[Finale] Finale/Sibelius
Hi All, It's been an interesting threat on the two programs. My use of Finale is almost always for writing big band jazz charts for myself. Occasionally I do a lead sheet. I am not a copiest and I have no clients and I don't work for any publishers. Everyone like my parts because of clarity and especially page turns. I have been using Finale since version 3. Given all of the above, would the use of Sibelius get the job done without headaches? Thank you all for your continued guidance: Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] way off topic
Johannes Gebauer wrote: On 20.06.2007 Bob Florence wrote: Do you all know the term "underscore" as used on a computer keyboard. I do. However, a friend told me he always had trouble using this one. It's shift dash_. I want to use this in my e mail address. A long time ago I had a compuserve address, which began J_Gebauer. It was by far the worst email address I ever had, because it is almost impossible to explain it to a person over the phone, who isn't a computer expert. "Underscore, what is that?", "What do you mean a line, a dash?" My advice, don't do it. Use a dot instead, much easier. Johannes Thank you BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] way off topic
Do you all know the term "underscore" as used on a computer keyboard. I do. However, a friend told me he always had trouble using this one. It's shift dash_. I want to use this in my e mail address. Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] e mails
Hi Darcey, Chuck, Christopher and the Finale group. Is our Finale group really quiet? I used to get a lot more messages. I sent one to the group this morning and I did receive it. Thanks, Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] test again:
Is this group unusually quiet? This isn't the group I know. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] test
test Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] inserting measures
Harold Owen wrote: Hi Bob. I had some trouble inserting some measures while in Page View FinMac2007). If I did it in Scroll View, went to the first measure, and updated the layout it would work. Another work-around might be 1) add the two bars at the end, 2) cut them using Cmnd-X, then 3) go to the place you want them and use Cmnd-I to insert them. It's a shame that things tend to get flaky after 200 bars or so. Hal >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Hi Hal, I got the same solution from Christopher Smith. Thanks for the reply, BF Hi All; I have a piece for jazz band that is 641 measures long. It goes back and forth between 6/4 and 3/2. I want to add 2 measures in the middle.It keeps shutting down . Is this not possible. I am on Mac Fin 2007. Thanks, Bob Florence ___ 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] accidentals
Christopher Smith wrote: On Jun 2, 2007, at 4:49 AM, Bob Florence wrote: Hi All, Is there a bug with accidentals? I'm in the key of G Major. However, I'm getting a lot of B#s and E#s and double flats and double sharps. I have not encountered this before. If you're talking about Fin2007, then yes, there is a huge bug with enharmonics in Speedy, when flipping them using the 9 key. They suggest using Simple until they work it out. But you didn't say that you had flipped spellings. Could your Enharmonic Spelling options be set to something funny? Christopher >>>>>>>>>>>>>>>>>>>>>>>>>>>>> something funny like what? BF ___ 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] accidentals
Hi All, Is there a bug with accidentals? I'm in the key of G Major. However, I'm getting a lot of B#s and E#s and double flats and double sharps. I have not encountered this before. Thanks, Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] inserting measures
I've tried the usual way of inserting measures. I keep getting a spinning 8th noet. Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] inserting measures
Hi All; I have a piece for jazz band that is 641 measures long. It goes back and forth between 6/4 and 3/2. I want to add 2 measures in the middle.It keeps shutting down . Is this not possible. I am on Mac Fin 2007. Thanks, Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] inserting a measure
Christopher Smith wrote: On May 26, 2007, at 1:49 PM, Bob Florence wrote: Hi All: While inserting an empty measure in a piece, I get a spinning eight note and the a message saying that Finale has shut down. This happened to a friend of mine just recently in FinMac2007. The file has been corrupted somehow. I was able to help him out of it in the following way: Select all, then save as a clip file (on Mac that's hold down Opt while cutting from the Edit Menu, might be Alt on Windows.) Delete every measure in the piece except one (this should expunge the corrupted part.) Select this measure in all staves. Insert from the clip file (on Mac, hold down Opt while selecting Insert from Clip File from the Edit Menu, on Windows it's probalby Alt again.) Delete the last measure. You have now probably lost all your double bars, and maybe measure-attached expressions, but at least you will be able to insert and edit, which you couldn't before. Christopher >>>>>>>>>>> Thanks, Christopher, BF ___ 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] inserting a measure
Hi All: While inserting an empty measure in a piece, I get a spinning eight note and the a message saying that Finale has shut down. Help; Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] musicians/sea
___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] drum paer
Christopher Smith wrote: On Sun, Apr 1, 2007, Bob Florence <[EMAIL PROTECTED]> wrote: To you who are jazz composers/arrangers: how long would take you to create a good drum part in Finale? I'm thinking od the length to be somewhere 400 bars. For me this is the most difficult chore. Bob, I completely agree with you that drum part notation is a royal pain in the mouse finger, especially if you aren't using Speedy with a MIDI keyboard. I have a few things I do to speed up the procedure that I can share with you; maybe you'll find them useful. Know that I generally fill in drum parts last, so this might affect your workflow. A 400 bar big band chart might take me half a day if it is complex, an hour if it isn't. If you are using the default Drum instrument from the Setup Wizard, as I am (I gave up finally with all my custom maps, as I had to redo them so often) then knowing the General MIDI map for drum kit can help when using Speedy to enter parts. Mostly I use the bass drum (low C 2 octaves below middle C) snare (the D a second above the bass drum) and cymbals (I use only the one on Bb a 9th below middle C, and use text expressions to indicate hihat, ride, bell of cymbal or crash.) Cymbals and snare (all parts played with the hands, in fact) go in Layer 1 (they default to stems up when there is something in another layer) and bass drum goes in Layer 2 (defaulting to stems down. I generally don't need to indicate hihat stomps in my music, but if I did, layer 2 with the bass drum is where they would be.) If I need other instruments, then I haul out my handy-dandy drum map, which I created for the benefit of my students (Okay, and for me, too!) to know what key to hit to get them on the part. Sometimes I write snare and bass drum together in layer 2, when the kick/snare relationship is clearer this way (Iike in a lot of rock and funk,) The advantage to this entry method is that X heads show up automatically when you enter a cymbal (or a snare when you enter Db instead of D) and that they play back more or less correctly, which helps when I have to communicate with clients. Cowbell defaults to a triangle notehead, too. Any other changes to the map I have to edit manually, which I try to avoid these days as being too time-consuming. I have set all my accents to show up "Always Above Note" as is traditional in jazz notation, so that when I enter them on a drum part they politely go above the staff where they are legible. Classical accents end up all over according to where the stems point, so I would have to manually drag them (Bleah!), or else create copies that go above the staff when I enter them with the metatool. Ensemble cues go into the reserved Layer 3 for me, which I have set in my default file to Always have stems up, ties in same direction, and shift rests 6 steps up, regardless of whether there are items in other layers. Accents, of course, go above automatically. Sometimes I copy the lead trumpet part into the drums (with accents, dynamics and all) and use the Single Pitch plugin to change them all to G5, which is the space above the staff, then Mass Edit Move Layers to change them all to layer 3. Once all the cues are in, I select Show Active Layer Only, (because edits will only apply to layers that are SHOWING), select the entire drum staff in Mass Edit by clicking the clef, and apply Mass Edit menu>Change>Note size... 75%. Possibly the Create Cues plugin will do something similar, but you would still have to run the Single Pitch plugin. I always have to alter Slash Notation and RHythmic Notation in the Staff Styles so as to Show Items In Other Layers, as well as Items Attached to note in other layers, otherwise my cues won't appear. I generally enter quarter rests in Layer 1 when I have slashes, so that I have something I can attach dynamics and other indications to as note expressions. Enter one measure and use the new copy behaviour to get to the rest of the chart without copying everything else, too. You know about the metatools for Slash and Rhythmic Notation? S and R respectively in newer versions of Finale. You can also apply it to partial measures, which is a real lifesaver! I only wish I had a single key click to toggle Partial Measures on and off. Once I have entered a section of music, I use Mass Edit copy to get it to the rest of the chart. The key commands for copy and paste, again, save mondo time here. Make sure you copy everything EXCEPT measure expressions, as you don't want rehearsal letters copying and tempo markings multiplying like rabbits. About note expressions: the auto-positioning is great for drums! I generally set a Note-attached expression to be -.2 inches below the Above-Staff Baseline, but also .2 inches ABOVE the entry, so that it can be as close as possible without ever colliding. Once I have done this for one expression,
