Re: [Finale] French beams

[John Roberts]

Ho, ho, ho! (Green Giant?)

JR



On 3/8/07 1:21 AM, "Mark D Lew" <[EMAIL PROTECTED]> wrote:

> 
> On Mar 7, 2007, at 3:32 AM, Lawrence David Eden wrote:
> 
>> What are French Beams?
> 
> It's an abbreviation.  What he really means is French-style cut green
> beams.
> 
> mdl
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Re: [Finale] Windows Vista

[Rick Neal]

I have been using 2007 with Windows Vista for several weeks now. It runs 
fast and I have had no problems at all. The place I 'have' run into 
problems is using my M-Audio Firewire Audiophile audio interface. As of 
yet, drivers for the box only support XP and earlier. It's giving me a 
chance to learn simple entry (I have always used speedy with a midi 
keyboard).


Rick Neal



Richard Yates wrote:

Does anyone know if there are compatibility issues with Finale 2007 (and
earlier) with Windows Vista?

Richard Yates 



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Re: [Finale] French beams

[Mark D Lew]

On Mar 7, 2007, at 3:32 AM, Lawrence David Eden wrote:


What are French Beams?


It's an abbreviation.  What he really means is French-style cut green  
beams.


mdl
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[Finale] Windows Vista

[Richard Yates]

Does anyone know if there are compatibility issues with Finale 2007 (and
earlier) with Windows Vista?

Richard Yates 


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Re: [Finale] Chord symbols DO-RE-MI... instead of C-D-E....

[arabushk]

Yes, myself and a Mexican theory student had fun once (the lessons
alternated between Spanish and English) with the following equivalncies:

English   Spanish
C   do
B   si
yes sí

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk

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[Finale] OT: font help

[Barbara Touburg]

Hi all,

I need a little bit of help with a font I'm adapting. ATM (I'm using 
Windows 2000 SP4) says the generated font is invalid. Would someone be 
willing to try and generate a type I version for me? You can find it 
here: .


Many thanks in advance!

Barbara

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Re: [Finale] "Unhandled exception caught"

[Phil Daley]

At 3/6/2007 04:16 PM, Darcy James Argue wrote:

>More Mac Intel woes -- now I can't even run Finale 2006d -- it
>crashes on launch with the message "Unhandled exemption caught."
>
>Any ideas what is causing this?

"Unhandled" means that the program does not have a "Try/Catch" structure 
around the code that caused the problem.
This usually means that the programmer didn't expect that this situation 
could ever occur ;-)


An "exception" is a memory access to an invalid area of memory.

Usually this is caused by:
1.  Calling a function with an invalid address.
2.  Using a NULL pointer to access something. This ios the most common reason.

"caught" means that the OS discovered the problem, not the program.

I don't know if Finale supports WinFin on some Mac emulation.  I would 
doubt it.


Phil Daley  < AutoDesk >
http://www.conknet.com/~p_daley



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Re: [Finale] Rights for recorded tunes and arrangements?

[Raymond Horton]

Excellent advice and not far from the excellent advice of John Howell 
below ("a simple letter of understanding, from you to her, including the 
points you discussed verbally and agreed to").  You both suggest 
something informal, in writing, that shows for her heirs that she was in 
agreement and in understanding at this time.  

Yours is an inviting approach.  The grant part for a new written 
document would not be available right now from the state, but could be 
later.  I could invite her further collaboration on this, certainly.  
Also, I was just writing Finalelister Vern Graham in a private message 
last night. that this makes me realize that this woman's singing should 
be brought to the attention of whomever is doing Alan Lomax's work these 
days, if anyone. 



Thanks


Ray



Mark D Lew wrote:


On Mar 6, 2007, at 11:24 AM, Raymond Horton wrote:

I had my talk with the lady and her husband.  The husband, once he 
understood that I was not making a CD, that I am writing a piece that 
will, ideally, preserve and pay tribute to the heritage of the area 
in which his wife grew up, etc., was happy with it.  I explained 
about the profit possibilities (or lack thereof) and they were fine 
with that, also.  I promised them a percentage of any that I do turn 
out to make.  So, verbally, I'm fine.  (Famous last words.)


