Re: [Finale] OT: blowing air through brass instruments
When we used this technique, the players simply blew through the instruments with the mouthpieces in place. It was audible from the audience. Cheers, Lawrence -- Lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
Robert Patterson wrote: On Sat, Mar 13, 2010 at 7:47 PM, dhbailey dhbai...@davidbaileymusicstudio.com wrote: Perhaps the effect differs with different numbers of people doing it, but I've heard it done quite effectively without anybody reversing mouthpieces. So help me to understand. You are sitting in the audience of a large hall listening to an ensemble with a large number of players. How do you know whether they were reversing their mouthpieces? I ask in all seriousness, because many players do it automatically. The fact is, as [snip] I was watching them -- and some of them were my private students (it was an All-State piece) and we had discussed what the instructions said, which was remove mouthpiece and blow air through the instrument. So I knew in advance what was coming, and then watching the concert, there were no reversed mouthpieces, which would have required a hand up near the mouth in addition to the hand holding the instrument -- quite an easy thing to see, even if it were done in a large symphony hall by professionals. The posture when holding an instrument in one hand and a mouthpiece in the other hand so that the two line up is quite different than the posture when holding the instrument in the traditional way. Try it and you'll see that you quite recognizably have changed your posture. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
At 9:52 PM -0600 3/13/10, Robert Patterson wrote: So help me to understand. You are sitting in the audience of a large hall listening to an ensemble with a large number of players. How do you know whether they were reversing their mouthpieces? I ask in all seriousness, because many players do it automatically. The fact is, as a player you have to do *something* if you want the effect to be heard, because freely blowing through the instrument does not produce enough sound to be heard over much more than a harp, and then at short distance. So you have to leak or obstruct to create a sound. Reversing the mouthpiece provides better control of both timbre and dynamic. Not meaning to be argumentative, but isn't this a composer's problem and not the player's? If a composer calls for an unusual effect and it doesn't work out the way he thought/hoped/imagined/guessed that it would, isn't that his or her lack of skill and knowledge on display, just as it would be if he tried to write for lute with brass choir? Just curious. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
All depends on who wins the power game. Aaron J. Rabushka arabus...@austin.rr.com - Original Message - From: John Howell john.how...@vt.edu To: finale@shsu.edu Sent: Sunday, March 14, 2010 1:17 PM Subject: Re: [Finale] OT: blowing air through brass instruments At 9:52 PM -0600 3/13/10, Robert Patterson wrote: So help me to understand. You are sitting in the audience of a large hall listening to an ensemble with a large number of players. How do you know whether they were reversing their mouthpieces? I ask in all seriousness, because many players do it automatically. The fact is, as a player you have to do *something* if you want the effect to be heard, because freely blowing through the instrument does not produce enough sound to be heard over much more than a harp, and then at short distance. So you have to leak or obstruct to create a sound. Reversing the mouthpiece provides better control of both timbre and dynamic. Not meaning to be argumentative, but isn't this a composer's problem and not the player's? If a composer calls for an unusual effect and it doesn't work out the way he thought/hoped/imagined/guessed that it would, isn't that his or her lack of skill and knowledge on display, just as it would be if he tried to write for lute with brass choir? Just curious. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] glissando marking, also merging
Dear Finale List Working on a mac OSX, Finale 2004. The glissando marking comes with the wordglissando running up its back. How can I get rid of the word? Or is there another way to mark a gliss? Also - I received no answer about merging, or combining files. Perhaps there is no answer, but then again, maybe someone on the list does know a way to do this. Any help is appreciated! Katherine Hoover ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] glissando marking, also merging
