Re: [Finale] Musical Emergency
Good one -- Hans Arktoft Musical Emergency Last night at rehearsal the oboe player, who constantly sucks on her reed during rests and between selections, inadvertently inhaled and swallowed her reed. I immediately called the emergency room and asked what I should do. Without hesitation the nurse said: "Use muted trumpet." ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Musical Emergency
Musical Emergency Last night at rehearsal the oboe player, who constantly sucks on her reed during rests and between selections, inadvertently inhaled and swallowed her reed. I immediately called the emergency room and asked what I should do. Without hesitation the nurse said: "Use muted trumpet." ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re:Time signature question
Brad Beyenhof <[EMAIL PROTECTED]> wrote: > Not at all; see my comments above. The only reason for even > considering this is that, since the piece in question is alternately > in 6/8 and 3/4, a dotted half note is ambiguous to a person reading > only one part and they won't know what to expect from the conductor. All he needs to know, when playing a dotted half, is that he starts playing on a downbeat and stops on or about the next one. A downbeat is wahtever is preceded by an upbeat, which should be recognisable as such in either meter. -- Ken Moore Musician and engineer ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] FinMac2006c bug
Hi all, Has anyone discovered that underlining something in a text block will make a big rectangular blob where the underlined text is. I am still using 10.3.9. I've tried this with several fonts and it is the same thing. Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Font face/size for Triplets & MM rests?
Le 06-01-22 à 15:46, Eric Dannewitz a écrit :I tend to like SANS type fonts (IE: not Time, but Arial). And for Multimeasure Rests, I use whatever the default is. But I thought it would be interesting to see what others use. Personally, I can't see anything but a Serif font in italic for tuplets. I use New Century Schoolbook Bold. I'm not sure I remember ever seeing a Sans Serif font for tuplet in pre-computerized music publications, but I may be wrong. But I know some people like Sans Serif font for tuplet... Eric DussaultFinale 2006c for MacReal-time Finale discussion - http://www.finaleirc.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] fp
"fp" expressions already play correctly. Just turn on Human Playback. I see no reason to reinvent the wheel, here. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY On 22 Jan 2006, at 2:45 PM, Eric Dannewitz wrote: Maybe Bill can do it in his Productivity stuff? Just kidding! Perhaps we can request this as part of Finale 2007? A fp expression that plays correctly? Darcy James Argue wrote, in part: Plus, as responses to this thread have tended to suggest, creating functional "fp" expressions in Finale is quite the chore. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Font face/size for Triplets & MM rests?
I'm wondering what people use for triplets? Currently, I'm using Arial Bold Italics at a 10 size. Yet, I came across this: http://homepage.mac.com/lac/numero.html Which looks nice as well.hmmm.. I tend to like SANS type fonts (IE: not Time, but Arial). And for Multimeasure Rests, I use whatever the default is. But I thought it would be interesting to see what others use. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Time signature question
On 22 Jan 2006 at 11:43, Eric Dannewitz wrote: > You did read the manual? Oh yeah, just didn't see anything under > OCTAVE, or doubling. I don't need to pour salt in your wounds anymore. > I know it hurts. And it's not a filthy lie, unlike most of the posts > you do here. It is a blatant lie and you know it. > However, you are coming across as a "know it all". Just stop it. Stop > insulting people. dhbailey did not need to have his post called > "idiotic". . . . I didn't call his post idiotic. I specifically said I'd considered calling it idiotic and changed my mind. Again, you're lying about what I've said on the list. This is twice in one day (three times if you count the above repetition of the lie about RTFM). > . . . Honestly, I think you have no integrity at all. . .. I'm not the one repeatedly posting lies on the list. > . . . I have > stopped reading you posts or just laugh at them. But I cannot sit by > and let you continue to act this way towards other list members. . . . Exactly what are you going to do about it? Tell more lies? > Seriously, what kind of intent does one have in saying "My original > reply, which I edited, used the term "idiotic." "??? It's insulting, > and really generally makes you look bad again. Not that THAT is > anything new. He asked. I told him that I had changed the way I worded it. Why can't you just let it go? Why did you have to bring up the RTFM thing again, weeks after the discussion was over? Why do you have to bring up the exchange yesterday with David Bailey? He's had his say, I've had mine, and the discussion was over. But you have to bring it up again. Who is it who has the problem here? -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] fp