Maybe I should draw something up and have them sign.  Really I should 
have a lawyer do it, but that would negate any profits I would ever 
make form this thing...


From what you've described in this discussion, it sounds to me like 
they probably don't have a real copyright claim on the songs you 
intend to use.  And even if they do, they'd have a hard time 
demonstrating it.  Strictly from a practical point of view, I think 
you're in pretty good shape.


I would say the more important thing is making everyone happy.  
Whether it's legal or not, I think we all agree that it's *right* to 
respect her wishes with regard to use of the song, including sharing 
some credit and some profits if that's what she wants.  It sounds like 
that's exactly what you've now done.


Rather than trying to get them to sign a legal document, which feels 
confrontational, wouldn't it make more sense to do something positive 
to involve her in the project? Maybe publish the score together in a 
larger booklet with some small texts about her (and others), and 
invite her to tell part of her story.  If there's anyone nearby with 
an interest in oral history, perhaps that person could be brought on 
as a collaborator to do the writing.  You said you had a state grant, 
right? Maybe the same organization would be interested in expanding 
the project slightly.


That, too, would serve the purpose of protecting you.  It seems pretty 
clear that the woman and her husband would never object. The only 
worry is if years later some heir tries to assert copyright to shut 
you down.  If that were to happen, your response would be that 
permission was granted in the verbal agreement, and being able to 
point to evidence of her active cooperation would go a long way toward 
establishing that.


mdl



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Re: [Finale] Chord symbols DO-RE-MI... instead of C-D-E....

[John Howell]

At 10:10 AM -0500 3/7/07, Christopher Smith wrote:
Is there something in the Chord Style>Solfeggio (in the Chord Menu 
when Chord Tool is selected) that helps you? I don't know the 
Italian names, but this gives solfege syllables.


For those unfamiliar with this, the Italian note names ARE solfege 
syllables, but in the fixed Do system.  So Do is always C, Fa is 
always F, etc.  It is a simple substitution for the letter names that 
we use here, although I don't know how the altered notes are labeled. 
Is Eb simply Mib?  It is one descendant of the system Guido d'Arezzo 
invented back in the early 11th century, but his system was a movable 
Do system (different from today's movable Do only in that it was 
based on 3 hexachords and was not infinitely transposable).  Guido 
used BOTH solmization syllables (solfege syllables) and letter names 
to identify notes, and his system was so effective that it was still 
being taught centuries later.


I've run into the solfege chord symbols used in jazz/commercial 
charts, and it's scary the first time you see it!  An Italian tenor 
(in the style of Mario Lanza) was hired to perform in a night club 
where we were performing in the mid-'60s, and I was there for the 
rehearsal with the band.  His charts were all in solfege chord 
symbols!  Amazingly, the pianist (a very good one) understood the 
system well enough (or perhaps knew the tunes well enough!) to read 
them with no problems.


This transposes to the key that you are using, but you can transpose 
chord symbols separately from the notes using Mass Edit>Change>Chord 
Assignments>Transpose...


Sounds as if it's set up for movable Do syllables rather than fixed 
Do, but it's a little too technical for me to understand.  I'm glad 
that TGTools can handle the problem.  And no, it was not a stupid 
question at all


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
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Re: [Finale] Rights for recorded tunes and arrangements?

[John Howell]

At 9:40 PM -0800 3/6/07, Mark D Lew wrote:


That, too, would serve the purpose of protecting you.  It seems 
pretty clear that the woman and her husband would never object. The 
only worry is if years later some heir tries to assert copyright to 
shut you down.  If that were to happen, your response would be that 
permission was granted in the verbal agreement, and being able to 
point to evidence of her active cooperation would go a long way 
toward establishing that.


Nothing more whispy than a "verbal agreement"!  Especially if one of 
the principals has passed away and younger relatives have a hungry 
lawyer.


