Re: [Finale] Unusual tuplet

[David Froom]

> From: Giovanni Andreani 
> 
> 
> I can?t resolve Finale to correctly display a tuplet showing two dotted 
> halves in the time of five quarters.
> 
> Any workaround?

Yes. Enter the two dotted half notes. With the tuplet tool selected, click on 
the first of those notes. In the dialog that comes up, tell Finale to have 6 
quarters in the time of 5 quarters. Make sure to select “quarters” in the drop 
down part of that dialog box.

David Froom
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Re: [Finale] Need help with HP LJ 5000 and MacOS Mojave

[David Froom]

Johannes,
I am following with interest because I still use my HP LJ 5000, though I’m 
still on Sierra (10.12.6).

My computer (2015 MacBook Pro) also does not have an ethernet connection, but I 
made one by buying a Thunderbolt-to-ethernet adapter. This _might_ work, or it 
might not. Maybe worth a try? I’ve not been able to use wifi for my HP LJ 5000 
because my router is some distance from where the printer lives, so I can’t 
plug the printer directly into the router.

In my most recent computer upgrades, I did use the migration assistant. Someone 
already suggested that you find that. It SHOULD be on your computer if you 
search, but it is likely in your Applications/Utilities folder. I believe you 
can set it to migrate limited things, so, perhaps, only your printer settings 
from your backup or old computer (or wife’s computer)? I don’t know, and I 
would be really careful doing this, making sure you don’t make things worse!

In the meantime, given the emergency deadlines, can you print using printer 
share, routing through your wife’s computer? Or more direct, just bring pdfs 
over to her computer for your print jobs?

That printer is a remarkable thing. 12x18, good resolution, fast, and it just 
keeps working, decade after decade. 

Good luck — and please keep us informed!! I would love to know how you solved 
what seems to be a Mojave issue.

David Froom

>> My Macbook like my wife's is connected via WIFI, mine doesn't even have an 
>> ethernet connection.
>> 
>> Everything worked fine until I upgraded to Mojave.

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[Finale] Finale numerics font

[David Froom]

Hello, all,

I’m new to Finale Numerics — which seems a decent solution to the figured bass 
and RN analysis issue. However, I am encountering a couple of challenges:

Should say — FinMac 26

1) I can’t see how to use the sharp or flat to the right or left of a figured 
bass number. For a sharped number, of course, I can instead use the slashed 
number. But no combination I can figure out (using hard spaces, e.g.) allows me 
to do something like 7b or b7. Am I missing something?

2) I can’t get Finale Numerics to “stick” as the default lyrics font. I changed 
it in document options, hit apply, but even still, every time when I go to 
enter figures, it reverts to Finale Lyrics font — and I need to change it in 
the text menu.

Any work arounds, or can anyone point me to what I’m missing?

Thanks in advance,
David Froom
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Re: [Finale] Audio Engine Fail

[David Froom]

Jim,
Thanks. That didn’t work — but I found by google searching that the fix is to 
go to the MIDI/Audio menu, then Device Setup, then choose “Reset Rewire.” I 
think the engine gets confused sometimes when you use another program (I had 
used Logic and Izotope RX). That fixed the issue.
David

> 
> Hi, Restarting my Computer fixed that for me, until it happens again, then
> I repeat!
> Some have said having anything plugged into the Headphone jack would fix it.
> Weird, But it didn't have any effect for me,
> It happens only occasionally, and restarting is fixing it at least for a
> while.

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[Finale] audio engine won't load

[David Froom]

Dear listers,
Hope someone can help. Finale Mac 25.5. Mac OS Sierra (10.12.6)

This morning, when I launch any Finale file, including a new one, I get a 
spinning ball, then am told that the audio engine didn’t load. I’m instructed 
to restart Finale. Same thing happens. Everything except audio is fine (I 
think…)

I tried redownloading Finale 25.5 from the MakeMusic website. Then reinstalling 
everything, including Garritan. When launching, same thing happens.

Any ideas? Any place I might turn to for help?

This has never happened before to me. I’ve been using 25.5 for a good while. I 
haven’t done any system updates — though I did recently update Java (could that 
be related?).

Other possibly unrelated thing: the file I opened when this first happened now 
shows a 1969 creation date. The other files I opened to check to see if it was 
a problem specific to one file don’t show this.

Thanks in advance for any advice.

David Froom
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Re: [Finale] orch score part naming

[David Froom]

Hi Robert, and thanks. Found this in the parts creation section.

Last question about this: do you (or does anyone) know if it is possible yet to 
have tempo marks in different sizes in score and parts? In large ensemble 
scores, small size tempi look silly in the score, while large size tempi look 
silly in the parts.

Thanks,
David

Robert Patterson wrote:
> 
> Part names are not in any way tied to staff names. You can name the staves
> and/or groups one thing and the parts another.
> 
> On Fri, Sep 28, 2018 at 1:32 PM, David Froom  wrote:
> 
>> Hello all,
>> 
>> I suddenly (Finale 25, Mac) am stumped with having score staff names
>> appear as numbers with a single group name, for example:
>> 
>>1
>> Flute
>>2
>> 
>> I can do this by making the group name show, removing flute and fl from
>> the staff names (leaving them blank), and turning on automatic numbering in
>> the score manager. However, this messes up the parts.
>> 
>> How do I have the score show as above, and then have the part names show
>> as
>> 
>> Flute 1
>> and
>> Flute 2
>> 
>> 
>> Thanks in advance,
>> David Froom
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> 
> 
> --
> 
> Subject: Digest Footer
> 
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> End of Finale Digest, Vol 182, Issue 11
> ***


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[Finale] orch score part naming

[David Froom]

Hello all,

I suddenly (Finale 25, Mac) am stumped with having score staff names appear as 
numbers with a single group name, for example:

1
Flute
2

I can do this by making the group name show, removing flute and fl from the 
staff names (leaving them blank), and turning on automatic numbering in the 
score manager. However, this messes up the parts.

How do I have the score show as above, and then have the part names show as 

Flute 1
and 
Flute 2


Thanks in advance,
David Froom
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Re: [Finale] Band/wind ensemble questions

[David Froom]

Again, many thanks to Ryan Beard and Christopher Smith for all of the advice.

Very last question:

C score or transposed score? Again, coming from the orchestra world, I learned 
from conductors who say that they want to see in front of them what the players 
see — so when they ask about, for example, the Eb clarinet’s C# in measure 74, 
they are asking about the written note C# that they and the player sees, 
instead of having to translate from seeing a C-score E-nat (or saying “concert 
E-nat”). So, all of my instincts and working methods tell me that I should 
write a transposed score. But what do band directors want to see?

Does this answer depend on the band? This is for a professional group, with no 
expectation that it ever would be done by high school or amateur or 
non-conservatory college bands.

Thanks again,
David
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Re: [Finale] Band/wind ensemble questions

[David Froom]

t; again, there are exceptions).
> 
> 3) Yes, Double Bass below Tuba and above Timp/Percussion. 
> 
> You didn?t ask, but some people are sticklers to putting mallet percussion at 
> the very bottom, below the drums and other non-pitched percussion. But, if 
> you?re composing for a specific amount of players at their own ?station?, 
> then mallets can go with whichever part it?s assigned to.
> 
> Wind Ensemble vs Band shouldn?t have much effect on the score order. If 
> you?re writing one to a part, like an orchestra wind section, then you might 
> want to stick with orchestra order, particularly if you think that orchestras 
> would be interested in performing this more than a band.
> 
> I like doubled parts, especially in the clarinets and trumpets. The clarinet 
> section can take on the role of the string section (particularly with your 
> cadre of low clarinets available?but I would advise to cue any alto clarinet 
> solos in another instrument as a back up, since most bands seem not to use 
> that instrument). Having those parts doubled gives some extra meat to the 
> sound. The doubled cornet parts areahold over from the early days of 
> transcribing orchestra rep for winds. The cornets would play the violin 
> melodies while the trumpets would just play the original orchestral trumpet 
> part. Having the full section of clarinets and cornets can allow for divisi 
> opportunities, which could come in handy.
> 
> Yes, it?s true that the majority of band scores don?t remove empty staves. 
> It?s very much quicker to prepare a score without staves being removed.
> 
> Ryan
> 
>> On Aug 6, 2018, at 10:01 AM, David Froom  wrote:
>> 
>> Hi all,
>> 
>> I?m really hoping to enlist someone who regularly writes for band to give me 
>> some advice.
>> 
>> I?m writing this for a top notch, professional group. Some questions:
>> 
>> For score order, there seem to be some variations from orchestral standard. 
>> But different sources say different things. Here are my questions:
>> 
>> 1) Some say bassoons go between Ob/Eng Horn and Clarinets. Others say they 
>> go below clarinets. Which is more standard these days for professional bands?
>> 
>> 2) Some say the trumpets above the horns, others say this is changing these 
>> days to standard orchestral (horns above trumpets because they often mingle 
>> with the saxophones). Which is more standard these days for professional 
>> bands?
>> 
>> 3) Double bass, I?m told, goes below the tuba, but above piano ? then timp 
>> plus percussion on the bottom. Is this standard these days for professional 
>> bands? My orchestral instincts want it at the very bottom.
>> 
>> The group I?m writing for could be full band or wind ensemble (my choice), 
>> so as many as Eb clarinet, 12 Bb clarinets (4 to each of three parts), 2-3 
>> low clarinets (bass, contra, alto), 6 cornets (2 to each of three parts) 
>> plus 2 trumpets ? though any of the cornet players could play trumpet, picc 
>> trumpet, or flugelhorn. Then 2 euphoniums, 3 tubas. 
>> 
>> I?m leaning towards asking for one to a part (clarinets as Eb, 2 Bb, alto 
>> cl, bass cl); 3-6 trumpets, 1 euphonium, 1 tuba. Can anyone advise as to why 
>> I should go with all the doubled parts? Thinking as someone coming from the 
>> orchestra world, all those extra clarinets, trumpets, euphoniums/tubas seem 
>> to be a strange and troublesome counterbalance to the rest of the group 
>> (pic, 3 fl, 2 ob, eh, 2 bn, cbn, sax quartet, 4 horns, 3 trb, btrb).
>> 
>> And does band vs wind ensemble change any of the score order? 
>> 
>> Final question: According to Gould in "Behind Bars,? people do NOT remove 
>> empty staves! She grants that timp/percussion can be removed from the page 
>> if they aren?t playing, but everyone else stays, doesn?t have empty staves 
>> removed from any of the pages. Is this really true!!!???
>> 
>> Thanks very much in advance!
>> 
>> David Froom

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[Finale] Band/wind ensemble questions

[David Froom]

Hi all,

I’m really hoping to enlist someone who regularly writes for band to give me 
some advice.

I’m writing this for a top notch, professional group. Some questions:

For score order, there seem to be some variations from orchestral standard. But 
different sources say different things. Here are my questions:

1) Some say bassoons go between Ob/Eng Horn and Clarinets. Others say they go 
below clarinets. Which is more standard these days for professional bands?

2) Some say the trumpets above the horns, others say this is changing these 
days to standard orchestral (horns above trumpets because they often mingle 
with the saxophones). Which is more standard these days for professional bands?

3) Double bass, I’m told, goes below the tuba, but above piano — then timp plus 
percussion on the bottom. Is this standard these days for professional bands? 
My orchestral instincts want it at the very bottom.

The group I’m writing for could be full band or wind ensemble (my choice), so 
as many as Eb clarinet, 12 Bb clarinets (4 to each of three parts), 2-3 low 
clarinets (bass, contra, alto), 6 cornets (2 to each of three parts) plus 2 
trumpets — though any of the cornet players could play trumpet, picc trumpet, 
or flugelhorn. Then 2 euphoniums, 3 tubas. 

I’m leaning towards asking for one to a part (clarinets as Eb, 2 Bb, alto cl, 
bass cl); 3-6 trumpets, 1 euphonium, 1 tuba. Can anyone advise as to why I 
should go with all the doubled parts? Thinking as someone coming from the 
orchestra world, all those extra clarinets, trumpets, euphoniums/tubas seem to 
be a strange and troublesome counterbalance to the rest of the group (pic, 3 
fl, 2 ob, eh, 2 bn, cbn, sax quartet, 4 horns, 3 trb, btrb).

And does band vs wind ensemble change any of the score order? 

Final question: According to Gould in "Behind Bars,” people do NOT remove empty 
staves! She grants that timp/percussion can be removed from the page if they 
aren’t playing, but everyone else stays, doesn’t have empty staves removed from 
any of the pages. Is this really true!!!???

Thanks very much in advance!

David Froom
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Re: [Finale] FinMac 2014.5 CUES!

[David Froom]

Robert,

Thank you!! This really solves my problems (as this score is large chamber 
music piece, no staves with two to a part). This note is a keeper!!! I KNEW 
there had to be a way!

Sure would be nice if, after all these years of linked parts, Finale would fix 
this. The Dorico competition on parts/cues is pretty impressive — though they 
haven’t yet solved the two to a staff issue (and they have some other 
half-baked things that prevent me from switching). They say they are working on 
it. Let’s hope the fact that there is competition will jump start some serious 
addressing of long-standing problems.

Best,
David

> On 25 Jul 2018, at 1:00 PM, Robert Patterson wrote:
> 
> David,
> 
> I switched to having a single document for score and parts several years
> ago. It requires a little more time, but I think it is worth it. To address
> the issues you raised:
> 
> 1. Do not use "Blank notation with rests: Layer 4". This staff style can
> occasionally be useful for partial measures (often for measures that have a
> cue overlapping with a pickup note). But otherwise it isn't an ideal
> choice. Instead create a new staff style of Blank Notation with Rests for
> Layer 1. Then uncheck everything in "Other Layers: Show". In my files I
> name this staff style "Hide Cues".
> 
> 2. For clef changes you'll need to create a separate staff style with the
> same transposition as the score (or lack thereof) but with a forced clef to
> the clef you want in the score. You then apply that as needed in the score.
> In my files I give them names like "Force Bass Clef" or "Force F Treble
> Clef" (if it were for a transposed horn staff).
> 
> There are still occasional edge cases where even these two techniques
> aren't sufficient and you have to resort to using expressions for either
> rests or clefs. Often you can simply opt for a different cue. But me being
> me, I sometimes soldier through with expressions when there is a
> complicated cue I think is really important.
> 
> Another way to hide clef changes in the score is with a "Hide Clefs" staff
> style. This is often a perfectly acceptable alternative to a forced
> transposition clef, if the cue is entirely contained on a single score
> system. There are occasionally situations where this is preferable to
> forced transposition clefs. (Since forced transposition clefs must be
> applied to full measure whereas hide clefs can be applied to a partial
> measure.)
> 
> Christopher Smith is correct about voiced parts. They are not usable, and
> not just because of the problems with cues. Their inability to be edited
> with Special Tools is an unacceptable limitation by itself. Thus for large
> orchestra scores I continue to maintain two files, but with a difference.
> The staves that do not split into multiple parts (frequently Timpani on
> down) reside with the score. The parts that do split (e..g, winds and
> brass) reside in a separate "distributed parts" file. Each file has *only
> those parts* defined. That is, the score file contains a Violin I part
> while the distributed-parts file does not. The distributed parts file
> contains a Clarinet 1 part but the score file does not. Of course both
> files have a score since there is no avoiding that. I ignore the score in
> the distributed parts file, except as a means for editing multiple
> distributed parts at once.
> 
> Finally there are occasionally situations where a cue that shows in one
> part can cause another part not to create a multimeaure rest as you would
> like. It is for this that I created the Force option in my multimeasure
> rest plugin. The Force option places a multimeasure rest exactly where you
> select, without regard to anything that might break it otherwise. (So use
> with caution!)
> 
> Robert

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[Finale] FinMac 2014.5 CUES!

[David Froom]

Hello all,
I’m hoping for some wisdom from the group.

I’ve been in the habit of having a score file separate from a parts file — 
basically, to get the score looking great, then make a copy of it to make parts 
so as not to have to deal with things that conflict. The downside is that 
errors I discover in the parts aren’t fixed automatically — and I fear having 
two files open, having been bitten by the “overwrite” bug!

I decided, however, in my current project, to try having just one file.

I am using TG Tools to create the cues. That puts the cue into layer 4 and a 
forced whole rest (no matter the meter) into layer 1.  Then, in the score, I 
apply the staff style called “Blank notation with rests: Layer 4.” 
Conveniently, it is triggered with the keyboard shortcut “Q,” so I assume this 
was created for use with cues.

I’ve run into two problems. One is if the cue has a different clef from the 
prevailing part. So, in the staff style, I indicate that it should NOT show the 
clef. That’s fine, except when, in the score, the staff style starts at the 
beginning of the system. Then I lose the clef there. I can work around this by 
putting in a graphic clef in the score and hiding it in the part. OK. Is there 
a better solution?

Problem two is something for which I can’t find a work around. In the part, I 
often need to move the cue’s layer 1 whole rest, as the default position is 
sometimes too high — or above the staff when I’d prefer it below. However, this 
moves it in the score! I can’t seem to unlink it. 

Can anyone who has mastered having score and parts in one combined file please 
share some tips on how to do this? Is there a better staff style? Or a better 
method?