On 22.01.2006 Noel Stoutenburg wrote: This is easier to answer than my explanation on fp, as I can just cut and paste from the "fp" directions, and make necessary changes. Thanks, I will look into this as soon as I have some time! Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German question
On 22.01.2006 Andrew Stiller wrote: FWIW: Anthony Philip Heinrich (1781-1861), born in Bohemia, came to the US in 1811 and only then became a professional musician. Largely cut off from European developments from then on, he does indeed retain many old-fashioned musical terms and usages within the context of a highly imaginative and radically romantic idiom. Geschliffen it is. For his time it wouldn't even have been old-fashioned, I am pretty sure this use of the word was quite common at least in the first half of the 19th century, possibly even longer than that. However, in a modern edition it might be an idea to put a footnote like this: * = gebunden It may not be immediately clear to a modern musician what "geschliffen" means, and there could even be a misunderstanding, ie someone might think it should be a portamento effect or something like that. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] fp
Maybe Bill can do it in his Productivity stuff? Just kidding! Perhaps we can request this as part of Finale 2007? A fp expression that plays correctly? Darcy James Argue wrote, in part: Plus, as responses to this thread have tended to suggest, creating functional "fp" expressions in Finale is quite the chore. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] rinf [was Re: [Finale] fp]
Oops. Should have changed the subject line when I responded to Johannes: Johannes Gebauer wrote: On the same lines, although it is difficult, I really would like to know how to get a rinf effect, like a <>. If anyone can explain to me how to do this, that would be great... This is easier to answer than my explanation on fp, as I can just cut and paste from the "fp" directions, and make necessary changes. Nah, I'm not going to quote the whole message; just see my reply to Johannes with the subject line "Re: [Finale] fp". I see not reason to inflict more of my ruminations on the list than absolutely necessry... ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Time signature question
You did read the manual? Oh yeah, just didn't see anything under OCTAVE, or doubling. I don't need to pour salt in your wounds anymore. I know it hurts. And it's not a filthy lie, unlike most of the posts you do here. However, you are coming across as a "know it all". Just stop it. Stop insulting people. dhbailey did not need to have his post called "idiotic". Honestly, I think you have no integrity at all. I have stopped reading you posts or just laugh at them. But I cannot sit by and let you continue to act this way towards other list members. Seriously, what kind of intent does one have in saying "My original reply, which I edited, used the term "idiotic." "??? It's insulting, and really generally makes you look bad again. Not that THAT is anything new. David W. Fenton wrote: On 21 Jan 2006 at 19:42, Eric Dannewitz wrote: Keep in mind, this is the guy who didn't take time to RTFM That's a filthy lie. I clearly stated several times that really *did* read the manual, but I wasn't successful in finding the part having the needed explanation. And you probably know that, but posted a fabrication anyway. sotake it with a grain of salt.. Why don't people like you just send all my posts to the trash so you don't have to read what I write? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] fp
Darcy James Argue wrote, in part: Plus, as responses to this thread have tended to suggest, creating functional "fp" expressions in Finale is quite the chore. and I would have to respectfully disagree. There are several steps, but once the process is understood, it is really not all that difficult. The real chores for me were determining what controller to use to acheive the effect I want, initially figuring out how to lay things out in the shape dialogs correctly, and determining exactly how the "time scale" and level scales operated. Once I knew that, I can actually create a playback shape in a fraction of the time it takes to describe how to do it. It keeps getting pushed down on my list of things to do, but one of the things I mean to do in the near future is to define an executable shape to reflect a baroque trill more correctly. These will wind up in shape libraries to be imported as needed. Frankly the real reason these have been chores, is because the Finale documentation is at the usual level of clarity and completeness. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] fp
