Re: [Finale] beaming problem
From the Quick Help: Special tools, select the Broken Beam Then click in the app. maes. the handle to change the broken beam direction (left or right). Hans Op 28-jan-10, om 14:42 heeft dc het volgende geschreven: Here's my beaming problem. I have a piece in common time where some of the beats use the typical rhythm of a 12/8 time sig: dotted 8th + 16th + 8th in the value of a quarter note. So I define use a tuplet with 1 dotted quarter in the space of 1 quarter, and I get my three notes. But the beam for the 16th is on the wrong side, i.e. between notes 2 and 3 instead of notes 1 and 2. Rebeaming the music doesn't change this. www.collins.lautre.net/files/beaming.jpg (what I want, and what I get) What am I doing wrong, or how can I get around this? Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] no photocopying sign
Opus Special Hans === Time is a great teacher but unfortunately it kills all its pupils. Hector Berlioz On 23 okt 09, at 10:23, Matthew Hindson (gmail) wrote: If you install the Sibelius demo it's in one of the fonts there. Matthew dc wrote: Does anyone know where I could find a (free) font or a simply a graphic file with the sign prohibiting photocopies that one sees on some scores? Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Inverted V glyph
Try the Toccata font, capital J Hans === On 13 jul 09, at 17:19, Darcy James Argue wrote: Hi Eric, Thanks. Okay, having used PopChar, I still cannot find a suitable inverted V character in any of the fonts on my system. Anyone have any ideas? Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Changing group attributes AFTER optimising
TGTools Layout Update Groups... Hans === On 22 feb 09, at 21:49, Christopher Smith wrote: I just realised that I forgot to set my piano group to NOT show the group name in my piano-vocal extraction. I have optimised and respaced individual staves very carefully, which I will lose if I remove optimisation, set the group name not to appear, then optimise again. Now that I have optimised, I apparently can only turn off group name appearance for INDIVIDUAL staves. Do I have to do this thirty times (once for each system) or is there a global way? I need the piano name to appear in the score still. Thanks FinMac2009b Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Changing group attributes AFTER optimising
Thank you, Steve, for save Christopher. I couldn't answer sooner. Cheers, Hans On 23 feb 09, at 16:56, Christopher Smith wrote: THERE ya go! I missed setting the group attributes in SCROLL view. I was doing it in page view. Thanks a bunch! Works great! C. On Feb 23, 2009, at 9:45 AM, Fiskum, Steve wrote: Hello Christopher, In Scroll view set your group attributes. Then run the plugin: -TGToolsLayoutUpdate Groups -Check Rebuild All groups from scratch Hope this helps, Steve 2/22/09 2:49 PM, Christopher Smith christopher.sm...@videotron.ca wrote: I just realised that I forgot to set my piano group to NOT show the group name in my piano-vocal extraction. I have optimised and respaced individual staves very carefully, which I will lose if I remove optimisation, set the group name not to appear, then optimise again. Now that I have optimised, I apparently can only turn off group name appearance for INDIVIDUAL staves. Do I have to do this thirty times (once for each system) or is there a global way? I need the piano name to appear in the score still. Thanks FinMac2009b Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Page Layout problem
Hi everyone, Working on a score in 2005b, no problems so far, except when I extract parts. Tho' all thinkabel settings (in Finale, in System Preferences and so on) are set to A4, the Parts set up, set to A4, steady come out in US Letter, sometimes there's an Item 1 mention before the choise for Letter in the Set up db. I therefore placed A4 to the first place in the pagesizes.txt, but to no avail. This phaenomenia came up by upgrading to OS X 10.4.11. It's not that difficult to correct every part to A4, but is annoying and easy forgotten. For what is worth: my system is US, and my Flemisch (Azerty) keyboard is set to US, for working easily with Finale. When someone can understand my non native language: what am I missing, or what do I'm wrong? Every hint is welcome! TIA Nice holidays, Hans === Do what you believe in, and believe in what you do ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] French terminology
Andrew, Please read every post of a thread. We're defending grosso modo the same opinion. Then I wrote 09 aug 2008 09:18:46 GMT+02:00: in Do is italian style, opposed to in Ut which should be of french usage. while on 10 aug 08, at 23:28, you wrote: Trompette en ut (lower case, please!) is not at all archaic (see, among others, Messiaen: _Et exspecto resurrectionem mortuorum_). In fact, I'm not at all sure that trompette en do is even permissible. Tr. *in* do, which has been cited in this thread, is not French at all but Italian. Andrew Stiller Furthermore I'm looking in my library at several scores by Ricordi, Leduc, Legrand who all use upper case (!) en Ut (French) and in Do (Italian). But as I stated too: in many contemporary scores, there's no uniformity more as tromba in C, trompette en Ut, trumpet in Do (!) is found in various combinations. And this statement I'm making is apart from any linguistic correctness: I only tell what I see in our not so uniform Europ. Hans ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] French terminology
Hi Darcy, We'll use simply Réduction or Edition pour piano (et/avec chant) for rehearsal piano. Furthermore in Do is IMHO more italian style, opposed to Ut which should be of french usage, as others yet confirmed. But in today's scores, there's no uniformity as tromba in C, trompette en Ut, trumpet in Do (!) is found in various combinations. Hans On 09 aug 08, at 05:31, Darcy James Argue wrote: Here's another question -- what's the standard French term for rehearsal piano? And what would the staff name be? Piano de répétition? - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 8 Aug 2008, at 11:19 PM, Darcy James Argue wrote: Hello, I'm engraving a new opera for a French composer and I'm wording about a specific piece of terminology -- Trompette en Ut or Trompette en Do? I have a vague feeling Trompette en Ut is archaic, but I don't have any recent French orchestral scores to check against. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] French terminology
In my experience a rehearsal piano of a work with orchestra has always been a simplified orchestra. One has only 10 fingers, no? Edition could serve as this will published separated for singers or tutti quanti. In your actual case I would definitely choose for Réduction. Hans === You will excuse me for any typo's due to a visual handicap. On 09 aug 08, at 18:37, Darcy James Argue wrote: Hi Hans, Thanks! Édition pour piano won't work because it's a rehearsal piano *staff* in a opera score. Réduction seems closer to the mark, although it's not a true piano reduction because there are parts in the orchestration that are omitted from the rehearsal piano part. - Darcy ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Tamtam (in percussion)?
