Re: [Finale] Fermata (Pause)
On 2011-01-13 03:09, Steve Parker wrote: I assume that this is hardwired into Finale itself rather than in an xml file somewhere? Yes, unfortunately that's stored internally in HP. It's the same with the HP dictionary (cresc, rit, etc). Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Relink extracted parts: possible or not possible?
Since I'm of the "old school" Finale users, having really cut my teeth on the program almost ten years ago, I never was used to the idea of linked parts, so I have continued doing the usual extraction method. I'm starting to regret this, especially as I didn't realize that this "unlinks" the parts from the score; I thought that "linked" parts meant "linked extracted" parts. I guess I need to read the directions a little more. Now that I've spent 30 minutes just making one pass to change of all things, the title, I'm really wanting my parts to be linked again. Is it possible to do an Indiana Jones-like switcheroo, where I insert the part file I've been working on and laid out beautifully into the rough-cut part file that Finale wants to use when I go to select the part in question? I realize that for certain things I'll probably need to still use some part extraction, but with that being the exception rather than the rule, I'll even allow for some extra cleanup if it will save me some time down the road. Conversely, if someone has a way I can literally cut-and-paste all the layout changes I've made and can superimpose them on the part with minimal damage, that would be acceptable, too. I don't think this will work where I've exploded the parts into multiple staves, though, such as my double wind lines. But perhaps there's a plugin for that, too? Thanks, Michael Wittenburg Sarasota Opera ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Relink extracted parts: possible or not possible?
I can't be much help, although I've found that cut and paste can reliably transfer layout changes. What I will say though is 'Come over to the dark side of linked parts!' Any advantages to the part-extraction method are much more than made up for by the convenience of going back and forth. Finale approaches what is and is not linked both sensibly and flexibly. Moving to an app with linked parts was what I left Finale for the first time over a decade ago! Steve P. On 13 Jan 2011, at 17:28, wrote: Since I'm of the "old school" Finale users, having really cut my teeth on the program almost ten years ago, I never was used to the idea of linked parts, so I have continued doing the usual extraction method. I'm starting to regret this, especially as I didn't realize that this "unlinks" the parts from the score; I thought that "linked" parts meant "linked extracted" parts. I guess I need to read the directions a little more. Now that I've spent 30 minutes just making one pass to change of all things, the title, I'm really wanting my parts to be linked again. Is it possible to do an Indiana Jones-like switcheroo, where I insert the part file I've been working on and laid out beautifully into the rough-cut part file that Finale wants to use when I go to select the part in question? I realize that for certain things I'll probably need to still use some part extraction, but with that being the exception rather than the rule, I'll even allow for some extra cleanup if it will save me some time down the road. Conversely, if someone has a way I can literally cut-and-paste all the layout changes I've made and can superimpose them on the part with minimal damage, that would be acceptable, too. I don't think this will work where I've exploded the parts into multiple staves, though, such as my double wind lines. But perhaps there's a plugin for that, too? Thanks, Michael Wittenburg Sarasota Opera ___ 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] music spacing
Hi all! I have music spacing set to 'Incorporate' changes I've manually made. It seems to ignore some of these - most annoyingly barline moves. Does anyone know exactly what is incorporated? I also find that 'update layout' seems to move some things back too. Does automatic music spacing behave exactly the same way as manual? If it does, is the general way of working to switch this off before manually moving notes and barlines etc? Steve P. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Relink extracted parts: possible or not possible?
There is much to learn in the way linked parts functions, and there are a few pages in the manual that address this well - required reading for anyone making this change, I would think. After that, Tobias Geisen's full complement of TG Tools will do some things that make using linked parts beautifully efficient, including Modify/Transfer Layout. I wouldn't be without it. (www.tgtools.de/ ) It does just what you are asking about. Good luck with the conversion. It takes some time getting used to, but it has worked well for me. Chuck On Jan 13, 2011, at 9:28 AM, wrote: > Since I'm of the "old school" Finale users, having really cut my teeth on > the program almost ten years ago, I never was used to the idea of linked > parts, so I have continued doing the usual extraction method. I'm starting > to > regret this, especially as I didn't realize that this "unlinks" the parts > from the score; I thought that "linked" parts meant "linked extracted" > parts. I guess I need to read the directions a little more. Now that I've > spent 30 minutes just making one pass to change of all things, the title, > I'm > really wanting my parts to be linked again. > > Is it possible to do an Indiana Jones-like switcheroo, where I insert the > part file I've been working on and laid out beautifully into the rough-cut > part file that Finale wants to use when I go to select the part in question? > I realize that for certain things I'll probably need to still use some > part extraction, but with that being the exception rather than the rule, > I'll > even allow for some extra cleanup if it will save me some time down the > road. > > Conversely, if someone has a way I can literally cut-and-paste all the > layout changes I've made and can superimpose them on the part with minimal > damage, that would be acceptable, too. I don't think this will work where > I've exploded the parts into multiple staves, though, such as my double wind > lines. But perhaps there's a plugin for that, too? > > Thanks, > Michael Wittenburg > Sarasota Opera > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 1310 NW Naito Parkway #807 Portland, OR 97209-3162 phone: (503) 926-7952 cell phone: (360) 201-3434 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Relink extracted parts: possible or not possible?