Johannes Gebauer wrote: On the same lines, although it is difficult, I really would like to know how to get a rinf effect, like a <>. If anyone can explain to me how to do this, that would be great... This is easier to answer than my explanation on fp, as I can just cut and paste from the "fp" directions, and make necessary changes. Here's what I'd do. 1) Select the expression tool, and open the expression selection dialog box. 2) Select (of if need be, create) the "rinf" expression. 3) On the "playback" tab (or if you're using an older version of Finale, pressing the "playback options" button to expand the dialog box) choose as playback type "key velocity". 4) Select the option "execute shape", and press "select next to it to open the "shape selection" dialog box. 5) In the "shape selection" dialog box, press the "create" button to open the "executable shape designer" dialog box; press the "select" bar, next to the "shape id" box to open (another version) of the shape selection dialog box. 6) On the right side of the box, select "create" to open the "shape designer" dialog. 7) Select the shape designer item in the menu bar, and under "rulers and grid" select "eighth notes"; I suggest defining the distance between eighth notes as "1" or "2". 8) Again in the shape designer item in the menu bar, select the "show" item, and select the button beside "grid". 9) Define the size in the upper right hand corner to 100 percent, and if it is not there already, place a "0" in the H and V boxes to center the origin. At this point you have the shape designer open with a grid whose horizontal axis is measured in eighth notes, and whose vertical axis is measured in single units of measurement, in this case, of key velocity. 10) Select the broken line tool. 11) On the grid, place the cursor directly above the origin at the point you want the "rinf" to begin at the desired beginning level [It may not, in fact be the correct level; you can adjust it later by moving the endpoint up or down as needed.] and define the first point of the shape line. 12) Move the cursor to the right the number of eighth notes you want the crescendo part of "rinf" to last, and place the second point of the shape line above that point at a level which looks like it might be where you want the maximum volume and set the second point. 13) Finally, move the cursor to the right for the balance of the duration of the shape, and place the third point at the level where you want the volume to decrescendo to.. 14) Click "OK" to exit the shape designer; and "select" to exit the shape selection dialog. 15) In the "executable shape designer" dialog, make certain that the two boxes next to time scale, and the two boxes next to level scale both contain "1", and select "OK" to exit the "Executable shape designer", and "select" to execute the "Executable shape selection" dialog. 16) Click "OK" to exit the "Text Expression Designer" dialog, and "select" to exit the "Expression selection" dialog. 17) Place the "f",. "rinf" and "f" expressions in your score, and test playback. [Note: I used text expressions; the exact same procedure as outlined above works for shape expressions, too, by designating that you are defining playback for a shape-, instead of a text expression.] Now, unless the forces of proper dynamics happen to be with you, you may need to adjust the "rinf" playback shape. There are two ways to do this. The first way is to go back into the executable shape designer, and adjust the location of the origin, intermediate, and endpoint of the shape. Moving points to the left (which is the time scale) will make that event happen sooner; moving points to the right will make them happen later; so if the beginning and ending dynamic levels are about right, but you want a faster decrescendo, move the intermediate point to the left; if you want a slower decrescendo, move the intermediate point to the right. If you want the sound louder at a given point, move the necessary points up; if you want them softer, move them down. Keep in mind that moving right to left, each grid point represents a duration of the number of eighth notes you entered in the box in step 6. Moving vertically, each point represents that same number of increments in the key velocity value. There is, however, another way the execution of the shape can be affected. The two numbers next to the time and level scale represent the numerator and denominator in a ratio. If you decide that the duration of the shape is satisfactory, but that the sound needs to get twice as soft over the duration of the expression playback, you can control this by changing the numbers in the "level" field; changing the first number to a 2 (from a 1) makes the level twice as much (2:1); leaving the first number 1, but changing the second number to a 2, makes the level half as much as the shape (1:2
