Re: [Finale] File Storage
On 27.02.2007 Bruce E. Clausen wrote: What is the preferred method of file storage (WInFin06)? I've used CDs. Can I use flashdrives? Anything else? Thanks. You mean as backup? I wouldn't use flash drives, they seem to be even less reliable than others. CDs and DVDs are sort of ok but use a good brand, not the no-name variety. However, they do have a limited life of only a few years, so if you really want safe storage, you will have to have multiple copies and re-copy them after a few years. Harddisks work well for me. Perhaps the safest method these days is by an online service provider who stores in several places with multiple backups. 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] O.T. G Major : Trumpets rare?
On 26.02.2007 Kim Patrick Clow wrote: I'm curious if having Trumpets in G Major is unsual for baroque music? I know E Flat is kind of rare, Bach used that in the Magnificat for example. Just guessing here, but was the E flat version of the Magnificat for some kind of special situation, where the pitch was so low that the trumpets in D could be used as Trumpets in E flat? I believe I remember something about this, and there are two versions of the Magnificat (in D and Eflat, the D version being the much easier for a baroque orchestra, while the E flat is very unsatisfying to play). But I'm curious why the composer just didn't transpose this G Major sinfonia to D, where trumpets were more common. Just a guess, but perhaps Graupner composed this for a very specific trumpeter, a virtuoso who liked to play these odd (I assume high) pitches? We have similar situation with horn parts, where there seems to be a link between Bach, Graun (in Berlin) and Haydn (in Eisenstadt). It seems that one school of horn players could play these extremely high horn parts. Johann Gottlieb Graun's horn parts are the highest at that time, and interestingly a Graun horn concerto turned up in the Esterhazy archives, originally believed to be a Haydn concerto. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Fwd: Fw: Fw: [Finale] Elbow on conga]]
Hi Carl.I know the technique involved here, but I wasn't knowledgeable enough to provide a clear answer.I submitted it to an associate of mine, Richard who is an ethno-musicologist and teacher of both western and eastern hand drums. Here are his recommendations. I hope it is of help. Dave D. Hi Dave, Yes, use one line to indicate one instrument. In Finalé, unless it is the latest version, there is no way to indicate complex percussion notation involving pitch-shifts on one note unless you indicate it as a glissando (a line drawn between noteheads) like with a timpani. People who write music software are unsympathetic to the needs of flexible notation for percussion. You have to borrow from other instrumental symbols and indicators. I do not know if it is possible to create from scratch or denote a pre-existing graphic notehead to indicate that an elbow is to be used. Perhaps a meld of a letter or other independent symbol with the notehead could indicate this in Finale. A text box by the notation could serve to instruct the player perhaps. Copy the Finale file as a graphic into a graphic program like FreeHand or Illustrator and then add other graphic to your delight. Save it all as a print-grade file for the printer. For modern notation I suggest using the book resource by Gardner Read, Music Notation: A Manual of Modern Practice. My copy (2nd edition) was published in 1979. There may be newer resources or editions of that book. Check with the Percussive Arts Society (PAS). In any case, when using software to notate with, there are going to be problems with modern percussion parts. Also look up "notation of..." on the internet. There is bound to be a redsource somewhere. Good Luck Richard Steiger Hi Richard: I know the technique described here but I do not know how to tell him to notate it. Can you help? Much appreciated. Dave D. > Patrick and Dave - > > This question arose on the forum for the notation software I use, and as > you're very familiar with hand drums, I thought you might have an opinion > that actually applies. > > Any opinion on how you would prefer this be written? > > Thanks! > > Carl > > I have a composer who wants me to notate a conga effect -- the player > plays five strokes on the conga head with his right hand while > putting pressure on it with his left elbow. (Or vice versa -- it > doesn't matter.) He starts with a lot of elbow pressure but gradually > applies less pressure, so the effect sounds like five descending > notes. (The effect is common in Afro-Cuban playing but I've never had > to notate it before). > > The composer initially wanted to use noteheads on different staff > lines to indicate the descending figure, but I think that's > misleading because the effect is played entirely on a single conga. > (Other measures have parts for two congas notated on different staff > spaces.) > > What do you think the most concise way of notating and explaining the > desired effect would be? (The part is for a classical percussionist.) > > Cheers, > > - Darcy -- http://www.livejournal.com/users/dershem/# http://members.cox.net/dershem ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] english/german expressions
Martin, I'd use something like Shirmer's musical terms dictionary (ISBN: 0911318151), etc. I'm sure there's also a similar text going from German to English, Italian, French, etc. Books of this type will be filed at the library under music dictionaries. For what it's worth, the Library of Congress call number for such books is ML 108. This might be helpful when running a WorldCat search for this type of text. HTH, Brennon On Feb 27, 2007, at 2:47 PM, Martin Gieseking wrote: I'm an user of the german version of finale (2006c WinXP). Sometimes I have difficulties in following our discussions, because I don't know the translations of specific termini used in finale. Maybe this small folder everybody gets with a new finale-cd or -update could help me. Does anybody know a source for it to download, as pdf or similar? Or has anybody already made a list of english/german expressions? Hello Oliver, there is a detailed glossary about musical terms available on the LilyPond website: http://lilypond.org/doc/v2.10/Documentation Maybe this is something you're looking for. Martin ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Brennon Bortz Teaching Assistant and Graduate Student - Music Composition University of California, Riverside [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Extract DVD audio on a mac?