Thanks in advance,
David Froom
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Re: [Finale] Second try

[David Froom]

> On 1 Dec 2017, at 1:00 PM, Barbara Touburg  wrote:
> Hello!
> 
> My situation.
> Piano pupil. I lend her my MIDI keyboard, touch sensitive. She only 
> needs a certain program that will receive the MIDI keyboard input and 
> convert this to a piano sound on her computer.
> Earlier someone on this list advised my a program. I can't find tat 
> email. Gone.
> Who and what was that?
> Please!

For windows, try MidiPiano. For mac, try SimpleSynth. They are free. I don’t do 
Windows, but the Mac version has a number of rudimentary piano sounds. If the 
midi keyboard is plugged in, you just launch and play.

If Mac, GarageBand may be a higher quality option. More complicated, but still 
pretty easy to use. Also, it uses more CPU.

DF
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Re: [Finale] off topic: German for "competition music"?

[David Froom]

Dear all,

Thank you for this discussion and the many ideas. 

I'm writing a set of short compulsory works for a competition called the Klein 
competition. I was hoping to be able to make an overall silly title for the set 
that is a play on Klein and on Mozart's"Eine kleine". So something like "Eine 
Kleine Probstmusik" (or Wettbeverbsmusik). For this to work, I would need it to 
end with Musik, both for the wordplay and the gender. 

Any ideas for the last word of the title that wouldn't be completely illiterate 
to a German speaker? Or better just to drop this idea?

Thanks again,

David

On Sep 5, 2017, 3:39 PM, at 3:39 PM, finale-requ...@shsu.edu wrote:
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>Today's Topics:
>
>   1. off topic: German for "competition music"? (David Froom)
>   2. Re: off topic: German for "competition music"? (SN jef chippewa)
>   3. Re: off topic: German for "competition music"? (SN jef chippewa)
>   4. Re: off topic: German for "competition music"? (Howard Weiner)
>   5. Re: off topic: German for "competition music"? (SN jef chippewa)
>   6. Re: off topic: German for "competition music"? (SN jef chippewa)
>   7. Re: off topic: German for "competition music"? (Eric Fiedler)
>   8. Re: off topic: German for "competition music"? (Howard Weiner)
>   9. Re: off topic: German for "competition music"? (Howard Weiner)
>  10. Re: Auto save not working (Lawrence David Eden)
>  11. Re: Auto save not working (Chuck Israels)
>  12. Re: off topic: German for "competition music"? (Peter Lockwood)
>
>
>--
>
>Message: 1
>Date: Tue, 5 Sep 2017 13:52:41 -0400
>From: David Froom 
>Subject: [Finale] off topic: German for "competition music"?
>To: "" 
>Message-ID: <22188820-d398-4b7a-b6a4-a7643e0a2...@smcm.edu>
>Content-Type: text/plain; charset="utf-8"
>
>Can someone help me with what a word would be in German? I?m looking
>for a word that would be used for ?competition music,? as in music
>written specifically to be used in a music competition (e.g., a new
>work required of all participants).
>
>I know the standard word in German for music competition is
>Musikwettbeverb. But I can?t verify if that is reversible, that is, if
>the music for the competition would be Wettbeverbmusik or
>Wettbeverbsmusik or two separate words (or a completely different
>word). I know also Musik is feminine, while Wettbeverb is masculine. If
>Wettbeverbmusik is a word, would it be feminine?
>
>Thank you in advance!
>
>David Froom
>
>
>
>
>--
>
>Message: 2
>Date: Tue, 5 Sep 2017 20:20:51 +0200
>From: SN jef chippewa 
>Subject: Re: [Finale] off topic: German for "competition music"?
>To: 
>Message-ID: 
>Content-Type: text/plain; charset="iso-8859-1"; format=flowed
>
>
>Auftragskomposition is a common term 
>(commissioned work), but i can't recall ever 
>seeing the specific term you mention.  could be 
>something like Wettbewerbauftragskomposition.  or 
>Auftragskomposition zur Wettbewerb.
>
>careful, "w", not "v".
>
>also Auftragswerk
>http://www.violinwettbewerb-marteau.de/wettbewerb/repertoire/auftragswerk.html
>
>here they use a similar for to wqhat i wrote above:
>... Auftragskomposition des diesj?hrigen ARD-Wettbewerbs...
>
>so you might use:
>Auftragskomposition des NAMEOFCOMPETITION-Wettbewerbs
>
>des = of the genetive (possessive) form; the "s" 
>is needed on the end of Wettbewerb in such cases
>
>
>>Can someone help me with what a word would be in 
>>German? I?m looking for a word that would be 
>>used for ?competition music,? as in music 
>>written specifically to be used in a music 
>>competition (e.g., a new work required of all 
>>participants).
>>
>>I know the standard word in German for music 
>>competition is Musikwettbeverb. But I can?t 
>>verify if that is reversible, that is, if the 
>>music for the competition would be 
>>Wettbeverbmusik or Wettbeverbsmusik or two 
>>separate words (or a com

[Finale] off topic: German for "competition music"?

[David Froom]

Can someone help me with what a word would be in German? I’m looking for a word 
that would be used for “competition music,” as in music written specifically to 
be used in a music competition (e.g., a new work required of all participants).

I know the standard word in German for music competition is Musikwettbeverb. 
But I can’t verify if that is reversible, that is, if the music for the 
competition would be Wettbeverbmusik or Wettbeverbsmusik or two separate words 
(or a completely different word). I know also Musik is feminine, while 
Wettbeverb is masculine. If Wettbeverbmusik is a word, would it be feminine?

Thank you in advance!

David Froom


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[Finale] large time signatures

[David Froom]

Hello all,

I wonder if anyone knows how to do large time signatures in the manner 
suggested by Gould in “Behind Bars.” She suggests that they go above each group 
(winds, brass, strings), aligned with the left edge at the barline. She gives a 
page from Carter’s Symphony for Three Orchestras as an example. The reason to 
take them out of the systems is that even narrow ones will distort horizontal 
spacing. 

Does anyone on this list use large time signatures this way? If so, can you 
recommend a way to do them?

Thanks,
David Froom
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Re: [Finale] make invisible things transparent?

[David Froom]

On 28 Jun 2017, at 1:00 PM, jef chippewa  wrote:
> 
> regarding the spacing, you might find it useful 
> to integrate {DocOptions/Music Spacing/Avoid 
> Collision of: Hidden Notes} into what robert 
> already mentioned.

Another useful trick. Thanks!
> 
> if you use a specific layer ONLY for those hidden 
> notes and nowhere else in the score, then 
> DocOptions/Layers and uncheck "affects spacing" 
> for that layer.

Actually, this doesn’t work for my situation, as I am hiding my main layer in 
these measures. For example, when I use a string of running piano 16th notes 
that are to be held with the hands and tied to a sustained chord (so a tie 
extends from each 16th note, then those ties are stretched with special tools 
so all of them reach the chord), the playback is messed up because the notes 
don’t sustain and the chord sounds. So, I put the notation the way I want it to 
look in layer 4, set layer 4 to have a volume of 0 in the score manager, then 
use a staff style to hide layer 1, which is written the way I’d write it to get 
playback correct.  
> 
> even more geeky, in speedy entry, in the hidden 
> layer, opt-click (mac) on the measure and you can 
> define which notes affect the music spacing. 
> note i have not had 100% success with this in 
> other contexts (collisions of layers where i want 
> an abnormal positioning of one or both of the 
> layers), seems to be only a problem on the 1st 
> note in the measure.

This seems like overkill, but nice to know about for special situations. 
> 
> you could use a value like 15% or something for 
> the "hidden object shading" (prefs/view).  this 
> is a global setting, but 15% is faded enough to 
> not really disturb and you can still read any 
> text that is hidden (e.g., i use a category 
> defined with hidden text to make notes in the 
> score for myself about workarounds or quirky 
> approaches to notating things).

I set the value to 0% here. What I was looking for, however, was a transparency 
setting. Even having these pale disturbs me, and at 0% I see the opaque white 
blobs where the notes were. 

Thanks for these tips!

David
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Re: [Finale] make invisible things transparent?

[David Froom]

Thanks Robert!

I did NOT know about this — and, of course, that solves it. Even better, if I 
ever need to see things again, I can quickly show them again.

So many things in this program to discover, even rather obvious things, that 
long-time users (I started with 1.0) still haven’t found. For example, only 
today I discovered I can change meter with the contextual menu by 
cntrl-clicking on a measure. So much faster!! Especially for 5/8 and 7/8, where 
the contextual menu gives subdivision choices! Why did I never know about that?

Thanks again,
David

> On 28 Jun 2017, at 1:00 PM, Robert Patterson  
> wrote:
> 
> I'm assuming you know about View->Show->Hidden Notes and Rests. Beyond
> that, there are settings in Preferences->View that give a measure of
> control over how hidden objects display.
> 
> On Tue, Jun 27, 2017 at 1:40 PM, David Froom  wrote:
> 
>> Dear collective wisdom,
>> 
>> I know how to hide things, either one at a time or with staff styles. When
>> they are hidden, they show up as opaque white things, and mess up the look
>> of the page. I know they don?t print, but I like the score I?m working on
>> to look like it will when I print. Does anyone know how to make hidden
>> things also transparent, so they are truly hidden on the screen?
>> 
>> I have tried just sliding them out of the way. With rests or dynamics or
>> articulations, there is usually an empty spot to put them in. But with
>> hidden notes (say, with one layer hidden because it is playing correctly
>> but another layer showing because of how I want it to look), they are just
>> in the way. If I slide them out of the way with special tools, it messes up
>> the spacing.
>> 
>> Any ideas?
>> 
>> Thanks in advance,
>> David Froom


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[Finale] make invisible things transparent?

[David Froom]

Dear collective wisdom,

I know how to hide things, either one at a time or with staff styles. When they 
are hidden, they show up as opaque white things, and mess up the look of the 
page. I know they don’t print, but I like the score I’m working on to look like 
it will when I print. Does anyone know how to make hidden things also 
transparent, so they are truly hidden on the screen?

I have tried just sliding them out of the way. With rests or dynamics or 
articulations, there is usually an empty spot to put them in. But with hidden 
notes (say, with one layer hidden because it is playing correctly but another 
layer showing because of how I want it to look), they are just in the way. If I 
slide them out of the way with special tools, it messes up the spacing.

Any ideas?

Thanks in advance,
David Froom
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[Finale] New MacBook Sierra Finale 14.5

[David Froom]

Hi all,

I have upgraded computers to a new MacBook Pro (the last one without the 
toolbar), and have run into a small thing with Finale 14.5 and Sierra (MacOS 
10.12.5). The tool palette doesn't display all the tools unless it is set at 3 
across, 9 down (one column is 10). I prefer to have it 2 rows of 14 across. 
When I do this, only the first six tools show, none of the others. No matter 
how I reconfigure it, it will not show more than 3 across, nor more than 10 
down -- so 2 across will only show the first 20 tools. The missing tool spots 
are just blank.

I tried going to preferences to reset the palette. The only choice is large 
icons. I tried that, but that made the palette disappear completely! I couldn't 
get it back, no matter what I did -- except by trashing preferences.

Any ideas? Hope someone can help. Is this a known issue with Finale 14.5 and 
Sierra?

Thanks in advance,
David Froom



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[Finale] big time sig, always on top staff

[David Froom]

Dear collective wisdom,

I am writing an orchestral score, using big time signatures. So, following 
instructions on doing this, I have to set, in the staff attributes, to display 
time signatures only for the first instrument in each family (so, for winds, 
only piccolo; brass, only horn 1/2, etc.). But when I hide empty staves, the 
time sigs go away also! 

Can Finale be forced to show time signature, at least, for whatever is the top 
instrument in the score? I tried overriding with the measure tool (always 
show), but that doesn't bring up the time signature. For you users of big 
signatures, how do you handle this?

Thanks in advance,
David Froom
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Re: [Finale] 3/2 vs. 6/4

[David Froom]

Hi Darcy,

I may have overstated my insistence on 3/2 vs 6/4. My own music changes meter 
often, suppresses downbeats (or emphasizes offbeats), sometimes floats freely 
above the meter for long stretches. Your wisdom — along with your experience — 
is evident, clear, and also well known. 

Even still, I embrace tradition in notational practice wherever I can, seeing 
it as the immediately-understood default choice of experienced musicians. This 
may relate to the fact that the first time I was taken to task for ignoring the 
3/2 vs 6/4 distinction was early in my career, and was from a (now) hugely 
successful and well-known composer and conductor who specializes in classical 
contemporary music of the most demanding and adventurous type. 

Of course, everything ultimately depends on context, clarity of intent, ease of 
reading, knowledge of the band and their expectations — all of this takes 
precedence. I would just say that it is always best to know that one is 
ignoring conventions, and to have good reasons for doing so. And, so, as you 
say, “the distinction is useful until it’s not."

By the way, I am a huge fan. I was playing your music for a DMA composition 
student the other day. He was hugely impressed.  

David Froom
   
> On 9 Dec 2016, at 10:41 PM, DJA wrote:
> 
> The distinction is useful until it?s not.
> 
> If I have a fast piece in 2/2, conducted in 2, and then I need a bar that?s 
> elongated by a beat, I?m going to write a bar of 3/2, and conduct that bar in 
> 3.
> 
> If I have a piece in 5/4, conducted in 5, and then I need a bar that?s 
> elongated by a beat, I?m going to write a bar of 6/4, and conduct that bar in 
> 6.
> 
> If I have a piece in 4/4, conducted in 4, and then I need a bar that?s 
> elongated by two beats, I?m also going to write a bar of 6/4, and conduct 
> that bar in 6.
> 
> Traditional worries about which parts of the bar are stressed don?t really 
> apply to my music, and that?s true of much modern music.
> 
> That bar of 6 might contain people playing all kinds of syncopations and 
> over-the-barline rhythms and cross-rhythms. There might not even *be* an 
> attack on beat 4 to emphasize. Insisting that 3/2 can only be 2+2+2 and 6/4 
> can *only* be 2+2+2 is a convention that is not useful my music, or in the 
> music of many (if not most) contemporary composers.
> 
> Cheers,
> 
> ? DJA
> -
> http://secretsocietymusic.org


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Re: [Finale] 3/2 vs. 6/4

[David Froom]

> On 9 Dec 2016, at 7:22 AM, Steve Parker wrote:
> 
> I think a composer should be able to do whatever they like. But it's not a 
> convention that is outliving its usefulness, it is rather a useful 
> distinction that is being contracted. 
> I can happily conduct 6 beats in 3/2 to keep the pulse the same and I've 
> never met anyone who would suddenly double the tempo of the crotchets just 
> because they've seen 3/2. 
> In terms of stress, subtleties matter. 
> S.w.w. 3/2
> S.w.S. 4/4+2/4
> S.S.w. 2/4+4/4
> Stress is, after all, a major reason for time signatures existing..

This is really interesting, as it seems to come down to a jazz vs classical 
thing — and I fully respect each, but acknowledge each has its own notational 
psychology. I think notational psychology is important, even crucial to know — 
things like when/where a cellist would see tenor or treble clef, or who prefers 
ledger lines (flutes and tubas) over 8va/8vb (pianists), and so on.

The other break down in 3/2 vs 6/4 (in the purely classical world) might be 
amateur vs professional? Though even here, I’d follow the “rules” if there is 
time for this to be a teaching moment. 

It all comes down to who you are writing for and what will take the least 
explaining. If you don’t know the rules of a particular situation, you need to 
ask. I always try to avoid being the inventor, especially if there is a 
perfectly good “standard, expected” solution.

In the professional classical world, top numbers 6, 9, 12 are ALWAYS compound 
meter, whether with lower number 2, 4, 8 or 16. Top numbers 2, 3, 4 are ALWAYS 
simple meter. Shifting back and forth between compound and simple usually has a 
(q=q) or (q=q.), sometimes with a confirming parenthetical metronome mark. If 
one or the other is consistent, you do this once and add “sempre.” The 
occasional 3/4 with a duple subdivision is always better shown as dotted 
quarter followed by eighth-tied-to-quarter (instead of two dotted quarters or a 
two-quarters duplet).

Other top numbers (5 or 7) will show subdivisions with beaming — or will have 
(2+3) or some such thing if there is a conductor and if there is any lack of 
clarity. I hate wasting orchestral rehearsal time with the conductor going 
through the score saying where it is 2+3 and where it is 3+2 (been there…).

If I give a part to a pro classical player with a simple meter when it should 
have been a compound meter (or vice versa), I will get a comment, will not be 
taken seriously, and ultimately, won’t get as good a performance. That’s how I 
learned this…

Specifically for the situation that triggered this discussion: It sounds as if 
it is for non-pros. I’d recommend 4/4 and 2/4 or vice versa depending on the 
music. Could also be 3 bars of 2/4. Or if it is to 6/4 but sounding as three 
half-notes, it might be half, quarter-tied-to-quarter, half — though that would 
look fussy.

Thanks all for a great discussion. I learned something, especially if I ever 
find myself writing for jazz players.

David Froom
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Re: [Finale] (Off Topic) Dorico [lengthy Froom to Bailey reply - delete if not interested]

[David Froom]

-educational crossgrade is not a lot more. Full cost is expensive, but 
competitive. Copy protection is fierce (only one computer OR a USB dongle — 
your choice), but not hard to get a new install if you change computers or have 
a computer crash. I have no idea what upgrades will cost, nor how often they’ll 
come, but Daniel S says the first six months, at least, will be free upgrades 
for the version 1 people.

