At 05:51 PM 07/12/2005, Andrew Stiller wrote:
>Trying to exercise control of such utterances after they leave one's
>mouth or keyboard is like nothing so much as saving one's hair and
>nail clippings. And getting indignant at what the barber does with
>them w.o your permission.
Funny you should
At 01:01 PM 7/12/2005, Simon Troup wrote:
>It's the distribution of email addresses that I object to.
See, nobody has yet responded to that part of my posts. Anyone in the
world can subscribe to this list and then get a list of the
subscribers with no trouble at all. So the idea that all of our
At 02:56 PM 7/12/2005, David W. Fenton wrote:
>And that's how I discovered this. The point is that posts that I've
>made for one audience (you subscribers to this list) are being made
>available to everyone in the world,
But David, they've *always* been available to everyone in the world.
Anyone
At 01:22 PM 7/12/2005, Dennis Bathory-Kitsz wrote:
>The point of a private list is precisely that
I believe, as has been pointed out before, that to Mailman the words
"private list" mean something different from how you mean it. As the
list page says, "This is a private list, which means that
At 03:04 PM 7/12/2005, Simon Troup wrote:
>Oh hello, what's this then?
>
>http://www.opensubscriber.com/message/email/1476456.html
It's exactly what it says: it's an image of your email address, which
is not harvestable by bots in that form. This is not what most of us
would call "readily avai
At 07:28 AM 7/12/2005, Dennis Bathory-Kitsz wrote:
>This is not about my email address. This is about my content. I did not
>expect a public archive, or else I'd be posting to the web forum. The
>extent of the 'contract' for posting is on the list info site, and nowhere
>is a public presentation o
At 10:56 PM 7/11/2005, Dennis Bathory-Kitsz wrote:
>Not I. I subscribed to a private list. If this were a Yahoo group, that
>would be a different story.
I'm not sure what the distinction is here. Anyone in the world can
currently join this list. Once they join, they can in 5 minutes
download th
At 09:15 PM 7/11/2005, David W. Fenton wrote:
>http://www.opensubscriber.com/messages/finale@shsu.edu/416.html
>
>Isn't there something illegal or unethical about this?
There's some other message archive subscribed as well. Frankly, as
long as SHSU isn't providing a proper searchable archive of
At 10:49 PM 7/6/2005, Darcy James Argue wrote:
>Um, what? Where is the option to have Finale automatically check for
>maintenance upgrades?
It's not automatic, but WinFin04 has Help | Finale Updates. This just
takes you to the website, which isn't quite the same as automatic
update checks.
A
At 03:41 PM 07/06/2005, Darcy James Argue wrote:
> Translucent palettes (or "tool windows" as Sibelius calls them)
Okay, so I know this a really minor gripe in the
scheme of things. But most of the Sibelius
palettes and menu bars and so forth are
hard-coded with a grey background (on Win,
At 01:28 PM 07/06/2005, Eric Dannewitz wrote:
>Because the name, SPECIAL PART EXTRACTION means, to me, it's going to be
>UNLINKED from the score. Hence the name, extraction.
Erm, in current Speical Part Extraction in Finale, nothing is
unlinked. Any changes you make in Special Part Extraction ar
At 01:05 PM 07/06/2005, Andrew Stiller wrote:
>Part view is something you (not me, I never use it) use before the
>actual parts are extracted. Any dynamic linkage feature that I can ever
>conceive using would be applicable to parts that have *already been
>extracted and edited* and are therefore i
At 12:19 PM 07/06/2005, Andrew Stiller wrote:
>Of all the long list of proposed features that follows, I'm not at all
>sure I feel a need for *any* of them. Darcy is asking for a profusion
>of new dialog boxes and windows, whereas I would have thought it
>obvious that any dynamic parts linking
At 07:52 AM 07/06/2005, Cecil Rigby wrote:
>OK, everyone- slap me if I missed something.
Okay...SLAP!
