[Finale] BACH as a single note
I found this illustration of the BACH motif as a single note. I am wondering if this could be done using Finale. See my home page for the image. [A great relief from the picture of me I had there for more than a year!] Had my first piano lesson 43 years ago today. [29th September, 1959] David McKay [EMAIL PROTECTED] http://members.ozemail.com.au/~musicke ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Chords as lyrics/another person's files
On Sunday, September 29, 2002, at 12:50 AM, Crystal Premo wrote: > What is the advantage of inputting chords as lyrics? Oh, Jesus Christ... > Just because they have to appear below the staff does not seem like > enough reason for it. God, no. I hate to be the bearer of bad news, but I suspect this person didn't know what they were doing. Entering chords as lyrics is simply idiotic. There are nothing but disadvantages to this approach. The only possible explanation is that the person didn't know how to adjust chord baselines. > What is the advantage of using expressions to create rolled chords as > opposed to an articulation? I can think of a few cases where this might be potentially useful, but given that this person entered chord symbols with the lyrics tool, I suspect they just didn't realize that there *was* a stretchable arpeggio articulation. - Darcy - [EMAIL PROTECTED] Boston MA ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Collision of 2nds between layers & Blank Notation
On Sunday, September 29, 2002, at 12:26 AM, Christopher BJ Smith wrote: > Um, yeah, but if I have used the Tempo expression from the Setup > Wizard, it, too gets repeated 999 times, and if I have ever set any > double bars, entered rehearsal marks, or any other measure-specific > items, they too get repeated, or else erased by the duplication > procedure. I suppose what i SHOULD do is do that first, but I usually > only get to the rhythm parts last. My bad... No, no, no, this is not necessary. Simply set Mass Mover to copy all entry items (or just the entries, it doesn't matter but it's easier to just select everything) and just Staff Styles, from the Measure items menu. This is, granted, a minor annoyance (unless you set it to a QuicKeys macro, as I have), but it's still MUCH faster than putting in all the rests one by one. - Darcy - [EMAIL PROTECTED] Boston MA ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: OT [Re: [Finale] I NEED YOUR RESPOND]
In a message dated 9/28/2002 7:12:34 AM Pacific Daylight Time, [EMAIL PROTECTED] writes: << "You'll know you are living in 2002 when you find "confidential" messages posted to email lists and newsgroups." >> Not only that, this is a classic--indeed textbook--example of a scam that's been around for at least 50 years. Any list of common mail fraud schemes will include it amongst the most prominent and best-known. What makes this particular example humorous (in addition to annoying) is the illiteracy quotient, which is unusually high for someone who fancies themselves a con artist. --D.A. Lawrence ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Good Finale Book/Guide Recomendations
Can anyone recommend a good book for learning Finale, preferably something that caters to the intermediate-to-advanced user. I've tried two and both were too simple, borderline-useless. (One was "The Finale Primer," can't remember the name of the other one.) Thanks, Elliott -- *** www.ornette.com (my website -- in progress) ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Chords as lyrics/another person's files
At 12:50 AM -0400 9/29/02, Crystal Premo wrote: >I got some work to do this weekend that involves taking over someone >else's project, a couple of new songs for a new musical, plus >editing, extracting and printing the songs already done. > >The work that has been done is quite clean and neat, but I have >encountered some things which puzzle me. Perhaps I don't have >enough experience to realize that they are the best way to handle >things: > >What is the advantage of inputting chords as lyrics? Just because >they have to appear below the staff does not seem like enough reason >for it. THe person probably didn't know how to adjust the chord symbol baseline. It's not a good idea to use the lyric tool for chords, as there are all kinds of advantages to the chord tool (like horizontal and vertical adjustments of the chord symbol elements that you can't easily get in the lyric tool). Most pianists want to see chord symbols OVER the RH staff, so underneath is not the best place for them either. If you don't need to change anything, then just adjust the lyric base line for that staff (second arrow from the left) so that the chords appear OVER the staff instead. >What is the advantage of using expressions to create rolled chords >as opposed to an articulation? I don't know, maybe spacing, if the option is set to allow for expressions, but not articulations? Otherwise, you may have a LOT of manual spacing to do. Entering rolled chord indications as articulations allows you to automatically space them, if articulations are selected in Music Spacing Options, so I recommend replacing the staff expressions with articulations. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Collision of 2nds between layers & Blank Notation
At 8:56 PM -0400 9/28/02, David W. Fenton wrote: > >But why should I have to do *anything* to get things attached to >nonvisible notes to be invisible? Isn't it more logical that the >default should be that invisible notes and objects attached to them >are, by default, invisible? No, not to me and my colleagues, as the main reason we insert hidden items at all is to attach things to them that WILL show up. >The usability of a computer program is greatly affected by the choice >of defaults. Many users will never change the defaults, so it's best >to have logical defaults in the first place. In this case, the >default behavior seems to have been chosen for two reasons: > >1. to make it easy for people who use chord symbols (they need do >nothing extra). > >2. for backward compatibility with a feature that always worked >illogically in the past. It wasn't illogical for me, nor for most of the people I work with. Sorry, no dice here. >At some point the programmers made the decision that backward >compatibility was better than fixing it in a fundamental way, and >moved the *correct* default behavior to a user preference. Nah, you're blowing smoke now. Staff styles always worked the way they do now. What they COULD do, though, is provide another blank notation staff style that ALSO hides the attached items, so that people could choose between both types without having to edit the style. But you could do that yourself... I would also like a usable chord library that is consistent to the style I like. But I don't think Coda is going to provide that, either, so I'll just have to do it myself, too. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Collision of 2nds between layers & Blank Notation
