[Finale] Playback Tempo Oddity
Greetings... This is in FinMac2010b... I'm getting strange playback tempo behavior. Tempo marking sets the playback tempo at eighth-note = 72. Playback observes this tempo for exactly two quarter notes, then switches to twice as fast for the remainder of the piece. I created this document using an earlier document as a template. The earlier document had a tempo marking of quarter = 76. I edited that expression, changed the playback setting to eighth = 72. That may have caused the problem, I suppose, but it would be nice to get it fixed... Any ideas? Neal Gittleman ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Playback Tempo Oddity
On Wed Jun 30, at WednesdayJun 30 9:43 AM, Neal Gittleman wrote: Greetings... This is in FinMac2010b... I'm getting strange playback tempo behavior. Tempo marking sets the playback tempo at eighth-note = 72. Playback observes this tempo for exactly two quarter notes, then switches to twice as fast for the remainder of the piece. I created this document using an earlier document as a template. The earlier document had a tempo marking of quarter = 76. I edited that expression, changed the playback setting to eighth = 72. That may have caused the problem, I suppose, but it would be nice to get it fixed... Any ideas? Neal Gittleman I would guess that almost certainly there is an expression (maybe hidden? The importation of expressions assigned to the former staff lists is very weird) that has that playback, assigned to the 3rd beat of the measure. Go into your expressions list, track down that expression and delete it from the list. It might have cloned itself, so make sure you check the various categories. Check other expressions, which may have inherited playback. I unwisely cloned a tempo mark once to use as an instruction without realising that it had a playback enabled. Turn 'em off! Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Playback Tempo Oddity
Neal Gittleman wrote: Any ideas? My first idea: look for another expression in the vicinity of where tempo changes to "twice as fast", which you maybe duplicated from a tempo expression, and failed to change playback. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Playback Tempo Oddity
You should also use the Tempo Tool to set the tempo for the entire piece to eighth = 72. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 30 Jun 2010, at 10:18 AM, Christopher Smith wrote: > > On Wed Jun 30, at WednesdayJun 30 9:43 AM, Neal Gittleman wrote: > >> Greetings... >> >> This is in FinMac2010b... >> >> I'm getting strange playback tempo behavior. Tempo marking sets the >> playback tempo at eighth-note = 72. Playback observes this tempo for >> exactly two quarter notes, then switches to twice as fast for the remainder >> of the piece. >> >> I created this document using an earlier document as a template. The >> earlier document had a tempo marking of quarter = 76. I edited that >> expression, changed the playback setting to eighth = 72. That may have >> caused the problem, I suppose, but it would be nice to get it fixed... >> >> Any ideas? >> >> Neal Gittleman > > I would guess that almost certainly there is an expression (maybe hidden? The > importation of expressions assigned to the former staff lists is very weird) > that has that playback, assigned to the 3rd beat of the measure. Go into your > expressions list, track down that expression and delete it from the list. It > might have cloned itself, so make sure you check the various categories. > > Check other expressions, which may have inherited playback. I unwisely cloned > a tempo mark once to use as an instruction without realising that it had a > playback enabled. Turn 'em off! > > Christopher > > > > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Placement of articulations
Just a comment without discussion. First rehearsal Monday for a Broadway show from the mid-'50s. Hand copied, generally VERY readable. But the copyist put all the articulations above the notes, NOT at the noteheads, and it drove me crazy! I simply don't look for them there, so in sightreading they get ignored. I know, you should give people what they're used to seeing, but string players are NOT used to seeing this, and the copyist obviously didn't know that. (He also omitted key signatures at the beginning of each line, which is also frustrating since there can be 3 key changes on any given page, but that's a different discussion.) 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] Placement of articulations
You know, I did a couple of scoring projects for Masters students in College and that is the way they wanted it. Above the notes, and articulations were outside the staff system. I thought it was strange but.whatever.. On Jun 30, 2010, at 10:17 AM, John Howell wrote: > Just a comment without discussion. First rehearsal Monday for a Broadway > show from the mid-'50s. Hand copied, generally VERY readable. But the > copyist put all the articulations above the notes, NOT at the noteheads, and > it drove me crazy! I simply don't look for them there, so in sightreading > they get ignored. I know, you should give people what they're used to > seeing, but string players are NOT used to seeing this, and the copyist > obviously didn't know that. > > (He also omitted key signatures at the beginning of each line, which is also > frustrating since there can be 3 key changes on any given page, but that's a > different discussion.) > > 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] FinMac2011 and GPO4 keyswitches
