Re: [Finale] Sibelius Core Team Now at Steinberg, Building New Notation Tool
Actually, that Dvořák example is in Sibelius. — Andrew On 21 February 2013 15:42, Raymond Horton horton.raym...@gmail.com wrote: More power to them - it can only help the industry. Not much showing on the page right now - that Dvorak example is pretty lame. But it is early. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Wed, Feb 20, 2013 at 11:55 PM, Mariposa Symphony Orchestra m...@sti.netwrote: Thanks for that reveal, Darcy – fascinating to see where this new product’s evolutionary journey might take it, and more important: whether the lofty intentions set forward by Dan Spreadbury can actual be practicably implemented. Best, Les Marsden (209) 966-6988 (H) (559) 708-6027 (Limited-reception cell) 7145 Snyder Creek Road Mariposa, CA 95338-9641 Chairman, Mariposa County Planning Commission President, Mariposa County Arts Council, Incorporated Board Director, Economic Development Corporation of Mariposa County Founding Music Director and Conductor, The Mariposa Symphony Orchestra ♫ ♪ ♫ Marsden Marx Pages (former career ended by disability): http://tinyurl.com/ygpj7og Mariposa Symphony Orchestra: http://arts-mariposa.org/symphony.html From: Darcy James Argue Sent: Wednesday, February 20, 2013 1:05 PM To: mailto:finale@shsu.edu Subject: [Finale] Sibelius Core Team Now at Steinberg,Building New Notation Tool This is certainly interesting (and well-played by Steinberg): http://createdigitalmusic.com/2013/02/sibelius-core-team-now-at-steinberg-building-new-notation-tool/ Cheers, - DJA - WEB: http://www.secretsocietymusic.org ___ 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 mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] ligature in custom music font not working in F2012
Even if Finale now has Unicode support, this doesn't mean that ligatures should work. Automatic ligatures would require a certain level of *OpenType* support. Looks like you'd have to encode them and then access them directly. On 19 September 2012 06:23, SN jef chippewa shirl...@newmusicnotation.comwrote: i am designing a font (open type) containing characters for durations and to be used for tempo indications and time sigs and am trying to get ligatures to work. for example, when i type 2 flagged sixteenth notes directly after one another, 2 beamed 16ths result. as i understand, this should in fact work, since finale now has unicode support? the ligature i created works in the font design programme but not in finale or in iWork's pages. in both i can type the actual character the ligature is placed in and it appears correctly, but it doesn't automatically show, as it should. has anyone worked with ligatures in finale successfully? (PS i know other fonts exist, but the only one that is decent enough to be useful for me is bach, but i find it has limitations and i don't like the look of it :-). anyways, i need straight flags and the look of it has to be consistent with my other custom fonts) ___ 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] rests in layers
Actually, no. Piano music can start/stop parts (layers) on a beat by beat basis. This is preferable in non-contrapuntal contexts and is usually perfectly clear. On 14 June 2012 17:51, SN jef chippewa shirl...@newmusicnotation.comwrote: needs rests ___ 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] orchestra + scottish trad. singalong
On 21 February 2012 04:46, SN jef chippewa shirl...@newmusicnotation.comwrote: All I'm suggesting is that it's unnecessary because TO A SINGER a plain treble clef means exactly the same thing. but it isn't for singers, it is for string and perc players to sing along to, and they could have any possible vocal range. But as long as they are singing along, they *are* singers. Any orchestral musician ought to be competent enough to realise that he/she should be singing in his/her own natural octave. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Staff size recommendations
String players are seated further apart from each other and further back from the music stands, because our bows and arms would knock each other and the music stands otherwise. On 18 February 2011 12:59, Blake Richardson btr1...@ix.netcom.com wrote: Why would this be? Just curious. It doesn't seem like one's instrument should somehow make it harder to see the music. I can see as how double-bass players might be farther from the page than trumpets and oboes, but all the other string players seem to sit the same distance from the stand as their wind counterparts. I don't really see why they'd need bigger music to read from. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MuseScore vs. Finale