> There are 25 background
>pictures available in Fin'03 And if you wanna make your own, do it
>and put it in the resources folder
Those get applied *behind* the music paper, in pag
At 10:13 PM 06/29/2005, David W. Fenton wrote:
>On 29 Jun 2005 at 18:57, Chuck Israels wrote:
>
>> On Jun 29, 2005, at 6:45 PM, David W. Fenton wrote:
>>
>> > (the "I want to live in America" effect
>>
>> I don't remember how Bernstein wrote this, but I'd write it with one
>> combined time signatu
At 09:28 PM 06/29/2005, Raymond Horton wrote:
>I just wasn't certain, in 6/4, whether five beats rest should generally
>be a dotted half plus two quarters or a dotted half plus a half. The
>latter is easy to read, but I suspect that Johannes is indeed on target
>with his asstertion that the forme
At 03:32 PM 06/29/2005, Christopher Smith wrote:
>This is why I like modern time signatures like
>
>3+2
>Q.
>
>(that's 3+2 over a dotted quarter)
>
>for 10/8.
I've read this over a couple of times, and I still don't get it.
Wouldn't that be 3 dotted quarters + 2 dotted quarters, or 5 dotted
qua
At 12:58 PM 06/29/2005, David W. Fenton wrote:
>Why would anyone use a 6 for 3 beats?
Because if you have a section in quarter notes that's going back and
forth between 4, 5, and 6 beats to the bar (for example), intermixing
4/4, 5/4, and then 3/2 can look confusing to the player. 6/4 makes it
At 10:58 AM 06/25/2005, dhbailey wrote:
>Garritan Personal Orchestra is supported, but only in WindowsXP (plus
>Mac, of course).
I'd love to know why this supported in XP but not 2000.
Aaron.
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At 09:28 AM 06/24/2005, Giovanni Andreani wrote:
I was wondering if there's a plugin that automatically doubles a melodic
>line one octave higher or lower in the same staff.
No plugin needed -- Finale will do this for you.
Select the measures with the Mass Edit tool. Then select Mass Edit |
T
At 09:56 AM 06/23/2005, Robert Patterson wrote:
> I am extremely concerned that we may have seen the virtual end of
>notation-related enhancements for a long while.
Well put, Robert. This is my concern as well -- and under 'enhancements' I
would include bug fixes as well as new features.
One
Looks like they've continued their practice of adding features from
existing third-party plugins. Engraver Copy & Paste looks a lot like Robert
Patterson's Mass Copy (though not as useful), and Auto Page Resize looks
like it might be related to his Page Mover. And Score System Divider is one
of
At 04:20 PM 06/22/2005, Christopher Smith wrote:
>They mention July 2005. I just got the email notice now. But when I
>tried to pre-order, Firefox kept telling me that the document contained
>no data.
Yeah, Firefox doesn't seem to like a lot of those new pages.
Hey, Coda, if anyone is reading t
At 09:13 AM 06/19/2005, Richard Yates wrote:
>In Speedy Entry press Ctrl-3 then then enter three eighth notes. Go back and
>add a dot to the second and change the third to a sixteenth.
It's even easier than that. Just press Ctrl-3 and enter your eighth note,
dotted eighth note, and sixteenth no
At 01:30 AM 06/19/2005, Rocky Road wrote:
>StaffClefPitchesEasy
This one of the tremendously useful freeware fonts made available by
Matthew Hindson (hindson.com.au). Some of these are designed to be used
with Finale; others (like this one) are designed for any word processing or
DTP applicati
At 01:43 PM 06/13/2005, [EMAIL PROTECTED] wrote:
>I've had two suggestions - conncect the two machines via ethernet, or buy a
>pen drive.
If both machines are connected to the Internet, then either email the files
to yourself, or put them on an FTP site and retrieve them.
But a pen drive (by
At 12:34 PM 06/13/2005, Gerry Kirk wrote:
>A composition I'm engraving calls for accents with tenuto marks above
>(and below) numerous notes. Is there a way to create a single
>articulation, or combine those two articulations, rather than
>entering each separately?