At 4:07 PM -0400 9/27/02, Darcy James Argue wrote: >On 9/27/02 3:37 PM or thereabouts, Christopher BJ Smith ><[EMAIL PROTECTED]> intoned: > >> I'm starting to come over to your way of thinking - if I change ALL >> the regular notation to Layer 4, then I don't have to do it more than >> once. Then I can put in bars and bars of quarter rests in Layer 1 by >> holding down the 5 key, convert it to blank notation in one fell >> swoop, and type my chords in merrily without worrying about switching >> layers. Neat. > >Even easier -- do one bar of quarter rests in Layer 1. Apply Blank >Notation. Select "Display Only Active Layer." Make sure Staff Styles are >set in the "Items to Copy" dialog, then copy that one measure 999 times. Um, yeah, but if I have used the Tempo expression from the Setup Wizard, it, too gets repeated 999 times, and if I have ever set any double bars, entered rehearsal marks, or any other measure-specific items, they too get repeated, or else erased by the duplication procedure. I suppose what i SHOULD do is do that first, but I usually only get to the rhythm parts last. My bad... ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Measure number regions
At 8:29 PM -0400 9/28/02, David W. Fenton wrote: >On 27 Sep 2002 at 8:35, Christopher BJ Smith wrote: > >> At 8:22 PM -0400 9/26/02, David W. Fenton wrote: >> >On 26 Sep 2002 at 20:05, David H. Bailey wrote: >> > >> >> I, for one, like the way it is implemented and have no confusion working >> >> with it. >> > >> >You like seeing 1:23 go to 2:1 and then 2:31 going to 3:1 and then >> >3:89 going to 90 and then 3:121 (which is displayed only as "121") >> >going to 4:1, etc.? >> >> >> Yep. That way it tallies with the measure numbers of the piece of >> paper I am most probably working from. Although I admit that 3:121 >> would probably be more clear to me than simply 121. > >But that is my whole point. There is no utility in that context to >there being no 3: with measure 121. > >That was all I was saying. Ah. I thought you were saying you didn't like 1:23 going to 2:1 either (along with all the other behaviours), since it was all part of the same complaint. Sorry. Christopher ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Chords as lyrics/another person's files
I got some work to do this weekend that involves taking over someone else's project, a couple of new songs for a new musical, plus editing, extracting and printing the songs already done. The work that has been done is quite clean and neat, but I have encountered some things which puzzle me. Perhaps I don't have enough experience to realize that they are the best way to handle things: What is the advantage of inputting chords as lyrics? Just because they have to appear below the staff does not seem like enough reason for it. What is the advantage of using expressions to create rolled chords as opposed to an articulation? Crystal Premo [EMAIL PROTECTED][EMAIL PROTECTED] _ Join the worlds largest e-mail service with MSN Hotmail. http://www.hotmail.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Collision of 2nds between layers & Blank Notation
On 27 Sep 2002 at 14:57, Mark D. Lew wrote: > At 2:51 PM 09/27/02, Darcy James Argue wrote: > > > If that ever happens, I won't object to having blank notation set up > >to hide items attached to notes by default -- but honestly, I suspect lots > >of others will. > > I think it's worth noting here that the "default" we're talking about is a > choice made in a staff style provided in the default document. It's not > some sort of default program behavior. Because of the non-cascading nature of Finale documents (i.e., once the document is spawned from the template, it is completely disconnected from it), I would argue that settings in the default documents that come with a version of Finale are de facto program behavior. Why? Because absent the non-free plugin (that is not included with Finale) to transfer settings between documents, there is no easy way to migrate settings to existing documents. This is why it is inadequate to me to simply claim that it is completely under use control because it is a document option. Some have suggested on this list in recent memory that it is a good idea to take the time to recreate all your templates from scratch with each new version of Finale that you use. While I understand the reasoning behind that suggestion and the utility to be gained from it, it is a terribly inefficient aspect of Finale. Of course, I've been arguing for cascading templates in Finale as long as I've been on this list. -- David W. Fenton | http://www.bway.net/~dfenton David Fenton Associates | http://www.bway.net/~dfassoc ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Measure number regions
On 27 Sep 2002 at 13:39, Mark D. Lew wrote: > At 12:48 PM 09/27/02, David W. Fenton wrote: > > >Frankly, I'm beginning to conclude that many of the regular users of > >Finale on this list are victims of the Stockholm syndrome, because > >they seem unable to do anything but rationalize many of Finale's > >obvious failings. > > If we apply your reasoning to the universe at large, I suppose you could > say that anyone who is happy in life and glad to exist in this imperfect > world of ours is a victim of the Stockholm syndrome, because surely anyone > with a conscience would have to be perpetually enraged at the world's many > injustices and furious at the incompetent creator who designed such a > world. I would only make that argument if the person in question repeatedly makes special rationalizations to justify the imperfections, rather than recognizing them as things that ought to be fixed. -- David W. Fenton | http://www.bway.net/~dfenton David Fenton Associates | http://www.bway.net/~dfassoc ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Collision of 2nds between layers & Blank Notation
