Re: [Finale] Printing: off topic
On Tue Aug 21 09:27:02 CDT 2018, Lawrence David Eden wrote: I have a question regarding my Brother laser printer. It was a low end model HL-L2315DW <https://www.brother-usa.com/products/HLL2315DW> The printer used to handle two sided copying with ease, but now I get a paper jam every time the first sheet is pulled back into the printer. I am sure that I am not the first to experience this annoyance and am looking forward to a suggestion as to how to fix. Thanks, Larry It sounds like there is a piece of paper stuck in the printer. Not necessarily an entire 8.5x11 piece, as a small fragment can cause this to happen. Usually it's just a matter of taking out the cartridges and opening it up until you find it. If not, you may need to contact a computer repair tech to get it out. But every time I've come across this situation, if I looked hard enough, I'd find the errant paper without needing a professional to disassemble it. --Bill ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] to upgrade or not...
On July 12, 2016 at 1:16:37 PM, Johannes Gebauer ([1]li...@musikmanufaktur.com) wrote: I am wondering whether I should upgrade my ancient version of Finale (2k9) to the current. Can someone outline in some brief words what I will gain apart from retina support (which may well be worth it just by itself...) Thanks, Johannes Just putting my 2 cents in here, I have not upgraded since 2001, and if I upgrade I am definitely going to wait for the 64-bit version. I just hope upgrading will solve my problem of needing to have the CD handy every single time I want to run the program. References 1. https://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Vertical Text
Pardon me, but what about using Microsoft Word, or any other word processing program for this? If the title page has no music on it, that's how I would do it, rather than trying to force Finale to do something it wasn't designed to do. The right tool for the right job, and all. As long as it looks good when it prints out. On Wed, 7 Oct 2015 14:10:06, Ryan Beard wrote: > > > Yes I know I can do that. But I have linked parts and adding an invisible > first measure creates too many other problems to overcome. > > Sent from my iPhone > >> > On Oct 7, 2015, at 1:10 PM, Barbara Touburg wrote: >> > >>> >> On 7-10-2015 21:48, Ryan wrote: >>> >> The text will appear on a cover page. Custom Smart Shapes are required to >>> >> be attached to a staff. There is no music on the page, so there is >>> >> nothing >>> >> to attach the shape. >> > >> > Not necessarily so. >> > Insert a measure before the first measure. Insert the title page before >> > the first page. Move the inserted first measure to the title page >> > (insert a system break and a page break). >> > Change the first inserted measure to invisible using a staff style >> > (check: force hide staff: cutaway). >> > Attach your smart shape. It will show. I've just checked it and it works. >> > ___ >> > Finale mailing list >> > Finale@shsu.edu >> > https://lists.shsu.edu/mailman/listinfo/finale >> > >> > To unsubscribe from finale send a message to: >> > finale-unsubscr...@shsu.edu ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Percussion playback
OK, I followed your instructions exactly, and the same thing happened. Then I followed your instructions on a new document with a single staff line and it worked perfectly. I then created a whole new score, pasted the other parts from the old score to the new score (except for the snare drum line) and went to work on the snare drum line, doing it exactly the same way. The notes then jumped ten ledger lines below the staff and don't sound anything like a snare drum. WHAT?!!! (insert Jackie Chan meme image) On June 1, 2014, at 2:11 PM, Peter Taylor pe...@euphonium.plus.com wrote: > Golden Rule (not to be broken): > > ** Do not enter notes on the percussion staff while you have a map applied. > ** > > They most likely won't sound correctly, or maybe not sound at all. This is > why you're not hearing anything on D1, which should be a High Tom. Always > enter the notes as I described, in Standard notation style, and remember > what I said about the "black" notes. > > The notes are jumping way below the staff because you haven't configured the > map properly. The maps are not pre-configured. Once you've entered all the > notes on the staff in standard style, make a list of all the different MIDI > note numbers you've used, and only then can you go on to edit your map. > > In the map edit window, click on each note number you've used in the list to > highlight it and then check the Highlighted Note box, which places an > asterisk against it. You can give it a name if you wish, then drag the > handle up or down to the required position on the staff and choose the > closed and open notehead shapes you want for it. Do this routine for every > MIDI note number you've used. When you exit the edit window and choose > Select, the notes will jump to the positions and shapes you've set and the > playback will still be correct. > > You can always add different sounds later if you want, but *always do it in > Standard style* and then edit the map again. > > Good luck! > > Peter ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Percussion playback
OK, I tried that, but when I enter a D below the bass clef staff, then turn on percussion style playback and select my map, it goes to the space below the 10th ledger line below the staff. If I use the D on the bass clef staff, it shows up where I want it to, but no sound comes out. When I turn on the percussion style for that, the notes go to the 7th ledger line below the staff again. But it does sound like a snare drum. On June 1, 2014, at 3:40 AM, Peter Taylor pe...@euphonium.plus.com wrote: > As I said before, change the notation style to Standard, so you're not using > a map, and use a normal bass clef. Then you'll be able to enter notes on > the staff in their positions according to their MIDI numbers. Note 38 is > D2, which is the D space below the bass clef staff. > > Once you've entered all the notes on your drum staff the sounds will be > correct but the staff positions all wrong. This is where the map comes in. > Turn the Percussion style back on and play around with your map to move the > notes to the staff positions you want. > > Peter ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Percussion playback
I am using speedy entry, but the only thing that shows up in the upper left hand corner of the edit box is V1. If I use the up and down arrows, it just moves to a different line or space. On June 1, 2014, at 12:41 AM, Ryan Beard ry.squa...@gmail.com wrote: > How do you enter notes and rests? Do you use simple entry? I'm not well > versed in that, so I'm not much help. But in speedy, you can position the > cursor using the up and down arrows. In the top left of the speedy frame > it'll cycle through all the percussion instrument sounds assigned to that > staff position. Once it says Snare Drum, you should be good. > > Sent from my iPad ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Finale Digest, Vol 130, Issue 25
How do I enter MIDI note 38 in speedy entry? I don't have a synthesizer keyboard, only a regular qwerty computer keyboard. On 05/31/2014 11:48 PM, Ryan Beard ry.squa...@gmail.com wrote: > Ah, you're not defining which notes you play to get the sound you want, > you're defining where the snare drum note heads appears on the staff. To > enter a snare drum note in speedy entry, you'll always use midi note 38. > Finale will place it on the staff wherever you define in the percussion map > designer. > This distinction confused me for some time as well. > > Sent from my iPad ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Percussion playback
I think I'm on the right path here, but I'm not sure what to do next. I found the Percussion Map Designer in the Staff Tools. I made my own map and chose playback note 37 (side stick) to play at staff position 6 and playback note 38 (snare drum) to play at staff position 7. I selected my percussion map and tried to enter notes at positions 6 and 7, but the old sounds still play there (short whistle and long whistle). What am I doing wrong? ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Percussion playback
I assume you're talking about this? [1]https://commons.wikimedia.org/wiki/File:GMStandardDrumMap.gif I would love to have that upper drum map, but it looks like I'm stuck on the lower one. Also, I don't know how to make the different size bass drums, like in a marching band. On 05/31/2014 05:44 PM, Michael Mathew [2]mmathew_musicp...@yahoo.com wrote: [3]File:GMStandardDrumMap.gif - Wikimedia Commons [4]File:GMStandardDrumMap.gif - Wikimedia Commons I, the copyright holder of this work, hereby publish it under the following lic enses: View on commons.wikimedia.org Preview by Yahoo This is one of several percussion map layouts on the internet. Here is one from the general MIDI manufacturers group: GM1 Sound Set GM1 Sound Set General MIDI's most recognized feature is the defined list of sounds or "patche s". View on [5]www.midi.org Preview by Yahoo Michael [6]mmathew_musicprep at yahoo.com [7]http://www.musicengravers.com/cgi-bin/engravers.pl [8]http://oregonmts.com/mathew/ References 1. https://commons.wikimedia.org/wiki/File:GMStandardDrumMap.gif 2. mailto:mmathew_musicp...@yahoo.com 3. file://localhost/tmp/GMStandardDrumMap.gif 4. file://localhost/tmp/GMStandardDrumMap.gif 5. http://www.midi.org/ 6. https://lists.shsu.edu/mailman/listinfo/finale 7. http://www.musicengravers.com/cgi-bin/engravers.pl 8. http://oregonmts.com/mathew/ ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Percussion playback
On 05/31/2014 06:06 PM, Peter Taylor pe...@euphonium.plus.com wrote: > Bill, if you're using Finale 2001 then you're probably using a MIDI synth > rather than Garritan samples, am I right? Finale just sends MIDI data and > it's the synth the generates the sounds. Finale has lots of irritating > habits, but I think it's unfair to blame Finale here. Yes, that's correct. And I was criticizing Finale for not making it obvious, or at least easy, to get something as simple as a snare drum sound. > First off, are using a Percussion map in staff attributes? The map moves > notes from their true pitch to the lines and spaces that drummers > understand. If you're using a map you might need to check which sounds have > been activated. You won't hear the snare sound if it hasn't been set. If > this is confusing, I suggest you change the notation style in Staff > Attributes from Percussion to Standard, and then you'll be able to hear > every percussion sound on its relative line/space on the staff. All I did was choose "Snare Drum" in the score wizard. Beyond that, I have no idea. > Unlike the other channels, where each note has a different pitch, on channel > 10 each semitone has a different instrument. As you drag your note up and > down on the staff, you'll hear only the sounds which fall on notes in the C > scale (i.e. the white keys on a piano) and you're skipping over the sounds > assigned to the black keys. If you sharpen the note (using the + key in > speedy) before dragging you'll find there are a lot more sounds you hadn't > discovered before, and hopefully you'll find what you need. Having said > that, the snare drum sounds are on notes in the C scale, so there might be > something else going on here. I have noticed that when I drag a note up or down but keep it on the same line or space that it will give me a different sound. > The manual has a chart showing which percussion sounds are on which notes on > channel 10. It's called the General MIDI Percussion Map Table, in the > appendix section. The acoustic snare drum is on note number 38, or D2 > (where middle C is 60 or C4). The electric snare is on note 40 (E2). > > Hope this helps. > > Peter I'm just not sure how to switch between the different mappings. ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Percussion playback
I just found a note on the 7th ledger line below the staff that sounds like a snare drum. Seems like an odd position to put it in. Now I'd like to find a bass drum sound, and like Dennis, figure out how to make a snare drum roll sound. Also, I'm looking for sounds like a rim shot and clicking sticks together. No luck there yet. Anyone have any ideas? On 05/31/2014 02:03 PM, dershem [1] wrote: On 5/31/2014 10:46 AM, Bill Baker wrote: > I'm a casual user of Finale and I haven't upgraded since 2001, but I'm > trying to figure out how to enter percussion parts so that they'll play > back correctly. What I've done so far is to enter a note on a staff and > test its playback. If what I get isn't the correct sound, I'll drag it > to a different position in speedy entry, listening to all the sounds it > plays while I'm dragging the note. However, none of the sounds are of a > snare drum. Is that sound really so rare that Finale didn't include it > in its percussion sounds? The instrument list says I'm using Standard > Kit on channel 10, program 1. I've tried to find the answer online and > in the documentation, but everything I've read tells me to build my own > percussion library with no specific instructions on how to do it. Can > anyone help me with this? Snare drum is usually found on space 3. cd References 1. mailto:ders...@cox.net ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Percussion playback
Sorry, I meant to reply to this one. That sounds like a whistle to me. On 05/31/2014 01:00 PM, dershem <[1]dershem at cox.net> wrote: On 5/31/2014 10:46 AM, Bill Baker wrote: > I'm a casual user of Finale and I haven't upgraded since 2001, but I'm > trying to figure out how to enter percussion parts so that they'll play > back correctly. What I've done so far is to enter a note on a staff and > test its playback. If what I get isn't the correct sound, I'll drag it > to a different position in speedy entry, listening to all the sounds it > plays while I'm dragging the note. However, none of the sounds are of a > snare drum. Is that sound really so rare that Finale didn't include it > in its percussion sounds? The instrument list says I'm using Standard > Kit on channel 10, program 1. I've tried to find the answer online and > in the documentation, but everything I've read tells me to build my own > percussion library with no specific instructions on how to do it. Can > anyone help me with this? Snare drum is usually found on space 3. cd References 1. https://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Finale Digest, Vol 130, Issue 25
That sounds like a whistle to me. On 05/31/2014 01:00 PM, dershem [1] wrote: On 5/31/2014 10:46 AM, Bill Baker wrote: > I'm a casual user of Finale and I haven't upgraded since 2001, but I'm > trying to figure out how to enter percussion parts so that they'll play > back correctly. What I've done so far is to enter a note on a staff and > test its playback. If what I get isn't the correct sound, I'll drag it > to a different position in speedy entry, listening to all the sounds it > plays while I'm dragging the note. However, none of the sounds are of a > snare drum. Is that sound really so rare that Finale didn't include it > in its percussion sounds? The instrument list says I'm using Standard > Kit on channel 10, program 1. I've tried to find the answer online and > in the documentation, but everything I've read tells me to build my own > percussion library with no specific instructions on how to do it. Can > anyone help me with this? Snare drum is usually found on space 3. cd References 1. mailto:ders...@cox.net ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] Percussion playback
I'm a casual user of Finale and I haven't upgraded since 2001, but I'm trying to figure out how to enter percussion parts so that they'll play back correctly. What I've done so far is to enter a note on a staff and test its playback. If what I get isn't the correct sound, I'll drag it to a different position in speedy entry, listening to all the sounds it plays while I'm dragging the note. However, none of the sounds are of a snare drum. Is that sound really so rare that Finale didn't include it in its percussion sounds? The instrument list says I'm using Standard Kit on channel 10, program 1. I've tried to find the answer online and in the documentation, but everything I've read tells me to build my own percussion library with no specific instructions on how to do it. Can anyone help me with this? ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] IMSLP down?