Dear all, I have to finish a score in MacFin2k5b. On some places is asked for a Tamtam. Alas, I can't find a playback issue (not in GM for sure). Is my brain getting older, or am I missing something obvious? Can/will somebody show me the right way? TIA Hans ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT - Extracting single pages from a multi-page PDF document
Extracting parts from a .pdf is impossible AFAIK. I see only two solutions: 1. scanning the pdf doc to an XML file and import this into a new Finale file, thus making a new score or 2. another hard way: remake the whole thing from scratch by hand. Sorry to be of little help Hans Op 31-jan-08, om 14:34 heeft Marcello Noia het volgende geschreven: Hi, not having the whole Adobe PDF software but only the reader, what can I use to extract single pages from a PDF document (I did not create it, I got it as it is. I need that to send single pages via e-mail. Thank you Marcello ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT - Extracting single pages from a multi-page PDF document
Marcello, Sorry, I've misread your question. If you're on a Mac I can suggest PDFpen. Hans You will excuse me for any typo's due to a visual handicap. Op 31-jan-08, om 15:29 heeft Hans Swinnen het volgende geschreven: Extracting parts from a .pdf is impossible AFAIK. I see only two solutions: 1. scanning the pdf doc to an XML file and import this into a new Finale file, thus making a new score or 2. another hard way: remake the whole thing from scratch by hand. Sorry to be of little help Hans Op 31-jan-08, om 14:34 heeft Marcello Noia het volgende geschreven: Hi, not having the whole Adobe PDF software but only the reader, what can I use to extract single pages from a PDF document (I did not create it, I got it as it is. I need that to send single pages via e-mail. Thank you Marcello ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] lyrics and spacing in 2008 - update
And moreover: Mac users should make sure to dl the zip-file, for the sit-file is still version 2.43. Hans Op 20-dec-07, om 12:25 heeft dhbailey het volgende geschreven: dc wrote: Tobias released (yesterday) an updated version of his TGTools. The New Spacing plug-in now works in 2008 as it used to in preceding versions for melismas. Many thanks to Tobias for this! Dennis Thank you very much to Tobias for releasing this new version and many thanks to Dennis for pointing it out to us. Just a word on the download -- on the main page it says the new version is 2.45b (which is true) but on the downloads page, it still shows that the download for 2.45b for Finale 2000through2007 (the page hasn't been updated to show that it is valid for Fin2008 yet), but go ahead and download it anyway and it will install for 2008 just fine. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Desktop versus laptop survey
2 laptops, one with a 22' external monitor for music, no more desktop. Hans On Dec 12, 2007, at 9:29 PM, Henry E. Howey wrote: I think we need a list survey of laptop versus desktop usage. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Smart shape and different time sigs
Giuliano, I'm not sure about smart shapes, but copy-paste should work this way: - uncheck independent time sig in the source staff and don't worry about to few or to many beats in the measure(s); - copy; - check independent time again (for not to forget); - uncheck independent time sig in the target staff; - paste (again: don't worry as above) - check ind time again. Hans === Io la Musica son, ch'ai dolci accenti So far tranquillo ogni turbato core, Et or di nobil ira et or d'amore Poss'infiammar le più gelate menti. Op 30-nov-07, om 07:38 heeft Giuliano Forghieri het volgende geschreven: Hello---I have and have had the same problem every time I use the Indipendent Time feature (still working with 2006, by the way). Also, Indipendent Time always create problems with spacing and copy- paste, in my experience. I don't know of a solution, thus I'd be very interested in knowing what others do in this situation. All the best Giuliano At 04.46 30/11/2007, Dennis Bathory-Kitsz wrote: Hi all, Can anybody replicate this problem and have a solution? I have a piece with simultaneous time signatures of 7/8, 7/8, 5/8, 3/4 and 4/4. I can't line up the smart shapes -- they won't allow placement in certain horizontal locations. For example, the bottom four parts have a decrescendo. The hairpin pulls all the way across the 7/8 and the 4/4, but will only go to the 4th note in the 5/8 and the 5th eighth note in the 3/4. If I pull it further, it jumps to the next measure. Using the nudge tool makes it go *backwards*. If I make them all a little shorter, then the proper ones jump backwards. None of them will stay reliably in place. It's not just hairpins. I need ossia tuplet brackets above (made with smart shapes), and they won't stretch properly either. I tried putting it in another measure and moving it over, but the shape just pops into a different shape as soon as it gets under the measure. Any clues what to do? Can I unsmart these shapes somehow? Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] very OT notation (burn before reading!)
