Re: [Finale] FinMac 2004c - Taking too long to allocate instruments
On 15.07.2004 4:52 Uhr, Eric Dannewitz wrote Wow. Sound like you have some serious issues there. Check your fragmentation on the hard drive. That would probably be the most likely thing that is causing this. You never know, but I really don't think fragmentation has anything to do with this. I would take out Finale's prefs file from the prefs folder and see whether this helps. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac 2004c - Taking too long to allocate instruments
To answer everyone in one go. Yes, its OSX Its a brand new install of OSX10.3.4 which I loaded yesterday (complete install, not an update), followed by a fresh install of Finale 2004, which I then updated to 2004c If I cancel the document wizard at the start, Finale boots quickly, but as soon as I open a new document (or an old one) the instrument assigning thing starts. I didn't think fragmentation was an issue in OSX 10.3. All other software (including Logic, Reason and Peak) runs fine. -- Rocky Road - in Oz Fleeing from the Cylon tyranny, the last Battlestar, Galactica, leads a ragtag, fugitive fleet, on a lonely quest, for a shining planet known as Earth. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] FinMac2004c A Few Bugs
Just to let you all know of a few bugs I've discovered, some which could be very serious depending on your work. I should be interested if anyone else can confirm - I've sent them all to Makemusic support. This is all in 2004c using OS 10.3 (Panther) Page setup is now lost in extracted part files and is coming out as a default US letter size. This always used to be retained as the last 'saved' page setup in the score/extract file and would come out in all the parts then extracted from that file. It is now necessary to go through EVERY extracted part to change the page setup - very tiresome. Interestingly enough (or not as you see it), this same thing happened some versions back (2001/2?) and was subsequently fixed in a maintenance upgrade. The Hide/Show message bar option under preferences doesn't work, it defaults back to showing the message bars after every restart and also after page view changes with in the same file ( or when returning from another window set to another view). Also when the message bar is showing it is taking 2 selections from the view menu to hide it which I'm sure is not correct and just for good measure the menu shows 'Show Menu Bar' when it is already showing. Editing of any page text block, deleting and deleting any staff expression while in multiple page view results in loss of the multiple page view and it needs to be reset again after exiting the page block that has been edited. Adjusting of Lyric syllables is painfully slow (12 secs for one word nudged up one space!) Watch out for the new choices under 'File maintenance'. I would have prefered to be able to have saved these under preferences. They could be dangerous in the sense that they delete expressions etc., and the user might inadvertently lose precious template settings. It's a shame these weren't set to default as unchecked and then let the user decide which ones were needed. This approach is not consistent in other menus, for example the mass mover settings are all unchecked on start up and add check marks from there, but again it is not possible to save these under preferences. The drawing of cresc/dim hairpins (smart shapes) is clunky. I click and drag and nothing shows until I drag a little further, then the shape suddenly appears, this never happened in previous versions. Explode music takes things across into the appointed exploded staves like artics and expressions and slurs but for some strange reason any hairpin smart shapes do not come out in the exploded parts (this is not a bug, just a quirk that needs fixing) Extracting parts is very much slower than in Finmac 2003. Most editing actions became very much slower once my file got to be over 300K which is not exactly a large file. Editing lyrics was probably the most painful, but I am getting the spinning coloured wheel far too frequently, even when just editing in speedy entry. Score expressions applied to the 2nd, 3rd, 4th beat of a measure, given a staff listing and then given an individual positioning become erratic when extracted into a separate part. If the indiv. pos. is then taken off in the extracted part the score expression jumps forward and places itself over the next measure along. In other words, the extracted parts can't be trusted to be true to the score settings. In an extracted vocal score form a larger score several slurs (smart shapes) are missing and haven't come through in the extracted part which is rather worrying. The sections concerned appears to be at random but many of the slurs seem to be missing in similar zones. The extracted part is multi staved (piano and 2 vocal lines). They are missing only from the 3rd stave down (the RH piano stave) but from both layers. They are mainly long phrase mark slurs stretching over 2 to 4 measures and they are all 'engraver on'. The part has been optimised but the areas concerned are on un-optimised systems. Jonathan Smith ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac2004c A Few Bugs