They have been having server or connectivity problems intermittently for the last several days. FWIW I just connected a minute ago... Bill On Fri, Nov 15, 2013 at 4:39 PM, Darcy James Argue wrote: > Hi gang, > > Anyone know whether this is just a temporary outage? Or is the IMSLP > Petrucci Music Library RIP? > > http://imslp.org/ > > 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] Won't play tie marks avross bar lines.
I am using the Simple ENTRY tool, and T for forward tie, or Shift T for backward tie. Maybe whatever tool you use does not create the problem ? bill sinclair billsi...@aol.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Playback ignores tie marks across measure lines.
This seems to occur more often when one is EDITING the score and places tie marks across bar lines. It treats the notes as sepaarate entities. Just wondering why no one wants to fix this. bill sinclair billsi...@aol.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] How do I insert 2 beats (part of a measure)?
I don't know how it happened, but 2 beats got left out of the middle of my concert score. So I want to insert them in again. It's half a measure, so I can't use "Add measure stack." Is there a quick and easy way to do that? The "select part of a measure option" apparently has been moved somewhere where I can't find it. bill sinclair billsi...@aol.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Key signature menus
I talked to a couple of composers I know: Thay don't make any distiction between Major and Minor keys, i.e. G natural minor is the same as Bb major as far as they're concerned. If it was harmonic or melodic minor, they put accidentals where appropriate. But for them it's notation on a printed page. They are not as involved in software issues like we are talking about here. They turn that over to a copyist. However, a copyist dees NOT know which kind it is when he sees the key signature. He just sees "two flats." So, giving them an artificial name is nonsensical. In other words, the composer/arranger does not say "by the way this is G minor, not Bb major" or vica versa. bill sinclair billsi...@aol.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Key signature menus
What you say is true, BUT There are three different patterns. 1) Natural minor is 2 flats, on B and E. That's identical to the Bb major key. (standard) 2( Melodic minor is 1 flat on E. 3) Harmonic minor if one flat (E) and one sharp (F). Practically all orchestraters or composers would just use the natural minor, and put accidentals where appropriate. In the last 20 years I have not seen a non-standard key signature like we are talking about here. Modern classical composers are more likely to do that. bill sinclair billsi...@aol.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] awkward key signature menu (correction)
Actually, for G harmonic minor you would use B flat and F sharp. For melodic minor, you would use just E flat, and for the "natural" minor, use B and E flat. When you say G minor, there is a lot of ambiguity, since there are 3 possible choices. That's why I think it's better NOT to give it a name. bill sinclair billsi...@aol.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Awkward key signature menu
I thought about the enharmonic spelling issue - - You could set up up a "non-standard" key signature for melodic minor, for instance for G melodic minor, use F#, and B flat. That is the only place I can think of where major or minor might be treated differently. But another way to handle it would be another box saying "major" or "minor." bill sinclair billsi...@aol.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Awkward key signature menu
They have a really awkward feature that I wish would be fixed - - - When you request a key signature, it makes a distinction between a major key and a minor key with the exact same pattern of sharps and flats. For example, they call C minor a DIFFERENT key signature than E flat major. Why even give it a name? There should be only 15 choices 1-7 sharps, 1-7 flats or NONE. Instead they make you do about 30 choices. you have the 12 keys, but there are TWO name for 3 of them. This creates a lot of confusion. Whether you transpose the notes or not should be a option which is checked or unchecked. Instead they call it "other." There are lots of situations where you want to change the key signature, but keep the note pitches the same. This could be put on a greatly simplified menu. For example: 1) no of sharps or flats, and 2) what kind it is: sharp or flat, or non-standard. 3) three check boxes: No tranpose, enharmonic, or diatonic. By non-standard I mean a melodic minor for example. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Why do my messages keep bouncing?
Up until recently, my AOL text messages went through OK. Now I get "Ignoring non-mime" or it doesn't think they are straight text any more. It doesn't like "=20" How can I make them go through? bill sinclair billsi...@aol.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] How do I deal with harmony that mixes two clefs?
There are too many ledger lines for the parts where it is in the treble clef. Otherwise I would put everything in the bass clef. Does that merge music utility work? -Original Message- From: David H. Bailey To: finale Cc: bill sinclair Sent: Fri, Nov 4, 2011 12:17 pm Subject: Re: [Finale] How do I deal with harmony that mixes two clefs? On 11/4/2011 2:05 PM, bill sinclair wrote: > > Hello - > > I was given three part harmony. The top voice is all in the TREBLE clef, the > bottom part in all in the BASS clef. > > But the middle part is partly in treble , partly in bass clef. > > So when I split the voices, I'm going to have two staffs for the middle voice. > Unless someone can suggest a shortcut to MERGE the two staffs. > > Any ideas, other than having to re-enter everything for the middle voice? > > The middle voice is a tenor sax, which transposes up a ninth, and his key is always treble clef. that's what staff styles are for -- enter the middle line entirely in the bass clef, and then use a staff style where the transposition is defined as up a major 9th and in the treble clef on those sections where it's supposed to be tenor sax. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] How do I deal with harmony that mixes two clefs?
Hello - I was given three part harmony. The top voice is all in the TREBLE clef, the bottom part in all in the BASS clef. But the middle part is partly in treble , partly in bass clef. So when I split the voices, I'm going to have two staffs for the middle voice. Unless someone can suggest a shortcut to MERGE the two staffs. Any ideas, other than having to re-enter everything for the middle voice? The middle voice is a tenor sax, which transposes up a ninth, and his key is always treble clef. Thanks; Bill S. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Tied notes of unequal pitches
I have consulted with several professional arrangers and copyists about this. You don't have tied notes between pitches that aren't HEARD the same, for example G to B natural. A tie mark in that setting is a SLUR. You can, however, have a tied note between G sharp and A flat, provided there is a key signature change. In such a case, the tie mark would have to go UNDER the key signature, connecting the two notes. I bring this up because when you CHANGE a pitch of a tied note currently, Finale does NOT change the other notes it is tied to. So if you want to keep the note as tied, you have to adjust all the others on the staff. Otherwise the tie mark is "hanging in space." The programmers should be more concerned about getting it right, than what is convenient. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Scanning Software recommendations
I own an older version of SmartScore, and for the most part I find it to be pretty effective. A friend of mine uses Visiv SharpEye, and I've been very impressed with how well it scans. So much so that it is on my wish list. The differences between SmartScore and SharpEye, from my limited experience with SharpEye, are mostly speed - SharpEye is faster - and the ability to deal with less than perfect source material. Put another way, if you have a clean copy of a score both programs seem to read with about the same accuracy. If the score is smudged, bent, folded, spindled, or mutilated in any way then SharpEye tends to provide a more accurate scan. SharpEye is available in a demo version, download it HERE <http://www.visiv.co.uk/dload.htm>. SmartScore also has a demo, available HERE <http://www.musitek.com/downloads.html>. I hate to be so wishy-washy, but really, you're probably best served by trying both demos. But I will grow a backbone long enough to strongly urge you to demo SharpEye... Bill Ken Parsons wrote: I'm thinking about purchasing the SmartScore Pro software for use with Finale, but wondered if there's a better program out there, or if SmartScore is the way to go. Any suggestions welcome! Ken Ken Parsons Technology Coordinator School of Music Southern Adventist University Collegedale, TN 37315 (4230 236-2886 ___ 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] OT Finale and Sibelius in Linux?
All I can tell you is that a few years ago I attempted to install Finale 2001 on a Linux machine using Wine and was unsuccessful. It installed fine, but I couldn't get the fonts to work. Just now I attempted to install 2001 again on a machine running Ubuntu 8.10 and it runs perfectly, the fonts showing and all (MIDI playback doesn't seem to work, but that's not unexpected). One thing I had to do to install it that I had to figure out on my own was instead of referencing the install program by its absolute path (wine /media/Finale2001/SETUP.EXE), I had to use "wine D\:\\SETUP.EXE". With newer versions of Finale, you may experience issues trying to install and run it with wine, but older versions may work better. On Thu, 1 Jan 2009 05:52:28 -0500, yateslawre...@aol.com wrote: > Hi and Happy New Year to all. > > Someone on another list is asking if Finale and/or Sibelius work in > Linux. > > Anybody know please? > > Thanks, > > Lawrence > > lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Help file with Firefox 3
Hi Dennis, Yup, only it's more insidious than that, the help file won't work at all in IE7, and functionality is severely limited in FF3.03. I can't be certain that I used the help file before my most recent Firefox update, but I'd be really surprised if I did not, so I think it worked briefly in earlier FF3 releases. Last night I just needed to get some work done, so I reverted to FF2 and everything was fine, except the IE7 problem. Now I almost never use IE, so I have no idea if that ever worked, and I'll leave regressing to someone else who is comfortable with the task. Tonight I will try to find the previous FF3 installers and see what I find. If there is another fix I'd be very interested in hearing about it! Bill dc wrote: Since I upgraded to Firefox 3, the search function no longer works in the Help file (2008) ... Anyone else come across this problem? Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Bill Thompson Owner Audio Enterprise -- Pure mathematics is, in its way, the poetry of logical ideas. ~Albert Einstein -- "I am not discouraged because every wrong attempt discarded is another step forward." -Thomas A. Edison ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Changing staves mid-measure in Finale 2008a (Win)
Hi all, I am what would probably be characterized as a casual user, in that I discover how to do cool things as I need them. I am currently trying to create parts for pit band, and the piano part will be ever so much more readable if I can flip between treble and bass clef at certain points. Most of these switches occur at measure boundaries, but there are three or four places where I believe it will be more readable if I change mid-measure. According to the documentation (don't tell anyone I read it) I am supposed to be able to access a handle after I insert a clef, but when I follow the directions the entire measure is highlighted, not the clef marker. I suppose this may still be me learning to do without the mass-mover tool, although I have (finally) decided it was a good move... I can do most of the things I need to do now as quickly, or even more quickly than before. It was quite a hurdle to get used to it though! So, am I doing something wrong or have I stumbled across a bug? Thanks, Bill -- Bill Thompson Owner Audio Enterprise -- Pure mathematics is, in its way, the poetry of logical ideas. ~Albert Einstein -- "I am not discouraged because every wrong attempt discarded is another step forward." -Thomas A. Edison ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hiding Staff Lines for Rhythmic Notation
I suppose I should respond to this one: The hidden/reduced "shorthand rhythm" staff above the main staff is already pre-defined for alternate notation rhythm entry. Using Speedy, just click on the desired measure, enter any pitch with the desired rhythm (staff lines and notes will show up in the speedy window). Then, close the window. Staff lines will be hidden, and the pitches will display as rhythmic notation. Additional Staff Styles, such as repeats or slashes, can be applied as usual. Bill Duncan Hello Group, I'm using FinMac 2007 and Bill Duncan's "BD 1-Staff-Chords8x11" template. I want to indicate a particular chord rhythm in a bar using the reduced staff above the main staff. If I apply a staff style for that measure that shows staff lines to allow me to enter the notes, how do I hide the staff lines for that bar without also hiding the notes? Thanks. **Leigh ___ 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] If I only had an option
FWIW, I created a "Hairpins" font specifically for this purpose. The length of the actual hairpin is fixed (but available in many lengths), but can be note-attached as a text expression, useful for fairly short hairpin situations. With the advent of multiple fonts being available since Fin2k4, this would make expressions like "pexpression, and flexible as any other text expression as far as assignment is concerned. I admit that this isn't the best solution, and I totally agree that MM should modify the Smart Shapes tool to allow this natively. The "Hairpins" font was the best solution for me, particularly for short combinations, until that happens. At the risk of sounding overly commercial, here is the URL to check it out: http://www.gwmp.com/MusicFontsFrameset.htm I would be happy to forward a complete EPS key map if anyone is interested. Bill Duncan - Original Message - From: "Scot Hanna-Weir" <[EMAIL PROTECTED]> To: Sent: Thursday, August 17, 2006 3:06 PM Subject: Re: [Finale] If I only had an option Note attached hairpins period would be a great thing. I still can't figure out why this hasn't already been implemented (FinMac2006d). -Scot On 8/17/06, Christopher Smith <[EMAIL PROTECTED]> wrote: On Aug 17, 2006, at 10:54 AM, Dejan Badnjar wrote: > Can you imagine if Finale 2007 had an option to draw hairpins in > the Smart Shape Tool/Tab Slide/Smart Line Designer so that you can > be able to make all instances of dynamic changes (eg. P f>pp, etc) and display them in a separate menu for selection (with > metatools), applying them as Pedal markings attached to notes. Talk > about consistency and accuracy. In my long experience with > engraving scores this is where you spend most time, and more when > you do the same thing for extracted parts. I have asked Tobias > years ago about this. This should really be easy to implement. > Music Press has similar feature but with separate dynamics and > hairpins. > Yes, great idea! And probably very easy to implement, as you said. I experimented with creating a Shape expression with P on one end and F on the other and two hand-drawn lines between. It worked, more or less, and I could manually stretch it to fit, but I want better control over the distances between items than this method gives me. The point of the V tends to change as it is dragged, either separating or crossing, and the lines increase distance from the P and F as it grows. A Smart Shape most likely would not have this problem. Plus it is a mighty pain to create in the Shape Designer, a primitive tool if I ever saw one. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Scot Hanna-Weir Choral Music Teacher Tecumseh Middle School Tecumseh High School --- [EMAIL PROTECTED] [EMAIL PROTECTED] ___ 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] 2007 Announced!!