[Finale] drum paer
To you who are jazz composers/arrangers: how long would take you to create a good drum part in Finale? I'm thinking od the length to be somewhere 400 bars. For me this is the most difficult chore. I eagerly await your response. BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] transpose chord symbp;s
Eric Dannewitz wrote: Mass mover too, select the area you want to transpose. Mass Edit Menu->Change->Chord Assignments->Transpose It also seems to take the setting from whatever you used last in the regular transpose dialogue box as well... >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Thanks, Eric, BF Bob Florence wrote: Hi All; I know this has been covered many times. How do I transpose chord changes? Thanks, bob Florence ___ 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] transpose chord symbp;s
Carl Dershem wrote: Bob Florence wrote: Hi All; I know this has been covered many times. How do I transpose chord changes? Thanks, bob Florence I've always been able to just Cut/Paste from Piano/Guitar staves into whatever horn line is going to be playing those changes, and the transposition handles itself. \ cd >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> That didn't work for me. I finally did in mass edit. Thanks, BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] transpose chord symbp;s
Hi All; I know this has been covered many times. How do I transpose chord changes? Thanks, bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] cymbal sign
Hi all; For those of you who use the Bill Duncan fonts, where is the figure that indicates a cymbal? Isn't it a little x? Thanks, Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] PRINTING 9 1/2 X 12 1/2
Hi All: I am now ready to print my first part using MacFin 2007C. Under file in page setup I used to have a 9 1/2 X 12 12 setting. It's gone. How do I get it back? Thanks; BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] mass mover - partial measure
Well I did it. I dragged a section of music with partial measure left on. Everything is off one beat. This is from 278 - 299. Is there a quick fix. I WILL NEVER USE PARTIAL MEASURE AGAIN Bob Florence MacFin 2007c ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] 6/4 & 3/2 - articulations - Bill duncan's motto
Hi All; After reading your thoughts on the above subject, I have put my whole piece is 6/4. If it has a feeling based on 2 dotted half notes, I'll notated it that way. If it feels like 3 half notes then I will notated it that way. This is a jazz piece and must be treated that way. The whole subject came up because I asked a studio copiest. The subject of articulations was brought up. If I don't have all of the articulations shown, then it can take a lot of time answering questions. There are times when I will write 2 quarter notes. some of the band will have long-short. Others will have short-long. I love to do this on unisons. However, it does cause a lot of questions. I usually tell everyone up front that the articulations are correct. For me it comes down to Bill Duncan's rule. "Be impossible to misunderstand". Thank you all for a wonderful response. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 6/4 & 3/2
Chuck Israels wrote: On Mar 3, 2007, at 5:50 PM, David W. Fenton wrote: How do you resolve those things without endless rehearsal? What if two players have the same passage but interpret the notation slightly differently? Or in contradictory ways? Ah, I think that happens often, and sometimes produces unexpectedly beautiful results. One of the charms of this method of music making. The conflicts are always resolved on the main pulses. The pushes and pulls are a big part of the thrill of the music. Chuck Yo, Chuck BF My viol consort spends tons of time deciding how to interpret passages that have implied rhythmic structures that are not notated. If we didn't, our playing would be incredibly boring (like 99% of the viol consorts you've probably heard), but it *does* take a great deal of time. --David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale 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] 6/4 & 3/2
Christopher Smith wrote: On Mar 3, 2007, at 4:52 PM, Darcy James Argue wrote: Bob, Just leave everything in 6/4, and definitely *don't* put different sections in different time sigs. If it were a 3/4 piece, you wouldn't switch to 6/8 every time the rhythm section starts playing several dotted quarters in a row, right? Same principle applies. In jazz, we superimpose different subdivisions of the beat over the basic meter all the time. The music becomes *more* difficult to read (not less) if you try to spell out all the different subdivisions with a bunch of time signature changes. Took the words right out of my mouth. Jazz is all about the metric dissonances. We are used to it, and need to know what the ground rhythm is in order to play all the subdivided accents correctly. C. > Thanks, Chris: I knew that was correct. I think I was influenced by a studio copyist. Bob F. ___ 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] 6/4 & 3/2
To all of you jazz composers: I'm writing a piece in 6/4. I had originally written it in 3/4. However, 3/4 became a nightmare for page turns. There is a large section that has the feeling of 3/2. So I put that section in 3/2. Parts of the piece have woodwinds in 6/4 and brass in 3/2. My question is: should I put the brass an 3/2 and the woodwinds in 6/4 and keep changing back and forth when the feeling changes. The piece is about 300 bars is also a nightmare catching all of the courtesy accidentals because of no key signature. At the end of May this will be played all of my favorite players in Los Angeles. They all no me very well and can sightread "flyspecks". The piece is complex and anything I can do to simplify would be very helpful. Thanks to you all; Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sibelius music group: very off topick
Eric Dannewitz wrote: Nooo, say it ain't so Bob! >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> I'm not leaving. BF Bob Florence wrote: Hi All: I trust that I am not breaking any rules with this question. Is there a Sibelius group like this one? You may answer privately if you choose. Thanks: Bob F. ___ 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] Sibelius music group: very off topick
shirling & neueweise wrote: I trust that I am not breaking any rules with this question. rules no, hearts yes. sigh. official list: http://www.sibelius.com/cgi-bin/helpcenter/chat/chat.pl?groupid=3&guest=1 http://www.sibeliusforum.com/forums/faq.php some of the official dudes are apparently also on this list: http://tech.groups.yahoo.com/group/sibelius-list/ send us a postcard. >> I'm not leaving finale. BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Sibelius music group: very off topick
Hi All: I trust that I am not breaking any rules with this question. Is there a Sibelius group like this one? You may answer privately if you choose. Thanks: Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] insert measures
Carl Dershem wrote: Bob Florence wrote: Hi All: I'm working on a jazz score for 6 saxes, 5 trumpets, 4 trombones , drums, guitar, piano and bass. Somehow my saxes and my brass are out of sync on the score. Is it possible to insert measures to just the saxophones? That way I could sync up all of the horns. Thanks: Bob Florence MacFin 2007b The last time something like that happened to me, I had to do a Cut/Paste, and just manually move the screwed up lines by hand. As far as I can tell, "Insert measures" works on all staves, instead of just one. cd >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Hi Carl; Thanks a lot. That's NOT what I wanted to hear. :-) Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] insert measures
Hi All: I'm working on a jazz score for 6 saxes, 5 trumpets, 4 trombones , drums, guitar, piano and bass. Somehow my saxes and my brass are out of sync on the score. Is it possible to insert measures to just the saxophones? That way I could sync up all of the horns. Thanks: Bob Florence MacFin 2007b ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] music out of sync
Carl Dershem wrote: Bob Florence wrote: Hi All: The piece I am working os in 6/4 from bar 1 to bar 192. It then changes to 3/2 from bar 193 until the end. At bar 231 the saxes become out of sync with the brass. There are 2 altos, to tenors and 2 baritones. The saxes are out of sync as a section. This has happened 3 times. When I begin work in the morning, I always save what I am working on as the title and the date. I have only had this happen with Finale/Mac 2007 a and b. I'm glad I have no deadline as it is quite a chore to fix the problem. Thanks for any help. Bob Florence How far out of sync? Only on playback, or are the actual notes shifted? cd >>>>>>>>>>>>> The actual notes are shifted. BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] music out of sync
Hi All: The piece I am working os in 6/4 from bar 1 to bar 192. It then changes to 3/2 from bar 193 until the end. At bar 231 the saxes become out of sync with the brass. There are 2 altos, to tenors and 2 baritones. The saxes are out of sync as a section. This has happened 3 times. When I begin work in the morning, I always save what I am working on as the title and the date. I have only had this happen with Finale/Mac 2007 a and b. I'm glad I have no deadline as it is quite a chore to fix the problem. Thanks for any help. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] ot: Karen Guthery
Hi all: Does anyone have an e mail address for Karen Guthery? You can answer privately. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] error message
While attempting to open "Fluffy" 1-26-07, the file manager reported a -39 error. I completely baffled by this one. "Fluffy" is the name of a piece I am working on. 1-26-07 is when it was last saved. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] opening finale
I'm still having a problem opening FinMac 2007b. All I get is a spinning 8th note. Thanks: Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] whirling 8th note.