Jonathan Smith writes: Adjusting of Lyric syllables is painfully slow (12 secs for one word nudged up one space!) Have you turned OFF the new automatic lyric update stuff? I think that could resolve many of your speed issues. Best regards, Jari Williamsson ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac 2004c - Taking too long to allocate instruments
Rocky Road writes: If I cancel the document wizard at the start, Finale boots quickly, but as soon as I open a new document (or an old one) the instrument assigning thing starts. Have you tried turning OFF the automatic lyric update thing in Program Options? Best regards, Jari Williamsson ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] swing
I used a text expression to set my swing playback. My problem arose when I needed to change the tempo. The new text expression that I created to change the tempo killed the swing. On Wed, 14 Jul 2004, Christopher BJ Smith wrote: At 11:04 AM -0400 7/14/04, Eden - Lawrence D. wrote: I have a chart that needs swing playback in some places, no swing in others, and then swing again, but at a new tempo. I can get Finale 2K3(Mac) to swing for the first section, but I don't know how to define the next section of swing. The first section swings at Quarter = 102 The second section swings at Quarter = 120 How is it done? Wow, I don't know how you got Finale to swing one section and not the other. When I try that, it swings the WHOLE piece. (FinMac2003) Are you setting the Swing in the Playback Controls window with the left-hand triangle opened, and Swing set in the lowest box to the right? This will set swing for the whole piece. Any tempo changes that come up won't stop the swing, much to my dismay at times. Let us know how you set the swing (I remember that there used to be another way, maybe in the MIDI tool?) and perhaps we can help you out. Christopher ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] swing
Good idea. I was hoping that I could create a Staff Style that would cover tempo and swing...is this possible? On Wed, 14 Jul 2004, Allen Fisher wrote: You'll need to use the MIDI tool. Set the swing in the playback controls to NONE. Click the MIDI tool Select the first section that needs swing. MIDI Tool Menu--Alter feel Alter backbeats by 171 Set to absolute Click OK Repeat with the other sections that swing. Tempo shouldn't matter On 7/14/04 11:01 AM, Christopher BJ Smith [EMAIL PROTECTED] wrote: At 11:04 AM -0400 7/14/04, Eden - Lawrence D. wrote: I have a chart that needs swing playback in some places, no swing in others, and then swing again, but at a new tempo. I can get Finale 2K3(Mac) to swing for the first section, but I don't know how to define the next section of swing. The first section swings at Quarter = 102 The second section swings at Quarter = 120 How is it done? Wow, I don't know how you got Finale to swing one section and not the other. When I try that, it swings the WHOLE piece. (FinMac2003) Are you setting the Swing in the Playback Controls window with the left-hand triangle opened, and Swing set in the lowest box to the right? This will set swing for the whole piece. Any tempo changes that come up won't stop the swing, much to my dismay at times. Let us know how you set the swing (I remember that there used to be another way, maybe in the MIDI tool?) and perhaps we can help you out. Christopher ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] swing
Just make a copy of your original Swing expression, change the text style to invisible so it won't print, and place it at the same point your tempo change occurs. Just as easy as using a staff style. David Eden - Lawrence D. wrote: I used a text expression to set my swing playback. My problem arose when I needed to change the tempo. The new text expression that I created to change the tempo killed the swing. On Wed, 14 Jul 2004, Christopher BJ Smith wrote: At 11:04 AM -0400 7/14/04, Eden - Lawrence D. wrote: I have a chart that needs swing playback in some places, no swing in others, and then swing again, but at a new tempo. I can get Finale 2K3(Mac) to swing for the first section, but I don't know how to define the next section of swing. The first section swings at Quarter = 102 The second section swings at Quarter = 120 How is it done? Wow, I don't know how you got Finale to swing one section and not the other. When I try that, it swings the WHOLE piece. (FinMac2003) Are you setting the Swing in the Playback Controls window with the left-hand triangle opened, and Swing set in the lowest box to the right? This will set swing for the whole piece. Any tempo changes that come up won't stop the swing, much to my dismay at times. Let us know how you set the swing (I remember that there used to be another way, maybe in the MIDI tool?) and perhaps we can help you out. Christopher ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac2004c A Few Bugs