On 27 Sep 2002 at 13:39, Mark D. Lew wrote: > At 1:58 PM 09/27/02, David W. Fenton wrote: > > >Would it not make more sense to add a property to chord symbols that > >allows them to display when attached invisible notes, rather than > >mucking up blank notation for everyone else? > > It doesn't muck up blank notation for everyone else. > > The default for any staff is that notes AND attached items appear. As an > option, you can blank out the notes, or you can blank out the attached > items, or you can blank out both. Evidently, you want to blank out both, > and you can do so, either as an attribute for the staff throughout the > piece, or as a staff style to be applied measure by measure. But why should I have to do *anything* to get things attached to nonvisible notes to be invisible? Isn't it more logical that the default should be that invisible notes and objects attached to them are, by default, invisible? Finale has never done it that way, and it has always been an annoyance for me. > In its templates, Coda provides pre-made staff styles which you can use. > Two of the three styles named "blank notation" entail blanking out the > notes but not the attached items, presumably because they were designed > with chord-symbols users in mind. (The one that blanks out all layers > blanks out attached items as well.) Yes, and I think blanking out the notes and leaving attached items visible is problematic for everyone who isn't using chord symbols attached to invisible notes. In my original posting on the subject of the non-invisible expressions, I described exactly the kinds of problems encountered, especially with positioning of articulations, which is caused by the automatic beam flipping when notes are found in multiple layers. > The point of the templates is to give a generic style which will satisfy as > many users as possible. . . . My argument is that more people would be satisfied by the more straightforward "if it's attached to something invisible, you have to take special action to make the attached item visible" as opposed to the current situation. > . . . Nobody expects that every user will like every > detail. Nobody expects that the collection of staff styles provided will > satisfy all of your needs, any more than the provided collection of > expressions will. If you don't like the staff style as it is defined in the > template, you can change it, or you can make a new one. The usability of a computer program is greatly affected by the choice of defaults. Many users will never change the defaults, so it's best to have logical defaults in the first place. In this case, the default behavior seems to have been chosen for two reasons: 1. to make it easy for people who use chord symbols (they need do nothing extra). 2. for backward compatibility with a feature that always worked illogically in the past. At some point the programmers made the decision that backward compatibility was better than fixing it in a fundamental way, and moved the *correct* default behavior to a user preference. I would argue that it's better, once you have the capability of supporting all requirements (visible and non-visible attachments to invisible notes), then you should change the default to the most logical method and make easy-to-use provisions for the users who will need the other method (displaying attachments to non-visible notes). Arguing otherwise is simply rationalizing the aspects of the program that never worked right in the first place. It's arguing to keep your pet workarounds for problems that shouldn't have existed in the first place. -- David W. Fenton | http://www.bway.net/~dfenton David Fenton Associates | http://www.bway.net/~dfassoc ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cancelling manual input
On 27 Sep 2002 at 13:39, Mark D. Lew wrote: > At 1:38 PM 09/27/02, Michael Cook wrote: > > >You can undo most of these things with Mass Edit - Clear Items. > >Choose "Only Selected Items", "Entries", then check all the items > >that correspond to your needs. This will clear notehead positioning, > >but not note position: in order to do this, you must go to Document > >Options - Music Spacing and choose "Manual Positioning: Clear", then > >apply music spacing. > > I find it easier to clear Note Position adjustments from the Special Tool. > Just select that tool, select all (cmd-A on Mac), and type clear. That > resets all the notes in the selected measure. I find this much easier than > the roundabout way with Music Spacing Options. I could see resorting to > that if you had a long string of several measures you wanted to clear, but > I don't think that's ever come up for me. Yes, but that means you also have to separately clear spacing based on dragging the beat/subdivision handles with the measure tool. It's a good one to know, though -- I never would have thought of it (on PC, read DELETE for CLEAR key). -- David W. Fenton | http://www.bway.net/~dfenton David Fenton Associates | http://www.bway.net/~dfassoc ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cancelling manual input
On 27 Sep 2002 at 13:39, Mark D. Lew wrote: > At 12:40 PM 09/27/02, David W. Fenton wrote: > > >Yes, yes, I know, ask Coda, but I'd like to have someone explain the > >reasoning for why it's set up the way it is. > > Why? Seriously, what's the point in having someone explain this to you? So that I can understand why things are the way they are. That makes any request I send to Coda more useful, I would hope. > No matter what reason someone comes up with, we all know what your response > will be. This is patently not true. I accept a compelling explanation, one that is logically consistent. I now understand *why* the measure number regions don't include the region for a unique number, it's so that documents with non-overlapping measure displayed numbers don't confusingly display the region. But the result is that it is confusing in the circumstances when a document does have mostly overlapping measure regions. I can see why Coda implemented it the way they did, as it's something of a gray area as to when the region should appear in terms of the actual data (at exactly what point should the display flip from not displaying it to displaying the region?). An interesting programming problem, true, but not unsolvable. -- David W. Fenton | http://www.bway.net/~dfenton David Fenton Associates | http://www.bway.net/~dfassoc ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cancelling manual input
