be notated. This score supports my contention that >>> there was extraordinary invention in Bill's rhythm - a largely ignored >>> element when people discuss his music. >>> >>> I'll send this to Christopher too. >>> >>> Chuck >>> >>> >>> On Sep 16, 2012, at 2:11 PM, Darcy James Argue <djar...@mac.com> wrote: >>> >>>> Hi Chuck, >>>> >>>> Chris has given you the solution for what you want (system-long measures >>>> with barlines and time signatures added as expressions/articulations). >>>> >>>> Depending on the complexity of the part, and whether you need the drum >>>> part to appear in the score, there is also the option of creating the drum >>>> part as a completely separate Finale document. >>>> >>>> Another option -- and I'm sure you've considered this -- might be to >>>> notate the entire thing in 4/4, using accents to create the implied >>>> downbeats in the horns etc. (and perhaps even a dashed line showing the >>>> implied meters). This is a strategy that has worked well for my music in >>>> the past -- implying different meters superimposed onto the 4/4 grid, >>>> without changing the actual underlying time signature. >>>> >>>> This approach might not be suitable for what you've written, but it does >>>> have the advantage of being much easier to do in Finale than asymmetrical >>>> barlines, and also gives you consistent measure numbers in the drum part >>>> vs. the other parts. >>>> >>>> Cheers, >>>> >>>> - DJA >>>> ----- >>>> WEB: http://www.secretsocietymusic.org >>>> >>>> >>>> >>>> On 16 Sep 2012, at 3:09 PM, Chuck Israels <cisra...@comcast.net> wrote: >>>> >>>>> I have a drum part with an independent time signature (that has been >>>>> selected in the attributes for this staff), but I don't know how to rebar >>>>> the music for the drum part. >>>>> >>>>> All other parts have one measure of 4/4, 4 measures of 3/4, one measure >>>>> of 4/4 and 4 measures of 3/4 again. This adds up to 8 measures of 4/4 >>>>> for the drummer, and I want the drummer to see only that - not to be >>>>> distracted by what the other players are doing. When I change the time >>>>> signature on the drum part for the affected measures, the 3/4 measures >>>>> are changed to 4/4, but there are too many bar lines, and too many beats. >>>>> >>>>> What am I doing wrong? >>>>> >>>>> Thanks, >>>>> >>>>> Chuck >>>>> >>>>> >>>>> Chuck Israels >>>>> 8831 SE 12th Ave. >>>>> Portland, OR 97202-7097 >>>>> >>>>> land line: (503) 954-2107cell phone: (360) 201-3434 >>>>> >>>>> <www.chuckisraels.com> >>>>> <www.chuckisraelsjazz.com> >>>>> >>>>> _______________________________________________ >>>>> 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 >>> >>> Chuck Israels >>> 8831 SE 12th Ave. >>> Portland, OR 97202-7097 >>> >>> land line: (503) 954-2107cell phone: (360) 201-3434 >>> >>> <www.chuckisraels.com> >>> <www.chuckisraelsjazz.com> >>> >>> _______________________________________________ >>> 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 Chuck Israels 8831 SE 12th Ave. Portland, OR 97202-7097 land line: (503) 954-2107cell phone: (360) 201-3434 <www.chuckisraels.com> <www.chuckisraelsjazz.com> _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