My other hope is that Finale will note and respond to the challenge, as they 
did when Sibelius emerged fully on the market. Competition in this field isn’t 
great for the company bottom lines but it is pretty great for the consumers.

Anyone with specific Dorico questions can feel free to write to me personally. 
I’m not affiliated with Dorico in any way. I just am excited about their 
product.

David Froom
dfr...@smcm.edu


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[Finale] large ensemble balances

[David Froom]

Hello all,

I wonder if any among you are as frustrated as I am dealing with large ensemble 
balances. In orchestral settings, the brass and percussion especially tend to 
be way too quiet, and also seem to have far less of a dynamic range. 

It seems that using any of the mixers (studio view, mixer view, or Garriton 
Aria player view) is of minimal use, as those volumes get overridden by score 
markings. The only way around I have found is to clutter the score with 
invisible dynamics, while disabling the dynamics I know I will need to use for 
real performance. To a lesser extent, I this is a problem with articulations 
(but as those, even hidden, create layout problems, I am living without).

Can anyone give some general advice on dealing with this? Any general 
workarounds (short of creating a separate playback file)?

I guess what would be really cool is first, to consolidate the mixers into one 
place, and then to give mixing control that remains in the memory that works 
independent of score markings. Even better would be if Garriton were fixed to 
be better balanced in the first place!

Thank you in advance,
David Froom
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Re: [Finale] Printing 8.5"x11" PDF 2-up to 12"x18" paper

[David Froom]

I use CreateBooklet. It puts itself in the Mac print dialog as one of the 
choices in the pdf dropdown menu. I open a set of pdfs in Preview, choose 
target paper size, select “create booklet” from the pdf dropdown menu, and a 
new document opens in Preview. 

I usually create my Finale files as 9x12. So the margins I set in my file 
transpose perfectly to 12x18 paper. 

You can find the latest version in the app store for $10. You can find version 
1.1 out there for free.

David Froom
> Does anyone have a good solution for printing 8.5?x11? PDFs 2-up onto 12?x18? 
> paper that both enlarges the image the correct amount and preserves 
> equidistant margins?  
> 
> The app Bookbinder?s Collator does this perfectly when making booklets, but 
> it is not able to do regular 2-up. And neither Preview nor Adobe Reader seem 
> to offer sufficient control over the enlargement or the inner margins.  
> 
> Cheers,  
> 
> ? DJA  
> -  
> http://secretsocietymusic.org  


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Re: [Finale] to upgrade or not...

[David Froom]

Another since-v.1 user here. Prior to that, I tried using MOTU Professional 
Composer. I still have a score that used MOTU for notes only, and I drew in 
slurs, dynamics, articulations by hand (which I was OK with because I’m of the 
generation that had a Pelikan fountain pen with a music nib, a set of raised 
rulers, and an electric eraser). I amuse my students by telling them that when 
I moved to from LA to NYC in 1979 to start a doctorate program, one could still 
find employment in downtown LA or midtown NYC in a room full of music scribes, 
all with pen and ink, dutifully writing out scores and parts for shows, bands, 
commercials, and the few composers who were getting big orchestral 
performances. We used to get our onion-skin paper and bring in the finished 
scores for blue-print printing at Circle Blue Print in NYC, Alpheus (which 
became Judy Green Music) in LA. Judy Green also had all the best paper and 
pencils (with double-sized erasers) and general supplies (pens, nibs, ink, 
special rulers). 

Then Finale! Did v.1 come out in 1988? Even on a Mac Plus, (files on one 
floppy, programs on the other — remember the repeated disk swapping?), and pre 
smart shapes (when you had to generate each slur as an independent graphic), 
and tiny computer screens, it was worth the effort — if only because fixing 
mistakes was faster, and, with enough fussing, you could get something that 
actually looked pretty good!  I think it was finally around the mid 1990s that 
Finale became faster than doing it by hand.

David Froom
 
> On 13 Jul 2016, at 1:00 PM,  
>  wrote:
> 
>> Same as Dennis here--around 1989, quit MusicPrinter plus and got Finale
>> 2.x for my 386 computer . Strayed a couple of times along the way and now
>> 80% Finale, 20% Sibelius.
>> 
>> Sent from my iPhone, so please pardon all the typos.
>> 
>>> On Jul 13, 2016, at 12:39 PM, Dennis Bathory-Kitsz <
>> bath...@maltedmedia.com> wrote:
>>> 
>>>> On Wed, July 13, 2016 12:35 pm, Chuck Israels wrote:
>>>> Don?t know if there are others here with the same history, but I have
>> used
>>>> Finale since v.1.0.  Nevertheless, there are a number of others whose
>>>> knowledge of the program runs considerably deeper than mine, including
>> the
>>>> always reliable Christopher Smith.
>>> 
>>> Indeed! I didn't start with version 1 because there was no Windows
>> version
>>> until version 2.
>>> 
>>> Dennis
>>> 


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[Finale] New Steinberg notation software announcement

[David Froom]

Hello all,

I saw that the new Steinberg notation product, being developed by the “sacked” 
Sibelius developers, has now arrived at the name and announcement stage. It has 
been demonstrated, and is promised for release by the end of this year. They 
are suggesting that they will have a decent (temporary) cross-grade price for 
Finale/Sibelius users, but they aren’t taking orders yet.

They are calling it Dorico, after Valerio Dorico, a 16th century Roman music 
printer who, like Petrucci, lacked specialist knowledge, so “likely relied on a 
network of contacts and technical expertise of an editor” (Susan Hammond, 
“Editing Music in Early Modern Germany”). 

The name, perhaps, refers to Steinberg relying on the former Sibelius team?

Sounds to me too much like Dorito. Kind of cheesy…

In any case, here is the link. I’d be curious to get impressions from our local 
power users.

https://www.steinberg.net/en/products/dorico.html

David Froom
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[Finale] Fin14.5 program Selection metatools Mac

[David Froom]

Hi Robert,

As you know, 6 and 7 are pre-programmed for down/up a diatonic step, and 8/9 
are pre-programmed for down/up an octave. It works on music selected with the 
selection tool.

I just tried a variety of things to reprogram those metatools, and, for Mac, 
shift-command-number (6-9) brings up the transposition dialog box, letting you 
reset the metatool to any transposition you like. The reprogramming is 
application wide, not file specific.

I nearly missed figuring this out because of an annoying habit of 14.5. After 
doing the reprogramming (or any number of other things), the file window with 
all the music in it recedes to the background (graying out menu items and other 
operations) even though the application itself is forward. You have to click in 
the window to bring it back forward. So, for example, after reprogramming a 
transposition metatool, it seems as if nothing has happened until you click in 
the music window to make it active. 

David Froom

> Robert Patterson wrote:
> 
> Does anyone know how to program the transposition metatools (in Selection
> Tool) on FinMac 14.5? The manual says cmd-# (for #'s 6-9) is supposed to do
> it, and that works in 14d for me. But not in 14.5


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Re: [Finale] Score Printing Question

[David Froom]

> If you have them done by a commercial
> printer, I would be particularly interested in sources in the New
> Yokr, L.A., or San Francisco areas.  That said, in this digital age,
> these things can be done anywhere, so any information about the
> successful procedures done anywhere would be much appreciated.

Hi Linda,

A lot of folks use either Subito

http://www.subitomusic.com/services/printing-production/digital-printing/

or Black Ribbon

http://blackribbonprinting.com/services/paper-options/

Either will do a very professional job, and both work can work from pdf. Both 
are music printing specialists, can handle any size paper, can do a variety of 
bindings, use excellent paper.

Subito is in Verona, NJ (near NYC). Black Ribbon is in Castle Pines, CO. But 
both will take electronic delivery of pdf, and will mail directly to the person 
to whom you want things delivered. 

My experience is that both are absolutely fine. Subito is also a publisher, and 
Black Ribbon works directly with publishers from around the world.

David Froom
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[Finale] midi keyboard for college lab

[David Froom]

Hello collective wisdom,

I am looking into purchasing replacement keyboards for my small college's 
shared "arts" lab (iMac computers). This is not for piano practice, nor for 
basic theory learning, but rather, for use with programs like Finale and Logic 
Pro. The shared nature of the lab and the configuration of the workstations 
means that the keyboards need to be checked out to students, stored in their 
lockers.

I've been using Garage Key 37 key keyboards. The benefit of those is full-sized 
keys, plus the plastic risers that attach to the sides to raise the keyboard a 
few inches. The keyboard then sits above and behind the computer keyboard, 
between the computer keyboard and the monitor. This means it does not need to 
be to the right or to the left. I use one myself, primarily and nearly 
exclusively for Finale note entry. The disadvantages of the Garage Key are that 
it has no mod/pitch wheels, and is a bit flimsy (keys get knocked out of 
alignment and stop working, the octave change keys go bad, the plastic risers 
break). The problems don't occur with my own Garage Key because I don't move it 
around. The students wrap usb cords around the keyboard and put it in their 
backpacks to carry to a locker. 

I'd like 37 keys and the mod/pitch wheels. I want something that takes a 
minimum of space (so no big space behind the keys with knobs the students won't 
use -- these are not for live performing). Most important, though, is 
sturdiness for keyboards that might get bumped around a bit. 

The budget is sort-of in the $100 per keyboard range.

I'm looking at the Korg 37 microKEY. Does anyone use this? If so, can you vouch 
for its playability and sturdiness?

Or does anyone have any suggestions for other keyboards I should be considering?

Thank's in advance,
David Froom 
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Re: [Finale] MIDI (free piano)

[David Froom]

On 26 Jan 2016, at 1:00 PM,  wrote:

> On 1/25/2016 12:06 PM, Nick Raspa wrote:
>> Many have mentioned Garage Band which is a good basic program, but there is 
>> also another (free) program called Audacity.  Although I generally use 
>> Garage Band for recording, I usually finish it up in Audacity.  You can also 
>> record directly into Audacity just as you can with Garage Band and Audacity 
>> is available for both Mac and PC.
>> 
> 
> Audacity is an audio recording program -- it doesn't have any midi sound 
> built into it.
> 
> The original question was about a piece of software that would be free 
> that would produce sounds when the student hooked the midi keyboard up 
> to the computer.  The keyboard is simply a controller with no built-in 
> sounds at all.

Already recommended is the combination of sforzando 
(https://www.plogue.com/products/sforzando/) and Ivy Audio's Piano-in-162 patch 
in sfz format (http://ivyaudio.com/Piano-in-162).

sforzando is a vst/au plugin, which needs a host to run it. It will run in 
Finale, or in DAW programs. For mac, anyway, the smallest free application I 
could find is "Hosting AU." That works fine as a tiny "stand alone" application 
to act as the host for audio units. 

I tried downloading sforzando, piano-in-162, and hosting au. This combination 
does a good job of turning a midi keyboard controller into a pretty decent 
piano. piano-in-162 has two choices, one with ambience, one without (you get 
both). It is quite a good sound font, especially because when the sustain pedal 
is depressed it changes the tone to have a full open-string resonance (a 
subtlety that is missing from many otherwise-pretty-good stand-alone electronic 
pianos). 

The download of piano-in-162 will take a while, and, unless you pay for it, it 
will have to come through a bit-torrent program. It is all clearly explained on 
their download page.

For windows computers, you'll need to find a small vst hosting stand-alone 
application.

David Froom
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Re: [Finale] Laserjet 5000

[David Froom]

Hi Johannes and Chuck,

> Apparently it is likely to be the registration assembly, which can be 
> replaced, I just have to find a vendor who will sell one to me.

Johannes, I hope you have luck finding a vendor. Here is one:
http://www.feedroller.com/store/product_info.php?products_id=5058

And I hope this fixes the paper problem.

About my fear of upgrading:

> How strange, I have absolutely no problems printing from 10.10 and 
> 10.11. In fact, I am writing this from a brand new MacBook pro Retina 
> with the very latest system, and the printer works without a flaw - 
> well, apart from the paper feed problems.
> 
> It is connected on a Fritz.Box ethernet port. Thinking about it I may 
> have updated the Ethernet card at some point. In my case I can see the 
> printer configuration page on Bonjour (I can access the printer through 
> the Bonjour folder in Safari, which is in the bookmarks menu).

I can't go this route because my router has to be downstairs in a garage (close 
to the cable coming into the house for reasons of signal strength) and my 
printer has to be upstairs. I know I can make this a wireless printer by 
plugging it into the router. So I've been plugging it directly into the 
computer's ethernet port.

> There are different network cards around, mine is a J4169A. The firmware 
> version is L.25.57, and I may well have done a firmware update at some 
> point, but I have no idea when or how.

That's my network card also.

But Chuck wrote:

> I am still using my Laserjet 5000 as a network printer on El Capitan.  I had 
> trouble for a while in earlier OS versions when things stopped working, but a 
> Mac maven friend got it up and running simply by selecting the right driver 
> (a fairly generic one, I think) from the list of drivers that comes up when 
> you set up the printer.  If I can figure out which one that is - the one that 
> is now working smoothly, I will let you know.  Or if you or anyone else knows 
> how I can locate which driver this is, let me know and will report back.

That's fabulous news! Maybe I can upgrade! I am guessing you're plugged into 
the computer ethernet port like I am. I'll try this easy solution by borrowing 
someone's computer, and if it works, I'll be able to catch up to the current 
system. I assume there are no problems with Finale and El Capitan?

Thanks very much,

David 
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Re: [Finale] Laserjet 5000 jams

[David Froom]

On 23 Dec 2015, at 1:00 PM, Johannes Gebauer  wrote:

> Hi all,
> 
> I wonder whether anyone can help me locate the problem which is causing 
> paper jams in my Laserjet 5000.
> 
> Recently it started misbehaving, both feeding from the lower trays and 
> the manual feed tray. It seems that it feeds the paper all right but 
> then tries to feed another sheet immediately after. For a while it would 
> work by just feeding single sheets, but now it even reports a paper jam 
> when there is no second sheet on the tray. There isn't a jam, just 
> opening and closing it will reset it, but it happens pretty much every time.
> 
> The rollers and pads were all replaced about a year ago.
> 
> Is there some sensor which doesn't see the paper anymore? This would 
> seem like the most likely problem to me. And can I fix this myself, or 
> is it time to get a new one?
> 
> I love this printer for being able to print on A3. It's been serving me 
> well for a long time.
> 
> Johannes

Hi Johannes,
There are a pair of parts that are probably the issue here: the pickup roller, 
which you may have replaced, and the separation pad, which you probably didn't 
replace.

Here is a website that shows those parts and how to install them:

http://www.printertechs.com/maintenancekit-instructions/hp-laserjet-5000/280-hp-laserjet-5000-tray1-parts-installation

It can be tricky, and you have to be very careful. When I had this same problem 
about 3-4 years ago, I trashed my printer by doing the replacement incorrectly. 
I like the printer so much, though, that I found another one, used and 
refurbished and not too expensive.

Now a question for you (and anyone else): has anyone figured out how to get the 
Laserjet 5000 to work as a network printer (printing through the ethernet 
cable) with any of the Mac systems beyond 10.8.5? It was tricky enough to get 
10.8 to work (involved doing some things with the terminal), but I've heard 
from others on the list that this is no longer possible using later systems, 
10.9, 10.10, or 10.11 (Yosemite or El Capitan). I'd love to upgrade for other 
reasons, but don't want to have an wonderful-but-orphaned printer.

David Froom
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[Finale] Finale 2014.5 and Garritan

[David Froom SMCM]

I recently upgraded to 2014.5 (Mac).  I have the full Garritan, but 
occasionally use the Finale version for the non-orchestral instruments 
included. After the upgrade, the full Garritan is fine, but the others have 
disappeared, except, oddly, a single instrument (viola).  This is so, now for 
both versions (2014 and 2014.5).  Clearly the instrument location has changed, 
and Finale doesn't know to where. 

Does anyone have a suggestion of what I should do to fix this?

Thanks,
David Froom
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Re: [Finale] 12x18 booklet printing workflow

[David Froom]

My workflow (Mac) is to use Booklet Creator. I could swear I got it for free, 
but that was many years ago. It seems it is now $9.99 in the app store.

My first step is to make a pdf file of the Finale file. I work, as much as I 
can, in 9x12. I keep this as a my reference file. I like storing pdf because my 
publisher wants my music this way (in non-booklet form), and because nothing in 
the score is subject to upgrades and feature adds (things that, over the past 
25 years, orphaned some of my older music).

Booklet Creator puts itself into the print dialog's pdf drop down menu. So I 
open my 9x12 pdf score in Preview, make sure I've selected Paper Size 9x12 and 
Fill entire paper, then, in the pdf drop down menu, choose Create Booklet. My 
booklet is made in about 2 seconds. I print (to my HP5000) with this workflow:
Paper size is 12x18
Fill entire paper is selected.
Paper Handling is set to "odd only" (then, for the second pass, "even only." 
The paper goes straight through to the back exit in the printer, so it is ready 
to flip without any reordering. After the second pass, it is ready to staple.

The whole thing is very fast. I need to get up once to flip all the pages. When 
I quit, the booklet goes away unless I choose to save it.