Interestingly, Together in Song, also known as the Australian Hymn Book II, was done with Graphire Music Press and it is without a doubt one of the poorest examples of music engraving I've seen published. Some errors were the fault of the engraver but still, quite a lot were the fault of the program. The examples on the Graphire website are very fine. Andrew On 1 February 2011 23:07, Steve Parker st...@pinkrat.co.uk wrote: I would agree as well with putting Graphire up there. The closest immediate output (in quality) to something like a Peter's edition. Steve P. On 1 Feb 2011, at 12:15, Dennis Bathory-Kitsz wrote: To continue this, I'd put Graphire Music Press up there for sheer looks out of the box, and for the fastest input via computer keyboard, with auto-update and reflow and objects that moved out of each others' way automatically. A beautiful but expensive piece of software. Of course, it's also dead -- dead for 10 years as of yesterday. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] whole notes in 5/4
On 14 January 2011 08:54, Darcy James Argue djar...@earthlink.net wrote: Centered whole rests are fine (what could be less ambiguous?) for empty measures in any meter. Not in 4/2. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] whole notes in 5/4
Yes, and the main reason is that a centred semibreve rest is practically identical to a semibreve rest on the second semibreve of a 4/2 bar. This is extremely confusing in contrapuntal writing, especially (but not exclusively) if multiple (two or three) voices are written on a single staff. Andrew On 15 January 2011 02:23, Robert Patterson rob...@robertgpatterson.comwrote: I sent a message about this from my iPhone but I think the list's spam filter must have caught it. Ross suggests that industry practice (obviously, when he was writing) was to use double-whole rests for 4/2 and longer meters. I would further extrapolate that quadruple whole (meaning a thick line that spans both 2nd and 3rd space) should be used for 4/1 up to 8/1, but that's a separate discussion. You can see an example in the *score* for the Brahms Requiem. All the empty bars in 4/2 meter have centered double-whole rests. Interestingly, the parts do not use double-whole rests. Rather, in those cases where there is a single bar of rest, a whole rest is used with a 1 centered over the staff. The 1 is never omitted, and that is an extremely significant detail, but that's not what I'm here to talk about. To my eye, a whole rest in a 4/2 bar, even if it is centered, is ambiguous. That is because it also appears as a half-bar rest in that meter. In no shorter meter can a whole rest appear as a partial bar rest. Even in 6/2 or 7/4, Ross prescribes the use of half rests for all sub-parts of the bar. (Actually, Ross is silent about 7/4, but I am extrapolating from his comments.) Obviously, ymmv, but as evidenced by the Brahms example, double-whole rests were the industry standard for 4/2 meter in 19th century engraving. On Fri, Jan 14, 2011 at 9:26 AM, Darcy James Argue djar...@earthlink.net wrote: Really? Why? What is ambiguous about a centered whole rest in an empty measure of 4/2? If a whole rest appears in a non-empty measure, it won't be centered -- it will be attached to a beat. And, you know, there will also be notes in the measure. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 14 Jan 2011, at 4:13 AM, Andrew Moschou wrote: On 14 January 2011 08:54, Darcy James Argue djar...@earthlink.net wrote: Centered whole rests are fine (what could be less ambiguous?) for empty measures in any meter. Not in 4/2. ___ 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 -- Andrew Moschou Secretary Adelaide University Choral Society ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Completely O.T.
On 21 December 2010 06:21, John Howell john.how...@vt.edu wrote: But I would certainly trust the majority of modern English translations, in which it is certainly deliver us from evil. Y often subsituted for i or e, and u and v were still considered the same letter as were i and j. Not bad for a text that had to make its way from Aramaic through Latin (and possibly Greek as well) into the variety of modern and not-so-modern languages. It certainly made its way through Greek before Latin. Although I'm a bit surprised that the church would have allowed a vernacular translation in the 13th century (which I believe might be Middle English rather than Old, which is basically German), since the church reserved to itself the interpretation of scripture and actively discouraged translations. English, before the Normal invasion, was one of the most literary and scholarly languages in Europe. John Wyclif's translation after that time helped to restore that status and it was definitely not allowed by the Church. I thoroughly recommend the documentary at http://topdocumentaryfilms.com/adventure-of-english/ (which can be viewed online) for a history of the English language. Andrew ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2011 preordering?
