Re: [Finale] How to correct music spacing after changing a time signature
Kim Patrick Clow wrote: When I change the time signature, the notes in the following measures get moved around and they look a bit jumbled up. This is more noticable with double dotted notes. I have found something similar when making other changes later in the game than I wish I had. I've found though, that if I select the measure tool, and move the barlines, to where they should be, the spacing in the disrupted measures returns to what I originally had it. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Standard chord symbols?
Dear John, Amen! Chuck On Jan 22, 2007, at 8:57 PM, John Howell wrote: Jean wrote: OK, folks, I "lurk," and sometimes for years.But, as a "sort of professional" Bass player (String Bass for a 16 piece "Big Band," and Eb Tuba for a Dixieland Band) this topic of how to "write" chord symbols sure hits nerves. However, my point is that WHY can't y'all agree on ONE name for each chord? Why several names, regardless of your "musical point of view?" Just hoping somehow, some way, the folks who arrange and publish and sell arrangements for the more mundane music could make life on the stage a lot easier if they could manage to AGREE on ONE name for ONE chord. Hi, Jean. I feel your pain!! Someone commented that jazz theory is pretty young. I look at it a little differently. Any living language is constantly changing, partly in response to fashion changes, partly in response to fads, partly because words fall out of use or take on new meanings, and partly because new things happen and new words are needed to describe them. The language of chord symbols is just such a living language. It originated with the Tin Pan Alley music publishers, who wanted to make their sheet music attractive to the largest public, so they added either guitar boxes, ukulele boxes, or banjo boxes giving the chord changes, but since they couldn't give all 3, they also added chord symbols. They were pretty crude in the years between, say 1900 and 1920 or '30. The chords that turned up the most often--like major triads and dominant 7ths--got the simplest symbols. And as pop music and jazz gradually evolved and changed, new, more complex symbols had to be adopted involving modifiers and extensions. Sometimes the harmonies that were used were more complex than the available symbols. Richard Rodgers' music is full of chord symbols that spell out the right hand notes, but don't properly identify the chords because they ignore what the bass notes have to say about the harmonies. (The old "is it an added 6th chord or a minor 7th" question.) The fraction notation didn't exist until songwriters like Burt Bacharach (and undoubtedly jazz composers as well) started using chord structures like subdominant chord over dominant bass note in the '60s. For years it was common to write "add 9" when what you really wanted was "add 2" without adding the 7th. I've said it before and I'll say it again, I AM NOT A JAZZ GUY, AND I AM NOT A MUSIC THEORIST! With that said, however, I've been arranging and using chord symbols for many years. My impression, with Hiro's comments and those of others, is that they are indeed moving farther and farther away from the basics, and trying to specify every last aspect of a chord, which sort of inevitably calls a LOT more attention to the extensions than to the basic chord. A parallel can be drawn with the figured bass of the 17th and 18th centuries. (This, by the way, is a no-longer-living language, but one that served for generations to solve exactly the same problems that were faced in 20th century pop and jazz.) They didn't really NEED to cram so many figures in and try to give a number for every single passing tone, but modern editors tend to do exactly that, and for a good player it's simply overkill. I think that probably describes the confusion you're complaining about, as well. A good player just needs the basics, and his or her musicianship takes over from there and the fingers create music that's MUCH better than I could have written! As David Bailey pointed out in his very well thought out response, no, there isn't going to be any Academy of Chord Symbols to lay down the law, because it's a living and changing language and too many people would ignore it, as they properly should. So just use the ears God gave you and play what belongs there without worrying about the hyper-specialists and the things that turn them on. There are always going to be chord changes that are ambiguous, and different people are going to interpret them differently. And without that freedom, music would be BORING!!! John -- John & Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] How to correct music spacing after changing a time signature
If I understand your problem correctly, here is a solution. For the bar that you set the sig, change the time from cut to common *for that bar only* - you may have to redo spacing. For the following bar, in Meas. Attributes, hide the key sig. Everything that follows will be just as it was before. JR On 1/22/07 11:28 PM, "Kim Patrick Clow" <[EMAIL PROTECTED]> wrote: > Hi all: > > I found out I made a mistake when I set the time signature for the > last section of a piece of music when I went to extract parts. Bad > time to find that out. The error is at measure 80. I entered (alla > breve) or cut time, instead of common time. When I change the time > signature, the notes in the following measures get moved around and > they look a bit jumbled up. This is more noticable with double dotted > notes. > > What is the step I use to correct the note spacing? I do not want to > have to re enter all the notes because I screwed up a time signature. > I have tried changing the time signature using the options button and > clicking on the "rebar" option and then update the file, then reopen > it. But the notes are still not spaced correctly. > > You can view a screenshot (and it's a biggie) here: > http://img.photobucket.com/albums/v601/graupner/measure_woes.jpg > > Kim Patrick Clow > "There's really only two types of music: good and bad." ~ Rossini > ___ > 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] Standard chord symbols?