And this has to be a bit embarrassing... their web site is not working... at least the last five times I tried... Bet a bunch of folks are hitting it... Bill Mariposa Symphony Orchestra wrote: > Well, Gang- > > It's now out; the most widely-advance-discussed upgrade seems to be > (drum roll) linked parts. I guess they DO listen to our discussions > when Sibelius' advancements are praised > > http://www.finalemusic.com/finale/features/new/linkedparts.aspx > > Best, > > */Les > /*Les Marsden > Founding Music Director and Conductor, > The Mariposa Symphony Orchestra > Music and Mariposa? Ah, Paradise!!! > > http://arts-mariposa.org/symphony.html > http://www.sierratel.com/mcf/nprc/mso.htm > http://www.geocities.com/~jbenz/lesbio.html > <http://www.geocities.com/%7Ejbenz/lesbio.html> > > > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > -- Audio Enterprise www.audioenterprise.com Providing Technical Services to Audio Professionals and Creative Music and Audio Services to everyone -- KB3KJF -- To punish me for my contempt for authority, fate made me an authority myself. A. Einstein == smime.p7s Description: S/MIME Cryptographic Signature ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Repeat box bugs (was External Numeric keypad - FinWin)
The lines that form repeat boxes are not "smart", that is, they keep the same length regardless of how the music gets spaced, and they do not break intelligently at system breaks. I had a very long first ending over three systems, and I had to manually adjust the box ends for the 1) first box start 2) first box end 3) add in a Smart Shape line to cover the middle system so that it showed as if it was a repeat box and I had to do this on ALL my extracted parts, then again in the score (I couldn't set it in the score, because sometimes the line is so long I can't even see the handles in Page View, and have to resize them in Scroll View) so there is an hour or so of my life I will never get back again... grr! Furthermore, when a first ending ends with a multimeasure rest, I often lose the repeat bracket over the dotted double line in the extracted parts. I have to delete the repeat and enter it again, once more for every extracted part that has a multimeasure rest just before the repeat. Christopher That's why I always use Custom Line Styles for my Repeate boxes/lines. They are smart and always size properly. Also, you can add continuation text for multi-system 1st endings. I also like to put a right-arrow head at the end of the 2nd ending line...not traditional, but REALLY clear. Bill Duncan ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Win2K install help needed
On Sat, 2006-05-13 at 11:44 -0400, "A-NO-NE Music" <[EMAIL PROTECTED]> wrote: > Sorry for OT post. There are many Win experts on list, and hoping > someone knows the answer. > > My wife wants to use my old Thinkpad 240 sitting in my closet. It has > IBM USB external CDROM drive, which won't boot, naturally. I have > searched bootdisk.com and IBM site but there is no DOS driver for this > drive. > > The only way I could think of how to clean install Win2K is: > 1) Create 4 boot diskettes off the installer CD > 2) Boot from the diskettes and copy all the cab files to C: > I'd think C: needs to be FAT since NT installer is DOS > 3) Convert FAT to NTFS then expand the partition size afterward > > This is a tedious procedure. I was wondering if anyone know any > better way. > Thanks in advance. > > P.S. Boy Mac is easier... I don't see any reason why you would have to make C: be a FAT partition, since you would be booting from Win2K installer disks. I believe the text-based part of the install will support NTFS. Now if you're going to boot from a Win98 disk and start the install program, then yes, you would need to create partitions first, and they would have to be FAT32. However, depending on the size of the disk, you wouldn't necessarily have to resize the partition, since FAT32 supports up to a 32GB partition and you mentioned that your laptop was old. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: Re(4): [Finale] Chord Symbol Polychord Spacing Question
I am staying out of this argument. I try to document everything I sell or send. If the page #s are different, I suggest you review the content as it is context and content relevent. Bill - Original Message - From: "themark" <[EMAIL PROTECTED]> To: Sent: Monday, May 08, 2006 6:36 AM Subject: Re: Re(4): [Finale] Chord Symbol Polychord Spacing Question - Original Message - From: "Leigh Daniels" <[EMAIL PROTECTED]> To: "Finale List" Sent: Monday, May 08, 2006 2:18 PM Subject: Re(4): [Finale] Chord Symbol Polychord Spacing Question It's on p. 53 of the Finale Productivity manual that Bill Duncan sends with his great package. **Leigh Ah, so one who buys only one or two of his separated packages (one of these I bought is the "Chord" one) has not rights to have that manual? Hmmm... ___ 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: [Olist] Sibelius/Finale question [lengthy Baileyreply] (cross-posted from OrchestraList)
Eric, Engraver Time ships with Finale. My version of it, "Big Time", is exactly the same but with Cut and Common time added (and the "+" glyph added). My version of big time signatures for scores is a bit smaller than Karen's (to save horizontal space, but quite readable for any conductor as old as I am). I can divulge my settings if anyone wants. Bill Duncan Of course, this assumes he has Bill's Finale Productivity fonts... Karen wrote: Hi Owain, Here are the settings I use for this. You can make adjustments to your liking of course but maybe this will give you a starting point. Document Settings>Fonts I set the Notation: Time font to EngraverTime 72 plain Document Settings>Time Signatures Under the "Vertical Adjustments" section - Top Symbol .098 Bottom Symbol -.98 -K ___ 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] Finale versions for Mac?
Hi there: I am currently using FinMac2kc and am wondering if someone could let me know at what point newer versions would run under Classic. (I had my eye on a 2003 version on eBay but got outbid.) In order to use what I have I must boot in OS9; it crashes in Classic. Sure I could buy the current version and not worry about Classic at all, but since I am currently unemployed I would much rather not spend that kind of money. Thanks in advance! Bill Spencer in NH B&W G3/400mhz/rev.2/896mb/12G + 14G dual HDs/LaCie 52x burner/Panther (10.3.9) **** Bill Spencer Be civil to all; sociable to many; familiar with few; friend to one; enemy to none. --Benjamin Franklin ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Shapes question
Bill wrote: I am trying to delete extraneous shapes (sometimes in the 100's) from the Shapes Library and can't figure out how to delete those that are apparently "in use" I get the message, "This Library Element cannot be deleted. It is in use in the piece." How can it be in use when there are no entries in the template? The shape is in use if the shape id is specified in an execute shape block in an expression, even if the expression is set for no playback. Also, those shapes which are shape expressions are flagged as in use. Go through the expressions table, set all (or at least all those you don't want) the "execute shape" entries to zero. Shapes might also be used as an articulation. ns I should have mentioned that this was a FinMac03 issue (since I still have to use that platform quite a bit). I cannot find an expression table anywhere in it. Also, there is a difference between the alert I quoted above, and the dialog that allows you to either replace the entry or delete it from the library and score. -Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Shapes question
Hi All, I am trying to delete extraneous shapes (sometimes in the 100's) from the Shapes Library and can't figure out how to delete those that are apparently "in use" I get the message, "This Library Element cannot be deleted. It is in use in the piece." How can it be in use when there are no entries in the template? Any ideas? Bill Duncan ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Staccatissimo font
You know, there might be an apostrophe that would work as well in some stock text fonts, but I haven't looked yet. Bill - Original Message - From: "Johannes Gebauer" <[EMAIL PROTECTED]> To: Sent: Friday, April 14, 2006 11:50 AM Subject: Re: [Finale] Staccatissimo font On 14.04.2006 Pierre Bailleul wrote: Dear list, I'm searching another staccatissimo sign than finale fonts. I'd like an elongated point (circle on the top). Thanks for your responses. Pierre. There is a "wedge" in the newer versions of Maestro. Is that not what you are looking for? A long time ago designed a wedge which was part of the dynamic articulation library, which may or may not still be available at Jari's tips site. Today I prefer the Maestro version, which is a little shorter. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] Staccatissimo font
Hi Pierre, I have something close...like a small wedge in my Articulations font. http://www.gwmp.com/MusicFontsFrameset.htm If that's not exactly what you're looking for, I could be persuaded to make one if I could see an example of exactly what you're talking about. Bill Duncan - Original Message - From: "Pierre Bailleul" <[EMAIL PROTECTED]> To: Sent: Friday, April 14, 2006 6:02 AM Subject: [Finale] Staccatissimo font Dear list, I'm searching another staccatissimo sign than finale fonts. I'd like an elongated point (circle on the top). Thanks for your responses. Pierre. ___ 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] Font Annotation
OOOPS!sorry - Original Message - From: "bill" <[EMAIL PROTECTED]> To: Sent: Thursday, March 30, 2006 7:42 PM Subject: [Finale] Font Annotation Hi Chuck, Here's the revised annotation file will all characters tweaked. I have some more testing to do, but this might save you some time. Bill ___ 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] Font Annotation
Hi Chuck, Here's the revised annotation file will all characters tweaked. I have some more testing to do, but this might save you some time. Bill Articulations.fan Description: Binary data ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Two questions WinFin 2004b
Now I remember why I never used it: The Meastro Default version is based on a 2-segment "vertical tilde" and always draws about a 5th too tall. I tried it with a 1-segment "vertical tilde" and it's still about a 3rd too tall. That could be manageable if the top adjustment handle would adjust the height instead of the entire vertical placement, since the roll is anchored to the bottom note. But in it's current state, there is too much screwing around involved to even use it. I'll stick to my Rolls font for now until MM could make it possible do rolls properly, add arrows, as well as use the same procedure for brackets. Bill If you enter it as a metatool (hold R, click bottom note of chord) then it will auto-size to the height of the chord. If you don't attach it to the bottom note, it won't auto size, and you will have to drag the handles to resize it. Christopher On Mar 24, 2006, at 10:44 PM, Darcy James Argue wrote: Articulation #31 in the Finale Default File (Fin2006). [It's in earlier default files as well, of course, but may be in a slightly different slot.] - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY On 24 Mar 2006, at 8:43 PM, D. Keneth Fowler wrote: I vaguely remember long ago using a character to mark chords that are to be rolled. As I remember I could enter the character and drag it to any desired length. The ones I can find are all fixed length. ___ 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] Two questions WinFin 2004b
- Original Message - From: "D. Keneth Fowler" <[EMAIL PROTECTED]> To: Sent: Friday, March 24, 2006 5:43 PM Subject: [Finale] Two questions WinFin 2004b These are probably in Finale 101, but . . . . How do I place brackets on eighth note triplets? The quarters seem to get brackets automatically, but no luck with eighths. Did I miss it in the Manual? If you *must* use brackets on beamed notes, use the Tuplet tool, click on the first note of the tuplet, double-click on the tuplet handle and the Tuplet Definition dialog will come up. The options for including a beam are there. Someone here will probably yell at me, but you really shouldn't use tuplet brackets with beamed notes because the beam itself serves as the bracket. I vaguely remember long ago using a character to mark chords that are to be rolled. As I remember I could enter the character and drag it to any desired length. The ones I can find are all fixed length. If there is, I haven't been able to find it. That's why I created a Rolls font with many lengths (even 2-staff), with and without arrows, that can be used as articulations and will automatically space to avoid collisions with a previous barline or other notes. This would be something that Finale should be able to do natively in future versions. Bill Duncan Your help is greatly appreciated. Ken Fowler ___ 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] Expression marks
Title: Re: [Finale] Expression marks Jonathan, I agree. To expand on that, I follow these rules: 1) Things that apply to *all* parts, i.e. stuff that a conducter needs to know (letter "A", tempo markings, accl., rit., rall., etc), should *always* be places above the staff. They are structural markers and should always be extremely clear and predictable. No exceptions here...*EVER* 2) _expression_ directions (dolce, espress., legato, etc.) should be place where it is meaningful, particularly when there is more than one voice involved in a single part. There are so many variables involved, that no one rule works 100% of the time. Some of you say that putting them below the staff, but when there are many dynamics and hairpins involved, that makes no sense at all because there is no room for the _expression_ without putting it so far below everything else, that it is not readily seen. I put them closest to where they apply. 3) Hairpins, and "cresc . . . poco . . . a . . . poco", etc. should be placed under the staff...HOWEVER...many rules go out the window with polyphonic writing, which demands that these are placed closest to the line that it applies. 4) With articulations, the only things that should be on the "note side" and within the staff are staccatos and tenutos; everything else should be above the staff. For those of you who have seen my articulations font examples shows many other articulations under the staff. This is to demonstrate that "flipped" characters do exist in the font and not my preferred practice, but to be available for polyphonic writing. My mantra is "be impossible to be misunderstood". If you are paying $6000 per hour in a recording session, it makes a huge difference if there are no questions about what you mean. Several people here have said before that rhythm is paramount. I would include structural clarity to that. That is, to me, the only hard and fast rule to notation. The rest depends on the situation: The "right" way is NOT to generate questions about what you mean. Bill Duncan From: Jonathan Smith <[EMAIL PROTECTED]> Reply-To: finale@shsu.edu Date: Wed, 8 Mar 2006 08:14:42 +0100 To: finale@shsu.edu Subject: [Finale] _expression_ marks Into which category do you place rit, accel, rallentando, ect? These are all changes of tempi which should be placed above the staff and be clear to read as they will apply to instruments. Jonathan ___ 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] Chorus question