You mean the symbol that looks
At 03:51 AM 06/10/2005, [EMAIL PROTECTED] wrote:
>studies are in their early stages. Developers at WWDC are being
>given "loner G5's"
I had to read this a couple of times -- you mean "loaner", yes? I hate to
think of a bunch of computers, each nursing their own whiskey at the end of
a bar so
At 08:31 AM 06/08/2005, RegoR wrote:
>2 why is it that if, in program option, the default document ONE sets is
>different than maestro, the Wizard does NOT see that document, and creates
>any any new file by using the Finale default of Maestro Font Default.FTM ?
>Whereas if one asks for the "def
At 11:38 AM 06/07/2005, Lee Actor wrote:
>Check continuous controller 7, which is volume, and make sure that both
>staves are set to the same value.
Yes, that did the trick. Thanks to all for other suggestions as well.
Aaron.
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Hi all,
I have MIDI file of a piano piece which I have opened up in Finale (Win
2004) and am now cleaning up. My problem is that the r.h. is playing back
much softer than the l.h.
The piece has absolutely no expressions or articulations in it. I don't
have much experience with the MIDI tool,
At 07:36 AM 05/31/2005, Dennis Bathory-Kitsz wrote:
>Just got 2K5 recently, and I've been reading the manual (yeah, I'm a
>compulsive RTFM guy). Where is Finale script documented? There's nothing in
>the manual.
Isn't it the same as 2k4? There's a FinaleScript section in chapter 9 that
talks abo
At 11:35 AM 05/15/2005, Rich Caldwell wrote:
>Maybe it isn't in all versions? FinMac 2005b here.
>
>Document Options ---> Flags ---> Flag Type [right at the top]
Ah -- your earlier post said Doc Options | BEAMS.
If you look at the help file for this screen, you'll see that 'Use Straight
Flags' on
At 10:54 AM 05/15/2005, Rich Caldwell wrote:
>Shouldn't DocOpts>Beams>Use Straight Flags do this? I tried it, but
>Maestro and Engraver don't seem to have straight flags.
Where do you see such an option? Are you referring to "Flatten all beams"?
That is something different entirely -- it forces a
At 10:35 AM 05/15/2005, Andrew Stiller wrote:
>Windows were *glacially* slow to load. As for the possibility that
>these problems might have been remotely based--well, let's just say I
>don't believe in coincidences.
Do you by chance use a proxy server? I have noticed that Firefox on Windows
loads
And you thought composing in Finale could be difficult:
http://www.ded.kiev.ua/mus.swf
Aaron.
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At 04:09 PM 5/6/2005, shirling & neueweise wrote:
>same in the shape designer). metatool-assign expression twice.
>create new shape expression -> edit -> select. oh look the first
>shape i created is duplicated! this is slated to be fixed...
I thought this was intentional, and actually has adv
At 09:45 PM 5/5/2005, John McGann/Original Custom Transcription Service wrote:
>I'd like to have each bar numbered at the bottom of my score, but
>can't figure how to get it just at the bottom- the "Always Show on
>Bottom Staff" makes them appear on the different systems, but not
>just below the ba
At 07:42 PM 05/01/2005, David W. Fenton wrote:
>I've never used staff styles too much, but now that I'm combining
>movements, I need to define one to display the full staff names again
>at the beginning of internal movements. I can't figure out how to do
>it.
What you need to do (or at least what I
At 11:25 PM 04/27/2005, David W. Fenton wrote:
>Does anyone know what the stuck key might have been and how to turn
>it off without rebooting my PC?
This happens to me not infrequently in Finale. I find that by depressing
all of the numeric keypad keys (three at a time: 789, etc.), I can get it
At 05:13 PM 04/25/2005, Jacki Barineau wrote:
>However, when I start up hyperscribe to record, it plays way faster and I
>can't keep up with it! Where do I tell it what speed to play during
>recording??
Select the Hyperscribe tool, then choose Hyperscribe | Beat Source |
Playback and/or Click. Do
At 03:51 AM 04/25/2005, [EMAIL PROTECTED] wrote:
>If I have some kind of text descriptor that needs to go on ALL the extracted
>parts, how do I tell the text tool to do that? Or should I not use that tool?
>
>What if I want the text to only appear on SOME parts, but not all
instruments?