Jean wrote: OK, folks, I "lurk," and sometimes for years.But, as a "sort of professional" Bass player (String Bass for a 16 piece "Big Band," and Eb Tuba for a Dixieland Band) this topic of how to "write" chord symbols sure hits nerves. However, my point is that WHY can't y'all agree on ONE name for each chord? Why several names, regardless of your "musical point of view?" Just hoping somehow, some way, the folks who arrange and publish and sell arrangements for the more mundane music could make life on the stage a lot easier if they could manage to AGREE on ONE name for ONE chord. Hi, Jean. I feel your pain!! Someone commented that jazz theory is pretty young. I look at it a little differently. Any living language is constantly changing, partly in response to fashion changes, partly in response to fads, partly because words fall out of use or take on new meanings, and partly because new things happen and new words are needed to describe them. The language of chord symbols is just such a living language. It originated with the Tin Pan Alley music publishers, who wanted to make their sheet music attractive to the largest public, so they added either guitar boxes, ukulele boxes, or banjo boxes giving the chord changes, but since they couldn't give all 3, they also added chord symbols. They were pretty crude in the years between, say 1900 and 1920 or '30. The chords that turned up the most often--like major triads and dominant 7ths--got the simplest symbols. And as pop music and jazz gradually evolved and changed, new, more complex symbols had to be adopted involving modifiers and extensions. Sometimes the harmonies that were used were more complex than the available symbols. Richard Rodgers' music is full of chord symbols that spell out the right hand notes, but don't properly identify the chords because they ignore what the bass notes have to say about the harmonies. (The old "is it an added 6th chord or a minor 7th" question.) The fraction notation didn't exist until songwriters like Burt Bacharach (and undoubtedly jazz composers as well) started using chord structures like subdominant chord over dominant bass note in the '60s. For years it was common to write "add 9" when what you really wanted was "add 2" without adding the 7th. I've said it before and I'll say it again, I AM NOT A JAZZ GUY, AND I AM NOT A MUSIC THEORIST! With that said, however, I've been arranging and using chord symbols for many years. My impression, with Hiro's comments and those of others, is that they are indeed moving farther and farther away from the basics, and trying to specify every last aspect of a chord, which sort of inevitably calls a LOT more attention to the extensions than to the basic chord. A parallel can be drawn with the figured bass of the 17th and 18th centuries. (This, by the way, is a no-longer-living language, but one that served for generations to solve exactly the same problems that were faced in 20th century pop and jazz.) They didn't really NEED to cram so many figures in and try to give a number for every single passing tone, but modern editors tend to do exactly that, and for a good player it's simply overkill. I think that probably describes the confusion you're complaining about, as well. A good player just needs the basics, and his or her musicianship takes over from there and the fingers create music that's MUCH better than I could have written! As David Bailey pointed out in his very well thought out response, no, there isn't going to be any Academy of Chord Symbols to lay down the law, because it's a living and changing language and too many people would ignore it, as they properly should. So just use the ears God gave you and play what belongs there without worrying about the hyper-specialists and the things that turn them on. There are always going to be chord changes that are ambiguous, and different people are going to interpret them differently. And without that freedom, music would be BORING!!! John -- John & Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] How to correct music spacing after changing a time signature
Hi all: I found out I made a mistake when I set the time signature for the last section of a piece of music when I went to extract parts. Bad time to find that out. The error is at measure 80. I entered (alla breve) or cut time, instead of common time. When I change the time signature, the notes in the following measures get moved around and they look a bit jumbled up. This is more noticable with double dotted notes. What is the step I use to correct the note spacing? I do not want to have to re enter all the notes because I screwed up a time signature. I have tried changing the time signature using the options button and clicking on the "rebar" option and then update the file, then reopen it. But the notes are still not spaced correctly. You can view a screenshot (and it's a biggie) here: http://img.photobucket.com/albums/v601/graupner/measure_woes.jpg Kim Patrick Clow "There's really only two types of music: good and bad." ~ Rossini ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Re: Finale Digest, Vol 42, Issue 13
I'm with you David- the notes GACE can obviously be Amin7, or C6 depending on context. No argument. And is CEGBb the same chord as CEGA#- I think not! It again depends on context. Sounds as tho Mr Johnson is one of the folk who would argue against Ebb or Fx (##) Why not D and G? -uh- hello! Cheers K in OZ Keith Helgesen. Director of Music, Canberra City Band. Ph: (02) 62910787. Mob 0417-042171 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton Sent: Tuesday, 23 January 2007 9:24 AM To: finale@shsu.edu Subject: Re: [Finale] Re: Finale Digest, Vol 42, Issue 13 On 22 Jan 2007 at 0:46, [EMAIL PROTECTED] wrote: > From the point of view of a > musicologist, saying "how you arrive at the chord" may be > something that can get different "names" for the same [EMAIL PROTECTED] chord > just does not cut it in my world. I wouldn't say it's "musicologists" who have different names for the same configuration of pitches in different harmonic contexts, but *musicians*. [] > However, my point is that WHY can't y'all agree on ONE name for each > chord? Why several names, regardless of your "musical point of > view?" Why shouldn't we all just forget our native languages and speak Esperanto? It's all about communication, right? Well, in music, the correct chord spellings make it *easier* to read for musicians who are cognizant of the musical context of what they are reading and playing. Misspelling chords is going to make it harder for those musicians to comprehend the musical context (this is not to say that there aren't confusions about chord symbols, most of which happen because the chord symbols themselves are a simplification of what's really going on, so can't always capture everything). This whole issue is the part of music that I have always found hardest for beginning theory students to learn, that music is not about absolute, fixed objects that are unchanging. Music is instead about the changing relationships between the musical materials, at all levels. It is the multi-faceted aspect of this, the fact that one note or chord or motive or melody can mean many different things depending on the context in which it is heard, that makes music interesting and complex. Washing out those complexities in simplified notation is not going to remove the complex relationships -- all it will do is make it harder for the sight-reading musician to perceive them. -- 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 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Part document settings from one piece to another....