I have no idea why this is even a question. Make a separate staff for the soloist, and then indicate "go get coffee" or something when she doesn't sing. I am opposed to anything that is too accedemic for "musically-challanged" chorus members to digest. I am not that financially well-endowed to pay for the time it takes for 25 people to ask "what does that mean?" Acedemia is wonderful in it's own merit. But, I have been a producer for over 25 years and pay for miscommunications that acedemia creates. I suggest you all stop it, and try to be impossible to misunderstand, irregardless of "tradition". That's the whole point of notation, isn't it? What's wrong with, "tenor solo"?? Seems clear to me. And, when thing get complicated, then split the parts out. Do I dectect some laziness here? sorry to ramble...it is my opinion. Bill > From: Bruce K H Kau <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Mon, 27 Feb 2006 19:31:41 -1000 > To: finale@shsu.edu > Subject: Re: [Finale] Chorus question > > In choral music I've seen, it's been more or less a non-issue, since > each part has a separate staff (or at least a separate line on a staff - > stems up / stems down). The soloist is also broken out as a separate > staff. If the soloist is from a particular part (for example, a single > tenor from the tenor section, as opposed to a feature soloist), the way > I've seen it is that it is marked "Solo" and "All Tenors" on the same staff. > > Darcy James Argue wrote: >> >> On 27 Feb 2006, at 9:08 PM, John Bell wrote: >> >>> In a Call and Response situation, solo and gli altri seems to me to >>> be very clear. >> >> So would I, but apparently my client does not. >> >> There are also passages where the soloist sings a moving line with >> simple choral backgrounds, both on the same staff. (Yes, it's quite >> clear without splitting the solo part out onto its own staff.) >> >> How about just "Solo" and "Chorus"? >> >> - Darcy >> - >> [EMAIL PROTECTED] >> http://secretsociety.typepad.com >> 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 > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] change font note head
Hi Dragos, Not yet, as far as I know. That is a much-needed fix. Can I ask what notehead you are trying to get to work? It is my guess that it might be a rhythmic notation note head that always offsets vertically incorrectly. I finally gave up with fighting that and made my own fonts. You can, however, tweak positioning issues with the Font Annotation settings, once you get beyond the innane design of that tool. Bill Duncan > From: Dragos Oltean <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Mon, 27 Feb 2006 09:27:03 +0200 > To: finale@shsu.edu > Subject: [Finale] change font note head > > I use Maestro font for engraving music. > I want change a note head but with other font, not Maestro. It's possible? > > Thanks, > Dragos > F2006c, WinXP > ___ > 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] Stem length and tremelo settings
Hi Don, I made a font called "Articulations" which addresses that without any tweaking with stem length, as well as many other annoying issues. The trem angle is reduced from the stock MM choices, and a tad wider one was made for whole notes. Look at the examples at: http://www.gwmp.com/MusicFontsFrameset.htm Almost everything is entered and positioned without any tweaking at all, as if it was mass-applied. Bill Duncan > > Does anyone have, and would you be willing to share settings for 1) stem > length and 2) positioning of the 3 slash tremelo articulation that work > harmoniously together? > > By "harmonious" I mean stems long enough so there's space between the > tremelo and the notehead, and between the tremelo and the beam or the end of > the stem, but not long enough to adversely affect the look of the music > otherwise. Is this a pipedream, and am I bound to need to adjust manually > one way or the other? If so, has anyone filtered this down to the least > amount of tweaking? > > I know this is subjective to a great extent, but I'd appreciate knowing if > any of you feel able to handle this successfully and how so. > > Thanks much. > > Don Hart > > ___ > 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] disappearing posts
I can relate to dissapearing posts. Through the thread of 8th = quarter, I offered a font solution which can handle any and all you are arguing about. As far as I am concerned, "previous" becomes "current". That's it. Those of you who hold on to historic tradition should realize that those who came before us may have been wrestling with the issue without a firm resolution. I think there is NO question as to what is right for tempo transitions now. The rest of you who disagree with that, shut up...you are patently wrong. Either way, try making arrows on the fly, and multiple fonts who's stems are too tall, or have to use multiple fonts to make a single tempo expression. I don't know about you all, but I got sick of that. I've done the work for you...sorry if I want to be paid for my time. I am considering deleting this list, as it is becomming too "intellectual at the expense of what is real", fighting, and not very productive any more, although David Fenton is behaving himself as of late. My favorite person in the world is Chuck...at least he listens, and is way more nice and open-minded than most of you are. I can seem juvenile some times, but it is to add levity to things on here. Christopher, I genuinely envy you; I wish I could have played the bass trombone. Chuck, I envy you for your fortunate sequence of events that made you what you are now. Darcy, I wish I could meet you sometime...I used to be a Mac guru, but sorta lost the incentive to keep up with it like you have, after being forced to spend over $10,000 to upgrade all of my software to OS X when 9.2.2 was working just fine. As far as lost postings, this one will be the deciding factor. I really don't think I am all that cold, and I sometimes advertise my stuff because I think it might help everyone on here. Personally, I hate ads, so this is not all that easy for me. Thanks for listening. Bill > > > On Feb 12, 2006, at 9:43 PM, Andrew Stiller wrote: > >> Every so often one of my postings disappears between my keyboard and >> the list. For example, earlier today I sent a reply to the query about >> orchestral forces in various works that never seems to have reached >> its destination. >> >> Among other things I asked (partly just to be provocative) whether by >> "Schubert's 9th" was meant the Great C Major or the Unfinished, since >> the two have recently changed places--and I attended a concert last >> week in which the C Major was performed as Symphony No. 8. >> >> Just asking... >> >> Oh: and why are my postings, some of them, disappearing? >> > > I got that post. > > I guess the question would be: why are YOU not getting some of your > posts? They would seem to be disappearing not, as you say, between your > keyboard and the list, but between the list and your inbox. > > 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
Re: [Finale] Swing expressiom
This is why I made it possible with fonts. I was never able to get Shapes to maintain their integrity when resizing, even if the individual shape elements are grouped, so I abandoned that tool in Fin02, except for single, rudimentary shapes. Maybe they're better now, but having them available as a font makes for much more flexibility. Bill > > David, > > This is helpful, but how does one resize this Shape Expression. I need > something smaller. If I try to stretch this shape it becomes very > distorted. > > Lee Dengler > > - Original Message - > From: "dhbailey" <[EMAIL PROTECTED]> > To: > Sent: Friday, February 10, 2006 5:58 PM > Subject: Re: [Finale] Swing expressiom > > >> LEE DENGLER wrote: >>> Hi All, >>> I need to make a swing expression (2 8ths = quarter / 8th triplet) where >>> the 2 8th notes are beamed together and the quarter / eighth notes have a >>> triplet bracket above them. I've seen this many times in scores. How do >>> I make it Finale 2006 (windows)? I made an expression shape but when I >>> try to resize it, it gets totally messed up. I've tried to make it in an >>> Ossia measure. This is cumbersome, I think. There must be an easier >>> way. Thanks to anyone who can help!! >>> >> >> It's already in the program as a shape expression -- use the Expression >> tool, and then click the radio button labeled SHAPE, and you'll find it >> ready to use. >> >> -- >> David H. Bailey >> [EMAIL PROTECTED] >> ___ >> 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] Swing expressiom
Title: Re: [Finale] Swing expressiom I sell a font called "TempoTime" which handles that and just about any tempo transition you can think of without having to deal with "Shapes". I also use this as my Time Signature font as well. http://www.gwmp.com/MusicFontsFrameset.htm Bill Hi All, I need to make a swing _expression_ (2 8ths = quarter / 8th triplet) where the 2 8th notes are beamed together and the quarter / eighth notes have a triplet bracket above them. I've seen this many times in scores. How do I make it Finale 2006 (windows)? I made an _expression_ shape but when I try to resize it, it gets totally messed up. I've tried to make it in an Ossia measure. This is cumbersome, I think. There must be an easier way. Thanks to anyone who can help!! Lee Dengler Minister of Music and Arts - College Mennonite Church Assistant Professor of Music - Goshen College Director - Goshen Community Chorale Composer, Editor, Engraver 574-535-7262 ___ 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] [Fwd: Musical Humor] repost: Trombone problems
Christopher, I hope you are not offfended by that. Being an ex-lead trombone player, I always envied the bass. So much cool plumbing! I could never afford it, but I always loved the sound. Sorry to be sophomoric, but bass trombones rule...and violists Bill > > bill wrote: > >> I think bass trombonists are cool. > > Don't worry - you can get help. > :) > cd > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [Fwd: Musical Humor] repost: Trombone problems
I think bass trombonists are cool. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Font face/size for Triplets & MM rests?
Composers can be total idiots. Don't rely on their example as they have other issues on their mind besides notation. Bill > From: Andrew Stiller <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Mon, 23 Jan 2006 12:05:00 -0500 > To: finale@shsu.edu > Subject: Re: [Finale] Font face/size for Triplets & MM rests? > > > On Jan 22, 2006, at 4:26 PM, Éric Dussault wrote: > >> I'm not sure I remember ever seeing a Sans Serif font for tuplet in >> pre-computerized music publications, but I may be wrong. > > You often see it in contemporary music. See, e.g., Xenakis: Eonta > (Boosey and Hawkes No. 799) > > Andrew Stiller > Kallisti Music Press > http://home.netcom.com/~kallisti/ > > > ___ > 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] FinMac2006c bug
Hi all, Has anyone discovered that underlining something in a text block will make a big rectangular blob where the underlined text is. I am still using 10.3.9. I've tried this with several fonts and it is the same thing. Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Paper Sizes and Finale.
> > On Jan 20, 2006, at 12:18 PM, Kim Patrick Clow wrote: > >> Since I don't have much experience with larger formats of paper and >> use of Finale, >> I was wondering if anyone could tell me about Finale's performance? >> >> I'm not sure what the dimensions are for the Barenreiter Urtext >> editions (e.g. Complete Mozart Edition, >> Telemann Edition, Monterverdi Complete Edition), but they're very >> roomy (and very expensive). I'm noticing >> whenever you have a project with a lot of instruments in the system or >> you have some sophisitcated note patterns, printing on >> 8.5 X 11 paper makes for small layout and sometimes it's not easy to >> read. So I'd like to try my hand >> at the "Barenreiter" size. What those dimensions? Does Finale perform >> ok at larger dimensions? >> >> I have notice that whenever I used a zoom tool on a PDF, you see >> artificats near where beams >> cross the note stems, and wondered if this is more apparent when you >> print at a much larger format/resolution. >> >> Thank you very much... >> I use a Windows version of Finale too... >> >> Kim Patrick Clow >> > > Finale works GREAT on large paper sizes, the question is: how does your > printer do? > > I don't know the Barenreiter size, but I print sometimes on 9-1/2 X 12 > and also on 11 X 17 and legal (8-1/2 X 14) and it all works great. > There is a bit of fussing around with paper size in several different > dialogue boxes (Mac version), but I have the list of settings on a > Post-It so I don't mess up when I switch over. > > The extra inch given at 9-1/2 X 12 increases legibility to an > astounding degree, I find. It's only the cost and the inconvenience > that keeps me from doing all my parts that size. (Some clients want the > simple typewriter-sized paper so they can auto-feed it for > photocopying, and so it will fit in their libraries of that sized > paper.) > > As for the PDF, AFAIK it is supposed to print at the resolution of your > printer. This might be a Windows thing, as I haven't noticed any of the > artifacts you mention on my Mac-generated PDFs. You say it prints this > way, and it ISN'T just a screen/display issue? > > Christopher I agree with Christopher. Finale works great at large sizes. Personally, I use 9.5 X 12.5 for parts, and 19 X 12 for large scores, and the print quality is as good as your printer's maximum resolution no matter what the paper size. Might I add, that in a remote recording situation where things are Faxed about, and most on-site copy machines only support 8.5 X 11 and/or 11 X 17, it makes sense keep things in that format in you know in advance. As far as PDF artifacts, some 3rd party PDF emulators are pretty bad. The PDF option in OS X is quite an improvement from what I had available in OS 9, and quite satisfying to me. (I'm too cheap to get the full version of Acrobat!). It also makes a difference to have the settings correct...as in embedding fonts enabled. I don't really have any experience with the Windows PDF generation issue, however...sorry. Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Font problem
David, Apple has been messing around with TrueType fonts in OS X to accommodate native Windows versions, and STILL don't have it right. The glyph you are talking about in Engraver is Shift-Opt-6 and will not display or print properly with the TrueType version. Other "broken" combinations include Shift-Opt-2 and 5, and one more I can't think of at the moment. I am not up to speed on font technicalities, even though I have created a few; I am more on the artistic side rather than the technical. If you have access to the PostScript versions, use those...you will have all characters available. I am continuing to try to solve this problem, and I welcome any input from anyone who knows. Bill Duncan > > Hello, > I use Finale 2005, and just upgraded to Mac OS 10.4.4 from 10.3.9. I > deleted that apple.com.ATS folder, as instructed. Most of my fonts show up > fine, but I noticed, in the first file I opened, that an Engraver font > accent-with-staccato shows up as a box in its flipped form. The regular one > is fine. > > I double clicked it. In the dialog box, the flipped form shows up as that > box. When I go to change it, the correct flipped accent-staccato has > already been selected. But it shows up as the box again when I hit OK, and > remains as the box when I leave the articulations dialog box. > > Has anyone encountered and solved this problem? > > Thank you very much in advance, > > 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
[Finale] Articulations font ready...