I use Handbrake--works great. I'm sure you can find it on Versiontracker. --Brennon On Feb 24, 2007, at 12:59 AM, Don Hart wrote: Just wondering what Mac users on this list might be using to extract audio from a DVD. Free or cheap get the nod over bells and whistles for me on this. Thanks, Don Hart ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Brennon Bortz Teaching Assistant and Graduate Student - Music Composition University of California, Riverside [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fonts
On Feb 27, 2007, at 10:26 AM, Ken Moore wrote: You don't mention Georgia, which I use mainly for its figures (with ascenders and descenders). At 22 point, it has about the same x- height as 24-point TNR, but it may be too wide for your purposes. I like Georgia, but it's far too wide for lyrics. Georgia is an extremely well-designed font. Along with its partner Verdana, it was one of the first designed specifically for on-screen reading, and it's still among the best. I strongly recommend Georgia and Verdana as defaults for viewing websites. That doesn't mean they can't look good on paper, of course, but the fonts were designed with a specific goal in mind. The readability factors for screen and for print aren't the same, so if a font is optimized for one it won't be optimized for the other. For the same reason, I wouldn't expect Minion/Myriad to be ideal for reading on screen. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression (linked parts behavior)
barbara, Why aren't _all_ expressions that I tweaked orange, only the ones I Ctrl-clicked? it depends on where you move them (in score/parts); everything is explained in the manual, pp 37-5 to 37-7. it takes some getting used to, needs to be read first. -- 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] bug?
That was I. I have a similar problem in FinWin 2007b - occasional large blue triangles (which do not affect printing, but more later). I didn't get any real suggestions offered - some people here seemed so aghast that could I briefly misidentify my version of Windows as ME instead of XP (I don't run my life around that stuff like I suppose I should) that I ran off with my tail between my legs and did not press the issue. My solution to both that problem and the idiotic postage stamp-sized printing bug that I have had with new files in 2007 (that no one else seems to have) is to stop using the accursed 2007 and go back to 2006. It works. Raymond Horton Bass Trombonist, arranger, composer Louisville Orchestra dhbailey wrote: Oliver Pospiech wrote: Please, who can help me? Does anybody know this behaviour of finale (2006c WinXP): http://www.oliver-pospiech.de/> http://www.oliver-pospiech.de/bug.jpg> www.oliver-pospiech.de/bug.jpg - thick, blue signs crossed over the screen! What can I do against it? I seem to recall somebody else having that problem, but I don't recall now what the solution was. Does it print this way? I've never run into it myself, using Fin2006c on WinXP. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. G Major : Trumpets rare?
Kim Patrick Clow wrote: I'm curious if having Trumpets in G Major is unsual for baroque music? I know E Flat is kind of rare, Bach used that in the Magnificat for example. But I'm curious why the composer just didn't transpose this G Major sinfonia to D, where trumpets were more common. This is pure speculation, but over the years I've heard a number of items written by prominent composers calling for an unusual instrument. In some cases these were written with a particular individual in mind. I'm thinking specifically here of the Austrian pianist who lost his right hand in WW I, and commissioned a number of challenging works for piano-left hand, but I also seem to remember a number of occasions listening to Fine Arts music stations where it was mentioned that one or another works for an unusual instrument, was composed for a certain performer or group. Is it such a stretch to think that an individual of Bach's acquaintance owned an E-flat trumpet, and wrote (or revised) the part with that player in mind? It seems to me that in Bach's time, all musical instruments were handcrafted, and it would not have been that much difficult for an instrument maker to make a trumpet in one key than in another. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression (linked parts behavior)
I need to read that chapter, David et al.! :) dhbailey wrote: You haven't clearly said yet whether you tweaked the expressions in the score or in a part, but if you ctrl-click/drag an expression in a score, it unlinks it from all parts it appears in. If you simply click/drag the expression in the score, it remains linked to all the parts it appears and it will move in all parts it appears in the same amount/direction you move it in the score. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression (linked parts behavior)
Aaaahhhaaa! Thanks for explaining! Aaron Sherber wrote: This is covered in Rich's post and mine. If you move an expression in the score without holding the Ctrl key down, it will also move in the part and will stay linked. Therefore it stays red (for note expressions). If you tweak an expression in the score while holding down the Ctrl key, this default behavior gets overridden. The expression will move only in the score, not in the part, and will get unlinked. The orange color indicates this. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression (linked parts behavior)
Barbara Touburg wrote: Rich, thanks for the explanation. Quite clear. Next question (I may be a bit slow today): Why aren't _all_ expressions that I tweaked orange, only the ones I Ctrl-clicked? You haven't clearly said yet whether you tweaked the expressions in the score or in a part, but if you ctrl-click/drag an expression in a score, it unlinks it from all parts it appears in. If you simply click/drag the expression in the score, it remains linked to all the parts it appears and it will move in all parts it appears in the same amount/direction you move it in the score. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression (linked parts behavior)