Hi all! Please bear with me, this is only the 2nd time I've done this. I have a Finale document that I'm finally happy with. The score and parts look fine. The parts were troublesome and very time consuming Let's call that "File A.". My question is this: can I somehow get the layout from "File A" to my new file "File B." I want the staves to be placed on the same EXACT area. I really do not want to spend hours and hours tweaking the placement. Any help or suggestions GREATLY appreciated. Thank you. Kim Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] updating groups & brackets
At 07:17 PM 1/22/2007, Randolph Peters wrote: >I erased the start of this thread, but I did want to point out that >you can put new settings for your brackets and groups and then use >TGTools to update the brackets to the new setting. (You don't have to >change them one at a time after optimizing.) Look in TGTools (full >version), Layout: Update Groups... Hmmm, I can't seem to get this working for me. (And yes, I did misread Kim's original post. I thought he meant doing it for all *groups* not for groups in each optimized *system*.) Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Group attributes: distance of braces from systems. Global setting?
At 07:10 PM 1/22/2007, shirling & neueweise wrote: >doubting himself, reassessing the question, jef opened up finale >before his mouth this time, and discovers that the answer is actually: > >yes. doc options, piano braces and brackets. But that's only for groups that haven't been created yet. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] updating groups & brackets
> I erased the start of this thread, but I did want to point out that > you can put new settings for your brackets and groups and then use > TGTools to update the brackets to the new setting. (You don't have to > change them one at a time after optimizing.) Look in TGTools (full > version), Layout: Update Groups... > > -Randolph Peters Damn! I wish I was aware of this two weeks ago when I updated all brackets and groups one at a time in a large optimized score. That would have saved me about an hour. Lee Actor Composer-in-Residence and Assistant Conductor, Palo Alto Philharmonic http://www.leeactor.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Group attributes: distance of braces from systems. Global setting?
Kim Patrick Clow wrote: Hi all: I'm increasing the distance between the grouping bracket and the staves. Rather than have to do this for *each* system, isn't there a way to do this globally with setting an option for this somewhere? Hmmm. Sounds to me like you've optimized systems. If you remove system optimization, set the offset of the bracket from the beginning of the staff, and then re-optimize, you still have to do it once for each group, but not for each system. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] updating groups & brackets
I erased the start of this thread, but I did want to point out that you can put new settings for your brackets and groups and then use TGTools to update the brackets to the new setting. (You don't have to change them one at a time after optimizing.) Look in TGTools (full version), Layout: Update Groups... -Randolph Peters ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Group attributes: distance of braces from systems. Global setting?
no. doubting himself, reassessing the question, jef opened up finale before his mouth this time, and discovers that the answer is actually: yes. doc options, piano braces and brackets. can you feel the pain? -- shirling & neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Group attributes: distance of braces from systems. Global setting?
I'm increasing the distance between the grouping bracket and the staves. Rather than have to do this for *each* system, isn't there a way to do this globally with setting an option for this somewhere? no. please complain loudly to MM. http://support.makemusic.com -- shirling & neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Group attributes: distance of braces from systems. Global setting?
At 06:32 PM 1/22/2007, Kim Patrick Clow wrote: >I'm increasing the distance between the grouping bracket and the staves. >Rather than have to do this for *each* system, isn't there a way to do this >globally with setting an option for this somewhere? You can set the default value in Document Options | Piano Braces and Brackets, but this only applies to new groups you create. I don't believe there is a way of doing it for all existing groups. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Group attributes: distance of braces from systems. Global setting?