Page setup is now lost in extracted part files and is coming out as a default US letter size. This always used to be retained as the last 'saved' page setup in the score/extract file and would come out in all the parts then extracted from that file. Are you sure that you specified the page format correctly in the Page Format for PARTS dialog? From your above wording, this is not clear and it appears that you simply entered the page format for extracted parts into the wrong dialog. Cheers, Tobias -- Tobias Giesen [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac2004c A Few Bugs
Tobias Giesen wrote: Page setup is now lost in extracted part files and is coming out as a default US letter size. This always used to be retained as the last 'saved' page setup in the score/extract file and would come out in all the parts then extracted from that file. Are you sure that you specified the page format correctly in the Page Format for PARTS dialog? From your above wording, this is not clear and it appears that you simply entered the page format for extracted parts into the wrong dialog. Cheers, Tobias I think you guys are talking about 2 different things - he means Page Setup, for printing purposes and NOT the page size in the Parts format dialogue box. And yes, I can confirm that bug - happened to me too: Page Setup defaults to USLetter (I had Tabloid in my score file that I extracted). Thomas Schaller ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac2004c A Few Bugs
On 15.07.2004 16:13 Uhr, Tobias Giesen wrote Page setup is now lost in extracted part files and is coming out as a default US letter size. This always used to be retained as the last 'saved' page setup in the score/extract file and would come out in all the parts then extracted from that file. Are you sure that you specified the page format correctly in the Page Format for PARTS dialog? From your above wording, this is not clear and it appears that you simply entered the page format for extracted parts into the wrong dialog. I think he was refering to the printer's page setup, not Finale's own Page Format. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac2004c A Few Bugs
On Jul 15, 2004, at 15:23, Thomas Schaller wrote: Tobias Giesen wrote: Page setup is now lost in extracted part files and is coming out as a default US letter size. This always used to be retained as the last 'saved' page setup in the score/extract file and would come out in all the parts then extracted from that file. Are you sure that you specified the page format correctly in the Page Format for PARTS dialog? From your above wording, this is not clear and it appears that you simply entered the page format for extracted parts into the wrong dialog. Cheers, Tobias I think you guys are talking about 2 different things - he means Page Setup, for printing purposes and NOT the page size in the Parts format dialogue box. And yes, I can confirm that bug - happened to me too: Page Setup defaults to USLetter (I had Tabloid in my score file that I extracted). It defaults to A3 with me (Finmac 2K4c), which is OK -- I just need to enter scale: 140% for 2-up printing on A3 paper. John ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Advice for harp pedalling
Re Andrew´s handbook, the only book thicker that I have is Stephen Wolfram A new kind of science. Javi. At 4:59 PM -0400 7/14/04, Andrew Stiller wrote: Oh good! That spares me from the rant I was going to send in reply to some of the other responses. :-) Dang! On the wrong side of Andrew twice in the same day! First, functional harmony, then harp pedallings! I'd better keep my nose clean! 8-) Christopher ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2/10 time signature
On Jul 14, 2004, at 6:19 PM, Christopher BJ Smith wrote: I guess I am still looking for a term other than non-functional to describe non-V-chord progressions that stay in a key or mode, and define that key or mode. When a lot of that sort of music started being composed, the term pandiatonic was introduced to designate it, and achieved widespread currency. Why not go w. that? Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] A3 printing job?