At 05:56 PM 2/27/2007, Barbara Touburg wrote: >Next question (I may be a bit slow today): >Why aren't _all_ expressions that I tweaked orange, only the ones I >Ctrl-clicked? This is covered in Rich's post and mine. If you move an expression in the score without holding the Ctrl key down, it will also move in the part and will stay linked. Therefore it stays red (for note expressions). If you tweak an expression in the score while holding down the Ctrl key, this default behavior gets overridden. The expression will move only in the score, not in the part, and will get unlinked. The orange color indicates this. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] File Storage
On 27 Feb 2007 at 13:15, Bruce E. Clausen wrote: > What is the preferred method of file storage (WInFin06)? I've used > CDs. Can I use flashdrives? Anything else? That's kind of a non-specific question, sort of like asking "How long is a piece of string?" It all depends on what you need the storage for. CDs are handy, portable, cheap and can be read by any other computer. The are a decent medium for off-site backups. However, they have limited shelf-life, sometimes as little as 2 years, so you'd basically want to frequently replace them with updated backups. A Flash drive is something I can't speak to. Theoretically, it ought to be quite stable memory, but they haven't been around long enough for use to know for certain, I think. I just Googled on the topic and found this quote: Under optimal conditions, the lifespans of [SanDisk] USB flash drives can be up to 10 years or more when used like a CD-R; when used like a CD-RW, the lifespan may vary. That's from this article: http://www.cnet.com.au/desktops/storage/0,239029473,240063522,00.htm If you write your data once and put it away, it's fairly long-term reliability. If you are constantly writing to it, then we don't really know. My bet is that it's somewhere in between a CD-ROM and a standard hard disk. These two bits of what looks like good advice close that article: Toloo is optimistic about the prospects of USB flash drives as a "short-term" backup solution, provided that they're treated with care and not relied upon as the only mechanism for backup. "The best way to prevent losing data from a USB flash drive is to invest in a good quality device, unplug it when not in direct use, keep it in a safe, cool, dry place and always eject properly through the operating system," he said. In regard to hard drives, we now have very large hard drives available very inexpensively, as well as very portable. You can get 100GB drives a little larger than a pack of cigarettes for under $150 and these can be very good solutions for regular backup. I'm using Maxtor's version of this with two of my clients. I also have used external USB drives for other clients, as well as putting extra large hard drives in the cases of desktop PCs as a backup device. The key issue with backup: HAVE AS MANY AS YOU CAN MANAGE. That means redundancy. Lots of it. I have most of my clients set up to get 3 backup sets every time they back up (in various forms on various media). You also need to consider the issue of file history -- backup software like Second Copy in its default configuration just copies the files to a different drive (which can be very handy in and of itelf), and you have to change settings to keep multiple versions backed up. That's a very long answer, but the principles are: 1. what do you want to use the backups for? 2. how important is portability? 3. is this your only backup strategy or part of a set of different types of backups. As you can see, I recommend that you have multiple types of backup media in multiple locations. This can become a pain to manage, but not nearly as much of a pain as the friend of mine who spent $2000 in data recovery costs because his laptop hard drive died and he had no backups (his entire dissertation was on that hard drive!). -- 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] Expression (linked parts behavior)
Rich, thanks for the explanation. Quite clear. Next question (I may be a bit slow today): Why aren't _all_ expressions that I tweaked orange, only the ones I Ctrl-clicked? Rich Caldwell wrote: On Feb 27, 2007, at 9:20 AM, Barbara Touburg wrote: When I control-click a text expression (measure or note attached makes no difference) handle, it turns orange. I can't restore its original colour. What does the orange mean? How do I restore the original colour? When you pressed the control key (command key on the Mac) while clicking on the expression in score view, you unlinked that expression between the score and the parts. The normal behavior in score view is for all edits to affect both the score and the parts (i.e., linked), and the modifier key is what, instead, breaks the link, whether or not you actually move the object. The opposite is true for parts view. If you make any edits in part view, then it is automatically unlinked, unless you press the modifier key while you do it. As others have mentioned, to relink (and change the color back to normal), right-click on the expression and choose "Relink in All Parts." Rich Caldwell http://engraving.eclectic-ink.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
Re: [Finale] english/german expressions
I'm an user of the german version of finale (2006c WinXP). Sometimes I have difficulties in following our discussions, because I don't know the translations of specific termini used in finale. Maybe this small folder everybody gets with a new finale-cd or -update could help me. Does anybody know a source for it to download, as pdf or similar? Or has anybody already made a list of english/german expressions? Hello Oliver, there is a detailed glossary about musical terms available on the LilyPond website: http://lilypond.org/doc/v2.10/Documentation Maybe this is something you're looking for. Martin ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression
At 09:24 AM 2/27/2007, Barbara Touburg wrote: >I find this still a bit strange. Why would a note-attached expression >want to be re-linked in _all_ parts? What it means is "all *applicable* parts". Obviously (or maybe not) it's not going to relink in a part where it doesn't appear. Why doesn't it just say "relink in part" for a note expression? Because any given staff can actually appear in more than one part, and relinking will affect all parts in which that staff (and therefore that expression) appears. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. G Major : Trumpets rare?