Does anyone have GPO4 and FinMac 2011? If so, are your notation instrument keyswitches working? I can't get this to work. In 2009, I would use the n-TrumpetKS instrument, put in the word Mute from the library, and it would switch to muted. In 2011, the same thing doesn't seem to work. And I've never been able to use the flute fluttertongue ks -- though the trigger is supposed to be the three- slash tremolo. Can anyone help me? Or is this a problem with FinMac 2011? Thanks, David Froom ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Placement of articulations
I put my articulations at the note heads, and jazz players are not used to this. Still, it looks better that way to my eye (in most cases), and I don't think it impedes readability. However, going the other way and ignoring the conventions of string notation doesn't seem to be a good idea, and your experience reinforces this. Omitting key signatures at the beginning of the line is a hand copying shortcut for which one pays a price in rehearsal time, and I bet the key signatures end up penciled in on the parts anyway. Chuck On Jun 30, 2010, at 10:17 AM, John Howell wrote: > Just a comment without discussion. First rehearsal Monday for a Broadway > show from the mid-'50s. Hand copied, generally VERY readable. But the > copyist put all the articulations above the notes, NOT at the noteheads, and > it drove me crazy! I simply don't look for them there, so in sightreading > they get ignored. I know, you should give people what they're used to > seeing, but string players are NOT used to seeing this, and the copyist > obviously didn't know that. > > (He also omitted key signatures at the beginning of each line, which is also > frustrating since there can be 3 key changes on any given page, but that's a > different discussion.) > > 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 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
[Finale] re: does Finale 2011 work with Tiger on a Mac?
Aryeh, by all means install 2009, which works perfectly with Tiger 10.4.11. Thurletta Brown-Gavins On Wed, 30 Jun 2010 Aryeh Har-Even wrote: I did upgrade to Finale 2009 but never installed it. So what do you think? Should I install 2009 which has been sitting on a shelf? SNIP ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac2011 and GPO4 keyswitches
Hi David, In HP Prefs, modify the Filter for each technique so it says simply "Garritan." Also, report to MM that their default HP Prefs no longer support keyswitches. (This is as of Fin2010, BTW.) Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 30 Jun 2010, at 1:20 PM, David Froom wrote: > Does anyone have GPO4 and FinMac 2011? If so, are your notation instrument > keyswitches working? I can't get this to work. In 2009, I would use the > n-TrumpetKS instrument, put in the word Mute from the library, and it would > switch to muted. In 2011, the same thing doesn't seem to work. And I've > never been able to use the flute fluttertongue ks -- though the trigger is > supposed to be the three-slash tremolo. > > Can anyone help me? Or is this a problem with FinMac 2011? > > Thanks, > > David Froom > ___ > 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] Placement of articulations
Hi John, This is a totally standard hand-copying technique, recommended by Clinton Roemer. It puts all of the articulations in more or less the same visual plane -- above the staff -- so your eye does not have to jump around. The majority of hand-copied jazz/B'way/film/commercial etc. music from the 1950's through the 1970's follows this convention. String players of the time who did that kind of work WERE used to seeing that, and expected it. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 30 Jun 2010, at 1:17 PM, John Howell wrote: > Just a comment without discussion. First rehearsal Monday for a Broadway > show from the mid-'50s. Hand copied, generally VERY readable. But the > copyist put all the articulations above the notes, NOT at the noteheads, and > it drove me crazy! I simply don't look for them there, so in sightreading > they get ignored. I know, you should give people what they're used to > seeing, but string players are NOT used to seeing this, and the copyist > obviously didn't know that. > > (He also omitted key signatures at the beginning of each line, which is also > frustrating since there can be 3 key changes on any given page, but that's a > different discussion.) > > 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] Printing bug discovered
Hi All, I just called Finale support about a printing bug I discovered. They tested it and verified that it indeed is a bug in both Windows and Mac in 10 & 11. If you want to print a range of pages and accidentally put a beginning number higher than the ending number, the file becomes corrupted and you and no longer print anything. The only recourse is to export it to XML and then import from XML into a new document. Not a perfect solution. Thanks, Lee Lee Dengler Minister of Music, College Mennonite Church Composer Engraver, Editor ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Placement of articulations
At 10:23 AM -0700 6/30/10, Chuck Israels wrote: Omitting key signatures at the beginning of the line is a hand copying shortcut for which one pays a price in rehearsal time, and I bet the key signatures end up penciled in on the parts anyway. Yup. First thing I did in my book!!! 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] [OT] lombardi / valle notation books, where to find?