On 1/13/2011 12:28 PM, delius...@aol.com wrote: Is it possible to do an Indiana Jones-like switcheroo, where I insert the part file I've been working on and laid out beautifully into the rough-cut part file that Finale wants to use when I go to select the part in question? Keep in mind that when you extract parts in recent Finale versions, what happens is that Finale creates linked parts in the background and then extracts those parts to a file. In other words, an extracted part is exactly a snapshot of the linked part at the time of extraction. If you've edited your extracted parts further, there is no automatic facility for getting those edits back into the score, although others have posted some helpful suggestions. One more word of advice: Many people find that it's not always workable to have only one file with score and parts and everything, so we wind up with one "score" file and one "parts" file. If you're fixing wrong notes, you still have to fix them in two places, but you also have the advantages of linked parts if you need to make changes that affect all parts (like changing a movement title or changing font sizes for measure numbers or something like that). Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Relink extracted parts: possible or not possible?
TG Tools Pro has Transfer... Layout for system breaks. You still have to nudge everything you nudged in the part, though, and adjust measure widths if you changed any. Christopher On 13-Jan-11, at 13-Jan-11 12:28 PM, delius...@aol.com wrote: Since I'm of the "old school" Finale users, having really cut my teeth on the program almost ten years ago, I never was used to the idea of linked parts, so I have continued doing the usual extraction method. I'm starting to regret this, especially as I didn't realize that this "unlinks" the parts from the score; I thought that "linked" parts meant "linked extracted" parts. I guess I need to read the directions a little more. Now that I've spent 30 minutes just making one pass to change of all things, the title, I'm really wanting my parts to be linked again. Is it possible to do an Indiana Jones-like switcheroo, where I insert the part file I've been working on and laid out beautifully into the rough-cut part file that Finale wants to use when I go to select the part in question? I realize that for certain things I'll probably need to still use some part extraction, but with that being the exception rather than the rule, I'll even allow for some extra cleanup if it will save me some time down the road. Conversely, if someone has a way I can literally cut-and-paste all the layout changes I've made and can superimpose them on the part with minimal damage, that would be acceptable, too. I don't think this will work where I've exploded the parts into multiple staves, though, such as my double wind lines. But perhaps there's a plugin for that, too? Thanks, Michael Wittenburg Sarasota Opera ___ 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] "whole" notes in 5/4
Opinion poll: What is your preferred method of writing a note that sounds for the duration of a 5/4 bar? 1) Using Whole tied to Quarter, regardless of wether the division is 3+2 or 2+3 2) Using a Halfs and Dotted Halfs tied to each other to reflect the division of the bar (whatever the case may be). ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
{Spam} Re: [Finale] "whole" notes in 5/4
On 1/13/2011 3:27 PM, Ryan wrote: Opinion poll: What is your preferred method of writing a note that sounds for the duration of a 5/4 bar? 1) Using Whole tied to Quarter, regardless of wether the division is 3+2 or 2+3 2) Using a Halfs and Dotted Halfs tied to each other to reflect the division of the bar (whatever the case may be). I much prefer option 2. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "whole" notes in 5/4
2. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 13 Jan 2011, at 3:27 PM, Ryan wrote: > Opinion poll: > > What is your preferred method of writing a note that sounds for the duration > of a 5/4 bar? > > 1) Using Whole tied to Quarter, regardless of wether the division is 3+2 or > 2+3 > 2) Using a Halfs and Dotted Halfs tied to each other to reflect the division > of the bar (whatever the case may be). > ___ > 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] "whole" notes in 5/4
option 2) - always. Cheers, Lawrence On 13 January 2011 20:27, Ryan wrote: > Opinion poll: > > What is your preferred method of writing a note that sounds for the > duration > of a 5/4 bar? > > 1) Using Whole tied to Quarter, regardless of wether the division is 3+2 or > 2+3 > 2) Using a Halfs and Dotted Halfs tied to each other to reflect the > division > of the bar (whatever the case may be). > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > -- Lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "whole" notes in 5/4
On Thu, January 13, 2011 3:27 pm, Ryan wrote: > What is your preferred method of writing a note that sounds for the duration > of a 5/4 bar? The rhythmic division. 1+4, 2+3, 3+2, 4+1. The inner pair is more common, but the measure fill adheres to the underlying pulse. If the pulses differ in the different parts, then the nearest in character. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "whole" notes in 5/4
