Re: [Finale] Band/wind ensemble questions

[Patrick Sheehan]

David, think practically when you are assembling your score order.
Different publishers do different things, and there is no standard.  Again,
think practically!!  To answer your questions:

1.  Place instrument lines in "families". *It does not matter if bassoons
are a bass voice*; NEVER put bassoons at the very bottom of the woodwinds.
The order should be oboes, English horn, bassoons. That would make just as
much sense as putting contrabassoon underneath the double bass line (eye
roll!).

2. NEVER put horns above the trumpets.  Yes, the horns mingle with the
woodwinds very often, and the timbre of the horn is closer to a woodwind
sound, HOWEVER, the horn IS the alto member of the brass family, so put them
underneath the trumpets.  Some publishers do this, and it's...well, stupid.
In that same vein, NEVER score them 1-3-2-4; that's ridiculous.  Score them
1-2-3-4, just like everything else.  I've asked horn professors and horn
players why so many pieces of music are scored 1-3-2-4, and there is never a
practical answer except "tradition".  You'd never see a second trumpet
scored / voiced above a first trumpet, or a second trombone scored / voiced
above a first trombone, so don't do 1-3-2-4 with horns.

3.  Double bass below tuba, yes.

4.  In your wind ensemble or concert band scoring, the cornet vs. trumpet
saga is really a null-and-void point.  In most wind ensembles and concert
bands, cornets are barely ever used anymore.  The older literature that has
three cornet parts and two trumpet parts are ALL played on trumpets.  All of
Alfred Reed's literature is written that way.  Realistically, it doesn't
matter who you pass out the parts to, because again, they'll all be played
on trumpets. 

5.  Condensed scores are useless, and the suck.  Enough said.  In that
regard, don't hide any staves that aren't "active" on the page.  The
conductor wants to see consistency in the layout on each page.  If the
timpani doesn't play for 79 bars, fine, *leave the staff*.  Publishers used
to eliminate staves on pages so as to save ink, space, and paper - BUT, they
forget about consistency and practicality, which is exactly why I don't go
through publishers.  

Hope all of this helps.

Patrick J. M. Sheehan

P. S. Music
1-815-973-2317 (m)

patricksheehanmu...@gmail.com

-Original Message-
From: David Froom [mailto:dfr...@smcm.edu] 
Sent: Monday, August 06, 2018 12:01 PM
To: 
Subject: [Finale] Band/wind ensemble questions

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] 3/2 vs. 6/4

[Patrick Sheehan]

6/4.   Don't change the denominators.  Keep the denominator consistent as
the pulse stays consistent.

Patrick J. M. Sheehan

P. S. Music

patricksheehanmu...@gmail.com
-Original Message-
From: Lee Dengler [mailto:leedeng...@comcast.net] 
Sent: Wednesday, December 07, 2016 1:10 PM
To: finale@shsu.edu
Subject: [Finale] 3/2 vs. 6/4

I have a theory question for all you theory buffs out there.  I am writing a
piece that is mostly in a slow 4/4 meter (quarter note =60).  Occasionally,
I have a measure of 6 beats where the quarter note remains consistent.  In
those measures, the stress of lyrics falls on beats 1, 3 and 5.  Should I
make those measures 3/2 or 6/4.   My uncertainty lies in that going to 3/2
makes it look like the half note gets the beat, but 6/4 is generally
considered to be a compound meter (3+3).  Any words of wisdom?

Lee Dengler

leedeng...@comcast.net  

 



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Re: [Finale] Changing slurred 8ths to 8th-16th

[Patrick Sheehan]

COMPLETELY disagree.  

PUT the dots for all staccato notes and NEVER use the cresc,
decresc...they are always easily missed / immediately forgotten.  Hairpins
never fail.

Patrick J. M. Sheehan

P. S. Music

patricksheehanmu...@gmail.com
-Original Message-
From: Christopher Smith [mailto:christopher.sm...@videotron.ca] 
Sent: Sunday, March 22, 2015 1:28 PM
To: finale@shsu.edu
Subject: Re: [Finale] Changing slurred 8ths to 8th-16th

In my experience, when there is a way to indicate something with text or
with music notation, music notation wins every time. Musicians for some
reason I don't quite understand have more trouble understanding cresc.
than they do understanding a hairpin, for example. Dots over the notes WILL
be played short 100% of the time, whereas the indication stacc. may or may
not be correctly executed on sight reading. For that reason alone, i would
choose a musical notation over a text indication.