Hi all: I'm increasing the distance between the grouping bracket and the staves. Rather than have to do this for *each* system, isn't there a way to do this globally with setting an option for this somewhere? I have posted a screenshot in case there's any confusion. http://img.photobucket.com/albums/v601/graupner/group_attributes.jpg Thanks much. Kim Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol 42, Issue 13
On Jan 22, 2007, at 5:24 PM, David W. Fenton wrote: On 22 Jan 2007 at 0:46, [EMAIL PROTECTED] wrote: However, my point is that WHY can't y'all agree on ONE name for each chord? Why several names, regardless of your "musical point of view?" Washing out those complexities in simplified notation is not going to remove the complex relationships -- all it will do is make it harder for the sight-reading musician to perceive them. Well-said! Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol 42, Issue 13
On 22 Jan 2007 at 0:46, [EMAIL PROTECTED] wrote: > From the point of view of a > musicologist, saying "how you arrive at the chord" may be > something that can get different "names" for the same [EMAIL PROTECTED] chord > just does not cut it in my world. I wouldn't say it's "musicologists" who have different names for the same configuration of pitches in different harmonic contexts, but *musicians*. [] > However, my point is that WHY can't y'all agree on ONE name for each > chord? Why several names, regardless of your "musical point of > view?" Why shouldn't we all just forget our native languages and speak Esperanto? It's all about communication, right? Well, in music, the correct chord spellings make it *easier* to read for musicians who are cognizant of the musical context of what they are reading and playing. Misspelling chords is going to make it harder for those musicians to comprehend the musical context (this is not to say that there aren't confusions about chord symbols, most of which happen because the chord symbols themselves are a simplification of what's really going on, so can't always capture everything). This whole issue is the part of music that I have always found hardest for beginning theory students to learn, that music is not about absolute, fixed objects that are unchanging. Music is instead about the changing relationships between the musical materials, at all levels. It is the multi-faceted aspect of this, the fact that one note or chord or motive or melody can mean many different things depending on the context in which it is heard, that makes music interesting and complex. Washing out those complexities in simplified notation is not going to remove the complex relationships -- all it will do is make it harder for the sight-reading musician to perceive them. -- 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] E-mail client for Mac
Hi Chris, Stig (who asked the question) uses a signature. You're right that you have to manually move the insertion point regardless, but if you want your reply to appear below the quoted text, you'll want your signature to automatically appear below the quoted material instead of above. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 22 Jan 2007, at 3:41 PM, Christopher Smith wrote: That option is only available if you actually HAVE a signature (I don't, and that option stays greyed out) and it is the same number of clicks regardless. Click below the text, click above the signature, same difference. Christopher On 22-Jan-07, at 2:52 PM, Darcy James Argue wrote: Mail -> Preferences -> Signatures -> UNCHECK "Place signature above quoted text." Then just click above your sig and start typing. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] I'm back
Welcome back, Hal! I'm still enjoying your Handbook and have been getting a lot of use out of it. I skipped 2007, but it may not be too late if you really want it. In the last week or so, I've gotten something from MakeMusic (that I've since trashed, unfortunately) saying that the deadline had been extended. Thurletta Brown-Gavins On Sun, 21 Jan 2007 13:00:25 -0500, <[EMAIL PROTECTED]> wrote: Message: 5 Date: Sat, 20 Jan 2007 10:39:43 -0800 From: Harold Owen <[EMAIL PROTECTED]> Subject: [Finale] I'm back To: finale@shsu.edu Message-ID: <[EMAIL PROTECTED]> Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi everyone. Afer 36 years in our big house near the university, we've moved down town into a beautiful new condo building that's walking distance to the symphony concerts, the new library, great restaurants, and my church. The move was a major effort, and I dropped out of just about everything for the time being. We're settled and happy now in our new digs. I see that many of the posts are by familiar folks, that EPS and hyphens are still a problem, and the 2007a upgrade may not be the one to have. I missed the opportunity to get 2007 with the discount, and I'm wondering if I should skip it altogether. If enough people are using it, though, I'd like to upgrade my tutorials for it. I'm not involved in film or video, so SMPTE would be wasted on me. I like the linked score and parts feature if it really works. Will the new version allow you to make MP3 files on a Mac using GPO sounds? BTW, I'm enjoying the intonation and early tuning thread. I have no idea how it got from "Mozart" to 17th and 18th c. continuo and ripieno. It's good to be back. Hal Owen ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] E-mail client for Mac