The issues: One needs to do a fair amount of back-and-forth folding to get this 
to stay open. I usually forward fold the whole book, then bend it completely 
backwards at every page. For more than 12 pages (three sheets of paper), the 
edge sticks out in a pronounced way. You need a really good paper trimmer to 
straighten that out.

Even still, this is the method of printing with which I am happiest.

David Froom

On 28 Aug 2015, at 1:00 PM, Darcy James Argue  wrote:

>> From: Darcy James Argue 
>> Subject: [Finale] 12x18 booklet printing workflow
>> Date: August 26, 2015 at 10:05:40 PM PDT
>> To: 
>> 
>> 
>> Hi all,
>> 
>> So after a year and a half of owning a Ricoh AP6330N, I have ? somewhat 
>> sheepishly ? just today discovered it can actually handle 12"x18" paper. (I 
>> had until now just assumed that it had the same size limitations as its 
>> predecessor, the Ricoh AP2610, which maxed out at 11"x17". In retrospect 
>> this was really, really dumb.)
>> 
>> Obviously that is a bit of a game changer for me! I have previously been 
>> printing on individual 9"x12" sheets and taping them using the VPC machine. 
>> This is no longer necessary (or remotely desirable) now that I know I can 
>> print directly to 12"x18".
>> 
>> I'm curious what people's workflow is to create booklet parts on a Mac ? 
>> presumably it's best print to PDF first, then use booklet software to 
>> assemble the 12x18 signatures? Are there apps that people would recommend 
>> for this purpose? I have Bookbinder's Collator, but it's not the most 
>> intelligent piece of software I've ever used.
>> 
>> Cheers,
>> 
>> - DJA
>> -
>> WEB: http://www.secretsocietymusic.org


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Re: [Finale] Windows Surface Pro 3/StaffPad Update

[David Froom]

On 17 Aug 2015, at 10:08 AM, Robert Patterson  
wrote:

I guess this is YMMV. I was told, when I contacted Apple, that for an iPhone 
screen replacement that the genius bar people would send it out. Maybe the 
Washington DC area stores are too busy?

DF

> Actually, I just got my iPhone screen replaced at the Apple store a few
> months ago. Not the cheapest option in the world, but way less than a new
> phone or $320.
> 
> On Sun, Aug 16, 2015 at 1:29 PM, David Froom  wrote:
> 
>> On 16 Aug 2015, at 1:00 PM, Robert Patterson wrote:
>> 
>>> Even worse, my only option for a "repair" is to exchange the device for a
>>> different one for a hefty $320. No screen repair available, and I have to
>>> send it off and be without a device for however long it takes. Compare
>> that
>>> to booking a time at the Apple Store and having it repaired while you
>> wait.
>> 
>> I'm what might be called a old-man version of an Apple fanboy, someone
>> whose first move up from Kaypro with line commands and double floppy discs
>> for applications and files was to an Apple Mac in the mid/late 80s, and
>> I've been an Apple user since then (a Windows laptop floated through my
>> house a decade ago, and I have Android phones because of Republic wireless
>> -- but other than that, a family with numerous computers, iPods, iPads, and
>> one daughter with an iPhone). I learned Finale 1.0 on an Apple SE (remember
>> the floppy swapping? and the pre-smart-shape days when every slur had to be
>> cloned and positioned?)
>> 
>> The Apple Store, as recent an innovation as it is in the life of Apple, is
>> not what it used to be. For something VERY simple, like a replacing a
>> broken key, it might be repaired while you wait. For anything else --
>> cracked screen, failed motherboard (two recent mishaps in my house), you
>> take it in, they inspect it for 5 minutes, then tell you they will send it
>> out, not to expect it back for 3-7 days. Out of warranty, it is very
>> expensive. The Apple store appointments are for 15 minutes only! So it is
>> only marginally better than packing it up and sending it in. What I expect
>> now from the Apple store is a semi-reliable estimate of problem, time, and
>> cost. Mostly, it seems, the "Genius" bar serves people with the most
>> elementary of system software problems.
>> 
>> Thankfully, for broken screens, you can find third-party repairers, often
>> at kiosks in malls, who repair while you wait, as long as the device is
>> relatively popular and has been around for a year or so (meaning they would
>> have non-OEM parts in hand).
>> 
>> I understand. As companies grow to such behemoth size, they increase
>> profits by hiring cheap at the customer-contact level. And they find it
>> cheaper, as employee turnover increases, to keep rehiring at bottom wages
>> rather than to loyal long-term employees more in exchange for wisdom and
>> ability. The consumer experience suffers.
>> 
>> David Froom


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Re: [Finale] Windows Surface Pro 3/StaffPad Update

[David Froom]

On 16 Aug 2015, at 1:00 PM, Robert Patterson wrote:

> Even worse, my only option for a "repair" is to exchange the device for a
> different one for a hefty $320. No screen repair available, and I have to
> send it off and be without a device for however long it takes. Compare that
> to booking a time at the Apple Store and having it repaired while you wait.

I'm what might be called a old-man version of an Apple fanboy, someone whose 
first move up from Kaypro with line commands and double floppy discs for 
applications and files was to an Apple Mac in the mid/late 80s, and I've been 
an Apple user since then (a Windows laptop floated through my house a decade 
ago, and I have Android phones because of Republic wireless -- but other than 
that, a family with numerous computers, iPods, iPads, and one daughter with an 
iPhone). I learned Finale 1.0 on an Apple SE (remember the floppy swapping? and 
the pre-smart-shape days when every slur had to be cloned and positioned?)

The Apple Store, as recent an innovation as it is in the life of Apple, is not 
what it used to be. For something VERY simple, like a replacing a broken key, 
it might be repaired while you wait. For anything else -- cracked screen, 
failed motherboard (two recent mishaps in my house), you take it in, they 
inspect it for 5 minutes, then tell you they will send it out, not to expect it 
back for 3-7 days. Out of warranty, it is very expensive. The Apple store 
appointments are for 15 minutes only! So it is only marginally better than 
packing it up and sending it in. What I expect now from the Apple store is a 
semi-reliable estimate of problem, time, and cost. Mostly, it seems, the 
"Genius" bar serves people with the most elementary of system software problems.

Thankfully, for broken screens, you can find third-party repairers, often at 
kiosks in malls, who repair while you wait, as long as the device is relatively 
popular and has been around for a year or so (meaning they would have non-OEM 
parts in hand). 

I understand. As companies grow to such behemoth size, they increase profits by 
hiring cheap at the customer-contact level. And they find it cheaper, as 
employee turnover increases, to keep rehiring at bottom wages rather than to 
loyal long-term employees more in exchange for wisdom and ability. The consumer 
experience suffers. 

David Froom
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[Finale] Someone read old German handwriting?

[David Froom]

Very off topic:

I'm trying to figure out a word, tempo marking, in a Schubert manuscript, the 
initial tempo marking for Auf dem Flusse from Winterreise.

The manuscript for the first page is here:

http://www.schubert-online.at/activpage/manuskripte_en.php?werke_id=440&werkteile_id=&image=MH_05391_D911_037.jpg&groesse=100&aktion=einzelbild&bild_id=38

I can see that Schubert crossed out the word Mäßig, but I can't read what he 
replaced it with. In most of the published editions I can find, it is given as 
Langsam, but that clearly isn't what he wrote. Sometimes it is given as Mäßig, 
but that is clearly crossed out. Mäßig appears in an earlier copy in Schubert's 
hand (also available online through the Morgan library), but this later copy 
changes that (along with a few other minor things).

Can anyone make out the word?

Thanks,
David Froom
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Re: [Finale] Ghost Dynamic Effects in Playback

[David Froom]

Michael,

You might use the edit filter to delete just the expressions. That would get 
rid of dynamics, but also everything else entered with the expression tool. 

I'm away from my finale computer. The edit filter might have better fine 
tuning. But even if not, this would be better than complete reentry. 

David Froom


> I selected "edit key velocities" and then selected "clear" but it had no 
> effect on the volume.
> Regards,
> Michael

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[Finale] Fin14 Keyless transposition options

[David Froom]

On 11 Sep 2014, at 1:00 PM, Robert Patterson wrote:

> I'm beginning to grapple with Fin14, and it looks to me as if there are two
> completely different ways to accomplish the same thing at both the key and
> staff levels.
> 
> At the key level we have the new "Keyless" option. I think that is a great
> addition. But there is also a "Hide Key Signature and Show All Accidentals"
> option. Can some explain to me when I would use one and when I would use
> the other?
> 
> Similarly, at the staff transposition level there is a "Chromatic" option
> and a "Hide Key Signature and Show All Accidentals" option. Can someone
> explain to me when I would use one and when I would use the other? (Other
> than that "Hide Key Signature and Show All Accidentals" is apparently not
> available in staff styles?)

In my (limited) experience, they are different ways of accomplishing the same 
thing. I like the fact that "keyless" is available at setup time, which saves a 
step or two. I also like the fact that Finale leaves older functionalities 
along with new ones for us dinosaurs who find it hard to break old habits.

If anyone has other information, I'd also love to hear it.

David Froom
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Re: [Finale] Keyless Signature

[David Froom]

I forgot to say:

Instead of choosing C major, the drop down key choice box now has "keyless." 
That accomplishes the same thing.

David

On 31 Jul 2014, at 1:00 PM, Robert Patterson wrote:

> I guess I don't understand the difference between "Hide Key Sig + Show All
> Accis" and "Keyless (i.e. Chromatic) Transposition". When would you use one
> or the other?

Old way: When I set up a new score with Score Wizard, if it is keyless and has 
transposing instruments, I set it for C major. The score comes up with those 
instruments having a key signature. I go to each of those instruments and 
change them to Chromatic Transposition, and the key signatures go away.

New way: When I set up a new score with Score Wizard, if it is keyless, I set 
it for C major -- and I tick the "Hide key Sig and Show all accis" box. 

It isn't a gigantic time saver, but it gets me what I want in one step, with 
one click, saving my having to "fix" the transposing instruments one at a time.

David


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Re: [Finale] Keyless Signature

[David Froom]

On 31 Jul 2014, at 1:00 PM, Robert Patterson wrote:

> I guess I don't understand the difference between "Hide Key Sig + Show All
> Accis" and "Keyless (i.e. Chromatic) Transposition". When would you use one
> or the other?

Old way: When I set up a new score with Score Wizard, if it is keyless and has 
transposing instruments, I set it for C major. The score comes up with those 
instruments having a key signature. I go to each of those instruments and 
change them to Chromatic Transposition, and the key signatures go away.

New way: When I set up a new score with Score Wizard, if it is keyless, I set 
it for C major -- and I tick the "Hide key Sig and Show all accis" box. 

It isn't a gigantic time saver, but it gets me what I want in one step, with 
one click, saving my having to "fix" the transposing instruments one at a time.

David


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Re: [Finale] Keyless Signature

[David Froom]

Hi Robert,

With "Hide Key Sig" in the staff options, whatever you are hiding is reflected 
in the notes. That is, if you are hiding 2 sharps, you won't see C# or F# 
showing up. That's why we needed to use chromatic transposition. With the Show 
All Accidentals, it assumes that you have a keyless signature, and no matter 
what might be lurking in the background (say, 2 sharps for an instrument in Bb 
when you are showing the sharpless/flatless C key sig), those notes will, when 
entered, show the sharps.

It still assumes that you don't want repeated accidentals when you repeat the 
note in the same measure in the same register. You still have to use a plug-in, 
or go through and choose your own cautionaries (I still haven't seen a good 
cautionary plug in that works the way I'd want it to work). But, for keyless 
scores, this one button saves a tiny bit of work during score setup.

David

On 30 Jul 2014, at 1:00 PM,  wrote:

> Hide Key Sig was there as a staff option, but I don't believe Show All
> Accidentals was. How does that work?


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Re: [Finale] Keyless Signature

[David Froom]

Hi Robert,

I know it is the same as "chromatic transposition," but the UI ease-of-use 
brings this up right away when you create a new score using the setup wizard. 
Was "Hide Key Signature and Show All Accidentals" a choice in Fin12? It wasn't 
there in Fin11 (my previous version). 

David

On 29 Jul 2014, at 1:00 PM,  wrote:

> David,
> 
> Just to be clear, I don't think there is anything new about "Keyless
> Transposition". It is exactly the same as "Chromatic Transposition" but
> with a new label and also so some ease-of-use features in the UI. When MM
> introduced the Score Manager window in Fin12, accessing Chromatic
> Transposition remained rather cumbersome in comparison to some of the other
> features, and I think this change to wording and minor UI changes is to
> address that.
> 
> Someone correct me if there is more to it than that. I still run Fin12.
> 
> Robert


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Re: [Finale] Keyless Signature

[David Froom]

Dean,

As someone who writes exclusively keyless transposed scores without ever using 
"display in concert pitch," I'll tell you why I do it.

1) My music does not use an exclusive set of accidentals, but rather, any of 
the 12 notes are available to me at any time, and I think, hear, and write in 
equal temperament. In the "modern classical music" world, this is pretty 
common. 

2) I want Finale's playback to work for me.

3) I want to see, write, and control exactly what the players will see. In the 
final score, if there is a conductor, this prevents wasted rehearsal time. In 
chamber music with piano (where the pianist is reading from full score), it 
likewise prevents wasted rehearsal time. For example, if the conductor wants to 
refer to "the Bb on the second beat in m. 27," no one has to transpose and/or 
alter enharmonic to know what is being talked about.

4) There are often issues of enharmonic choices in melodic writing that are not 
handled well if I write in concert pitch and have Finale transpose for me. In 
particular, I want to avoid (in order of priority) augmented/diminished 
intervals, double sharps/flats, and needless B#s, Cbs, E#s, Fbs. If I write "in 
C" and transpose later, there are always things I need to fix.

5) It is good for my ear and for my mind to think and hear the transpositions 
as I write them. I confess that transpositions I infrequently use (like alto 
flute in G or clarinet in A) still take a bit of getting used to -- and even 
though I'm fluent at reading Eb and Bb transpositions, saxophone quartet still 
has its challenges. But, because everyone can read a C score, and because there 
are so many transposed scores out there, constant practice in reading 
transposed scores makes it vastly easier for me to read other people's music.

6) I believe it is important not only to write idiomatically for each 
instrument, but also to understand, as much as I can, the performer-music 
expectations, which change from instrument to instrument (for example, exactly 
when each instrument expects to see 8va vs. ledger lines, or when to change 
clefs for clef-changing instruments). My experience is that when I write what 
it is that the performer wants to see, it helps in this regard. Now, when I see 
at a bass clarinet or baritone sax part in bass clef, it simply looks and feels 
as wrong to me as it would look to a performer (and yes, I know there is a 
tradition of bass clarinet in bass clef, but it seems more and more the 
exception). And I can't tell you how many student works I've seen with terrible 
horn parts that are terrible because they were written in concert pitch (and 
so, because of an instinct to avoid lots of ledger lines and to use the 
"comfortable-looking" part of the staff space, they sit WAY too high).

I hope this contextualizes some of the reasons for you. I know each of us tends 
to live mostly in our own narrow worlds when we compose. And, over the years 
(I've been using Finale since version 1.0), I've learned how to set up keyless 
scores without the new button. I was quick at it, but even still, I appreciate 
the new way of doing it, as a way of saving a minute or two. And, when I teach 
Finale to people who will use keyless scores, I now don't have to teach the old 
workarounds.

David Froom

On 28 Jul 2014, at 1:00 PM, finale-requ...@shsu.edu wrote:

> Hi Darcy,
> 
> Thanks, I get this. The score's transposing instruments are transposed 
> without the key signatures, If I understand correctly. Is that somehow 
> automated? Would this be any different than writing parts in concert pitch 
> and transposing them correctly, chromatically, per stave, employing 
> "transpose" - while in concert pitch? I suppose for playback it mightn't work 
> - I'm not sure. For scoring purposes would it be any different, with respect 
> to publishing scores, etc.? I'll do some research, but it doesn't make sense 
> yet.
> 
> Best,
> Dean 


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Re: [Finale] Changing clefs within same measure in concert pitch score

[David Froom]

On 14 Apr 2014, at 1:00 PM, Darcy Argue wrote:

> Right. To be clear, these players are only talking about C clefs in new 
> music. And I actually think most of this is actually a proxy complaint for 
> "too many ill-considered clef changes." 

This is the crux, as Robert Patterson noted. And "ill-considered" means 
understanding what each player is accustomed to seeing. It isn't just clefs, 
but also when to use ledger lines and when to use 8va/vb. And when/where to 
change clefs. Cellists, for example, will not want tenor clef much below the 
staff midline A, and especially not lots of ledger lines above the staff in 
tenor clef. But for passages that lie between that midline A and a tenth above, 
tenor is what they want, especially if the passage leans towards the top of 
that range (towards the bottom of that range, and bass clef is better). I am 
also talking about NYC new music players here. And treble clef for cello really 
shouldn't happen below midline B. When I see "middle" C in treble clef for 
cello, I know there will be complaints. Likewise, rapid back and forth among 
clefs. 

As for ledger lines versus 8va/vb, again, that's instrument by instrument. 
Flutists are very happy with five or six ledger lines above the staff, but for 
extended passages in and above that range, violinists and pianists tell me 
they'd rather see 8va. For very low notes, tuba players are happy with five or 
six ledger lines, but pianists want 8vb, even for single notes. But, generally, 
8va/vb rapidly changing back and forth to loco, or used for passages that go 
much into the "normal" reading range, are clumsy. 