I agree that a formidable legal document probably is overkill, but a 
simple letter of understanding, from you to her, including the points 
you discussed verbally and agreed to, should do the job.  You keep a 
copy and send the original to her.  Then any hungry heir would have 
to produce something in writing from her to show she disagreed.


Again and as always, not legal advice, but gentlemanly conduct for all of that.

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
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Re: [Finale] pdf/Mac

[Mark D Lew]

Neal Gittleman wrote:
Hal asked about "corruption errors" in Mac-created PDFs read (or  
not read) by PC-users.  [...]


I missed the beginning of this discussion, so maybe this has been  
covered, but here's my data point for what it's worth.


I have a client I've been working with for ages.  I never used to  
have trouble sending PDFs to her, but after making two simultaneous  
upgrades -- Mac OS X.3 to X.4 and Finale 2k2 to 2k4 -- she couldn't  
read my PDFs.  She could open the file, but the embedded font  
information was lost, so that it looked like music staves with  
gibberish on them.


I was able to solve the problem by choosing "Save as PDF-X" instead  
of "Save as PDF" in Apple's print window.  I don't even know what a  
PDF-X is, but it worked for us. (It also solved the problem if I  
didn't choose "Save as PDF" at all but instead printed to Adobe's PDF  
driver, but that's not available for those who haven't purchased Adobe.)


She was reading the files on Adobe Reader 5.0, by the way.  She is  
mildly technophobic, so persuading her to upgrade was not my first  
choice if I could solve the problem on my end.


mdl
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Re: [Finale] How much can I quote?

[Mark D Lew]

On Mar 6, 2007, at 9:43 PM, Dennis Bathory-Kitsz wrote:


And just about everything in "Yes, We Have No Bananas". :)


Hallelujah, bananas!  Oh, bring back my 'nanas to me.

But that one has the same rhythms.  The point of the Rock-Rudolph  
comparison is that with completely different rhythm, the same seven  
melody notes don't sound similar at all.


mdl
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Re: [Finale] Chord symbols DO-RE-MI... instead of C-D-E....

[themark]

- Original Message - 
From: "Christopher Smith" <[EMAIL PROTECTED]>
To: 
Sent: Wednesday, March 07, 2007 4:10 PM
Subject: Re: [Finale] Chord symbols DO-RE-MI... instead of C-D-E


> Is there something in the Chord Style>Solfeggio (in the Chord Menu
> when Chord Tool is selected) that helps you? I don't know the Italian
> names, but this gives solfege syllables.

Awfully not, it uses strange syllables that are not the italian root chord
names.
>
> This transposes to the key that you are using, but you can transpose
> chord symbols separately from the notes using Mass Edit>Change>Chord
> Assignments>Transpose...
>
> If this doesn't help you, then you could try this:
> Create the note names consecutively as lyrics, and reassign them to
> the other staves using alt-click, but starting on the second, or
> third, or fourth lyric, instead of the first.

You're right but anyway I have to add sharps and flats where needed.
>
>
> Christopher
>
Thanks for help Christopher, I did a search on Finale forums, I saw that a
user needed  the same thing and got no answer, will try to address my query
to some italian user.

>
> On 7-Mar-07, at 8:52 AM, Marcello Noia wrote:
>
> > Forgive me if this is a stupid question but I did not find anything
> > in the manual.
> > I need to write some simple exercises for sax students putting on
> > every note its name in Italian.
> > I need to put it as a chord symbol because the exercise has to be
> > repeated in all keys, so I need to transpose the first in the other
> > 11 keys.
> >
> > How do I  transform the standard C-B-E and so on in DO-RE-MI using
> > the english symbols on the keyboard anyway? The sol-fa style does
> > not suite my needings.
>
>
>
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Re: [Finale] Chord symbols DO-RE-MI... instead of C-D-E....