Hi All, I finally got my new Articulations font pages up at my website and ready for purchase. http://www.gwmp.com/MusicFontsFrameset.htm The Examples page is also up there now for those of you who haven't seen it yet and are interested. My thanks to all who helped me make this font possible. Bill Duncan ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Smart Slurs - Engraver Slurs
> > Contra Don and Andrew, I find Engraver Slurs much better-looking by > default and much easier to tweak. It's true that unedited Engraver > Slurs can be somewhat buggy (occasionally getting very tall for no > reason), but this can be avoided by nudging them all by one pixel and > then nudging them back. > > [Is this bug still a problem in Fin2006? I forget whether it was > addressed or not.] > > However, it would be nice if people who use Engraver Slurs could post > their settings here. I'll do mine eventually (not now -- too busy) if > anyone cares, but I'm more curious to see everyone else's. > > - Darcy I completely agree with Darcy. I use them all the time. Remember that the Font Annotation files were created specifically to enable Engraver Slurs to work properly, and if the .fan files are not installed, the slurs don't know what to do and will behave erratically. Also remember that font structures were originally designed to accommodate "letter" fonts which don't change in size vertically. With music fonts, the vertical size of the individual glyphs is all over the place, but when used in an application, the application reads the horizontal metrics just fine, but only uses the ascent and descent of THE ENTIRE FONT to position the characters vertically. The Font Annotation file allows you to override the vertical defaults and customize the vertical boundries of each individual character so the vertical spacing works the same as the horizontal. If you ever get an Engraver Slur that gets really high, say going into a staccato, it means that Engraver Slurs think the top of the staccato is the ascent value of the staccato's parent font (instead of the top of the staccato) if no .fan file exists. Font Annotation is DEFINITELY worth getting to know, as once you know that you're doing, you can do some pretty sneaky things with it. I hope this helps. I will get some of my settings up here in a bit. I am finalizing my Articulations font now, so I'm a bit busy at the moment. Cheers! Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: RTFM, no. It shouldn't be necessary.
> > God, I can just imagine it. A treble clef-shaped annoying looking thing > that would say things like: > > "It looks like you're about to type an anacrusis. Would you like some help > with that?" > > "Cleffy has noticed some parallel 5ths or octaves in your score. Would you > like him to correct these to a better voicing?" > > "This passage is very high for the bassoon. Would you like to re-score it > for alto saxophone?" hehehehe I haven't laughed so hard in months! Thanks, Colin ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale EPS graphics in MS Word
I use Quark XPress (which is a bit pricy) and eps graphics are wonderful. I often save entire Finale pages as eps docs and they print like lightening. I often use an "expamples" page and use bits and pieces of it as needed with only one eps page as the source...all beautiful and fast. Quark is incredibly useful for many different things, and rock-solid. I think it's about $700 new, but I wouldn't use anything else. Just my opinion... Bill > From: Chuck Israels <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Mon, 26 Dec 2005 20:01:07 -0800 > To: finale@shsu.edu > Subject: [Finale] Finale EPS graphics in MS Word > > Hello all, > > I am working on a document (arranging book) with many Finale eps > graphic inserts in MS Word, and they print well when I print the > pages on my HP Laserwriter 5000N. (They look lame on screen, but > they print fine.) However, when I send the file to others in Word, > or convert it to a pdf file, the Finale examples print badly (losing > lines, etc.). > > Am I doing something less than optimally, or is that just the way > things are? I'd like to have others see the work (to help edit > things and advise me) but, at the moment, I must print hard copies > and mail them, and that seems so last century! > > TIA, > > Chuck > > > 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 mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Smart Line Designer problem
Title: Re: [Finale] Smart Line Designer problem Thanks for the plug, Chuck. As usual, I owe you a lot. Johannes, there is no way that Finale provides to do what you are trying to do easily. The best workaround that I have found is to create the "Smart Line" with the text beginning and ending, and then apply a text _expression_ (with the same font/size/style) with an opaque enclosure with the enclosure line thickness set to "0" to "white out" the dashed Smart Line line. Apply that text _expression_ to something in the middle and you're good to go. This will also work in situations like "cresc - - - a - - - poco - - a - - - poco - - -", as the Smart Line origin and ending remain anchored, and the interior text (being opaque) will always interrupt (block out) the line no matter where it is. Bill From: Chuck Israels <[EMAIL PROTECTED]> Reply-To: finale@shsu.edu Date: Sun, 25 Dec 2005 08:38:53 -0800 To: finale@shsu.edu Subject: Re: [Finale] Smart Line Designer problem Hi Johannes, Bill Duncan has smart lines in his Finale Productivity package that can be modified to do things like this (with three elements), and they work beautifully. There is nothing exactly like what you describe, but I've been able to figure out how to edit the existing ones to achieve things just like this. Whether it's worth the cost is another story, but there are other things in the package that might also be useful, and I think it's worth a look. <www.gwmp.com> Merry Christmas, Chuck 5, at 5:22 AM, Johannes Gebauer wrote: I am trying to get morendo Unfortunately I cannot get the dashed line to stop for the center text, instead it always seems to go right through it. Is this a limitation, or am I just missing something? Happy Christmas! Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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 mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] New Articulations font
Hi All, I tried to post a pdf of the draft of my new Articulations font on here, but apparently, the moderator won't let me post anything bigger than 40K (the pdf is around 90K). For those of you who are interested, if you want to take a gander at it and make suggestions (no matter how pickey), email me at: [EMAIL PROTECTED] and I'll forward it to you for your perusal. Those of you who give me constructive input will get a free copy of the font when it's done. I'm hoping that, with your help, this could be "the definitive" articulations font, if that's even possible. Thanks Bill Duncan 206-780-2875 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2006b, GPO vs Non GPO sounds
> From: Johannes Gebauer <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Sat, 17 Dec 2005 23:37:15 +0100 > To: finale@shsu.edu > Subject: Re: [Finale] 2006b, GPO vs Non GPO sounds > > On 17.12.2005 Darcy James Argue wrote: >> Johannes, your advice might make sense if you are only writing for a >> small ensemble. However, because of the way Finale handles channels >> for AU/VST instruments, if you are writing for more than 8 >> instruments, it is MUCH faster to use the Setup Wizard. Manually >> configuring your GPO setup is tedious, time-consuming and introduces >> the possibility of error (especially the error of accidentally >> loading a non-"notation" instrument). >> >> Even if you need to modify staff names or attributes after the fact, >> that's still quite a bit faster than manually loading GPO >> instruments, one at a time, for an entire orchestral score. > > I am not so sure what is more time consuming (see below), however, my > main point is that the setup wizard in conjunction with GPO does not at > all work how it should work. > FWIW, the "ensembles.txt" and "instruments.txt" files can be customized to make the Setup Wizard behave more to your liking. Just mimmick the formatting and revise at will in a simple text editor. Not having Fin2006 yet (it's coming), I am not familiar with GPO yet, but I'll study it when I get it. Bill Duncan ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fermattas in resting parts
Darcy, After thinking a bit more, what is really the best thing to do is to put a cue line in the resting parts (either with notes or rhythms) and indicate it as such. Make sure you include the applicable pick-ups for the next downbeat. It will be even less ambiguous than simply entering rests. If, however, it is a simple fermata on the last note and a simple downbeat to the following measure, don't "annoy the cat" by giving unnecessary information. Apply the fermata as a measure expression, position it accordingly, and us a double bar or a tempo change indication (if applicable) to visually flag the section. Again, it depends on the situation. Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fermattas in resting parts
> From: Darcy James Argue <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Wed, 14 Dec 2005 19:38:25 -0500 > To: finale@shsu.edu > Subject: [Finale] Fermattas in resting parts > > A minor dilemma: > > 1) Whenever there is a fermatta, I like to indicate it in resting > parts as well (breaking multimeasure rests if necessary). I also like > to indicate the beat the fermatta falls on (in the resting parts as > well) -- so if the fermatta is on beat four, the resting parts won't > just have a whole rest with a fermatta, they will have a whole rest, > a quarter rest, and then a fermatta'd quarter rest. Enter actual rests in the resting parts and apply the fermata to the target rest. Multimeasure rests will be broken for that measure, and it will be clear as a bell to the resting player, especially appreciated by orchestral percussion players. > > 2) I don't like to use dotted rests except in compound meters. That would depend on the rhythmic pattern being played elsewhere. For example, dotted-quarter/eighth repeated patterns are much more clearly indicated with a dotted quarter rest then a quarter/eighth. > > 3) But in 4/4, if the fermatta'd note is a dotted half note on beat > 2 and then there are a lot of instruments making entrances in a new > tempo on beat 1 of the following measure it seems like a dotted half > rest w/fermatta might be the best solution in this case? It depends on where the upbeat to the next measure is and what is going on with that upbeat. Always allow some clear representation of what the upbeat is (and what's going on with it) with either a note or a rest. Bill Duncan ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] New Articulations Font
> From: Eric Dannewitz <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Tue, 13 Dec 2005 19:37:20 -0800 > To: finale@shsu.edu > Subject: Re: [Finale] Finale 2006b is Available. > > I think we need more articulations in Maestro for Jazz. I think Bill > Duncan was going to do something but who knows. > > I can't really think of anything that I complain about other than > looking for some sort of jazz articulation, and not finding it, and when > I get done with a project and have to extract and format > parts..always dread that. Hi all, I am working on a new Articulations font as we speak. It will contain all traditional music articulations, including those for jazz notation, in an "engraver" style. When it is presentable, I will post a PDF of everything up here for your comments and suggestions. I am hoping that this might become the "definitive" articulations font, and I value your input. I trust you all much more than those at MM who make "artistic" decisions. Any input and/or wish lists from you are welcome. Bill Duncan ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MIDI file questions
Chuck, That's a tall order to accomplish on here. Maybe give me a call and I'll walk you through it. It's not difficult, but there's a lot of stuff to consider. Thanks again for your kind words! Bill Duncan On Oct 27, 2005, at 9:06 PM, Chuck Israels wrote: Hi Folks, I am preparing some scores for Gary Garritan to use as demos for the new Jazz/Big Band library, and I have some questions (never having done this kind of thing before). Does the midi file care what playback instruments were assigned to staves in the score? I imagine not, but I'd like to be sure. I have no percussion map. I don't use playback for drum parts. Will whoever works on these files and tweaks the music be able to assign percussion sounds? What must I know/do to make this work as smoothly as possible. At this point, all I've done is to save the scores as type 1 MIDI files. Thanks in advance for your information and advice. Chuck 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 mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] JazzFont, etc.