On 27 Sep 2002 at 16:47, Andrew Stiller wrote: > >I mostly *never* want to clear manual positioning, but when I do need > >to, having to make a change to a document-wide setting (and then > >change back) seems a very poor solution -- it's much too easy to > >forget to set it back after clearing the one measure. > > > >Why in the world is this not one of the options in the CLEAR ITEMS > >dialog? > > > >Yes, yes, I know, ask Coda, but I'd like to have someone explain the > >reasoning for why it's set up the way it is. > > > >-- > >David W. Fenton | http://www.bway.net/~dfenton > > I assume we're talking here abt. the Music Spacing Options dialog. To > me, it is far more than a vehicle for document-wide defaults. It is > also an extremely valuable tool for all kinds of spacing-tweaking, > for wh. purpose its settings need to be reset in all manner of ways > (unisons overlap or not? Make room for a note-expression? What > minimum measure width?, etc. etc.) Among the most valuable and > frequently used of the numerous alternatives offered are the three > settings for manual alterations--incoporate/ignore/clear--which are > virtually essential, or at any rate hugely labor-saving, in the > spacing of measures containing grace notes. > > I change the settings in this dlg. so often that I have devoted the > F5-F8 keys on my keyboard to macros for it: > > F5: toggle lyrics collision > F6: incorporate manual positioning > F7: clear manual positioning > F8: open Music Spacing Options dialog I don't really have a clue what you are speaking of in regard to a "music spaction options" dialog. I don't know how to get to one in WinFin2003. The only thing I know about is the one in the document settings dialog. And on another note, why do you always use non-standard quotation style? Is it because you're using an email program that doesn't support the normal standard quotation style? -- David W. Fenton | http://www.bway.net/~dfenton David Fenton Associates | http://www.bway.net/~dfassoc ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Measure number regions
On 27 Sep 2002 at 15:20, Christopher BJ Smith wrote: > At 12:48 PM -0400 9/27/02, David W. Fenton wrote: > > > >Frankly, I'm beginning to conclude that many of the regular users of > >Finale on this list are victims of the Stockholm syndrome, because > >they seem unable to do anything but rationalize many of Finale's > >obvious failings. > > > >I'm coming at it as a long-time but sporadic Finale user who has just > >upgraded from an older version to the latest version. Coda has fixed > >many important aspects of the program, but they have also introduced > >a number of new counterintuitive aspects to the program, > > Introduced new issues? Most of the ones you are complaining about are > old ones, we all supposed you had just run across them recently. In regard to spacing of hidden items, the behavior is different in WinFin2003 than it was in WinFin97, which is the version I upgraded from. For me, that makes it a new issue. In light of the long history of Finale (I've been using it since 1990, WinFin2.01), that's still relatively "new," even if others encountered the issue a couple of years ago when staff styles were introduced. I truly don't think that the advancements in Finale since WinFin97 are nearly as great as everyone on the list led me to believe they were, what with the constant harping on "of course you have these kinds of problems because you're using an old, old version," something I heard a lot. Yes, I like lots of things about WinFin2003, truly. But it's still got just about the same number of extraordinarily annoying default behaviors that it always did -- they've just been moved to different places. -- David W. Fenton | http://www.bway.net/~dfenton David Fenton Associates | http://www.bway.net/~dfassoc ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Measure number regions
On 27 Sep 2002 at 8:35, Christopher BJ Smith wrote: > At 8:22 PM -0400 9/26/02, David W. Fenton wrote: > >On 26 Sep 2002 at 20:05, David H. Bailey wrote: > > > >> I, for one, like the way it is implemented and have no confusion working > >> with it. > > > >You like seeing 1:23 go to 2:1 and then 2:31 going to 3:1 and then > >3:89 going to 90 and then 3:121 (which is displayed only as "121") > >going to 4:1, etc.? > > > Yep. That way it tallies with the measure numbers of the piece of > paper I am most probably working from. Although I admit that 3:121 > would probably be more clear to me than simply 121. But that is my whole point. There is no utility in that context to there being no 3: with measure 121. That was all I was saying. -- David W. Fenton | http://www.bway.net/~dfenton David Fenton Associates | http://www.bway.net/~dfassoc ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] timing
Multiple the total bars by the number of beats in each bar (so a 90 measure work in 4/4 would have 360 beats) and divide this total by the tempo in beats/minute. So the 360 beats, if performed at a tempo of 60 would take 6 minutes. If the work has sections in different time signatures but at a constant tempo be sure to take the different time signatures into account when calculating total beats. If the work has sections in different tempos, then you have to calculate the time for each section separately and then add them all up for a total time. Bob Florence wrote: > Hi all: > > What is the formula for timing music without a stopwatch? > Something about number of bars or beats and measures and rate of spped. > > Thanks; > > BF > > ___ > Finale mailing list > [EMAIL PROTECTED] > http://mail.shsu.edu/mailman/listinfo/finale > -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Using Hyperscribe with a 2-manual Rodger's organ
You need to go to the MIDI menu (or the Options menu/Midi Devices in earlier versions of Finale) and be sure you have selected the proper device that you have attached your midi cables to, as INPUT DEVICE. You also have to be sure you have hooked up the cables properly. Midi is a circular connection, so the midi-OUT from your organ must be hooked up to the midi-IN cable of your computer, and the midi-IN on the organ must be hooked up to the midi-OUT cable of your computer. B C wrote: > I'm trying to hook my computer up to 2-manual Rodger's electric organ > via MIDI cables. However, when I playnotes in hyperscribe mode, > expecting the notes to be picked up by Finale, nothing happens. Is > there a setting that needs to be changed regarding the MIDI channels? > I'd be happy to read any suggestions or advice. > > Thanks, > BC > > > Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com > -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Chord symbol library in FinMac 2003
I have just completed a file using FinMac 2003, and as part of the piece, I downloaded the figured bass library and also added many more figures for the continuo. How can I take the entire chord library I used (and saved) as part of this Finale 2003 file, and make it my default chord library in the Maestro default font? Thanks in advance, Martin Martin Banner Monticello, New York [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notepad and Finale compatible?