Hi All; I have had this problem before. I get a whirling 8th note when opening a file. It seems to be in finale's default. Can I correct this by reinstalling from the 2007 disc or do I do it from 2007b which is what I'm using. Will I lose everything? Thanks; Bob Florence FinMac 2007b ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] plugins
Bob Florence wrote: This is probably an easy one. How do I get Robert Patterson's plugins and TG plugins to show together in a music file? Thanks; Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale I fixed it. BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] plugins
Aaron Sherber wrote: At 06:39 PM 1/19/2007, Bob Florence wrote: >This is probably an easy one. How do I get Robert Patterson's plugins >and TG plugins to show together in a music file? I'm not sure what you mean here. The plugins are not part of the file; they sit on your hard drive and load along with the application. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Thanks Aaron. I figured it out. Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] plugins
This is probably an easy one. How do I get Robert Patterson's plugins and TG plugins to show together in a music file? Thanks; Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] beam
Johannes Gebauer wrote: Dear Bob, I think you already got the answer. May I politely ask that attachments are not sent to the list? I know most people have broadband access these days, and your PDF was very small, but I would really prefer as a general rule not to have attachments sent to this list at all. Please upload your files to a website if you want others to see or download it. Things too easily get out of hand. The other day one of the orchestras I play for sent out electronic christmas cards, only this one was more than 4 megs in size, and I happened to be on a very slow dial up connection at the time. This email turned out to be a real nuissance, especially as I couldn't tell what it contained before I downloaded it completely. It could have been important. No harm done, Johannes >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Thank you, Johannes. This is the first time I've sent an attachment. At least it was small. Lesson learned. Bob F. On 07.01.2007 Bob Florence wrote: Hi All; I am enclosing a measure pertaining to the last beat. It has 32nd notes. How do I show the third beat split as it is but having the bottom line continue all the way across? I hope I made this clear. The question is more difficult to explain then fixing the problem Thanks; Bob Florence FinMac 2007a ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] beam
Aaron Sherber wrote: At 09:10 PM 1/7/2007, Bob Florence wrote: >Thanks for the help. It worked perfectly. >Is there a way to copy the break into other parts. It happens on three >woodwind parts. Under Mass Edit | Items to Copy, try Secondary Beam Breaks and Stem and Beam Alterations. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Thank you all. It's done Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] beam
Preston Keys wrote: In extending the beam from one group of 32nds to the other group of 32nds, I had to first join the two groups together by going into Speedy Entry, placing the cursor on the first note of the second group (the c) and pressing the forward slash "/" key. Then you can break the resulting "secondary beams" by going into Special Tools and selecting the Beam Breaking Tool, which in my version shows a 16th-8th-16th icon, then click on the box above the c, select Break Only, 16th, 32nd, then OK. Preston Keys >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Hi Preston: Thanks for the help. It worked perfectly. Is there a way to copy the break into other parts. It happens on three woodwind parts. Bob Florence ___ 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] beam
Hi All; I am enclosing a measure pertaining to the last beat. It has 32nd notes. How do I show the third beat split as it is but having the bottom line continue all the way across? I hope I made this clear. The question is more difficult to explain then fixing the problem Thanks; Bob Florence FinMac 2007a beam example.pdf Description: Adobe PDF document ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] drum notation (jazz)
Darcy James Argue wrote: Hi Bob, I'm personally very wary of cuing bass parts below the drum staff, as often the drummer's first instinct is to kick the downstem cues with the bass drum -- HARD. This can be okay in a "shout chorus" type situation if the bass is heavily reinforced in e.g., bass trombone, LH piano and/or bari sax. But if the bass player is the only one playing the cued part, and the drummer doubles it on the bass drum at anything above a ghost of a tap, the bass pitches will be inaudible. Despite the many warning indications I include on my parts -- i.e. "CUE ONLY -- DON'T KICK," even very good drummers will often ignore this warning until I point it out, and even then they will try to revert to kicking them with the bass drum when they think I'm distracted with other things. I don't know why drummers love covering up the bass part so much, but they evidently do. If there are no conflicting cues above the staff, I will often put the bass cues up there. It's totally nonstandard and drummers complain about this all the time, but the fact is they play better when the part is laid out that way, catching the cued bass accents with a *contrasting* drum or cymbal, instead of the damn bass drum all the time. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY >>> Hi Darcy: I've never encountered the drummer problem. However, the piece I'm writing is for a specific player. Thanks: Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] drum notation (jazz)
Thanks to Chuck, Christopher. & Carl: My question was about indicating what the bass player is playing if his part switches to something other than playing time. I talking about the bass part have cross rhythms. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] drum notation (jazz)
Thanks Chuck: I have a fast piece in 3/4. Occasionally I will write the bass part half quarter/rest half etc. I like to have this in layer 2 for drums. He may have other things going against that pattern but at least He knows what's going on and can make a choice. I've never thought a lot about this. It is a lot of work. Thanks, again; Bob F. For those of you who are jazz composers/arrangers (Darcy, Christopher S, Carl D, Chuck I). I do drum parts with slashes in layer 1 and cues in layer 4. It it still a common practice to put any bass cues in layer 2? Thanks to you all: Bob Florence ___ 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
[Finale] drum notation (jazz)
For those of you who are jazz composers/arrangers (Darcy, Christopher S, Carl D, Chuck I). I do drum parts with slashes in layer 1 and cues in layer 4. It it still a common practice to put any bass cues in layer 2? Thanks to you all: Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] ScoreGroove/shamelessly wandering off topic