That option is only available if you actually HAVE a signature (I don't, and that option stays greyed out) and it is the same number of clicks regardless. Click below the text, click above the signature, same difference. Christopher On 22-Jan-07, at 2:52 PM, Darcy James Argue wrote: Mail -> Preferences -> Signatures -> UNCHECK "Place signature above quoted text." Then just click above your sig and start typing. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY On 22 Jan 2007, at 2:14 PM, Christopher Smith wrote: On 22-Jan-07, at 12:13 PM, Stig Christensen wrote: Sorry for this OT question, I can't find a way to make Mail position the quote from the original mail first, and my answer below, when I want to make a reply to a message. Do I need another mail-client for Mac to do that? I use Mail, and I just click below the quoted text to position my reply below. I don't think there is a way to force Mail to leave the blinking cursor automatically below, rather than above, the quoted text. Oh well, one more click out of hundreds... christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] E-mail client for Mac
Mail -> Preferences -> Signatures -> UNCHECK "Place signature above quoted text." Then just click above your sig and start typing. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY On 22 Jan 2007, at 2:14 PM, Christopher Smith wrote: On 22-Jan-07, at 12:13 PM, Stig Christensen wrote: Sorry for this OT question, I can't find a way to make Mail position the quote from the original mail first, and my answer below, when I want to make a reply to a message. Do I need another mail-client for Mac to do that? I use Mail, and I just click below the quoted text to position my reply below. I don't think there is a way to force Mail to leave the blinking cursor automatically below, rather than above, the quoted text. Oh well, one more click out of hundreds... christopher ___ 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] E-mail client for Mac
On 22-Jan-07, at 12:13 PM, Stig Christensen wrote: Sorry for this OT question, I can't find a way to make Mail position the quote from the original mail first, and my answer below, when I want to make a reply to a message. Do I need another mail-client for Mac to do that? I use Mail, and I just click below the quoted text to position my reply below. I don't think there is a way to force Mail to leave the blinking cursor automatically below, rather than above, the quoted text. Oh well, one more click out of hundreds... christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re:iKey or Quickeys
Hi Stig, I've used both in OS9. When OSX came out I tried Quickeys and it was really slow, I understand it is better now. But I switched to iKey which is less expensive and does everything I need for Finale. As a matter of fact, I wouldn't use Finale without it. Regards, John Hinchey Nashville, TN Please let me now which application you prefer, as I said in my previous mail I'm going through a transition from Finale on Windows to Finale on Mac. regards Stig Christensen ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Ikey or Quickeys
stig, every time you post, the following file is attached. smime 2.p7s (/) (003AEE96) i'll forward separately a list discussion from about a year ago on this. -- shirling & neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Ikey or Quickeys
Please let me now which application you prefer, as I said in my previous mail I'm going through a transition from Finale on Windows to Finale on Mac. regards Stig Christensen [EMAIL PROTECTED] +4539902526/+4526212425 smime.p7s Description: S/MIME cryptographic signature ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] E-mail client for Mac
Sorry for this OT question, I can't find a way to make Mail position the quote from the original mail first, and my answer below, when I want to make a reply to a message. Do I need another mail-client for Mac to do that? Venlig hilsen Stig Christensen [EMAIL PROTECTED] smime.p7s Description: S/MIME cryptographic signature ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Master Tool Palette
Thanks fore your help, The manual says clearly that you should Command-click to open the Master Tool Pallette, but anyway I tried your suggestions and now it's okay. Thank You! regards Stig Christensen [EMAIL PROTECTED] +4539902526/+4526212425 Den 22/01/2007 kl. 16.26 skrev Godofredo Romero: Stig Christensen wrote: Hello, I am trying to make the jump from Finale on Windows to Finale on Mac, but I can't launch the Master Tool Palette although I "Command-click anywhere on the screen" as the manual wants me to. Can anyone help? regards Stig Christensen [EMAIL PROTECTED] +4539902526/+4526212425 -- -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale i asume you refer to the "main tool palette", if this is the case you simply go to the "window" menue and select it. gr ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale smime.p7s Description: S/MIME cryptographic signature ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Jazz Chord Names & Theory
I like "The Improvisor's Bass Method" by Chuck Sher and "The Jazz Theory Book" by Mark Levine. **Leigh On Mon, Jan 22, 2007, Guy Hayden <[EMAIL PROTECTED]> wrote: >I would like a reference to a thorough discussion of this topic. I have an >adult string bass student that wants to learn jazz improvisation. She needs >some sort of methodical approach. > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol 42, Issue 13