Or, you could use Crumb's 5-beat note: .o. A whole note with a dot before and after.The thinking is - the dot before the note takes away half of the value of the dot after. Actually, I only saw this in smaller note values - 5/8 or 5/16. Like so many recent composers, Crumb prefers little notes. Raymond Horton On Thu, Jan 13, 2011 at 4:02 PM, Dennis Bathory-Kitsz < bath...@maltedmedia.com> wrote: > On Thu, January 13, 2011 3:27 pm, Ryan wrote: > > What is your preferred method of writing a note that sounds for the > duration > > of a 5/4 bar? > > The rhythmic division. 1+4, 2+3, 3+2, 4+1. The inner pair is more common, > but > the measure fill adheres to the underlying pulse. If the pulses differ in > the > different parts, then the nearest in character. > > Dennis > > > ___ > 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] Articulations (tremolo slashes) not staying in place
Well, I solved the problem, although it seems like a "bug" in the program. My first violins were playing B five ledger lines above the staff, and the tremolo articulation stubbornly kept insisting on displaying below the staff. I temporarily transposed the passage down an octave, and the tremolos appear in the right place. Steve Larsen Original post: I'm using Finale 2011b on a PC, and I've run into a really vexing problem with tremolo slashes. When I try to apply the tremolo marking to notes written high above the staff (like Violin I) the tremolo sign ends up appearing under the staff. When I click the handle to move it, it immediately jumps to the top of the staff (not where I want it), and then allows me to move it into the staff. Then, when I change the view on the page by scrolling, it jumps back down to under the staff. Any ideas? Steve Larsen ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "whole" notes in 5/4
Even for a very clear 1+2+2 or 2+2+1 I would still treat it as 3+2 or 2+3 respectively for a 5 count note. Steve P. On 13 Jan 2011, at 21:02, Dennis Bathory-Kitsz wrote: On Thu, January 13, 2011 3:27 pm, Ryan wrote: What is your preferred method of writing a note that sounds for the duration of a 5/4 bar? The rhythmic division. 1+4, 2+3, 3+2, 4+1. The inner pair is more common, but the measure fill adheres to the underlying pulse. If the pulses differ in the different parts, then the nearest in character. Dennis ___ 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] "whole" notes in 5/4
On 13 Jan 2011, at 20:27, Ryan wrote: Opinion poll: What is your preferred method of writing a note that sounds for the duration of a 5/4 bar? 1) Using Whole tied to Quarter, regardless of wether the division is 3+2 or 2+3 Ugh... 2) Using a Halfs and Dotted Halfs tied to each other to reflect the division of the bar (whatever the case may be). Yes. Also never use a whole rest. If the division is unclear I usually divide 3+2. Steve P. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "whole" notes in 5/4
Raymond, I'd LOVE to use Crumb's notation, but there's no quick & easy way to get that into Finale. Thanks for all your opinions. Seems like I agree with most of you. Now, here's a follow-up: I'm working on a piece in 5/4. The composer wrote this as kind of a "sequel" to another piece he wrote in 5/4. Someone else engraved that other piece and used the whole-tied-to-quarter method. For consistency's sake, I'm wondering if I should follow the same convention. The composer is expecting these pieces to be paired together in performances. On Thu, Jan 13, 2011 at 1:51 PM, Raymond Horton wrote: > Or, you could use Crumb's 5-beat note: > > .o. > > > A whole note with a dot before and after.The thinking is - the dot > before the note takes away half of the value of the dot after. > > > Actually, I only saw this in smaller note values - 5/8 or 5/16. Like so > many recent composers, Crumb prefers little notes. > > Raymond Horton > > > > > On Thu, Jan 13, 2011 at 4:02 PM, Dennis Bathory-Kitsz < > bath...@maltedmedia.com> wrote: > > > On Thu, January 13, 2011 3:27 pm, Ryan wrote: > > > What is your preferred method of writing a note that sounds for the > > duration > > > of a 5/4 bar? > > > > The rhythmic division. 1+4, 2+3, 3+2, 4+1. The inner pair is more common, > > but > > the measure fill adheres to the underlying pulse. If the pulses differ in > > the > > different parts, then the nearest in character. > > > > Dennis > > > > > > ___ > > 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 mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] export for publishing on the web
I'm having a little trouble exporting a Finale page for publishing on the web. I have an excerpt that needs to placed in an eBook that's created in "flash". But at the moment when it's placed in the flash file some staff lines and some notes are missing. If I export this graphic as an eps file Finale asks me if I want to include the fonts, I say yes, but my web guy says that there are no fonts included. I've also tried exporting as a pdf and that doesn't seem to be satisfactory either. I've done this before with no trouble, but am probably forgetting some important step. I'm on 2011 (now c since yesterday) with an imac running 10.5.8 Mike G. www.mikegreensill.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "whole" notes in 5/4