Christopher


On Sun Mar 22, at SundayMar 22 12:00 PM, timothy price wrote:

 Just finished reading Score Rehearsal Preparation by Gary Stith in which
he remarks about how composers might simply use text to clarify any possible
ambiguity in the score. He invites text notes so that there is no time
wasted in discussion of the intent of the score. .. simply tell us what you
intended. This can be a few words on the staff of instrument notation, or at
the end of the score in a section of issues about the score and how to play
it.  Seems good to me.
 
 tim
 
 
 
 
 On Mar 22, 2015, at 11:49 AM, Darcy James Argue wrote:
 
 
 Why not just say non portato  and leave it at that
 
 
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Re: [Finale] Finale Digest, Vol 136, Issue 16

[Patrick Sheehan]

Let's hope so!  Cautionary (and courtesy) accidentals are for the weak!

patricksheehanmu...@gmail.com

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
finale-requ...@shsu.edu
Sent: Tuesday, November 18, 2014 12:00 PM
To: finale@shsu.edu
Subject: Finale Digest, Vol 136, Issue 16

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Re: [Finale] Beating my head against the wall on repeats

[Patrick Sheehan]

...and that's why we should always avoid repeats.  Roadmaps suck.  Written
out beginning to end poses no problems (!)


patricksheehanmu...@gmail.com
-Original Message-
From: Craig Parmerlee [mailto:cr...@acticalc.com] 
Sent: Thursday, January 30, 2014 10:57 PM
To: Finale News List
Subject: [Finale] Beating my head against the wall on repeats

I have a problem I just can't figure out.  I am using F2014, but it 
might be the same in earlier releases.

My problem is my score has Sign ... To Coda ... D.S. al coda ... Coda.

As far as I can tell, all 4 of those marks have exactly the same 
settings (Show on top staff only).  The only difference I can see is 
that the Sign and the Coda symbols are just markers whereas the other 
two are jumps.  The playback works perfectly.

My problem is that when I lay out parts, I need to move those items 
around a little in the individual parts.  I can move three of them 
freely on every single part.  But I cannot move the To Coda at all on 
most of the parts.  I can select it and the item changes color, but I 
just can't move it -- and I really must move it because it is landing 
right on top of a MM rest in most parts.

The pattern is that I can move To Coda ONLY on the parts that are the 
first in a staff group.  If a part is not in a staff group or is the top 
staff in a group, then I can move To Coda.  But I can move the other 
three in all parts.

I have tried unlinking the symbols.  No difference.  I have tried Allow 
individual edits per staff which really seemed like it should work.  No 
good.   I can't think of anything else to try.

Anybody have ideas?  Has anybody else experienced this problem?





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Re: [Finale] random thoughts on 2014

[Patrick Sheehan]

Courtesy accidentals (ANYWHERE) are for the weak.  If you *need* them in the
part, then that means you're not following the key signature.  Back to
school!

patricksheehanmu...@gmail.com
-Original Message-
From: Christopher Smith [mailto:christopher.sm...@videotron.ca] 
Sent: Sunday, November 10, 2013 12:28 PM
To: finale@shsu.edu
Subject: Re: [Finale] random thoughts on 2014

If you will permit a somewhat differing opinion, I think there are places
where cautionaries are necessary, even when there isn't a key change, and I
have figured out after many years that NON-parenthesised ones actually are
easier to read.

I know that parentheses make logical sense, that a parenthesised accidental
is kind of like saying, I KNOW you know this, but here's a reminder to
differentiate it from one that is absolutely necessary. But from a distance,
parentheses around an accidental makes all three (sharp, flat, and natural)
into the same outline, so you have to read more closely to see which
accidental it actually is. Already, sharps and naturals are easy to confuse
with each other; the parentheses make it worse. I keep getting caught by
these on the gigs I do where the Finale user is less than professional. And
Sibelius seems to have this redundant accidental default that puts in
accidentals on the SECOND of two tied notes!

