Re: [Finale] Dedicated workstation

[David Larrick]

Several years ago, I tried a similar approach to separate 
music-work-clutter from other-computer-work-clutter, but with just 
one (non-laptop) computer.  I organized my office/studio around a 
double cockpit, placing tables in a T configuration with the big 
computer monitor at the intersection, and the system box on the floor 
underneath.  I connected two computer keyboards and two mice to this 
setup, one set of input devices on either side of the monitor.  So by 
swivelling the monitor (and by reaching underneath to load media), I 
could work from either side.

My plan was to keep all the music gear on one side:  MIDI keyboard, 
music reference books, music files, space to spread out music 
projects in progress.  The other side would be for system management, 
personal finances, correspondence, and recreational surfing, so it 
would have all the computer media, financial files, and so forth.

It turned out that I'm not disciplined enough to work that way.  I 
would take a break from Finale work to read email, to install 
software, or to do financial calculations, and then go back to work 
in Finale.  Since I was just taking a break, not switching modes more 
permanently, I wouldn't bother switching cockpits.  So everything I 
needed frequently for both kinds of work gradually migrated over to 
the music side, and the other side was relegated to storage, overflow 
project spread-out space, and occasional visitor use.

Now my computer is a laptop, so I can work on anything anywhere (and 
do!).  Sometimes I take the computer to wherever the relevant items 
are stored, but more often everything winds up jumbled wherever I 
feel like working that day.

I have been using computers since 1970, so I can remember when the 
extreme scarcity of computer resources dictated when and where you 
would use them.  For example, I have worked the graveyard shift 
because that's when the computer time I needed was available.  So I 
take special delight in today's opportunities to match my computer 
use with my widely variable attention span.  Maybe a more 
compartmentalized approach would have marginal productivity 
advantages, but I'm convinced that my way improves the synergy among 
my various interests, and that's more important to me. 
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Re: [Finale] Mass mover transposition

[David Larrick]

Before you get too carried away in suppressing key changes in 
percussion parts, please consider the following.  As a percussionist, 
it's helpful for me to know where the key changes in a piece are, 
even if they don't affect any of the instruments I'm playing.  Why?

- They give clues to the overall structure of the piece, helping me 
keep my place

- Conductors frequently use key changes as rehearsal letters:  "take 
it from two bars before the key change"

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[Finale] Numbering pickup measures (was Dumb question)

[David Larrick]

I can usually see the need for standards and consistency, but in the 
case of measure numbers, I favor practicality.  I agree with David 
Bailey that the details don't much matter as long as the score and 
all of the parts agree.

Please note that sometimes a pickup occurs in the middle of a piece, 
perhaps at a meter change.  Some composers are careful to weave this 
pickup into the prevailing meter, but others are not -- and 
especially in work for the stage, it can be important not to imply a 
gratuitous, measured pause with make-up rests.  Sometimes a stray 
pickup measure can result.  Should that (partial) measure have a 
number?  I vote yes, so I can refer to it directly, i.e. I find it a 
little clearer to refer to "measure 348" than to "the pickup to 
measure 349".  (As Abel Korzeniowski notes, in either case it's 
critical that all extracted parts contain the correct, explicit rests 
in the pickup measure.)

And my usual policy of laziness dictates that I stick to Finale's 
default behavior unless there's a compelling reason not to.

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