Hello John (and David). Thanks for clarification. You know, having worked as a conductor in Germany, the Netherlands and -of course- in my own country, I've been frustrated by many misunderstandings caused by the different pitch names. The B/H discussion invited me to tell something from what I remember of my musical education, nearly 50 years ago now. By no means I pretended to be historically correct. I can only hope that somehow there will be more understanding to each others *point-de-vue*. Hans You will excuse me for any typo's due to a visual handicap. Op 01-nov-07, om 05:19 heeft John Howell het volgende geschreven: Hello, Hans, and you are very close to the truth in these matters. [snip] Like I said: monks with feathers. John -- John R. Howell ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT (was: Harp Question)
In the 12th century or something when introducing a 7th note to the already existing hexachord, there was a babylonic confusion about the name. We know that the first syllabe of each verse came out the hymne for St Johannes (Ut..., Re..., Mi..., etc.) where indeed every sentence started a tone above the previous. But what about the new, seventh note? A solution was found at the end of the hymne: Sanctus Iohannis has lent his initials to name the Si. But..., a second problem arised by introducing the musica ficta: should it be a high or a low Si? Therefore we invented two new signs: a rondinum and a quadratum. The quadratum looks like a h, our natural sign, later even transformed to a sharp, while the rondinum stand for a lowered (b). This system has evolved to other steps of the scale. The names C-D-E... (or originally A-B(H)-C...) were invented later. Hence there are yet three systems in our western music: - the italian, used also in France and Belgium. (Do, Re, Mi, etc). For us the La is fixed at 440 Hz. We know the other systems, but don't use them in practice. BTW: Ut, the first tone, wasn't very useful for solfeggio exercises, therefore changed in Do. - the german, A-H-C-D,... who swear by the original historical context. When they mean Sib (Bb), they call it consequentially B. - the english, also used in the Netherlands, A-B-C, etc. For both german and english systems the A is fixed, while for them the italian names are relatives to the scale. I don't know much about the historical outcome of the C-D- system, nor about the suffixes -es and -is, to mark a b or a # (des, fis), It likes even a bit ridiculous when comes to double alterations (cisis, geses). The english Bb and C# likes more logical. Hans Please, compose something Wagner-like, only a bit shorter and louder. Sam Goldwyn. Op 30-okt-07, om 17:49 heeft A-NO-NE Music het volgende geschreven: dhbailey / 07.10.30 / 6:33 AM wrote: B-dur would be our Bb-major. What's the confusion? I know. A moment of stupidness. How come it's not Hes-Dur? :-) -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Staff line thickness
IMHO it should be a relative thickness, simply obtained by using the % Tool. Hans The Detroit String Quartet played Brahms. Brahms has losed the game. The Detroit Gazette. Op 02-okt-07, om 15:34 heeft Barbara Touburg het volgende geschreven: I'm entering a piece for violin and piano. Obviously the piano has the violin staff above the piano right hand. Its staff size is reduced to 75%. My staff lines are set to 3.5 evpus, the other lines (such as bar lines and stems etc.) are 4.5 evpus. Do you think the staff lines (and others as well) of the violin staff should be of an absolute or a relative thickness? As they are now, all lines in the violin staff are 25% thinner than in the piano staves. (Am I making myself clear? I hope so.) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Slashed grace notes
1. It's not possible AFAIK. I've already asked for this in the early ninety's :-( 2. You can insert the grace notes after the last beat (or note) of the preceding bar (measure). Finale wouldn't tell you there are too many beats. Hans God told me how this music should be played, but you are an obstacle. Arturo Toscanini at a rehearsal. Op 05-jul-07, om 15:37 heeft dr.a.s. weinstangel het volgende geschreven: Dear collective wisdom: Two questions: 1. To slash a flagged grace note is easy. But, how to get slashed beamed grace notes, without having to manually place a slash on each group (and then have it move somewhere else every once in a while)? 2. I would like to place beamed grace notes that precede downbeats into the previous bar. Could this be done globally for given sections of the piece? Thanks for your help, Dr.A.S.Weinstangel [EMAIL PROTECTED] _ Fight Allergies With Live Search http://search.live.com/ results.aspx?q=Remedies+For+Spring+Allergiesmkt=en-caFORM=SERNEP ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Independent time sig copy failure (second of 2 q's)
There's a solution: Paste in your standard time and change your time sig afterwards to independent. E.g. if your main time is 3/4 and you would paste a 9/8 content: paste the content in 3/4 and then change the appropriate measure to 9/8. It works! It's not necessary to avoid clicking Independent before pasting in the Staff Tool. Hans You will excuse me for any typo's due to a visual handicap Op 26-jun-07, om 14:57 heeft Dennis Bathory-Kitsz het volgende geschreven: Hi all, I'm not sure if this has been documented. Copy/paste doesn't seem to work reliably with independent time signatures in use. If I copy a section (either copy or copy to clip file) whose time signatures are independent and then attempt to paste or insert that copy elsewhere (even with the same time signatures in the destination), only some material will paste. (All items are set to copy in the options.) The parts that will copy vary in a way that I can't follow. For example, part one is in 4/4; parts two to four are in 5/4, part five in 7/4. If I copy measure 1 part #1 and paste it elsewhere, the result is blank (sometimes a smart shape or time signature does get copied). If I copy measure 1 part #2, same thing. If I copy parts #3 or #4, it works. Part #5, no results. Different measures in different parts work or don't; I can't see a consistency. Drag-and-drop copying works. I can use drag-and-drop copying until the score is off-screen, but since 10% is the smallest reduction allowed, even though I have 44 inches of horizontal screen space available, it's not enough. I'm forced to re-enter the material by hand. Clues? Solutions? Dennis Please participate in my 2007 project: http://maltedmedia.com/waam/ My We Are All Mozart blog: http://maltedmedia.com/bathory/waam-blog.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Independent time sig copy failure (second of 2 q's)