Christopher


On Sun Nov 10, at SundayNov 10 12:39 PM, Craig Parmerlee wrote:
 
 
 For those of us with imperfect eyesight, we cannot always see the 
 accidental clearly.  If I can see that there is an accidental, then I 
 can make a quick judgment about whether it is most likely a flat, sharp, 
 or natural and be right almost all the time.  People who add unnecessary 
 accidental markings without parenthesizing them should be shot, IMHO.  
 And people who pencil in unnecessary accidentals BESIDE notes in the 
 music should also be shot.  If one needs a reminder about a note, write 
 the accidental ABOVE the note, with a parenthesis and there will never 
 be any confusion.  IMHO, the only time an accidental should be penciled 
 BESIDE a note is when correcting a misprint.




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Re: [Finale] fun with MIDI/composer-client public relations

[Patrick Sheehan]

What I usually tell myself (always), and other people who are going to
listen to it:
Finale playback is only a guide -- a luxury, if you will -- before it's
played for real. 
You have to use your eye's ear to IMAGINE how it's going to sound in a
real performance setting.  
But if you can't do that, well...

Patrick J. M. Sheehan

patricksheehanmu...@gmail.com
-Original Message-
From: Christopher Smith [mailto:christopher.sm...@videotron.ca] 
Sent: Thursday, September 27, 2012 8:41 AM
To: finale@shsu.edu
Subject: Re: [Finale] fun with MIDI/composer-client public relations

I think you told him that you weren't going to be massaging the MIDI (for
whatever reason) and he has to accept that. If he wants you to do it (and
you accept) then you should charge more money. If he doesn't like the
additional expense, or if you aren't willing to do it, he can find someone
else to do it, which shouldn't be very difficult.

It IS fairly easy in Finale to get those things to play back better, though.
The Create Tremolo in TG Tools mutes the notation and creates a playback
passage in an hidden layer, so it is a one-step solution. The Tap Tempo
function can let someone tap a key in the tempo needed to create more
musical rits, etc.

I often have similar discussions with clients. They are unwilling to sign
off on anything that doesn't play back perfectly, regardless of the
notation, or they are insistent on the real musicians playing something
exactly like it was executed in MIDI. You just have to be more persuasive
with the client, otherwise they will blame you for their lack of
understanding. When I started out, I wanted to be the can do! guy, so I
rarely spoke up. When I tentatively suggested once that another solution
might be preferable, I was steamrolled over, and I backed down. When the
project came to realisation and the place that I knew would be a problem WAS
a problem, I pointed it out. The leader blamed me for not speaking up. I
said I did speak up, and he said, You should have been more convincing. He
was right. He didn't need me to yell, he just needed me to make my reasons
known in a way that he would understand.

Christopher


On Thu Sep 27, at ThursdaySep 27 8:34 AM, delius...@aol.com wrote:

 What has happened is he has latched onto the idea that the MIDI is this  
 perfect demonstration of his music, so if anything sounds a little off to
him  
 (not note-wise, mind you, but tempo), he goes crazy and starts asking me
to 
 alter where things go.  I told him, for instance, that a rit. is a rit. as

 far as Finale analyzes things, that it doesn't know poco and molto unless

 they're programmed, and, again, I ain't doin' it!  So, in one movement,  
 there are tremolos between two chords, and we know how the convention goes
for 
 how they are written; these particular ones fill big measures (12/4) 
 bars), so  there are lots of double whole notes.  Finale looks at these
and is  
 literally playing one set of whole notes and then the other set of whole  
 notes, and it doesn't know how to tremolo so it sounds pretty silly.  I  
 received this note concerning these bars:



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Re: [Finale] Transposition Exp.

[Patrick Sheehan]

In the same vein for hearing things in your head, EVERY SCORE in this world
should be a C-Score.  EVERY. SCORE.

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy
P. S. Music
Host: The Saturday Blues on 89.5 WNIJ-FM, 1 pm - 4 pm (CST)  WNIJ.org
1-815-973-2317 (m)

patricksheehanmu...@gmail.com

-Original Message-
From: David Froom [mailto:dfr...@smcm.edu] 
Sent: Tuesday, October 02, 2012 12:40 PM
To: finale@shsu.edu
Subject: Re: [Finale] Transposition Exp.

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] Finale Digest, Vol 111, Issue 7

[Patrick Sheehan]

Well, if we just copy-and-pasted and not have to worry about D. S.'s and D.
C.'s and D. Q.'s  and Fine's and Codas and signs here and signs here and
there, we wouldn't have to worry about using these things. 