On 3/14/2010 10:03 AM, Katherine Hoover wrote: Dear Finale List Working on a mac OSX, Finale 2004. The glissando marking comes with the wordglissando running up its back. How can I get rid of the word? Or is there another way to mark a gliss? Also - I received no answer about merging, or combining files. Perhaps there is no answer, but then again, maybe someone on the list does know a way to do this. Any help is appreciated! Katherine Hoover Choose the Smart Shapes menu, and look for Smart Shape Options. There is one there with the Gliss marking, and one without. cd -- http://members.cox.net/dershem/index.html http://dershem.livejournal.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
On Sun, Mar 14, 2010 at 11:21 AM, Aaron Rabushka arabus...@austin.rr.com wrote: All depends on who wins the power game. As a composer visiting for a couple of days to a professional ensemble that plays together all the time, you can't win the power game, and you best not try. Orchestras are one of the most tribal institutions I know. They may have fierce internal squabbles, but nothing unifies them like an attack by an outsider. This *is* the composer's problem and not the player's. Leaving aside the question of whether blowing air through the instrument in itself produces enough air to be heard, reversing the mouthpiece *definitely* does. It is a definite instruction that will be followed and will produce excellent results without any further discussion. I guess all I'm saying is I recommend it. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sibelius crossgrade price $129
Been checking the Sibelius/Avid websites on the crossgrade frequently over the last few weeks, and it is always showing as SOLD OUT for the boxed version. I'd really rather have the shipped box than the download. The offer ends this Friday, the 19th. Any suggestions? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sibelius crossgrade price $129
At 11:53 AM -0700 3/14/10, toronado...@gmail.com wrote: Been checking the Sibelius/Avid websites on the crossgrade frequently over the last few weeks, and it is always showing as SOLD OUT for the boxed version. I'd really rather have the shipped box than the download. The offer ends this Friday, the 19th. Any suggestions? I will forward your note to the SibeliusList, where Daniel Spreadbury, Senior Product Manager, will see it. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
On Mar 14, 2010, at 2:03 PM, Robert Patterson wrote: reversing the mouthpiece *definitely* does. As radical an idea as actual experimentation may be, I tried it on my trumpet, and by gosh, you get a much louder sound using the reversed mouthpiece. Imagine that ! timothy.key.price timothy.key.pr...@valley.net ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
On Mar 14, 2010, at 11:17 AM, John Howell wrote: ... just as it would be if he tried to write for lute with brass choir? That sounds like a challenge! mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sibelius crossgrade price $129
Thanks! On Sun, Mar 14, 2010 at 1:15 PM, John Howell john.how...@vt.edu wrote: At 11:53 AM -0700 3/14/10, toronado...@gmail.com wrote: Been checking the Sibelius/Avid websites on the crossgrade frequently over the last few weeks, and it is always showing as SOLD OUT for the boxed version. I'd really rather have the shipped box than the download. The offer ends this Friday, the 19th. Any suggestions? I will forward your note to the SibeliusList, where Daniel Spreadbury, Senior Product Manager, will see it. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ 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] glissando marking, also merging
dershem wrote: On 3/14/2010 10:03 AM, Katherine Hoover wrote: Dear Finale List Working on a mac OSX, Finale 2004. The glissando marking comes with the wordglissando running up its back. How can I get rid of the word? Or is there another way to mark a gliss? Also - I received no answer about merging, or combining files. Perhaps there is no answer, but then again, maybe someone on the list does know a way to do this. Any help is appreciated! Katherine Hoover Choose the Smart Shapes menu, and look for Smart Shape Options. There is one there with the Gliss marking, and one without. cd And please ask your merging question again! Raymond Horton ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
On 14 Mar 2010 at 13:17, John Howell wrote: lute with brass choir This made me laugh out loud, and start imagining impossible ensembles. I started with the bass lute with brass choir, and turned it into solo lute on-stage with antiphonal brass choirs in the side galleries. Other than mixing instruments with completely contradictory sound profiles, what other kinds of things would make for incompatibility? Other than mixing Western and non-Western instruments with different tuning systems, I'm coming up blank. I must say, though, sometimes it's quite revealing to play a piece of music on the wrong instrument. For my junior recital in college, my program included the Berg Sonata, and at the time I was also doing some work on fortepiano, so I gave the Berg a try on the fortepiano. It was quite illuminating, in fact, as the clarity of the bass made for some interesting sounds. -- 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] OT: blowing air through brass instruments