There is no limit! (Actually maybe the limit is several thousand.) The shipping house style and manuscript papers (templates) contain only five, but it only takes a moment to create as many more lyric lines as needed (just create new text styles and define their default positions). They can then be saved in custom house styles and manuscript papers. Andrew On 27 May 2010 04:10, Ray Horton rayhor...@insightbb.com wrote: Mark D Lew wrote: On May 26, 2010, at 9:22 AM, John Howell wrote: From what I can see, the new lyric features are more like playing catchup with Sibelius, although I can't make a side-by-side comparison. Infinite verses might better than Sibelius' limit of 5, for people doing hymn books. And the automatic melisma slurs MIGHT come in handy, if they can be turned off. But Sibelius can already switch fonts and sizes almost as easily. And ignoring punctuation and quotation marks might be a really tiny improvement, but handling verse numbers would be an even better one. I don't understand the point of infinite verses, other than as a marketing gimmick. I surely agree that five is too few, but what's the current finite limit in Finale? Isn't it well over a hundred? It's enough that I've never run out, even using them liberally. The improvement for punctuation isn't tiny for me. I like that a lot. Of all the new lyric features announced, it's the one that would make the most difference to me. mdl Five is ridiculously too small a limit! Many hymns have more than five - check an Amish hymnal sometimes! We may not want to read more than five in one staff, on _average_, but a modern notation program has to be able to handle more than the average. Infinite could be useful occasionally - I have hymn files in which I store all the various versions of a hymn's text that I have run across. Or, when I am writing a text on a song or anthem, I may have several different versions of the text before I am done (every time I make a change I may store the old version). So, storing dozens of verses/stanzas has been useful at times. Raymond Horton ___ 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] Text expressions : 'poco' italic or not?
In German, Russian and many other languages, italic fonts are known as cursive (German: Kursiv, Russian: Курсив (Kursiv)). Eric does not mean a handwriting font. FYI, italic fonts are historically based on Italian cursive scripts. Andrew On 11 March 2010 21:53, dhbailey dhbai...@davidbaileymusicstudio.comwrote: Eric Fiedler wrote: The general rule, set forth for example in the chapter on the NBA in Bärenreiter's Editionsrichtlinien (latest edition: Bärenreiter 2000), is that _all_ additions by the editor should be clearly designated as such. This means _cursive_ for added text, dotted slurs [in my humble opinion too fussy!) and so on. They go on to write that all text taken over from the source, including dynamic signs like f and p etc.[and your poco forte] should be in normal, non-cursive print. (p.63f.) Of course, if you want to put such markings in cursive, as Finale and Sibelius seem to want to do, that you can put your additions in [brackets], which is not particularly beautiful but has the advantage of being intuitively clear to the user. Cheers! Eric Do you really mean cursive as in handwritten in flowing script? Wow! I've never seen Finale nor Sibelius try to use a handwriting font -- could you please more be specific about what you mean by cursive? -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Andrew Moschou Secretary Adelaide University Choral Society ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sibelius features?