Using D.C.'s and roadmap signs are confusing to the player.  We should be
able to read pieces of music from top to bottom without hopping around like
a jackrabbit.  

For this had and toast breakfast I pancakes morning coffee.

See if you can read the above sentence in the proper word order...doesn't
work!  How long did it take you? Same idea with D.S's and D.C's.  Everything
should always be: top to bottom, no jumps -- end of story.  I've hated them
ever since I was a child.  20+ years later, it still stands.  Don't make
music-reading difficult.  Everything should read like a written sentence.
'Nuff said.


-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
finale-requ...@shsu.edu
Sent: Saturday, October 06, 2012 12:00 PM
To: finale@shsu.edu
Subject: Finale Digest, Vol 111, Issue 7

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Re: [Finale] erratic cautionary accidental plugin

[Patrick Sheehan]

Who needs courtesy accidentals?  Such a crutch.  Forget it!

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy
P. S. Music
Host: The Saturday Blues on 89.5 WNIJ-FM, 1 pm - 4 pm (CST)  WNIJ.org
1-815-973-2317 (m)

patricksheehanmu...@gmail.com

-Original Message-
From: Chuck Israels [mailto:cisra...@comcast.net] 
Sent: Thursday, September 20, 2012 10:33 AM
To: finale@shsu.edu
Subject: Re: [Finale] erratic cautionary accidental plugin

Perfect!  Jari to the rescue again. 

Sent from my iPhone

On Sep 20, 2012, at 1:36 AM, Jari Williamsson
jari.williams...@mailbox.swipnet.se wrote:

 On 2012-09-20 02:31, Chuck Israels wrote:
 The most annoying is that accidentals that
 appeared correctly in the file now have parentheses
 applied to them necessitating a meticulous process
 of removing them - a process that is only slightly
 less harrowing than proof reading the file and entering
 the cautionary accidentals by hand.  Incidentally, my
 plugin is set to show no parentheses even on the
 cautionary accidentals.
 
 I don't use the Cautionary Accidentals plug-in myself, but if you want 
 to remove all the parentheses from your accidentals, you can do that 
 easily in the JW Change (Beta). Accidentals-Parentheses-Hide and apply 
 on the whole document.
 
 
 Best regards,
 
 Jari Williamsson
 
 
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Re: [Finale] 1012B: Controlling automatic range detection

[Patrick Sheehan]

I'd rather depend on my own knowledge...

Patrick J. M. Sheehan
patricksheehanmu...@gmail.com

-Original Message-
From: Craig Parmerlee [mailto:cr...@acticalc.com] 
Sent: Wednesday, July 11, 2012 10:43 PM
To: Finale News List
Subject: [Finale] 1012B: Controlling automatic range detection

The 2012B release has a nice feature that automatically highlights notes 
that Finale thinks are out of range.  Previously there was a plug-in to 
do this.  In the plug-in you could select beginner-intermediate-advanced 
to fine-tune the range.  I have looked around and I cannot find any way 
to control the settings for this automatic range checking.

Has anybody found how to do this?  I don't see anything n the UI. Maybe 
there are some editable filed that control this.


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Re: [Finale] Harp question

[Patrick Sheehan]

Oh, how I hate repeat figure slashes.
Write the damn chord out again -- it won't hurt.

Patrick J. M. Sheehan
patricksheehanmu...@gmail.com

-Original Message-
From: Pierre Bailleul [mailto:pierrebaill...@free.fr] 
Sent: Wednesday, October 05, 2011 5:13 AM
To: finale@shsu.edu
Subject: Re: [Finale] Harp question

I don't think so because the thin slash is always between 2 or 4 notes not 
above or below them like a repeat slash.

-Message d'origine- 
From: Lawrence
Sent: Wednesday, October 05, 2011 10:08 AM
To: finale@shsu.edu
Subject: Re: [Finale] Harp question

Is it not just repeat the chord?

Sent from my iPhone

On 5 Oct 2011, at 08:31 AM, Pierre Bailleul pierrebaill...@free.fr wrote:

 Hi all,
 Do you know the signification of a thin slash on a stem between 2 or 4 
 notes on harp chord?
 Thanks in advance.
 Pierre
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[Finale] Tenor-singers Clefs Discussion wrapup

[Patrick Sheehan]

Thank you all for the historical practices and experience on what you've
used and seen.