What you'
At 09:15 AM 4/13/2005, A-NO-NE Music wrote:
>Come to think of it, I have always thought they should be dynamically
>linked. Is there any scenario that I don't know when you want Page Setup
>set to one way while Page Layout set to the other?
Sure. I've just been working with a European composer who
At 08:05 AM 03/21/2005, dhbailey wrote:
>What I do is to have a small header in the center of every page of my
>score, which I ensure gets extracted along with the parts. Then it's an
>easy matter to add something like "-- Instrument" to the header that's
>already there.
Yes, now we've come full c
At 06:23 AM 03/21/2005, Jonathan Smith wrote:
>For instrument names on all pages try this:
>
>File Menu - Extract parts - Options - Create Staff or Group names
>
>Here you can specify fonts, positions and which pages ranges you
>require.
The problem with this is that I think many of us like one kin
At 01:46 PM 03/19/2005, Gerry Kirk wrote:
>Whenever I write an arrangement and then create parts via "export," I
>spend (unnecessary?) time tweaking the individual parts. Specifically,
>how do I--
>--have the name of the instrument appear on all pages following p. 1.
I don't believe there's a good
At 12:21 PM 03/19/2005, Christopher Smith wrote:
>OK, I have to ask. What's a Scotch Snap?
Sixteenth - dotted eighth.
Aaron.
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At 06:37 AM 03/19/2005, dhbailey wrote:
>Aaron Sherber wrote:
>> Better: When you point out a wrong note in the (Finale-generated) part
>> and are told, "No, I checked the score, and it's the same note there."
>>
>
>Well, that is a bit more difficult, isn&
At 09:17 PM 03/18/2005, Carl Dershem wrote:
>I'm glad I'm not the only one that pulls their hair out when they run
>across this. "It looks so professional, it MUST be right!" when the
>parts make no sense at all...
Better: When you point out a wrong note in the (Finale-generated) part and
are tol
At 10:03 PM 03/16/2005, Keith Helgesen wrote:
>I never knew about Alt-v-a- Wonderful! I really will find that useful-
>Sure beats pulling down the menu!
>
>How does one locate all these shortcuts, macros etc? (Still on Fin2001 BTW)
These are standard Windows shortcuts. In Windows, in any applicat
At 01:49 PM 03/08/2005, John Roberts wrote:
>But it doesn't seem to help extend the interior end of secondary beams. If I
>have, say, an eighth note beamed to a 16th triplet, with a rest on the first
>note of the triplet - I'd like to extend the interior beam of the triplet to
>cover the rest.
Yes
At 12:06 PM 03/08/2005, John Roberts wrote:
>I don't see a way to extend secondary beams, either independently (eg
>extending a 16th note beam) or in conjunction with the outer beam.
Under Special Tools, select the Beam Extension Tool, and click the measure
in question. Handles appear on beamed no
At 12:39 AM 03/07/2005, Harold Owen wrote:
>Sometimes spacing has become jumbled for some reason or other. If
>"Incorporate" is set, the jumble is likely to persist after a spacing
>command. Then it's a good idea to change to "Clear" and apply spacing
>to the measures again.
This only works if the
At 03:28 AM 03/07/2005, Johannes Gebauer wrote:
>The problem only shows in page view.
Believe it or not, I've had the problem in scroll view as well.
Aaron.
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At 03:14 AM 03/07/2005, Jari Williamsson wrote:
>Aaron Sherber wrote:
>
>> Sometimes I have two identical
>> measures in a row, and Finale spaces one correctly and not the other.
>
>If it's not caused by missing a layout update or some other basic thing,
>you shou
At 03:43 AM 03/07/2005, Johannes Gebauer wrote:
>If you have a file where this is reproducable, you could send it to me
>and I'll check whether it still happens in 2k5 (I haven't seen the
>problem for a while, but I don't have a bug file of it at hand).