On 3/14/2010 1:44 PM, David W. Fenton wrote: On 14 Mar 2010 at 13:17, John Howell wrote: lute with brass choir This made me laugh out loud, and start imagining impossible ensembles. I started with the bass lute with brass choir, and turned it into solo lute on-stage with antiphonal brass choirs in the side galleries. It can't be (much) worse than the PDQ Bach piece that features Lute and bagpipes in the same ensemble. The lute is a nice instrument. Very pretty with a pleasant sound. Think about it while you're listening to the bagpipes... cd -- http://members.cox.net/dershem/index.html http://dershem.livejournal.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Answer to Sibelius question
I'm sorry that there's no stock in the online store at the moment. I checked on this with my colleagues this past Friday and they assure me that more stock is on its way to the warehouse, and it should be back in stock on Tuesday or Wednesday. Daniel -- Daniel Spreadbury Senior Product Manager | Sibelius R D -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
At 4:44 PM -0400 3/14/10, David W. Fenton wrote: On 14 Mar 2010 at 13:17, John Howell wrote: lute with brass choir This made me laugh out loud, and start imagining impossible ensembles. I started with the bass lute with brass choir, and turned it into solo lute on-stage with antiphonal brass choirs in the side galleries. And it would be worse with a clavichord, the only instrument that can be drowned out by a lute! Other than mixing instruments with completely contradictory sound profiles, what other kinds of things would make for incompatibility? Some of the things that we hear every day on recordings, like bass flute (a favorite of Mancini) with jazz band. Probably similar with John Williams scores. We can fix it in the mix! John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: blowing air through brass instruments
On Mar 14, 2010, at 5:16 PM, dershem wrote: On 3/14/2010 1:44 PM, David W. Fenton wrote: On 14 Mar 2010 at 13:17, John Howell wrote: lute with brass choir This made me laugh out loud, and start imagining impossible ensembles. I started with the bass lute with brass choir, and turned it into solo lute on-stage with antiphonal brass choirs in the side galleries. It can't be (much) worse than the PDQ Bach piece that features Lute and bagpipes in the same ensemble. I publish a piece by Orlando García for mandolin and tuba. His basic trick is to keep them out of each other's way, and the occasional overwhelming of the former by the latter is part of the esthetic--like an elephant trampling through the parlor. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] quarter note = dotted quarter note playback?
I'm trying to get Finale to play back a piece of music that goes from 2/4 to 6/8 and I want it to do dotted quarter note = quarter notebut the human playback doesn't seem to catch it. ideas/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] quarter note = dotted quarter note playback?
I'd try putting in a hidden expression for playback where the dotted quarter had the same mm values as the preceding half note. Seems to me that should work. Chuck On Mar 14, 2010, at 4:26 PM, Eric Dannewitz wrote: I'm trying to get Finale to play back a piece of music that goes from 2/4 to 6/8 and I want it to do dotted quarter note = quarter notebut the human playback doesn't seem to catch it. ideas/ ___ 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] quarter note = dotted quarter note playback?
On 3/14/2010 4:45 PM, Eric Dannewitz wrote: Oh, so you can't just graphically have a quarter note then an = then a dotted quarter? :-/ That's the easy part. But if you use playback, it will change the tempo. If you don't use playback, it's very simple. cd On Sun, Mar 14, 2010 at 4:44 PM, dershemders...@cox.net wrote: On 3/14/2010 4:26 PM, Eric Dannewitz wrote: I'm trying to get Finale to play back a piece of music that goes from 2/4 to 6/8 and I want it to do dotted quarter note = quarter notebut the human playback doesn't seem to catch it. ideas/ If you set your parameters right, it should be fairly straightforward. Going from q = X to q = Y is all you have to do, and then mark Y as q. = X. Just figure out what the beat is in quarter notes, and enter that in the TEMPO part of the Playback tab, where the description is [dotted quarter = Y]. Should work. cd -- http://members.cox.net/dershem/index.html http://dershem.livejournal.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] quarter note = dotted quarter note playback?