Do you know Ira Liss? It was with his band. Charlie McGhee is the drummer in question, and having played with a good many good drummers (including Louie Bellson, Nick Ceroli and Jim Plank among them), I'd put him in that league. Not being a regular in Ira's band, I mostly only know the others in the brass section by name - Tim Hall, Paul Kurokawa, Gary Bucher ... those guys. Not generally as good as your band, but a pretty decent ensemble. cd >>>>>>>>>>>>>>>>>>>>>>>> Hi Carl: The name Ira Liss is quasi familiar. However, I don't know any of the other names. I was born in LA, grew up here and yet I still meet people who have been here as long as I. You mentioned the rehearsal being in Southern California. That's a big area. What part of So. Cal.? There are so many great musicians in LA county and Orange County. I know many of them. However, I live in Ventura County which is 40 miles northwest of downtown LA. Thanks to all of the rest of you for putting up with this diversion. Bob Florence: and now back to our regularly scheduled programming. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] ScoreGroove
Carl Dershem wrote: A-NO-NE Music wrote: Matthew Hindson fastmail acct / 2006/12/31 / 06:22 PM wrote: Has anyone used it? Opinions? Just like the Latin Perc plug-in, this isn't the way I write the drum/ perc pert for my musicians to read. The notation style differences aside, writing drum/perc parts can not be too specific if you want to take the advantage of the groove that the musician you hired brings into the music. I played a big band rehearsal a few months back where the leader had brought in some new music that was written by a neighbor. The music was brought in as a favor, and the composer was completely self-trained, and had bought Finale as a help, and had used the "Rhythm section generator" to create much of the rhythm section parts (and much of the harmonization in the horn sections, or at least it souded like it to me). The drum parts were, to say the least, vastly overwritten. The drummer in that band (one of the best in Southern California) took one look at the drum parts and began to giggle uncontrollably. The leader didn't notice, as he was passing ot the rest of the parts - I only noticed as I was playing second trombone that night, and know him WAY too well - but the humor of the situation was irresistable. When the leader counted the first tune off, the drummer... how to say this diplomatically? Went into a spasm, and tried to play the part as a drum part is to be played, while leaving in the notes as written. It was very busy, and very loud. We settled on "Play a samba". Anyway, drum parts are a black art, but should be hints of what needs to be played - not beat-for-beat maps. cd >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Hi Carl: Great story. Who was in the band? Reply privately unless you want everyone else to know. Happy New Year to All, Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: dumb question #1
Richard Yates wrote: In 2007a I can't even find Patterson plug ins or TGtools I find TG Tools as the last item in the plugins menu and Patterson's under 'Note, beam and rest editing'. RY Mine weren't there, They used to be. Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: dumb question #1
shirling & neueweise wrote: shouldn't an updater only update the programme? good to know that it doesn't. in any case normally you can choose custom install (no? haven't updated yet), which especially long-term users probably should do in any case, i would think. In 2007a I can't even find Patterson plug ins or TGtools Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FAN anomaly
Chuck Israels wrote: In converting one 2006c file to 2007a, all ties are shifted away from the note heads (far away). Seems that this would be a FAN problem, but it hasn't come up in other similarly converted files, and there doesn't seem anything obviously unusual about this one (simple lead sheet). Maestro FAN files for the notes in question seem correct. Ideas anyone? Thanks, Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com > I've also had the problem of articulations being too high above the notes. I like my articulations above the note. Bob F. ___ 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] download 2007a
[EMAIL PROTECTED] wrote: At 2:26 PM -0800 12/20/06, Bob Florence wrote: I am on a Mac G5. Does it take a huge amount of time to download 2007a. It's telling me that it will take over an hour and a half. I am on a cable modem. I don't recall a download taking this long. The site must be busy. Mine's supposedly going to take over six hours now. Earlier today it was going to take over four days at 0.x KB/sec. I have DSL. >>>>>>>>>>>>>>>>>>>>>>>>> Many, many thanks. I feel much better. Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] download 2007a
Hi All: I am on a Mac G5. Does it take a huge amount of time to download 2007a. It's telling me that it will take over an hour and a half. I am on a cable modem. I don't recall a download taking this long. Thanks; Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Bill Duncan
Bravo, Karen! Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] "Be impossible to misunderstand".
The above sentence appears on page nine of Finale Productivity, a book by Bill Duncan, explaining the use of his fonts and his approach to music notation and engraving. He has aimed his process and philosophies at those composers, arrangers and copyists who work in the Los Angeles studio and musical theater scene. This is where the music has to be sightread perfectly on the first time around. We are the "Sight reading capital of the world". I can't tell you how often the above phrase enters into my life every day. Misunderstanding is running rampant in our everyday endeavors. I treasure this phrase as I treasure this dear man who has left us. I know that a couple of you, Karen Guthrie and Chuck Israel, have had wonderful encounters with Bill. for me, his approach is flawless. Check out his beautiful chord symbols. I know I am a better musician because of him. With much love and appreciation for you all: Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] [Fwd: spinning eighth note]
Original Message Subject:spinning eighth note Date: Wed, 29 Nov 2006 09:58:39 -0800 From: Bob Florence <[EMAIL PROTECTED]> To: finale@shsu.edu Hi All: I am on a Mac G5, 0S 10.4.8, MacFin 2006C. When I want to open a Finale file, I get a spinning eighth note. This has happened before. How do I get rid of it and open the file? Thanks: Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] spinning eighth note
Hi All: I am on a Mac G5, 0S 10.4.8, MacFin 2006C. When I want to open a Finale file, I get a spinning eighth note. This has happened before. How do I get rid of it and open the file? Thanks: Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MakeMusic inquiry on ChordSymbol?