Thanks, Johnannes. I haven't got anything at
Hi all,
Every now and then I come upon a measure that Finale just flat out spaces
incorrectly. Most often it's either a short note placed too close to its
neighbor (so that flags collide with things), or accidentals which are
completely ignored in spacing. Sometimes I have two identical measures
At 09:17 AM 02/26/2005, Christopher Smith wrote:
>While I am still a hard-core Speedy person, I am forced to use Simple
>on my laptop when I am away from my desktop computer (MIDI-less Speedy
>without a numeric keypad is rather clumsy, IMHO)
I recently bought a USB numeric keypad for just this reas
At 06:31 AM 02/23/2005, Noel Stoutenburg wrote:
>5) the inability to group expressions into collections, so that in my
>expression list, I could define a group, "dynamics", place all the
>dynamics related expressions into that, and collapse the group when I
>wanted to view only the "tempo" related
At 01:41 AM 02/23/2005, shirling & neueweise wrote:
>* The height of the individual item lines in the
>Text List has been increased by 25-50%
>(previously, any Text above 14pt fixed and many
>music symbols - usually 24pt - were only
>partially visible). The user can define the size
>of the lines in
At 06:24 PM 2/19/2005, Mark D Lew wrote:
>Yes, I knew I had done it with one of the plug-ins, though I had
>forgotten which one. And TG allows negative numbers, too, right?
Yes. You can add space at the beginning or end of a measure, or after a
partal measure selection (i.e., mid-measure). And a n
At 05:27 PM 2/19/2005, Mark D Lew wrote:
>Now that you've explained it to me (I don't have 2k5), it sounds useful
>to me as is. I can think of times when I've wanted to add blank space
>at the beginning or end of the bar without changing the relative
>spacing of everything else.
You can do this wi
At 11:37 AM 2/18/2005, Brad Beyenhof wrote:
>On Fri, 18 Feb 2005 01:04:04 -0600, Don Hart <[EMAIL PROTECTED]> wrote:
>
>> 4) hold spacebar, drag cursor over notes to hear them: backward,
>>forward, held, with shift key to solo
>
>I've never been able to get this to work - is there some
At 06:21 PM 02/03/2005, Andrew Levin wrote:
>Score expressions multiplying like tribbles! I don't know if it's
>Finale, TGTools, or the score I'm starting with. Oy!
Since TGTools was involved, you might try contacting Tobias to see whether
he knows anything about this. He usually monitors this lis
At 10:31 AM 02/02/2005, Stig Christensen wrote:
>Hey Jari!
>
>I will try tour progtam!
Unfortunately, Forza is Windows-only at the moment -- and it looks like
you're on a Mac.
Aaron.
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At 06:24 PM 02/01/2005, Owain Sutton wrote:
>I always just use Google, searching 'site:lists.shsu.edu finale' plus
>whatever I've after, e.g. 'site:lists.shsu.edu finale "time signature"'
As of a week or two ago, this list was changed so that the archive is no
longer open to Google, and therefore
At 09:37 PM 01/30/2005, Raymond Horton wrote:
>There is another, major, difference between musicians fighting for their
>jobs, and the ice-deliverers vs. refrigerators comparison. In the
>latter case, the new refrigerator was a SUPERIOR product, and the for
>the ice deliverers to fight progress wo
At 08:58 PM 01/30/2005, Darcy James Argue wrote:
>Well, what you are effectively saying here is that you support the
>workers' right to fight to preserve their jobs -- provided they doesn't
>actually succeed.
Hmm. Not quite. What I think I said in one of my earlier posts is that I
don't think the
At 05:58 PM 01/30/2005, Christopher Smith wrote:
>I'm not clear on a point of semantics what is the difference in your
>mind between "restricting" and "limiting" refrigerator manufacture?
>Because I don't see a difference.
There is no difference; I should have used the same word twice. The ice
u
At 04:54 PM 01/30/2005, Darcy James Argue wrote:
>It's no more "artificial" for workers to fight for their jobs than it
>is for corporations to try to eliminate jobs. For crissakes, the
>entire free market system is an "artificial" human construct.
>
>Again, it doesn't matter if you're a musician,
At 02:56 PM 01/30/2005, Darcy James Argue wrote:
>On 30 Jan 2005, at 12:05 PM, Aaron Sherber wrote:
>
>> Personally, as I've said before, I find the labor issue the least
>> convincing of these three.
