Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Aaron Sherber]

There are a number of examples of this in Britten's operas -- not exactly
au courant, but I've always found him to be a model of notational clarity.
He used both "Missus" and "Mrs."; a quick flip through some scores shows
more of the latter than the former.

Aaron.





On Mon, Sep 2, 2019 at 5:21 AM Giovanni Andreani 
wrote:

> I would consider using the word extension symbol; although it is intended
> for a melisma, it might point out the composer’s intention and, as Jennifer
> Higdon points out, the singer should be able to find the best placing.
>
>
> 
>
> Giovanni Andreani
>
> www.giovanniandreani.com
> www.ga-music.com
>
>
> > On 28 Aug 2019, at 02:43, Michael Edwards 
> wrote:
> >
> > [ Robert Patterson: ]
> >
> >> FWIW (joking aside) my copy of Merriam Webster correctly identifies
> >> "missus" as dialect in one of the definitions, and I would rather avoid
> >> that implication.
> >
> > In that case, how would "Mr  -  s." go?  But that might cause the
> singer to start pronouncing "Mister" - although surely as they got to know
> the line they would realize it's not that, so it shouldn't be an issue.
> (Nothing seems truly satisfactory.)  Maybe "mis-sus" or "miss-us" in
> parentheses underneath the "Mr  -  s." would look like a pronunciation
> guide rather than dialect.
> > Or, alternatively, "Mrs.  -" (the hyphen acting as a syllable
> extension and going under the second note).  That wouldn't need the
> pronunciation guide underneath in parentheses.
> >
> > Michael Edwards.
> >
> >
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Re: [Finale] Meta tool dynamics

[Aaron Sherber]

Hi Larry,

See:
https://usermanuals.finalemusic.com/Finale2012Win/Content/Finale/Metatools.htm#kanchor1000

Aaron.





On Thu, Jun 7, 2018 at 7:51 AM, Lawrence David Eden 
wrote:

> Dear Listers,
>
> How do I change a meta tool dynamic?  For example:  the  dynamic can
> be triggered by typing the number 1 plus a mouse click.  I want to change
> the “1” to a different number.  Is this possible?
>
> Thanks,
>
> Larry Eden
>
>
>
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Re: [Finale] Finale doesn't change key signatures correctly.

[Aaron Sherber]

Good catch by Thomas! I'm not sure if this is the OP's issue, but Finale
does work that way, which is odd.

And I'm with David -- I have never selected a minor key in the key
signature box, since there didn't seem to be a point. I wonder if the
benefit there is supposed to come into play if you change the key signature
of existing music in order to transpose to a different key -- so you could
(theoretically) transpose from a major to a minor key.

Aaron.





On Fri, May 11, 2018 at 3:41 AM, David H. Bailey 
wrote:

> On 5/10/2018 10:08 PM, Thomas Schaller wrote:
>
>> I believe what’s going on here is Michael going from a minor to a major
>> key (or vica versa) - that will produce a cancellation of all current
>> accidentals and then restating the new key signature. Easy fix: only use
>> major keys.
>>
>>
> I've never understood why Finale (and Sibelius) offer major and minor key
> signatures as options -- after all, regardless of whether a piece is in
> major or minor, the key signature which is displayed is always for the
> relative major key.  I think originally it was supposed to affect how
> Finale (and Sibelius) notate raised 6th and 7th degrees when entered from a
> keyboard but in my experience both programs make wrong choices.
>
> I haven't chosen minor keys in either program for many many years -- I
> always use the major key signature that's appropriate.
>
> Regardless of whether one is choosing major or minor key signatures, that
> shouldn't affect how the naturals are displayed.  Switching between major
> and minor keys shouldn't require the total cancellation of one key
> signature before showing the next key signature.  The transition from one
> key signature to the next should work the same in all situations,
> cancelling only the necessary accidentals.
>
>
> --
> *
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Re: [Finale] Finale doesn't change key signatures correctly.

[Aaron Sherber]

I think either Steve is misreading Michael's original post, or I am.

I read the post as saying that if Michael is going from Eb major to F
major, for example, he's seeing 3 naturals followed by a single flat. I
don't believe I've ever seen this behavior, and I can't reproduce it
currently. That's why I asked if he had a small file that demonstrates the
issue.

Aaron.




On Thu, May 10, 2018 at 3:35 PM, Fiskum, Steve  wrote:

> You will be glad to know that this issue has FINALLY been fixed but only
> in FIN25. I've lobbied for this for years and it was welcome news to find
> out they finally gave us the option to control this about a year ago
> (attached screenshot). The workaround was always painful!
>
> Enjoy!
> Steve
>
> 
> From: Finale  on behalf of Michael Edwards <
> mjedwa...@foxall.com.au>
> Sent: Thursday, May 10, 2018 12:04 PM
> To: finale@shsu.edu
> Subject: [Finale] Finale doesn't change key signatures correctly.
>
> Hallo.
>
>   I have a problem in Finale with changing key signatures.  There
> are two basic options in Finale for this - to cancel the old key
> signature (partially or entirely) with naturals before inserting the new
> one, or just inserting the new one.
>   I always use the former option for this - the older, traditional
> method - but Finale usually doesn't do this correctly, and I'm wondering
> if this is a known problem and if there is anything I can do about it.
>   As I'm sure most here would know, you cancel the entire old key
> signature if you go from sharps to flats or vice-versa; but if you go
> from sharps to a smaller sharp signature or flats to a smaller flat
> signature, you cancel only the flats or sharps in the old signature that
> won't be in the new one.  And if you are going from a smaller to a
> larger signature of the same type, then, and only then, do you have no
> naturals at all.
>   However, most of the time, I find that Finale puts in all the
> naturals for the entire old signature regardless - sometimes even in the
> last case I mentioned where none are needed.
>   To make things more complicated, it sometimes seems to do things
> correctly, which is why I just said "most of the time".  That seems to
> suggest that there are unknown, invisible circumstances in each
> situation that govern whether this problem occurs or not.  In a case
> where it does it incorrectly, though, no amount of tweaking or re-doing
> it seems to make any difference.
>   This seems such an obvious problem that I would find it incredible
> that it has not, over all the years Finale has being going, been noticed
> and corrected.
>   (To forestall anyone asking, yes, I have tried different settings
> in the menu item that controls key signature changes.  It does change
> some behaviour, but not in a way that is correct according to the normal
> rules for changing key signatures, as I described above.)
>
>   Is this a known problem, and is there a remedy, please?  Or am I
> possibly doing something wrong that I just don't know about?
>   Thank you.
>
>   Michael Edwards.
>
>
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Re: [Finale] Finale doesn't change key signatures correctly.

[Aaron Sherber]

Can you make available a small file which demonstrates the problem? This
functionality seems to be working for me.

Aaron.





On Thu, May 10, 2018 at 1:04 PM, Michael Edwards 
wrote:

> Hallo.
>
>  I have a problem in Finale with changing key signatures.  There are
> two basic options in Finale for this - to cancel the old key signature
> (partially or entirely) with naturals before inserting the new one, or just
> inserting the new one.
>  I always use the former option for this - the older, traditional
> method - but Finale usually doesn't do this correctly, and I'm wondering if
> this is a known problem and if there is anything I can do about it.
>  As I'm sure most here would know, you cancel the entire old key
> signature if you go from sharps to flats or vice-versa; but if you go from
> sharps to a smaller sharp signature or flats to a smaller flat signature,
> you cancel only the flats or sharps in the old signature that won't be in
> the new one.  And if you are going from a smaller to a larger signature of
> the same type, then, and only then, do you have no naturals at all.
>  However, most of the time, I find that Finale puts in all the
> naturals for the entire old signature regardless - sometimes even in the
> last case I mentioned where none are needed.
>  To make things more complicated, it sometimes seems to do things
> correctly, which is why I just said "most of the time".  That seems to
> suggest that there are unknown, invisible circumstances in each situation
> that govern whether this problem occurs or not.  In a case where it does it
> incorrectly, though, no amount of tweaking or re-doing it seems to make any
> difference.
>  This seems such an obvious problem that I would find it incredible
> that it has not, over all the years Finale has being going, been noticed
> and corrected.
>  (To forestall anyone asking, yes, I have tried different settings in
> the menu item that controls key signature changes.  It does change some
> behaviour, but not in a way that is correct according to the normal rules
> for changing key signatures, as I described above.)
>
>  Is this a known problem, and is there a remedy, please?  Or am I
> possibly doing something wrong that I just don't know about?
>  Thank you.
>
>  Michael Edwards.
>
>
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Re: [Finale] Finale Linked Parts: what's missing?

[Aaron Sherber]

In my experience, it has been a big time saver -- not sure if I would say
HUGE.

Aaron.





On Sun, Apr 22, 2018 at 6:14 PM, Lee Actor  wrote:

> I already enter all cues in my "extracted parts" score, no pasting between
> docusments.
> I also change several "parts only" items globally once, in the same score.
> Same with elements colliding in all parts (rare in my experience).
>
> You're right about later edits potentially having to be done in multiple
> files, but for me it's rare that a later edit needs to be done in more than
> 1 or 2 files.  To me, a bigger danger in doing later edits in linked parts
> is that I might inadvertently have Auto music spacing or multimeasure rests
> on, where a minor edit in one part can affect a different part that will
> likely go unnoticed.
>
> I don't mean to be argumentative; I really am interested in the best work
> flow.  But isn't saying that fewer files is a HUGE time saver something of
> an overstatement?
>
> -Lee
>
> -Original Message-
> From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf
> Of
> Christopher Smith
> Sent: Sunday, April 22, 2018 2:52 PM
> To: finale@shsu.edu
> Subject: Re: [Finale] Finale Linked Parts: what's missing?
>
> Ooh, ooh, ooh! I got this!
>
> Fewer files is a HUGE time saver! You can enter all the cues with copy and
> paste (or the plugin, which I find buggy) without pasting between
> documents,
> you can change the font sizes for tempi and rehearsal letters ONCE (or
> anything else ONCE) and have it apply to all parts at once, if you find
> something colliding in all parts you move it ONCE and it is solved
> everywhere, and you can take advantage of JW Copy Part Layout to regularize
> the page layout. Later edits, too, have to be done twice (once in the score
> file, once in the part file) but in extracted parts you have to make edits
> in ALL files, which can be maddening.
>
> Christopher
>
>
> > On Apr 22, 2018, at 5:38 PM, Lee Actor  wrote:
> >
> > Makes sense.  It seems to me you'd also be able to change the tempo
> marking font size in the linked parts score; I change several global
> settings in the version of the score I extract parts from that I want to
> apply to all parts and not to the score.
> >
> > With two separate copies of the score, though, I don't see the advantage
> of linked parts over extracted parts, other than fewer files.  How does
> this
> save time and effort?
>
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Re: [Finale] Finale Linked Parts: what's missing?

[Aaron Sherber]

​My solution for many of these things​ (and I think many others have the
same workflow) is to have one file for the score and one file for the
(linked) parts. This is not as good as one file for everything, but it's
better than a bunch of separate files for extracted parts.

Given this workflow, in your parts file you could explode your wind parts
so that everything is one part per staff, and then cues are easier. Your #2
and #3 are also easy to accomplish this way.

This also takes care of other things that are not currently unlinkable in
Finale. (At least, they weren't in Fin2011; I haven't really dived into
Fin25 yet.) For example, I like to use a bigger font for tempo markings and
rehearsal numbers in my score than I do in parts.

Aaron.