Man, thats lamewe have all this other fluff in Finale, but something like this you have to hack around to get the playback to work correctly? On Sun, Mar 14, 2010 at 4:56 PM, dershem ders...@cox.net wrote: On 3/14/2010 4:45 PM, Eric Dannewitz wrote: Oh, so you can't just graphically have a quarter note then an = then a dotted quarter? :-/ That's the easy part. But if you use playback, it will change the tempo. If you don't use playback, it's very simple. cd On Sun, Mar 14, 2010 at 4:44 PM, dershemders...@cox.net wrote: On 3/14/2010 4:26 PM, Eric Dannewitz wrote: I'm trying to get Finale to play back a piece of music that goes from 2/4 to 6/8 and I want it to do dotted quarter note = quarter notebut the human playback doesn't seem to catch it. ideas/ If you set your parameters right, it should be fairly straightforward. Going from q = X to q = Y is all you have to do, and then mark Y as q. = X. Just figure out what the beat is in quarter notes, and enter that in the TEMPO part of the Playback tab, where the description is [dotted quarter = Y]. Should work. cd -- http://members.cox.net/dershem/index.html http://dershem.livejournal.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] quarter note = dotted quarter note playback?
On 3/14/2010 4:58 PM, Eric Dannewitz wrote:
Man, thats lamewe have all this other fluff in Finale, but
something like this you have to hack around to get the playback to
work correctly?
let me actually look at it {I tend to not do that kind of tempo changes
much...]
Okay - it looks like you can easily assign 'dotted quarter note = X in
the Tempo pull-down, so your task should be very simple.
I just had never needed that particular expression, and was not certain
if 'dotted-quarter' was an option. It is.
In FinWin2010b, at least. :)
cd
On Sun, Mar 14, 2010 at 4:56 PM, dershemders...@cox.net wrote:
On 3/14/2010 4:45 PM, Eric Dannewitz wrote:
Oh, so you can't just graphically have a quarter note then an = then a
dotted quarter? :-/
That's the easy part. But if you use playback, it will change the tempo.
If you don't use playback, it's very simple.
cd
On Sun, Mar 14, 2010 at 4:44 PM, dershemders...@cox.netwrote:
On 3/14/2010 4:26 PM, Eric Dannewitz wrote:
I'm trying to get Finale to play back a piece of music that goes from
2/4 to 6/8 and I want it to do dotted quarter note = quarter
notebut the human playback doesn't seem to catch it.
ideas/
If you set your parameters right, it should be fairly straightforward.
Going from q = X to q = Y is all you have to do, and then mark Y as q. =
X.
Just figure out what the beat is in quarter notes, and enter that in the
TEMPO part of the Playback tab, where the description is [dotted quarter
=
Y].
Should work.
cd
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Re: [Finale] quarter note = dotted quarter note playback?
Well, it is true that it will do the same thing as I want, assigning
the dotted quarter the same numeric value as the quarter, but ideally
i think in a score you'd want the graphical dotted quarter = quarter
and then when it switches back to 2/4 a graphical quarter = dotted
quarter. Just seems that it was overlooked in Finale playback, and it
is rather common I think...
On Sun, Mar 14, 2010 at 5:02 PM, dershem ders...@cox.net wrote:
On 3/14/2010 4:58 PM, Eric Dannewitz wrote:
Man, thats lamewe have all this other fluff in Finale, but
something like this you have to hack around to get the playback to
work correctly?
let me actually look at it {I tend to not do that kind of tempo changes
much...]
Okay - it looks like you can easily assign 'dotted quarter note = X in the
Tempo pull-down, so your task should be very simple.
I just had never needed that particular expression, and was not certain if
'dotted-quarter' was an option. It is.
In FinWin2010b, at least. :)
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Re: [Finale] quarter note = dotted quarter note playback?