Centered whole rests are fine (what could be less ambiguous?) for empty measures in any meter. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 13 Jan 2011, at 5:08 PM, Steve Parker wrote: > Yes. Also never use a whole rest. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "whole" notes in 5/4
Offer to the other piece correctly for him (for a fee of course) Cheers, Lawrence On 13 January 2011 22:06, Ryan wrote: > Raymond, I'd LOVE to use Crumb's notation, but there's no quick & easy way > to get that into Finale. > > Thanks for all your opinions. Seems like I agree with most of you. Now, > here's a follow-up: > > I'm working on a piece in 5/4. The composer wrote this as kind of a > "sequel" > to another piece he wrote in 5/4. Someone else engraved that other piece > and > used the whole-tied-to-quarter method. For consistency's sake, I'm > wondering > if I should follow the same convention. The composer is expecting these > pieces to be paired together in performances. > > > > > On Thu, Jan 13, 2011 at 1:51 PM, Raymond Horton >wrote: > > > Or, you could use Crumb's 5-beat note: > > > > .o. > > > > > > A whole note with a dot before and after.The thinking is - the dot > > before the note takes away half of the value of the dot after. > > > > > > Actually, I only saw this in smaller note values - 5/8 or 5/16. Like so > > many recent composers, Crumb prefers little notes. > > > > Raymond Horton > > > > > > > > > > On Thu, Jan 13, 2011 at 4:02 PM, Dennis Bathory-Kitsz < > > bath...@maltedmedia.com> wrote: > > > > > On Thu, January 13, 2011 3:27 pm, Ryan wrote: > > > > What is your preferred method of writing a note that sounds for the > > > duration > > > > of a 5/4 bar? > > > > > > The rhythmic division. 1+4, 2+3, 3+2, 4+1. The inner pair is more > common, > > > but > > > the measure fill adheres to the underlying pulse. If the pulses differ > in > > > the > > > different parts, then the nearest in character. > > > > > > Dennis > > > > > > > > > ___ > > > 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 mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > -- Lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "whole" notes in 5/4
Yes, I should have been clearer. [Quarter note followed by whole rest] and the opposite are what I meant. Steve P. On 13 Jan 2011, at 22:24, Darcy James Argue wrote: Centered whole rests are fine (what could be less ambiguous?) for empty measures in any meter. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 13 Jan 2011, at 5:08 PM, Steve Parker wrote: Yes. Also never use a whole rest. ___ 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] "whole" notes in 5/4
On 13 Jan 2011, at 22:06, Ryan wrote: 'm working on a piece in 5/4. The composer wrote this as kind of a "sequel" to another piece he wrote in 5/4. Someone else engraved that other piece and used the whole-tied-to-quarter method. For consistency's sake, I'm wondering if I should follow the same convention. How consistently are you following the rest of the style of the earlier piece? If closely then you may have justification. Steve P. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "whole" notes in 5/4
At 10:08 PM + 1/13/11, Steve Parker wrote: On 13 Jan 2011, at 20:27, Ryan wrote: Opinion poll: What is your preferred method of writing a note that sounds for the duration of a 5/4 bar? 1) Using Whole tied to Quarter, regardless of wether the division is 3+2 or 2+3 Ugh... 2) Using a Halfs and Dotted Halfs tied to each other to reflect the division of the bar (whatever the case may be). Yes. Also never use a whole rest. If the division is unclear I usually divide 3+2. Isn't the convention to use a whole rest no matter the meter, at least up to something like 4/1 time? My feeling is that I would never NOT use a whole rest in 5/4. 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] Left page to start
Hi, I'm trying to work out how to make the first page in my score a left page? Current kludge is to insert a blank but I'm sure it's in a menu somewhere... Steve P. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] music spacing
On 2011-01-13 19:24, Steve Parker wrote: I have music spacing set to 'Incorporate' changes I've manually made. It seems to ignore some of these - most annoyingly barline moves. Does anyone know exactly what is incorporated? I also find that 'update layout' seems to move some things back too. Does automatic music spacing behave exactly the same way as manual? If it does, is the general way of working to switch this off before manually moving notes and barlines etc? The thing that can be incorporated is the manual horizontal positioning of notes. Yes, the manual and automatic spacing works the same in respect to barlines. The barlines does not have "positions" technically speaking, it's the measures that have widths. Here is how it works: when you space the music, the beat chart will be adjusted according to the elements in the music. The spacing algorithm will also calculate how much space the measure will need to be perfectly "in harmony" with the spacing parameters - this ideal width will be put as the measure width. If the measure width total on a system gets too crowded compared to the ideal width, the measures will reflow over systems (unless you lock the systems). The barlines will move since the measure widths change - the measures get a visible width on a system that's proportional to the internal measure widths. Thinking about it, it shouldn't be that hard to write a plug-in that respaces but keeps the barlines - I'd surely need that sometimes! I think I'll create such a plug-in some day. Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Left page to start