If the source measure is in independent time too, you should also uncheck the Independent Time in the source staff before copying and all be fine. Hans You will excuse me for any typo's due to a visual handicap Op 26-jun-07, om 17:28 heeft Dennis Bathory-Kitsz het volgende geschreven: At 04:50 PM 6/26/2007 +0200, Hans Swinnen wrote: There's a solution: Paste in your standard time and change your time sig afterwards to independent. E.g. if your main time is 3/4 and you would paste a 9/8 content: paste the content in 3/4 and then change the appropriate measure to 9/8. It works! It's not necessary to avoid clicking Independent before pasting in the Staff Tool. Hi Hans, Thanks for the suggestions. Normally, this sort of thing works as you describe. But this score has all independent time signatures to start with (and they change). The problem is not copy/paste to different time signatures. Copy/ paste is not working for the *same* time signature. That is, copying measure #1 part #1 in 4/4 to measure #100 part #1 in 4/4 comes up empty. It seems nothing is copied. (It also happens with a clip file.) On the the other hand -- and this is the mysterious part -- copying or inserting (say) measure #1 part #3 (which is in 5/4 at the start) to any other part or measure or time signature does work, even if it doesn't fit in the measure properly. In other words, things aren't copying properly. The pasting seems to be normal. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: goats in opera
Having conducted this show over 100 times in my own country, the Netherlands and Germany, I'd like adjusting some facts. The score is right here on my desk. At the White Horse Inn isn't an operetta in the Vienna tradition like Strauss or Léhàr, but, according the score, a Singspiel, also a musical play. There are originally four (!) composers involved: Ralph Benatzky, Robert Stolz, Bruno Granichstaedtchen and Robert Gilbert. Stolz gave the most Viennese character by his well known songs, e.g. Die ganze Welt ist himmelblau (the whole world is blue like the sky), Mein Liebeslied muß ein Walzer sein (my love song has to be a Waltz) and 2 others. Gilbert wrote Was kann der Sigismund dafür (it isn't Sigismund's fault that he's that beauty) and from Granichstaedtchen käm Zuschau'n kann i net (I can not stay beside and look) - (My english translations of the song titles are very free and personal, please excuse me) - Benatzky has set up the score in 1929-1930. First performance in Berlin on 8th november 1930. It was the first marriage between the American musical in the Vienna tradition. After WW II a fifth composer (Hans Frankowski) came up with a more modern, more jazzy score for a new movie with Peter Alexander, which was released in 1958. This version is still performed, be it mostly by amateurs in the Netherlands. By these mish-mash from composers and therefore styles, I don't like to speak of a masterpiece due to a lack of uniformity, but I agree, some chorus settings are great! And it was a big success in Western Europ, including England if my memory is correct. But I doubt that it should have survived without the songs by Robert Stolz. BTW: according the libretto comes the emperor in the 3d act and that's no nonsense, because in Austria, at the Sankt Wolfgang Sea exists really a big hotel wit this very name (Im weißen Rößl) and it's historically correct that the Austrian Emperor Franz-Josef Iº has stayed several times in this house. Concerning the goat: There is a scene in the Alps (2d act) where one of the vest manufacturers (named Gieseke) has to run away for a he-goat. So, this can't be the mentioned country girl. I suppose the maid in question must be the post woman. Hans === You will excuse me for any typo's due to a visual handicap Op 05-mei-07, om 06:49 heeft Mark D Lew het volgende geschreven: Benatzky. Properly the title is AT the White Horse Inn (Im weissen Rössl). Large-scale operetta in the style of Léhar, J Strauss, Kálmán, etc. The usual operetta plotlines set at an über-quaint retreat somewhere in the Austrian alps. Luscious score with an abundance of melody. I don't remember a goat, but I vaguely recall there was a bucolic country-girl character, so I assume it was hers. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fin2k5b on Macbook?
Dear Darcy, It's hopeless. I've copied from my PPC and removed all prefs and the location.txt as you suggested, but to no avail. A message come up, displaying Finale cannot start the Registration Wizard because a required data file (location.txt, Dealers_Fin.txt) was not found in the Component Files folder. Then, after trashing all the copies, I tried a new install from my original CD with the same removing actions and obtain the same results. Clicking the Remind Me Later in the Register Window let me yet work in Demo mode: that is 30 days from today after the new install. But those trial period is over after copying my former app from the PPC. I can open the Registration Finale… under the Help Menu in the newly installed, but this doesn't let me fill in my country (Belgium). And when I then click the Next button, Finale quits. BTW the same behavior happens with 2k5 as with 2k5b as well. I send you FWIW the bug report off-list. What am I doing wrong? Can you assist me further? As you've probably noticed, english isn't my mother tongue, so phone to MM isn't my favourite thing. I can read and a few ideas write, but can speak only a few words and don't understand your language very well when someone talk to me. Thank you for any advice, Sincerely yours, Hans On 27 apr 2007, at 20:12, Darcy James Argue wrote: Hi Hans, It used to be impossible to run the registration tool under Rosetta, but due to improvements in Rosetta in recent OS X updates that is no longer the case. Finale 2004-2006 all work just fine under Rosetta, registration included. Delete all Fin2005 prefs and remove the location.txt file from your Fin2005 Component Files folder and you should be fine. You will be prompted to register, so make sure you have a spare registration for the new computer -- or call MM and get them to deactivate your old Fin2005 registrations. (Call now! Don't wait till tomorrow -- MM are closed on the weekend.) Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY You will excuse me for any typo's due to a visual handicap. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Fin2k5b on Macbook?