[EMAIL PROTECTED] wrote: Dear Finale List Members: I was just informed by one of my ChordSymbol users, in inquiring about my plans to reengineer this product into a far more powerful and versatile tool, that some sort of message had been posted on the MakeMusic web site asking about how to contact me. Do any of you know about this? At any rate, here I am, open to queries, as we're still struggling to find a way to complete the last tenth of the engineering for our ear-training application, Hearing Tonal Music, on the marketing of which I plan to piggyback the far more versatile and powerful ChordSymbol 2. Also, feel free to pass along my contact information below to whichever MakeMusic person was trying to contact me. But please reply directly to me personally, as I no longer monitor the Finale List. Thanks very much. Best, jrc >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Hi John: Please tell me about your chord symbols. I live in Thousand Oaks. Thanks; Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] page turns - a puzzlement
Christopher Smith wrote: On Nov 15, 2006, at 4:46 PM, Bob Florence wrote: Christopher Smith wrote: On Nov 15, 2006, at 1:39 PM, Bob Florence wrote: If you are sending PDFs, then you are dependent on the people on the other end to print them properly. If you are sending paper by mail, it is just as well to tape them yourself (or get a low-paid underling to do it!) either in a proper accordian fold or in a booklet. For a booklet, you will need to print both sides of each page, working out which page pairs with the one on the back, and then tape them into a booklet by whatever means you have at your disposal. If you print onto 19 x 12.5, then that gives you a double page of 2 times 9.5 x 12.5, and you can centre staple the bunch down the fold with a long-arm stapler. It gets expensive, but lost rehearsal time is expensive, too. Christopher Thanks, Christopher; One more thing. Do I still do a cover page on the back of page 1? My printer will print both sides of a page. BF Bob, Sure you can, if you want. I tend to start my music on page 1, and only use a cover page if I can't get a page turn in until page 2. But you can certainly do whatever is best for you and your music. Christopher I do it the same as you. I thought that as a booklet you would have 2 pages open would you need a cover page on the back of page 1? Bob, If you are using a cover page, then technically IT is page one, and the music starts on the first LEFT hand page, which is page 2. If you start the music on the cover of the booklet (the way I usually do) then THAT is page one. Odd numbered pages have the page numbers on the right, while even pages are numbered on the left. So yes, if you have a cover page, it is on the back of the first page of music. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale It's Clear. BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] page turns - a puzzlement
Christopher Smith wrote: On Nov 15, 2006, at 1:39 PM, Bob Florence wrote: If you are sending PDFs, then you are dependent on the people on the other end to print them properly. If you are sending paper by mail, it is just as well to tape them yourself (or get a low-paid underling to do it!) either in a proper accordian fold or in a booklet. For a booklet, you will need to print both sides of each page, working out which page pairs with the one on the back, and then tape them into a booklet by whatever means you have at your disposal. If you print onto 19 x 12.5, then that gives you a double page of 2 times 9.5 x 12.5, and you can centre staple the bunch down the fold with a long-arm stapler. It gets expensive, but lost rehearsal time is expensive, too. Christopher Thanks, Christopher; One more thing. Do I still do a cover page on the back of page 1? My printer will print both sides of a page. BF Bob, Sure you can, if you want. I tend to start my music on page 1, and only use a cover page if I can't get a page turn in until page 2. But you can certainly do whatever is best for you and your music. Christopher I do it the same as you. I thought that as a booklet you would have 2 pages open would you need a cover page on the back of page 1? BF ___ 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] page turns - a puzzlement
If you are sending PDFs, then you are dependent on the people on the other end to print them properly. If you are sending paper by mail, it is just as well to tape them yourself (or get a low-paid underling to do it!) either in a proper accordian fold or in a booklet. For a booklet, you will need to print both sides of each page, working out which page pairs with the one on the back, and then tape them into a booklet by whatever means you have at your disposal. If you print onto 19 x 12.5, then that gives you a double page of 2 times 9.5 x 12.5, and you can centre staple the bunch down the fold with a long-arm stapler. It gets expensive, but lost rehearsal time is expensive, too. Christopher Thanks, Christopher; One more thing. Do I still do a cover page on the back of page 1? My printer will print both sides of a page. BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] "dog house"
Hi all; Please forgive my last 2 posts. They were meant for Christopher Smith. I trust you all had a goos laugh. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] page turns - a puzzlement
Christopher Smith wrote: Now I provide booklets rather than accordian folds when I get over 4 pages, and I NEVER let anyone else tape my charts unless I know they will do it properly. Christopher > One more thing: I've never done booklets. How do I do it? When I do a concert, I send untaped with some instructions. BF ___ 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] page turns - a puzzlement
John Howell wrote: At 12:23 PM -0800 11/14/06, Bob Florence wrote: Hi All: I like to set pages up as a book. If I can have only one page open, that's perfect especially if you are on a very crowded bandstand or in a very crowded orchestra pit. After that I like two pages open. In this case I do a cover page and print the first page of music on it's other side. for me that insures the player that there are two pages open. The problem occurs when sending parts (either Finale files or pdfs) to to another location usually a school. They don't even notice the cover page and often players will be scuffling with page turns. How do I make this clear to anyone who is taping parts together? Laying parts for page turns is a game and I am very strict about it. Thanks for any help. No system is completely idiot-proof! I hope you strongly advise them to print 2-page parts on 11" x 17" ledger paper, which some have access to and others do not, but as long as you send what amounts to separate pages, whatever the actual format, you have no control over what they do. I wouldn't sweat it. But if you feel really strongly about it, only sell parts you prepare yourself. John >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Hi John" The pages are for parts, not the score. I usually send pdfs when I do a concert. I always advise people to make the parts at 9 1/2 x 12 1/2. However, they usually do 8 1/2 x 11. Thanks: BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] page turns - a puzzlement
Erica Buxbaum wrote: How about including verbal instructions with the parts, like the explanation you just gave here? Erica Buxbaum >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Thank you Erica: If my problem was clear to you then I guess that's what I'll have to do. BF Bob Florence <[EMAIL PROTECTED]> wrote: Hi All: I like to set pages up as a book. If I can have only one page open, that's perfect especially if you are on a very crowded bandstand or in a very crowded orchestra pit. After that I like two pages open. In this case I do a cover page and print the first page of music on it's other side. for me that insures the player that there are two pages open. The problem occurs when sending parts (either Finale files or pdfs) to to another location usually a school. They don't even notice the cover page and often players will be scuffling with page turns. How do I make this clear to anyone who is taping parts together? Laying parts for page turns is a game and I am very strict about it. Thanks for any help. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale - Cheap Talk? Check out Yahoo! Messenger's low PC-to-Phone call rates. ___ 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] page turns - a puzzlement
Hi All: I like to set pages up as a book. If I can have only one page open, that's perfect especially if you are on a very crowded bandstand or in a very crowded orchestra pit. After that I like two pages open. In this case I do a cover page and print the first page of music on it's other side. for me that insures the player that there are two pages open. The problem occurs when sending parts (either Finale files or pdfs) to to another location usually a school. They don't even notice the cover page and often players will be scuffling with page turns. How do I make this clear to anyone who is taping parts together? Laying parts for page turns is a game and I am very strict about it. Thanks for any help. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: page setup in file menu
Bob Florence wrote: Hi All; This is pretty basic stuff. When I do a score for parts, I set the page setup for 9 1/2 x 12 1/2. When my parts are extracted, they are 8 1/2 x 11. Do I have to change each part or am I missing something? Thanks for your many years of help. Bob Florence Mac/Finale 2006c I sent the above yesterday. So far, there have been no replies. Bob F. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] page setup in file menu
Hi All; This is pretty basic stuff. When I do a score for parts, I set the page setup for 9 1/2 x 12 1/2. When my parts are extracted, they are 8 1/2 x 11. Do I have to change each part or am I missing something? Thanks for your many years of help. Bob Florence Mac/Finale 2006c ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Program Options
Chuck Israels wrote: Bob, Is it Program Options that you are looking for? On Macs, they are in the Finale 2007 menu under Preferences. This location has been changed since 2006. Chuck Thanks, I found ut. BF ___ 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] program options
Hi all; Here is an east one. In MacFinale 2007, where do I find programs. The book says it's in the edit menu. Where? Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: closing kit gesture at the end of a piece?