As long as I've been doing this, when I have even the slightest doubt about a 
particular instrument's preference for clefs or 8va/vb, I still ask an 
experienced player. There is a norm for each instrument, but no universal 
all-instruments rule except "avoid ill-considered" choices. What I see as a 
teacher is students assuming their own instrument's expectations will apply, 
and that's where ill-considered choices happen. 

This whole thing is part of the craft of composing. The score and parts that 
give people well-considered choices in this regard will earn the composer 
respect right away, and result in a better performance, happier experience. 
Even one or two poor choices will create, for the players, a seed of doubt 
about all the other choices. The performance will suffer, and so will the 
composer's reputation.

This applies also to ill-considered choices in use of accidentals, bad page 
turns, poor spacing choices, bad decisions about meters or score layout, and 
many, many other things that an audience will never see.  But those are whole 
other discussions.

David Froom

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[Finale] Garritan keyswitching without HP

[David Froom]

Hi Gerald,
I've done this when, for one reason or another, HP frustrates me, or controls 
don't work exactly as planned. For example, for violin harmonics, I like to use 
a non-vibrato piccolo.

The easiest way to do it is to set up the different sounds you want on 
different tracks. You can put an invisible expression in (either blank, or with 
a name that you hide). When you make the expression, under playback, you set it 
change the channel. Finale/Garritan can have four banks of 16 channels each, 
numbered (under playback channels in the the expression playback section) 1-16, 
17-32, 33-48, 49-60. So you set up the Aria player with exactly the sound you 
want on separate channels, then create the channel-changing expressions, then 
pop them in. And don't forget to create an expression to change back to the 
primary sound!

David Froom
 
On 8 Feb 2014, at 1:00 PM, GERALD BERG  wrote:

> Hi all
> This may be really old news to you all but I am flummoxed.?
> 
> Is there a way to create an expression tool keyswitch for the Garrison 
> instruments -- violin arco to pizz. (for example) --- without relying on the 
> human playback function to recognize it? ?
> 
> HP is a end result product I'd rather avoid while composing. ?
> 
> I have a bad feeling this is only solvable via layers. ?True?
> 
> ?TIA
> 
> GJB



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Re: [Finale] [OT] "range" of malletkat?

[David Froom]

My addition to that is also to turn the speaker cabinet to face backwards. That 
keeps the sound more or less coming from where the instrument is, but gets some 
room reflection, avoiding the "too present" sound that comes directly from a 
speaker, and it gives the sound a chance to blend with the others according to 
the room acoustic.  After all, most instruments provide us with reflected sound 
(horns go backwards, strings go up and sometimes back (typically where violas 
sit) or sideways (typically where cellos sit) pianos go up and hit the lid, but 
also send a lot of sound directly into the floor. Most trombone and trumpet 
players point to the side or down and perhaps into the stand. I think most 
acoustic instrument sounds will bounce off multiple places before we hear it 
(stage back and top and floor, hall side and back walls). In the best halls, in 
fact, when you close your eyes, it is difficult to know where a sound is coming 
from.

DF


> actually, that is not so much an instrument problems as a classic 
> tech / acoustic mistake -- i see (hear) it a lot, also when solo 
> instruments need to be miked for whatever reason.  usually the 
> thinking is to put the speakers on the sides of the stage (or worse, 
> around the audience) so as not to block the view of the musicians. 
> the most effective way i have done it (and sometimes see it done) is 
> to have the 1 or 2 speakers below / behind the instrument playing it 
> (but not blocked).
> 
> this way, the SOUND of the instrument seems to come from where the 
> performer is actually seated.  also, this approach requires less 
> amplification (of acoustic instruments) to support the sound and 
> therefore colours the natural acoustic sound so little that it can 
> even be unnoticeable.  but this requires a techie who cares.



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[Finale] FIN Garritan Solo Bass Clarinet

[David Froom]

> Hi all
> 
> I need 2 solo bass clarinet instrument sources -- 1 left speaker and 1 in 
> right speaker. ?I thought I could just duplicate the original and change the 
> pan parameters but the duplicate function appears to be unavailable for this 
> action. ?Any suggestions?
> 
> TIA
> 
> Gerald Berg

In the Aria player, can't you just put in another instance of the same 
instrument in a different channel? I've done this kind of thing often. If you 
need to switch back and forth in one instrument, you can put in an invisible 
expression to switch channels. If you want this on two separate staves, you 
should be able to control the panning in the mixer.

Or am I not understanding your issue?

David Froom

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Re: [Finale] random thoughts on 2014

[David Froom]

On 20 Nov 2013, at 1:00 PM, Bruce Eisenbeil wrote:

> In a non-key signature piece, when a measure of music includes Bb going up a 
> minor 9th to B natural, and this happens multiple times in a measure, is it 
> preferable in your experience, to always include the flat and natural signs 
> so that the performer is clear on the specific pitch desired for each 
> register?  Is a parenthesized accidental and natural sign preferable to 
> non-parenthesized?  Or, would a performer prefer a one time placement/measure 
> of the accidental and natural signs?

Bb to Cb is better, and A# to B even better; but there are many times when, 
depending on what follows or precedes, Bb to B is the best choice, and I assume 
you're asking about that.  I give the cautionary natural without parentheses. 
And I continue to give the natural if there are any intervening Bbs. The only 
time I don't give a cautionary is when something is repeated immediately. 

I have never had a complaint, actually only hear appreciation. We often don't 
get to hear a rehearsal until the day before the concert. At that point, if a 
note has been learned wrong by the player, pointing out will mean that it will 
still be wrong at the concert, but will be played self-consciously or 
hesitantly. So the aim is to make things as clear as possible, leaving no 
question about what the note is supposed to be.

And yes, as others have said, look at what the performer writes into her/his 
copy of your score. If they put in an accidental or natural, that means you 
should have done it.

We're talking non-key-signature music. 

David Froom 



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Re: [Finale] random thoughts on 2014

[David Froom]

On Nov 10, 2013, at 1:00 PM, Craig Parmerlee wrote:

> People who add unnecessary 
> accidental markings without parenthesizing them should be shot, IMHO.  


I think this is a case of different styles. You are correct for music in a key. 

In keyless music, it is the people who don't provide thoughtful cautionary 
accidentals (without parentheses to clutter things up) who should be shot. If I 
use F# in the first beat of a complicated measure, and if that F# is just a 
note (not related to a key or easily perceived mode), using F# late in the 
measure without a cautionary, or an F early in the next measure without a 
natural, will slow the player down, make her pull out a pencil to mark those 
notes, and may, in fact be played wrong at the concert. 

My method for my keyless music is pretty standard these days, and was learned 
from dozens of years of striving towards the complaint-free first rehearsal. 
Also, I'm married to a new-music specialist pianist (Eliza Garth), so I've had 
plenty of opportunities to see accidentals done poorly and done well...

David Froom 

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[Finale] random thoughts on 2014

[David Froom]

I'd like to share some random thoughts. I downloaded my copy, and though there 
were a couple of crashes on installing, after I thought I'd need to give up, it 
suddenly started working flawlessly. I'm upgrading from 2011 on a Mac.

I'm a "keyless" composer who doesn't like C scores, and I just tried writing an 
Eb clarinet part, using the setup wizard to create it. It runs exactly like I'd 
want it to run.  I put in the notes (and hear them in C) as written, but then 
playback transposes as it is supposed to. It would be nice to have the option 
of hearing the transposition as I enter, but I can live with this.  After 
entering a few challenging measures (accidental-wise), I ran the finale 
cautionary accidental plugin. Though it created parentheses when I specifically 
told it not to, after taking them out, I saw that the accidentals do, indeed, 
stick. SUCH a huge improvement! I am SO happy not to have to create accidentals 
as expressions for non-sticking situations. I hope they fix this plugin to stop 
it from giving parentheses (which, to my eye, in my kind of music, just clutter 
things up).

I like all of the new Garritan sounds. Classical saxophones! With the instant 
orchestra sounds, Finale could be, now, a decent orchestral short-score sketch 
pad (though it would be nice to have winds without extra octaves). Nice to see 
the string things like snap pizz and col legno. And Eb/A clarinets, alto flute, 
and so much more. Odd that these aren't all available through the setup wizard 
(especially the instant orchestra ones), but, being a long-time Garritan user, 
I know how to go in and change sounds. I'd recommend that Finale PLEASE get all 
sounds accessible through the setup wizard. At least they are accessible 
through the player.

A huge deal for me, though, is the smart-shape positioning and greater control 
of linked items when creating parts. For the first time since linked parts were 
introduced, I will NOT have to create a score file and a parts file. That will 
make proofreading SO much better. No more handwritten sheets of found mistakes 
in the parts that need to be entered in the score. Even in an 
instrument-with-piano score, this (and the sticking accidentals in keyless 
scores for transposing instruments) will save hours for me.

I don't write a lot for percussion, but a cursory glance and a few minutes of 
playing around makes me think this is vastly better. 

I've not used the score manager until this version, but right now, after a bit 
of fooling around, it looks manageable and learnable.

Tempo control seems fixed, especially using the MIDI tool's menu. I wonder why 
one would want to use the seemingly-redundant Tempo tool. The other MIDI tool 
controls accessed through the menu also will be useful.

That's it for now. I think, at least for me, this was a VERY good upgrade, and 
well worth the wait (especially since I skipped 2012). I'm sorry the backwards 
compatibility is not so useful for me, except for when I need to communicate 
with 2012 users. I hope future releases will retain the backwards 
compatibility, at least back to 2012. For now, though, 2011 will remain on my 
computer (especially as I complete ongoing projects started in 2011).  

David Froom

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[Finale] Jari video

[David Froom]

Hi Jari,
Great review. Extremely helpful. Finally linked parts I can use!

The video with hairpin, slur, and dynamics adjustments is very impressive!

Is there any chance you can release those scripts you are using? I downloaded 
the Lua plugin, but haven't a clue about making scripts like yours for it to 
use.

Thank you,
David Froom

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Re: [Finale] printer problems

[David Froom]

I also have an HP 5000, and ran into problems a few systems back. I had a 
JetDirect card in there making it, in essence, a 5000N. In Lion and Mt Lion, I 
print to it using an Ethernet cable, setting it up as an IP printer. That was a 
bit complicated, and I don't remember the steps, but some googling helped, 
giving me instructions, and I do remember having to do it again every major 
system upgrade (or new computer). There is also the driver, and HP has 
supported this printer through Mt Lion. 

Chuck, are you saying the driver from HP doesn't support Mavericks? That would 
be a reason not to upgrade...

David Froom

On Oct 27, 2013, at 1:00 PM,  wrote:

> I just tried out my home printer. Works great with Maverick. 
> 
> Also, many printers do not really have good MAC firmware updaters. You might 
> check with a PC friend to see if there's a firmware update in your future. 
> 
> Henry Howey


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[Finale] sorry

[David Froom]

My apologies for inadvertantly posting a personal message.
David Froom

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Re: [Finale] Finale playback help

[David Froom]

Hi Scott,

I'd be happy to talk about this with you, but I'm afraid I can't be all that 
helpful, since I don't often write for percussion (and no, I don't do much 
sophisticated stuff bypassing Finale playback).

What I have done is, on the percussion track, play up and down my midi keyboard 
until I hear the sound I want, and then enter that.  It often creates a bad 
notation, but the sound is fine.  A few years ago, the last time I used 
percussion, I did wade into a combination of maps and, I think, staff styles 
(for Finale 2011 -- I didn't upgrade to 2012, which handles some of this 
differently). I don't remember what I did -- maybe it was simply to convince 
Finale to display almost everything as the equivalent of treble-clef-middle-B?  

Beyond this, I think your best bet is to write to finale@shsu.edu (the 
non-finale-sponsored email list), and ask for help there.  There are some 
really good finale people there, some of whom have figured out the percussion 
(though they do complain about it). If you can't post as a non-member, or can 
post but not see responses, let me know, and I'll forward you things.  You may 
also find someone there who will be willing to talk you through this.

The last-ditch option is to have two files, one for playback and one for 
printout.  You could work almost exclusively in the playback file until you are 
ready to print, and then go back and fix the percussion so it looks good.  I 
have done this also.

Hope you are well.  I saw your name pop up in a summary of the Met commissions 
so far. I was sorry to see that they aren't going further with your project (at 
least that's what the article seemed to suggest), but I'm guessing you must 
have other folks lined up, either committed or soon to be?  

All best,
David

On 19 Oct 2013, at 10:59 AM, Scott Wheeler  wrote:

> Hi David,
> 
> You probably do much more sophisticated stuff bypassing Finale playback, but 
> I'm having some trouble with some basic percussion stuff, and as usual the 
> Finale documentation reads all techie, telling me about maps when all I want 
> is to hear a clave or a gong. Is there some simple way I can manage this? If 
> by chance you could give me a call I'd be so grateful.
> 
> Cheers,
> 
> Scott
> 978-886-0634
> 
> www.scottwheeler.org
> scott_whee...@emerson.edu
> 
> 
> 
> 



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Re: [Finale] Finale 2014

[David Froom]

On 16 Oct 2013, at 1:00 PM,  wrote:

> layer-independent pauses - I presume that this means that Finale will now 
> handle slowing down and pausing without the need to place fermatas and the 
> like on the note in every single layer.

My assumption is that you would have an option to display a single rest in 
multiple layer music, provided the rests are identical.  So, for example, two 
flutes on a line, in 4/4, with the first beat a rest for both parts (one in 
each layer) would result in a single quarter rest.  Right now, you have to go 
to one of the layers and hide the rest.  

At least that's what I hope it means.

David Froom



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Re: [Finale] colors

[David Froom]

> Boy, what a mess! Thanks Christopher and Lon. Since I haven't yet to figure 
> out a way to put colors on those signs alone, I'm at no risk presently, 
> because everything is black :-)
> 
> This is for classroom ensemble practice. No fancy lights. And I only want 
> those two symbols red, or any color, for that matter. I want black for 
> everything else, and that is why I am asking whether there is a way of doing 
> it only for those symbols.
> 
> Harold

If I were you, I'd print it out in black and use a pencil to circle those two 
symbols, plus maybe some eyeglass symbol drawn in.  Maybe even a bit sloppy.  
Makes it look on purpose and probably makes it stand out better than clean and 
beautiful and in color.  Maybe best of all is to have your classroom kids do 
this themselves.  That's the habit you want them to get into.

David Froom

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[Finale] Finale 2014?

[David Froom]

Has anyone heard any rumors about when Fin2014 might arrive and what it might 
have?  I sure am hoping, given the two year cycle, for bug fixes to 
long-standing issues, and completion of incompletely realized things (like 
parts with unlink-able hairpins, or better MIDI, especially percussion and 
tempi).

The "fire sale" of 2012 has begun, and this, like the birds returning with the 
first hints of spring, creates a sense of hopeful anticipation.  There is also 
the academic cycle, with monies for lab upgrades coming available, and those of 
us who teach Finale wanting to have time to absorb new features. Plus the hope 
that the release is early enough so that the inevitable 2014b can arrive before 
classes begin!

David Froom


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[Finale] Expression tempo changes attached to notes

[David Froom]

You can put in any expression you like (even a space bar as blank expression), 
and assign it a playback tempo value. If you do this in the misc. category, you 
aren't bound by measure-only restrictions of the tempo category. 

DF

On Apr 8, 2013, at 1:00 PM,  wrote:

> This is a great idea.   The problem is that these 
> tempo marks attach themselves to the beginning of 
> the measure.  The manual says you can attach 
> expressions to notes, but it doesn't work with 
> these.  I tried dragging them around, but the 
> attachment snaps to the next measure, not the 
> next note.  The end result is that they all take 
> effect at the same time, so it ends up being a 
> tempo change rather than a rallentando.


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Re: [Finale] Tempo changes

[David Froom]

On 7 Apr 2013, at 1:00 PM,  wrote:

> That is what I am finding too...  It is a bit 
> annoying, having just bought GPO4, especially to get better-sounding output.
> Most of the stuff I have done, the appearance is 
> most important.   It is going to be used by real 
> people, and the audio output is just for my own 
> use as I work on it.  This time, I am working on 
> some pieces which are going to be played through 
> an audio system in lieu of real people.  The 
> appearance doesn't matter half as much, but it needs to sound right.
> I have never tried exporting midi from finale to 
> another program, but I know that it doesn't 
> import midi too successfully.  The few times I 
> have tried, I ended up scrapping it and entering 
> the music by hand.  I don't mind that, but it 
> would be a real pain if I were working on a symphony!
> 
> Thanks,
> 
> Phil.

I think the tempo changes using the tempo tool or the built-in ritard/accel or 
using the shape designer to create your own slopes are problematic, always have 
been.  I have, at various times, really tried to figure them out, and got 
inconsistent results, even when I triple-checked my work.

I also use other programs when playback is crucial.  Used to use DP, now use 
Logic. Always do separate passes, never try to get the MIDI back and forth to 
work.  Sometimes, I've exported audio from Finale and tweaked that (amazing 
things can be done with fine tempo and dynamic control to audio using these 
programs).

If you want to use MIDI, on Apple products the GPO plugin is usable in the 
other programs, since they are all Audio Units.  I think this probably is true 
on the Windows side (VST?).