On Sun, Apr 22, 2018 at 2:34 PM, Lee Actor  wrote:

> I'm not a regular user of linked parts -- yes, I still make a copy of the
> score and extract from there -- but I did make a reasonable effort several
> years ago to incorporate them into my normal work flow.  I gave up after a
> month or so due to encountering too many situations that required special
> workarounds, and decided linked parts were costing me more time than they
> were saving.
>
> So given my admittedly limited knowledge, here are some items that I found
> to be more trouble in linked parts than it's worth:
> 1) Cues are a mess, esp. in orchestral scores with 2 wind parts on a staff.
> 2) Can't have different music spacing in score and parts.  I like my parts
> closer spaced than the score.
> 3) Can't have different clefs in score and part (e.g., a high bassoon 1
> part
> might mean tenor clef for bassoon 2 in the score, but should be bass clef
> in
> the part).
> 4) Grace note spacing.
>
> I encountered other issues which can be fairly attributed to pilot error,
> and some of the above problems may have already been addressed.  I'm ready
> to embrace linked parts, as soon as the pain of special cases and
> workarounds is exceeded by the benefits.  Obviously this is a subjective
> judgement.
>
> -Lee
>
> -Original Message-
> From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf
> Of
> Robert Patterson
> Sent: Sunday, April 22, 2018 6:32 AM
> To: finale
> Subject: [Finale] Finale Linked Parts: what's missing?
>
> I am starting a new thread because my comments seem to be buried in the
> recent Dorico thread. I would like to poll this list about what features
> are missing from Linked Parts. I am doing so with an eye towards a possible
> plugin to address what can be addressed.
>
> Things that cannot be addressed by a plugin are
> * allowing special tools in voiced parts
> * unlinking items that Finale currently can't unlink manually
>
> The kinds of things that are likely to be addressable are in the area of
> page layout. In fact I already have a plugin that can copy a page layout
> from one part to another. And Jari has made one that copies everything down
> to the note spacing. But maybe there are things we've missed or U.I.
> issues.
>
> What prompts this request is the discussion of Dorico "layouts" which seem
> very similar to linked parts in Finale. I'm curious if there is
> functionality there that a plugin could bring to Finale.
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Re: [Finale] What is the Finale strategy?

[Aaron Sherber]

This confused me as well, but it appears that if you have a Dorico
educational license, you're not allowed to produce commercial work. See
question 9 at https://www.steinberg.net/en/education/faq.html

Aaron.





On Sun, Apr 22, 2018 at 5:43 AM, David H. Bailey <
dhbai...@davidbaileymusicstudio.com> wrote:

> Why would your "educational" license force you to redo everything in
> Finale?  Are there restrictions on what sort of results you can get from
> Dorico under the "educational" license?
>
> David H. Bailey
>
>
> On 4/21/2018 5:25 PM, Steve Parker wrote:
> >
> >> On 21 Apr 2018, at 13:33, Robert Patterson  > wrote:
> >>
> >> Wait. Is Dorico at the truly professional level? All I've heard is that
> it
> >> has the potential to be but isn't there yet. I mean, one of the Dorico
> >> users in this thread even said they export to Finale for the finished
> >> product. (Which surprised me.)
> >
> > This may have been me?
> >
> > I don’t export to Finale. I do everything in Dorico, then start again in
> Finale.
> >
> > This is a method of learning Dorico. At this point (after maybe 3 months
> proper use), I’m way quicker in Dorico than after decades of Finale.
> > The only reason I’m still re-doing in Finale is that I bought an
> educational licence for Dorico (I’m a postgrad…).
> > When the next paid upgrade comes, I will move to a full licence.
> >
> > I don’t want to be on the Finale forum as a fan-boy for Dorico, but it
> is at a professional level. Some things need workarounds at the
> moment—temporarily I’m sure. But I use workarounds in Finale every day.
> Even mixed metres with aligned bars can be achieved. For contemporary
> music, using music frames which can have any music assigned to them, allows
> things to be achieved within Dorico that would require cutting up in a
> graphics program. Pedalling, cues, lyrics, instrument changes—all take
> significant fiddling in Finale, but none in Dorico.
> >
> > Steve P.
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Re: [Finale] Exporting parts to PDF

[Aaron Sherber]

I just tried Export Pages, and I'm not seeing any differences between that
and Export as PDF -- they're using the same driver, and the files are
binary identical except for trivial differences (timestamp, font name
munging).

You're right that it's not a big deal to set up macros to do this, but it's
too bad that MM didn't include it by default. Seems like it would be a
fairly common use case.

Thanks,
Aaron.
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Re: [Finale] Exporting parts to PDF

[Aaron Sherber]

I own Acrobat, so I'm not looking for a new PDF driver, but your
observation about file sizes is interesting. Finale appears to be using PDF
XChange, which is a fairly well known solution. It may be that Finale is
not using the most compact settings, and they don't expose any of that for
users to tweak.

Thanks,
Aaron.





On Mon, Apr 2, 2018 at 5:54 AM, Lee Actor <l...@leeactor.com> wrote:

> Whenever the built-in Finale pdf exporter is mentioned, I feel obligated to
> point out that a) it has serious bugs, printing unwanted characters in
> unexpected locations, esp. on pages with tuplets; and b) it produces
> enormous file sizes, up to 10x other print-to-pdf solutions.  The pdf
> export
> is from a 3rd party developer, Makemusic knows it's broken, and they
> continue to include it in Finale anyway.
>
> The pdf printer I always recommend for Windows is Bullzip.  It's extremely
> stable, very fast, and produces the smallest file sizes of any such product
> I've surveyed -- and I've tried pretty much all of them.
>
> -Lee
> ___
> Lee Actor
> Composer-in-Residence and Assistant Conductor, Palo Alto Philharmonic
> http://www.leeactor.com
>
>
>
> -Original Message-
> From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf
> Of
> Aaron Sherber
> Sent: Sunday, April 1, 2018 5:30 PM
> To: finale@shsu.edu
> Subject: [Finale] Exporting parts to PDF
>
> Hi all,
>
> I just took advantage of the sale at MM to upgrade to Fin25, and I'm
> exploring some of the new features. (And wondering why they haven't
> improved
> the UI in 5 years, but that's a different issue.)
>
> I noticed the new Export to PDF feature, which is quicker and easier than
> printing to a PDF driver, but I was dismayed to find that it only exports
> the current part or score. Did they really not implement an Export Linked
> Parts to PDF feature, as they did with Export Linked Parts to MusicXML? Is
> there a plugin or FinaleScript that will provide this functionality?
>
> Thanks,
> Aaron.
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[Finale] Exporting parts to PDF

[Aaron Sherber]

Hi all,

I just took advantage of the sale at MM to upgrade to Fin25, and I'm
exploring some of the new features. (And wondering why they haven't
improved the UI in 5 years, but that's a different issue.)

I noticed the new Export to PDF feature, which is quicker and easier than
printing to a PDF driver, but I was dismayed to find that it only exports
the current part or score. Did they really not implement an Export Linked
Parts to PDF feature, as they did with Export Linked Parts to MusicXML? Is
there a plugin or FinaleScript that will provide this functionality?

Thanks,
Aaron.
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Re: [Finale] Finale 2012 Printing parts from a PDF file

[Aaron Sherber]

Windows 10 now includes the ability for all apps to print to PDF without
additional software. In the Print dialog in Finale, click the Setup button
and choose the "Microsoft Print to PDF" printer.

Aaron.

On Tue, Dec 19, 2017 at 12:33 PM, Lee Actor  wrote:

> I've said it on several previous occasions, but it's worth repeating: do
> not, under any circumstances, use the built-in Finale pdf export.  It has
> serious bugs (printing unwanted characters in unexpected locations) and
> produces enormous file sizes (up to 10x other pdf solutions).  It's from a
> 3rd party developer, so Makemusic is unable to fix it.  Why they continue
> to
> include this fatally flawed implementation is a mystery (they know it's
> broken).
>
> The pdf printer I always recommend is Bullzip.  It's extremely stable, very
> fast, and produces the smallest file sizes of any such product I've
> surveyed
> -- and I've tried pretty much all of them (including CutePDF).
>
> -Lee
>
> -Original Message-
> From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf
> Of
> Girard Bowe
> Sent: Tuesday, December 19, 2017 7:37 AM
> To: finale@shsu.edu
> Subject: Re: [Finale] Finale 2012 Printing parts from a PDF file
>
> Yes. I use CutePDF Writer. You just send your files to it as you would a
> printer. Unfortunately, Finale appends an "X" to each filename. It's a
> known
> issue, but . . . .
>
> http://www.cutepdf.com/
>
> You can export to pdf in Finale, but you have to do each file individually,
> and rename it if you want the partname included in the filename. I
> submitted
> a request to make "export to pdf" function as the printer function does
> (selection of multiple files, partname included). I was told it was a good
> idea. . . .
>
> -Original Message-
> From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf
> Of
> Martin Nickless
> Sent: Tuesday, December 19, 2017 7:53 AM
> To: Finale@shsu.edu
> Subject: [Finale] Finale 2012 Printing parts from a PDF file
>
>
> Hi there is it possible to export just the parts or score and parts  in to
> a
> PDF which I can then email for the recipient to print off my arrangement
> as
> They wish I use windows 10 Very Best Thanks for any help
>
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Re: [Finale] Looking for Finale 2011 Win disk

[Aaron Sherber]

I have gotten my hands on an ISO.

Thanks,
Aaron.

On Wed, Sep 28, 2016 at 1:25 PM, Aaron Sherber <aa...@sherber.com> wrote:

> Hi all,
>
> I'm moving some things around onto new computers, and it seems I am
> missing my install media for 2011. Makemusic says they don't have any disks
> and don't have this available as a download, so they suggested I ask around
> to see if someone else has media that I can borrow.
>
> Does anyone have install media for 2011 that they could make ISOs out of
> and upload to some cloud service?
>
> Thanks,
> Aaron.
>
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[Finale] Looking for Finale 2011 Win disk

[Aaron Sherber]

Hi all,

I'm moving some things around onto new computers, and it seems I am missing
my install media for 2011. Makemusic says they don't have any disks and
don't have this available as a download, so they suggested I ask around to
see if someone else has media that I can borrow.

Does anyone have install media for 2011 that they could make ISOs out of
and upload to some cloud service?

Thanks,
Aaron.
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Re: [Finale] to upgrade or not...

[Aaron Sherber]

Here's a copy: http://aaron.sherber.com/files/vMacFinale.zip

Aaron.

On Thu, Jul 14, 2016 at 10:23 AM, Robert Patterson <
rob...@robertgpatterson.com> wrote:

> I have searched high and low and can't find a download link for the Finale
> 1.0 emulator. It uses the mac emulator Mini vMac
> , which is available for both macOS
> and
> Windows (as well as Linux).
>
> In researching this, I am intrigued to discover that Mini vMac is actively
> being developed, including a pending iOS version. You'll be able to run
> Finale 1.0 on your iPhone! (Haha. I think the main impetus around
> development is resurrecting the old Mac games.)
>
>
> On Wed, Jul 13, 2016 at 2:12 PM, Dr. Raphael D. Thöne <
> raphael.tho...@drraphaeldthone.onmicrosoft.com> wrote:
>
> > Could you please give me that download link for Finale 1.0?
> > > Am 13.07.2016 um 19:30 schrieb Robert Patterson <
> > rob...@robertgpatterson.com>:
> > >
> > > I started with Finale 1.0, preordering it before it was actually
> > available.
> > > Don't ask me how much it cost. >>shudder<< (You other 1.0 users know
> > > exactly how much!)
> > >
> > > Before that I was using Deluxe Music Construction Set and ProCo.
> > >
> > > For the twentieth anniversary (F09 I believe), MM released a standalone
> > app
> > > that runs Finale 1.0 inside a Mac 512 virtual machine. Last time I
> > checked
> > > you could still download it. How far we've come!
> > >
> > > (I can still run my Mac OS 9 versions of Finale in Sheepshaver running
> on
> > > 10.11. Haha)
> > >
> > >
> > >
> > > On Wed, Jul 13, 2016 at 11:49 AM, Ryan  wrote:
> > >
> > >> MusicPrinter Plus! Wow, I haven't thought about that in a long time. I
> > used
> > >> that all the way up until 1996!
> > >>
> > >> On Wed, Jul 13, 2016 at 9:47 AM, Williams, Jim <
> > >> jwilli...@franklincollege.edu> wrote:
> > >>
> > >>> Same as Dennis here--around 1989, quit MusicPrinter plus and got
> Finale
> > >>> 2.x for my 386 computer . Strayed a couple of times along the way and
> > now
> > >>> 80% Finale, 20% Sibelius.
> > >>>
> > >>> Sent from my iPhone, so please pardon all the typos.
> > >>>
> >  On Jul 13, 2016, at 12:39 PM, Dennis Bathory-Kitsz <
> > >>> bath...@maltedmedia.com> wrote:
> > 
> > > On Wed, July 13, 2016 12:35 pm, Chuck Israels wrote:
> > > Don’t know if there are others here with the same history, but I
> have
> > >>> used
> > > Finale since v.1.0.  Nevertheless, there are a number of others
> whose
> > > knowledge of the program runs considerably deeper than mine,
> > including
> > >>> the
> > > always reliable Christopher Smith.
> > 
> >  Indeed! I didn't start with version 1 because there was no Windows
> > >>> version
> >  until version 2.
> > 
> >  Dennis
> > 
> > 
> >  ___
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> > 
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> > >>>
> > >>> To unsubscribe from finale send a message to:
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> > >>>
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Re: [Finale] Upgrading from Fin2011

[Aaron Sherber]

Thanks for the comments. Yes, I do already own both newer versions, so I guess 
I'll give 14.5 a try. Most of the things I work on would probably not be 
considered very large (chamber orchestra, less than 1000 bars), so probably I 
won't notice speed issues. 