On 1/13/2011 7:26 PM, Steve Parker wrote: I'm trying to work out how to make the first page in my score a left page? Current kludge is to insert a blank but I'm sure it's in a menu somewhere... No, inserting a blank page is the right way to go, unless you want to play with page number offsets and keep track of which pages are really LH or RH. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "whole" notes in 5/4
I should have been clearer. If the entire bar is empty then a whole rest is needed. But I would never write [Quarter note followed by whole rest] or its opposite. Steve P. On 14 Jan 2011, at 00:09, John Howell wrote: Yes. Also never use a whole rest. If the division is unclear I usually divide 3+2. Isn't the convention to use a whole rest no matter the meter, at least up to something like 4/1 time? My feeling is that I would never NOT use a whole rest in 5/4. John ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] music spacing
Thanks for reply - this clarifies it. Is it correct then that if I write half a score and move elements around that I then have no access to automatic music spacing for the rest of the score unless I'm prepared to have it interfere with what I've already done? Or am I thinking wrong? Steve P. On 14 Jan 2011, at 00:29, Jari Williamsson wrote: On 2011-01-13 19:24, Steve Parker wrote: I have music spacing set to 'Incorporate' changes I've manually made. It seems to ignore some of these - most annoyingly barline moves. Does anyone know exactly what is incorporated? I also find that 'update layout' seems to move some things back too. Does automatic music spacing behave exactly the same way as manual? If it does, is the general way of working to switch this off before manually moving notes and barlines etc? The thing that can be incorporated is the manual horizontal positioning of notes. Yes, the manual and automatic spacing works the same in respect to barlines. The barlines does not have "positions" technically speaking, it's the measures that have widths. Here is how it works: when you space the music, the beat chart will be adjusted according to the elements in the music. The spacing algorithm will also calculate how much space the measure will need to be perfectly "in harmony" with the spacing parameters - this ideal width will be put as the measure width. If the measure width total on a system gets too crowded compared to the ideal width, the measures will reflow over systems (unless you lock the systems). The barlines will move since the measure widths change - the measures get a visible width on a system that's proportional to the internal measure widths. Thinking about it, it shouldn't be that hard to write a plug-in that respaces but keeps the barlines - I'd surely need that sometimes! I think I'll create such a plug-in some day. Best regards, Jari Williamsson ___ 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] Left page to start
On 2011-01-14 01:35, Aaron Sherber wrote: No, inserting a blank page is the right way to go, unless you want to play with page number offsets and keep track of which pages are really LH or RH. I also think that's a method that would be less confusing for printing shops. Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] music spacing
On 2011-01-14 01:38, Steve Parker wrote: Is it correct then that if I write half a score and move elements around that I then have no access to automatic music spacing for the rest of the score unless I'm prepared to have it interfere with what I've already done? That's correct. Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Left page to start
Ok. I'm already playing with page number offsets as well.. A shame that it can't be specified or at least follow the offset page number to determine left and right rather than the real page number. Thanks! Steve P. On 14 Jan 2011, at 00:35, Aaron Sherber wrote: On 1/13/2011 7:26 PM, Steve Parker wrote: I'm trying to work out how to make the first page in my score a left page? Current kludge is to insert a blank but I'm sure it's in a menu somewhere... No, inserting a blank page is the right way to go, unless you want to play with page number offsets and keep track of which pages are really LH or RH. Aaron. ___ 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] music spacing