On Feb 26, 2007, at 1:58 PM, John Howell wrote: At 1:22 PM -0500 2/26/07, Kim Patrick Clow wrote: I'm curious if having Trumpets in G Major is unsual for baroque music? I know E Flat is kind of rare, Bach used that in the Magnificat for example. But I'm curious why the composer just didn't transpose this G Major sinfonia to D, where trumpets were more common. Thanks very much, Kim Rare enough that I've never seen it, at least. (And Bach did not write for trumpets in Eb in the Magnificat; when he added the trumpet parts he transposed the piece into D and did some additional rewriting, as he always did, making it a second version.) And to this day, I don't think anyone has ever seen an example of the high F trumpet that we assume Brandenburg 2 was written for. According to the trumpeter Johann Ernst Altenburg (1795, paraphrased in Terry, _Bach's Orchestra_), "a 'Concerttrompeter' required only three, or at most four [instruments], in G, F, D and B flat. For movements in A major, the G or 'English' trumpet, raised to the higher key by means of a 'Sordun', was available; for G major, the same without the mute; for F major, the F or 'Field' or 'French' trumpet; for E major, the same lowered a semitone by a shank; for E flat major, the same crooked down a tone; for D major, 'the German Cammerton D trumpet'; for C major the same crooked down a tone. Altenburg remarks on the absence of a 'short' B flat trumpet for music in that key, and recommends the performer to play an o ctave lower, on the 'long' instrument." Note that in this list the F trumpet is smaller/higher than the standard D trumpet. Presumably Altenburg knew what he was talking about, and the question should therefore be whether there is any evidence for valveless F trumpet writing an octave *lower.* As for the high G the 2d Brandenburg requires, there are numerous examples of its use on trumpets of various sizes--not necessarily in F, but what does that matter? 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] Expression (linked parts behavior)
On Feb 27, 2007, at 9:20 AM, Barbara Touburg wrote: When I control-click a text expression (measure or note attached makes no difference) handle, it turns orange. I can't restore its original colour. What does the orange mean? How do I restore the original colour? When you pressed the control key (command key on the Mac) while clicking on the expression in score view, you unlinked that expression between the score and the parts. The normal behavior in score view is for all edits to affect both the score and the parts (i.e., linked), and the modifier key is what, instead, breaks the link, whether or not you actually move the object. The opposite is true for parts view. If you make any edits in part view, then it is automatically unlinked, unless you press the modifier key while you do it. As others have mentioned, to relink (and change the color back to normal), right-click on the expression and choose "Relink in All Parts." Rich Caldwell http://engraving.eclectic-ink.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression
At 04:06 PM 2/27/2007, Barbara Touburg wrote: > > >dhbailey wrote: >> Barbara Touburg wrote: >> >>> When I control-click a text expression (measure or note attached makes >>> no difference) handle, it turns orange. I can't restore its original >>> colour. What does the orange mean? How do I restore the original colour? >>> >> >> When you do any sort of edit to an expression after placing it, it >> becomes unlinked between the score and the parts. The color changes to >> orange to indicate this. To restore it to the original color (which is >> meaningless as far as colors go) you need to relink the expression. >> Right-click and then select Re-link (or restore link or whatever it's >> called.) >> > >Do you mean that every expression I nudged a bit is now unlinked? From your description, yes. When you move an expression in the score, it moves in the part as well, assuming that the expression is still linked. When you move an expression in a part, it moves only in the part and unlinks from the score. The Ctrl key overrides this default behavior. So if you nudge an expression in the score while holding down the Ctrl key, it moves only in the score and unlinks from the part. If you nudge an expression in the part while holding down the Ctrl key, it moves in both score and part and remains linked. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] File Storage
What is the preferred method of file storage (WInFin06)? I've used CDs. Can I use flashdrives? Anything else? Thanks. Bruce E. Clausen ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] english/german expressions
Hello, I'm an user of the german version of finale (2006c WinXP). Sometimes I have difficulties in following our discussions, because I don't know the translations of specific termini used in finale. Maybe this small folder everybody gets with a new finale-cd or -update could help me. Does anybody know a source for it to download, as pdf or similar? Or has anybody already made a list of english/german expressions? Thank you very much, Oliver ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression
Dear Barbara, I try to figure things out without the online manual in most cases but, for this, it is more efficient to read the manual first. You will find that re-linking expressions from a part will not move the expression in the score to the position you have chosen for the part but will move the expression in the part back to the position you set in the score. It's important to understand this behavior when working with linked parts. This is all workable, but requires a good bit of changing work habits. Chuck On Feb 27, 2007, at 1:06 PM, Barbara Touburg wrote: dhbailey wrote: Barbara Touburg wrote: When I control-click a text expression (measure or note attached makes no difference) handle, it turns orange. I can't restore its original colour. What does the orange mean? How do I restore the original colour? When you do any sort of edit to an expression after placing it, it becomes unlinked between the score and the parts. The color changes to orange to indicate this. To restore it to the original color (which is meaningless as far as colors go) you need to relink the expression. Right-click and then select Re-link (or restore link or whatever it's called.) Do you mean that every expression I nudged a bit is now unlinked? ___ 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] Expression
dhbailey wrote: Barbara Touburg wrote: When I control-click a text expression (measure or note attached makes no difference) handle, it turns orange. I can't restore its original colour. What does the orange mean? How do I restore the original colour? When you do any sort of edit to an expression after placing it, it becomes unlinked between the score and the parts. The color changes to orange to indicate this. To restore it to the original color (which is meaningless as far as colors go) you need to relink the expression. Right-click and then select Re-link (or restore link or whatever it's called.) Do you mean that every expression I nudged a bit is now unlinked? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Printers used
Stephen Ellis wrote: I have learned much from the thread concerning binding. I now pose an even more basic question: What printers are recommended for your oversized pages? I would like to purchase one capable of printing larger that 8.5" x 14". Thoughts? Assuming you are asking about Laser printers, I have had been highly satisfied with my purchase of a Ricoh AP610 N, also marketed by Savin and Gestetner under different model designations. This handles 11 x 17 paper, which meets my needs for now. An abstract of the specs: 1200 x 1200 dpi; 35 pages per minute; toner cost (on my output, your experience may be different) about three quarters of a cent per page. Biggest disadvantage: a bit hard to find; pretty much have to go through an authorized dealer. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Using Fin files as new templates
Johannes Gebauer wrote: In the past I have always worked from my templates. Now I am in a situation where it would be nice to have every newly created expression, articulation etc, and keep all the changed settings. So what is the best way to work with existing files as new templates? This is a question I have been dealing with for a while. What I would do is take the file you want to use as a template, and save _all_ of the library files from it into a new subdirectory, then open a new document without libraries, and load all of the saved libraries. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. G Major : Trumpets rare?
At 4:15 PM -0600 2/26/07, Aaron Rabushka wrote: I don't know about the baroque, but trumpets in G (Robbins Landon calls them "English trumpets") were quite unusual for Haydn. The 88th symphony is quite unusual in having trumpets and drums in G in the the 3rd (and probably 4th) movement, and the appearance of (IIRC) C trumpets in the second movement after a trumpetless opening movement was considered quite a surprise. By Haydn's time, the trumpets in question no longer were the same as the baroque trumpets, and even the parts they played were more like the rhythmic inner parts in earlier trumpet ensembles, no longer the high clarino parts. I can't swear to it, but I think that in Haydn's time the trumpets, like the horns, could easily change keys by changing crooks. Handel's trumpets seem to have been in D (relative to the pitch he used), while Purcell's seem more likely to have been in C (relative to the pitch HE used). Bach's also seem to have been in D (relative ...), except for the elusive Brandenburg trumpet. 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
AW: [Finale] bug?