[themark]

Great! Hans and Bernard, you're my saviours! And thanks to Tobias Giesen for
that fantastic tool
Many thanks

- Original Message - 
From: "Bernard Nussbaumer" <[EMAIL PROTECTED]>
To: 
Sent: Wednesday, March 07, 2007 4:18 PM
Subject: Re: [Finale] Chord symbols DO-RE-MI... instead of C-D-E


> Marcello,
> (it isn't a stupid question...)
>
> as Hans says it: use TG tools.
> If you didn't buy it, you may try first:
http://www.tgtools.com/index-en.htm
>
> But you need to write the full exercise, transpose everything you need,
and
> -then- apply TG tools.
>
> Bernard
>
> 2007/3/7, Marcello Noia <[EMAIL PROTECTED]>:
> >
> > Forgive me if this is a stupid question but I did not find anything in
the
> > manual.
> > I need to write some simple exercises for sax students putting on every
> > note its name in Italian.
> > I need to put it as a chord symbol because the exercise has to be
repeated
> > in all keys, so I need to transpose the first in the other 11 keys.
> >
> > How do I  transform the standard C-B-E and so on in DO-RE-MI using the
> > english symbols on the keyboard anyway? The sol-fa style does not suite
my
> > needings.
> >
> > Thanks for replies
> > ___
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> > http://lists.shsu.edu/mailman/listinfo/finale
> >
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Re: [Finale] Forced enclosures on measure numbers

[Christopher Smith]

I just got the answer I needed.

The enclosed measure numbers do NOT appear in the other extracted  
parts other than the first instrument unless I manually copy them to  
the other staves using Items to Copy>Measure Enclosures, so I will  
have to do that in a copy of the score.


One would think this would be easier to do, no?

On the other hand, Items to Copy>Measure Enclosures means I can copy  
the enclosure anywhere in the score I like with opt-click (alt-click  
for PC), which is considerably easier than dragging around them all  
and editing them en masse, as David suggested.


But one other issue  will force me to use two different regions, as  
Darcy suggested, as I need the enclosed numbers to be larger than the  
default one at the start of the systems.


Christopher


On 7-Mar-07, at 10:13 AM, Christopher Smith wrote:


David,

Thanks for this (and Darcy, too!) but there is one more thing I  
need to know before extracting parts - do the enclosed numbers that  
I forced on the top staff in the score appear on the other  
extracted parts, or is there a way to copy them to other staves  
(Items to copy - measure number enclosures, but does that also copy  
forced appearances?)


If noone knows, then I suppose I can make a test...

Christopher


On 6-Mar-07, at 4:24 PM, dhbailey wrote:



Here's the deal (gosh the programmers at Finale are really devious  
at times):


You ctrl-click to PLACE the measure number where you want it  
elsewhere than where you have defined them to show up automatically.


Then you have to double-click to actually SELECT the measure so  
that Finale recognizes it as a selected measure number, and the  
"edit enclosure" dialog will show up.  You can ctrl-click to place  
a lot of measure numbers where you want them to go, then shift- 
click to select them all at the same time, and shift-double-click  
the final one to bring up the dialog box up once, click on OK and  
the enclosure is placed around all the measure numbers you have  
selected.  So you can reduce the number of clicks/double-clicks/ 
edit-enclosure-dialogs that way.


I didn't answer earlier because I wasn't sure what the answer was,  
but I just tried it to see what would happen and discovered the  
answer.


David H. Bailey

Christopher Smith wrote:

Can anyone help me out here?
Thanks
Christopher
Begin forwarded message:
Sorry this has been answered before, but I can't find where I  
put the response nor can I find where it is discussed in the  
manual. FinMac2006d.


I am trying to force enclosed measure numbers to show up at  
double bars, in addition to the unenclosed ones at the beginning  
of lines.


I set the default enclosure in Measure Numbers, and to show up  
only on selected measures. This means the measures I opt-click  
on, doesn't it? In the score, I opt-click the measure I want to  
force the measure number on, and it shows up, but it DOESN"T  
show up with an enclosure. What did I do wrong?


How do I force the enclosure automatically without making it  
enclosed at the start of the line? I don't have to make two  
regions, do I?


Will the forced measure numbers show up on ALL extracted parts,  
even if I have only forced them on the top staff of the score? I  
would like to know this.