However, if you want this to work in Finale, I think it is possible.

If you really don't care what it looks like, you can try this:  put a real 
tempo mark (quarter = whatever) wherever you want to change tempo.  For gradual 
tempo changes, put a tempo mark one on every beat (quarter, eighth, sixteenth). 
 These DO work, at least nearly always.  You can create a silent scratch track 
with a string of notes to which to attach the tempo marks.  

If you DO care what it looks like, you can hide those tempo marks (group-select 
and hide), and I think you can hide the scratch track.  The scratch track might 
work in an unused layer (layer 4?), and I believe you can set that layer not to 
display.  I think TG trills put playback hidden in layer 4, so that should 
work. 

Then you can put in purely graphic "rit" or "accel" marks, but make sure they 
are disconnected from anything related to playback. 

You probably also want to turn off human playback.  That does all kinds of 
inconsistent things that I've never been able to control to my satisfaction, 
even wading into the HP preference settings.  

Whenever you put in expressions, double-check the playback tab to make sure it 
does exactly what you want.  

Finale was designed primarily as a notation tool, with MIDI as an afterthought 
(especially MIDI playback).  It is better than it used to be, and vastly 
better, comparatively speaking, than the notation side of DP or Logic or any of 
the audio-centric programs.  I think MIDI playback is vastly easier than 
notation, and it has always puzzled me why this is one area where Finale has 
failed to please.  Finale, forever, has been the tool that gives the user 
enough control to be able to find work-arounds and options.  MIDI playback, if 
you don't like HP and the other things that come built-in, has long been (and 
continues to be) a very frustrating thing.

Good luck with this.

David Froom

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[Finale] piano pedal

[David Froom]

Hi all,

I'm on MacFin 2011.  

I've been doing piano pedals the same way forever (at least since the invention 
of smart shapes and then decent playback), and it remains a PITA.  I'm faster 
that I was at first, but always dread doing it.  I have pedaling markings too 
thorough to use the very old-fashioned "Ped" and *, which especially doesn't 
work when you have continuous pedal with changes (or ½ changes).  (I should say 
that I'm a pianist, so I know what I'm doing -- and I always end up getting 
what I want from the pianist without any questions).

Here is what I do:

In shape designer, I create a _^_ mark, and create a shape expression metatool 
(p) to put them in wherever I want pedal changes (slightly after the note).  I 
duplicate that and create one with ½ below it for half-pedaling. I use the |___ 
smart shape to start a pedaled section, the same smart shape backwards (|) 
to end a pedaled section, my created marks to indicated changes with 
continuity, and finally, smart shape lines to connect.  I need to make sure the 
line thicknesses match.  It is a pain to get everything exactly set up and 
aligned (somehow, TG tools align doesn't work, so they need to be done by 
hand). It is also system-by-system in score view to get it right, since 
alignment is based on getting pedals close to the lowest note in a system.

Then, for playback, I use Ped and * as note-attached articulations. I know I 
could create cc64 on/off, but those would be note-attached expressions.  So I 
put Ped/* in, with the * just before a pedal change and the Ped just after -- 
then select and hide them.  Real pedaling doesn't work like that.  It changes 
just after the place (performers hit the keys first, then a split second later, 
change the pedal), but there seems to be no way to get that sound in Finale -- 
that is, no way to get cc64 off and on a split second after a note.  

This more-or-less works.  No way to do half pedal, but everything in Finale 
sounds sort of like half-pedal anyway (compared to a real piano), especially 
because the sustain isn't long enough, and the tone change of using the pedal 
(with all dampers up) hasn't been duplicated in any but the most expensive 
piano emulators (like the 20k Yamaha AvantGrand).  And, of course, the computer 
playback is not the final product -- though the better it gets, the more I like 
using it.

Does anyone have a better way?  It would be terrific to have a plugin that 
somehow automates according to pre-marked pedal beginnings, endings, changes -- 
and gets playback correct as well.  Or is that just a pipe dream?

Thanks,
David Froom
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Re: [Finale] staff style transposition on partial measure

[David Froom]

Might it be possible to divide the measure to which you want to apply a 
mid-measure staff style into two measures, beginning exactly where the new 
staff style begins?  You'd have to make new time signatures (but set to display 
as the prevailing one), hide the barline, and either start a new number region 
or exclude the second measure from your measure count. There may be some 
spacing issues and beaming issues, but those are pretty easily fixed. This way, 
Finale would think, internally, that you had a full measure in which to apply 
the staff style, but would display as one measure. And you'd save all your 
layers for whatever you need them to do, and not have to fuss with playback.

David Froom


On 25 Nov 2012, at 1:00 PM, Darcy James Argue wrote:

> Expression clef for the partial measure is clearly the way to go here! You 
> can get correct playback by putting the display notes in a non-playback layer 
> and the sounding notes in a hidden layer.
> 
> Cheers,
> 
> - DJA
> -
> WEB: http://www.secretsocietymusic.org
> 
> On Nov 25, 2012, at 11:16 AM, Christopher Smith 
>  wrote:
> 
>> No, it's a limitation to staff styles (and to the Score Manager as well, no 
>> way to change instruments in mid-measure without kludges). I have submitted 
>> a feature request, if you could do the same, it would help a bit.
>> 
>> May I suggest a second staff, carefully superimposed over the real one, 
>> possibly with everything hidden except notes? I hate that kludge myself, but 
>> I know you are the king of coaxing Finale to do strange things, so you might 
>> be okay with it. If you don't care about playback, then of course there are 
>> many ways to do it, including a clef as an expression. Since I have set 
>> Finale to avoid collisions with articulations, I often force space by 
>> putting a blank articulation on a note and moving it left until I get the 
>> amount of space I want, say, to allow a clef as an expression. This method 
>> of adding space survives a respace, and I am all about the respace, baby.
>> 
>> Christopher
>> 
>> 
>> On Sun Nov 25, at SundayNov 25 10:01 AM, SN jef chippewa wrote:
>> 
>>> 
>>> any way to do this?  i made a staff style set to no transposition 
>>> (and show in treble clef) but this can only be applied to the entire 
>>> measure (finale message).  after clearing the partial measure i don't 
>>> want affected, the transposition doesn't work at all in the measure.
>>> 
>>> is there a trick to getting around this?


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Re: [Finale] system margins windw gone

[David Froom]

I move back and forth between connecting my laptop to a very large monitor and 
using the laptop on its own.  If I pull the Edit System (or Page) Margins box 
off to the side on the large screen, when I go back to the laptop alone, I 
can't get to it in any way.  I already have my laptop set to high resolution, 
so no screen resolution change can get it back.

What I've learned is that hooked up to my large screen, I need to leave those 
Edit System (or Page) Margins boxes in mid-screen before quitting.

In an emergency, now I know I can trash the preferences.  But I'd rather not do 
that.

What Finale OUGHT to do is what everyone else does -- set these dialog boxes to 
appear within whatever screen you happen to be using.  Most of Finale's dialog 
boxes work this way.  I wish I knew why these two don't.

David Froom

On 24 Nov 2012, at 1:00 PM, Haroldo Mauro wrote:

> No, I did not! You think the window could be off screen?
> Thank you.
> Harold
> 
> 
> On 22/11/2012, at 23:24, SN jef chippewa wrote:
> 
>> 
>> did you try changing the resolution before 
>> trashing your prefs?  or trying with a 2nd screen?
>> 
>>> It came back after I trashed the preferences 
>>> file. BTW, there is no such an option under the 
>>> page layout menu. If you meant "?Edit Margins": 
>>> no, it did not return. Neither did I change 
>>> resolutions.


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Re: [Finale] VPC Music Binding products

[David Froom]

Have you tried artists tape?

http://www.uline.com/Product/Detail/S-15834/Masking-Tapes/1-x-60-yards-Uline-Artist-Tape?pricode=WU351&gadtype=pla&gclid=CLOM7YSL1LMCFcRa4AodChQAdQ

I used to use it to tape accordion parts.

David Froom

On 16 Nov 2012, at 1:00 PM, Darcy James Argue wrote:

> Do you (or anyone else) happen to know if there is a particular model/brand 
> of surgical tape that fits the VPC machine?
> 
> Cheers,
> 
> - DJA


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Re: [Finale] Transposition Exp.

[David Froom]

On 2 Oct 2012, at 1:00 PM, Robert Patterson wrote:

> One could discuss all day longs things that singers should and should not
> do. I think books have been written on the subject. But they are beside the
> point here.
> 
> What I am saying is, if you want the best performance out of the most
> number of singers, I highly recommend providing a C score. I have paid the
> price for not so doing and I won't make the same mistake twice.

Robert is absolutely correct here!  This is my experience, even with 
well-known, successful singers, even those who have sung a lot of contemporary 
music.  They simply want to be able to quickly find their pitch from the score, 
and if they are constantly checking to see who is playing and remembering what 
that instrument's transposition (at the moment, for scores with switching 
instruments), it can seriously disrupt a rehearsal and/or a performance.  The 
best singers, if you give them a transposed score, might just ask you to make a 
C score for them.  I'm talking about non-tonal music here.

Conductors keep their eyes on the whole thing all the time.  Singers have their 
own part, but in performance need to look out at the audience as much as 
possible, so they jump back to their score for quick reference to their part as 
well as the other instruments, often jumping from instrument to instrument for 
a reference pitch.  They also have to think about dramatic projection, etc.  
Why make their lives more difficult, or increase even by a couple of hours the 
time needed for learning and rehearsing?

My solution is to create a C score for the singer and a transposed score for 
the conductor.  Everyone is happy, no one is confused.

David Froom
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Re: [Finale] Sudden Preview problem

[David Froom]

If this is a sudden problem, the first thing I would try is clearing the font 
cache.
Here is a link that should help from MakeMusic:

http://forum.makemusic.com/default.aspx?f=6&m=348859

If that doesn't work, not sure what to do next.

David Froom

> I am using Finale 2011 on Mac OS 10.5.8. Forgive me if this is a stupid 
> question--I'm not even sure if it's a Finale problem. 
> 
> 
> I am editing a large orchestral score, and every few days I make a PDF copy 
> for reference. In the past two days, the PDF has suddenly been showing up 
> wrong in Preview - hash marks in place of whole rests, gibberish signs (the 
> Dal Segno, for instance) appearing in weird places. It also prints that way. 
> I hadn't changed any settings or preferences, or downloaded anything new. 
> 
> 
> I just downloaded the latest version of Adobe Reader and in Reader the score 
> looks fine and prints fine. But I hate Reader and far prefer Preview. Can 
> anyone give me a fix or a reason for this?
> 
> 
> Allen

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[Finale] Cues in divided part

[David Froom]

OK, I've got what I hope is a simple problem to overcome:

I have a score with two horn parts on one staff.  I'm making parts.  It was 
easy to divide the part into two parts -- one of them with top notes and layer 
1, the other with bottom notes and layer 2 (this is a simple score, and that 
covers all the situations).

I have a cue to put in.  The cues are in layer four -- but I can't get layer 4 
to display, because I chose "if there is more than one layer, choose layer: (1 
or 2).  The cue itself is a pair of notes.  So even copying it into layer one 
(and making a whole rest as an expression) drops the bottom note for horn 1 and 
the top note for horn 2 -- that is, I can't get a dyad of any kind to display.

Can any of you who are great with the linked parts help me around this?

Thanks,
David Froom
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Re: [Finale] OT: Selling PDFs

[David Froom]

> I've been selling my compositions as paper sheet music for years, but I'm 
> getting more and more requests for PDFs. I feel a little uneasy about this 
> since a PDF (even with a password) can be posted online or emailed to anyone 
> who wants it for free. 
> 
> Any thoughts on this from publishers, composers, or engravers currently 
> selling PDFs?
> 
> Thanks for any insight!
> 
> Paul Hayden
> 
> 
> Magnolia Music Press
> 

For most of us, the royalties from performing far outstrip the income from 
selling scores. Look at the phenomenal success of "In C," which was a free 
score inserted in the original LP packaging materials.  Ok, maybe that's not a 
great example for a variety of reasons, but the principle is the same.

My publisher (ACA) keeps pdfs of our music.  Printing on demand is fast and 
easy (and can take place anywhere).  They also like to sell pdfs -- minimal 
costs, more profit.  I am reluctant to allow it because I think a nicely 
printed score on good larger-than-8.5x11-paper with a good binding means the 
performance experience is a better one, and can translate into more 
performances -- or at least something staying in a performer's library.  On the 
other hand, I'm meeting performers, particularly younger ones, who want music 
ONLY in pdf format.  And for perusal scores, there is nothing better.

I think we'll come to a time fairly soon when most performers will have an 
iPad-like device with a full library.  The software out there now already 
allows annotations, has good foot-pedal page turners.  But I personally still 
REALLY like paper.  Even when I get something for quick study from imslp.org, 
if I want to do anything serious with it, I print and bind it on nice, oversize 
paper and staple bind.

Finally, I also understand pdfs as a wonderful way to get things quickly around 
the world.  If I'm traveling to a large ensemble performance, I no longer feel 
the need to bring along a set of backup parts.  If someone loses a part, I can 
get the pdf almost instantly, and print a replacement.

My instructions to my publisher are not to advertise that they will sell a pdf 
of my music.  But if someone insists, I tell them to go ahead and do it.

David Froom
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Re: [Finale] Finale Digest, Vol 104, Issue 3

[David Froom]

On 4 Mar 2012, at 1:00 PM,   
wrote:

> Going directly from Finale to eps from the graphics window can leave fonts
> behind, depending on your Finale version, settings, OS, and the phase of the
> moon. Print-to-pdf then converting to eps is, from what I have experienced
> and read here, more reliable. But, whatever works...
> 
>> What Richard says is true, but you can also export the Finale file as EPS
> via the
>> Graphics Menu.  This will open in Illustrator and everything is editable.
>> J D Thomas
>> ThomaStudios

Richard and J D -- thank you so much for your help.  To make sure I understood 
how to do this, I downloaded a trial version of Illustrator and pulled in an 
EPS file.  It really is amazing what you can do!  My student is going to be 
thrilled.  And, if he ever runs into a problem working with EPS (I know them to 
be problematic from time to time, and suspected the phase of the moon), we have 
another way to go.

David
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[Finale] Finale and Illustrator

[David Froom]

Dear collective wisdom,

Does anyone export Finale in such a way that individual elements are editable 
in Illustrator?  I seem to remember someone telling me that this is possible.  
(EPS? compiling PS?) I have a student who is interested in doing this.  He is a 
double major (Art) and has good Illustrator skills.

If anyone could point me in the right direction -- or suggest another way (with 
different graphics programs) to accomplish this in some form, please let me 
know.

Thank you,
David Froom
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Re: [Finale] FinMac 2k12 Accidentals Behavior

[David Froom]

> I'll bet you're on a chromatically-transposing staff, viewing in concert 
> pitch.
> 
> This is a giant tub of crap that started way, way back. I have it documented 
> in 2007, but it probably dates from before that. Speedy Entry 9 (enharmonic 
> flip) and * (force accidental) have been broken for a long time, and they 
> haven't even looked at it, never mind tried to fix it, since it broke. Please 
> open a tech support case, detailing exactly what is what so they can 
> reproduce it, and point out that this has been broken for a long time now.

I've had similar problems repeatedly in chromatically transposing staffs when 
NOT viewing in concert pitch.  In a way that seems random to me, accidentals 
disappear, particularly cautionary accidentals that I've put in and frozen with 
the asterisk key.  They will show up when I hit the asterisk key, but disappear 
when I leave the measure.  Sometimes, repeated freezing and unfreezing will get 
them to go in.  In some cases, I have had to resort to putting the accidentals 
in graphically (as expressions) just to have a cautionary accidental where I 
want it.

It has never happened to me with a non-transposing instrument.  It has happened 
when I have entered music and then transposed it.

I really do wish that MM would finally fix this truly annoying problem with 
cautionary accidentals in transposing staves.

David Froom
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[Finale] Playback timing issue

[David Froom]

OK, here is a new one for me.

Fin Mac 2011, OS 10.6.8.

When I play back my current file, the time reported while running (in seconds) 
is correct, but when I stop, or when I simply type in a measure to start 
playback, the timing is off.  There are number of tempo changes, some done with 
executable shapes that come with the "ritard," some longer ritards done with JW 
Tempo, and, of course, subito changes done with a tempo mark that reads the 
number (q = 60, for example, gives a sudden change to quarter = 60).

The strangeness starts just before 4 minutes, just as I reach an accel to q = 
60.  Just before the accel (m. 62), I'm at 3:48.  At the end of the accel (m. 
66), the reported stopped time is 3:56, and the time reported while running is 
4:01.  There have been three tempo changes (with rits) before then, but no 
problems.  And then it gets very strange, where the reported stopped time 
advances very slowly from 4 minutes, but the running time is accurate.  For 
example, in my m. 73, the running time reported is 3:59, but the time reported 
while playing is 4:18.  The spread between running time and reported time while 
stopped increases.  At m. 129, for example, stopped time is reported as 5:22, 
but running time is 6:33.

When I use the Utilities/Check Notation/Check Elapsed time on a selected 
measure, it reports the incorrect stopped time.  

I know the running time is accurate, and the notation and playback are just 
fine.  This is just a minor annoyance, but an annoyance nevertheless, 
especially for someone like me who likes to know often and regularly the exact 
minutes and seconds at any spot in my piece.