>
>Why? When corporations act in their own economic interests by c
At 11:22 AM 01/30/2005, Christopher Smith wrote:
>I agree with your point, but what is lost to society when we need fewer
>welders, as opposed to what is lost when musicians are forced out of
>the business?
I was in the middle of responding to a different post when this one from
Christopher arrive
At 08:34 PM 01/29/2005, David W. Fenton wrote:
>I strongly doubt that's a valid explanation.
>
>Much more likely is that the spammers are using an SMTP program that
>caches the DNS information for too long.
Yes, that's also possible. A random sampling of the headers of these emails
shows that the
At 07:53 PM 01/29/2005, David W. Fenton wrote:
>Eh? If the account existed and was on spammers' lists before you shut
>down the Everyone.net hosting, then it's just leftover and coming
>through just because the account is still active (or you have crazily
>set up a catch-all, which is useless in th
At 07:47 PM 01/29/2005, Christopher Smith wrote:
>You don't accept the right of a group who stands to get screwed royally
>(musicians) by a large company to collectively negotiate fair wages and
>working conditions??!!
No, that's not what I said. I'm not questioning the principle of
unionization.
At 07:10 PM 01/29/2005, Darcy James Argue wrote:
>If musicians won't fight for our own interests, who will?
>
>Maybe the Virtual Orchestra Machine will put us all out of business one
>day. Who knows?
This is true. And maybe short-term use of the Sinfonia will make it
possible for more opera compa
At 04:39 PM 01/29/2005, Christopher Smith wrote:
>Where the difference is, is that computers have not put engravers out
>of work (except in the very lowest echelons of publication) to the same
>extent that sequencers have cut into musicians' jobs. There is not
>enough work to go around to all the d
At 04:35 PM 01/29/2005, Christopher Smith wrote:
>> Ah, that's a tricky one. I can't speak to the finances of that
>> particular show, and since you call it a mega-hit, it's entirely
>> possible that what I'm about to say doesn't apply there at all.
>
>In this case, your last phrase was correct.
Ye
At 02:11 PM 01/29/2005, Carl Dershem wrote:
>Aaron Sherber wrote:
>
> > Devil's advocate, for a moment: Why couldn't the musicians left without
>> a gig sharpen *their* computer skills, and use their advanced
>> musicianship to help make sampled or sequence
Hi all,
I wanted to weigh in with a few thoughts on this issue. It's a very complex
one, with compelling arguments on both sides. To forestall a huge flame
war, I'd like to start by pointing out that as a conductor, I come down
strongly in favor of live performance and live performers, no questi
At 10:24 AM 01/29/2005, Noel Stoutenburg wrote:
>leads me to the speculate a bit. When you set up an email account, your
>ID is placed in some table. Now if a person, not necessarily associated
>with your ISP knows the address of that table, and how to access it's
>contents, it would be trivial t
At 03:07 PM 01/26/2005, d. collins wrote:
>Many mailing lists have searchable archives without these archives being
>open to the public and to Google.
Yes, but Henry/SHSU have so far not provided this kind of searching
facility. And without it, there's no point in having the archives.
>I'm not ag
At 12:46 PM 01/26/2005, Brad Beyenhof wrote:
>archives, and I'll greatly miss this ability if no searching facility
>is added into the mailman/pipermail interface.
I couldn't agree more. There's no point to the archives if they're not
searchable.
Aaron.
___
At 12:28 PM 01/23/2005, A-NO-NE Music wrote:
>Not on Word Mac version. If you try to open the same doc, it will
>replace the open one. In the effect, it does Revert to Saved.
Not *open* the same doc, just a new window. In WinWord, I can do Window |
New Window, which is exactly the same menu comm
At 11:27 AM 01/23/2005, A-NO-NE Music wrote:
>Jari Williamsson / 05.1.23 / 04:54 AM wrote:
>
>>* Have you had multiple windows for the same document opened?
>
>
>I even didn't know this is possible. I just tried, and sure enough,
>Finale let you do this. But why?
So you can easily copy music fro
At 07:37 AM 01/22/2005, dhbailey wrote:
>I would only add that you can configure the default appearance of
>triplets before you begin to enter the notes and set things so that no
>bracket and no number shows up, to make life easier.