To clarify, I do not have a problem in reading the Treble8 clef for tenors,
I simply find it impractical.  
News flash: We all have to deal with reading multiple ledger lines
(pianists, flutists, violinists).  Don't complain about ledger lines; learn
to read them and be comfortable!  We don't have a staff that has 10 lines,
only 5.  

 

Someone mentioned that the Treble8 clef for tenors much like a transposing
instrument.  Correct!  In this sense, the tenors are reading treble clef
notes but what's coming out of their throat is an octave lower, plus they
have to think that way too.  What sense does that make?!  

Some people have said the bass clef for tenors is not used because of ledger
lines.  Well, what fixes that?  Scrupulous layout (in Finale, etc.), and
stems in both directions.  I'm also tired of seeing joined stems for tenor
and bass parts (if the rhythm is the same).  No matter who you are, it keeps
each voice part on track if they can focus on notehead-stem-lyric for their
own part.  But, I could go on and on about practicality.  There are several
other notational concepts that I despise, but I'd keep you here until the
apocalypse. 

It boils down to this - I just wish everything was standardized:  just a
two-stave hymnbook-style choral score with constant stems up (soprano 
tenor) and stems down (alto and bass), with or without the piano part as a
reduction (if its an a cappella work).  If the parts are more polyrhythmic
and need to be separated on their own individual staves, then it should be
printed that way (with tenors printed in bass clef, of course).  Think about
it:  Most tenor parts (of TODAY, not centuries ago), only go up to F4, G4,
A4 at the most, so that's only three ledger lines, not seven.  I think
that's doable.

 

Imagine if cars were made where some had standard the foot pedals, but then
some other types of cars had the accelerator on the left, the clutch in the
middle, and the brake on the right.  Imagine the brain-crash you'd have in
trying to drive that car.  That's how I feel with the damn Treble8 clef.
It's not a matter of getting used to it as someone had stated.  I AM used
to it, I just hate it. 


All male voice parts should be written in bass clef, no exception.  This
tells you the differentiation between female and male parts at first sight
(and eventually, all sights.).  If the tenor part ventures high, and stays
there for awhile, then publishers should be a little more cognizant in their
layout in using the bass clef and ledger lines.  They have ultimate control
over that, and it's simply done (being a copyist and in-demand arranger for
over 10 years).  The fact is: I've taken a poll with all male vocalists and
asked them what they would prefer to always see, and they prefer bass clef;
they say that treble is confusing and it messes with their eye's ear.  The
same goes for adults.  I think that where things are getting lost and
mis-practiced are with publishers, which is why I don't go through
publishers.  Their editors wreak havoc on an original layout / work.  It's a
harsh truth, but it's the truth nonetheless.  

 

 

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy

P. S. Music

 mailto:patricksheehanmu...@gmail.com patricksheehanmu...@gmail.com

 

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[Finale] Clefs for Tenors in Choir

[Patrick Sheehan]

To All Choirmasters out there:

 

Part of my work for the past 10+ years has been accompanying for high school
choirs, where at times we will perform a mix classic and new serious
literature as well as some of the popular alternative choices that are in
the catalogs today.

 

What bothers me in reading, is that now 75% of the time in the printed music
of today, the tenor staff (part) is in treble clef (with or without the 8
below the clef).  I personally think that that clef is absolutely
unpractical, and should never be used.   When I play part summaries in
rehearsal (no accompaniment, just al the parts) in rehearsal, it bugs the
absolute hell out of me that the tenor part is in treble 8 clef, because I
expect to see two staves in treble (soprano, alto) and two in bass (tenor
and bass).  My question is: WHY is this treble 8 clef used in printed
music today when it used to be printed in bass clef most of the time.  And,
does this bother anyone else, and do you agree that it should be abolished?

 

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy

P. S. Music

 mailto:patricksheehanmu...@gmail.com patricksheehanmu...@gmail.com

 

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Re: [Finale] non-standard key signatures

[Patrick Sheehan]

There's only one answer:
Without question, use a key signature, no matter how heavily-sharped or
flatted.  
If players don't learn to APPLY a key signature, then the purpose of a key
signature is out the window.
Practice your scales.