These have been possible in Sibelius since version 4 or possibly even earlier. The fingering text style is already set up for this behaviour almost - you just need to redefine the default horizontal distance from the notehead (in the Default positions dialogue box). For the second, simply select the erase background option in the fingering text style. On 3 March 2010 16:07, Richard Yates rich...@yatesguitar.com wrote: Every couple of versions or so I check to see if two essential features of Finale have been implemented in Sibelius. I asked about these on the Sibelius forum and got a response saying that they were, but I wanted to double-check here where there are so many power users familiar with both programs. Here are the features: 1. I prefer LH fingering numbers (guitar) a precise distance to the left of the notehead, but with flexibility for the vertical placement. In Finale I can hold down a key and click a notehead, and the fingering number is placed at the vertical position of the click and the preset distance from the notehead (regardless of where I click on the notehead horizontally). 2. I like LH fingering numbers in which there is a small amount of the staff line whited out. Does anyone know if Sibelius can do these? Richard Yates ___ 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] Maintenance Update downloading
Since version 4, released in 2005, Sibelius has included a worksheet creator. Flash cards are included in this. 2009/10/22 Eric Dannewitz ericd...@jazz-sax.com But then again, can Sibelius do flash cards? Didn't think so. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Henle engraving video
It looks like it is still there: http://www.henle.de/index.cfm?open=04lang=en Andrew 2009/9/5 mu...@rgsmithmusic.com: A couple of years ago, there was a video from Henle that showed the process of engraving music on lead plates for offset press. It seems the video is no longer available from Henle and I can't find it anywhere else. This video always fascinated my high school students and I would like to use it in class again but I no longer have the complete video. Does anyone have this video that could be sent to me or know of a link that works? Thanks, Richard Smith ___ 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] Comparing notation systems
GUI is graphical user interface, and describes the type of environment where documents are edited pictorially, that is by dragging and positioning things with the mouse and other similar direct interactions, so that what we see on screen is highly indicative of the final result. Finale, Sibelius, Microsoft Word, and most other common programs are like this. By contrast, LilyPond has no GUI. Instead the user writes a computer code (text instructions) in a simple text file, readable with Notepad or any other text editor, and the program will interpret these to produce the printed music. An example might be (in real English words) For this staff, use treble clef, D major key signature, 4/4 time signature, minim D, then crotchets F#, A, then semibreve D. and the program will read these instructions and print a staff, two bars long with music that fits that description. Here, David doesn't comprehend how it could be advantageous to use such a system, when the result is extremely graphical and the desired results must be described using text instructions. Andrew 2009/7/1 Michael Greensill m...@mikegreensill.com Does lilypond still have no user interface? Er, I mean, is it still completely command-line based? I just don't see using a non-GUI app for producing notation. I try and follow these technical discussions but surely it's time to give up a thread when the words contained in the reply might as well be in Swahili for all that I can comprehend them. Mike G. www.mikegreensill.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] Re: WHAT Sibelius can't do
2009/6/26 Darcy James Argue djar...@earthlink.net I'm actually working in Sib 5 tonight. Here are some incredibly frustrating things that I couldn't get Sib to do: - insert a blank page in the middle of a document Layout Break Special Page Break... (or Ctrl+Shift+Enter shortcut) - add a Text Style that aligns to the vertical center of a page (I use these for page number arrows) You can do the next best thing and say put the text at 130 mm (or whatever) from the top margin. Be sure to use a system text style, based on Title, or Composer, etc, and not a staff text style like Technique or Expression. - repeat the main headers (including page numbers) on added blank pages The normal header and footer text styles should work already and repeat across music and blank pages on left or right or both sides. New text styles based on these will also work. To print the current page number, use the wildcard \$PageNum\. I also always find it incredibly frustrating that there is no mechanism in Sibelius for directly changing the font and/or font size. Everything has to be done via Text Styles. It's in the Text pane of the Properties window, font and size selection and Bold, Italic, Underline attributes, which can be applied to any portion of the text. Text styles can be powerful when used exclusively, but we're not limited to them for good reason (otherwise text like p cresc. would be impossible because p is in the music text font). Andrew ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: WHAT Sibelius can't do