Sorry to ask another question but... is anyone capable of printing (laserwise) an A3 score and sending the pages to my address in Spain? It will be something like 70 pages or so. If you have time please answer privately. Thanks, merci, danke, gracias, grazie (that covers 90% percent of the listers I think). Javier Ruiz, compositor C/ El Lomo, 5 1º-2 38292 Tegueste Santa Cruz de Tenerife (ESPAÑA) ISO_3166-2 ES-CN Teléfono: (+34) 922 54 29 31 (casa) (+34) 616 95 93 94 (móvil) e-mail: javiruiz (at) mac.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2/10 time signature
Andrew Stiller wrote: On Jul 14, 2004, at 6:19 PM, Christopher BJ Smith wrote: I guess I am still looking for a term other than non-functional to describe non-V-chord progressions that stay in a key or mode, and define that key or mode. When a lot of that sort of music started being composed, the term pandiatonic was introduced to designate it, and achieved widespread currency. Why not go w. that? I believe that pandiatonic was intended to indicate the free availability, both horizinatal and vertical, of every tone in a diatonic collection, and not only a predominance of non-dominant progressions. As a kid, I learned this definition from Slonimsky's _The Road to Music_ (1947), where he writes: To round off our vocabulary, let us mention the Pandiatonic system of composition. Diatonic music is our familiar music, based on major and minor scales, and the word Diatonic means going through the tones, just as the word Diameter means running through or across the circle. Pandiatonic is all-diatonic, just as Pan-American is All-American. Pandiatonic harmony is free harmony on white keys, which makes use of dissonant and consonant intervals at will. Children banging on the white keys of the piano often produce interesting Pandiatonic effect. In modern music, Pandiatonic harmony is used to add spice to the common C major tonality, and the result is not at all unpleasant. Of course this is generalized and simplified (white keys) for an audience of children, but it's still useful, methinks. As to Mr. Smith's question, I find terms like non-traditional function or non-classical function to be useful. In the Riemannian tradition, tertial functions were added to the classical dominant and subdominant functions, so there are few, if any, possible successions of diatonic chords that can fail to find a functional definition. More to the point is the relationship of a given function to a real repertoire or tradition. For example, it is a commonplace in music theory that a classical repertoire work using only three triads, I, IV, V will use the following network of progressions: I - V, I -IV, IV-V, IV-I, and V-I but not V-IV. There is, indeed, non-classical repertoire that uses the forbidden V-IV progression. Is that repertoire therefore non-functional? I find it difficult to accept that notion, and therefore prefer a non-traditional or non-classical label as being more accurate. Daniel Wolf Dr. Daniel Wolf Budapest ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: 2/10 Time Signatures
In case anyone's not sick of this thread yet, I did check the score of the Thomas Ades piece I mentioned (Catch) and in a selected measure of 5/12, Ades has 5 eighth-notes with a triplet bracket over the first three and a triplet bracket underneath the last three; in effect overlapping the triplets, but it's quite clear that he's intending one measure consisting of 5 triplet eighth-notes. He also has a slightly more confusing notation for a line that holds throughout that measure - he has a normal quarter note follwed by another quarter note with a (-2/3-) bracket over it. Makes sense, but it did take some explaining on the first rehearsal. Back to dissertating... -Rob = Rob Deemer Doctoral Candidate in Music Composition, Assistant Director, UT New Music Ensemble The University of Texas at Austin __ Do you Yahoo!? Yahoo! Mail Address AutoComplete - You start. We finish. http://promotions.yahoo.com/new_mail ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: FinMac 2004c - Taking too long to allocate instruments
F2004c, OS9: i also get very slow drawing (15 for very sparse p1 of 9.5 x 12.5 score) when first opening up a document (whether booting the app at the same time or not), then sloow allocating instruments when opening a doc (only when booting the app). after the initial chug-chug it seems to run correctly, redraws are never again that slow for me. my doc (string quartet, 31 pp 180k) took 10 seconds to start playing. this function used to be instantaneous once instruments were allocated. i just tried it again and see that allocation is erratic... sometimes it does, sometimes it don't. i had some crashes earlier today while working on it, i think that once the instruments are allocated in a particular document, and the app is quit manually, next boot-up won't allocate instruments (in that document, haven't tried other docs). jef -- shirling neueweise \/ new music notation specialists mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ++ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] FinMac 2004
I just received my new version of Finale. I'm running an iMacOS X.3. They sent me the 2004 b version, is that the one I should expect? Dean technology is a fickle mistresscan't live with hercan't live witout her. Upgrade or perish. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac 2004
On Thu, 15 Jul 2004 15:51:18 -0700, Dean M. Estabrook [EMAIL PROTECTED] wrote: I just received my new version of Finale. I'm running an iMacOS X.3. They sent me the 2004 b version, is that the one I should expect? That may just be the last version they've pressed to CD. You'll need to go to http://www.finalemusic.com and download the updater to 2004c. -- Brad Beyenhof [EMAIL PROTECTED] http://augmentedfourth.blogspot.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Rests or blank?