Matthew Hindson Fastmail acct wrote: I'm sure the wisdom of this list can help me here: Is there a name for the drum kit cliche that typically (used to) close off the final chord of soft jazz/lounge pieces? It sort of sounds like a triplet down the toms down to the kick drum/snare. Thanks for any help, Matthew Hi Mathew: I don't believe this has been asked before. If the drummer is experienced, I just tell him/her to put a "button" the ending. I personally like a soft cymbal and bass drum on the cutoff. If I am rehearsing the group and the drummer doesn't understand what I want, I have the whole group to play the last chord triple F. Usually the drummer knows what is wanted. Then I have everyone play the ending triple P and have the drummer play what he did before only very softly. This usually works. I am a fanatic about endings. I'm not at all happy with a triplet down the toms down to the kick drum/snare. It's doesn't finish off the piece and I am not satisfied. For me the problem I have with many drummers is that they have too many things to hit. Sometimes I am at the mercy of their choices. Hope this helps: Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2007 Is Shipping!
Leigh Daniels wrote: I just got an email saying my Finale 2007 has been shipped! **Leigh ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Me too: Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Jazz Chord Question!
F13#11 Jerry In an F13#11, would you net an E flat in the chord. The chord in question is an G triad over an F triad. Bob Florence On 24-Jun-06, at 5:37 PM, Jacki Barineau wrote: Hi, Everyone! Okay - I've got another jazz chord I'm trying to figure out. It's basically a G chord in the treble (G-B-D) with an F chord in the bass (F-A-C). Is this some sort of F13#4? Or what would you call this?! It definitely has the "F" flavor to it. It is in the key of G (Em) and the chord before this one is an Em7. The chord after it is an Fmaj7. Thanks! Jacki ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Gerald Berg ___ 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: names of kids
Title: Re: [Finale] OT: names of kids
I have spoken before on one of my lists (apologies if
it was this one and I am repeating myself again) of the girl I knew
whose name was Frisby - yes, named after ("for" in American)
that thing that you throw.
But the worst were the insensitive *s
called Mr and Mrs Royds who named their daughter Emma. No, it
isn't a joke, this actually happened here. Had it been within my
power, I would have had them horse-whipped through the streets for
doing this to a child.
Lawrence
"þaes ofereode - þisses swa maeg"
http://lawrenceyates.co.uk
Dulcian Wind Quintet: http://dulcianwind.co.uk
I love htis topic.
My first name is Robert (Bob). My middle name is Chase. Ina crowd
if someone says "Bob", I won't respond. If they said
"Chase", they have my attention.
Robert (Chase) Florence
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Re: [Finale] Layout for ABA form
I should also have mentioned the soloist's part should *never* include a page turn in mid-solo. This seems glaringly obvious, but you wouldn't believe how often composers/arrangers who copy their own parts make this mistake. The above can become a challenge. My wonderful hand written copyist who I used for years would make that mistake. Sometimes I add a blank page before a solo so I can get the chords on 2 pages. Occasionally I have to crowd 8 measures on one line and then resize bars that have 2 chords to a bar. If the parts are done right, a fiendishly difficult part will be just difficult. :-P Bob F. On 28 May 2006, at 3:45 PM, Bob Florence wrote: Hi Darcey; I go to the extreme and try to make a page turn on page one. Every so often you have a crowded bandstand. I agree with all of you comments about page turns. For me, it has become a game. Bass parts can be done with chords that use open strings or else in passages where the bass player can "float". Drum page turns can be done if he or she is just keeping time. However, a chart with straight 8ths is harder to turn the pages. Sometimes i have to turn on even numbered pages. I always add a blank with the title and composer for the person who tapes the pages. Bob Florence Page turns aren't a problem. Only *bad* page turns are a problem. However, most jazz charts have terrible page turns. In my own band, I use booklets (made with VPC tape) with proper page turns: i.e., break only at multimeasure rests, on every odd-numbered page. There is no compulsion to fill the page, either -- if the only available page turn is a multimeasure rest at the top of page 3, I'll leave the rest of the page blank. (Of course, I include a page turn arrow to let the player know.) If the only available page turn is a multimeasure rest in the middle of page 2, I'll leave half of page 2 and *all* of page 3 blank except for a giant page turn arrow -- a trick picked up from Broadway books, where good page turns are crucial. This works best with booklets (music printed on both sides of the page) but also works fine with accordion-fold parts -- players open the first three pages, then turn at the bottom of page 3, 5, etc. With proper page turns, there is never any need to open the entire part and have half of it spilling off the stand. Obviously, the exception is drum and bass charts, which need to be as compact as possible because they often have few or any multimeasure rests, and page turns are cumbersome on both instruments. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY On 28 May 2006, at 2:55 PM, Carl Dershem wrote: Richard Smith wrote: If I may be permitted to yank this thread in another direction, I am convinced that in many (certainly not all) cases, the use of repeats, endings, DS, al Coda, al Fine, ect. is obsolete. Current practice is often stuck in the habits of previous centuries and does not reflect the capabilities of our software. Finale or Sibelius (even most of the "toy" notation programs) eliminate the need for repeats to save the engraver's time. Just copy and paste (and edit as needed). While I see the truth in what you say, I often run across parts (I primarily play jazz and big band stuff) that, even with repeats and DS/DC/etc. come out 5 or 6 pages long, which necessitates page turns, some of which can be very difficult or troublesome. Expanding that out to its logical conclusion, you end up with absurdly long parts (and I won't even mention charts like "Sambanice" or "BeBop Charlie" that are great to play, but take up a *lot* of room on the stand. There always has to be a functional balance. cd -- http://www.livejournal.com/users/dershem/# ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Layout for ABA form
Hi Darcey; I go to the extreme and try to make a page turn on page one. Every so often you have a crowded bandstand. I agree with all of you comments about page turns. For me, it has become a game. Bass parts can be done with chords that use open strings or else in passages where the bass player can "float". Drum page turns can be done if he or she is just keeping time. However, a chart with straight 8ths is harder to turn the pages. Sometimes i have to turn on even numbered pages. I always add a blank with the title and composer for the person who tapes the pages. Bob Florence Page turns aren't a problem. Only *bad* page turns are a problem. However, most jazz charts have terrible page turns. In my own band, I use booklets (made with VPC tape) with proper page turns: i.e., break only at multimeasure rests, on every odd-numbered page. There is no compulsion to fill the page, either -- if the only available page turn is a multimeasure rest at the top of page 3, I'll leave the rest of the page blank. (Of course, I include a page turn arrow to let the player know.) If the only available page turn is a multimeasure rest in the middle of page 2, I'll leave half of page 2 and *all* of page 3 blank except for a giant page turn arrow -- a trick picked up from Broadway books, where good page turns are crucial. This works best with booklets (music printed on both sides of the page) but also works fine with accordion-fold parts -- players open the first three pages, then turn at the bottom of page 3, 5, etc. With proper page turns, there is never any need to open the entire part and have half of it spilling off the stand. Obviously, the exception is drum and bass charts, which need to be as compact as possible because they often have few or any multimeasure rests, and page turns are cumbersome on both instruments. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY On 28 May 2006, at 2:55 PM, Carl Dershem wrote: Richard Smith wrote: If I may be permitted to yank this thread in another direction, I am convinced that in many (certainly not all) cases, the use of repeats, endings, DS, al Coda, al Fine, ect. is obsolete. Current practice is often stuck in the habits of previous centuries and does not reflect the capabilities of our software. Finale or Sibelius (even most of the "toy" notation programs) eliminate the need for repeats to save the engraver's time. Just copy and paste (and edit as needed). While I see the truth in what you say, I often run across parts (I primarily play jazz and big band stuff) that, even with repeats and DS/DC/etc. come out 5 or 6 pages long, which necessitates page turns, some of which can be very difficult or troublesome. Expanding that out to its logical conclusion, you end up with absurdly long parts (and I won't even mention charts like "Sambanice" or "BeBop Charlie" that are great to play, but take up a *lot* of room on the stand. There always has to be a functional balance. cd -- http://www.livejournal.com/users/dershem/# ___ 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] Layout for ABA form