I am going to attempt to help clarify what is a necessarily murky issue - the naming of chords in shorthand symbols. First - I am in agreement with Christopher's comments and operate with that understanding when I construct bass lines from chord symbols. i.e. BbMajor7/C is a C7 chord to me - and it hardly matters to the bassist that there's a suspended 4th indicated. The Bass player can ignore this in any situation lasting less that 2 full beats. If the tempo is slow, and there is a long suspension that would create an unattractive and unwelcome dissonance with the suspended 4th (if the bassist plays the 3rd), please write out the bass part and tell the poor bass player that he should simply play a pedal C. Or leave the C out until the suspension resolves and give the bassist a Gm7 in preparation for the C. When Ellington was asked what he wrote for the bass player, he said, "as little as possible." The bassist does not need to know if there's a 13th in the chord, or a #11th. Altered 5ths and 9ths are sometimes helpful, if the bass line is going to contain those notes, but it is perhaps surprising how a D natural in a rising bass line in a C7 can exist comfortably with a Db in a descending melodic or inner voice. (Melodic Minor scales anyone?) So - what to write? C7 is usually enough. By the way - in reference to the bassist who wrote the first post on this subject, in all my years of playing this kind of music, I have never encountered a #13th! What I do find useful - as a bassist interpreting chord symbols - is a written out part showing the direction of the bass line with chord symbols added to guide embellishment. That way, the bassist does not have to guess the direction that will create attractive (contrary mostly, we hope) motion against the melody and can play with confidence. Hope this helps. Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Master Tool Palette
you can also programme 8 keys to call up tools by clicking cmd-opt- [ F through ' ], and several more if you use iKey or quickeys. once set, ctl- [ F through ' ] will select the assigned tool. -- shirling & neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Re: Finale Digest, Vol 42, Issue 13
I would like a reference to a thorough discussion of this topic. I have an adult string bass student that wants to learn jazz improvisation. She needs some sort of methodical approach. Guy Hayden, Organist and Choir Master St. Stephen's Episcopal Church 372 Hiden Boulevard Newport News, VA USA 23606 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christopher Smith Sent: Monday, January 22, 2007 8:32 AM To: finale@shsu.edu Subject: Re: [Finale] Re: Finale Digest, Vol 42, Issue 13 On 22-Jan-07, at 7:35 AM, dhbailey wrote: Bbmaj7/C is a C13sus4 chord, with a different name. It functions identically to a C7sus chord, and the acoustic and functional root is C. If you were a bass player playing a 2 feel (root, fifth in half notes) then you would play C G, not C F or anything else. The G is the implied fifth, even though it isn't present in the chord symbol. It is the same as Gm9/C, too. Jazz chord symbols are full of implied notes like this, that aren't stated in the actual chord symbol but are implied anyway. Kind of like our eyes fill in the blank spaces in a dotted line, our ears fill in the blank notes in an incomplete chord. Christopher ___ 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] Master Tool Palette
Stig Christensen wrote: Hello, I am trying to make the jump from Finale on Windows to Finale on Mac, but I can't launch the Master Tool Palette although I "Command-click anywhere on the screen" as the manual wants me to. Can anyone help? regards Stig Christensen [EMAIL PROTECTED] +4539902526/+4526212425 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale i apologize for my previous reply. it's the combination of the "control-option-command" keys what triggers this window. gr ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Master Tool Palette
Stig Christensen wrote: Hello, I am trying to make the jump from Finale on Windows to Finale on Mac, but I can't launch the Master Tool Palette although I "Command-click anywhere on the screen" as the manual wants me to. Can anyone help? regards Stig Christensen [EMAIL PROTECTED] +4539902526/+4526212425 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale i asume you refer to the "main tool palette", if this is the case you simply go to the "window" menue and select it. gr ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Master Tool Palette
On 22-Jan-07, at 10:03 AM, Stig Christensen wrote: Hello, I am trying to make the jump from Finale on Windows to Finale on Mac, but I can't launch the Master Tool Palette although I "Command- click anywhere on the screen" as the manual wants me to. Can anyone help? That's the apple (cloverleaf) key. It works for me, though it takes a little longer than I think it should to respond, and the icons are from the 3.1 version of Finale! Command(cloverleaf) - T shows the normal floating tool palette that most users like to use, though. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol 42, Issue 13
On 22-Jan-07, at 8:46 AM, dhbailey wrote: Christopher Smith wrote: Bbmaj7/C is a C13sus4 chord, with a different name. It functions identically to a C7sus chord, and the acoustic and functional root is C. If you were a bass player playing a 2 feel (root, fifth in half notes) then you would play C G, not C F or anything else. The G is the implied fifth, even though it isn't present in the chord symbol. It is the same as Gm9/C, too. Jazz chord symbols are full of implied notes like this, that aren't stated in the actual chord symbol but are implied anyway. Kind of like our eyes fill in the blank spaces in a dotted line, our ears fill in the blank notes in an incomplete chord. Christopher And that's the only possible interpretation? Geez, and here I thought jazz was a music wide open to different interpretations! :-) Heh, heh! Jazz is lot more structured than one would think (given the usual press it gets.) There IS more than one interpretation for a Bbmaj7/C (for example, one