>Believe it or not, the Blue Triangle appears because you have Internet >Explorer 7 installed on your computer. To get rid of the triangle, click on the >Document Menu --> Document Options --> Lines and Curves. In the upper right hand >corner is a Resolution field. Change the number in the field until the triangle >disappears (try 10). Great! Thank you! Oliver ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression
Barbara Touburg wrote: When I control-click a text expression (measure or note attached makes no difference) handle, it turns orange. I can't restore its original colour. What does the orange mean? How do I restore the original colour? When you do any sort of edit to an expression after placing it, it becomes unlinked between the score and the parts. The color changes to orange to indicate this. To restore it to the original color (which is meaningless as far as colors go) you need to relink the expression. Right-click and then select Re-link (or restore link or whatever it's called.) -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fonts
Mark D Lew <[EMAIL PROTECTED]> wrote: I just ran through my font library trying all the classic serifs I've got. Many of them were too wide to be practical. Three or four others are roughly the same proportions as Times and Caslon with slightly different looks. Aside from Minion, the only one with a significant x-height gain over Times is Palatino. I like Palatino in general, and it's my usual fallback font for letters and that sort of thing, but I have mixed feelings about it for music. On the whole, I think I don't like it. You don't mention Georgia, which I use mainly for its figures (with ascenders and descenders). At 22 point, it has about the same x-height as 24-point TNR, but it may be too wide for your purposes. -- Ken Moore ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] transpositions
At 6:17 AM -0500 2/27/07, Lawrence David Eden wrote: I am working on a score written by Paul Hindemith. He wrote the Klarinette part in B with a key signature, but the Trompete part, which is also in B, has no key signature. Can anybody tell me about this practice in orchestral music? It is new to me. Why not give the trumpet and clarinet the same key signature if they use the same transposition? Old-style traditional notation is all. (And I assume that you know that by "B" he meant "Bb." Clarinets traditionally (from the late 18th century) played from transposed parts with transposed key signatures. Trumpets, while they were still natural instruments without valves or keys, played from parts specifying the key of the instrument (achieved by switching slides) and did not use key signatures because the parts put them in their (transposed) key of C. Why a 20th century composer would have observed the old notational convention I can't tell you, but that's where it came from. 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
Re: [Finale] Check Ties?
On 27.02.2007 Dean M. Estabrook wrote: Well, there you go ... I never was aware there was such a plugin. It's not actually a plugin, it has been present in Finale since I know Finale (something like 3.2). 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] Fonts
On Feb 27, 2007, at 3:12 AM, Lawrence David Eden wrote: One of my favorite fonts is Tekton. I use it to name the various tune titles in my medleys. It is very clear and it certainly catches the eye. (I am on a Mac platformis Tekton available for PCs)? Tekton is offered by both Adobe and Linotype. I'm not sure if it's two different fonts of the same typeface or the same font licensed by one to the other. Both offer it in various formats for both platforms. The original Tekton design was based on the hand lettering of architect Frank Ching, as used in one of his books. Bolds and italics were derived from it later. There's also a shareware font called "Frank the Architect" based on the same hand-lettering. It has a similar look but is definitely not identical. I think the designer of the latter was aiming to more closely follow the actual handwriting, whereas with Tekton it was modified for the sake of more general aesthetics and practicality. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Check Ties?
Well, there you go ... I never was aware there was such a plugin. Dean On Feb 26, 2007, at 9:00 PM, Eric Dannewitz wrote: It works fine. I used it today. Matthew Hindson fastmail acct wrote: Can anyone else confirm that this utility doesn't work any more under Finale 2007 Mac? Matthew ___ 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 Dean M. Estabrook http://deanestabrook.googlepages.com/home Galileo was able to help debunk some of the tightly held articles of faith in the Catholic Church ... could science possibly be correct again? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Using Fin files as new templates
Hi Johannes, I'd have tried what David Bailey suggested. I think I have done this before with some success, but you may have to use the measure attributes tool to delete existing measure number regions and remove the bookmarks individually. Chuck On Feb 27, 2007, at 1:21 AM, Johannes Gebauer wrote: In the past I have always worked from my templates. Now I am in a situation where it would be nice to have every newly created expression, articulation etc, and keep all the changed settings. So what is the best way to work with existing files as new templates? I deleted all the music, but then realized that other things like measure number regions, bookmarks etc stay intact. What else do I have to delete to get a "clean" file? Or would it be better to just import every thing into the orginal template each time? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] bug?
In a message dated 2/27/07 8:30:39 AM, [EMAIL PROTECTED] writes: > Oliver Pospiech wrote: > > Please, who can help me? Does anybody know this behaviour of finale (2006c > > WinXP): > > > > http://www.oliver-pospiech.de/> > > http://www.oliver-pospiech.de/bug.jpg> > > www.oliver-pospiech.de/bug.jpg - thick, blue signs crossed over the > screen! > > What can I do against it? > > > Believe it or not, the Blue Triangle appears because you have Internet Explorer 7 installed on your computer. To get rid of the triangle, click on the Document Menu --> Document Options --> Lines and Curves. In the upper right hand corner is a Resolution field. Change the number in the field until the triangle disappears (try 10). ** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression
When I control-click a text expression (measure or note attached makes no difference) handle, it turns orange. I can't restore its original colour. What does the orange mean? How do I restore the original colour? it depends on "how" you want to "restore" the expression. read the linked parts section in the manual, esp. pp. 37-5 to 37-7. there are a number of options in the control menu, some with keyboard chortcuts. -- 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] bug?