Harold, thanks for the details you gave about NotePad. [Harold Owen:] >Finale makes it easy to upgrade to the relatively cheap >programs PrintMusic (has MIDI keyboard input) and Allegro (adds >editing features). However, Finale itself it not so expensive, >especially if you qualify for the education discout price of about >$235. Finale is the one I would get, and I suppose I wouldn't then need the others. (Are the others just subsets of the total features of Finale?) I don't qualify for educational discounts, and before I purchase Finale I do perhaps have to wait for other things currently in my life which could call on my money to resolve themselves; but in the long run I do expect to purchase Finale. I guess my thoughts were a bit along these lines: I have not actually composed music for some years now, and it may take me some time to get back into the way of it - but I do have a backlog of unfinished scores in handwriting which I may want to work on once again (mainly piano music and orchestral music sketched in short score on anything from 2 to 8 or so staves). I seem to find it difficult to organize my work when writing by hand, and get bogged down when I have to make many alterations, and I believe the unwieldiness of notating music by hand has significantly hampered my earlier efforts to compose music. What I want to do is copy these scores into Finale (or NotePad), and then hope I will be able to work more easily once I'm ready to continue working on those scores. If the difference in ease I found in writing using a word-processing program compared to handwriting before is any guide, I should be able to compose music *far* more easily with a notation program. So I will have to do a lot of simply entering already-existing music into NotePad or Finale before actually composing further passages, which is probably a good thing in a way, because I will need time to get familiar with entering music, and it is surely best not to try to learn this at the same time as trying to compose new music. So, by the time I've done a lot of note-entering and I'm ready to compose, maybe I will be sufficiently familiar with note-entering by then that I can do it on automatic pilot, and just compose. (I can compose writing in a word-processor completely unhindered by typing which is completely automatic now, if that's a fair analogy.) So if I cannot purchase Finale yet, but plan to ultimately, I guess I was just thinking that if NotePad were up to the job, I could perhaps meanwhile get some of that entering of music done, and save a bit of time that way. Another thing that could delay my use of Finale is the fact that I have rather severe space problems on my C: drive, and I will need to either resolve those or get a new hard disk before using Finale - and I do not have the faintest idea what kind of hard disk to get for my laptop, and have been told different options by different people. Thus I expect this problem to take some time to sort out. So I assume that NotePad is simpler than Finale, and therefore much less demanding of memory and hard-disk space than Finale, and I could at least as a temporary measure use NotePad to get some work done until I'm ready to get Finale. You mention some limitations, Harold, some of which won't matter in the slightest to me. But, for those that do, I suppose I could work around them in a temporary fashion, thus: >- can't change key or time signatures in the middle of a piece If I want to change key or time signatures, put these sections in different files, as if they were different pieces - then join them up in Finale when I get it. >- can't control layout Just enter the music and let it lay itself out any which way - then later fix it up in Finale. >- can't do first and second endings Just enter the bars and make them different endings in Finale later. >- lacks special tools for special needs (like cross-staff notation >for keyboard) Could be a problem - but I guess I could just let the note-beams break and fix it up later in Finale. (I assume you're referring here to beamed notes which go from one staff to another within the same group.) >- no way to enter or affect tempo changes during the piece, add >ritard, accelerando, creschendo, diminuendo Add them later in Finale. Are there any reasons why these work-arounds would be infeasible, even on a temporary basis? While I would not like to accept these limitations in the long term, accepting them temporarily until I can use Finale sounds quite acceptable to me. I guess the point is that it would still allow me to do a great deal of music entry using NotePad, and I could then add the refinements later in Finale, and NotePad will have at least given me a huge head start in getting at least some of the more routine work done beforehand, and allowing me to learn the process on relatively routine but essential musical tasks I will h
[Finale] timing
Hi all: What is the formula for timing music without a stopwatch? Something about number of bars or beats and measures and rate of spped. Thanks; BF ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] $3.50 to join Before Launch!!!!!!!!!!! Will Make $1,000's later!!!!!!!
charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII"; charset="US-ASCII" Reply-To: [EMAIL PROTECTED] Date: Sat, 28 Sep 2002 14:40:30 -0400 X-Priority: 3 X-Library: Indy 9.00.10 X-Mailer: Foxmail Hello Friends!! Why will it only take 28 minutes a month for Guerrilla Marketing Bombshells to increase your profits? http://www.gmktgb.com/page/soundp/ You'll have to click on the link to find out why the select few who have seen the product plan are begging to get early access to the product (sorry, no one can get access until the launch date - click on the link below to find out when). http://www.gmktgb.com/page/soundp/ But, here are the top 3 reasons why it's vital that you sign up now during the pre-launch phase: 1. Secure your position in the highest paying 2x15 forced matrix in the industry. A full matrix pays (click below for answer) per month. 2. This is a unique high-demand product that will be physically impossible for anyone to duplicate. Brought to you by two names that are legends in the industry (click below to find out who). 3. You'll be given an opportunity to promote GMB before the launch and pre-build your matrix. Pre-launch and launch dates are: (click below for answer). http://www.gmktgb.com/page/soundp/ The product will be in high demand by anyone who wants to generate more profit from their business. In fact, it will only take 28 minutes a month. (That's less than a minute a day.) Sign up here now: http://www.gmktgb.com/p
[Finale] OT: mechanicals
Anybody on the list have experience with the actual issuing of mechanical licenses? CRI is recording two pieces I publish and I need to send them the license. Is anything more required than a note on my stationery saying "A mechanical license under the standard statutory terms is hereby granted to CRI for [title, composer, performance details, catalog number]" ? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] New 'Composer Community'
I've been working with php-Nuke enough for the last 6 months, it's about time to put it to good use. :) I'm trying to develop a *FREE* MIDI Composer Community that people can use to showcase their stuff. I think that the software we're using for the website would be perfect for doing this sort of thing and I'd like to give something BACK to everyone that has been posting REALLY helpful stuff to me and everyone else on the list. I'm not a company and by no means a professional in the MIDI Realm so I'm gearing this site towards the Hobbyist. We'd like to have info on the hardware, software, plugins or anything else that people use in a non-professional setting. This is NOT a Commercial site. There's no popups or Commercial Advertisement. Anyway - if you're interested, please check the site out and if you're so inclined, join the Community. :) Jim Hale --- 'The OS Tells The PC What To Do With Itself" - Me, 1990 --- Visit Our MIDI & Digital Audio Website at http://hale.dyndns.org or Our Forums At http://haleforum.dyndns.org ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notepad and Finale compatible?