- 2009/6/27 Darcy James Argue djar...@earthlink.net Hi Andrew On 26 Jun 2009, at 6:47 AM, Andrew Moschou wrote: You can do the next best thing and say put the text at 130 mm (or whatever) from the top margin. But this is not the next best thing. If I want a 96 pt. page turn arrow vertically and horizontally centered on a 9 tall page, what values do I enter? Well, it depends how tall the font arrow glyph is. But how do I know how tall it is? I would have to buy a font editor to find out. And then what if the client decides they want 9.5 tall paper instead, mid-project? The whole UI for this is a bit absurd -- Finale can do this easily, Siblelius makes me eyeball it. If it's not the next best thing, then what do you propose is better that it, but not as good as vertically centred text? You will need to do some calculation: Call the page height p (say 9), the top margin t (say 0.5) and the bottom margin b (say 0.75). Call the font size a (say 96 pt), this is the distance from bottom of descender to top of ascender. Note that 72 pt = 1, so a = 96/72 = 1.333 and 1 = 25.4 mm. Now the distance from the top margin to put the text is: (p - t - b - n*a)/2 = (9 - 0.5 - 0.75 - 1*1.333)/2 = 3.208 = 3.208*2.54 = 81.5 mm, where n = 1. In my testing, I found that this calcuation is accurate to within about 2 millimetres. I don't know where the error came from. Note that this calculation applies to a single line text. If you have two lines of text, then set n = 2, etc. If you client wants decides to have 9.5 paper, then set p = 9.5 and recalculate the value. There is no need to open the font in a font editor, the point size of the text tells you how tall each line is. Andrew ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: Unicode in Finale {Was: Re: [Finale] International Phonetic Alphabet}
Actually, that's not entirely true. Unicode defines a set of code points, 1114112 (up to 10 in hexadecimal) to be exact (I think), and that's all. These are notated as U+, where is a hexadecimal digit, for example U+0055 LATIN CAPITAL LETTER U, U+03B4 GREEK SMALL LETTER DELTA, and U+1D56D MATHEMATICAL BOLD FRAKTUR CAPITAL B. Unicode is often realised using UTF-8 encoding, which allows characters to be stored using somewhere from 1 to 4 bytes (for example modern Greek requires three bytes per character). An advantage of UTF-8 encoding is that it is backwards compatable with ASCII, in that the codepoints of ASCII are still encoded with 1 byte each, so any ASCII text is automatically in Unicode UTF-8 encoding. Andrew 2009/1/11 David W. Fenton lists.fin...@dfenton.com On 9 Jan 2009 at 20:47, Noel Stoutenburg wrote: One of the questions to be dealt with, too, is how much unicode support does there need to be? This question demonstrates that you understand neither Unicode nor the fact that Finale's file format is a database. There is no halfway. Unicode increases the potential data storage for each character from 1 byte to 2 bytes. This is not something you can simply do in a few places and not in others. It would require a rewrite of the entire database engine underlying Finale, along with the relevant changes to the file format, and then a complete rewrite of Finale itself. -- 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 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale or Sibelius for Renaissance music
If I understand you correctly, this sort of thing can be done in Sibelius easily with custom defined noteheads, tuplets and hidden rests. An example was put on the Sibelius chat page not long ago, but I haven't been able to find it. How much flexibility is required with bar lines? Sibelius scores must always have barlines present, otherwise the line would not break, but they can be hidden. Until recently, it has been cumbersome to manipulate the bar lengths to have barlines (for line breaks) in appropriate places, but there are now plug-ins to help, which do the necessary calculations and bar manipulations. If barlines are between staves but not through staves, to have say a dotted minim over the barline, it would need to be minim tied to a crotchet over the barline, with tuplets, the minim becomes a dotted minim and the crotchet rest in the next bar can be hidden. The example explains better, I'll continue to look for it. Andrew On 29/11/2008, Johannes Gebauer [EMAIL PROTECTED] wrote: Someone just asked me what software I recommended for Renaissance notation. He wants to be especially flexible with bar lines, ie no bar lines, mensurstriche. I know how to do all this in Finale, but he wants the easiest solution, can someone tell me how good Sibelius is in these things? I don't usually recommend Finale for beginners, unless their goal is the best quality, rather than easy learning. In this case I am sure easy learning comes first. Sibelius? Finale? Johannes ___ 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] sending parts via email