Also, while clicking around, I opt-sh clicked a measure, and got  
forced measure numbers at the tops of my percussion and string  
sections (not the staff I clicked on) but NOT on the top staff!


Thanks for the help. A direction to the relevant chapter of the  
docs would be fine, too.


Christopher


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Re: [Finale] French beams

[Johannes Gebauer]

On 07.03.2007 Brennon Bortz wrote:

Also, often in French beams staff lines will be removed between beams so that 
only white space is seen--no stems or staff lines.


This, however, is not possible in Finale, at least afaik.

Johannes
--
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Re: [Finale] Chord symbols DO-RE-MI... instead of C-D-E....

[Bernard Nussbaumer]

Marcello,
(it isn't a stupid question...)

as Hans says it: use TG tools.
If you didn't buy it, you may try first: http://www.tgtools.com/index-en.htm

But you need to write the full exercise, transpose everything you need, and
-then- apply TG tools.

Bernard

2007/3/7, Marcello Noia <[EMAIL PROTECTED]>:


Forgive me if this is a stupid question but I did not find anything in the
manual.
I need to write some simple exercises for sax students putting on every
note its name in Italian.
I need to put it as a chord symbol because the exercise has to be repeated
in all keys, so I need to transpose the first in the other 11 keys.

How do I  transform the standard C-B-E and so on in DO-RE-MI using the
english symbols on the keyboard anyway? The sol-fa style does not suite my
needings.

Thanks for replies
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Re: [Finale] Forced enclosures on measure numbers

[Christopher Smith]

David,

Thanks for this (and Darcy, too!) but there is one more thing I need  
to know before extracting parts - do the enclosed numbers that I  
forced on the top staff in the score appear on the other extracted  
parts, or is there a way to copy them to other staves (Items to copy  
- measure number enclosures, but does that also copy forced  
appearances?)


If noone knows, then I suppose I can make a test...

Christopher


On 6-Mar-07, at 4:24 PM, dhbailey wrote:



Here's the deal (gosh the programmers at Finale are really devious  
at times):


You ctrl-click to PLACE the measure number where you want it  
elsewhere than where you have defined them to show up automatically.


Then you have to double-click to actually SELECT the measure so  
that Finale recognizes it as a selected measure number, and the  
"edit enclosure" dialog will show up.  You can ctrl-click to place  
a lot of measure numbers where you want them to go, then shift- 
click to select them all at the same time, and shift-double-click  
the final one to bring up the dialog box up once, click on OK and  
the enclosure is placed around all the measure numbers you have  
selected.  So you can reduce the number of clicks/double-clicks/ 
edit-enclosure-dialogs that way.


I didn't answer earlier because I wasn't sure what the answer was,  
but I just tried it to see what would happen and discovered the  
answer.


David H. Bailey

Christopher Smith wrote:

Can anyone help me out here?
Thanks
Christopher
Begin forwarded message:
Sorry this has been answered before, but I can't find where I put  
the response nor can I find where it is discussed in the manual.  
FinMac2006d.


I am trying to force enclosed measure numbers to show up at  
double bars, in addition to the unenclosed ones at the beginning  
of lines.


I set the default enclosure in Measure Numbers, and to show up  
only on selected measures. This means the measures I opt-click  
on, doesn't it? In the score, I opt-click the measure I want to  
force the measure number on, and it shows up, but it DOESN"T show  
up with an enclosure. What did I do wrong?


How do I force the enclosure automatically without making it  
enclosed at the start of the line? I don't have to make two  
regions, do I?


Will the forced measure numbers show up on ALL extracted parts,  
even if I have only forced them on the top staff of the score? I  
would like to know this.


Also, while clicking around, I opt-sh clicked a measure, and got  
forced measure numbers at the tops of my percussion and string  
sections (not the staff I clicked on) but NOT on the top staff!


Thanks for the help. A direction to the relevant chapter of the  
docs would be fine, too.


Christopher


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Re: [Finale] Chord symbols DO-RE-MI... instead of C-D-E....