At 21:44 +1000 28/09/2002, Michael Edwards wrote: > I do not do music professionally, and do not have to meet deadlines, so >perhaps I can afford to be flexible like this, and organize the way I work >around NotePad and its limitations for some months, at least - >depending on just >what those limitations are. Are they more to do with the complexity >of notation >you can use, or the size of files, or the number of pages in a score, or what? Mostly the complexity of notation. Important limitations of NotePad are: - Can't change key in the middle of a piece. - Can't change time signature in the middle of a piece. - No more than eight staves. - Just a few articulations and expressions (dynamics) and no way to create new ones. - No way of editing music spacing or layout. I don't think there are limits on the number of measures or pages. Somewhere on the CodaMusic site there's a detailed table of comparison for the four Coda notation products (Finale, Allegro, PrintMusic and NotePad). > What *would* be important would be that any files I create in NotePad be >fully readable and useable in Finale - but I imagine this would be >so, wouldn't >it? Yes. Notepad is OK for writing a simple song, if you're prepared to accept the layout of the music (if NotePad decides that the last measure of your song should have a page all to itself, there's nothing you can do about it). But it doesn't really give you an idea of what Finale can do. Best wishes, Michael Cook ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] importing my settings
David H. Bailey wrote: > I believe Robert Patterson has a settings-scrapbook plug-in which can > copy what you need from one document to another Yes, but not (yet) metatools, except for tuplet metatools. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notepad and Finale compatible?
Michael wrote: > Well, I suppose it would depend on just what the limitations of NotePad > are. Your statement does seem to beg the question of whether you've consulted the Coda website, especially the pages , , and ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Make $4,000-$7,000 just for signing up!!!!!!!!!!
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OT [Re: [Finale] I NEED YOUR RESPOND]
"DR.SOLOMON .B. AZEEZ" wrote: > REQUEST FOR ASSISTANCE- STRICTLY CONFIDENTIAL Earlier in this week, I came across one of those jokes that circulate on the internet. This one, which [at least] some of you probably have seen, bears the subject line, "You know you're living in 2002 when", and carries a list of entries on the order of "you have a list of fifteen phone numbers for the three members of your family." If this one has missed you, you can, as I did do a google (R) search, using the "you know 2002" parameter above. It occurs to me, upon reading the post to which I reply, that the following can be appended to the list of "You'll know when "'s "You'll know you are living in 2002 when you find "confidential" messages posted to email lists and newsgroups." ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] I NEED YOUR RESPOND
FROM THE DESK OF DR.SOLOMON .B. AZEEZ CHIEF ACCOUNTANT FFICER FEDERAL MINISTRY OF PETROLUEM RESOURCES(F.M.P.R) FALOMO OFFICE COMPLEX IKOYI LAGOS . ATTN:SIR, REQUEST FOR ASSISTANCE- STRICTLY CONFIDENTIAL I am DR.SOLOMON .B. AZEEZ, Chief Accountant in the Ministry of petroleum Resources (MPR) and a member of a seven-man Tender Board in charge of contract review and payment approvals. I came to know of you in my search for a reliable person to handle a very confidential transaction that involves the transfer of a huge sum of money to a foreign account. It may sound strange but exercise patience and read on. There were series of contracts executed by a consortium Multinational in the Oil industry in favor of Ministry of Petroleum Resources among which were: 1. The extension of pipeline network within Nigeria for crude oil, Down stream products distribution and subsequent evacuation- US$ 195 Million. 2. Contract for the Turn Around Maintenance (TAM) of the various refineries in the country~ US$ 152 Million. 3. The construction of storage tanks for petroleum products (Depots) US$240 Million. The original values of this contract were deliberately over invoiced to the sum of US $35.5million American Dollars which has now been approved and is now ready to be transferred being that the companies that actually executed these contracts has been fully paid and project officially commissioned. consequently, my colleagues and I are willing to transfer the total amount to your account for subsequent disbursement since we are Civil Servant and are prohibited by the Code of Conduct Bureau (Civil Servant Laws) from opening operating foreign account in our names. Needless to say, the trust posed on you at this juncture is enormous. In return, we have agreed to offer you 30% of the transferred sum while 10% shall be set aside for accidental expenses (Internal & External) between the parties in the course of the transfer. We will mandate you to draw up an investment plan for us of which you will control since we cannot bring our shares back to Nigeria. We are ve! ry interested in investing in real estate in your country. You must however note that this transaction is subjected to the following terms and conditions: 1. Our conviction of your transparent honesty and diligence. 2. That you would treat this transaction with utmost secrecy and confidentiality because of the circumstances we now find ourselves. 3. That the funds would be transferred to an account over which you have absolute control. Modalities have been worked out at the highest level of the presidency at the Central Bank of Nigeria for the immediate transfer of the funds within 14 working days, subject to your satisfaction of the above stated terms. Our assurance is that your role is 100% risk free. To accord this transaction, the legality it deserves and for mutual security of the parties involved and the funds, the whole approval procedures will be officially and legally processed with your name or the name of your company you may nominate as the bonafide beneficiary. Also, be informed that our main reason of contacting you is for the obvious reason that we will want to invest these funds in the real estate. It is our believe that you can be of immense help in this regards. Kindly expedite action so as to enable us include this transaction into this batch as payment to foreign contractors is usually carried out on quarterly basis. Please, contact me as soon as possible on my private email address: [EMAIL PROTECTED] Best regards, DR.SOLOMON .B. AZEEZ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] meta-tool import
Eden - Lawrence D. writes: > I want to use one of the ready-made templates that come with Finale, but I > want to have my default file's meta-tools too. I Can't remember how to > get my old settings into the new template... If you use FinWin2003, you can do it with the Settings Transfer component in Forza!. Best regards, Jari Williamsson ICQ #: 78036563 ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale Mentor needed