I have two "enclosure" fonts. "Rehearsal" has drop-shadows and is very useful for pointing out structure. The second is "Enclosure" which I only use for text situations where the standard text box enclosures are unavailable (custom smart shape lines, etc.). For simple enclosures, I use the stock enclosure option in the Text Expression Designer with a line thickness of 2.5 EVPUs and make the enclosure Opaque. This allows the use of arrow lines to point to specific notes or whatever in the staff from anywhere in the enclosed text, with the beginninng of the line being (being hidden by the opaque internal text field) appearing to be perfectly attached to the enclosure every time, from anywhere, and with extremely little fuss. To me, this makes more sense than to be stuck with a fixed indicator on a text box font character because there are few choices as to where the box can be. FWIW... Bill Duncan > From: Christopher Smith <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Thu, 27 Oct 2005 15:32:27 -0400 > To: finale@shsu.edu > Subject: Re: [Finale] JazzFont, etc. > > > On Oct 27, 2005, at 3:23 PM, Darcy James Argue wrote: >>> >> While I think the Jazz Font settings look very poor by default, I also >> think it's very possible to get good results with the font if you >> spend some time setting up your own template. There are examples on my >> music prep website, and, not to climb on a high horse or anything, but >> I don't think they look like "very amateur hand copying." (They would >> look even better if Robert's Patterson Beams supported my ideal beam >> thickness of 15 EVPUs.) >> >> I would also have to agree with those who feel that the choice of font >> is relatively unimportant compared to the details of size, layout, >> spacing, phrasing, line weights, placement, etc, that separate a >> well-copied chart from a poorly-copied chart. >> >> In fact, the main reason I used the Jazz Font in the first place was >> not the music characters, but the text enclosures, which are >> absolutely key in sight-reading situations. This is why I hesitated >> long and hard before switching to Maestro for my own work. (Which is >> still an experiment -- I may still switch back to JazzFont, especially >> if Bill comes out with a nice manuscript-style chord font.) There is >> still not really any equivalent to the Jazz Text enclosures in any >> non-manuscript font. There is Bill Duncan's Enclosure font, which is >> very nice, but -- unlike Jazz Text -- lacks the ability to include a >> visual cue as to whether it has been assigned above the staff or >> below. >> > > Not that I would be particularly eager to kludge this, but now that you > can mix fonts in text expressions you CAN use the JazzText enclosures > with other fonts. > > I'm not convinced that it would necessarily look great, though. Those > enclosures (like everything else in JazzFont) are pretty bold, and suit > the JazzText better than they suit any other font that I commonly use. > > 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
Re: [Finale] Possible new fonts (jazz chords and articulations)
Title: Re: [Finale] Possible new fonts (jazz chords and articulations) I'm beginning to like this group! Thanks all for your kind remarks. Karen, what you said about my work almost made me tear up because during my experience in LA, no one seemed to care. What you said kind of made my LA-hell experience almost worth the trouble. Thank you. As far as what font I use, it's a mixture of Maestro and Engraver and some others for the default music font (I made my own). My Chord fonts took over a year to develop with the help of several A-list session players in LA who have seen just about everything. My only goal was to make something compact yet easy to read...especially for those of us over 45 (you know who you are and why I bring that up). My mantra for notation is this and this only: "Be impossible to misunderstand." I don't care about "tradition". I am not a music notation historian and I refuse to go down that road for the sake of tradition only, as some traditional practices frankly stink. As you all have made very clear, music notation still has a bit of growing to do, and the advent of electronic notation has opened a new can of worms. I would like to be a part whatever is going on and to help make things better for all of us. And, I am looking forward to getting to know you all better, as I have not had the privilege of being with my peers for some time. Thanks for this. Bill Duncan I agree with what Chuck is saying here. I too use the Maestro font for Jazz Chartsunless a client absolutely insists that I use the Jazz font. The Jazz font doesn't look as professional in my opinion. I have shape expressions for scoops etc. that I use. I don't own any of Bill Duncan's fonts but I visited his site the other day and I must say, that is some of the most beautiful Finale work that I have ever seen. It doesn't get any clearer than that! Beautiful work Bill! FWIW Karen Just for the record, I have said before that I prefer the Maestro/Duncan combination to the jazz font (and any other hand written style font I've seen), even with the scoops, bends and fall-offs from the jazz font when they are necessary. Please, no flames. This is just one person's preference - based on considerable experience, but still, just an opinion. If Bill is able to come up with a set of jazz articulations (not so many, really) that look as if they belong to Maestro, I'll be happy enough. I do like fonts, and design, and elements that ad beauty and interest to the graphic representation of music, but in the end, it's clarity and ease of communication of the musical idea that trumps everything else for me, and I find Maestro less distracting than the Jazz font. If Eric is counting votes in this informal poll, David Berger falls into the camp that doesn't like the Jazz font. He thinks it looks like the work of a bad copyist. Chuck ___ 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] changing clefs in bass clarinet
I can't resist: the Bb version of the word, "the" is "vjg". Does anyone else find that a bit silly? Bill > From: John Howell <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Tue, 25 Oct 2005 21:46:00 -0400 > To: finale@shsu.edu > Cc: Andrew Stiller <[EMAIL PROTECTED]> > Subject: Re: [Finale] changing clefs in bass clarinet > > At 1:31 PM -0400 10/24/05, Andrew Stiller wrote: >> On Oct 23, 2005, at 11:02 AM, John Howell wrote: >> >>> When I include EEb and BBb contra parts in an arrangement, I write >>> them transposed as for a normal member of the clarinet family, but >>> I always wonder whether a player will be able to read those parts. >> >> Worry no more. Nobody plays contra clarinet as their first >> instrument. Every single contra player that you encounter will have >> started by learning to play the ordinary clarinet--in the treble >> clef, transposing. > > Good point! Although there was a girl in our older son's high school > band whose instrument was an EEb contra (and whose family could > afford one!). But yes, she probably played at least one year on Bb > soprano. > > John > > > -- > John & Susie Howell > Virginia Tech Department of Music > Blacksburg, Virginia, U.S.A 24061-0240 > Vox (540) 231-8411 Fax (540) 231-5034 > (mailto:[EMAIL PROTECTED]) > http://www.music.vt.edu/faculty/howell/howell.html > ___ > 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] Possible new fonts (jazz chords and articulations)
>> >> What I say is: either use proper computer fonts for music, or >> switch off and take to pen and ink again. > > I fall in to this camp, but I am curious about the things that Mark > describes. I am not at all unhappy with the engraved look of my > music in Maestro and Bill Duncan's additions to it. > ditto...not so much for my stuff, but for the concept. Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Possible new fonts (jazz chords and articulations)
Hi all, I can imbed horizontal offsets in the font so that scoops and falls place correctly by clicking directly on the note (with some help using H & V handle position values in the Articulations Editor). I have had much success with this in my Salzedo font (the L.V. symbol...sideways parenthesis), and my Brackets and Rolls fonts. This should not be a problem. Also, from the limited discussion so far, there seems to be a clear consensus of what both the jazz chord and the articulations fonts should look like. More examples are always welcome, but what I really need most is a comprehensive collection of jazz articulations. I suppose I could plow through the Jazz font and get them from there, but I am guessing that their key mapping is a bit non-intuitive, which I also intend to fix. Anyway, I'll get on it in late November after my ballet gig is over. In the meantime, any more input is always welcome. Bill Duncan [EMAIL PROTECTED] 206-780-2875 > From: Chuck Israels <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Mon, 24 Oct 2005 11:58:34 -0700 > To: finale@shsu.edu > Subject: Re: [Finale] Possible new fonts (jazz chords and articulations) > > > On Oct 24, 2005, at 11:33 AM, Christopher Smith wrote: >> >> There will always be a problem placing non-centred articulations >> like a fall or scoop, because the horizontal positioning works from >> your click point. If you are a millimetre too far left, then the >> articulation will be, too. The bend places correctly every time >> because it has the box checked "Centre over note", which cannot be >> checked for the scoops and falls. > > So, does this mean that it is impossible (impractical) to set the > handles of such articulations to be centered over the note head, and > the articulation offset for correct placement? Is there a problem I > don't understand which would prevent that solution? > > >> >> The bend is a reasonable match I think, though it still looks a bit >> "crafted" for Maestro. > > My sentiments too. It's just the variation in line thickness that > makes it look as if it doesn't match Maestro. I don't mind the > softened line ends. They relate nicely to Bill's chord slashes and > rhythmic notation. > > >> The other two are ridiculously bold for the delicate head and stem >> of the Maestro notes, but you could always reduce the point size of >> those articulations to make them less bold, and at the same time >> smaller (so you might have to choose a different character to make >> it look the same length.) > > You've suggested this to me earlier, and I fooled around with it a > little but didn't get close enough to be any more satisfied. Have > you done this with any success? > > >> >> But to match Maestro perfectly, this will take some of Bill's magic... > > Exactly. Please tell Bill what you'd like. He seems to be in the > mood to tackle this, and my impression is that once he gets into that > mode of operation, it's not that much harder to supply a variety of > useful shapes. > > I always appreciate your suggestions. > > Chuck > > > >> >> Christopher >> >> ___ >> 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 mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] trill notation question
I don't remember who brought it up (Karen, I think? I apologize!), but I really like the idea of "tr 1/2" and "tr WH", which I have never seen before. It makes perfect sense to me, and is so easy, but it is not (as of yet) common practice. I understand that a tr implies trilling diatonically, but so many composers are writing chromatic scores these days that even a trill must be defined precicely every time. Unfortunately the parenthesized target note is a pain in the neck to do, even with TGTools, having to "repair" the parenthetical target note all the time (one more thing to forget to do when you're under the gun). Just a comment... Bill Duncan > From: Mark D Lew <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Sun, 23 Oct 2005 22:27:05 -0700 > To: finale@shsu.edu > Subject: Re: [Finale] trill notation question > > > On Oct 23, 2005, at 2:58 PM, Christopher Smith wrote: > >> But if you really want the belt-and-suspenders approach (so your pants >> REALLY won't fall down!) then "tr b" would certainly be correct. >> [...] > > While I agree that nothing is technically wrong with the "tr b" > notation, I wouldn't call it the true belt-and-suspenders solution. > The way I see it, if you don't mark the trill at all, the player is > naturally going to trill to Ab. What are the alternatives? Without > any markings, there's no reason why a player would think he's supposed > to go to Abb (ie, G nat), and trilling Gb to A nat is going to feel > very weird, so of course he'll do Ab. > > If, on the other hand, you actually mark a flat in there, the player is > going to double-take and think, "wait, why did they write a flat there? > It's already flat. Am I supposed to go to double-flat? And then the > player is overthinking the situation and unsure what to do, whereas if > you'd said nothing at all he would have been fine. > > So I'd say that the simple solution is to not mark the trill at all, > and the belt-and-suspenders solution is either a flat in parentheses or > a spell it out with a cue note. > > mdl > > ___ > 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] Possible new fonts (jazz chords and articulations)
Hi guys, Chuck, would you like to be my sales rep??? hehehe You are so kind to talk about my stuff the way you do. I had a thought about about a new articulations font: >From what I am hearing, there are not a lot of jazz articulations needed, so I am thinking about an all-inclusive "Articulations" font that contains everything (both jazz and legit). There seems to be plenty of slots in the font to accommodate them all. I don't know about you all, but I'm still not satisfied with any of the out-of-the-box articulations in the fonts that MM supplies. Maybe I could put together an articulations font that all of us agree with for everything and be done with it. For what it's worth, I'm not really interested in doing the work unless it can be "the definitive" font for articulations, so I guess I'm asking for input from anyone here. I trust you guys way more than those who influence MM's "artistic" decisions, and I admit that I don't know everything...especially with jazz articulations. As far as the jazz chords font, could someone send me a scanned page of anything (containing lots of chords, of course) from Sher Music Co's "The Standards Real Book"? If it's not for sale, I'm not really in a position to get it. Also, if anyone has anything else that they feel particularly strongly about, I'd love to see them too. All the best! I'm getting excited about this... Bill Duncan [EMAIL PROTECTED] 206-780-2875 > From: Chuck Israels <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Sun, 23 Oct 2005 13:26:36 -0700 > To: finale@shsu.edu > Subject: Re: [Finale] Jazz version of ChordSuf? > > > On Oct 23, 2005, at 1:13 PM, Eric Dannewitz wrote: > >> Yeah, I too bought the Ash Font, but have rarely used it. I do use >> the jazz font, but basically only to use the articulations in it, >> as it does have scoops and what not. I also bought the swing font >> (www.jazzfont.com), from the author of the Jazz Font. Though, I >> have found that I don't care for the look of it anymore. >> >> If Bill could come up with articulations, then I might buy his >> Productivity product. Looking at the examples, he has just about >> everything else one would want in his library except for >> articulations and jazz type things > > Eric, > > There are many things in Bill's productivity package that are > "overkill" for my needs, but every time I use one of the things that > I do need, I wonder how I'd have done without it. There are some > really good smart shapes and special staff styles, as well as > specialized harp notation, which I rarely need, but which I imagine > would be terrific for anyone who did a lot of harp writing. Some > other things are specially good for recording circumstances, where > there can be no doubt about what's on the page, and there's little > tolerance for error. Those things may be overly bold for more normal > circumstances, but they're still worth a look. There's a lot of good > stuff there. > > Chuck > > > >> >> And on the Bill Rowen thing, I'm sure if you gave examples of how >> he wrote things, someone around here probably has the know how to >> make a font out of it. >> >> Chuck Israels wrote: >> >>> Hi Bill et al, >>> >>> Perhaps Chris, Darcy, Greg Hamilton, and some others can help to >>> come up with a set of a few jazz articulations that most of us >>> need. I use few of them; a fall-off, a scoop up to pitch, and one >>> that indicates a drop and rise in pitch. Something for a brass >>> shake would also be useful to many. That's all I'd need, but >>> there are undoubtedly others who have different requirements. I >>> am using shapes from the Jazz Font articulations for these at the >>> moment, and it is true that they seem overly thick and bold for >>> the rest of the Maestro Font that I am using, but I can live with >>> them. If you (Bill) can improve on them - with advice from >>> thoughtful people here, I'm sure many would appreciate it. >>> >>> I don't use the Jazz font - with the exception of those >>> articulations, but many do. I am sympathetic to the desire to >>> achieve a look that is more informal, perhaps more spontaneous >>> looking than Maestro and Engraver, but I have yet to find a >>> "handwritten" style font that I like. (I looked at the Ash Font >>> and even bought a copy. I prefer it to Jazz, but not enough to >>> use it regularly.) There is something about hi
Re: [Finale] Jazz version of ChordSuf?