What's the method you use to put a single attachment? Does repeating it put multiple attachments? Is there an attach another file button? However, I would advise putting them in a single zip file and sending that. With so many files, it would save reasonable space, and it is easier to manage one file than many. Think about the recipient, might he prefer to right click save link as browse to location click okay (or however to download them) 40 times or once? Andrew ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] the musicians had higher IQ scores than the non-musicians
I searched for it. It has been available online since 23 August. You can read it if your library has a subscription to the journal Brain and Cognition (a university library probably does): Gibson, C., et al. *Enhanced divergent thinking and creativity in musicians: A behavioral and near-infrared spectroscopy study*, Brain and Cognition (2008), doi:10.1016/j.bandc.2008.07.009 2008/10/6 John Howell [EMAIL PROTECTED] I'd sure like to read the study itself rather than this press release. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] EPS and Word
I attended a public lecture about a year ago that was done by Alan Noble the Director of Google Australia New Zealand. There, I learnt that Google's betas should be considered differently to other software betas. At Google, they believe that their products will never be perfect, and they are always updating and changing them, so their products indefinitely remain in beta status. In contrast, other software company label their products in beta status only for some testing period before a major release. Andrew 2008/9/10 David W. Fenton [EMAIL PROTECTED] On 9 Sep 2008 at 19:01, John Howell wrote: At 6:40 PM -0400 9/8/08, David W. Fenton wrote: Google, for instance, has virtually no products that are *not* still in beta. Do you refuse to use any of Google's beta services? I'm not sure what that means. What are Google's services? GMail is a beta, as is everything else they've ever released to the public. The latest is their new browser, Chrome. GMail has been in beta for what, five years? Beta software is often very *good* software, and it's not a valid reason to reject using it, especially for something as relatively trivial as a file filter. -- 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 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Annoying Sibelius bug
Darcy, I don't know this problem, so I can't help to solve it. But here's another way to edit the text that might work better: select it (by single click) and type F2 to get the text caret. Andrew On 11/03/2008, Darcy James Argue [EMAIL PROTECTED] wrote: Hi all, Yes, I know I should actually join the Sibelius list and ask it over there, but I haven't gotten around to doing so yet, and the Sib users here are, so far, very knowledgeable and helpful, so... I am having a recurring problem with Sibelius where it will periodically refuse to allow me to edit text. Double-clicking on a bit of expression, technique, or title text normally brings up the insertion point, but instead what happens is that the title bar flashes and the text remains blue (selected), not black and white (editable). The only solution I have found to this problem is to quit and relaunch Sibleius, which is very annoying, especially since Sibleius takes an extremely long time to launch. Is anyone else seeing this? Does anyone have a solution that does not involve quitting and relaunching? This is using OS X 10.5.2 on an Intel Mac. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ 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] TAN: Henle-style beams in Sibelius?
I'm a Sibelius user, I've subscribed to this list for curiosity about Finale. In House Style Engraving Rules... Beams and Stems there are options to change beam angles, screen shot attached for Sibelius 4, there have been no changes to this section in Sibelius 5. Without a plug-in, your best bet would be to adjust the values until they're as close as possible to Henle's. A Sibelius plug-in is able to change stem length (hence beam angle), stem length can be expressed as an offset from the default length, but the absolute stem length is not exposed to ManuScript (Sibelius' plug-in language). All I know about Henle's beams is that they rarely slant more than a space and minimise the occurrences of staff lines between beams.. If given rules about how Henle style beams are calculated and if Sibelius' beam angle algorithm is deduced, it would be possible to write a plug-in to apply Henle style beams. The task would be easier if absolute stem lengths can be determined, but that is not possible at the moment. Andrew On 28/02/2008, Johannes Gebauer [EMAIL PROTECTED] wrote: On 28.02.2008 Darcy James Argue wrote: Anyone found any good settings for getting Henle-style beams in Sib 5.1? (Probably best asked over at the Sibelius list, I know, but... ) If you find an answer there, please let us know here, too. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale attachment: BeamsAndStems.PNG___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Henle-style beams in Sibelius?
It will certainly help, but it's not all that is required for Henle style beams. Andrew Well, what happens if you tick the Avoid simple wedges box? Doesn't that help give Henle-like results? Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