Hello El et al- (my, that sounds like Arabic!!) I for one would be glad to help as needed,,as would *many* people on the Finale-L, I'm sure. My limitation is this: I still use Finale for Mac 97c and Finale for Windows 98. Basics I can help with but there are things like staff styles, etc, I have no clue about You might also want to check out the Finale archives. >From the Finale-List MiniFAQ Sheet: Yes, you can find them through http://mail.shsu.edu/pipermail/finale/ (the first link on the finale list webpage, see above). There are monthly archives and messages can be indexed by date, author, thread and subject. The archives go back until 1998 (the older archives seem to be the result of wrongly configured email clients). Since the majordomo list server is not functioning any more, there is currently no known method for retrieving older archives. I'm forwarding to you the entire FAQ sheet- there may be other things on it you need to know but don't know you need to know... :) hope this helps- Cecil Rigby [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Using Hyperscribe with a 2-manual Rodger's organ
I'm trying to hook my computer up to 2-manual Rodger's electric organ via MIDI cables. However, when I playnotes in hyperscribe mode, expecting the notes to be picked up by Finale, nothing happens. Is there a setting that needs to be changed regarding the MIDI channels? I'd be happy to read any suggestions or advice. Thanks, BCGet more from the Web. FREE MSN Explorer download : http://explorer.msn.com
Re: [Finale] Management of Libraries, in general
"David H. Bailey" wrote: > While your suggestions of mini-libraries is a good one, I am not really > clear about why you would want to create them in the earliest version > you own. Have you run into problems with backward compatibility with > libraries? The fact that there are a couple of individuals with whom I may need to share active files who are using older versions of FIN is the reason I do much of my preliminary work in FIN 2k. I do remember once, unsuccessfully trying to load one of my "mini-libraries" created in a version of Finale into a document created with an earlier version. As a result, I formed the opinion, that since compatibility is one-way, that if I'm going to be creating these shapes and expressions in an empty document anyway, in general, I'll gain the most flexibility by creating them in the earliest version I own. > Also, how often do you need to use your earlier versions of Finale? I'm uploading some items to the Choral Public Domain Library, and anticipate contributing some public domain items to an archive of Organ music operated under the auspices of Project Gutenberg. My opinion is that by uploading these in an earlier version makes the items more widely accessible, in the instance that, for example, someone wants to re-format something I uploaded in landscape format to portrait for printing purposes. > I simply keep working on older documents in the newer versions of Finale > as I need to and I haven't had a problem with importing them into the > current Finale version. Personal work, including work on items I choose to prepare hoping to sell, I plan to release in the latest version of Finale. Using an earlier version for public domain material is principally a matter of courtesy. ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notepad and Finale compatible?
[Noel Stoutenburg:] >My hunch is, if you are a serious musician (in whatever sense you wish to use >the word, you are quickly going to come up against the limitations imposed by >Notepad, and I suspect my suggestion to most people would be to start with >Printmusic or Allegro, or at least plan to migrate there quickly. Well, I suppose it would depend on just what the limitations of NotePad are. If I had some clue as to that, it would clarify what to do. I don't for one moment think NotePad would be sufficient overall and in the long term for anything I do - but a proportion of my work might be simple and/or short enough to do in NotePad; and while I sort out other things I need to sort out before I get and start using Finale (which for various reasons could take me a while), I could at least do some of the simpler work in NotePad, and this might have the advantage of helping me learn how to use its basic functions, and therefore the corresponding ones in Finale, if I assume functions common to both work the same way. I do not do music professionally, and do not have to meet deadlines, so perhaps I can afford to be flexible like this, and organize the way I work around NotePad and its limitations for some months, at least - depending on just what those limitations are. Are they more to do with the complexity of notation you can use, or the size of files, or the number of pages in a score, or what? What *would* be important would be that any files I create in NotePad be fully readable and useable in Finale - but I imagine this would be so, wouldn't it? Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] importing my settings
I believe Robert Patterson has a settings-scrapbook plug-in which can copy what you need from one document to another, so you can open your default document, and open the new template, then use the plug-in to copy your settings from the default file to the template. Of course, the settings may determine how easy it is to do what you want -- are you talking about custom expressions and articulations you have defined? You can save those as libraries from your default document, then open those libraries into the template you are using. Eden - Lawrence D. wrote: > Got an easy oneI hope. > > If I use one of Finale's ready made templates, how can I get the settings > that I am used to working in into the new template? > > For example: my metatool assignments > > Larry > [EMAIL PROTECTED] > > > > ___ > Finale mailing list > [EMAIL PROTECTED] > http://mail.shsu.edu/mailman/listinfo/finale > -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Management of Libraries, in general