trying to locate these, used or new. any sources would be appreciated. the lombardi i saw in gelbe musik (berlin) shop today, but it is their archive copy so not for sale, catalogue from an exhibition in florence, 1981. is really great, categories of notation with broad examples. Lombardi, Daniele. Spartito Preso. Firenze: Vallecchi, 1981; Roma: Scrittura & Suono, 1984, Edipan. Valle, Andrea. La notazione musicale contemporanea -- Aspetti semiotici ed estetici. Torino: EdT De Sono, 2002. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] slurs needed over tremolos?
I'm waffling back and forth over the need for slurs over fingered tremolos in strings. Example: Whole note C, whole note A, three tremolo beams in between. My familiarity with the music tells me that a slur is somewhat implied, but I wonder if a slur would help the sight reader. There are a lot of tremolos like this in this piece, ranging from the whole note level down to the eighth note level. In addition to your own insight, can someone tell me what Stone, Read, et al say about this, if anything? My copies are at my office and I'm working from home tonight. Thanks for your help Ryan ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] slurs needed over tremolos?
At 6:24 PM -0700 6/30/10, Ryan wrote: I'm waffling back and forth over the need for slurs over fingered tremolos in strings. Example: Whole note C, whole note A, three tremolo beams in between. My familiarity with the music tells me that a slur is somewhat implied, but I wonder if a slur would help the sight reader. There are a lot of tremolos like this in this piece, ranging from the whole note level down to the eighth note level. In addition to your own insight, can someone tell me what Stone, Read, et al say about this, if anything? My copies are at my office and I'm working from home tonight. Thanks for your help Ryan A bowed tremolo keeps the bow in the same place. But you're talking about a fingered tremolo, which means the bow travels. And that means that it's a good idea to include bowings (slurs) telling the player when to change bows. That will change depending on whether the dynamic is soft (more notes to a bow, gentle bowing) or loud (fewer notes to a bow, heavier bowing). If you want to send an example, I could give you a better opinion. 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] lombardi / valle notation books, where to find?
Hope this helps-- Bob Morabito On Jun 30, 2010, at 6:25 PM, SN jef chippewa wrote: trying to locate these, used or new. any sources would be appreciated. the lombardi i saw in gelbe musik (berlin) shop today, but it is their archive copy so not for sale, catalogue from an exhibition in florence, 1981. is really great, categories of notation with broad examples. Lombardi, Daniele. Spartito Preso. Firenze: Vallecchi, 1981; Roma: Scrittura & Suono, 1984, Edipan. cant find Valle, Andrea. La notazione musicale contemporanea -- Aspetti semiotici ed estetici. Torino: EdT De Sono, 2002. To buy: http://www.edt.it/shop/dettaglio.php?isbn=8870636461 In a library: http://www.worldcat.org/title/notazione-musicale-contemporanea- aspetti-semiotici-ed-estetici/oclc/249145088 ___ 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] slurs needed over tremolos?
On Jun 30, 2010, at 6:24 PM, Ryan wrote: I'm waffling back and forth over the need for slurs over fingered tremolos in strings. Example: Whole note C, whole note A, three tremolo beams in between. My familiarity with the music tells me that a slur is somewhat implied, but I wonder if a slur would help the sight reader. There are a lot of tremolos like this in this piece, ranging from the whole note level down to the eighth note level. A pair of whole notes linked by tremolo does not require a slur. This is per Ted Ross, whom I agree with on this point. Ross also notes there is a trend toward notating a whole note worth of tremolo not as two whole notes connected by three beams, but rather two pairs of half notes each connected by three beams (ie, looks like pairs of beamed 32nd notes, but with open note heads). If your purpose is to enhance readability for a sight reader, I recommend this practice. In this case you do need a slur, because you have two pairs which you are linking as a single tremolo. Basic rule is if it's a single pair you don't need a slur, but if it's more than a pair you do. Caveat: My experience is with piano music, including piano reductions of orchestra, but not with string parts. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