Why oh why can't Finale do tempo changes in a precise way in a box in which you 
can type numbers?  I've tried working with the details of executable shapes, 
and have found this not only confusing, but, when I take the time and trouble 
to figure it out, it works inconsistently and unpredictably.

Any ideas?  The Check Elapsed time also reports on the time of a section, which 
is strange, since I have no repeat bars.  Could that be a crucial hint?

Thank you,
David 
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[Finale] OT-HP5000 and SnowLeopard fix!!!

[David Froom]

Hello again,

I finally got this fixed!  It was a matter of resetting my computer's ip 
address (to match the range of the printer's default ip) so it could telnet 
into the printer, then changing the printer's ip address (to match the range of 
my computer's original address), then turning off DCHP (so it would keep the 
new address).  Then I restored my computer's ip address and added the printer 
with it's new ip address in the computer's range.  It came right up!!!

Here is the article that solved it for me:

http://hints.macworld.com/article.php?story=20090913165040424

Thank you all.  Your advice led me to the proper solution.

David Froom 
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Re: [Finale] OT: HP 5000 and Snow Leopard

[David Froom]

Johannes wrote:

> How is your printer connected, via a network router or directly to the Mac?

It is connected directly to the Mac.
> 
> If the latter, you may have to leave the printer on and connected for a 
> while before it actually assigns itself an ethernet address. This is 
> because there is no network router in between to give it one.
> Once it has an address (wait something like 5-10 minutes before you 
> print the config page from the printer) you will have to change that 
> with Telnet, unless  you happen to have the Bonjour variety of the 
> JetDirect card (I think you need a Jetdirect 620 card for this to work). You 
> can use the Mac terminal to Telnet to the printer, just type
> telnet printer address (where printer address is the ethernet address on 
> the config print out). 
> 

I did a cold reset of the printer.  That gave the JetDirect card an address of 
192.0.0.192.  I tried to add that via the IP printing tab, but that didn't 
work.  It hung forever trying to "Determine Installable Options," saying it was 
"connecting to printer," but it never connected.

I opened the terminal and opened telnet.  Then I said:  open 192.0.0.192, and 
was told "connect to address 192.0.0.192: Operation timed out.  Unable to 
connect to remote host"

I don't remember what the protocol information used to be, but now it says
Config by:  Default IP
IP address  192.0.0.192
Subnet mask: Not Specified
idle time out (seconds):  90
bootp/dhcp server:  0.0.0.0
config file:  not specified

It also says, Appletalk status:  Ready.

Do I need to do something to turn that off?  I couldn't find it in the print 
menu.

I usually can figure this stuff out.  This time, I'm stumped.  
> 
> Personally I would buy a network router (over here you get them for less 
> than 20 Euros including WIFI) then you can print to the printer from any 
> computer connected to the network.

I would love to have this networked.  It would add functionality, and save me a 
wire.  If I buy any old network router, will it find my home wifi, add itself 
to that?  After that, is all I do just plug the printer into that?

The other reason I'm reluctant to buy a usb wire is that my Macbook only has 2 
usb ports, and I often need both of them.  

Thank all of you for all of your help.  I feel as if I've moved this a yard 
down the field, but still have 99 yards to go...

David


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Re: [Finale] OT: HP 5000 and Snow Leopard

[David Froom]

Many thanks to all of you 

But I already asked the printer to tell me its IP address, and my JetDirect 
card keeps saying the address is 0.0.0.0

I was using ethernet printing in 10.5 -- and for years with all my previous 
systems.  

I know that the IP address SHOULD be something other than 0.0.0.0, but that's 
what it keeps saying now.

I used to use Telnet a million years ago, but have no idea how to reach the 
JetDirect card that way, and have no idea how I'd reset the card to force it to 
provide it's proper IP address.  Some help in that regard would be GREATLY 
appreciated.

Or, if John Blane could recommend a specific USB cable for me, that would be 
great (though probably a bit slower than ethernet printing).

Thank you all!
David
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Re: [Finale] OT: NewMusicBox article

[David Froom]

On 25 Jul 2011, at 1:00 PM, Matthew Hindson wrote:

> Here in Sydney the Sydney Under the Stars, Jazz under the Stars, Opera
> under the Stars concerts get about 100,000 ppl each January.  People  
> do
> seem to enjoy outdoor concerts, don't they.  I would love for them to
> allocate the three 'listening areas' as described in the article.

Under the Stars sounds fabulous.  Sydney in January also sounds  
fabulous...

There is no copyright on the "listening areas" idea!  It really works.

David
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Re: [Finale] OT: NewMusicBox article

[David Froom]

On 25 Jul 2011, at 1:00 PM, John Howell wrote:

> Hi, David.  I'm not sure what you're looking for.
> What the article describes is certainly a case of
> "built it and they will come," and also a ringing
> endorsement of community-based music in general.
> And it sounds as if they are paying attention to
> living composers, as well as the classics.

I wanted to share a success story in these days of collapsing  
orchestras, and complaints that the audiences are all over 60.  This  
one has been good for the community, good for my music department,  
good for my college -- basically, everyone wins;  and the winning is  
centered around serious music, including new music.  I also wanted to  
encourage everyone to do this in their own communities, though the  
folks who have the energy to pull this off are few and far between.   
At least, it is a model for how it can work.

> As a player I shudder at the idea of putting
> myself--and my instruments!--at the mercy of
> Mid-Atlantic summer weather, and I have to wonder
> what they do when the inevitable rainstorms
> hit--our own community July 4th concert got
> rained out this year.  (Well, rain and
> lightninged out, actually.)

Yes, that's a problem.  In 13 seasons, they have lost 4 or 5 concerts  
to thunderstorms.  The orchestra is protected under a tent, but there  
is no cover for the audience.  We almost lost this week to the heat  
wave, though because about 1000 people showed up (a small crowd for  
this series), the orchestra decided to go ahead and play outside in  
extreme heat.  Thankfully, no one was harmed.  There was a backup  
plan, playing in a gym, but aesthetically it would have been  
horrible.  I believe the string players bring their "second"  
instrument.  Ideally, there would be a shed like Ozawa Hall at  
Tanglewood (or their main shed), but that hasn't happened yet...

These are not the only outdoor concerts in our area.  Wolf Trap is an  
example -- though they are vastly more oriented towards pops, and they  
are not free.

> But when I was a kid, my parents took us out to
> concerts in Central Park, and there's no question
> that they are a great draw.  (During the '40s
> they were doing graduate work in NYC in summers,
> and braving the 3,000 mile trip across country to
> do so, so we did all the "tourist" things that
> most native New Yorkers never get around to.)
> And even the regional orchestra I played with for
> several years drew big crowds for outdoor summer
> concerts--and not all on July 4th, either.

Free outdoor concerts -- not necessarily pops -- show how much people  
want to hear classical music.  Given the fact that most concert series  
derive such a small proportion of their budget from ticket sales,  
maybe all concerts should be free.  It seems vastly easier to make a  
case for a donor to support this activity that communities like so  
much as opposed to giving money to keep tickets under $100 for the  
wealthy patrons.

David
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[Finale] OT: NewMusicBox article

[David Froom]

To my Finale-user friends,

I hope you have a chance to look at this short article that New Music  
Box "published" last week.  If you do, please let me know what you  
think about it, on list or off.

http://www.newmusicbox.org/articles/classical-music-to-unite-a-community/

David Froom
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[Finale] tempo problems FinMac 2011

[David Froom]

Dear collective wisdom,

Has anyone cracked the tempo issue, understanding exactly how things  
work, and how to fix things when they go wrong?

I have FinMac 2011, running on a MacBook 2.4GHz Intel Core 2 Duo, with  
OSX 10.5.8.

I set human playback to 21st Century.  In the Human Playback  
Preferences, I have Tempo set to HP (Incorporate Data).  Under tempo  
control, I have Ritardando Before Fermatas unchecked, and under Any  
Tempo Variations, have Don't randomize checked.

I don't like fussing with the executable shapes, as either I don't  
fully understand them (having tried many times), or they don't really  
do what they say they do.  In the current thing I'm working on, I set  
tempi with regular tempo marks, and have playback set to "match mark  
to tempo."  For gradual tempo changes, I have tried both the tempo  
tool and JW Plugins.  Typically, they work fine.

Now, however, I'm stuck in a weird place.  I am trying to change tempo  
to set a section at q=40.  It won't change!  I tried reinforcing the  
change with an invisible expression that has playback at q=40, and it  
works for a beat, then reverts to the initial tempo (q=60, though  
there are a few rit/a tempo marks here and there).  The ONLY thing  
that works -- and it is a gigantic pain -- is to pop in the invisible  
q=40 expression on EVERY NOTE!!!  As soon as I stop, the work reverts  
to q=60 (which, as the beginning tempo, is what shows up in the  
playback dialog box as the tempo).

Can anyone give me any insight into what has gone screwy?  Or have  
general advice about doing tempo changes?  (I hope Finale is not  
making an editorial judgement about my choices...)

Thanks,

David Froom 
  
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[Finale] pronunciation by US residents

[David Froom]

Sometimes the pronunciation differences can be useful.  I remember  
being in England, and in the company of a graduate of the University  
of Notre Dame in Indiana (Noter Dayme).  Someone English asked her  
about her studies at Notre Dame (pronounced the French way).  After  
thinking for a split second that he thought she'd studied at the  
cathedral in Paris, we both started laughing.


Now, as a resident of Maryland, we have, in Baltimore, a college  
called Notre Dame, but pronounced Noter Dom.  I think it is nice to  
have three pronunciations so we can be clear about what we're talking  
about.


David Froom
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[Finale] Re: Finale Digest, Vol 92, Issue 17

[David Froom]

On 22 Mar 2011, at 1:00 PM, Adam wrote:


In my two most recent scores (a string quartet, and a piece for string
orchestra), I have become quite annoyed with Human Playback reading
through tempo alterations and making some VERY stupid decisions. I'm
hoping the wisdom of the list can help me find a way to work around  
it.



The problem is the ritards and accels, yes?  Otherwise, things are fine?

There is a tempo tool that works pretty well, as well as a JariW  
plugin.  I tend to use these for rit/accel, and they seem pretty  
good.  I had to fiddle with HP settings (set it to read this  
information), but it seems you've already done that.


David Froom

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Re: [Finale] Re: Tie over barline at key change on transposing staff doesn't stick

[David Froom]

On 21 Mar 2011, at 1:00 PM,  wrote:


Brian Williams wrote:

... I want the first bar of the new key at the start of a system  
and can't

make the tie end into the first note in the new key appear.

I tried printing to pdf and the tie end doesn't appear on the  
printout

either. This seems like a long-standing bug that was never fixed.

Does anyone have a work-around that's more elegant than something  
kludgy

like creating a backwards slur?


What I've done in the situation you describe is define the tied note  
as
a tuplet (note: the tuplet shows no bracket or slur, and no number)  
with
two notes of the value as the note terminating the tie at the  
beginning

of the second system occupying the time of one note of that value. For
example, if the tie terminates in a half note, the tuplet would be two
half notes occupying the time of one half note; if the tie  
terminates in
a quarter note, the tuplet would be defined as two quarter notes in  
the
time of one quarter note. When I enter the notes, I enter the full  
value

of the tuplet with both notes on the same pitch, and tie the two notes
of the tuplet together. Using the note position tool in the special
tools palette, I position the notes so that the second note of the
"tuplet" is spaced properly in the music; then using the tie tool from
the special tools palette, I adjust the tie between the two notes of  
the

tuplet so that the left hand end of the tie lies to the left of the
first note of the tuplet. Then I use the note position tool again to
move the first note of the tuplet so that it lies directly on top of  
the

second note of the tuplet. The biggest problem I've experienced with
this method is when the note terminating the tie is a long value  
(whole

note or longer), in which case I've had to define the tuplet with
smaller values, e.g., 4 half notes in the time of 2 half notes.


Wow -- a lot of work to avoid using a backwards slur!  It is kind of  
elegant, but it doesn't solve the playback problem.


I know it is kludgy, but if you use a measure-attached (not note- 
attached) slur, and zoom way in for the adjustment (so you can get it  
looking perfect), you can do it pretty quickly.  Kludgy, yes, but fast.


For playback, if I care about it, I put an invisible expression on the  
second note with playback set at velocity=0, then a hidden dynamic on  
the next note to bring it back to where it was supposed to be.


I also use this hidden dynamic thing also when I am writing piano  
music with layers coming and going, in those situations when I'm  
forced to tie a layer one note to a layer two note.


DF
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[Finale] Where is plugins folder on 2011 Mac?

[David Froom]

Hi,
I know I used to know the answer to this...

Could someone point me to the location of the new plugins folder for  
2011 on a mac?


I can't find it!  And I want to try out Jari's new plugins.

Thanks,

David Froom
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[Finale] RE: Playback in transposed scores while entering notes

[David Froom]

Gosh, what I've started...

To sum up, many of us would love to have this as an option.

Display in concert pitch is not a great option for me, because if one  
is thinking in transposed pitch, the eye and the ear get out of whack  
that way.  There are dozens of reasons for writing and thinking in C  
scores -- many fine composers (Prokofiev?) wrote C scores.  There are  
dozens of reasons for writing and thinking transposed scores.  It  
isn't necessarily a pianist/non-pianist issue (I'm a pianist who has  
learned to think in transposed scores).  For me the issue is seeing  
and thinking the way the performer will.  It is important for me to  
get myself in the performer's head.  If I don't do this, I make stupid  
errors of judgement.  But that's me.


There isn't a right and wrong.  Finale is something we love because it  
gives everyone plenty enough rope to hang themselves -- almost  
everything is controllable and customizable.  And, in fact, everything  
is possible, if you can be inventive enough.


For now, I'll just have to double-transpose, or to turn the volume down.

David
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[Finale] Playback in transposed scores while entering notes

[David Froom]

Hello all,

I have a question related to the discussion about transposed scores  
(scores with or without key signatures, but where instruments are  
notated as the players see them, so if Bb clarinet has a written C, it  
sounds as Bb).


I routinely write and think in transposed scores, and write music  
without key signatures.  So, I use the chromatic transposition setting  
in the staff setting, as many have been discussing.  It looks right  
and it plays back right.  No issues.  If I'm copying something that  
has key signatures, I let the setup wizard take care of it, and once  
again, it looks and plays back fine.


But ... here is what really bothers me.  As I'm entering the notes in  
speedy, Finale plays them for me in "C."  For example, I'm writing a  
piece right now for alto saxophone.  If I want to write a C, which  
sounds as an Eb, I play the C on my midi keyboard, and I hear a C as  
I'm entering the note.  If I exit speedy and play back, I hear the  
Eb.  This is annoying, especially while editing and changing things  
directly in Finale, to hear the "untransposed" note while entering  
it.  It also slows me down, as I have to transpose twice (from what I  
hear and play to what I want to hear, and then from what I see to what  
I want to hear).


Does anyone know if this is fixable?  I want to hear what the player  
will produce, not only during playback, but as I'm entering the  
pitch.  Is there a setting for that?


Thanks,

David
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[Finale] smart shapes and parts

[David Froom]

Dear collective wisdom,

Is it really true that smart shape horizontal adjustment in the parts  
(to shorten a hairpin, for example) MUST always be linked to the  
score?  That is, a hairpin crescendo under a half note in the part  
(which is fairly short) MUST be the same length as that same hairpin  
in the score (where that half note could be holding against 16th notes  
in another part, and would, therefore, need to be much longer)?


I can't believe this is by design.  Is it programming laziness?  Or  
some quirk of the program that is impossible to get around?


I know that I can get around it by having a score file and a parts  
file -- and by adjusting nearly every hairpin in the parts.  If this  
is a "feature" of Finale, it is both stupid and sad.


David Froom
FinMac 2011
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Re: [Finale] hp 5000n trouble

[David Froom]

Printer gurus,

My HP 5000 is suddenly making 2 loud clunks each time a page goes  
through (from the external loading tray used for heavy part paper)  
and printing poorly (with a new toner cartridge).  This thing has  
worked well for years.  I can't remember when I bought it, except  
that it was 5 computers ago, so it must be 10 to 15 years!  I will  
try to get it repaired, but am collecting advice.  Is there an  
advantage to the newer 5200 series, should I need to replace this?   
Are there less expensive solutions that handle large format paper  
(11 x 17, or even better, 12 x 18) that still promise reasonable  
reliability?


I have had such good service from this machine, that I have been  
protected from having to think about what to do about a situation  
like this.


Hi Chuck,

I had an HP 5000 that I turned into a kind of 5000n light, with the  
addition of some printer memory and a network card (to provide an  
ethernet port).  I was getting misfeeds and having other problems, and  
read online that the takeup rollers (is that what they are called?)  
needed cleaning or replacing.  It was pretty complicated, and I bent a  
crucial part trying to do it. You have to pull the entire machine  
apart to get to these parts.  They are also famous for going bad after  
a number of years -- what happens is that you no longer can feed  
stacks of sheets, but have to feed things in one page at a time.  So I  
ended up with money spent, time wasted, and a permanently broken  
machine.