that comes to mind would be a Bbmaj7 chord with a passing bass from Bb to D) but I'd say 96% of the time or more, it is a C7sus. Part the whole chord naming question is being able to understand it at first glance (or second at least!) which gets more and more difficult as the complexity increases. To make things worse, the chord naming convention started out easy enough for the harmonies of the time, and things were tacked on as needed (kind of like an old- fashioned clarinet needing an extra trill key here and there) until we are stuck with today's Frankenstein monster of various conventions and ways of naming extra notes that may or may not agree with their actual function. Already in the 50's pianists had moved away from triadic voicings, and chords based on 4ths, 2nds, 5ths, and mixed intervals were the norm, yet we are still stuck with the stacked thirds chord naming system. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Master Tool Palette
Hello, I am trying to make the jump from Finale on Windows to Finale on Mac, but I can't launch the Master Tool Palette although I "Command-click anywhere on the screen" as the manual wants me to. Can anyone help? regards Stig Christensen [EMAIL PROTECTED] +4539902526/+4526212425 smime.p7s Description: S/MIME cryptographic signature ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol 42, Issue 13
Christopher Smith wrote: On 22-Jan-07, at 7:35 AM, dhbailey wrote: Christopher Smith wrote: [snip] In that case, they were writing for the ukeleleist, not for the bassist. Even in today's modern, "enlightened" age, when arrangers have gone to school and learned a consistent method, a chord like Bbmaj7/C presents a minor conundrum to the bassist, as there is no 5th mentioned at all in the chord symbol and he has to infer that it is G. It gets worse for chords like B/C, which is really a Cdim(maj7) chord, so the poor bass player has to just know that. Huh? I don't understand your analysis of the Bbmaj7/C -- are you interpreting it as two chords played at once, or as a Bbmaj7 with C in the bass? I would interpret it at first glance as a Bbmaj7 with a C in the bass, in which case the 5th is clearly belonging to the Bbmaj7 chord, since that indication is for a major triad with a major 7th added. So the 5th would be F. How would it be a G? I'm confused. Bbmaj7/C is a C13sus4 chord, with a different name. It functions identically to a C7sus chord, and the acoustic and functional root is C. If you were a bass player playing a 2 feel (root, fifth in half notes) then you would play C G, not C F or anything else. The G is the implied fifth, even though it isn't present in the chord symbol. It is the same as Gm9/C, too. Jazz chord symbols are full of implied notes like this, that aren't stated in the actual chord symbol but are implied anyway. Kind of like our eyes fill in the blank spaces in a dotted line, our ears fill in the blank notes in an incomplete chord. Christopher And that's the only possible interpretation? Geez, and here I thought jazz was a music wide open to different interpretations! :-) -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol 42, Issue 13
On 22-Jan-07, at 7:35 AM, dhbailey wrote: Christopher Smith wrote: [snip] In that case, they were writing for the ukeleleist, not for the bassist. Even in today's modern, "enlightened" age, when arrangers have gone to school and learned a consistent method, a chord like Bbmaj7/C presents a minor conundrum to the bassist, as there is no 5th mentioned at all in the chord symbol and he has to infer that it is G. It gets worse for chords like B/C, which is really a Cdim (maj7) chord, so the poor bass player has to just know that. Huh? I don't understand your analysis of the Bbmaj7/C -- are you interpreting it as two chords played at once, or as a Bbmaj7 with C in the bass? I would interpret it at first glance as a Bbmaj7 with a C in the bass, in which case the 5th is clearly belonging to the Bbmaj7 chord, since that indication is for a major triad with a major 7th added. So the 5th would be F. How would it be a G? I'm confused. Bbmaj7/C is a C13sus4 chord, with a different name. It functions identically to a C7sus chord, and the acoustic and functional root is C. If you were a bass player playing a 2 feel (root, fifth in half notes) then you would play C G, not C F or anything else. The G is the implied fifth, even though it isn't present in the chord symbol. It is the same as Gm9/C, too. Jazz chord symbols are full of implied notes like this, that aren't stated in the actual chord symbol but are implied anyway. Kind of like our eyes fill in the blank spaces in a dotted line, our ears fill in the blank notes in an incomplete chord. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol 42, Issue 13
Christopher Smith wrote: [snip] In that case, they were writing for the ukeleleist, not for the bassist. Even in today's modern, "enlightened" age, when arrangers have gone to school and learned a consistent method, a chord like Bbmaj7/C presents a minor conundrum to the bassist, as there is no 5th mentioned at all in the chord symbol and he has to infer that it is G. It gets worse for chords like B/C, which is really a Cdim(maj7) chord, so the poor bass player has to just know that. Huh? I don't understand your analysis of the Bbmaj7/C -- are you interpreting it as two chords played at once, or as a Bbmaj7 with C in the bass? I would interpret it at first glance as a Bbmaj7 with a C in the bass, in which case the 5th is clearly belonging to the Bbmaj7 chord, since that indication is for a major triad with a major 7th added. So the 5th would be F. How would it be a G? I'm confused. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol 42, Issue 13