Aaron. 



> On Jul 2, 2016, at 8:15 AM, Robert Patterson <rob...@robertgpatterson.com> 
> wrote:
> 
> If you are thinking about upgrading from 2012, and you are concerned about
> speed, you might want to read this blog post
> <http://www.finalemusic.com/blog/next-version-finale/> by Mark Adler. I
> think the prospect of a 64-bit Finale would cause me to hold off upgrading
> until it was available.
> 
> But as I understood what Aaron Sherber said, he already has 12 and 14.5, so
> from my perspective it's a no-brainer to go ahead and jump to 14.5. If he
> finds speed is an issue he can always export the musx to mus and continue
> his work in 12.
> 
>> On Sat, Jul 2, 2016 at 4:56 AM, Lee Actor <l...@leeactor.com> wrote:
>> 
>> Curious how much faster you would say 2012 is, and to what size of file
>> you're referring.  I'm on 2012c, and whenever I start considering biting
>> the
>> bullet and upgrading, it seems I inevitably come across a comment on
>> Fin2014
>> that makes me think it's not worth it.
>> 
>> -Lee
>> 
>> -Original Message-
>> From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf
>> Of
>> Raymond Horton
>> Sent: Friday, July 01, 2016 1:43 PM
>> To: finale@shsu.edu
>> Subject: Re: [Finale] Upgrading from Fin2011
>> 
>> 2014 .5 is good. 2012 is faster for very large files. Ymmv . Windows
>> 
>> Raymond Horton
>> Composer, Arranger
>> Minister of Music, Edwardsville (IN) United Methodist Church
>> Retired Bass Trombonist, Louisville Orchestra, 1971-2016
>> 
>>> On Jul 1, 2016 3:29 PM, "Aaron Sherber" <aa...@sherber.com> wrote:
>>> 
>>> Hi all,
>>> 
>>> I've kept working in Fin2011 for several years, because it has met my
>> needs
>>> and because I haven't been working in Finale enough lately to figure out
>> a
>>> new version. But I've been having a few minor compatibility issues with
>>> Windows 10, so I think it's time to move on.
>>> 
>>> I have both Fin2012 and Fin2014.5. Is 2014.5 sufficiently stable that I
>> can
>>> move to that version with no concerns, or am I better off just moving to
>>> 2012?
>>> 
>>> Thanks,
>>> Aaron.
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[Finale] Upgrading from Fin2011

[Aaron Sherber]

Hi all,

I've kept working in Fin2011 for several years, because it has met my needs
and because I haven't been working in Finale enough lately to figure out a
new version. But I've been having a few minor compatibility issues with
Windows 10, so I think it's time to move on.

I have both Fin2012 and Fin2014.5. Is 2014.5 sufficiently stable that I can
move to that version with no concerns, or am I better off just moving to
2012?

Thanks,
Aaron.
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[Finale] Fin2011 and Win10

[Aaron Sherber]

Hi all,

I recently upgraded my PC to Win10, and I'm working on an older project in
Fin2011. I've noticed that when I open up the Expression Designer window,
it works very slowly -- large delay after each keystroke in the Text window
before the new characters show up.

Has anybody else experienced this? Any workarounds or fixes?

Thanks,
Aaron.
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Re: [Finale] Preferred method for entering notes/etc into finale 2012

[Aaron Sherber]

Totally agree. The only difference for me is that I use Speedy with my
computer keyboard as a 3-octave keyboard (z-m, a-j, q-u) to select the
pitch, rather than arrow keys. Very quick and efficient, and one of the
main reasons I haven't been tempted by other notation apps.

Aaron.



On Wed, Feb 17, 2016 at 4:52 PM, Chuck Israels  wrote:

> And the biggest reason for my use of Speedy entry is - pitch first, then
> note value. I can't wrap my head around the opposite way. Perhaps if Simple
> were to have that option, I'd have reason to consider changing.
>
> Chuck
>
> Sent from my iPhone
>
> > On Feb 17, 2016, at 2:52 PM, Mike Greensill 
> wrote:
> >
> > I use "speedy" with a midi keyboard and find it's very, very quick for
> > entering notes. Apparently the 'powers that be' at Finale much prefer
> > "simple" but I just don'y see it myself. My biggest fear is that someday
> > they'll dump "speedy".
> >
> > I use templates that I've created for almost all my projects from a full
> > symphony score, to big band, to piano trio. Saves vast amounts of time
> and
> > everything always looks as you would like it, from the fonts used to
> > personal chords suffixes, page layout etc.
> >
> > Mike G.
> >
> > www.mikegreensill.com
> >
> > http://www.shermusic.com/1883217768.php
> >
> > On Wed, Feb 17, 2016 at 11:26 AM, David H. Bailey <
> dhbaile...@comcast.net>
> > wrote:
> >
> >>> On 2/17/2016 1:57 PM, Martin Nickless wrote:
> >>> As a relative newcomer to finale I would like to seek the opinion of
> >>> people out there and which means They think is the quickest way to
> >>> input notation etc into finale on the completion of a Pen and paper
> >>> sketch Do most people tend to have templates already set up for the
> >>> project they're about to start on ? I use a laptop and a midi
> >>> keyboard but when I'm away from home can entering notes on the laptop
> >>> manually also be a fast process also Last one which plug-ins are
> >>> essential for speed Very best regards thank you Martin
> >>
> >> I use speedy entry -- sometimes with a midi keyboard but more frequently
> >> using the computer's keyboard.  Arrow keys up and down to select the
> >> pitch, number keys to select the rhythm.  If you switch between using a
> >> midi keyboard and not using a midi keyboard to enter the music using
> >> Speedy Entry be sure that the toggle Use Midi Device for input is
> >> unchecked if you're using only the computer's keyboard or all you'll get
> >> are rests.
> >>
> >> I don't usually use templates, preferring to set each new document up
> >> precisely for that particular project.  But then I don't usually work on
>
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Re: [Finale] Hide staves not working

[Aaron Sherber]

Yep, tried "check data", made sure that groups were set to hide normally,
made sure that the individual staves had "Allow Hiding" checked, tried
inserting and deleting measures

I'm just glad I didn't have to redo too much editing on the "good" file!

Thanks,
Aaron.



On Thu, Jan 21, 2016 at 4:56 PM, David H. Bailey <dhbaile...@comcast.net>
wrote:

> On 1/21/2016 4:39 PM, Aaron Sherber wrote:
> > I returned to a "last known good" version of the file, and it all works
> > correctly. I did keep the "bad" file around and would still be interested
> > in any suggestions, for future reference.
> >
>
> Did you run a "check data" on the "bad" file?  Try that and see if
> anything changes.
>
>
> --
> David H. Bailey
> dhbai...@davidbaileymusicstudio.com
> http://www.davidbaileymusicstudio.com
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Re: [Finale] Hide staves not working

[Aaron Sherber]

I returned to a "last known good" version of the file, and it all works
correctly. I did keep the "bad" file around and would still be interested
in any suggestions, for future reference.

Aaron.



On Thu, Jan 21, 2016 at 4:33 PM, Aaron Sherber <aa...@sherber.com> wrote:

> More curiously: If I select the whole document and do Show Empty Staves
> and then Hide Empty Staves ... NONE of the empty staves hide.
>
> Aaron.
>
> On Thu, Jan 21, 2016 at 4:08 PM, Aaron Sherber <aa...@sherber.com> wrote:
>
>> Hi all,
>>
>> Using FinWin2011. I'm trying to hide empty staves in a score, and they
>> seem to hide correctly everywhere except in one particular system.
>>
>> I've selected the measures in question and done Clear All Items, so I
>> assume the measures are actually empty, but when I do Hide Empty Staves the
>> staff I want to hide just sits there, mocking me.
>>
>> Are there any gotchas that I should look for here? Any tricks to convince
>> Finale to hide the empty staves?
>>
>> I know that as a workaround, I can apply the Hide Staff style and then
>> reposition the other staves, but I'd rather get it to work properly.
>>
>> Thanks,
>> Aaron.
>>
>
>
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[Finale] Hide staves not working

[Aaron Sherber]

Hi all,

Using FinWin2011. I'm trying to hide empty staves in a score, and they seem
to hide correctly everywhere except in one particular system.

I've selected the measures in question and done Clear All Items, so I
assume the measures are actually empty, but when I do Hide Empty Staves the
staff I want to hide just sits there, mocking me.

Are there any gotchas that I should look for here? Any tricks to convince
Finale to hide the empty staves?

I know that as a workaround, I can apply the Hide Staff style and then
reposition the other staves, but I'd rather get it to work properly.

Thanks,
Aaron.
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Re: [Finale] Hide staves not working

[Aaron Sherber]

More curiously: If I select the whole document and do Show Empty Staves and
then Hide Empty Staves ... NONE of the empty staves hide.

Aaron.

On Thu, Jan 21, 2016 at 4:08 PM, Aaron Sherber <aa...@sherber.com> wrote:

> Hi all,
>
> Using FinWin2011. I'm trying to hide empty staves in a score, and they
> seem to hide correctly everywhere except in one particular system.
>
> I've selected the measures in question and done Clear All Items, so I
> assume the measures are actually empty, but when I do Hide Empty Staves the
> staff I want to hide just sits there, mocking me.
>
> Are there any gotchas that I should look for here? Any tricks to convince
> Finale to hide the empty staves?
>
> I know that as a workaround, I can apply the Hide Staff style and then
> reposition the other staves, but I'd rather get it to work properly.
>
> Thanks,
> Aaron.
>
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[Finale] Measure number regions bug

[Aaron Sherber]

Hi all,

Working in FinWin2011. I've got a piece with several measure number
regions, including a few bars that are excluded from numbering -- either
through measure attributes, or because they sit in between defined regions.

I'm finding that when I do something like change a key signature or time
signature, or apply a barline style, it doesn't get applied to the bar I
actually clicked on -- it winds up a few bars later in the piece.

I'm assuming this is a known issue -- is there a workaround? Is it fixed in
later versions? (I have 2012 and 2014 but would rather stay with 2011 for
this until it becomes insufferable.)

Thanks,
Aaron.
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Re: [Finale] Measure number regions bug

[Aaron Sherber]

Thanks to all -- not ideal solutions, but at least they let me get my 
work done.

Aaron.



On 11/17/2015 6:54 PM, Christopher Smith wrote:
> This bug is related to the “include in measure numbering” measure 
> attribute, not the measure number regions. This affects many tools, so what I 
> suggest is to NOT unclick “include in measure numbering” until you are 
> ready to format and print.
>
> Christopher
>
>
>> On Nov 17, 2015, at 6:47 PM, Aaron Sherber <aa...@sherber.com> wrote:
>>
>> Hi all,
>>
>> Working in FinWin2011. I've got a piece with several measure number
>> regions, including a few bars that are excluded from numbering -- either
>> through measure attributes, or because they sit in between defined regions.
>>
>> I'm finding that when I do something like change a key signature or time
>> signature, or apply a barline style, it doesn't get applied to the bar I
>> actually clicked on -- it winds up a few bars later in the piece.
>>
>> I'm assuming this is a known issue -- is there a workaround? Is it fixed in
>> later versions? (I have 2012 and 2014 but would rather stay with 2011 for
>> this until it becomes insufferable.)
>>
>> Thanks,
>> Aaron.
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Re: [Finale] Unlinking rehearsal letter/number positioning

[Aaron Sherber]

Hi Darcy,

I'm still using 2011, so YMMV.

I can do what I think you're talking about by holding down both the 
top-staff override key (backtick on Win) and the part override key (Ctrl 
on Win) while dragging the rehearsal letter in the score. The former 
prevents the move from affecting other staves, and the latter unlinks 
the expression and prevents it from moving in the part.

Aaron.