Re: [Finale] Time signature question
On 21 Jan 2006 at 19:42, Eric Dannewitz wrote: > Keep in mind, this is the guy who didn't take time to RTFM That's a filthy lie. I clearly stated several times that really *did* read the manual, but I wasn't successful in finding the part having the needed explanation. And you probably know that, but posted a fabrication anyway. > sotake it with a grain of salt.. Why don't people like you just send all my posts to the trash so you don't have to read what I write? -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German question
On Jan 22, 2006, at 2:24 AM, Johannes Gebauer wrote: On 21.01.2006 Andrew Stiller wrote: Query to the German speakers on this list: does "geschliffen" make sense in this context, and if not, what other reading might you suggest? That is correct, but very old-fashioned. A lot of people (like Jörg) wouldn't even know the meaning of it today, though it was standard in the 19th century. I knew Johannes would come through on this one! Viel danke to him and all others who responded. FWIW: Anthony Philip Heinrich (1781-1861), born in Bohemia, came to the US in 1811 and only then became a professional musician. Largely cut off from European developments from then on, he does indeed retain many old-fashioned musical terms and usages within the context of a highly imaginative and radically romantic idiom. Geschliffen it is. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] fp
On the same lines, although it is difficult, I really would like to know how to get a rinf effect, like a <>. If anyone can explain to me how to do this, that would be great... Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] fp
Great answers from the "pros!" Thank you all. Jim Mays -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Darcy James Argue Sent: Saturday, January 21, 2006 9:15 PM To: finale@shsu.edu Subject: Re: [Finale] fp On 21 Jan 2006, at 4:20 PM, Jim Mays wrote: > I understand recent Human Playback can simulate that. However, I'd > like to > do it manually. No, actually -- trust me, you *really* don't want to do it manually. > I have WinFin 2006c, but I have a client who uses WinFin 2005 -- > he's the > one who wants to avoid HP. This is, IMO, ridiculous. HP-generated "fp" marks (and fp-crescendos) are tempo- and context-sensitive, and much more musical than anything you'd get with a static expression. Plus, as responses to this thread have tended to suggest, creating functional "fp" expressions in Finale is quite the chore. I hope your client is paying you a *lot* of money to jump through these hoops. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German question
On 22.01.2006 Godofredo Romero wrote: i am sorry but geschlossen is the pluperfect Not sure what you are trying to say, but "geschliessen"/"geschließen" is not a word. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German question
i am sorry but geschlossen is the pluperfect gr Thomas Schaller wrote: except that there is no "geschliessen" the past particle is: geschlossen. Sorry Thomas Schaller On Jan 21, 2006, at 6:25 PM, Godofredo Romero wrote: to me it makes more sense the word "schliessen" -which in german is not spelled with to "s" but with a sign i dont have in my computer but that produces the sound of two "s"- which, among its many acceptations means to close, to conclude, to lock, which is what a slur does when it "locks" or "encloses" the notes within it. the "ge" before the word is to establish the past participle of the tense in which the verve is being used . gr Jörg Peltzer wrote: Andrew Stiller schrieb: I'm working on a 19th-c. score with instructions in both English and German. At one point, the composer cautions that some triplets are to be "slurred" (since the slur on a triplet does not by itself necessarily imply that a slur is to be performed), and gives a German equivalent that looks like "geschlitten." My German dictionary says that's not a word, so I've made it "geschliffen," wh. is sort of odd, but at least fits what I'm seeing on the page. Query to the German speakers on this list: does "geschliffen" make sense in this context, and if not, what other reading might you suggest? BTW: the composer was a native speaker of German, so that's not the problem. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Hello, yes makes a kind of sense, "geschliffen" derives from the word "schleifen". But i wouldn`t think that "slur" is equivalent to "schleifen", it's more like glissando or portamento. If the composer is native german, this would make more sense. greeting Jörg ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