On Jan 22, 2007, at 12:46 AM, [EMAIL PROTECTED] wrote: However, my point is that WHY can't y'all agree on ONE name for each chord? Why several names, regardless of your "musical point of view?" There are a lot more part time old geezer musicians like me than ALL of the musicians in ALL of the orchestras in the world, and we buy and play a lot of music. Not symphonies, that is certain, but LIVE music. To make things worse, a lot of old music was published with ukelele chords, rather than "guitar" chords. The difference was sometimes enough to make a really bad bass line, such as an Em ukelele chord symbol where the piano was actually playing Cmaj7 (Em is the same as the top three notes of Cmaj7, the only difference being, you guessed it, the bass note). In that case, they were writing for the ukeleleist, not for the bassist. Even in today's modern, "enlightened" age, when arrangers have gone to school and learned a consistent method, a chord like Bbmaj7/C presents a minor conundrum to the bassist, as there is no 5th mentioned at all in the chord symbol and he has to infer that it is G. It gets worse for chords like B/C, which is really a Cdim(maj7) chord, so the poor bass player has to just know that. And of course you are right that many times a G7(#11) is called a G7 (b5), but the D is a better note than the Db for the bassist, whereas if the chord is a Gm7(b5), then the D will never sound right. It's just part of what you have to know as a bass player. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Disappearing Measure-assigned Text Blocks
Michael, the limit you are working clean and safe in Finale is a measure of 32/4. 1024 x 32 = 32768 Regards Raimund Lintzen "[EMAIL PROTECTED]" schrieb: > > [Finale 2002] > > I have encountered a bizarre bug and wonder if anyone else is aware of it > and a solution to the problem. > > I have set up some music examples which I am labelling using text blocks > assigned to measures. In two cases, I am unable to create text blocks in > the second half of the bar and, if I create them earlier in the bar and > drag them into position, they disappear as I drag them. The example is > mainly in the time signature of 8/1, but the affected bars are in 15/1. > > I realise there are work-arounds, like splitting the bars and hiding the > bar-lines or setting up the labels as page assigned text blocks, but does > anyone know if there are limits within Finale? > > Regards, > Michael Lawlor > > > mail2web - Check your email from the web at > http://mail2web.com/ . > > ___ > 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
Chord Names [was: Re: [Finale] Re: Finale Digest, Vol 42, Issue 13]
[EMAIL PROTECTED] wrote: [snip] However, my point is that WHY can't y'all agree on ONE name for each chord? Why several names, regardless of your "musical point of view?" There are a lot more part time old geezer musicians like me than ALL of the musicians in ALL of the orchestras in the world, and we buy and play a lot of music. Not symphonies, that is certain, but LIVE music. Just hoping somehow, some way, the folks who arrange and publish and sell arrangements for the more mundane music could make life on the stage a lot easier if they could manage to AGREE on ONE name for ONE chord. [snip] For the same reason that we can't agree on one name for that black key on the piano which sits between F and G. Sometimes it needs to be called F-sharp and other times it needs to be called G-flat. I suppose that an international symposium on the simplification of chord names could be organized. We could take it a step further and simply write all the songs in the key of C, which would further make life easier for part time musicians. Your request for simplification is one that many people in the musical world ask quite often -- even if you got everybody on this Finale list to agree to some sort of "Unified Chord Spelling Treaty," there are simply too many musicians who aren't part of this list who wouldn't participate in that treaty, so you'd still be stuck having to figure out the same stuff you have to figure out now. To say nothing about the billions of tons of music which is already in print and can't be "recalled for a regrooving" to bring it into line with any new "Unified Chord Theory" system of nomenclature. Just too impractical, even if people wanted to go along with it -- which I doubt if there could ever be agreement. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 1st / 2nd Repeats, Part II
Rich Caldwell wrote: [snip] My other question is about the fermata symbol. Finale wants to typically place that above the stave of any system, no matter what direction the note is. But as you can see, I moved to BELOW the staff-- to prevent conflicts with the numbers you see in the repeat bars. Is this correct? Personally, I like having fermatas above the staff, no matter what the situation (I'll make room for it), although the below-staff position is allowed if necessary or you want to keep the staves exactly equidistant for every system. In the example you give, you can easily move the repeat bracket up a little bit. I agree that fermatas should be above the staff most of the time. If it's a single note, the fermata should be above the note all the time, in my opinion. If it's a chord, the fermata should be above the chord all the time, in my opinion. The only time that I think it looks alright to place fermatas below the staff is when there are two different layers in use and there are stems-up and stems-down notes. Then the fermatas must be below the staff for the lower part. In my opinion. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