On 3/6/2015 5:33 PM, Darcy James Argue wrote:
 Hello all,

 When adjusting a rehearsal letter/number in a score that includes linked 
 parts, dragging or adjusting the Offset from Alignment Point value for the 
 expression that's attached to the top staff moves the expression in ALL parts 
 and ALL other score staves, even after unlinking the expression

 A while back, someone (Jef?) revealed the specific steps required to be able 
 to move a rehearsal letter/number attached to the top staff without affecting 
 any of the other staves, but I can no longer find the email that lays out how 
 to do this. Could someone kindly remind me of the procedure for this?

 Cheers,

 - DJA
 -
 WEB: http://www.secretsocietymusic.org


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Re: [Finale] Unlinking rehearsal letter/number positioning

[Aaron Sherber]

In the User Manual Encyclopedia section (Fin 2011) or Index (some newer 
versions), look for To move expressions assigned to score lists. 
Actually, in the FinMac user manual, the index has staff lists instead 
of score lists, but the page itself has score lists.

Looks like the key is the same on Mac, the backtick. (Though the user 
manual calls it tilde, which would be Shift-backtick and is incorrect.)

Aaron.



On 3/7/2015 2:58 PM, Darcy James Argue wrote:
 Wait a minute — there's a top-staff override key?

 Cheers,

 - DJA
 -
 WEB: http://www.secretsocietymusic.org

 On Mar 7, 2015, at 12:56 PM, Aaron Sherber aa...@sherber.com wrote:

 Hi Darcy,

 I'm still using 2011, so YMMV.

 I can do what I think you're talking about by holding down both the
 top-staff override key (backtick on Win) and the part override key (Ctrl
 on Win) while dragging the rehearsal letter in the score. The former
 prevents the move from affecting other staves, and the latter unlinks
 the expression and prevents it from moving in the part.

 Aaron.





 On 3/6/2015 5:33 PM, Darcy James Argue wrote:
 Hello all,

 When adjusting a rehearsal letter/number in a score that includes linked 
 parts, dragging or adjusting the Offset from Alignment Point value for 
 the expression that's attached to the top staff moves the expression in ALL 
 parts and ALL other score staves, even after unlinking the expression

 A while back, someone (Jef?) revealed the specific steps required to be 
 able to move a rehearsal letter/number attached to the top staff without 
 affecting any of the other staves, but I can no longer find the email that 
 lays out how to do this. Could someone kindly remind me of the procedure 
 for this?

 Cheers,

 - DJA
 -
 WEB: http://www.secretsocietymusic.org


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Re: [Finale] What quoting all of a popular thread does

[Aaron Sherber]

On 2/5/2015 4:51 PM, Kenneth Moore wrote:
 In the early days of email, ISTR
 that recommended practice was to quote only the most recent contribution
 to a thread.

Yes, and also to put your reply under the relevant quote, like so. But 
I'm afraid that both of these battles have largely been lost. In the 
context of modern email, the difference between 55KB and 9KB is trivial 
in terms of storage and bandwidth – even though the older conventions 
also made comprehension much easier in terms of seeing exactly what was 
being replied to. Sic transit etc.

Aaron.
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Re: [Finale] Finale 2012 (Mac) and expression tool

[Aaron Sherber]

If you're using expressions that are assigned to categories, the Tempo 
Marks, Tempo Alterations, and Rehearsal marks categories are assigned to 
staff lists in the Category Designer, which you can get to from the 
Document menu or by hitting Edit Categories in the Expression Selection 
dialog. The general assumption is that expressions which belong to these 
categories will always be assigned to the same staves. For example, in a 
standard orchestral score, tempo marks probably go above the top staff 
and the violin 1 staff in the score, and the top staff in all parts. In 
the Category Designer, you can duplicate one of these categories if you 
have a category of tempo marks that needs to use a different staff list.

If you've got an expression in one of the other categories, then in the 
Expression Selection dialog there should be an arrow next to the Assign 
button, and then you can choose Assign to Staves ...

In general, expressions assigned to multiple staves are automatically 
able to be positioned independently. For Tempo Marks, Tempo Alterations, 
and Rehearsal Marks (or categories duplicated from them), moving the 
master expression, the one assigned to the highest staff, will move 
the expression on all assigned staves; moving any of the other 
expressions will move just that one, and you can move the master 
expression by itself by holding down the ` key while you drag.

Aaron.


On 1/12/2015 10:30 AM, Martin Banner wrote:
 I am using Finale 2012 on my iMac (OS 10.9.5) and have a question about the 
 expression tool. When I used to use Finale 2008, I was able to choose (or 
 create a new) tempo marking, and then to to “staff list” dialogue box and 
 choose which staves I wanted the dynamic marking to appear (I could also 
 check or uncheck “independent placement” or something like that). In 2012, I 
 do not see the “staff list” option. Any help as to where I’ll find it?

 Thanks,
 Martin
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Re: [Finale] Losing my way (less!) in Finale 2014

[Aaron Sherber]

Regarding #3, you'll get the effect I think you want if you change a
measure's width using the Measure Attributes or Edit Multimeasure Rests
dialog, rather than dragging the barline -- you'll change the width of the
particular measure, and the other measures in the line will shrink or
enlarge to compensate.

If you don't like going into and out of dialogs, you can also accomplish
this with TGTools Expand/Compress Spacing (for individual measures, not for
MM rests). I'm on FinWin11 and I've got the full TGTools, and I forget what
kind of TGTools Lite might be bundled in Fin12. In my version,
Expand/Compress is mapped to Shift+ and Shift- (using the numeric keypad),
so it's easy to select a measure and tap away until things look the way I
want them.

Aaron.




On Sun, Jan 4, 2015 at 5:25 PM, pa...@mooremusic.org.uk 
pa...@mooremusic.org.uk wrote:

 Hello again,

 Many thanks Linda and David for your very quick responses. It was
 wonderfully
 encouraging to find your friendly messages already waiting when I got back
 to
 the computer after a break. I still remember what a relief it was to join
 the
 Finale List
 soon after first trying Finale (having never even used Windows before) and
 find
 so
 many helpful people out there.

 Linda, I can definitely relate to this!

  Then I left a gap over a year ago when i installed 2012. I couldn't find
  anything I was used to. A lot of things were better than before, but
  many--like changing the names of tools and putting them in a different
  menu--made me crazy, And there were other problems that even the Finale
  help site and other forums were of no use. I'm afraid to install 2014 for
  fear that the things I'm currently working on will be delayed by more
  changes. This forum has resulted in many, many hints and help, but there
  are still some elements that remain a mystery.

 That must be very, very frustrating.

  I hope there are a lot of Windows users here to guide
  you through the thicket of changes!

 That's a very good description. :)

  From: David H. Bailey dhbai...@davidbaileymusicstudio.com

   1. How can I increase the number of most recently closed items listed
 at the
   bottom of the File menu (default seems to be 4)?
 
  Edit menu, Preferences, then click on Open in the left-hand panel. On
  the right once you do that is an option to set the number of Recent
  Files listed in the File menu.

 Done! I'm slowly getting better at thinking of the possible ways to
 interact
 with tools/
 menus/icons, etc.

   2. How can I change the default font for e.g. the number above a
   multi-measure
   rest? I found a specific item for the default music font, but not the
   extensive
   list(s) I expected for all sorts of other elements.

  To change the default font for anything other than the music font you
  need to edit the default template, or you need to simply change the font
  for each document you create. Or you can set the fonts as you wish,
  then save the Library of all those changes to various items under
  Document Options and then load that Library into each new document you
  create.

 I often generate new files from old and collect the fonts etc. that way,
 but I
 may manage
 to try that out one of these months, thank you. I've saved libraries of
 e.g.
 expressions
 in the past.

 Just off now to sort out the multi-measure rest font, which will be a
 noticeable
 improvement in the readability of my latest parts.

   3. I haven't found a way to respace a number of bars if e.g. I want to
   enlarge a
   multi-measure rest and then space the remaining bars in the line
 equally.
   I'm
   puzzled that it doesn't seem to be a possibility related to the menu
 that
   appears when I right click on one of the measure spacing handles.
 I'm sure
   I
   must be mis sing something.
 
  I think you may need to drag the barlines for each measure on those
  lines -- I don't know of a way to make all the measures on a system be
  equally spaced. I hope someone else may have found a way to do what you
  want.

 I'll be very disappointed if it's no longer possible.

  Finale will always change the bar lengths according to what is in
  each bar -- you wouldn't want a bar with only a single whole note to
  take up as much space as a bar with 16 16th notes would you?

 No, you're right. What I really meant was that I wanted them spaced equally
 appropriately. If I just enlarge the rest bar the one next to it is all
 squished
 up.

  Of course,  if that's is the result you want, you can achieve that using
 a
  hidden
  layer full of whatever note value you want to determine the bar's width,
  making it visible when you do your spacing and then hiding it for
  printing after you've locked the layout.

 That's a useful reminder, thanks. I have done simlar things with hidden
 notes
 in the past.
 Best wishes

 Patsy

 --
 Patsy Moore pa...@mooremusic.org.uk
 www.da-capo.org.uk

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Re: [Finale] Locked systems

[Aaron Sherber]

I've done that and *still* had Finale print a page differently than it 
appears on screen. Not often, though.

Aaron.



On 12/29/2014 7:06 PM, Darcy James Argue wrote:
 On Dec 29, 2014, at 4:00 PM, Williams, Jim jwilli...@franklincollege.edu 
 wrote:

 Maybe I ought to lock everything before printing!
 Of course you should!

 Cheers,

 - DJA
 -
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Re: [Finale] Locked systems

[Aaron Sherber]

Ah, but that's exactly the issue -- you're moving measures by hand to 
another system. Finale has used its spacing algorithm to decide where it 
thinks measures should go, and you're overriding that. If Finale 
*didn't* lock the systems, then your measure would just pop back to 
where it came from. The lock is what keeps things where you put them.

In my workflow, I find that I most often move a measure or two down a 
system, in order to make more room on the previous one. So if I move a 
measure from system 10 to system 11, Finale does lock both of them -- 
and then I usually wind up unlocking system 11 so that it and the 
following systems will reflow. It's a minor hassle, but it makes sense 
because Finale has no way of knowing my real intentions -- maybe I did 
mean for system 11 to have one more measure, rather than wanting to have 
things reflow. (If I unlocked both 10 and 11, Finale's spacing algorithm 
would eventually put the measure back on system 10 -- either when it 
runs automatically or when I choose Update Layout.)

Aaron.



On 12/27/2014 10:22 AM, Lawrence David Eden wrote:
 Thanks, I know that method and am forced to use it every time I move a 
 measure to another system.  I am looking for a way to eliminate locked 
 systems.  I don’t want Finale to lock anything automatically.

 Larry



 On Dec 27, 2014, at 1:28 AM, Craig Parmerlee cr...@parmerlee.com wrote:

 And you can easily clear all locks by selecting the entire score and
 doing ctl-shft-L (I believe that is the command on Windows).





 On 12/22/2014 3:38 PM, j...@thomastudios.com wrote:
 To my knowledge, the only time Finale will lock the systems is either by 
 the keyboard command, CMD-L, or if you physically move a measure to another 
 system using the old Mass Mover tool, now the Selection tool.  Otherwise 
 they stay unlocked.  I know this because there have been many times where 
 I’ve forgotten to lock the systems and Finale moves measures in a way I was 
 not expecting.

 J D Thomas
 ThomaStudios

 On Dec 22, 2014, at 12:28 PM, Lawrence David Eden lde...@comcast.net 
 wrote:

 Happy Holidays, Listers

 I am using FinMac 2k11c.r1 on a Mac Mini running Mavericks.

 Is there a way to prevent Finale from locking my systems?  I prefer to 
 have control over this feature, instead of it having control of me.

 Please advise.

 Larry Eden
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Re: [Finale] Beaming groups and copying beaming groups

[Aaron Sherber]

All you have to do is set your time signature to 3+3+3+3+2/8 (using a 
composite time sig -- put the entire numerator in the first box rather 
than one digit in each) and then set the time sig to display as 7/4.

If you have music already entered, you can rebeam the music to this 
composite sig.

Aaron.




On 11/29/2014 5:41 PM, Dean Rosenthal wrote:
 Hi,

 I want to create custom beaming groups within a time signature. For
 example, 4 groups of 3 eighths in 7/4 leaving a quarter rest. Default
 beaming is 2 eighths. Additionally, I would like to know how to copy that
 pattern (cut and paste) without the formatting reverting back to groups
 of 2 eighths. I want to do this as a batch process, *without* using the /
 for each grouping – because that takes a LOT of time for lengthier group or
 multiple irregular beamings. Ideas? Workarounds are ok. Jari, do you have a
 Plug-in for this?