Is it really impossible to run 2005b on a Macbook (OSX 10.4.9)? Nobody knows a workaround at all? I'm stick with those version 'cause the Lyrics in an opera score. I'm desperate. Hans === Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fin2k5b on Macbook?
Darcy, Really? Are you my saviour yet? Anyway, I've read on several places at the MM Forum that it is impossible. But I would try again tomorrow (it's late here now). Copying from my PPC should do it, no? But I did so and the app says it isn't registered and moreover is not able to register (not finding some location.txt file) where after the program did not respond anymore, so I had to force-quit. Could deleting the old prefs file solve my problems? I'll try it out first thing on the morning and stay back on your door with good or bad news. Thanks for giving me hope again, Hans === On 27 apr 2007, at 18:11, Darcy James Argue wrote: No, it's entirely possible. There is no need for a workaround, except perhaps deleting your old prefs if you copied the installation from a PPC machine. What problems are you having? Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 27 Apr 2007, at 5:55 AM, Hans Swinnen wrote: Is it really impossible to run 2005b on a Macbook (OSX 10.4.9)? Nobody knows a workaround at all? I'm stick with those version 'cause the Lyrics in an opera score. I'm desperate. Hans === Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: RE OT: [Finale] Show n' tell, etc.
Dit lijkt erg op een omgekeerde versie van de 10 kleine negertjes…! ;-) Hans === On 16 apr 2007, at 09:15, Peter Lockwood wrote: En nog een... dit keer een pianist uit Nieuw Zeeland wonend en werkend in Amsterdam... Peter G. Lockwood Warmoesstraat 16E 1012 JD Amsterdam The Netherlands Tel: +31 20 624 8229 GSM: +31 6 5335 4474 - Original Message - From: Williams, Jim [EMAIL PROTECTED] To: finale@shsu.edu Sent: Monday, April 16, 2007 1:32 AM Subject: RE: RE OT: [Finale] Show n' tell, etc. Iemand geeft 'n partij...en ik ben er niet bij... ;-( Jim From: Barbara Touburg Sent: Sun 15-Apr-07 18:29 To: finale@shsu.edu Subject: Re: RE OT: [Finale] Show n' tell, etc. You're in! David W. Fenton wrote: On 16 Apr 2007 at 0:03, Barbara Touburg wrote: Je spreekt Nederlands? Dan ben je nummer vier (minstens). You speak Dutch? Then you're number four (at least). (Minke H., Dennis B.-K., Hans Sw., me) I don't speak it or write it, but it's close enough to German that I can often understand most of it when written down. Is that 4.5, then? :) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale You will excuse me for any typo's due to a visual handicap. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: RE OT: [Finale] Show n' tell, etc.
That was my intention neither Only an inside joke. On 16 apr 2007, at 13:03, Barbara Touburg wrote: I wonder if anyone over there gets that one! Hans Swinnen wrote: Dit lijkt erg op een omgekeerde versie van de 10 kleine negertjes…! ;-) Hans === ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] transposing instrument question in Finale 2003a
If Staff Styles not yet are available in Fin2k3, there's always a work around via Independent Key Sigs in the Staff Tool, Hans === On 16 apr 2007, at 17:36, Martin Banner wrote: I am working on an edition of an 18th Century piece for men's choir, strings, oboes and horns in several movements. I am doing all four movements as a single file. The first two movements are in Bb major, with horns in Bb. Not a problem. However, the third movement is in Eb major, with horns in Eb. Is there a way to change the transposition for this third movement only, so that the horn part is written correctly (no sharps or flats in the key signature) and also sounds correct in playback? Of course, I want to be able to go back to horns in Bb for the final movement which is in Bb major. Thanks, Martin Martin Banner [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale You will excuse me for any typo's due to a visual handicap. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] horn transposition question
I'm sorry! You're right of course. I should have read the question more carefully. Hans === On 21 mrt 2007, at 09:50, [EMAIL PROTECTED] wrote: On 20 mrt 2007, at 15:37, Martin Banner wrote: Also, if I have a horn in G written in bass clef, what concert pitch will actually sound if I write an A on fifth line (A right below middle C). that depends. In older notation it should have sound as D4 (D above middle C) In modern notation however as d (middle line in bass clef. Thanks, Martin Do not forget, the horn is in G. not F. Therefore, on the assumption this is an old horn part, a written A on the fifth line of the bass clef will sound E above middle C. Regards, Michael Lawlor mail2web.com - Microsoft® Exchange solutions from a leading provider - http://link.mail2web.com/Business/Exchange ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] horn transposition question
On 20 mrt 2007, at 15:37, Martin Banner wrote: If I have a horn in G, and write a D (fourth line treble clef), will that sound as a concert A (second space treble clef)? Yes. Also, if I have a horn in G written in bass clef, what concert pitch will actually sound if I write an A on fifth line (A right below middle C). that depends. In older notation it should have sound as D4 (D above middle C) In modern notation however as d (middle line in bass clef. Thanks, Martin My pleasure, Hans === Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] horn transposition question
You're right. But that wasn't the question, was it? Yours, Hans === On 20 mrt 2007, at 18:39, Andrew Stiller wrote: On Mar 20, 2007, at 11:49 AM, Hans Swinnen wrote: On 20 mrt 2007, at 15:37, Martin Banner wrote: Also, if I have a horn in G written in bass clef, what concert pitch will actually sound if I write an A on fifth line (A right below middle C). that depends. In older notation it should have sound as D4 (D above middle C) In modern notation however as d (middle line in bass clef. I would think it vanishingly unlikely that the modern bass clef style would ever appear for any but the horn in F. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/kallisti.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Chord symbols DO-RE-MI... instead of C-D-E....