At 6:05 AM -0700 5/28/06, Richard Yates wrote: Two replies said that the top example was 'confusing'. Could someone say what is confusing about it? Aside from it being unusual, after looking at it is there any chance of someone actually misunderstanding the intent? Yes, absolutely!! If I came across it I would ASSUME that the reversal of first and second endings was a typo. That is MUCH more probable than assuming that you really meant it, if I even bothered to flick my eyes up to the numbers in the first place. It would require stopping the rehearsal and discussing it at some length. It is so totally unusual as to be not just confusing but incomprehensible! Bill Duncan in his Finale Productivity book said: "Be impossible to misunderstand". I live by this prase when I am doing parts. bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Fwd: OT: protocol
Date: Thu, 11 May 2006 19:16:36 -0700 To: finale From: Bob Florence <[EMAIL PROTECTED]> Subject: OT: protocol Cc: Bcc: X-Attachments: Hi All: I have written a composition for an oversized big band. It is titled "Appearing In Cleveland"and is a tribute to band leader Stan Kenton. It is 15 minutes long and it is based partialy on Stan's theme "Artistry In Rhythm". The theme is stated clearly near the beginning and has many short fragments of it later on. Other than that, it is all mine. I tend to think of it like William Walton's "Variations on a theme by Paul Hindemith" or Brahms "Variations On A Theme by Handel". You get the picture. "Artistry In Rhythm" is not in public domain. The Kenton estate is very much alive. I am going to list myself as composer. What else is necessary? I hope I have mad this clear. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On May 1, 2006, at 12:51 PM, A-NO-NE Music wrote: On the other hand, when I write big band chart, most of comping are written in poly chord because this is the only way to make sure they don't crash with horn voicing. Hi Hiro, "Don't comp when there are voicings in the horns." works for me. (Of course, this is an oversimplification, but it's a good place to start.) Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com Too much comping in a big band setting makes the band sound smaller. Bob Florence ___ 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] Very OT: what is this
Hello, I feel like a dope for asking this, but someone asked me to identify a very familiar tune, and I can't bring it to mind. Here it is, in email notation, in a minor (but it might be in a different key): E D C B A | A G# |(up to)FE D C B 1/2 (eighths) 1/2 1/2 1/2(eighths) B A | A up an octave G A FGE | 1/2 1/2 1/2 1/8's (triplets) F |G F G EFD | E whole 1/2 1/8's (triplets) whole (etc.) Hope someone can help. It is similar but isn't the Marcello d minor oboe concerto slow movement. Could it be a movement from a different Baroque oboe concerto? Thanks, David Froom Hi David: I know it's off topic, but what a great game. MORE! MORE! Bob Florence ___ 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: reduction size (was Pesky Page Turns)
I often wondered what happened to Cameo too man, that was a long time ago. I still have my electric eraser sitting hard by me, like an old soldier longing for the sounds of the battlefield. Might hang on to the vellums, who knows, perhaps a museum might place some value on the antiquities in my daughter's future. Dean On Feb 20, 2006, at 10:05 AM, Raymond Horton wrote: John Howell wrote: Ah, another alumnus of 1527 1/2 North Vine St. in Hollywood!!! I wonder if they're still there. We used engrossing ink, which most people have never heard of. Was the address above Bill Hughes's office/ Bob Florence When I switched from hand copying to computer, I found that actually entering the notes took me about the same amount of time, but the savings was in being able to manipulate things once entered, just like with word processing. I now work directly to the computer, and have a cabinet full of manuscript paper (King Brand, not Cameo) that I may never use up! John Oh sure, I used Cameo ink and vellum. In my comp teacher's eyes it wasn't really music unless it was sketched on a Cameo pad and copied on Cameo vellum. Later, one of the Cameo main employee's started her own company - what was that name? I never got along with pen and ink - the pens never worked right for me. My wife copied my master's thesis score for me as a I fed her the pencil pages. The computer was a godsend for me. And I love being able to fiddle with old files - rearrange old arrangements, etc. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale As a newly diagnosed diabetic, self denial is now my ally, exercise my master. Dean M. Estabrook Retired Church Musician Composer, Arranger Adjudicator Amateur Golfer ___ 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 Again--Cut time and 3/4
On Feb 18, 2006, at 2:47 PM, eshbmusic1 wrote: Can anyone tell me how to get a C with a slash through it to represent cut time in Word without changing fonts? I imagine there is a diacritical I could get on the international keyboard, but just don't know which one or how to enter it. Thanks! The above question leads me to another. If the time is 4/4 and you want it to become 2/2, use can use the C with a line through it. In 3/4, is there any sign to show when you are going from 3/4 to twice as fast which would be in 1. I have a trombone player friend who always mars his parts with 3/4 with a line through it. This is a difficult question. I hope I've made it clear. Thanks Bob Florence ___ 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] slashes
I've done the above. When I copy a set of guitar chords to a trumpet part, the trumpet part still reverts back to concert. I'm sorry I won't see you at IAJE this year. New York isno't cold enough and I have to go to Minneapolis. I doing a concert of my music. Thanks : BF <<< Hi All: I fixed it. I don't know how but it's done. Thank you all for the help; BF ___ 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] slashes
Title: Re: [Finale] slashes As John Blane said, what he really wants is to click the "Transposition" box until the *horizontal line* (not checkbox) appears, which means "This staff style will leave any existing transposition alone." - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY Hi Darcy: I've done the above. When I copy a set of guitar chords to a trumpet part, the trumpet part still reverts back to concert. I'm sorry I won't see you at IAJE this year. New York isno't cold enough and I have to go to Minneapolis. I doing a concert of my music. Thanks : BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] slashes
Title: Re: [Finale] slashes As John Blane said, what he really wants is to click the "Transposition" box until the *horizontal line* (not checkbox) appears, which means "This staff style will leave any existing transposition alone." >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Why can't I find the transposition box? Everything seems so simple. BUT- BF - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY On 09 Jan 2006, at 7:17 PM, Chuck Israels wrote: Staff menu/define staff styles. Then scroll through the styles at the top of the window until you get the slash styles. Then look for transposition on the right, click select - chooses - "none". That should do it. Chuck On Jan 9, 2006, at 3:43 PM, Bob Florence wrote: In a message dated 1/9/06 2:28:39 PM, [EMAIL PROTECTED] writes: When I enter slashes from alternate notation, The key signature on transposing parts reverts to concert. Any ideas? I had a similar experience this weekend. Go into the definition for the slash notation staff style and UNcheck the transposition box. No - that's not quite right. Instead, click the transposition box until it toggles to the horizontial line for "leave as is". Then applying the slashes should not affect this staff attribute. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< I think You had better draw me a picture :-[. Where do I find the definition of the slash notation? I haven't found the transposition box. Bob Florence ___ 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 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 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] slashes