Eric, When I want to do this, I use text expressions, defined for playback. In this case, I'd have three expressions. One is a quarter note, which is not defined for playback. The other two look the similar--(= 000) and ( . = 000) where 000 is the value representing the tempo. These two have playback defined, so that one sets the tempo of the quarter note to the designated value, and the other sets the tempo of the dotted quarter note to the designated value. This works well with earlier playback, but should work with human playback equally well. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] quarter note = dotted quarter note playback?
Eric Dannewitz wrote: Well, it is true that it will do the same thing as I want, assigning the dotted quarter the same numeric value as the quarter, but ideally i think in a score you'd want the graphical dotted quarter = quarter and then when it switches back to 2/4 a graphical quarter = dotted quarter. Just seems that it was overlooked in Finale playback, and it is rather common I think... The graphical version is reasonably common, and one could certainly define an expression ( d = d. ) and assign it to playback with a change of tempo by defining the playback capabilities of the expression. The reverse ( d. = d ) is equally trivial. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] combining files
Katherine Hoover wrote: I'm working on a Mac OS 10, with Finale 2004. I would like to combine two files (parts for movements 1 2) into one. I couldn't find information under combine or under merge. How can i do this? [Note: My experience is that trying to merge files involves a lot of fiddly work, and I don't usually bother. If I edit a work which contains multiple movements each in its own file, my first choice is to adjust the page layouts of the first and last pages of a file so if I run a page containing the last page of one movement through the printer again, the first page of the next movement prints in the correct space on the page. I would not bother trying to merge files except for very good reason.] the experience of others may be different, but my experience informs me that this has to be a manual operation. My experience also informs me that lyrics do not merge well, and the steps below assume that the two movements do NOT have lyrics. Also, while I saw your message a couple days ago, I'm not now, and never have been, on MAC, but knowing that there are several on the list who are, I deferred to them for the answer, since some keystrokes and mouse actions are different between the two platforms. 1. Make a copy of the file you're going to be combining into. In the following steps, I'm going to call the copy you make the target file. 2. Compare the staves in the two files, and if they do not match in both quantity and order, add the staves necessary so that they do. For example, suppose the work is for a string quartet, but that the viola is silent in movement 2, and in preparing the finale file, instead of optimizing out the viola part in movement 2, it was omitted entirely. In this event, a viola staff will be have to be added to movement 2 in the same place that it is in movement 1. 2. When there are the same number of staves in the two movements, and the staves are in the same order, add one measure at the end of target file, with the measure in each staff containing no real notes. 3. Open the target file and the file containing the movement you are merging from in scroll view, and use the tile horizontally option from the Windows menu to make as much of both files visible on screen. You'll want to be able to see the last two measures in the target file (the last one, and the one you added in step 2) of the top staff. Again, using the sliders, move the file you are merging from in its window so that you see the last measure of the bottom staff of the movement. 4. In the mass mover tool, select the measure items option, and select the items from the dialog box that you want to move; then select the entry items option, and select the items from the entry items dialog that you want to move. Even if both movements have lyrics, I advise not trying to merge them at this step. Finally, from the mass mover dialog, choose the selection copy and insert. 5. Making sure that the window containing the movement you are merging into the target file is the active window, click on the last movement of the bottom staff to highlight the measure. Now, using the sliders, move the file within the window so you can see the first measure of the top staff. Shift-click to the first measure of the top staff. [Note: this is the proper method to highlight a range of measures in the Windows implementation of Finale 2004; if it doesn't work in MAC, check your documentation for the proper key stroke / mouse actions.] 