[Hans Swinnen]

TGTools > Misc > Custom Chord Styles

Hans
===
On 07 mrt 2007, at 14:52, Marcello Noia wrote:

Forgive me if this is a stupid question but I did not find anything in 
the manual.
I need to write some simple exercises for sax students putting on 
every note its name in Italian.
I need to put it as a chord symbol because the exercise has to be 
repeated in all keys, so I need to transpose the first in the other 11 
keys.


How do I  transform the standard C-B-E and so on in DO-RE-MI using the 
english symbols on the keyboard anyway? The sol-fa style does not 
suite my needings.


Thanks for replies
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You will excuse me for any typo's due to a visual handicap.

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Re: [Finale] Chord symbols DO-RE-MI... instead of C-D-E....

[Christopher Smith]

Is there something in the Chord Style>Solfeggio (in the Chord Menu  
when Chord Tool is selected) that helps you? I don't know the Italian  
names, but this gives solfege syllables.


This transposes to the key that you are using, but you can transpose  
chord symbols separately from the notes using Mass Edit>Change>Chord  
Assignments>Transpose...


If this doesn't help you, then you could try this:
Create the note names consecutively as lyrics, and reassign them to  
the other staves using alt-click, but starting on the second, or  
third, or fourth lyric, instead of the first.



Christopher


On 7-Mar-07, at 8:52 AM, Marcello Noia wrote:

Forgive me if this is a stupid question but I did not find anything  
in the manual.
I need to write some simple exercises for sax students putting on  
every note its name in Italian.
I need to put it as a chord symbol because the exercise has to be  
repeated in all keys, so I need to transpose the first in the other  
11 keys.


How do I  transform the standard C-B-E and so on in DO-RE-MI using  
the english symbols on the keyboard anyway? The sol-fa style does  
not suite my needings.




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Re: [Finale] French beams

[Brennon Bortz]

On Mar 7, 2007, at 4:48 AM, dhbailey wrote:


Lawrence David Eden wrote:

What are French Beams?


French Beams are where for 16th notes or shorter note values  
(multiple beams, in other words) the stems for any inner notes only  
reach the first beam, leaving empty space between all the pairs of  
beams.  The first and last notes of each beamed group reach all the  
way to the top beam.




--
David H. Bailey
[EMAIL PROTECTED]
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Also, often in French beams staff lines will be removed between beams  
so that only white space is seen--no stems or staff lines.


--Brennon

Brennon Bortz
Teaching Assistant and Graduate Student - Music Composition
University of California, Riverside
[EMAIL PROTECTED]



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[Finale] Chord symbols DO-RE-MI... instead of C-D-E....

[Marcello Noia]

Forgive me if this is a stupid question but I did not find anything in the 
manual.
I need to write some simple exercises for sax students putting on every note 
its name in Italian.
I need to put it as a chord symbol because the exercise has to be repeated in 
all keys, so I need to transpose the first in the other 11 keys.

How do I  transform the standard C-B-E and so on in DO-RE-MI using the english 
symbols on the keyboard anyway? The sol-fa style does not suite my needings.

Thanks for replies
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Re: [Finale] pdf/Mac

[dhbailey]

Neal Gittleman wrote:
Hal asked about "corruption errors" in Mac-created PDFs read (or not 
read) by PC-users.  Is there a chance that he's sending the files as 
e-mail attachments and didn't check "Send Windows Friendly 
Attachments"?  If so, may the PDFs could be fine but getting garbled 
somehow at the e-mail border?


While Neal's suggestion may be the solution to Hal's problems, there may 
be other issues.


I believe there are some inherent problems with sending PDF files as 
attachments.


As the director of a community band, I frequently send out PDF files of 
printouts of schedules and such, so they remain easy to read and 
formatted to fit on a single page (as opposed to simply pasting the text 
into an e-mail message and letting the members fend for themselves on 
legibility issues).


I send the same file as an attachment to everybody on the e-mail list 
for the band and there are 3 or 4 who get nothing but garbage in the 
body of the e-mail and no attachment, yet the other 80 get it just fine 
as an intact PDF file.