 Jari W: Specifically, I have a question for you about the Free Time and
 Create Time Signature in Transform To Contents in the Meter and Rhythm
 plugin. Free Time seems to break longer groupings into multiple time
 signatures, which affects the visual layout due to spacing between hidden
 measures if you remove the bar lines and the Create Time Signature is
 something I'm experiencing the same way – for example 17 eighth notes don't
 convert to 17/8. Or am I not using them correctly?

 Dean


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[Finale] Measures packed in

[Aaron Sherber]

Hi all,

It's been a long time since I've posted here -- notation hasn't been 
much of a regular part of my life lately.

I'm having a problem that I've never run into before. I have a score for 
8 instruments that I'm trying to condense into a piano score. I added 
the staves and created the piano part with a lot of imploding, copying, 
and note entry. It all looks fine in score view (though I still need to 
go through and clean up articulations and default dynamics and so forth).

When I get the piano part into page view, there is one system that looks 
oddly condensed. You can see it here: 
https://dl.dropboxusercontent.com/u/5308234/dm.png

What's particularly odd is that there are more measures in there than 
are showing -- that is, for each visible measure, there are a whole 
bunch that have disappeared. You can see that the first measure on that 
line is 595; the first one on the next line is 686! The other parts do 
not exhibit this behavior.

I've tried respacing, updating layout, redefining page layout -- nothing 
seems to work. If anyone has any ideas about what might be causing this 
or what I can try to fix it, I'd appreciate it.

Thanks,
Aaron.
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Re: [Finale] Measures packed in

[Aaron Sherber]

Ah, thank you!

It was actually Break multimeasure rests, but that's it. Not quite 
sure how that happened, because the piano score doesn't actually have 
any measure rests -- must have been something weird during part 
creation. And as soon as you said that, I remembered seeing this kind of 
thing in other parts in other scores that actually do have multimeasure 
rests.

Aaron.




On 11/6/2014 8:28 PM, Christopher Smith wrote:
 I'm not at my Finale computer right now, but I can take a guess.
 Select all, choose Create mulitmeasure rests.

 Christopher


 On 6-Nov-14, at 6-Nov-14  8:16 PM, Aaron Sherber wrote:

 Hi all,

 It's been a long time since I've posted here -- notation hasn't been
 much of a regular part of my life lately.

 I'm having a problem that I've never run into before. I have a
 score for
 8 instruments that I'm trying to condense into a piano score. I added
 the staves and created the piano part with a lot of imploding,
 copying,
 and note entry. It all looks fine in score view (though I still
 need to
 go through and clean up articulations and default dynamics and so
 forth).

 When I get the piano part into page view, there is one system that
 looks
 oddly condensed. You can see it here:
 https://dl.dropboxusercontent.com/u/5308234/dm.png

 What's particularly odd is that there are more measures in there than
 are showing -- that is, for each visible measure, there are a whole
 bunch that have disappeared. You can see that the first measure on
 that
 line is 595; the first one on the next line is 686! The other parts do
 not exhibit this behavior.

 I've tried respacing, updating layout, redefining page layout --
 nothing
 seems to work. If anyone has any ideas about what might be causing
 this
 or what I can try to fix it, I'd appreciate it.

 Thanks,
 Aaron.
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Re: [Finale] Union rules on doubling

[Aaron Sherber]

The single engagement classical scale in NYC does not count A/Bb 
clarinet as a doubling:

http://www.local802afm.org/wp-content/uploads/2012/07/classical_single.pdf

As pointed out by others, your mileage may vary according to 
jurisdiction and contract.

Aaron.




On 3/16/2014 8:12 PM, J D Thomas wrote:
 I had a phone conversation with a client earlier today.  And the topic of 
 doublings came up.  This is going to happen in a live situation, not in the 
 studio.  He is going to have a situation where the two clarinets are going to 
 most likely be playing both Bb and A clarinets.  Someone from NYC checked 
 into it for him and told him that the two clarinets were considered the same 
 under union doubling rules.

 I am a member of Local 47, Los Angeles, and I told him if a player picks up 
 another instrument and plays it on a session, it's a double.  Period.  He 
 argued that this was not the case with classical performances and reiterated 
 that the two clarinets are considered the same.  I countered that they were 
 not, and he was getting erroneous information.

 I'd like to hear what everyone knows on this issue.  I did many, many 
 sessions in LA when I lived there for 21 years.  Both live and recorded.  But 
 I will admit my memory is foggy; I've been out of LA for over 13 years.  But 
 I do recall that if a played picks up another axe, it's a double.

 Any and all opinions are most welcome.

 J D Thomas
 ThomaStudios



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Re: [Finale] Finale and an ongoing problem

[Aaron Sherber]

I've had something similar happen for years on Windows with different 
Finale versions, different Windows versions, and different computers. In 
my case, it's some kind of stuck key on my numpad; if I give all the 
numpad keys a good tap, the stuck metatool key unsticks.

Aaron.


On 7/14/2012 11:48 AM, Chuck Israels wrote:
 Hi Steve and David,

 This has happened to me (OS 10.7.4) - maybe three times, and I took it to be 
 something unique to my system or perhaps my computer use habits.  It didn't 
 occur to me to think that it might be an integral Finale bug, but I have 
 experienced this phenomenon.  It has always happened with an expression 
 assignment meta tool, and when it becomes stuck, there is no way to assign a 
 different expression other than the one with which Finale has become stuck - 
 even by trying to select one from the expression dialog window.  Simply 
 quitting and restarting Finale isn't enough to cure the problem, but I have 
 had success with a complete system shutdown and restart.  This has only 
 happened (I think) when Finale has been up and running, and in heavy use for 
 quite a long period, and this may be why the behavior is difficult to 
 duplicate so MM can find the bug.  Perhaps there might be some tidbit of 
 information in how I remember the experience that could be useful - though I 
 don't know if I've added a real clue or not.

 Chuck




 On Jul 14, 2012, at 5:33 AM, Fiskum, Steve wrote:

 Hello David,

 That's a good idea but unfortunately this does not affect any other OSX 
 program. It only affects Finale. When the metatool is stuck you can go into 
 a different app to see if the sticking occurs there and it does not. When 
 you go back to Finale the metatool key is still stuck. Not sure Apple can 
 help us here since Finale is the only OSX app that does this. something is 
 wrong in Finale's code.

 Steve
 
 From: finale-boun...@shsu.edu [finale-boun...@shsu.edu] On Behalf Of David 
 H. Bailey [dhbai...@davidbaileymusicstudio.com]
 Sent: Saturday, July 14, 2012 4:16 AM

 Since this appears to be a Mac/OSX/Finale thing, has anybody contacted
 Apple to see if there might be some other applications which musicians
 don't ordinarily use which are encountering the same problem?  Or
 perhaps Apple tech support can better troubleshoot the problem since
 their tech support department is much larger than Finale's and is much
 more conversant in the deep inner workings of OSX.

 Since there are a number of Finale users who are working on Macs, it
 might be worthwhile to try to pull another tech support team into the
 problem.




 --
 David H. Bailey
 dhbai...@davidbaileymusicstudio.com


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Re: [Finale] change Default Page Format for Parts_

[Aaron Sherber]

On 7/5/2012 1:22 PM, Eric Fiedler wrote:
 The To change the default page layout instructions in the manual apply only 
 to future pages in the_open_  document, not to all future pages in future 
 docs.

If I'm understanding you correctly, what you want to do is open up a new 
document, adjust the page layout to your liking, and then save this 
document as a template, either in the Templates or Document Styles 
directory. Any new documents you create through the setup wizard based 
on that template or document style will then inherit that page layout.

Aaron.

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Re: [Finale] change Default Page Format for Parts?

[Aaron Sherber]

On 7/5/2012 3:27 PM, Eric Fiedler wrote:
 My problem is that I have a gazillion older scores — each with 20-30 
 movements saved as individual files — from which I need to make parts. So 
 what I've been doing up to now is: open each file individually and change its 
 Page Format for Parts before making parts from it.

That's probably a job for FinaleScript, which allows this kind of batch 
processing capability. But I've never used it much and can't offer advice.

Aaron.
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Re: [Finale] TGTOOLS in 2012b

[Aaron Sherber]

For the benefit of the MM employees on this list, I have to say that I 
completely agree. TGTools is an absolutely essential part of my 
workflow, in ways large and small.

Aaron.

On 7/4/2012 2:35 PM, Henry Howey wrote:
 I'm noticing that several of the tools are now inoperable.

 MakeMusic MUST acquire and maintain TGTOOLS. I'm sure Garritan and MusicXML 
 were not cheap. TGTOOLS would be much less.

 Henry Howey

 Sent from my iWhatever
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[Finale] Fin2011: Hiding key sig change in cutaway staff

[Aaron Sherber]

Hi all,

I have a score with a cutaway staff. At the end of one system is a 
cautionary key sig change. In the cutaway staff, the last couple of 
measures are hidden with a staf style. However, the key sig change still 
displays:

https://www.dropbox.com/s/kxjgcosucjzlia0/cutaway.PNG

I'm guessing that the issue is that the key sig change is not actually 
part of any measure and hence is not hidden by the staff style. I know 
that I can hide the key sig in the cutaway staff by putting an opaque 
expression over it, but is there a neater way that I'm missing?

Thanks,
Aaron.
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Re: [Finale] Fin2011: Hiding key sig change in cutaway staff

[Aaron Sherber]

On 6/5/2012 12:40 PM, Steve Parker wrote:
 In document preferences you can turn off courtesy key sig announcements.

Right, but I don't want to turn them off globally, or even for this 
measure in all staves -- just in this single stave, since at this point 
in the score it's hidden.

 Actually opaque boxes is my preferred way of dealing with all manner of 
 things..

Hah! That says some very interesting things about Finale!

Thanks,
Aaron.
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Re: [Finale] Fin2011: Hiding key sig change in cutaway staff

[Aaron Sherber]

On 6/5/2012 11:39 AM, John Blane wrote:
 Assuming your staff style is set to not display key sigs, apply it to the 
 next measure to hide the cautionary key sig.

Ah, that's very interesting. The cautionary sig is at the end of a 
system, and this cutaway staff is completely hidden in the next system 
because it's empty. But if I unhide the staff and apply the staff style 
to the first measure, the cautionary sig does indeed disappear, and then 
I can rehide the (still) empty staff.

Good trick, thanks.

Aaron.
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Re: [Finale] Is There an Easier Way?

[Aaron Sherber]

On 6/5/2012 5:18 PM, Neal Gittleman wrote:
 Cut time, and the composer's notation in each bar is as follows:  two dotted 
 half notes with eighth-note slash for repeated notes and a 6 above each note, 
 yielding 12 sextuplet eighths in each bar.

A couple of things come to mind. The first, if playback is not a 
concern, is just to apply the 6 and the dot each as articulations. So 
you just enter two half notes, then apply three articulations to each 
note (slash, 6, dot), which you can do in three quick passes by dragging 
with the articulation tool.

Second would be to do this in Speedy:

1. Hit Ctrl-6, indicating a sextuplet, then enter an eighth note on the 
desired pitch.
2. Cursor back and change the eighth to a half note, then add the dot.
3. Repeat for second half of bar.

Now you have the dot and the tuplet in place, and all you have to do is 
add the slash articulation. You may also need to change tuplet 
definitions in these measures to get rid of the bracket.

Aaron.
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Re: [Finale] 2012 vs 2010

[Aaron Sherber]

On Fri, Apr 20, 2012 at 4:17 AM, rglanrg...@free.fr  wrote:
 You seem to be the only person here currently
 using 2011, everyone else seems to have jumped
 from 2010--2012. I wonder why? I guess I'll just ...

I've stayed with Win2011 because I really don't like the current implementation 
of the Score Manager. It makes nothing easier for me, and a few things harder.

Aaron.

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Re: [Finale] Is FINALE worth continuing?

[Aaron Sherber]

On 4/17/2012 3:42 AM, bunnydo...@aol.com wrote:
 Unless you are in position to
 monitor the mechanics of the list, there's simply no way to know how many
 soldiers there are in the great lurker army.