TGTools Misc Custom Chord Styles Hans === On 07 mrt 2007, at 14:52, Marcello Noia wrote: Forgive me if this is a stupid question but I did not find anything in the manual. I need to write some simple exercises for sax students putting on every note its name in Italian. I need to put it as a chord symbol because the exercise has to be repeated in all keys, so I need to transpose the first in the other 11 keys. How do I transform the standard C-B-E and so on in DO-RE-MI using the english symbols on the keyboard anyway? The sol-fa style does not suite my needings. Thanks for replies ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale You will excuse me for any typo's due to a visual handicap. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German
My mother (89). She is a native German and was professional occupied by German traditions. According her a Schluf (=Hahn; english chanticleer, cock, rooster, spigot) is maybe not common anymore, but widely used in southern and eastern parts of Germany, and further in Bohemen. It was also from her I learned about the Kaspertheater. Hans === On 04 mrt 2007, at 23:04, Michael Cook wrote: Schlufslied is a word I've never come across. My big Duden German dictionary was no help: could you give a source for this word? Michael You will excuse me for any typo's due to a visual handicap. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German
fliebend has to be fließend, meaning fluently; (it's not a b, but the German ß or ss) Schlufslied = song of the rooster; BTW, a Kaspertheater is a theatre show with from outside manipulated dolls. HTH Hans Op 04 mrt 2007 om 15:52 heeft Christopher Smith het volgende geschreven: On Mar 4, 2007, at 7:57 AM, Lawrence David Eden wrote: munter Lively Leicht bewegt Moving easily (not the best translation if you want to put an English marking) Langsam, jedoch fliebend Slowly, but (sorry don't know this word!) Vorspiel prelude or overture, before the story. (Can it even mean foreplay? Or am I being to literal? A friend of mine at school also used it to refer to a pre-game barbecue before the big soccer matches.) ruhig calmly Musik zum Kaspertheater Music for the Puppet Theater, whatever that is Tanz der Holzpuppen Dance of the Wood Dolls. Maybe Toy Dolls or just Dolls would be better English. Wiegenlied Lullabye (literally, cradle song) Schlufslied Sleep song? Sorry, you got me. (No, it doesn't mean that!) 8-) You will excuse me for any typo's due to a visual handicap. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German
I agree, Schlußlied is another possibility. And where I wrote in my previous post: a Kaspertheater is a theatre show with from outside manipulated dolls I would thinking on a Puppet on a string, bot there are other methods for playing this kind of theater. Hans === On 04 mrt 2007, at 16:24, David W. Fenton wrote: On 4 Mar 2007 at 16:06, Michael Cook wrote: I've never seen the word Schlufslied. Could this be a misreading of Schlaflied, meaning lullaby? Given the mistranscription of fließend why not Schlußlied? -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale You will excuse me for any typo's due to a visual handicap. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German
But Schlufslied exists as a Song of the rooster. I don't know the context, neither the age, neither the place of this song in the whole opus, but IF it's the end, I'd agree with something like Ending or Final Song, BUT if it's not the end, I'll say it *could* be a Rooster Song. Hans --- You will excuse me for any typo's due to a visual handicap. On 04 mrt 2007, at 18:26, dc wrote: shirling neueweise écrit: I agree, Schlußlied is another possibility. end song!? more likely schlaflied, as was suggested elsewhere. Why more likely? Schlaflied means there are two typos, Schlusslied only one... Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cue notes starting IN multi measure rest
Dunno. Have you optimized in page view BEFORE adding the staff in scroll view? That's essentially. This way Finale will not take the dummy in account for placing the MM. See my attached pict., token before the last step: move the added staff to overlap. The eighth note is moved to the right by hidden rests. BTW, which vs Finale do you use? Hans === You will excuse me for any typo's due to a visual handicap. On 17 feb 2007, at 08:47, Minke Hylarides wrote: Thank you for all your trouble in helping me out! First I tried out Hans's idea, but Finale could not understand that I wanted to have a MM rest in one stave AND stille see the other stave (MM rest = part, ergo: no other staves are to be seen) (Hans, what did I do wrong?) Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cue notes starting IN multi measure rest
You can also edit the MM rest with the Measure Tool MM Rests Edit Set the right offset to -48 or so, thus making place for one note. Cheers, Hans === On 17 feb 2007, at 11:43, Minke Hylarides wrote: Well yes, maybe I did not do it in that exact order; that could be the solution... But after seeing your attached picture, I realized that inserting a MM rest as a staff expression has the advantage that it allowes me to nudge it a bit to the left, so that I have enough space for the upbeat cue notes on the right. I'm on Fin2005b by the way, same as you. Thanks again, Minke -Oorspronkelijk bericht- Van: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Namens Hans Swinnen Verzonden: zaterdag 17 februari 2007 9:54 Aan: finale@shsu.edu Onderwerp: Re: [Finale] Cue notes starting IN multi measure rest Dunno. Have you optimized in page view BEFORE adding the staff in scroll view? That's essentially. This way Finale will not take the dummy in account for placing the MM. See my attached pict., token before the last step: move the added staff to overlap. The eighth note is moved to the right by hidden rests. BTW, which vs Finale do you use? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cue notes starting IN multi measure rest