Title: Re: [Finale] slashes In a message dated 1/9/06 2:28:39 PM, [EMAIL PROTECTED] writes: When I enter slashes from alternate notation, The key signature on transposing parts reverts to concert. Any ideas? I had a similar experience this weekend. Go into the definition for the slash notation staff style and UNcheck the transposition box. No - that's not quite right. Instead, click the transposition box until it toggles to the horizontial line for "leave as is". Then applying the slashes should not affect this staff attribute. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< I think You had better draw me a picture :-[. Where do I find the definition of the slash notation? I haven't found the transposition box. Bob Florence ___ 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] slashes
Hi All: When I enter slashes from alternate notation, The key signature on transposing parts reverts to concert. Any ideas? Bob Florence Mac G5, 10.4.3 Finale 2006c ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] pdfs (again)
Thank you all who responded to my last pdf question. I converted 19 parts and they are perfect. However, the score is another problem. When I open it and use save to pdf, I don't any music. I just get the Acrobat Reader logo. Help! Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] pdf parts
Hi All: I have to send pdf parts to a client. My usual parts are 9 1/2 x 12/12. I would like to send them as 8/2 x 11. Do I have to go into each part and change the page size and the margins? There are 19 parts and this seems to be a big chore. I would love to send as 9/12 x 12/12. However, not everyone has a printer capable of printing that size. Thanks in advance: Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] display
Hey Bob, Try turning on "Smooth Staff Lines" in Program Options -> View, see if you like that better. - Darcy Hi Darcy: Thanks! That did it. Fin. 2006 has caused a few headaches. I think I have everything (?) under control (?). What's happening with you/ BF - ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] display
Hi All: I have just started using Mac Finale 2006 still on the latest version of Panther. I can't tell if the notes are on a space or a line. This isn't the case with every note. However, it is enough of a problem when working on a large score. This happens in concert and transposed. Thanks in advance: Bob florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] automatic update layout
Hi All: How can I make automatic update layout the default setting. When I reopen a part it is uchecked. I am using Mac Finale 2005a with OS 10.3.9 Thanks for the help. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] pdfs
Hi all: This has probably been covered. I am using MacFin 2005b, OS 10.3.9, an HP 5100 printer and Adobe 7. I usually print my parts at 9 1/2 x 12 1/2. If I save to pdf, I can print at 9 1/2 x 12 1/2. But when I quit everything defaults back to 8 1/2 x 11. how can I make the larger setting the default? Thanks; BF ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] "launching pad/full of S---
Hi All. I never expected my question on creativity and inspiration to have wandered so far away from my original thought. Perhaps I was unclear. My intention was to learn how some of you get from point A (inspiration) to point B (nuts and bolts}. The one answer I really liked came from John Howell. He takes a shower. so do I. For me that's the best place I can go to get started. I am also very clean. :-D My favorite time to work is in the morning. I find my brain is the most receptive. Once I begin, I let the music lead me by the nose. I believe it was Christopher who suggested a book by Goldstein. I don't remember the first name. It was a book on jazz composers. Please don't jump all over me because I used the word spiritual. I meant no religious connotation. I heard Mike Meyers interviewed by Barbara Walters on night on ABC. She asked him what were his future plans. His response was: "Whatever Bubbles Up". I instantly stared on a piece using tha as a title. It became the title piece of a cd. If you respond to this post, don't get angry or hostile with me or each other. Bob Florence composer/arranger/pianist ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] ot; the "launching pad"
Are there any books concerning composing and arranging that cover the spiritual and inspirational aspect. I am always interested in the way other writers get there music off of the "launching pad". I not concerned about what harmonies to use or what instruments to combine. I find it so fascinating to know what another goes through in the creative process. Thanks; Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Fwd: Who are you? - my turn
Date: Fri, 31 Dec 2004 10:52:02 -0800 To: [EMAIL PROTECTED], Jazz Westcoast <[EMAIL PROTECTED]>, Bandstand <[EMAIL PROTECTED]> From: Bob Florence <[EMAIL PROTECTED]> Subject: Who are you? - my turn Cc: Bcc: X-Attachments: Hi all: Since I was the instigator of the "Who are you" thread, it is now my turn. I was born in Los Angeles, California, May 20,1932. I live in Thousand Oaks, Ca. I am married to My very special person, Evelyn. Between us, we have four children and eight grandchildren. Somehow my mother discovered that I had perfect pitch and started me on piano two months before I turned five. I gave my first full scale piano recital when I was seven. I learned much of the standard repertoire and was seriously headed toward a concert pianist career. However, I could play many tunes of the day by ear and I always loved big bands and jazz. After high school, I went ot Los Angeles City as a music major. With me was our very own Finale expert, Hal Owen. We were the "state of the art" two piano team. I took all of the regular courses (harmony, counterpoint, music appreciation, etc. I took a class in arranging and orchestration from Bob McDonald who had a firm grasp on what he taught. He, however had a jazz background. It was here that my life took a hard "left". Because of my keen interest in jazz, I was invited to join the jazz band. I was there with Lanny Morgan, Tommy Tedesco and Dennis Budimir. I got deeply involved in the jazz literature and the concert pianist was forgotten. My mother was heart broken. However, that changed on the day I came home with an lp with a credit on it. In college, a friend and I formed a rehearsal band comprised of our friends in school. This was a very important step for me because it gave me the chance to hear what I wrote. I have always considered this to be most important for me along with money as a reward for my work. My career broke wid open because of an arrangement of "Up A Laz River" done for Si Zentner"s big band. This was a huge breakthrough for me as it opened so many doors. It allowed me towrite for the big bands of Harry James, Les Brown, Louie Bellson and the Tonight Show band. I also worked with singers Julie Andrews, Vikki Carr, Jack Jones and Frank Sinotra. I have always kept the big band going. In 1981 I renamed it "The Bob Florence Limited Edition". I have recorded thirteen big band albums (cds). I have Grammy and two Emmys. I have been a Mac Finale user since version 3.0. I never use a piano. I never sketch. That for me is like having to write it twice. I compose and arrange directly in the computer. I started Finale so I wouldn't have to have a copiest. I also have terrible penmanship. I am NOT retired because music has brought me so much joy. I want to thank you all for responding to my "Who Are You" thread. What shall we do next? Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] karen/laloba2@sprintmail.com
Hi all: I must second lister Kim Richmond's comments about Karen G. Kim recommended her to set up my new Mac last July. I had no idea what a vast knowledge she has not only about the Mac, but also Finale. She has become a good friend. She is a real treasure. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Who are you?
I wrote: I am a Miles Davis wannabe. Bob Florence / 12/25/2004 / 6:36 PM wrote: That's it? Sorry, I didn't mean to be rude. Hope you didn't take that way. As Christian walk Jesus' steps, I'd like to try Miles'. My bio is here <http://a-no-ne.com/music/a-no-ne_band/hiro_bio.shtml>, which misses one critical information (to be on topic :-). During I was a starving student, going to Berklee and New England Conservatory of Music at the same time, I had to buy Finale v1.0 for $1,000, running on my poor 512K. Finale brought me the chance to write different big band arrangements for each shows. My ex-big band is here: <http://a-no-ne.com/music/bigband/> which I am no longer running, unfortunately. I miss it, but it was economically and logistically impossible for me to continue. Thanks; Hiro BF -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA <http://a-no-ne.com> <http://anonemusic.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