Actually, if you visit the URL at the bottom of this message, you can 
log in and view the subscriber list. There are currently 790 people on 
this list, either in message or digest form.

Aaron.
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Re: [Finale] OT: Selling PDFs

[Aaron Sherber]

On 3/28/2012 9:26 AM, David H. Bailey wrote:
 Unless the pirates also have a pirated version of the full Adobe 
 Acrobat and edit the PDF to remove that line. :-) 

You can put all kinds of protections on a PDF, if you have full Acrobat 
or something similar. For example, if you're sending out a perusal 
score, you can make it so that the PDF won't print. And you can also 
protect the PDF so that it's not editable.

Are there ways around these protections? Yes, certainly. But it means 
that the people who pirate your work will be only those who are really 
determined to do so, not those who are just provided with a casual 
opportunity.

Aaron.
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Re: [Finale] Moving individual staves in a system

[Aaron Sherber]

On 3/22/2012 11:36 AM, Robert Patterson wrote:
 One of the things that has changed is how one moves staves vertically in
 page view. dragging a staff now drags all staves beneath it. I like the
 change, but I am wondering how to only drag that staff without dragging any
 others.

It's Alt+drag in Windows.

Aaron.
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Re: [Finale] Moving individual staves in a system

[Aaron Sherber]

On 3/22/2012 12:28 PM, Robert Patterson wrote:
 Thanks, all. What is the equivalent of re-optimize? I am reworking an old
 score, and after I delete material from staves they remain in the system.

Select the staff you want to hide, right-click, and choose Hide Empty 
Staves (or pick this from the Staff menu).

Aaron.
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Re: [Finale] (no subject)

[Aaron Sherber]

On 2/29/2012 5:53 PM, Michael Mathew wrote:
 I have changed my password for protection. Do I need to re-establish 
 membership on the list?

Nope.
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[Finale] Moving expressions on score lists

[Aaron Sherber]

Hi all,

FinWin11. When an expression is assigned to a score list, like a tempo 
mark, moving the topmost expression in the score moves the whole bunch 
of them. In order to move /only/ the top expression, you have to hold 
down the tilde key while you drag it.

When I do this, however, the expression turns orange after I release it, 
indicating that it has become unlinked from the part. This is unusual, 
since dragging expressions in the score does not usually unlink. Holding 
down the override key (Ctrl) as well as the tilde key doesn't help. In 
fact, it makes it worse -- with just the tilde key down, the expression 
doesn't turn orange until after I release it, but with the Ctrl key 
down, it turns orange as soon as I begin to move it.

I'm sure this is just user error, but I can't figure out what strange 
setting I may have activated. Anybody have any ideas?

Thanks,
Aaron.
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Re: [Finale] Moving expressions on score lists

[Aaron Sherber]

On 2/18/2012 11:12 AM, Christopher Smith wrote:
 The topmost expression's position is the one that gets passed on to linked 
 parts by default.

Oh, right -- I was forgetting about all the other parts that aren't 
showing tempo marks in the score.

 I know you might want to have the expression on the violin 1 staff be higher 
 in the score AND in the parts, but you'll just have to change it in the parts 
 after raising it in the score.

No, this is my bad for not following through. If you move the top 
expression with the tilde key, it does move in both score and parts. The 
reason it turns orange is that it's unlinking from all the /other/ 
staves. If I go into the the topmost part, the expression has moved and 
is still green. In the other parts, the expression has not moved and is 
orange.

So everything's working as designed.

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

For anyone still interested, here's the ms. of those bars in Cosi:

http://aaron.sherber.com/files/cosims.png

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

In the Barenreiter, since the violins have the same rhythm as the 
voices, they also get the indication 'colla parte'.

The Dover/Peters score has slightly different  notation. You can see 
both here:

http://aaron.sherber.com/files/cosi.png

(In the Peters, m.27 is a problem. The flutes should have two half note 
rests with a fermata on the first, rather than a whole note rest with a 
fermata. Otherwise, they have no way of knowing that tempo resumes on 
beat 3.)

Aaron.


On 2/12/2012 3:57 PM, Florence + Michael wrote:
 In the parts it's the same as in the score (at least in the Bärenreiter 
 edition): the violins (who play a dotted half + quarter) have a long fermata 
 extending over the whole measure, the other instruments (who play a quarter 
 on beat one followed by rests) have a long fermata extending over the rests.

 On 12 Feb 2012, at 20:29, SN jef chippewa wrote:

 and in the parts?

 You can certainly get hold of a score of Cosi
 Fan Tutte at http://imslp.org/ If the score is
 correctly engraved, you will see a long fermata
 over the whole of measure 26 in the Terzetto N°
 2.

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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/12/2012 6:01 PM, John Howell wrote:
 For what it's worth, I MUCH prefer the Peters (except for the flutes, 
 in which colla parte makes no sense because they do NOT move with the 
 voice), because using the conventional fermata and being careful with 
 its placement seems much clearer than the expanded one.

I agree that the Peters notation for the instruments with rests seems 
clearer than the Barenreiter notation. I think the colla parte in the 
flutes may just be a misprint; I have the parts up in my attic but can't 
get to them right now.

   It'd still be interesting to see Mozart's handwriting. John 

As it happens, I'll be somewhere tomorrow with a facsimile of the ms. 
I'll post a picture.

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/12/2012 6:26 PM, Robert Patterson wrote:
 Having seen the two versions of Cosi, it occurred to me that Aaron could
 try a Finale-friendly notation that is not exactly what he's looking for
 but may get the point across. That is a custom line with a normal fermata
 centered in it, something like:

Thanks, Robert, that's a very interesting idea. I just tried it, and it 
doesn't look bad. I can't find a way in the custom line tool to leave a 
space in the middle of the line, so the fermata is just floating a 
little above it, as Center Full text.

I do suspect it will require a word of explanation to the player, 
though. (As opposed to the wide slur, which I think is more likely to be 
understood.)

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/12/2012 9:00 PM, John Howell wrote:
 Hmmm.  Sibelius has both a start (left) bracket
 and an end (right) bracket under the Lines menu,
 although neither is dotted.  Very handy for
 indicating ligatures or coloration in
 transcriptions of early notation.  Does Finale
 lack these?

Finale has these, but then I'd be placing three things in the score -- a 
left bracket, a fermata, and a right bracket. I think Robert's intention 
(and my hope) was a single custom line with a left hook, fermata in the 
middle, and right hook. But although Finale can put text in the middle 
of a custom line, it apparently does not break the line to do so; it 
floats the text (fermata, in this case) above the line.

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/11/2012 6:30 AM, Raymond Horton wrote:
 But if the conductor is conducting a player in several held notes while
 every one else has one fermata, then he.she has to stop and talk first, and
 there is still a potential for a mistake - not easy.

I would conduct the player gently with my left hand while the stick 
remains stationary, dead center. In my experience, this sort of thing 
does not cause confusion.

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/11/2012 8:24 AM, David H. Bailey wrote:
 Interesting -- in my experience that sort of thing requires explanation
 since people are confused about what is happening and whether they
 should follow my left hand or the stick.

It depends a lot on how exactly the conductor does it, and a bit on what 
kind of players he's working with. In my case, the score I'm working on 
is exclusively for my own use, although I suspect I would still favor 
this notation even if it weren't.

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/11/2012 8:03 AM, Dennis Bathory-Kitsz wrote:
   I don't know if
 this is a consequence of the greater specificity of contemporary music
 creating a new expectation, but the practice of giving fermatas only the the
 largest note value in a part doesn't work anymore.

Again, I think there are several variables here. In general, I agree 
with the principle that each part should show exactly the same thing. 
But in the specific case I'm looking at here, because of the style of 
the music, the particular music at this spot, and my own experience as a 
conductor, I think the wide fermata is the best overall solution.

I've used the term fussy a couple of times to refer to solutions which 
are technically quite correct but more detailed than I think they need 
to be. Obviously, my first priority in preparing parts is to try to make 
everything as clear as can be for the players. Rehearsal time is a 
conductor's most valuable commodity, and 5 minutes spent explaining 
unclear notation is 5 minutes lost.

On the other hand, when a part becomes too cluttered with instructions, 
I believe that can also be an impediment to comprehension; after all, we 
don't generally notate every specific gradation in dynamics or tempo. 
Clear notation ought to be simple as well as specific. So I try to 
strike a considered balance. In my judgement, the wide fermata here is 
clear notation and will most likely work with no explanation; at worst 
it will take 5 words of explanation (not 5 minutes), which to me is an 
acceptable tradeoff.

I'll add one final detail to the discussion. I initially said that the 
single moving part had 4 sixteenth notes. In fact, the instrument has a 
dotted eighth and two 32nd notes. For those of you who felt that seeing 
four 16th rests with fermatas was fine, does this change your opinion? 
Personally, even if I were inclined to use the fermatas with the 16ths, 
the thought of dotted 8th and two 32nd rests with fermatas feels very 
different.

By the way, I will easily grant Dennis's point that in contemporary 
music the individual rests with fermatas might well be the better 
solution, regardless of the note values. But that is not the style I'm 
working in.

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/10/2012 12:31 PM, Robert Patterson wrote:
 I always use George Crumb style fermatas in these situations, which as it
 happens are much easier to create. (You can do it with the custom line
 tool.) But that's not what you asked for.

That would be a fallback solution. I think it's a little out of place in 
the particular style of piece I'm currently engraving, but I'm sure the 
players would understand it.

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/11/2012 11:20 AM, Christopher Smith wrote:
 Does the passage actually sound like a dotted eighth and two 
 sixteenths once every note has a fermata on it? I wouldn't think so. 
 Why not use notation that reflects the actual sound?

Because I didn't write the piece.

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/11/2012 1:02 PM, Darcy James Argue wrote:
 I agree emphatically with everything Chris says here. Unless the notes are 
 all seriously elongated, and detached (the player breathes between each 
 note), a fermata on each note seems like overkill.

Yes, I agree.

 And if the notes are meant to be connected, played as a single melodic 
 phrase, conducting each note also seems like overkill -- or as Chris said, 
 control freak territory.

Not when you're accompanying dance.

 Aaron, I know you are for some reason somewhat attached to this wide 
 fermatta idea, but if the responses on this list are any indication, hardly 
 anyone likes it or thinks it's a good solution.

I can appreciate that. I haven't changed my mind, though.

 Or you could just cuing the moving part in all the resting parts, which is 
 probably the most unambiguous option.

Yes, that's a very good idea, and something I thought about earlier 
today. It would make things clearer, although I'm not sure it's needed.

I do find this a very interesting discussion, but I'd also like to point 
out that my original question was just how to accomplish this in FInale, 
not what the best notation would be. g

Thanks,
Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/11/2012 9:29 PM, Raymond Horton wrote:
 Yeah, but this is what we do here:

 Q: How do I do THIS?
 A: No, no, no!  HERE's what you should do: ...

Oh, I'm not complaining. As I said, a very interesting discussion. The 
only thing that's missing is the voice of the late David Fenton, who I 
feel certain would have had a strong opinion on the topic.

Aaron.
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[Finale] Wide fermata

[Aaron Sherber]

Hi all,

Does anyone have any ideas for putting a wide fermata in Finale?

Example of use: All instruments have a fermata on a quarter note, except 
for one instrument which has 4 sixteenths on that beat. Each sixteenth 
is meant to be elongated, and in this particular case will be dictated 
by the conductor, but a fermata over each sixteenth is too fussy and 
also makes each note seem longer than it should be. What I want is a 
single stretched fermata that can go in this instrument over all 4 
sixteenths.

I've played around with some shape expressions, but nothing 
satisfactory. The closest I've gotten so far is a Maestro fermata I 
converted to outlines in Illustrator, stretched, saved as a TIF, and 
placed as a graphic. But since graphic placement is by EVPU, not EDU, 
these require adjustment each time layout changes a little.

Anybody have something pre-made? Is there a third-party font that 
includes a set of these?

Thanks,
Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/10/2012 10:57 AM, SN jef chippewa wrote:
   but i think molto rit. --
 or, better, molto ritenuto -- might better convey what you want.

I considered that. But an old teacher of mine used to say that one 
should take into account those who are not playing as much as those who 
are playing. For those who are not playing in that bar, or who have just 
a quarter note on the beat in question, molto rit implies that the beat 
continues in some fashion, and the left hand cues to the one moving 
instrument will confuse the matter. A fermata on that beat clearly tells 
the player that we're going to pause here a moment until the conductor's 
baton gives the next beat.