6. Right-clicking and holding the button on the first selected measure of the top staff of the file you are merging from, move the highlighted region into the other window, so that the top measure of the beginning is over the added measure of the target file. When you release the button, you should have merged the two files, and should have a blank measure at the end. I have not had very much luck transferring page layouts, and usually wind up adjusting layouts of the merged file manually. When files contain lyrics, I have had the best luck when I did not try to merge the lyrics by this method. Based upon my experience, if I were called upon to do this, between step 2 and 3 above, I would delete all of the lyrics from the target file (remember, the target file is a copy, so I still have the original). Then after the files were merged, I would use the text editor of my choice, and manually merge the lyrics from each lyric space separately in a scratch file by copying the contents of verse 1 in the first source file to the scratch file, then append the contents of verse 1 in the second file to the contents of the scratch file, then copy the contents of the scratch file to verse 1 of the target file, and use mass click assignment to assign the lyrics [On the Windows platform, the keystroke / mouse combination to do this is to use the mouse to position the cursor in the note where the first lyric is to be, press the shift key, and
Re: [Finale] combining files
Excellent instructions, Noel. I would add one thing: Noel Stoutenburg wrote: When files contain lyrics, I have had the best luck when I did not try to merge the lyrics by this method. Based upon my experience, if I were called upon to do this, between step 2 and 3 above, I would delete all of the lyrics from the target file (remember, the target file is a copy, so I still have the original). Then after the files were merged, I would use the text editor of my choice, and manually merge the lyrics from each lyric space separately in a scratch file by copying the contents of verse 1 in the first source file to the scratch file, then append the contents of verse 1 in the second file to the contents of the scratch file, then copy the contents of the scratch file to verse 1 of the target file, and use mass click assignment to assign the lyrics [On the Windows platform, the keystroke / mouse combination to do this is to use the mouse to position the cursor in the note where the first lyric is to be, press the shift key, and left click with the mouse.] for the verse. After the lyrics are assigned this way, I use a combination of the shift lyrics option of the lyrics tool, and type into score, to move the lyrics so that they lie under the appropriate note. One could also try zapping all of the lyrics in the target file (go into edit lyrics and erase them there), then copy the lyrics from the lyric staves in each both source files onto the same staves in the target file. (Change the filter under Edit if necessary.). I believe you will keep formatting, etc, and only have to adjust some baselines. (This is off the top of my head, which is pretty round and doesn't hold things very steadily, so I could be way off.) Raymond Horton ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] combining files
Ray Horton wrote: One could also try zapping all of the lyrics in the target file (go into edit lyrics and erase them there), then copy the lyrics from the lyric staves in each both source files onto the same staves in the target file. (Change the filter under Edit if necessary.). I believe you will keep formatting, etc, and only have to adjust some baselines. (This is off the top of my head, which is pretty round and doesn't hold things very steadily, so I could be way off.) It is my experience with various versions of Windows Finale, that copying lyrics into a file which already contains lyrics produces results which cannot be predicted based upon Finale documentation. In general, when trying to copy lyrics between documents, Finale will not move content into a lyrics subspace that already contains lyrics. So if you have two files with lyrics in the lyrics subspace verse 1, and you try to combine them, the lyrics of the second file will be moved into a different subspace, so that the lyrics in verse 1 of the source file will wind up in the next available verse, perhaps verse 2, in the target file. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] combining files
On Mar 14, 2010, at 9:35 PM, Noel Stoutenburg wrote: It is my experience with various versions of Windows Finale, that copying lyrics into a file which already contains lyrics produces results which cannot be predicted based upon Finale documentation. In general, when trying to copy lyrics between documents, Finale will not move content into a lyrics subspace that already contains lyrics. So if you have two files with lyrics in the lyrics subspace verse 1, and you try to combine them, the lyrics of the second file will be moved into a different subspace, so that the lyrics in verse 1 of the source file will wind up in the next available verse, perhaps verse 2, in the target file. If I were merging two files and both had lyrics, I'd make sure none of them are in the same verse box. Finale allows for a ridiculous number of verses so it's easy to avoid overlap. Move the lyrics in one piece to verse 50, 51, and 52. I would move them within the one file and make sure everything is tidy BEFORE merging the two files. I don't have experience with merging files specifically, so I don't know how it works, but on general principle, I think it's always a good idea to have lyrics in different boxes. They give you zillions of them, may as well make good use of them. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