Hi Darcy and others, No one I know uses or likes the Jazz fonts, so I had no idea that there was so much interest in this. Is it possible for you or someone to send me a pdf scan of what you think is ideal? Also, Chuck Israels and Greg Hamilton expressed interest in a jazz articulation font that is not as "loud" as the jazz font but nicer than improvising from an existing text font or those awful Finale "shapes" that are pretty useless from an Automatic Music Spacing aspect. I am not a jazzer, so I don't really have a good vocabulary of those and any input would be appreciated, as I think that font as well would be useful to all. I will be able to start work on one or both at the end of November, and any/all input is welcome. Bill Duncan On Oct 22, 2005, at 5:34 PM, Darcy James Argue wrote: Hi Bill, I don't think Chris meant that he wanted you to copy JazzChord exactly -- which would might involve copyright issues (although I don't know -- there are obviously lots of font knock-off versions out there). I think he just meant that he would be interested in a handwritten-looking version of ChordSuf, which would not involve any copyright issues at all. [Nobody owns the copyright on any and all handwritten-style chord fonts!] Given your expertise, I'm sure you could come up with a handwritten-looking chord font that is far superior to anything else out there -- and if you're looking for inspiration, check out Sher Music Co's "The Standards Real Book" -- which is by far the nicest-looking "handwritten" chord font I've seen. It is (unfortunately) not for sale. But if you could come up with something of similar quality, that included the ease-of-use of ChordSuf, I'm sure it would sell like gangbusters. Cheers, - Darcy - [EMAIL PROTECTED] http://homepage.mac.com/djargon Brooklyn, NY On 22 Oct 2005, at 3:48 PM, bill wrote: Hi Christopher, I would be happy to except that MakeMusic would have to sanction it because of their copyright issues. I have had problems with them in the past, and they have absolutely no interest (that I know of) in the work I have done with my chord font set. Possibly you and other interested parties could "petition" MM to allow me to do it, as I seem to carry little weight with them on my own. Bill Duncan [EMAIL PROTECTED] From: Christopher Smith <[EMAIL PROTECTED]> Reply-To: finale@shsu.edu Date: Sat, 22 Oct 2005 09:40:15 -0400 To: finale@shsu.edu Subject: [Finale] Jazz version of ChordSuf? Bill Duncan, Glad to see you on the list, where I can publicly buttonhole you and ask you outright: Any chance of you coming up with a chord suffix font like your brilliant, ingenious ChordSuf, but that matches more closely with the JazzFont, to replace the inadequate JazzCord? I, for one, would be an enthusiastic client, and I hope that some of the other listers who (try to) use JazzFont in their work will support me on this. Then, in an ideal world, MakeMusic will pay you big bucks to include it in the next version of Finale... Hopefully, 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 mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Jazz version of ChordSuf?
Hi Christopher, I would be happy to except that MakeMusic would have to sanction it because of their copyright issues. I have had problems with them in the past, and they have absolutely no interest (that I know of) in the work I have done with my chord font set. Possibly you and other interested parties could "petition" MM to allow me to do it, as I seem to carry little weight with them on my own. Bill Duncan [EMAIL PROTECTED] > From: Christopher Smith <[EMAIL PROTECTED]> > Reply-To: finale@shsu.edu > Date: Sat, 22 Oct 2005 09:40:15 -0400 > To: finale@shsu.edu > Subject: [Finale] Jazz version of ChordSuf? > > Bill Duncan, > > Glad to see you on the list, where I can publicly buttonhole you and > ask you outright: Any chance of you coming up with a chord suffix font > like your brilliant, ingenious ChordSuf, but that matches more closely > with the JazzFont, to replace the inadequate JazzCord? I, for one, > would be an enthusiastic client, and I hope that some of the other > listers who (try to) use JazzFont in their work will support me on > this. > > Then, in an ideal world, MakeMusic will pay you big bucks to include it > in the next version of Finale... > > Hopefully, > > 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
Re: [Finale] Notes EVERYWHERE
On Oct 21, 2005, at 7:52 PM, David W. Fenton wrote: On 21 Oct 2005 at 18:09, bill wrote: I'm still on 2k5 and the Update Layout issue should not be an issue since it was never a problem since Fin 98 (ish) up until recently. This is only one of many that MM doesn't seem to want to fix or even recognize. I'm not understanding your point. Are you saying that updating the layout *doesn't* update it? Or that it isn't updating it properly? Or simply that you believe you shouldn't have to tell Finale to update the layout (which you don't, if you turn on automatic layout update)? What exactly is the issue that MakeMusic has not fixed? I don't see one here -- all I see is a program design issue that trips up some people for about 5 minutes until they realize that they have to do something to get the layout updated. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc I feel really stupid: My Automatic Update in 2k5 upgrade was unchecked after many years of assuming that upgrading to the next "invaluable" version of Finale would preserve previous and relevant settings. However, I *do* have major problems with the direction that MM is going, and I feel that you are ignoring and dismissing my sentiments with that. Even though I was incorrect in my last assertion, the issue with layout update should *never* occur, and that option should never be available, given the results rendered without it. I am happy to debate you. You decide whether or not you want to debate here "in the open" or privately, or not at all. That's up to you. I have owned my copy of Finale from the very beginning (very low 3-digit serial # back when putting a staccato on a note took more than 10 menu selections). I can be brainless sometimes, as in this case I admit, but I am not stupid, and I am trying to find some way to coerce MM to spend 10 minutes and fix a long list of problems that they have continued to ignore for years. The most obvious now it the new Text Expression Editor, which looks wonderful on the surface (and should have been done 10 years ago), but their extremely poor concept of dealing with text still remains, and some of the features are lost or poorly done...including baseline shift not behaving in the editor window as it does on the page, and, from what I hear, line spacing not working in 2k6 at all. I am happy to give you my list when I have some time to write it, but I am busy with a ballet which goes on stage in mid-November. The list is very long, and very nit-picky to some, but I don't think it is unreasonable, and easily solvable if MM actually cared about us professionals instead of marketing to music "wannabes". Personally, I would be happy to pay $2000 for a music notation program that actually worked and was stable, than to pay $5000 over the course of 10 years for something that is "almost" OK, and is always slightly better than the competition and doesn't really work very well, and with chronic problems that are never corrected. As far as Update Layout is concerned (it used to be called "Recalc Music" in the early days), that should have been included as part of updating the preferences with the new version. In the early days, there was no "Automatic Update Layout", and I am so used to doing a "command-\" every few measures that I didn't think about it at this later stage of Finale's existence. I know that it's a small detail, but our business is made or broken in the details. I welcome your comments, as well as those from anyone else. Bill Duncan [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Notes EVERYWHERE
Hi gang, Chuck got it right concerning "Update Layout" (command-\ on a Mac). Being a casual lurker, I must admit that this forum is the best I've seen, and those who read the postings here are being given first class advice for free. Bravo! However, after listening to you all, I am even more leery of 2k6. I'm still on 2k5 and the Update Layout issue should not be an issue since it was never a problem since Fin 98 (ish) up until recently. This is only one of many that MM doesn't seem to want to fix or even recognize. It makes me wonder who does their beta-testing. I am wondering of this group here might band together and lobby to have MM spend the paltry 1% of their development resources to get it right for us and be done with it. Or, possibly, encourage them to release a Finale Pro version without the stupid garbage they've concentrated on in the past few versions. I'm getting really frustrated with MM, as I'm sure most of you are too. Would it make any sense to compile a "master wish list" and present it to MM as a group? Sorry to vent... Bill Duncan [EMAIL PROTECTED] www.gwmp.com On Oct 21, 2005, at 4:49 PM, Brennon Bortz wrote: After opening a new default document and entering notes in Speedy Entry in Scroll View, I switch to Page View and suddenly notes have veered off the edges of the page on nearly every staff. Applying any time of music spacing only worsens the problem? Redrawing the screen doesn't fix the problem either. Staff optimization does. Is optimization the ONLY way to correct this? Thanks, Brennon Bortz -- Brennon Bortz [EMAIL PROTECTED] ___ 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] OT Euphonium Players On List
On Wed, 3 Aug 2005 02:40:17 -0400, Jonathan Smith <[EMAIL PROTECTED]> wrote: > Keeping up the 'Beautiful sound' I'm sure! > > I know Tyler Turner plays Euph and Peter Wilson who used to post to > the list a while back. > > Just for interest, any other Euphonium players out there? > > And while we're on the subject, anyone found a decent sound sample > of a Euph, preferably one that sounds like Trevor Groom? > > Jonathan (also euphonium player) Smith Piping in a little late, but I also play the euphonium. I own a VMI 3171 with a lacquer finish. I have had a couple gigs on it, although they were non-paying. It has a beautiful sound for only being a student model, and I got it new for less than $1000 because I was working at The Woodwind and the Brasswind at the time. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
Hi Gary, Great question!!! Gary Griffiths wrote: I’m becoming more interested in the standard of my playback in Finale (WinFin2k5) and I am hearing a lot of good things about GPO. However, I can’t find anything in the OLM about how to use it with Finale, apart from one section on Human playback that explains about GPO, but not exactly how to use it. There are a number of tutorials and tips on the Garritan web site in their support section... but the short answer is that there is a pretty steep learning curve, or at least there was for me. Does it work seamlessly with Human Playback once installed? Not really... Human Playback uses various MIDI controller messages to try to imbue a score with some animation or "human-ness", and GPO uses different MIDI controller messages to attain the same effect. The biggest difference is that GPO is really meant to be played, and the Human Playback feature in Finale is meant to interpret a sequence of events codified in a score. When you stop to think about it, they are two dramatically different approaches!! Do you have to pick different samples for everything (solos, pizz, arco, trem etc. etc. etc.) or does that work seamlessly too? There are a couple of mechanisms for picking different patches/samples, but you have to manage it yourself using either patch change messages or key switching. It works, but seamless would probably be a bit generous. My scores are quite meticulous in their dynamics, articulations etc. Would Finale and GPO pick these up automatically? This is probably the biggest rub... Finale uses MIDI volume messages and GPO uses the modulation wheel. At first I thought it was an odd choice, but after some experimentation I discovered that GPO is changing a lot more than just volume, and it makes for a much more expressive performance. Do I need to export my score in some way into another programme and then process it through GPO? That seems to be about the best way to go today. As this thread demonstrates, there are two camps, and they have rather opposite points of view. Camp #1 thinks that sequencers should sequence and scoring packages should present scores. This is, I believe, a result of technical limitations that existed for most of the life of the MIDI standard. Older computers could do only so much, and older programmers could write only so much code, or even have an appreciation for the finer points of so many topics. If you want a really powerful scoring tool you need to look at Finale, Sibelius, Rosegarden, and a couple of others. None of them provide what most would classify as even meager sequencing capabilities. If you want complete control over the sequence then you need to look at tools like Sonar, Cubase, Logic, Digital Performer, Freestyle, etc. I think all would agree that their scoring tools are weak, but you do have tremendous control over the performance itself, even if you don't have a musical keyboard or other MIDI controller for input. I'm fairly active on a couple of Sonar mailing lists/newservers, and the request for better standard notation tools comes up frequently. Similarly, Finale users want to push the envelope on sequencing within Finale. I don't think either group is going to be completely happy any time soon. I think that the Human Playback feature works well enough for its intended purpose, which is a rough approximation of what humans might do with a score. In fact I think it works really well! I am of the opinion that two tools are still necessary, and I go one step further, if I need an audio file I usually (not always, sometimes I get lazy or don't have time) play the parts in from the keyboard or a MIDI guitar controller. Then, if I'm feeling really ambitious I edit the daylights out of them! But, I grew up when editing tools could also be used to shave your beard after three long days in the studio. As a rule, I seldom perform edits to audio or MIDI data that I couldn't do with a razor blade or a mute switch. I find that this quite often helps me to preserve the feel of a performance, and that's usually what I'm after. And that rule is not some kind of dinosaur reaction to the current tools, but just a line in the sand. And the wind does, from time to time move the line. But I like human performances, and since I can't afford to hire an orchestra every time I have to find the next best thing... which for me is samplers like GigaStudio and sample playback tools like GPO. In fact, while the quality of sample available for Gigastudio is superior to GPO, I find that lately I use GPO almost exclusively for the instruments it provides, and only turn to GigaStudio for things that aren't part of GPO. My two cents Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Common Names - was Re: Johnny Williams
Bernard Savoie wrote: Been through this on another list I think. There are so many John Williams it those start to get confusing. Here's the list of the musical John Williams who I know about (don't even think about the telephone book): I too suffer from a fairly common name... but it really isn't all bad! And especially after seeing that list!!! In addition to me (which is really pretty arrogant when you think about the list) I've run across a bunch of Bill Thompsons in the Pro-Audio/MI/Music field. Some that I remember include the founder of Ashley Audio, one of the senior guys at Analog Devices (not sure what his role there is these days), the road manager for Jefferson Starship, the QA manager at Line6, and at least three other studio owners. It's a lot of fun at the AES show! Bill -- Bill Thompson Audio Enterprise KB3KJF -- "Most of us think of mathmatics as those chicken tracks-little wiggle signs. That isn't math! That's the fossil remnants of a thought... Math is structured learning." Richard Heyser -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Johnny Williams
Rafael Velasco wrote: He was born in Melbourne, Australia in 1941. At least that is what I read at http://www.griot.de/biojohnwilliams.html Thanks... I stand corrected! Cool site too!! Bill -- Bill Thompson Audio Enterprise KB3KJF -- "Most of us think of mathmatics as those chicken tracks-little wiggle signs. That isn't math! That's the fossil remnants of a thought... Math is structured learning." Richard Heyser -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Johnny Williams
Rocky Road wrote: Could you be referring to John Williams the British classical guitarist and founder of Sky?? I always thought of him as an Australian. I'm not sure why. Was he born in Australia? I honestly don't know for certain. I am reasonably sure I read somewhere that he was British, but that particular brain cell could be damaged! I'll do some homework... Bill -- Bill Thompson Audio Enterprise KB3KJF -- "Most of us think of mathmatics as those chicken tracks-little wiggle signs. That isn't math! That's the fossil remnants of a thought... Math is structured learning." Richard Heyser -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Johnny Williams
David Hage wrote: On 4/1/05 6:00 pm, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: There are two John Williamses IIRC--one a jazz pianist and one a movie composer. Likewise with John Eaton-one jazz pianist, one composer. Jim "no relation to either" Williams If you are referring to "Johnny Williams" the jazz pianist around in the early 50's they are one and the same. Could you be referring to John Williams the British classical guitarist and founder of Sky?? Bill -- Bill Thompson Audio Enterprise KB3KJF -- "All truths are easy to understand once they are discovered; the point is to discover them." Galileo Galilei. -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: OT: Who are you?