Thanks,
Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/10/2012 11:42 AM, Darcy James Argue wrote:
 My solution would be molto rit with a fermatta on the last sixteenth for 
 everyone (so players not playing would have a dotted eight rest followed by a 
 sixteenth rest w/fermatta. That is fairly standard and unambiguous.

You're right -- absolutely correct and clear -- but again a little 
fussier than I like to see on the page.

I know from experience that the notation I'm after works fine. My 
question is really just about the easiest way to get a wide fermata in 
Finale.

Thanks,
Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/10/2012 12:17 PM, Robert Patterson wrote:
 It seems like you could make one in the Shape Designer without too much
 trouble (using the slur tool and a dot).

The slur tool isn't as thick as I'd like. On the forums, someone did 
this by stacking several slurs in the shape designer with slightly 
different curvature.

Aaron.
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Re: [Finale] Wide fermata

[Aaron Sherber]

On 2/10/2012 12:20 PM, John Howell wrote:
 And unless you know that you are writing for
 musicians who are familiar with new notational
 conventions, I would urge you NOT to invent new
 signs, or new meanings for old and understood
 sings, which then have to be explained in text.
 If I came across Aaron's wide fermata I would
 have no idea at all how to interpret it, but I
 would NOT interpret it as he means it.

Hmm. I take your point, John, but I'm quite sure that I'm not inventing 
this notation and that I've seen it in other scores. I want to say it 
was in vocal music, where the voice has a few melismatic notes over a 
held note in the accompaniment. That would be a situation very similar 
to the one I have, except that the vocal notes weren't dictated.

Aaron.
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Re: [Finale] Fin11 percussion - repost

[Aaron Sherber]

On 2/7/2012 9:52 AM, Mark McCarron wrote:
 I'm assuming you are using the change octave keys K,I,and

They have no effect on this issue. Finale seems to treat the percussion 
staff as a treble staff for the purposes of percussion entry, so the 
bottom line is E4. If I try hitting E3 (regardless of how the octaves 
are mapped on my keyboard), then the cursor just keeps cycling through 
all of the mapped pitches on the staff (always moving downwards, then 
jumping back to the top), since no percussion pitch is mapped to E3.

Aaron.
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Re: [Finale] Fin11 percussion - repost

[Aaron Sherber]

On 2/7/2012 12:11 PM, Mark McCarron wrote:
 I haven't tried this but simple entry might work.

Thanks, but I'm not interested in Simple Entry. I have always used 
Speedy with my computer keyboard, and according to the Finale docs, this 
method is supposed to work.

Aaron.
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Re: [Finale] Fin11 percussion - repost

[Aaron Sherber]

On 2/7/2012 3:50 PM, Dean M. Estabrook wrote:
 Huh ... I'll be damned  I always considered it a bass staff for
 no particular reason ...

In past versions, there were bass clef and treble clef entry maps. But 
now that you can no longer specify an input pitch separate from a 
display position (at least not easily), these don't exist.

Aaron.
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Re: [Finale] Fin11 percussion - repost

[Aaron Sherber]

On 2/6/2012 11:52 AM, Mark McCarron wrote:
 when using speedy entry. You can engage the caps lock key and have the cursor 
 jump from pitch to pitch using the qwerty keyboard. this might help?

That's exactly the entry method I always use -- the 3-octave computer 
keyboard. My point is that it doesn't work for percussion entry in 
Fin11/12. Typing a pitch higher or lower than the pitch I'm currently on 
acts as if I hit the up or down arrow key -- the cursor jumps to the 
next higher or lower defined percussion note, not the specific pitch I 
typed.

Aaron.
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Re: [Finale] Fin11 percussion - repost

[Aaron Sherber]

Hi all,

I wanted to follow up on this for the list's benefit, now that I've 
played with it for a while. I tried following the instructions in the 
post Jonathan sent, but I couldn't really get it working. Though I do 
see the logic of what's going on.

On the other hand, I did finally get things working to my satisfaction, 
for my setup. In reading this, keep in mind that I do Speedy with the 
computer keyboard in 3-octave mode, so things I say here may not apply 
to other entry methods.

In the past, percussion maps let you specify what pitch you wanted to 
input, what pitch you wanted output, and where on the staff you wanted 
this instrument to display. In Fin11, by default the input pitch is the 
same as the staff display, so if you have an instrument set up to 
display on the third line of the staff, you would enter B4 to trigger 
this instrument (regardless of the instrument -- you can still define 
the playback instrument to be whatever you want). For me, this is 
perfect, since it's the setup I always want. In the past, I was always 
having to manually define the input pitch to match the staff display, so 
this is easier. (I think Jonathan's method may be designed for the case 
when you *don't* want input and display to be the same, so that you 
could have, for example, 5 adjacent keys on your MIDI keyboard 
triggering 5 different sounds which display on the 5 staff lines.)

Another benefit is that in the past, during Speedy, the instrument that 
sounded during note entry corresponded to the MIDI in pitch I was 
playing, not the MIDI out pitch I had mapped. So I could be entering 
snare and toms but hearing whistles and guiros during input; it was only 
on playback that the map was applied and I got the right sounds. Now I 
hear the correct sounds during input. Another plus.

The drawback -- and I think it's a pretty big one -- is that there is a 
bug related to my form of Speedy. In the piece I'm working on now, I've 
got 5 percussion instruments displaying on the 5 staff lines, so the 
input pitches I hit to get them are E4, G4, B4, D5, and F5. If I'm 
moving among adjacent lines, there's no problem. But if I've just 
entered a note on the top line and my next note is on the bottom line, 
hitting E4 only moves me down one line at a time -- I have to hit the 
key 4 times before I'm finally on the right line. In other words, 
entering a pitch higher or lower than my current location acts as though 
I've pressed the up or down arrow key, although the cursor will 
eventually come to rest on the desired staff location.

There are some more nuances to this bug, and I'll take it up with support.

Aaron.



On 1/23/2012 1:32 PM, Jonathan Smith wrote:
 Hi Aaron,

 This is a minefield, but I found a post on the Makemusic website last year 
 that helped me a lot in solving the problem but it is not easy!

 Jonathan


 Here is the post:

 All this assumes that you're able to get your MIDI sounds loaded and you can 
 trigger the sounds via a MIDI keyboard/controller. Make sure you're 
 controller is on the sounds you're wanting to assign. This will help tons.

 Also, I don't know if this is always the case, but I've found that you need 
 to do all of this BEFORE you enter any notes. I don't know, that's just how 
 it seems to work for me.

 Anyway...

 *breath deep*

 1—go to MIDI/AUDIO
 2—DEVICE SETUP
 3—EDIT PERCUSSION MIDI MAPS

 Once you're here, you're wanting to create your own map so:
 4—choose NEW and give it a title, like myMidiMaps or anything
 5—now you need to give the map you're creating a name (easyOrchestral, for 
 example)

 Now:
 6—click on SELECT A NOTE TYPE TO ADD...
 7—choose your instrument label, let's say SNARE DRUM
 8—now press the ADD NOTE TYPE button (an unnecessary step in my opinion)

 Once this is placed in the box, you now need to assign what note on your 
 keyboard this is getting assigned to. Start pushing keys on your MIDI 
 keyboard/controller until you come to the sound you're wanting to use. You 
 should've noticed that under the MIDI NOTE column, the number was changing. 
 This is the specific MIDI note that you're going to trigger with this label.

 Repeat steps 6—8 for your other sounds. Be sure to pay attention to what 
 you're labeling them (what's going into the NOTE TYPE column. You'll need to 
 use this later.

 When you get all your sounds assigned a label, corresponding to a MIDI NOTE, 
 press OK.

 Now:
 9—click on the STAFF TOOL
 10—click on the staff you're wanting to assign your map to open up the STAFF 
 ATTRIBUTES dialogue box
 11—for NOTATION STYLE, choose PERCUSSION
 12—click on SELECT next to PERCUSSION
 13—in the PERCUSSION LAYOUT SELECTION dialogue box, click on CREATE...
 14—give this a name in the LAYOUT NAME box (trioPercussion for example)
 15—click on the plus sign ( + ) at the lower left of the box

 16—over on the right you see NOTE TYPE, click on this and choose one of the 
 labels you gave your instrument back in step 7. It needs to be the 

Re: [Finale] Changing patches in the new Finale 2012 world

[Aaron Sherber]

Hi Darcy,

I'm guessing that Robert is talking about Spacebar-click playback. If 
you hold down the spacebar and click a measure, playback will start 
there, but without Human Playback. There's also Ctrl-spacebar scrubbing 
playback, which lets you play back a section forwards or backwards as 
you drag your mouse across it. Unfortunately, there's a longstanding bug 
in scrubbing playback which often causes Finale to play back the first 
chord of a piece as you drag over a barline.

Aaron.
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Re: [Finale] Changing patches in the new Finale 2012 world

[Aaron Sherber]

On 1/30/2012 1:45 PM, Robert Patterson wrote:
 With the playback controls open, when I hit space playback starts where the
 playback window thinks it should start, not where I click.

Not for me in Windows -- spacebar playback works as it always has, with 
or without the playback window open.

Aaron.
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[Finale] Fin11 percussion - repost

[Aaron Sherber]

Hi all,

I posted these queries a couple of weeks ago and got no suggestions. I'm 
hoping that was just because it was a weekend, so I'm trying again. g

1. This is my first time using the Finale Garritan instruments, and I'm 
a little confused by the percussion maps. I take it that we're supposed 
to use the Orchestral Percussion map, but that doesn't include entries 
for side drum or for several of the susp. cymbal options. Does anyone 
have any suggestions for easy ways to add all of the instruments 
available in Basic Orchestral Percussion? Or is there a pre-built map 
that I'm missing?

2. I always enter music in Speedy, using the 3-octave computer keyboard. 
It used to be that in percussion maps you could specify not only what 
sound you wanted (i.e., MIDI out) and where you wanted that instrument 
to display on the staff, but also what MIDI note you wanted to play to 
get that pitch (i.e., MIDI in). So I could tell Finale that I wanted to 
play treble clef third line to get a snare drum, and the map would place 
that on the third line (or somewhere else) and output the GM midi note 
to get a snare.

In Fin2011, it looks like you can no longer specify the MIDI in pitch. 
You just tell the map I want a snare sound, and I want it to display 
here. But now it's not clear what I need to enter to produce that snare 
sound. The help file says I can do percussion entry using all the usual 
tools of Speedy Entry, but that doesn't seem to be true. I can cursor up 
and cursor down, and the Speedy frame now helpfully tells me what sound 
will result, but it appears that I can no longer type a specify pitch 
(again, using the old-style 3-octave Speedy) to get a certain note. In 
fact, if I repeatedly press the same pitch, the Speedy cursor appears to 
cycle through all of the available percussion notes in the map. Am I 
missing something here?

Thanks,
Aaron.
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Re: [Finale] Fin11 percussion - repost

[Aaron Sherber]

On 1/23/2012 1:32 PM, Jonathan Smith wrote:
 1—go to MIDI/AUDIO
 2—DEVICE SETUP
 3—EDIT PERCUSSION MIDI MAPS

Oh, interesting. I've never seen that dialog before, but this all looks 
like the stuff that used to be in the percussion map designer. I'll have 
to pour myself a drink and try to work through all of this.

Thanks,
Aaron.
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Re: [Finale] Fin11 percussion - repost

[Aaron Sherber]

Hi Darcy,

 I saw your original question but I can't help because I never use the 
 computer-keyboard Speedy method. This method has also been deprecated by 
 MakeMusic so it's possibly it's not compatible with the new percussion entry 
 method.

I wouldn't say deprecated, just that it's no longer MM's preferred 
entry method. g It is still my preferred entry method though, and the 
Finale help files do say that we can still use it with percussion.

Jonathan Smith's post included references to a couple of dialogs I'd 
never seen which look promising in terms of at least some of the 
functionality which is no longer in the percussion map dialog. I'm going 
to play with that for a while before I try getting a useful response out 
of MM support.

Thanks,
Aaron.
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Re: [Finale] Fin2012: edit Maestro Font template

[Aaron Sherber]

On 1/9/2012 1:36 PM, David H. Bailey wrote:
 On Windows machines it's in
 C:\Users\[yourname]\App\Roaming\MakeMusic\Finale2012[or Finale2011 for
 that version]\Music Files\Default Files

Easy shortcut for Windows users: Open up an Explorer window 
(double-click on My Computer, or type Win+E, or whatever your favorite 
method is), and in the address bar type %appdata% and hit return. This 
will take you to whatever directory is used for holding almost all of 
your per-user settings files. Works on XP, Vista, and Windows 7. 
(Probably works on older versions as well.)