First: I don't like this request from your publisher. However there is a work around: - after optimizing go to scroll view; - add a dummy staff and uncheck all items do display in Staff Attributes, except notes and relatifs. Also uncheck the Option Display Rests in empty measures; - insert the notes you want in the *first* measure of the MM and in an unused layer ; - go back to page view. You will not see the added staff, but reoptimizing this system only will bring him back; - set both staffs to the same top offset so they overlap. That should do it. I tryed it out with vs 2005b, maybe some items are renamed in newer versions. Regards, Hans === You will excuse me for any typo's due to a visual handicap. On 16 feb 2007, at 10:01, Minke Hylarides wrote: Dear Colleagues! Having a new problem I can't figure out myself, I turn to you again. Is there a way to start cue notes IN a multimeasure rest? Let me explain: the cue notes start with an upbeat (let's say in measure 20), carry on a bit and then the violin sets in. This upbeat is the problem! The only thing I can get is a MM rest of 19 rests, followed by a half empty measure with this only upbeat (and of course the whole rest for the violin). But the publisher wants a MM rest of 20 measures, starting the upbeat IN the MM rest! Is there a way in Finale to make this? Thanks for now, Minke Hylarides ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cue notes starting IN multi measure rest
Actually I was thinking on both parts and score. As a conductor I like to see everything my orchestra members are reading, For the same reason I hate concert pitch scores. Hans You will excuse me for any typo's due to a visual handicap. On 16 feb 2007, at 16:40, [EMAIL PROTECTED] wrote: I'm assuming that your concern here is only with the individual part, and not the score, so here goes. Is there a way to start cue notes IN a multimeasure rest? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cue notes starting IN multi measure rest
Yes, I want to see which cue notes. MM not, of course! === On 16 feb 2007, at 17:39, Johannes Gebauer wrote: On 16.02.2007 Hans Swinnen wrote: Actually I was thinking on both parts and score. As a conductor I like to see everything my orchestra members are reading, For the same reason I hate concert pitch scores. I am not sure I follow: Do you actually want to see cue notes in the conductor's score? And the multi measure rests? How would that be possible? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Outgoing mail checked by Norton Antivirus ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: transposing standards downward
That depends. Remember that those piano parts are reductions and the chords disposition will be different from the original. I would first listen to that original and then made my decision. My favorite solution could be transposing the vocal line as commissioned and placing the chords above the melody. This way you avoid clustering sounds. Doubling the vocal 8va higher can only if e.g. the strings or whatever are doing also. But, when we need a dark sound (as starts You are love from Rodgers Kiss me Kate), one can perfectly go lower and then put the RH in bass clef for clarity. IMHO as a classical musician, who has conducted many older musicals. Regards, Hans -- You will excuse me for any typo's due to a visual handicap. == On 12 feb 2007, at 10:05, Mark D Lew wrote: This isn't a specific question so much as my general interest in others' experience with the same phenomenon. […] I guess there's two parts to my question: (1) As an engraver, how do you typically go about making the transposition more readable? Do you cross-staff the lower RH notes into the bass clef? or maybe cross staff the whole part down? or maybe you switch the RH to a bass clef for extended passages? (2) Suppose the singer is going to sing the transposed piece in recital, and you're involved. How do you feel about the pianist simply playing the original accompaniment pushed down a fourth? Does it really sound good down there? If not, what do you do about it? Do you revoice some of the chords so that they sound better. Do you move unusually low sections up an octave? […] I appreciate any thoughts or observations. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page margins
You can realise it: either if you like the method inserting a blank page, but thereafter you have to go to Page Layout Redefine pages all pages and delete the blank page; or -and that's what I'm doing yet for years- is go to Options Page Format Score and switch the numbers from right and left page margins. Save those settings in a library (Page Format) and load them every time as you need them. I'm sure Finale doesn't regognize page numbers…! Hope this helps, Hans = On 06 feb 2007, at 08:08, dc wrote: dhbailey écrit: I believe you also have to change the page numbers to make sure that the page which should appear on the right is thought of by Finale as an odd-numbered page. Thanks David. But this is what I started by doing, and it doesn't seem to work. I have a first piece on pages 1-3. Then I number the second piece starts so it starts on page 4. But the margins are inverted. So I add a blank page, and change the numbering again, so the first page of music remains page 4, and this still get the margins right. What am I doing wrong? Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page margins (add.)