You can still use automatic music spacing (for instance in Speedy Entry or adding articulations) on later measures without it affecting earlier spacing UNTIL you do an Update Layout for the whole document. If 'incorporate' manual positioning is checked, the only spacing that will be interfered with is manual changes to measure widths. Always do those last. Also, Update Layout only affects your current and later pages. Earlier pages are not affected. Richard Yates > Thanks for reply - this clarifies it. > Is it correct then that if I write half a score and move > elements around that I then have no access to automatic music > spacing for the rest of the score unless I'm prepared to have > it interfere with what I've already done? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Left page to start
> Ok. I'm already playing with page number offsets as well.. > A shame that it can't be specified or at least follow the offset page > number to determine left and right rather than the real page number. Ah, but one can specify the offset page. When one defines a text block containing a page number, one can define the block to apply to only left pages or only right pages. So what I do is to define two blocks conmtaining page numbers with the same offset. I apply One block so that it applies to left pages, I apply tne other text block to right pages. Both blocks use the same page number offset (ikf a page number offset is needed), and in most cases don't need to give poage numbers another thought. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] music spacing
i never use auto-spacing, so maybe i'm not the right person to comment on this, but doesn't it only affect measures you "enter" (speedy/simple)? so you could do half a score and adjust and know that the only changes to what you have already adjusted after auto-spacing is selected would only be in cases where you enter and exit specific "early" measures? and i would expect this to be independent of update layout... no? You can still use automatic music spacing (for instance in Speedy Entry or adding articulations) on later measures without it affecting earlier spacing UNTIL you do an Update Layout for the whole document. Also, Update Layout only affects your current and later pages. Earlier pages are not affected. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Relink extracted parts: possible or not possible?
Michael, Try this (assuming you have TGTools installed): TGTools > Modify > Transfer... It will let you copy bar layouts, etc. from one place to another (from a laid-out separate part file to a linked part in another file, or from one linked part to another within the same file). You'll still have to open each extracted part individually, select all, copy the layout with the TGTools plugin and then open the corresponding linked part in the original master file and paste the layout, but it will still save you time vs. redoing everything from scratch. Linked parts are great and have come a long way since 2007. Thanks to the TGTools plugin, I have been using them for the past couple of years in lieu of my old "Special Part Extraction" method. In Finale 2010 they finally allowed for separate measure number settings in the score vs. parts which was a HUGE improvement. However, there is one issue that still causes me to have the score file separate from the parts for large orchestral works - time signature display on staves in score vs. parts. In a large orchestral score, I prefer to only display time signatures on 4 or 5 staves (i.e. the first staff of each section) and I set them to be GIGANTIC in the score but normal sized in the parts. Obviously I want time signatures to appear on all staves in the parts. Currently there is no way to do this until they add another checkbox in staff attributes: "Time Sig. in Score" and "Time Sig. in Parts" like they already do for Staff Name. There's even an extra space for it in the dialog! Oh well, I can dream... (yes, I have told tech support/product development about this). -Brian On 1/13/11 10:01 AM, finale-requ...@shsu.edu wrote: > Since I'm of the "old school" Finale users, having really cut my teeth on > the program almost ten years ago, I never was used to the idea of linked > parts, so I have continued doing the usual extraction method. I'm starting > to > regret this, especially as I didn't realize that this "unlinks" the parts > from the score; I thought that "linked" parts meant "linked extracted" > parts. I guess I need to read the directions a little more. Now that I've > spent 30 minutes just making one pass to change of all things, the title, I'm > really wanting my parts to be linked again. > > Is it possible to do an Indiana Jones-like switcheroo, where I insert the > part file I've been working on and laid out beautifully into the rough-cut > part file that Finale wants to use when I go to select the part in question? > I realize that for certain things I'll probably need to still use some > part extraction, but with that being the exception rather than the rule, I'll > even allow for some extra cleanup if it will save me some time down the > road. > > Conversely, if someone has a way I can literally cut-and-paste all the > layout changes I've made and can superimpose them on the part with minimal > damage, that would be acceptable, too. I don't think this will work where > I've exploded the parts into multiple staves, though, such as my double wind > lines. But perhaps there's a plugin for that, too? > > Thanks, > Michael Wittenburg > Sarasota Opera ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