Or, after inserting your double time sig, you can then define the
At 12:49 PM 01/21/2005, Stephen Onwood wrote:
>Zoomed in at 1600% on the dashtest.pdf in Acrobat reader 6 and the staff
>lines and the bar line
>(including dotted bar lines) are composed of 4 various thickness lines.
>Date and rests are solid.
I haven't been following this whole thread. I agree th
At 03:10 AM 01/14/2005, d. collins wrote:
>What is there to gain in having the archives open to everyone and Google?
Without Google, it looks like you can't actually *search* the archives. I
would say this makes the archives fairly useless.
Aaron.
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At 01:17 PM 01/13/2005, Geoffrey Whittall wrote:
>I'm using Finale Mac 2004, and there's something I've never been able to =
>figure out, over several generations of use. When I set the page margins
>=
>in a typical piece of software, nothing gets printed by the software =
>outside of t
At 12:33 PM 01/11/2005, Christopher Smith wrote:
>On the Mac, Fin2005, it's command-page up and command-page down.
>Usually the way these commands translate to the PC are control-page up
>and down.
>
>I was amazed to learn this just recently. I have no idea how long it
>has been available.
Only sin
At 10:24 PM 01/06/2005, Christopher Smith wrote:
>
>On Jan 6, 2005, at 10:08 PM, Stephen Onwood wrote:
>> Why can't we apply hairpins to multiple staves simultaneously, or at
>> least copy and paste them? 'Twould be nice!
>>
>You can copy and paste them. Set Mass Edit to copy only
>Measure-attache
At 12:43 PM 01/05/2005, Dean M. Estabrook wrote:
>B Flat. Do any of you know of a source towards which I can point my
>daughter in the hopes of investigating this phenomenon?
Sure. Just Google for:
"black hole" sound flat
and you'll get a whole bunch of hits.
Aaron.
At 04:00 AM 01/03/2005, [EMAIL PROTECTED] wrote:
>I saw that David Hage cleared this up. The notation that Bruce was
>describing sounded like the way coma sopras are written in paper and
>pencil scores...
That's 'come sopra' (okay, technically 'cóme sopra'), of course -- Italian
for 'as above'.
Hi all,
I have a score in which I want to put something like
"accel.poco.a.poco" over several measures. If I place this as a
score expression, it won't stretch over a system break. That is, if the
expression begins in a measure at the end of a system, it will just run off
the edge o
At 03:29 PM 12/31/2004, Taris L Flashpaw wrote:
>I was wondering if there was any way to make time signatures display
>without the denominator. ie: Instead of 16/8, just have '16' centered on
>the staff.
I can think of a couple of ways.
If you want this throughout the whole piece, first define
At 10:03 PM 12/28/2004, Ralph Whitfield wrote:
>I'm married with a 9 year old son (who shows no real interest in music
>except for Arrowsmith. Go figure.)
That would be Aerosmith -- which I guess shows just how far apart
generations *really* are.
Aaron.
At 03:07 PM 12/25/2004, [EMAIL PROTECTED] wrote:
>I am engraving a set of parts that have extensive multimeasure rests. In
>many cases during these rests there are slight tempo modifications such as
>"rather broader", "poco rall.", "In tempo" and so on. Do you break the
>rests to show where these
At 06:33 PM 12/18/2004, Lee Actor wrote:
>Do you already have the font, and if so, do you like it? I would interested
>in buying it if compound meters using the "+" symbol looks good.
I don't have it yet. If I decide to get it, I could put up some PDFs with
some compound meters -- or maybe someon
At 05:32 PM 12/18/2004, Lee Actor wrote:
>The easiest way is to go is to pick one size and put 2 or 3 instances up and
>down the score, independent of staff groups. that way you just change the
>font assigned to time signatures and everything works automatically. It's
>not exactly what you want,
Hi all,
I have a score with many changes of time signature, and I'm interested in
doing something like what can be done with TallMetricFonts (
http://hometown.aol.com/loudfonts/TalMetri.htm ). But I'm a little daunted
at the task of creating expressions in several different heights for my
diffe
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