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy

patricksheehanmu...@gmail.com
-Original Message-
From: John Howell [mailto:john.how...@vt.edu] 
Sent: Monday, August 08, 2011 7:32 PM
To: finale@shsu.edu
Subject: Re: [Finale] non-standard key signatures

At 8:18 PM -0400 8/8/11, Christopher Smith wrote:
On Mon Aug 8, at MondayAug 8 7:51 PM, Steve Parker wrote:


  On 8 Aug 2011, at 23:21, Klaus Smedegaard Bjerre wrote:

  One scale inherent in the first 13 partials 
of brasses is the overtone scale, also known 
as the Lydian dominant scale.

  The 11th harmonic is actually about midway 
between the perfect fourth and the augmented 
fourth.
  George Russell's Lydian Chromatic Concept sort of claims otherwise
but...

It's marginally closer to the #4 than to the P4. 
It's not anywhere near what we call in tune 
these days, but it's enough to be interpreted by 
our ears as the #4.

Actually, on the (brass) instruments that had to 
play the natural overtone series, that overtone 
had to be lipped either down to the 11th or up to 
the sharp 11th.  And since it had to be, it was. 
Or else they played it out of tune.  Easier on 
the hand horn than on the natural trumpet, of 
course.

John


-- 
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
School of Performing Arts  Cinema
College of Liberal Arts  Human Sciences
290 College Ave., Blacksburg, Virginia 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:john.how...@vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html

Machen Sie es, wie Sie wollen, machen Sie es nur schön.
(Do it as you like, just make it beautiful!)  --Johannes Brahms




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RE: [Finale] Playing stave 2nd time only

[Patrick Sheehan]

Yeah, ditch the confusing repeat and just write it out again since it's only
5 bars.

Patrick J. M. Sheehan
patricksheehanmu...@gmail.com

-Original Message-
From: Richard Huggins [mailto:huggin...@yahoo.com] 
Sent: Monday, June 06, 2011 11:04 AM
To: Finale
Subject: [Finale] Playing stave 2nd time only

Playback question. Consider: a 5-measure passage with repeats and  
where you want the top staff to sound only on the repeat. Is there any  
way in FInale that can be done?

Richard


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RE: [Finale] Contrabass Cl.

[Patrick Sheehan]

A C Score, with this part in bass clef, would not pose a problem.

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy
P. S. Music

patricksheehanmu...@gmail.com
-Original Message-
From: Robert Patterson [mailto:rob...@robertgpatterson.com] 
Sent: Friday, April 15, 2011 10:03 PM
To: finale@shsu.edu
Subject: Re: [Finale] Contrabass Cl.

Sorry I haven't been where I could answer this properly until now. In the
Transposition dialog, select the Bass Clarinet transposition (Bb up a M9),
then change the Interval to 15. Done.

On Fri, Apr 15, 2011 at 11:21 AM, Dean M. Estabrook
d.e...@comcast.netwrote:

 In setting up a Band Score, I wish to use a B-flat Contrabass Cl.  In
staff
 attributes,  I don't see a choice which will give me the required Maj. 9th
 plus an octave transposition needed.  It only has the transposition for
the
 regular Bass Cl., to wit, Maj. 9th . I would also like it to be able to
play
 it back at the correct pitch level, i.e., an octave below the Bass Cl.
Any
 info?

 Thanks,

 Dean


 I have opened my soul/To let in the warmth of sound/Now my saving grace
 Adrian Estabrook, author

 And ...  I remain intrigued that some folks who accept and practice, with
 absolute fidelity, the concepts  of, say,  feng shui and pyramids,  should
 find the task of extending their leaps of faith to include an existent God
 so arduous.
 Dean M. Estabrook
 http://sites.google.com/site/deanestabrook/

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

[Patrick Sheehan]

Working with a C score is like none other.  Transposed scores screw up my
eye's ear.  I always work in C scores.  I suggest you give it a try.  This
way you can see exactly where each instrumental line is being played in real
pitch. 