When I zip the file and send it, everybody gets it just fine.

Sort of like years ago when folks couldn't send .mus finale files to 
anybody where the message either originated or terminated at AOL.


Perhaps this is the problem?  Either the e-mail server the recipient 
uses or the e-mail client isn't properly handling PDF attachments.



--
David H. Bailey
[EMAIL PROTECTED]
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Re: [Finale] French beams

[dhbailey]

Lawrence David Eden wrote:

What are French Beams?



French Beams are where for 16th notes or shorter note values (multiple 
beams, in other words) the stems for any inner notes only reach the 
first beam, leaving empty space between all the pairs of beams.  The 
first and last notes of each beamed group reach all the way to the top beam.




--
David H. Bailey
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Re: [Finale] pdf/Mac

[Neal Gittleman]

Hal asked about "corruption errors" in Mac-created PDFs read (or not  
read) by PC-users.  Is there a chance that he's sending the files as  
e-mail attachments and didn't check "Send Windows Friendly  
Attachments"?  If so, may the PDFs could be fine but getting garbled  
somehow at the e-mail border?


ng
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Re: [Finale] French beams

[Lawrence David Eden]

What are French Beams?





Patterson Beams can both create and remove French Beams.

On 3/6/07, Andrew Stiller <[EMAIL PROTECTED]> wrote:


 A sub-editor for me prepared the rough draft of a huge score which I've
 been cleaning up for almost a year now. I only just now realized that
 he'd set the whole thing up with French beams, which I don't want and
 need to  undo without affecting any of my existing beam tweaking.

 I confess I haven't the faintest idea how to create French beams in the
 first place (except one note at a time w. Special Tools), and
 certainly, therefore, no idea how to undo them.

 Any ideas?

 Andrew Stiller
 Kallisti Music Press
 http://www.kallistimusic.com/kallisti.html

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Re: [Finale] How much can I quote?

[dhbailey]

Brennon Bortz wrote:
How would that apply to harmonic structures?  Is that seven notes of a 
melody, seven notes of chordal structures, or what?  What about 
distinctive rhythms? :)  Seems like much too grey an area to even dabble 
with.




Rhythms haven't been shown to be copyrightable, and supposedly chord 
progressions and titles aren't copyrightable either.


--
David H. Bailey
[EMAIL PROTECTED]
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Re: [Finale] How much can I quote?

[dhbailey]

Dennis Bathory-Kitsz wrote:

At 09:16 PM 3/6/2007 -0800, Mark D Lew wrote:
The same is true of "Rock of Ages" and "Rudolph, the Red-Nosed  
Reindeer".


And just about everything in "Yes, We Have No Bananas". :)



You have all seen the YouTube video about Pachelbel's Canon, haven't 
you?  The singer makes a very good point that practically every song is 
a rip-off of Pachelbel, and goes on to demonstrate it.


It's a wonderful video called "Pachelbel Rant." 
http://www.youtube.com/watch?v=JdxkVQy7QLM


--
David H. Bailey
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Re: [Finale] Preferences disappearing!

[Michael Cook]

Maybe the Preferences file is corrupted. Go to User > Library >  
Preferences  and trash the Finale 2006 Preferences file. Finale  
should create a new one, setting all preferences back to factory  
defaults. Now if you set other preferences, do they stick?


On 7 Mar 2007, at 07:21, Brennon Bortz wrote:


"Save preferences when quitting Finale" is checked.

--Brennon

On Mar 6, 2007, at 12:46 AM, Florence + Michael wrote:

Check in Program Options > Save and Print. What is the setting for  
"Save preferences When Quitting Finale"? If you want preferences  
to be saved automatically, this option should be selected.


On 6 Mar 2007, at 00:31, Brennon Bortz wrote:
Does anyone know why my preferences seem to disappear with each  
restart of Finale (2006d, Mac)?  My file paths, fonts, autosave  
options, everything reverts to the default settings each time I  
open the program.  Any ideas?




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