I searched online and found that refurbished 5000s and 5000ns are not  
hard to find, and cost in the $250 - $325 range.  I talked with one of  
the technicians who do the work, and he told me that basically every  
part that can wear out is replaced.  I bought a "new" 5000, and moved  
my memory and network card into it.  It is like having a new machine.   
I've been back in business now for 2-3 years, without the whisper of a  
problem.


Regarding toner cartridges -- I have had very bad luck with anything  
except HPs own cartridges.  The couple of times I tried 3rd party  
ones, they were so bad, I ended up throwing them away after a few days.


My advice:  If you want to save money and like your 5000, just replace  
it with a refurbished one. It is probably cheaper than figuring out  
what is wrong.  You can buy a cleaning kit and disassemble the whole  
thing, but that could take a few hours (and the cleaning kit would  
already be $150-200.  And if you do anything wrong, you could damage  
the thing beyond repair (like I did).


Of course if money is no object, you could go to an oversize high  
speed color laser printer...  Need to play a lot of gigs to get that  
one.


David Froom
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[Finale] Brahms and Norrington

[David Froom]

Guess we have to wait for Roger Norrington & Co to take up Brahms!

ajr


He already has.

Requiem:
http://www.arkivmusic.com/classical/album.jsp?album_id=72476
Symphonies:
http://www.amazon.com/Brahms-Complete-Symphonies/dp/B000FMQSU4

Also John Eliot Gardiner.
http://www.amazon.com/Brahms-Ein-deutsches-Requiem-Op-45/dp/B0413E

(Gardner's recordings of the four symphonies with period instruments  
are on four different CDs, easy to find with a Google search).


The only one of these I own is the Gardiner Requiem, and it is  
lovely.  The horns and timpani sound great, and the strings play with  
little vibrato.  The choir (Monteverdi Choir) sings beautifully, and  
without heaviness. I have grown up with and gotten used to the  
mid-20th-century style for Brahms, and I still like that way of doing  
Brahms very much. But I'm really happy to have these alternatives,  
which seem more intimate and clearer.  On the days I am in the mood  
for this "more informed" Brahms, it is fabulous to listen to.


David Froom
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Re: [Finale] TG tools and Fin2011

[David Froom]

On 27 Oct 2010, at 1:00 PM, Chuck Israel wrote:
Tobias updated these for 2011 some time ago (after a little nagging  
on my part).  I use a few of them and would find linked parts to be  
a burden rather than a help without the use of "Transfer Layout."


I can't find it at his website.  I google searched his site, and 2011  
doesn't appear.  The latest version shows as 2.60, released in Dec  
2009 for Finale 2010.  The downloads page shows 2.60 for Mac and 2.61  
for Windows, both marked clearly as being for Finale 2004-2010.


Where should I look?  Or does 2.60 work with 2011?


(Best regards from our new location, [and my retirement from WWU] in  
Portland.)


Congratulations on your retirement  And the move to Portland.  Did  
you head south for more sun?


I hear Portland is a grand town to live in, with wonderful  
neighborhoods, walkable downtown, good public transit, lots of great  
restaurants, lots of culture.  Hope you are finding it such.  You  
going to play your bass more now?  Any touring?


David
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[Finale] TG tools and Fin2011

[David Froom]

Does anyone know about the full TG Tools for FinMac (or Win) 2011?   
Tobias usually has something for us by now.


Has anyone gotten any part of the full TG Tools (not the free Finale- 
supplied ones) to work in any way with 2011?


I forgot how much I've come to rely on them -- especially in the midst  
of an orchestral project.


Hoping against hope for something soon...

Thanks,

David
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Re: [Finale] 24" Screen in portrait mode for Finale

[David Froom]

On 19 Oct 2010, at 1:00 PM,  wrote:

Very nice!  Your composition takes minimalism a bit too far, though,  
IMHO.


Seriously, I've been using a Dell pivot widescreen, not _that_ big, I
think it's 21", for four years now and love it.

Ray


On Mon, Oct 18, 2010 at 11:40 PM, David Stonestreet
 wrote:
Borrowed a 24" Dell monitor recently and then realised that it had  
a pivot stand. Now that's what I'm talking about!


http://gallery.me.com/rockroad#100114/IMG_6419&bgcolor=white

David S. (Rockyroad)


Love that comment, Ray.  David S.'s work (as it stands) reminds me of  
Cage's "As Slow as Possible" in its currently running performance at  
St. Burchardi Chuch in Halberstadt, Germany.  That performance, once  
through the piece at a VERY slow tempo, is planned to run for 639  
years (talk about slow).  The first notation in the score, which  
lasted 20 months (the performance began in Sept. 2001), is a rest. So,  
depending on tempo...  By the way, did you get permission from the  
Cage estate for quoting from his work?


(Anyone interested in Cage's piece can read about it here:
http://www.nytimes.com/2006/05/05/arts/music/05cage.html)

David
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[Finale] Cross-Staff beaming FinMac 2011

[David Froom]

Hello all.

I'm wondering if anyone is having trouble with cross-staff beaming  
(piano music) in FinMac 2011.


First of all, they removed a fabulous short-cut, using option-down  
arrow while in the selection tool. That worked wonderfully, but is no  
longer.


More important, when I have tried to do cross-staff beaming with two  
chords involving dyads, the reverse stemming moves the stem outside to  
the left of the left note (no longer in the center of the dyad).  I  
think this is not new -- but what is new is that the notehead position  
mover tool (special tools) no longer can correct this!!  It simply  
won't move those notes at all


I've been doing cross-staff beaming for years the old-fashioned way  
(note mover tool, drag down, special tools reverse stem side, special  
tools beam angle, then as necessary for dyads, special tools notehead  
position mover).


My only option is not to use the reverse stem, but then the stems  
don't go the full length.  I need to cover up the missing bits with a  
smart-shape line.  What a drag...  It works, but any repositioning of  
the pitches means carefully moving the drawn stems.


Is this a bug anyone else has encountered?

David Froom
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[Finale] FinMac 2011 Percussion entry/playback GPO4

[David Froom]

Hi,
I got some excellent advice from Make Music Tech Support (Travis S.),  
as I've been struggling to get this to work.


What I want is for a percussion staff (5 line) to go back and forth  
between GPO4 Basic Orch Percussion and GPO4 Percussion Toys, and for  
all the notes to appear on the center line (if treble clef, B).


First one needs to locate the XML file supplied by GPO4 (it is in  
Applications/Garritan Personal Orchestra 4 folder). You copy it to the  
Macintosh HD/Users/Your user name/Library/Application Support/ 
MakeMusic/Finale 2011/MIDI Device Annotation folder.


Now you set up the Aria player to have GPO4 Basic Orch Percussion on  
channel 10, GPO4 Percussion Toys on channel 26 (that is, channel 10 of  
a second player).  Could be other channels, if you like.


In staff attributes for the percussion staff, Notation Style should be  
Percussion, and the "select button" should show that you have chosen  
Orchestral Percussion for the MIDI map.  If you want to change where  
things appear, edit the Orchestral Percussion MIDI map, and change  
where each note appears (for me, all on the center line).


Create a new staff style, based on Percussion:  5-line staff.  For  
this staff style, Notation Style "select" button, create a new MIDI  
map and call it Percussion Toys.  This will be empty, because it  
hasn't been defined -- you fix that later, as you enter notes.


In Window/Instrument list, you click on triangle to expand the  
percussion staff.  Make sure layer 1 is pointed to channel 10, and has  
Basic Orch Percussion as the MIDI map.  Create a new instrument for  
layer 2, and send the sounds to channel 26, and Percussion Toys as  
MIDI map.


You enter notes for Basic Orch Percussion in layer 1, for Percussion  
Toys in layer 2.  The percussion toys notes will be all over the  
place, because the midi map hasn't been created for it.  The notes  
will appear in orange.


To see what GPO4 calls each Percussion toy note (and to see it's MIDI  
assignment), go to MIDI/Audio, Device Setup/Edit Percussion MIDI  
maps.  In the dropdown menu Select a MIDI device, choose Garritan  
Personal Orchestra 4, and for Map, Percussion Toys.  Note the names  
and the MIDI note number assignments.


After you enter some Percussion Toys notes, apply the Percussion Toys  
staff style.  In View/Show, choose Show Percussion MIDI values.   
You'll see the MIDI note number assignments under each note.


Select the measures with the new Percussion Toys notes, and go to  
Utilities/Transpose Percussion Notes.  Fix these one at a time,  
sending the note you played to the sound listed in the Edit Percussion  
MIDI maps menu.


Finally, go to the staff style for Percussion Toys, click on the  
select next to the Notation Style: Percussion, and edit the Percussion  
Toys MIDI map.  You'll see the notes you created, and you can drag the  
display to show up on any note.


Once this has been done, entering percussion and getting it to display  
correctly is fast.  You need only to enter notes for Basic Orch Perc  
in layer 1, Percussion Toys in layer 2, apply staff style to the  
Percussion Toys bits, and the whole thing looks and plays back  
correctly.  You add new Percussion toys notes only as you need them,  
and as you go.  The setup (and figuring it out) was at first laborious  
-- but I just re-did it in my piece, and it took about 15 minutes.


I'm not sure what I will do if I need to mix Orch Perc and Perc Toys  
in a single measure, since staff styles need a full measure to work.   
I think the workaround will be to add a Perc Toy note to the Orch Perc  
MIDI map.  I think this will work.


I have to say that I'm a bit disappointed in the lack of coordination  
between Finale and GPO4.  2010 was supposed to make percussion easy --  
and I suppose it is easier than it was (which says a lot about how  
cumbersome it was in 2009 and earlier). GPO for Finale 2011 works  
fine, but GPO4 has severe problems interacting with FinMac2011.  I  
can't get the notation KS GPO4 instruments to work at all (this was  
not broken in FinMac 2009), so for strings, I've switched to GPO for  
Finale 2011, and for other instruments I am using the non-notation KS  
versions, and putting key switches hidden in layer 3.  I tried Darcy's  
suggestion of changing the HP preference file, under techniques, to  
call all the GPO stuff simply "Garritan."  This didn't work for me...


One more thing about Finale 2011.  In FinMac 2009, they had introduced  
a fast piano cross staff beaming method that I discovered by mistake.   
You simply selected the notes you want to move, and hit opt-down/up.   
It was fabulous, fast, and very close to being accurate.  That is  
gone!  And the key strokes for doing it don't do anything now.  Why  
would they remove something so useful???  I asked the tech support  
guy, and h

[Finale] FinMac2011 and GPO4 keyswitches

[David Froom]

Does anyone have GPO4 and FinMac 2011?  If so, are your notation  
instrument keyswitches working?  I can't get this to work.  In 2009, I  
would use the n-TrumpetKS instrument, put in the word Mute from the  
library, and it would switch to muted.  In 2011, the same thing  
doesn't seem to work.  And I've never been able to use the flute  
fluttertongue ks -- though the trigger is supposed to be the three- 
slash tremolo.


Can anyone help me?  Or is this a problem with FinMac 2011?

Thanks,

David Froom
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[Finale] GPO4 and FinMac2011 again

[David Froom]

Hi,

I found the GPO4 .xml file!  It was sitting in the Applications/ 
Garritan Personal Orchestra 4 folder, and called, appropriately,  
Garritan Personal Orchestra 4.xml.


I copied it to the Library/Application Support/MakeMusic/Finale 2011/ 
MIDI Device Annotation folder, and now things show up properly in  
Finale 2011.


HOWEVER it is not all smooth sailing.  I tried entering notes.   
Aria player shows the correct sound set (for an experiment, I tried  
GPO4 Basic Percussion, and GPO4 Percussion Toys).  The Midi maps are  
also found properly in the instrument list.


The notes/different percussion sounds track correctly when I play them  
with my MIDI keyboard in the Aria player.  They also sound correctly  
when I enter them using speedy or simple.  But they don't all play  
back.  Some play back not at all, and some do.  Any ideas?


The ID labels in simple/speedy that tells you what you are entering is  
still related to Garritan for Finale Basic Percussion, which is a bit  
annoying.  Any one know how to change these?


And, in speedy, dragging up/down to change a pitch (which would be  
useful to find the sound you might want) crashes the program!


Any ideas?

If someone with GPO4 and Finale 2011 who is interested in solving this  
would give this a try to see if your experience is the same as mine,  
I'd really appreciate it.  Then, perhaps together, we can approach  
Finale tech support with our complaints/questions.


David Froom 
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Re: [Finale] FinMac 2011 and full Garritan

[David Froom]

On 26 Jun 2010, at 1:00 PM, Darcy James Argue wrote:

As in all previous versions, you need to manually copy the  
gpofull4instrument.txt file from your previous version of Finale  
(it's in the FinaleAU folder) to the corresponding folder in Finale  
2011. Note that as of Finale 2011, the location for such folders has  
changed -- they are now in the Macintosh HD/Library/Application  
Support folder.


If this is something you'd like the Finale installer to do  
automatically, tell MakeMusic! It's such an obvious and easy thing  
to do (automatically copying files from the old location to the new  
location) but for some reason MM haven't implemented it yet.


Thanks Darcy, and now I've set this up as you specify.  However, there  
is still no MIDI map for GPO4, so the "ease" of entering and getting  
simple accurate playback for percussion is basically gone.  Here is  
what I mean:


If I choose GPO Notation Orchestral Percussion or Percussion Toys  
while in the setup wizard, and enter notes according to what I'm told  
in simple/speedy (where instruments are identified as you put them  
in), I get wrong sounds, or none.  The new (Fin 2010, which I skipped)  
percussion deal seems only to work when I use Garritan for Finale  
Basic Orchestral Percussion (or one of their other supplied  
versions).  I think what might be missing is an xml file for GPO4?  I  
don't know.


I could go back to the relatively laborious way of entering percussion  
for Fin2009 and previous.  I'd hate to have to do that -- or to be  
restricted to what Garritan For Finale Basic Orchestral Percussion  
supplies.


The manual says:  "To ensure your percussion notation is configured  
properly for your playback instrument, select the appropriate  
Percussion MIDI Map in the Instrument List."  But in my instrument  
list, the only Percussion MIDI maps that are available are for


None (built in GM)
Garritan Instruments for Finale
General MIDI
SmartMusic SoftSynth
Tapspace Drumline

I see, from the manual, that I can create my own xml file through the  
Percussion MIDI Map editor.  That looks like a pretty laborious  
process.  Are there such xml files available for GPO4's percussion  
somewhere?  Or if I do this myself, do I have to do it only once?  And  
if I do it, does that make GPO4 just as easy to use as Garritan for  
Finale?


Could someone who has this and uses it give some advice on the  
simplest way for getting something from GPO4 Percussion Toys (like,  
for example, tambourine roll and tambourine hit) to notate and  
playback?  Or something fancier that isn't supplied by Garritan, like  
temple blocks (not that those are so strange...  Jeesh).


If I've missed something in the manual, I apologize.

Thanks,

David
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[Finale] FinMac 2011 and full Garritan

[David Froom]

Hi,
I just got FinMac 2011, and I have the full Garritan GPO4.  With  
FinMac 2009, the full Garritan appeared as a choice in the setup  
wizard, and it was to be found in various other places.  I know I can  
add it after the document is set up by changing in the Aria player,  
but after doing so, some bits are missing -- for example, the correct  
Midi maps for expanded percussion (like percussion toys).  I see from  
a little poking around that these maps are included as part of xml  
files located in my Library/ApplicationSupport folder.  Is there a  
file I need to copy from one place to another to get this  
functionality?  Or do I need to create such Midi maps myself?


Any help would be greatly appreciated.

David Froom
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[Finale] Re: OT: CD Replication

[David Froom]

On 25 Jun 2010, at 1:00 PM, Rick Deasley   
wrote:



With regard to liner notes, why not add an enhanced partition to your
audio CD with some html pages so that it will come up on your
computer...You could also provide links from these pages to your  
website

and other vendors of your music.


I have a brand new recording just out on Navonna Records.  They are  
one of those small labels where the artists share in the expenses.   
They have gone to the enhanced partition method of making CDs, so that  
a full, color, program booklet AND the scores of the recordings are  
included on the CD only.  You put the CD in your computer, and the  
second partition shows up, containing the booklet and the scores.


I would rather see a booklet -- but this way is much cheaper, and it  
means that there is virtually no limitation in what you can include  
and how you can make it look.


Navonna is distributed by Naxos.  That means that both the recording  
and the booklet (but not the scores) are nearly instantly available  
via the Naxos Music Library.  If you have access to that, check my  
recording out there.  Search for David Froom.  The Navonna recording  
is the first listing, and a link to the booklet is at the left of that  
recording's page.


You might also listen to my piece (a sonata for solo violin, performed  
by the incredible Curt Macomber).


Regarding the discussion of recordings in general:

I have other recordings (the other one on Naxos, one on Bridge) that  
came out without my having to pay.  The expenses, since they clearly  
can not be recouped by sales, were covered by grants, written by me,  
by the performers, or by the record labels.  I have a number of others  
like that, and a couple in which I participated financially.


I think of recordings of new music as things that are useful towards  
getting performances and other commissions.  Most money for composers  
comes from commissions, with performing royalties a distant second.  I  
think that publishing and recording have netted me maybe a few hundred  
dollars over 20 years (95% of that from publishing).  On the other  
hand, I've gotten MANY performances and some rather nice commissions  
that came to me only because I had these recordings out there.


David Froom
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