Inside this directory, you can then look for the directory with the name 
of your software or the software's company (like MakeMusic).

Aaron.
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[Finale] Fin2011 and Finale Garritan Percussion

[Aaron Sherber]

Hi all,

This is my first time using the Finale Garritan instruments, and I'm a 
little confused by the percussion maps. I take it that we're supposed to 
use the Orchestral Percussion map, but that doesn't include entries for 
side drum or for several of the susp. cymbal options. Does anyone have 
any suggestions for easy ways to add all of the instruments available in 
Basic Orchestral Percussion? Or is there a pre-built map that I'm missing?

Thanks,
Aaron.


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[Finale] More on percusison in Fin11

[Aaron Sherber]

Hi all,

So now that I think about it, this is my first time doing *any* 
percussion in 2011, though I've done a fair bit in previous versions.

I always enter music in Speedy, using the computer keyboard. It used to 
be that in percussion maps you could specify not only what sound you 
wanted (i.e., MIDI out) and where you wanted that instrument to display 
on the staff, but also what MIDI note you wanted to play to get that 
pitch (i.e., MIDI in). So I could tell Finale that I wanted to play 
treble clef third line to get a snare drum, and the map would place that 
on the third line (or somewhere else) and output the GM midi note to get 
a snare.

In Fin2011, it looks like you can no longer specify the MIDI in pitch. 
You just tell the map I want a snare sound, and I want it to display 
here. But now it's not clear what I need to enter to produce that snare 
sound. The help file says I can do percussion entry using all the usual 
tools of Speedy Entry, but that doesn't seem to be true. I can cursor up 
and cursor down, and the Speedy frame now helpfully tells me what sound 
will result, but it appears that I can no longer type a specify pitch 
(again, using the old-style 3-octave Speedy) to get a certain note. In 
fact, if I repeatedly press the same pitch, the Speedy cursor appears to 
cycle through all of the available percussion notes in the map.

Am I missing something here? I admit to feeling thwarted not just by the 
program, but by the help file as well; I can usually find what I need in 
there, if it's not a paradigm of organization. I'd be grateful for a few 
pointers, or even a suggestion of where to look in the help.

Thanks,
Aaron.
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Re: [Finale] Upgrade from Fin08 to Fin12

[Aaron Sherber]

On 12/28/2011 11:15 PM, Robert Patterson wrote:
 Thanks Aaron. In my (limited) experience, the magnifiers affect only the
 cell size, not the % size of the content. (Boo.)

Well, if the content had been downsized to fit in the cell, the 
magnifier will expand the content by making the cell bigger. It is true 
that there is no way to make the content larger than actual size.

 I see the description text now that you've told me where to look, but it is
 of limited value since it does not display in the grid.

Yes, I agree. Personally, I find categories very useful, but the UI of 
that dialog was not well thought out.

Aaron.
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Re: [Finale] Upgrade from Fin08 to Fin12

[Aaron Sherber]

On 12/29/2011 10:22 AM, Jari Williamsson wrote:
 I would NOT want all the description texts clutter the grid view.

But it would be nice as an option, for those who prefer the old 
single-column view with descriptions.

Aaron.
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Re: [Finale] Upgrade from Fin08 to Fin12

[Aaron Sherber]

On 12/28/2011 9:14 PM, Robert Patterson wrote:
 Hello all. I have decided to upgrade to Fin12 from Fin08. What's the most
 intelligent way to go about converting my default settings?

I used to just open one of my old templates and save with the new 
version, but for the past few years I have bowed to the collective 
wisdom -- I start with one of the new templates and copy over my default 
settings. I often use your Settings Scrapbook for this. It's possible 
that you have many more things customized than I do (like 
artic/expression placement, etc.) and that this method may not be the 
best for you; my customizations are mostly things like spacing, fonts, 
slur settings, etc. which your plugin transfers quite well.


 1. Show expressions in order created (as in every Fin version before Fin09)

I don't think so, but you can use the arrow keys on the right hand side 
of the dialog to position things where you want them. Time consuming. It 
would be nice if there were an option to sort by creation time or 
alphabetically (as in TGTools Expression Browser, which I still use 
extensively).

 2. Change the % size they appear in

I think the expressions always appear either at actual size, or shrunk 
to fit the box. You can make the boxes bigger by expanding the dialog, 
or by clicking the + magnifying glass icon. (Technically, the mag glass 
icons affect the number of columns in the dialog.)

 3. Display the description text

Works for me -- the description text appears below the expression grid 
and above the various buttons. It's easy to miss, though.

Aaron.
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Re: [Finale] Finale 2012a update

[Aaron Sherber]

On 12/22/2011 7:09 PM, Lawrence Yates wrote:
 Is the update just for the Mac?  I've got Winfin2012 and when it did it's
 update check it said I had the latest version.

It's Windows as well, but I think it's not yet available through the 
auto update mechanism. You can download it from the web site.

Aaron.
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Re: [Finale] Beginner's woes

[Aaron Sherber]

On 12/14/2011 6:24 PM, Lawrence Yates wrote:
 Thanks, but I need to save separate files from which I will both print
 parts and save to pdf.

You can do this from linked parts as well.

 I cannot believe that Finale would produce parts without the part name on
 them.

You need to create a text box on your score, and in the text box use the 
text insert which says Score/Part Name. Now if you look at your parts, 
they will automatically have the correct name.

Aaron.
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Re: [Finale] Beginner's woes

[Aaron Sherber]

On 12/14/2011 6:37 PM, Lawrence Yates wrote:
 Just done that but when I try to add in Bb or in C after it, it
 disappears and I have to start again.

Well, like any text insert, if you're adding text you have to make sure 
your cursor is after the insert -- otherwise you're going to overwrite 
it. Also, this is going to cause problems with linked parts, because the 
parts are all sharing the same text box -- they can't have different 
text. The only way this will work is if you have the text box with just 
the insert, then you extract parts, then add the 'in C' to the extracted 
parts.

Aaron.
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Re: [Finale] Beginner's woes

[Aaron Sherber]

On 12/14/2011 6:49 PM, John Blane wrote:
 No - you can specify the part label as you you want it (and different from 
 the Staff Name) from the Mange Parts window.

Ah, yes, right.

Aaron.
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Re: [Finale] Beginner's woes

[Aaron Sherber]

On 12/14/2011 6:49 PM, Lawrence Yates wrote:
 that's exactly what I'm trying to do.  The cursor is after the text block.
 I can put what I like after the title, but not after the part name.

Did you try making the text block wider?

Aaron.
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Re: [Finale] Beginner's woes

[Aaron Sherber]

On 12/14/2011 7:04 PM, Lawrence Yates wrote:
 I've just thought of what it might be - the stuff I'm doing is based on
 earlier files made in Fin2006 so it may be something in the conversion
 process.

 From what you've described, this is unlikely.

Aaron.
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Re: [Finale] Beginner's woes

[Aaron Sherber]

On 12/14/2011 6:31 PM, TXSTNR POP account wrote:
 I just tried extracting a part in Fin (Mac) 2012.  It looks exactly the same 
 as the linked part, so yes, you must be doing something wrong.

Just for reference, they look the same because they /are/ the same. Even 
if you choose not to use linked parts, when you extract parts Finale 
creates linked parts behind the scenes and then saves the linked part as 
a separate file.

Aaron.
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Re: [Finale] courtesy accidentals

[Aaron Sherber]

Noel Stoutenburg wrote:
 courtesy accidentals) I do press the P key. However, in some
 circumstances the cursor has to be on the pitch of the note on which I'm
 placing the courtesy accidental.

That would be if you've got a chord. If you only have one note, the 
cursor can be vertically anywhere, as long as you're on the right beat. 
With a chord, if the cursor is on one of the chord tones, * puts an 
accidental on just that note; otherwise, it puts accidentals on all 
notes in the chord.

Aaron.
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Re: [Finale] measufre number panic

[Aaron Sherber]

On 11/30/2011 6:17 PM, Linda Worsley wrote:
 I accidentally deleted a page number on a TERRIBLY HARD score, and all the
 page numbers disappeared.  Agghh.  And I can't find a way to get them
 back.

Doesn't Undo help?

Aaron.
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Re: [Finale] moving among individual chord tones without the mouse

[Aaron Sherber]

On 11/28/2011 11:08 PM, the unnamable wrote:
 Say, for instance, I have a simple three note triad  C E G (all in one
 layer, all the same note value)  and only the C root is highlighted. I'm
 looking for a way on the computer keyboard to navigate to the upper voices
 to eliminate the tedium involved in selecting it with the mouse

On Windows, assuming you're in Simple Entry in a recent version of 
Finale, hold down Ctrl and press the up or down arrow keys.

Aaron.
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Re: [Finale] Font issue WinFin2011/12 and Win7

[Aaron Sherber]

Hi all,

I believe I've confirmed that this is a bug in Finale, not a problem 
with Windows or my font.

First, I'm seeing the same behavior with Windows-supplied fonts like 
Arial Narrow and Franklin Gothic Heavy. They both show up as substyles 
under their main font name, but when I select them for a text block in 
Finale, Finale displays the regular text style.

Second, I built a quick C# test application which uses the standard 
Windows font dialog. The fonts do still show up there as substyles, but 
when I select them the change gets correctly passed back to a label on 
the form. This indicates to me that Finale is mishandling what the 
Character Settings dialog hands back to it.

Aaron.
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Re: [Finale] Font issue WinFin2011/12 and Win7

[Aaron Sherber]

On 11/13/2011 10:48 AM, Chuck Israels wrote:
 This is a cross platform issue.  (I am on a Mac.)

Chuck, thanks for your email, but you're describing something different 
from my issue. What you're talking about sounds like the work that was 
done in Finale 2012 to support Unicode, and has to do with individual 
characters within fonts. My issue is visible in Fin11 as well as Fin12, 
but it only popped up when I moved to Windows 7 from WinXP; it has to do 
with font selection, not individual characters.

Thanks,
Aaron.
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[Finale] Font issue WinFin2011/12 and Win7

[Aaron Sherber]

Hi all,

I moved recently from WinXP 32-bit to Win7 64-bit, and I'm having a 
killer of a font problem in Finale. Wanted to see if anyone had 
experienced anything similar.

My usual text face is a family called Minion. I have a full set of this 
in TrueType from several years ago. In addition to the usual 
reg/semibold/italic/semibold italic, it has a separate bold/bold italic 
and also a black weight. In Fin11 under WinXP, these showed up 
separately under the font menu -- that is, Minion itself showed the 
usual varieties, but there were separate entries for Minion Bold and 
Minion Black.

In Fin11 under Win7, this all works fine in the font dropdown in the 
Expression Designer. But in the Character Settings dialog for the text 
tool, there is a single main entry for Minion with the various styles 
listed to the right. When I select Black, the preview sample looks 
correct, but when I hit OK, the text appears in regular Minion. And when 
I go back to Character Settings, Regular is selected. This essentially 
means that I can't set any text to Minion Black, which I usually use for 
titles.

Two other data points: If I open in Fin11 an existing document with text 
in Minion Black, the document displays correctly, and if I open up 
Character Settings, Black is selected. But if I then hit OK, the text 
reverts to Minion Regular. And second, other apps in Win7 (like Word 
2010) behave as expected, with a separate listing for Minion Black.

Anybody else having issues with deep type families with Finale and Win7?

Thanks,
Aaron.
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Re: [Finale] Right-left page annoyance

[Aaron Sherber]

On 10/21/2011 11:35 AM, Jamin Hoffman wrote:
 Maybe I'm spoiled because Sibelius does this automatically - but how
 can I get Finale to do this? CAN I get Finale to do this?

Have you tried inserting a blank page at the beginning of each part? I 
think that should do it. For screen display, Finale always assumes that 
the first page is RH, regardless of the number. This makes sense for 
printing as well.

Aaron.
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Re: [Finale] Finale 2012 released

[Aaron Sherber]

On 10/7/2011 11:14 AM, Colin Broom wrote:
 Are there screenshots anywhere on the website of the GUI? Is it
 essentially the same setup?

Yes, the interface looks essentially the same as past versions.

Aaron.

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