I think this has something to do with staff styles, but I can't remember the solution, sorry. Oliver Pospiech wrote: Please, who can help me? Does anybody know this behaviour of finale (2006c WinXP): www.oliver-pospiech.de/bug.jpg - thick, blue signs crossed over the screen! What can I do against it? Thanks, Oliver ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Expression
When I control-click a text expression (measure or note attached makes no difference) handle, it turns orange. I can't restore its original colour. What does the orange mean? How do I restore the original colour? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] bug?
Oliver Pospiech wrote: Please, who can help me? Does anybody know this behaviour of finale (2006c WinXP): http://www.oliver-pospiech.de/> http://www.oliver-pospiech.de/bug.jpg> www.oliver-pospiech.de/bug.jpg - thick, blue signs crossed over the screen! What can I do against it? I seem to recall somebody else having that problem, but I don't recall now what the solution was. Does it print this way? I've never run into it myself, using Fin2006c on WinXP. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Expression
Never mind, I found it. I find this still a bit strange. Why would a note-attached expression want to be re-linked in _all_ parts? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] triangle among other percussions
Darcy James Argue wrote: Chris, This is certainly documented in Finale. There is General MIDI Percussion Map Table in the Finale Manual. In Fin2007, it's on page A-51 of the Appendix. In other versions, just search for "General MIDI Percussion." Cheers, - Darcy But we all need to be careful because the percussion maps of a GM drumkit are NOT all equal, not all have exactly the same sounds in the same slots, and occasionally we need to go searching among the documentation for whatever playback device we use. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] bug?
Please, who can help me? Does anybody know this behaviour of finale (2006c WinXP): www.oliver-pospiech.de/bug.jpg - thick, blue signs crossed over the screen! What can I do against it? Thanks, Oliver ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] triangle among other percussions
I stand happily corrected! I had to look up the info for my cheat sheet on the web. C. On Feb 27, 2007, at 8:50 AM, Darcy James Argue wrote: Chris, This is certainly documented in Finale. There is General MIDI Percussion Map Table in the Finale Manual. In Fin2007, it's on page A-51 of the Appendix. In other versions, just search for "General MIDI Percussion." On 27 Feb 2007, at 8:37 AM, Christopher Smith wrote: If you would have had trouble finding which note plays back as a triangle (it doesn't seem to be documented in Finale) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] bug?
Please, who can help me? Does anybody know this behaviour of finale (2006c WinXP): http://www.oliver-pospiech.de/> http://www.oliver-pospiech.de/bug.jpg> www.oliver-pospiech.de/bug.jpg - thick, blue signs crossed over the screen! What can I do against it? Thanks, Oliver ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] triangle among other percussions
Chris, This is certainly documented in Finale. There is General MIDI Percussion Map Table in the Finale Manual. In Fin2007, it's on page A-51 of the Appendix. In other versions, just search for "General MIDI Percussion." Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 27 Feb 2007, at 8:37 AM, Christopher Smith wrote: If you would have had trouble finding which note plays back as a triangle (it doesn't seem to be documented in Finale) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] whole measure rest question
I have a polyphonic (piano) staff, where the soprano rests for a whole measure, while the alto part plays. The piece is in 2/4. Should that rest be a centered whole measure rest, or a left aligned half rest? centred, without question. -- 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] Using Fin files as new templates
i would reconstruct it; there is no easy way to get rid of all the underlying shape expressions for example (when in the palette select edit: choose for a look). but exporting libraries seems to extract only those necessary to the palette (artics / shapee designer) haven't done it in awhile (since 2005 i think), so check. -- 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] triangle among other percussions
On Feb 27, 2007, at 6:26 AM, dhbailey wrote: masao iikura wrote: hi all, am trying to add a triangle on a staff with woodblock and whistle, but could not find a triangle in text expression play back patch menu other than individual triangle staff in the initial wizard's inst menu. am I making some mistakes? thank you. Typically you wouldn't use a patch change to accomplish this, since the percussion channel (10) has many many different sounds, including triangle. Most such mixed percussion staves would have each instrument assigned to a different line or space, and defined when you set the staff up in the first place. Of course, this involves digging into one of the still untamed (and still unchanged after zillions of upgrades) areas of the seamy underbelly of Finale. That is the editing of the percussion maps to get the sounds you want to be heard when you place the notes you want on the lines/spaces you want. This is true, except the seamy part. 8-) Editing the percussion maps requires equal parts of black magic, voodoo, perspiration, dumb luck, perseverance, utter brilliance, never-say-die spirit, knowledge of Finale. Oh, come on! It's not that hard! Assuming that you are NOT using Garritan (though it isn't that different!): Staff Tool, open up Staff Attributes for your percussion staff. Beside Notation Style, click Select. If you have selected any of the maps that DON'T say GPO, then the rest is easy. Click Edit. In the left hand part of the window, scroll down to MIDI note 81, or A5. This is open triangle, as played back though General Midi. Select it. There is probably no name and no note head. We can change that. Type in a name. (triangle?) This is only to help you identify it, as Finale doesn't care what the name is here. Playback note. If you are using GM playback, then 81, or A5, is right for an open triangle. Garritan will be different. We want a staff position. Drag it up to where you want it. Typical is 4th space (staff position 9 in that window), though you can make it wherever you like. We need a closed notehead. Do you want an ordinary notehead, or a triangular one? Depending on what font is selected for the staff, you will have to click Closed Notehead>Select and find the notehead you want. In JazzPerc (which I happen to have open right now) slot 49 is a triangle and 207 is a regular notehead. Repeat for open notehead (half or whole notes). Slot 33 (triangle) or 250 (halfnote) will do nicely for me. If you never write a half or whole note value, don't bother filling this one in. Now for the most important step, and the one that everyone screws up. Under Notes to Use For Drum Set (or whatever the name of your map is) CHECK THE BOX THAT SAYS "HIGHLIGHTED NOTE". If you don't do this, then all the previous stuff will be useless. OK your way back to the score. Now every time you want a triangle, using Speedy Entry enter MIDI note 81 (A5) that's the A above the treble staff. It will show up and playback as a triangle, the way you defined it. If you are using Simple Entry, then I suggest defining the note you are going to enter as a triangle, like E4 instead of A5. Playback STILL has to be A5, though. If you would have had trouble finding which note plays back as a triangle (it doesn't seem to be documented in Finale) then use my GM Perc Map cheat sheet, which I will send as a PDF free to anyone who asks. But once you've gotten it edited properly, you will be able to simply put the triangle notes on the defined line or space, and then a simple text expression without any playback defined will work fine, to tell the player to use the triangle. Yes, the text cue is important for the player. Repeat as needed. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Using Fin files as new templates
On 27.02.2007 dc wrote: I was going to suggest about the same thing. It's also a good idea to do a "data check" to really get rid of deleted stuff, or else you end up carrying it around with you... You have to delete lyrics also, because they remain even after you've deleted the measures they were attached to. And perhaps other things as well. It's not that easy to get an empty file! Exactly. So what other things as well? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] whole measure rest question
I have a polyphonic (piano) staff, where the soprano rests for a whole measure, while the alto part plays. The piece is in 2/4. Should that rest be a centered whole measure rest, or a left aligned half rest? (I tend to think the first, just checking whether others come to other conlusions). 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] Using Fin files as new templates
On 27.02.2007 dhbailey wrote: What I would do in your situation would be to delete all measures except the first one. That should eliminate all the measure number regions and the bookmarks. Perhaps it should, but it definitely does not. All the measure no regions and all the bookmarks stay completely intact. 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] transpositions
- Original Message - From: "dhbailey" <[EMAIL PROTECTED]> To: Sent: Tuesday, February 27, 2007 1:05 PM Subject: Re: [Finale] transpositions > Marcello Noia wrote: > > - Original Message - > > From: "Lawrence David Eden" <[EMAIL PROTECTED]> > > To: "FinaleList" > > Sent: Tuesday, February 27, 2007 12:17 PM > > Subject: [Finale] transpositions > > > > > >> I am working on a score written by Paul Hindemith. He wrote the > >> Klarinette part in B with a key signature, but the Trompete part, > >> which is also in B, has no key signature. > >> Can anybody tell me about this practice in orchestral music? It is > >> new to me. Why not give the trumpet and clarinet the same key > >> signature if they use the same transposition? > >> > >> Thanks. > >> > >> Larry Eden > > > > You mean B(flat)? I know about clarinets and trumpets tuned in A, not in B > > natural. > > Are you sure the author did not want a trumpet in C? > > > > In German-speaking countries B is the pitch the rest of the world > recognizes as Bb, so the designation is accurate. Sorry, I did not know about that ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] transpositions
Marcello Noia wrote: - Original Message - From: "Lawrence David Eden" <[EMAIL PROTECTED]> To: "FinaleList" Sent: Tuesday, February 27, 2007 12:17 PM Subject: [Finale] transpositions I am working on a score written by Paul Hindemith. He wrote the Klarinette part in B with a key signature, but the Trompete part, which is also in B, has no key signature. Can anybody tell me about this practice in orchestral music? It is new to me. Why not give the trumpet and clarinet the same key signature if they use the same transposition? Thanks. Larry Eden You mean B(flat)? I know about clarinets and trumpets tuned in A, not in B natural. Are you sure the author did not want a trumpet in C? In German-speaking countries B is the pitch the rest of the world recognizes as Bb, so the designation is accurate. Historically, timpani and trumpets and horns were written without key signatures, since the instrument was put into the proper key and they (in the really old days) simply played the tonics and dominants (and thirds as they went higher in the range, with the horns being more completely melodic the higher they went). So their parts were always written in the key of C. Some modern orchestral composers have continued that practice for horns although these days horn players seem to be as comfortable playing with and without key signatures. I think Hindemith was simply following the old traditions. As for making sure whether the trumpet should be Bb (as indicated with B) or in C, check the pitches to be sure they are correct for a trumpet in Bb. Hindemith's scores are rife with engraving errors, with metronome markings which should indicate quarter-notes showing instead half-notes and other really obvious yet uncorrected errors. Schott's proofreaders were definitely under-qualified in those days -- they must have been related to Boosey&Hawkes' proofreaders of the same time period! -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] transpositions
- Original Message - From: "Lawrence David Eden" <[EMAIL PROTECTED]> To: "FinaleList" Sent: Tuesday, February 27, 2007 12:17 PM Subject: [Finale] transpositions > I am working on a score written by Paul Hindemith. He wrote the > Klarinette part in B with a key signature, but the Trompete part, > which is also in B, has no key signature. > Can anybody tell me about this practice in orchestral music? It is > new to me. Why not give the trumpet and clarinet the same key > signature if they use the same transposition? > > Thanks. > > Larry Eden You mean B(flat)? I know about clarinets and trumpets tuned in A, not in B natural. Are you sure the author did not want a trumpet in C? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Using Fin files as new templates
Johannes Gebauer wrote: In the past I have always worked from my templates. Now I am in a situation where it would be nice to have every newly created expression, articulation etc, and keep all the changed settings. So what is the best way to work with existing files as new templates? I deleted all the music, but then realized that other things like measure number regions, bookmarks etc stay intact. What else do I have to delete to get a "clean" file? Or would it be better to just import every thing into the orginal template each time? Johannes What I would do in your situation would be to delete all measures except the first one. That should eliminate all the measure number regions and the bookmarks. Then I would clear the first measure of all entries. Then I would add a lot of empty measures -- I find it easier on my brain if there are a lot of empty measures and frequently add measures to get the total I will need before I start entering the music. I also define measure number regions for the new work so I can more easily tell if I'm entering the correct music in the correct measures. But if you want to then save your newly emptied file as a new template for other uses as well, I would simply add a few empty measures and then save it. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] transpositions