While your suggestions of mini-libraries is a good one, I am not really clear about why you would want to create them in the earliest version you own. Have you run into problems with backward compatibility with libraries? Also, how often do you need to use your earlier versions of Finale? I simply keep working on older documents in the newer versions of Finale as I need to and I haven't had a problem with importing them into the current Finale version. I know that back somewhere around Finale97 there were major hassles when opening documents from earlier versions, but since then Coda seem to have solved that problem. At least it hasn't arisen on this list in a very long time. Other than that, I think you have a very good working system for libraries. I do that especially for instrument libraries, with different instrument lists for various ensembles plus different lists for different playback units. Noel Stoutenburg wrote: > Listsibs: > > Perhaps it may be useful for some if I share the techniques by which I > have decided to manage my FIN libraries: > > First, I have decided to create all library items in the earliest > version of Finale that I own. I can always, and easily import them > forward, importing them backwards, if possible, is not nearly as simple. > > Second, I decided to break the libraries up into smaller bits: some > general, like "dynamics", and "tempi", and some specific, "Organ", > "Strings", and "percussion". > > Third, I have decided that any new library item likely to be used in > more than one composition will be added to the appropriate library by > opening an empty document (or a document without libraries), creating > the elements, and saving them as a "micro-library", and exiting the > document. The "micro-library" thus created will be loaded into the > current document, and periodically, all micro-libraries will be merged > into the appropriate larger "master-libraries". The only articulations > that will reside in a specific document are those will most likely be > used only in that document, of which the best exemplar that comes to > mind is the stems of note trees. > > Any other suggestions you'd make in this regard? > > ns > > ___ > Finale mailing list > [EMAIL PROTECTED] > http://mail.shsu.edu/mailman/listinfo/finale > -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] List releated: messages bouncing
I've been getting these, too, and they always appear immediately after I have posted a message to Finale, so you have found the "missing link." What we can do about it is anybody's guess, but perhaps notifying Henry Howey about can get the person unsubscribed from this list since apparently he/she is not at the subscribed address anymore. Philip Aker wrote: > Greetings all, > > During the last few days I've been having a significant problem with > mail rejected from a server in Finland. This is over 700 "spams" in a > single week! I'm wondering if anyone else on this list is getting these? > I'm trying to isolate which list he or she would be subscribed to. The > offender is: > > === > The original message was received at Fri, 27 Sep 2002 22:14:24 +0300 > from joonas.siba.fi [128.214.155.251] > >- The following addresses had permanent fatal errors - > [EMAIL PROTECTED] > (expanded from: <[EMAIL PROTECTED]>) > >- Transcript of session follows - > ... while talking to amadeus.siba.fi.: > >>> RCPT To:<[EMAIL PROTECTED]> > <<< 550 <[EMAIL PROTECTED]>... User unknown > 550 [EMAIL PROTECTED] > ... User unknown > === > > > Thanks, > > Philip Aker > http://www.aker.ca > > ___ > Finale mailing list > [EMAIL PROTECTED] > http://mail.shsu.edu/mailman/listinfo/finale > -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notepad and Finale compatible?
Michael Edwards wrote: > Although it will be some time before I get Finale (for a variety of > reasons), I am still interested in purchasing it. Someone mentioned "NotePad > 2002" on the list recently, and I see that it is available free from the Coda > Music web site; and I'm just wondering if that would be a good way to start out, It might, or might not be a good way to start out; it depends upon exactly what you want to do, whether Notepad is the best choice for you, or not. My hunch is, if you are a serious musician (in whatever sense you wish to use the word, you are quickly going to come up against the limitations imposed by Notepad, and I suspect my suggestion to most people would be to start with Printmusic or Allegro, or at least plan to migrate there quickly. ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] importing my settings
Got an easy oneI hope. If I use one of Finale's ready made templates, how can I get the settings that I am used to working in into the new template? For example: my metatool assignments Larry [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Notepad and Finale compatible?
Although it will be some time before I get Finale (for a variety of reasons), I am still interested in purchasing it. Someone mentioned "NotePad 2002" on the list recently, and I see that it is available free from the Coda Music web site; and I'm just wondering if that would be a good way to start out, whether it would help confirm whether or not Finale is the main program I want to use. In other words, how similar is it to Finale? Are files created with it compatible with Finale? I assume that a free program is far more limited, but is its operation the same as Finale for functions that are common to both programs? Would using NotePad be a good way of getting to know better at least some of the functions of Finale? If anyone can advise me on this, please, I'd be grateful. Just how limited is NotePad, and what can it do? I suppose there must be significant limitations (on size of file, number of pages, complexity of music - or *something*) in a free program. Could I start to enter any music (simpler music, at least) on NotePad to try it out; then later on, after purchasing Finale, just transfer the files across and continue using them in Finale? How much hard disk space and memory would I need to install and use NotePad? Thank you. Regards, Michael Edwards. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] meta-tool import
Dear List, I want to use one of the ready-made templates that come with Finale, but I want to have my default file's meta-tools too. I Can't remember how to get my old settings into the new template... Larry [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale Mentor needed
>>I'm looking for a Finale mentor. I'm not much for NGs and other lists >>(swamped in too many as it is) << You should stick with this list as a whole for a short period of time. You would find a large group of mentors here with overlapping areas of expertise. You don't have to read everyone's posts, only the ones which pertain to your work. Then if you still felt that you still wanted to communicate only with one, you could write to the one who does you the most good. Crystal Premo [EMAIL PROTECTED][EMAIL PROTECTED] _ Chat with friends online, try MSN Messenger: http://messenger.msn.com --- Begin Message --- Hello all, I'm looking for a Finale mentor. I'm not much for NGs and other lists (swamped in too many as it is) and would be very grateful if I could find someone who could answer the occasional Finale-related question. I promise it will be short, painless, etc. And I'll try to reciprocate in whatever ways I can. (I'm a composer, sound editor, generally smart, good guy.) If anyone can help, please write to me at [EMAIL PROTECTED] Thanks, Elliott -- *** www.ornette.com (my website -- in progress) ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale --- End Message ---