Hello Michael... So you are the guy I need to thank for MusicXML eh??? Well, thanks! I was introduced to this cool tool a couple of years ago when I needed to scan in some music, and the only solution that I could rely on was SharpEye, Finale, and MusicXML. I doff my cap in your general direction!!! I'll get to the off-topic topic shortly... Bill -- Bill Thompson Audio Enterprise KB3KJF -- "All truths are easy to understand once they are discovered; the point is to discover them." Galileo Galilei. -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: 'Classical music' what is it?
Dennis Bathory-Kitsz wrote: At 01:57 PM 10/15/04 -0600, Jane Frasier wrote: I have been asked by some non-musician friends what the definition of classical music is. How is it different from non-classical music. Ow ow ow. Stop my lips from speaking! Mmewuvdascdjaldlasjlf.. Phew. Just in time. Anybody else? Oh heck, it's Friday afternoon, I'll take a stab... As another poster pointed out, there are periods of art/music history that are already more-or-less agreed upon, such as the baroque period, the romantic period, etc. Based on that timeline classical music is generally agreed upon to be from those periods, which is circular reasoning to a point, but since people like labels it works. Modern music is a little more difficult to classify simply because we don't have the frame of reference. One of the things I remember from my junior high school music classes is that classical music was defined, in part, as music that stood the test of time. That is, we were still listening to it hundreds of years later. But I remember that same teacher explaining to us that very little popular music of the 60s and early 70s would survive that same test of time. Hmmm... In college we dug a little deeper, and we looked at the "popular" mechanisms that formed the framework in which "classical" music was created. Which led to another attempt to create a dividing line, the so-called "serious" music vs. popular music. Serious music had some mystical power that we couldn't really define! For my own meager attempt to categorize my record and cd collection I tend to create the line by whether it is the composer or the artist that gets top billing. Certainly folks like Bernstein and even John Williams are more likely to be the draw than the orchestra that performs them. (Of course there are recordings of certain "classical" pieces I buy specifically because they were performed by the London Symphony Orchestra or the Philadelphia Orchestra or whatever - this doesn't really blur the line because it is still the composition that I am most interested in.) Conversely, I really don't want to hear a cover of Chicago Transit Authority, I want to hear the boys who created it. The same is true of folk artists, blues artists, pretty much any popular music. Jazz, of course, makes a mess of that whole theory, since there are both pieces and artists that get the limelight. However, at least for the purpose of me finding a specific album, my composer vs performer concept helps. I mean you have to have some name by which to alphabetize things... don't you? In the same line as the serious vs popular, jazz, at least the stuff that the serious jazz magazines write about, is not nearly as accessible as pop. Could there be a dividing line based on accessibility? I don't think so, I think that borders on arrogant. Almost anyone can learn to appreciate classical or jazz music, I'm not certain the same is absolutely true for pop music! For one example, let's look at artists like the belly baring blondes or the boy bands... they don't write their own music, they don't provide their own backing tracks, and they are not taken particularly seriously by anyone over the age of about 14. (And yes, I am very aware of the history of labels like MoTown... different rant for a different day). Will I ever learn to appreciate the music my 14 year old step-daughter listened to? I'm not sure, but I sort of hope not. Which is not to suggest that I dislike good pop music. I admire anyone who can write a great hook. However, I didn't hear great hooks in that stuff. For another example, examine rap. I'm not about to argue the social issues, but the general level of anger, hate, etc, present in a lot of the music makes it inaccessible to me. There are rap artists I really like, but they tend to go past the boundaries of anger and hate. Check out "Back on the Block" by Quincy Jones if you want to hear what can be done in this idiom. As my final example take a look at all the ambient and soft jazz stuff. I love experimental and electronic music, but I don't get the majority of the ambient music I've listened to. (Echoes is produced locally, and I do listen to it, and I even like some of it, but a lot of it gets past me.) And soft jazz? UGH! I just don't get the appeal of that stuff. So, can any person learn to appreciate any musical form? Is that limited to "serious" music? Heck if I know! Have a great weekend... Bill -- Bill Thompson Audio Enterprise KB3KJF -- "All truths are easy to understand once they are discovered; the point is to discover them." Galileo Galilei. -- ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Shifting notes around...?
Hi there: For reasons I won't bore you with, I have one line of a multi-line score where everything is shifted to the left by two quarter-notes. Is there a way to insert those two quarters at the very beginning and realign it all? The help stuff doesn't offer much of any help. I am poor and cheap enough to be using FinMac2000c on OS9.1, FYI. Bill Spencer in somewhat autumnal NH If you don't go to other men's funerals, they won't go to yours. --Clarence Day ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] "Crazy For You" full score?
John Howell wrote: However, I know of NO Broadway show that has a full score (Partiture to the librarians involved!) available, or even in existence. I suspect that there was one and only one, R.R.Bennett's original, probably in pencil, and only the various copyists have ever seen it. Certainly none of the shows we've done as our summer musicals (13th year this summer) has had a full score. Everything is Piano-Conductor, which is quite all right for conducting, but of no real help in rehearsals! The orchestral parts for "My Fair Lady" are--surpise!--actually typeset, but still have lots of errors and a great many notations that do NOT match the piano-conductor and do NOT match other books. The typesetting is great: more notes per page, easier to read, fewer page turns. The proofreading still leaves much to be desired, and of course NOBODY ever compiles and sends out lists of errata, so every production has to reinvent the wheel. This thread has been great reading, though I've not worked on a musical in many many years. This last bit, thought, really got my attention. I played in pit bands for a number of years (sometimes miss it) strictly at the academic/amateur level, and we ALWAYS compiled a list of errata, which we sent to rental company when we returned the materials. I don't recall ever seeing one, which was probably why we created it! Odd that this information isn't shared!!! Bill -- Bill Thompson Audio Enterprise KB3KJF -- "All truths are easy to understand once they are discovered; the point is to discover them." Galileo Galilei. -- ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 development cycle?
Eric Dannewitz wrote: Aaron Sherber wrote: I'm not trying to be the king of Finale, and you're welcome to say whatever you like on this topic. My point was just that when we're discussing the bugs in Finale, the fact that you haven't encountered those bugs doesn't change the fact that they're still there. But does that mean that everyone encounters them? No. Oh, and now I can comment this topic even though your previous email said I shouldn't??? I've avoided responding to this thread because I knew things would get heated. But if I might interject for a moment... I've been beta testing products in this arena since the late 1980's. Bugs are extremely frustrating things, and there are bugs that go out of their way to set new records in frustration. Bugs exist. Some bugs bite some people, but leave others alone, regardless of the features that everyone uses. Sometimes bugs are tied to the most arcane issues, like the version of a shared library that got installed by some other package, or the version of a driver, or even hardware device versions. There are two issues that have to be considered. Most folks use the terms severity and priority to distinguish these issues. For example, I had a bug where my system simply would not run the program in question (my apologies for dancing around specifics, there are NDAs involved) in a certain configuration. Out of a dozen people with very similar configurations (same motherboard, sound card, operating system, etc) I was the only one with the problem. It was, however, a fairly high priority bug for the developer because it could cause a lot of customers headaches. It was severe to me, but it wasn't severe, or even reproducible to other testers. In the end they found it, beats me how! So, if Aaron has experienced a bug, and can reproduce it, it is severe to him. If Eric has never seen this particular bug it isn't severe to him. This does not imply that either user uses more features, that is one possible explanation, but it isn't the only one. And if you are Aaron, you get really really steamed when other folks don't have the same problem. And if you are Erik, you get annoyed at all the attention this bug gets from Aaron, and maybe others, cause you have other bugs or features that interest you. And if you are MakeMusic, you are pulling your hair out! One of the single most difficult decisions a business has to make is which bugs and feature requests to address for any given version or patch. One factor is the amount of noise in the user community, and that is often a very fair metric (unless you are in the minority!) However, these software companies are often infested with technical folks, and technical folks have a whole nother view of the world. Among other things, they strive to write bug free code. They also usually have opinions on what is, and what is not important. And they are seldom shy in expressing them!!! Much to the chagrin of the marketing and sales and product management folks. This list, and resources like it serve a very important purpose... they give us, the users, a voice. A very loud voice! And we need to use that "feature" as best we can. Part of that is not attacking eachother, or the folks at MakeMusic. It's hard not to attack sometimes. I'm not a Finale power user by any stretch, but when it doesn't do something I want it to do I can get quite frustrated. Sometimes it is a product feature I just haven't figured out yet, and sometimes it is a bug, or a missing capability. Doesn't matter a whit in the heat of the moment... I get frustrated. (Fortunately my dog weighs about 80 pounds, so I couldn't kick him if I wanted to!) So, my humble suggestion to everyone who wants to storm the MakeMusic castle (and it isn't completely undeserved)... take a moment, and then lets work together to get all of our requests and complaints heard. It is almost as important as the sharing of knowledge that goes on here. Thanks, by the way, for all the knowledge I've gleaned from this group since I became a Finale user. Someday I hope to pay it back! Bill -- Bill Thompson Audio Enterprise KB3KJF -- "All truths are easy to understand once they are discovered; the point is to discover them." Galileo Galilei. -- ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Playback of tied accidentals
Hi there: I have hunted through the archives some for this but have not seen it so I hope I am not asking something already discussed to death. I use Finale 2000c for Macintosh (9.1), and have just figured out how to get it to play things back. (Simple pleasures for simple minds.) But if there's an accidental tied across the barline, Finale seems to forget about the accidental and returns to the "natural" pitch in the new measure, which makes for some very interesting harmonic effects, as you can imagine. What's going on? -- Bill Spencer in NH Red meat is NOT bad for you. Now blue-green meat, THAT'S bad for you! --Tommy Smothers ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Playback question
Hi there: I have never done anything with MIDI or playback at all, but I have a feeling I ought to be able to play back scores that I entered at the computer keyboard with Speedy Entry. But when I click the green playback button nothing happens. What do I have to set up for this to work, or won't it? I am using 2000c for Mac with 9.1 on a B&W G3. Sorry to be dense and thanks for your help. -- Bill Spencer in SPRING-LIKE New Hampshire Red meat is NOT bad for you. Now blue-green meat, THAT'S bad for you! --Tommy Smothers ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perl Programmers using Finale (Win)?
John Poole [Finale Discussion] wrote: Are there any Perl programmers out here using Finale on Windows? I'm exploring the idea of trying to integrate Finale with Perl through extensions and wonder if anyone here shares the curiousity or has already gone down this path. It will be no small task, but the rewards (i.e. object oriented control) could be significant. Hi John, I am reasonably conversant in both Perl and Finale 2004, if I can lend a hand I'd be happy to. Bill (who sadly can't quite envision why Finale and Perl should talk to each other, but that never stopped him from exploring before - think Arexx and B&P Pro) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