In addition I have to go deeper: Finale is considering each first page as being on the right side, even when you start numbering at #2, 4, and so on. That's why you should play with the page layout settings. Furthermore you have to redefine all pages after switching the numbers in the settings or load the library as I suggested. Any optimizing that you've applied before will thereby be lost. Regards, HS = You will excuse me for any typo's due to a visual handicap. Begin forwarded message: From: Hans Swinnen [EMAIL PROTECTED] Date: 06 februari 2007 10:03:57 GMT+01:00 To: finale@shsu.edu Subject: Re: [Finale] Page margins Reply-To: finale@shsu.edu You can realise it: either if you like the method inserting a blank page, but thereafter you have to go to Page Layout Redefine pages all pages and delete the blank page; or -and that's what I'm doing yet for years- is go to Options Page Format Score and switch the numbers from right and left page margins. Save those settings in a library (Page Format) and load them every time as you need them. I'm sure Finale doesn't regognize page numbers…! Hope this helps, Hans = On 06 feb 2007, at 08:08, dc wrote: dhbailey écrit: I believe you also have to change the page numbers to make sure that the page which should appear on the right is thought of by Finale as an odd-numbered page. Thanks David. But this is what I started by doing, and it doesn't seem to work. I have a first piece on pages 1-3. Then I number the second piece starts so it starts on page 4. But the margins are inverted. So I add a blank page, and change the numbering again, so the first page of music remains page 4, and this still get the margins right. What am I doing wrong? Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Doubling a Melodic Line one Octave
Carissimo, Use Transposition under Mass Edit and check Preserve Original Notes. I'll contact you again off-list soon...!! Ciao, Hans Giovanni Andreani wrote: Hello I was wondering if there's a plugin that automatically doubles a melodic line one octave higher or lower in the same staff. Is there eventually another solution? Thank you Giovanni Andreani ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mastering Triplets_Editing
After changed your tuplet options in Doc Options, go to Mass Edit Select all Change Tuplets Reset Hans === You will excuse me for any typo's, due to a visual handicap. Christopher Smith wrote: Do you have Bracket Unbeamed Notes Only checked in Document optionstuplets? This oddly-named option (formerly Auto Bracket (huh?)) means that a bracket appears ONLY when there isn't a beam over the entire tuplet, like quarter-note triplets, or a group of three eights where the first one is a rest. Uncheck it, and all tuplets created from now on should have brackets. I'm not sure how to apply this retroactively, however, to previously-created tuplets. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] indep.time sig
Dear listers, Though I'm a Fiinale user since vs. 1.0, I'm confronted for years already with the following problem. I like to copy measures with an indep.time sig (say 6/8 in 2/4 or 12/8 in common time) to another staff. But the destination staff remains blank, even when the destination is also prepared with indep. time sig. Copying with time sig checked in measure options (Mass Edit) also refuse the job. Moreover, when I copy 3 meassures, wherein only the 2d is irregular, the 2 regular copy fine but the irregular still stays blank. Am I missing something? Finmac 2k5b, OSX 3.8 Thanks for any advise. Hans You will excuse me for ev. typo's, due to a light visual handicap. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Beginning of staff line
Barlines: Document options Barlines Display on Single Staves. Brackets: Group attributes Bracket: put checkmark on Show Bracket if Group Contains Only One Staff. Cheers, Hans David W. Fenton wrote: This is a non-crucial question for me, but an annoyance I encountered yesterday, creating an optimized score. The score is for 2 sopranos and basso continuo, so there are two groups defined (voices, BC). However, what I'm producing for now is a usable bass part to play from, with cues written in the 2nd soprano line. I then optimize to remove empty staves and end up with a result that has mostly 2 lines, but occasionally only the bass line. The problem is that the single staff has no left bar line or bracket, and it makes it hard for me to recognize where the next system begins when it's only a single system (my layout is tight because I really must limit the piece to 3 pages). Now, I know that proper engraving rules for a single part are that you *don't* have a left line on a single system, but this isn't a single part. The part is here (all on one line): http://www.bway.net/~dfenton/Collegium/Scores/Charpentier- TenebraeLessons.PDF Now, this is a quick-and-dirty score, created from a 7-page facsimile of the composer's very messy autograph, so I'm not so worried about it, but I do have to perform from it this Sunday, and in practicing with it, I have trouble with the systems that have a single line with no left bar. I've drawn them in by hand on the part I'm playing from, but I would like to know how to get them to show in the printed score. Is it doable? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] JW Divider for OSX
Hello Jari, First of all, a big thank you to both. One little problem however: the new added column Finale 2004-2005 for Mac doesn't show up in Safari. I searched desperately for a link on that page. Till I got the idea switching to IE (which I almost never use) and all went fine. Is this fixable? Hans Jari Williamsson wrote: Hello! Tobias has just ported JW Divider to OSX (Finale 2004-2005 for Mac). http://www.jwmusic.nu/freeplugins/ According to Tobias, the small arrow controls don't fully work, so don't report that. Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] JW Divider for OSX
Browsed again in Safari, same result and no scroll bar. But then, after clicking the reload button, the missing column appeared. Something to do with the cache, I presume? Hans Christopher Smith wrote: Hmm, it shows up fine for me, in all window sizes in Safari. When I make the window very narrow, it moves off the right border, but I have a scroll bar that appears so I can get to it. Apparently Firefox (which operates very similarly to Safari) handles web pages that Safari has problems with. I am presently experimenting with it and am suitably impressed. Christopher PS, Jari and Tobias, the plugin works as flawlessly as ever! Thanks! On Mar 3, 2005, at 5:55 AM, Hans Swinnen wrote: Hello Jari, First of all, a big thank you to both. One little problem however: the new added column Finale 2004-2005 for Mac doesn't show up in Safari. I searched desperately for a link on that page. Till I got the idea switching to IE (which I almost never use) and all went fine. Is this fixable? Hans Jari Williamsson wrote: Hello! Tobias has just ported JW Divider to OSX (Finale 2004-2005 for Mac). http://www.jwmusic.nu/freeplugins/ According to Tobias, the small arrow controls don't fully work, so don't report that. Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Who are you?
Greetings, I'm Hans Swinnen, born 1941 near Antwerp, Flanders, Belgium. Living in the Limburgian woods. Retired opera and musical conductor (health reason) still composing, 20th century classical music and now working on my 5th musical. Premiere in Holland on 6th Oct. 2005 Using Finale since vs. 1.0 on a Mac SE Sincerely. Hans Bob Florence wrote: Hi All: I recieve so many e mails from the address listed above. I have met quite a few of you. However, I would love to know a little background of each and all of you. Are you a musician? Are you active? Are you retired? Where are you from and where are you residing now? What kind of music do you specialize in? Are you an instrumentalist, composer/arranger/copiest, teacher, etc.? If not a musician, what is your occupation? The answered questions are to satisfy my curiosity about who I am dealing with. I have seen all of your names many times. Now it is time for more information. Thanks; Bob Florence born may 20, 1932 in Los Angeles. I am an active composer/arranger, pianist, band leader and sometimes cook. I reside in Thousand Oaks, Ca. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