I have a certain 5-measure choral section that involves the choir singing from one stave one time and another stave on the repeat. Because there is a 1st and 2nd ending, that means some measures have nothing in them. Here's diagram, which I hope retains the line breaks: | ms1 |ms2 | 1 end | 1 end | 2 end 1st x| notes | notes | notes | notes | - 2nd x| notes | notes | | | notes In this situation, where technically no one ever actually is resting, should the measures without notes have rests or use blank notation? In a later situation, the choir sings from one stave into beats 1 and a half of a certain measure, then switches to singing from both staves. Similarly to above, would the unused beats of the switch measure have rests or be blank? (FWIW, I do use a diagonal line to indicate that switch). --Richard ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2/10 time signature
At 7:11 PM +0200 7/15/04, Daniel Wolf wrote: Andrew Stiller wrote: On Jul 14, 2004, at 6:19 PM, Christopher BJ Smith wrote: I guess I am still looking for a term other than non-functional to describe non-V-chord progressions that stay in a key or mode, and define that key or mode. When a lot of that sort of music started being composed, the term pandiatonic was introduced to designate it, and achieved widespread currency. Why not go w. that? I believe that pandiatonic was intended to indicate the free availability, both horizinatal and vertical, of every tone in a diatonic collection, and not only a predominance of non-dominant progressions. (snip) As to Mr. Smith's question, I find terms like non-traditional function or non-classical function to be useful. In the Riemannian tradition, tertial functions were added to the classical dominant and subdominant functions, so there are few, if any, possible successions of diatonic chords that can fail to find a functional definition. More to the point is the relationship of a given function to a real repertoire or tradition. For example, it is a commonplace in music theory that a classical repertoire work using only three triads, I, IV, V will use the following network of progressions: I - V, I -IV, IV-V, IV-I, and V-I but not V-IV. There is, indeed, non-classical repertoire that uses the forbidden V-IV progression. Is that repertoire therefore non-functional? I find it difficult to accept that notion, and therefore prefer a non-traditional or non-classical label as being more accurate. Daniel Wolf I wasn't too sure about pandiatonic for the reasons explained above by Daniel Wolf. As I had said before, there is an awful lot of music that uses chord movement based on common practice progressions, up until the cadence, where the usual leading tone cadence is avoided, BUT a perfectly normal plagal-function chord performs cadential duty. Movement from tonic-area to another tonic-area chord is confined to weak metric stresses (I to iii would happen inside a measure, not usually over a barline, for example) and the same applies to any movement between chords from the same area. This is very similar to common-practice era harmony so far. For the above I use what I always assumed was the usual definition of subdominant-function chords: contains the perfect 4th degree from the home key, but does NOT contain a leading tone. This would be ii or IV in major for example, or for a modal example (say dorian) v7 (that's five minor 7), VII7 (major 7th chord built from the flatted 7th degree) or else just plain VII triad, ii or ii7 or pretty much any collection of pitches from dorian that includes the 4th but not the third, and resolves reasonably well to the tonic minor triad (or 7th chord). All of these, to my ear, sound like plagal cadences when resolved to the i chord, which of course are by nature less urgent than leading-tone cadences, but useful nonetheless, and certainly extremely common in the 20th century. I have been calling this kind of chord progression modal for years. Can anyone poke a hole in my reasoning? I'm not asking in order to challenge anyone, but to honestly find out if my logic is bad, or there are too many gaps in my line of analysis. Is it a bad term because modal carries all these Middle Ages connotations? There are a whole set of connotations, mostly negative, carried by the term modal in connection with jazz fusion from the 60's and 70's, but I'm hoping to override those. Christopher ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