I am working on a score written by Paul Hindemith. He wrote the Klarinette part in B with a key signature, but the Trompete part, which is also in B, has no key signature. Can anybody tell me about this practice in orchestral music? It is new to me. Why not give the trumpet and clarinet the same key signature if they use the same transposition? Thanks. Larry Eden ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] triangle among other percussions
masao iikura wrote: hi all, am trying to add a triangle on a staff with woodblock and whistle, but could not find a triangle in text expression play back patch menu other than individual triangle staff in the initial wizard's inst menu. am I making some mistakes? thank you. Typically you wouldn't use a patch change to accomplish this, since the percussion channel (10) has many many different sounds, including triangle. Most such mixed percussion staves would have each instrument assigned to a different line or space, and defined when you set the staff up in the first place. Of course, this involves digging into one of the still untamed (and still unchanged after zillions of upgrades) areas of the seamy underbelly of Finale. That is the editing of the percussion maps to get the sounds you want to be heard when you place the notes you want on the lines/spaces you want. Editing the percussion maps requires equal parts of black magic, voodoo, perspiration, dumb luck, perseverance, utter brilliance, never-say-die spirit, knowledge of Finale. But once you've gotten it edited properly, you will be able to simply put the triangle notes on the defined line or space, and then a simple text expression without any playback defined will work fine, to tell the player to use the triangle. Good luck, brew yourself a big pot of strong coffee and have the Scotch bottle handy. You'll need them both. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fonts
One of my favorite fonts is Tekton. I use it to name the various tune titles in my medleys. It is very clear and it certainly catches the eye. (I am on a Mac platformis Tekton available for PCs)? Recently, someone mentioned resorting to using Times as a lyric font. I'd like to ask what other fonts people typically use for lyrics, text boxes, text expressions, etc. Is there something close to "standard." If it would be better to reply off-list, please feel free to do so. Thank you, Brennon Bortz Teaching Assistant and Graduate Student - Music Composition University of California, Riverside [EMAIL PROTECTED] ___ 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] Delayed playback
> I am wondering if this very annoying thing happens to anyone else: > namely that after pressing play, the playback bar starts moving as per > expected but the MIDI doesn't actually come out until 5 seconds or so > later. There will be a sudden rush of notes and then it's all OK. > > Every time I press play this happens. > > I am not using Garritan etc., and am using human playback. When human > playback is turned off, everything's as it should be. (Finale 2007) > > Even better would be if someone has a solution (other than turning HP > off)... it's extremely frustrating. > > Matthew A similar thing happens to me under certain circumstances. I'm on FinWin2k4 and don't use HP, but I do use an external MIDI device. The effect you describe happens when I start playback far enough into a large score. What's happening is that when you start playback in the middle of a piece, all the MIDI data for patch changes and controller changes from the beginning of the piece have to be sent to the output device before the notes and other MIDI data for the starting playback position. All this preliminary MIDI data is sent by Finale to the MIDI output device at maximum speed, and depending on how much data there is, the output device may not have enough time to process these MIDI messages before the "note ons" start coming. When the MIDI output device finally catches up with the current playback data, a number of note on messages may be stacked up waiting in its queue, which results in a sudden vomitous hail of simultaneous notes before normal playback resumes. As I said, for me this happens only when I start playback after some point in a large score, never near the beginning. I have several suggestions, which may or may not help. 1) Start playback a measure or two before the spot you're interested in hearing. 2) After initiating playback, click somewhere on the Finale window frame (i.e., outside the music area). This works on some of my files and not on others, and I have no idea why. But I can tell from the blinking light on my external MIDI device that the rate that Finale feeds it MIDI data slows down after I click on the frame (or also completely outside the window, but then Finale loses focus). 3) In Playback Options, change Dynamics and Markings from "Chase from First Measure" to "Use Current Settings". This may have undesirable side effects, depending on how you use playback. It may cause patch changes, volume, and other MIDI controller settings to be missed, but I never get the stacked-up notes syndrome this way (and playback start instantly, which is nice in a long score). Another anomaly I'll mention, which may be particular to my setup, is that when I start playback in the middle of a piece using the playback controls, it ignores all program changes and sets each channel to the default patch, even if I have "Chase from First Measure" set in Playback Options. When I use the hold-space-bar-and-shift-click-measure method for playback, that never happens (i.e., the proper program changes is applied to every channel). This has been the case for me with every version of Finale I've used for the past 6 years. I don't know if this helps, or if your problem may have a different cause from mine. As with many "features" of Finale, I've learned to work around it. But at least now you know you're not alone. 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
[Finale] Using Fin files as new templates
In the past I have always worked from my templates. Now I am in a situation where it would be nice to have every newly created expression, articulation etc, and keep all the changed settings. So what is the best way to work with existing files as new templates? I deleted all the music, but then realized that other things like measure number regions, bookmarks etc stay intact. What else do I have to delete to get a "clean" file? Or would it be better to just import every thing into the orginal template each time? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