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy
P. S. Music
Host: The Saturday Blues on 89.5 WNIJ-FM, 1 pm - 4 pm (CST)  WNIJ.org
1-815-973-2317 (m)

patricksheehanmu...@gmail.com
-Original Message-
From: Darcy James Argue [mailto:djar...@earthlink.net] 
Sent: Monday, January 03, 2011 9:38 PM
To: finale@shsu.edu
Subject: Re: [Finale] Playback in transposed scores while entering notes

Hi David,

There is no software solution. The solution for me has been to become
accustomed to doing all my note entry in concert pitch, then flipping to
transposed pitch for everything else.

Cheers,

- DJA
-
WEB: http://www.secretsocietymusic.org



On 3 Jan 2011, at 3:36 PM, David Froom wrote:

 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] MusicPad Pro vs. iPad

[Patrick Sheehan]

I have owned a MusicPad Pro for a couple years now and it is a true
lifesaver.  Being a pianist and a pit musical director, it makes page
turning a breeze.  If you use .tiff files, it takes up less memory and the
resolution of the image is a lot clearer than a PDF.  I have used it for
instrumental (non-piano) performances and again, with the foot pedal, it is
fantastic.  I am STILL in the process of scanning all of my music on paper
and then pitching it or giving it away, because I am so attached to the
MusicPad.  I've seen iPads, of course, and think they are fantastic, but the
screen size would definitely get in the way.  I do think they should come
down in price though, for the orchestra-networking reasons and
affordabilities.  I'm sure violinists would appreciate it also.

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy
P. S. Music
Host: The Saturday Blues on 89.5 WNIJ-FM, 1 pm - 4 pm (CST)  WNIJ.org
1-815-973-2317 (m)

patricksheehanmu...@gmail.com
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
finale-requ...@shsu.edu
Sent: Friday, December 10, 2010 12:00 PM
To: finale@shsu.edu
Subject: Finale Digest, Vol 89, Issue 12

Send Finale mailing list submissions to
finale@shsu.edu

To subscribe or unsubscribe via the World Wide Web, visit
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or, via email, send a message with subject or body 'help' to
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When replying, please edit your Subject line so it is more specific
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[Finale] Jazz Accidentals (ds, df)

[Patrick Sheehan]

Are there any jazz arrangers or jazz copyists on the list who can confirm /
disconfirm this? --
A big band friend of mine and I have a gentlemen's disagreement about the
use of double sharps and double flats in writing parts for big band.  He
claims that they are not, and never have been used in jazz part writing.
Many jazz charts are written in heavily-flatted keys (Db, etc.) and due to
chromatic soli lines (ascending or descending), the double accidentals are
inevitable.  I always defend the argument that a natural next to a flat next
to a natural next to a.(you get the idea) in a sixteenth note (tremolo)
passage is much harder on the eyes than it would be using the flat marked in
the key signature and then the double flat next to it (or the descending
chromatic example). No matter what, it just looks juvenile to write flats
next to naturals (or sharps next to naturals).  The only problem it would
ever pose is in sightreading, when it would throw one off.  After that, the
player would know the way past the passage by the feel of the fingerings
on his instrument.

Can anyone confirm or disconfirm the practice about these accidentals ever
being used in jazz part writing?  And, if they're not used, WHY?  How did
that tradition come about?  Thanks.

 

Patrick Sheehan

 

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RE: [Finale] Cl question

[Patrick Sheehan]

It also depends on what register it's in...but overall it should be somewhat
feasible.

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy
P. S. Music
Host: The Saturday Night Blues on 89.5 WNIJ-FM, 9pm - 12am (CST) 
WNIJ.org
patricksheehanmu...@gmail.com


-Original Message-
From: Dean M. Estabrook [mailto:d.e...@comcast.net] 
Sent: Friday, July 30, 2010 11:16 AM
To: Finale@shsu.edu
Subject: [Finale] Cl question

Are repeated 16th notes (five in a row), tongued stacatto,  feasible  
for B-flat Cl. players at a quarter note = about 124? This in medium  
to upper medium range ...

Thanks for  your wisdom in advance ...

Dean


I have opened my soul/To let in the warmth of sound/Now my saving grace
Adrian Estabrook, author

Dean M. Estabrook
http://sites.google.com/site/deanestabrook/



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RE: [Finale] Da capo roadmap

[Patrick Sheehan]

Da Capos and D.S.'s should be outlawed.  Why not just write it out again?
Less confusion, I say.

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy
P. S. Music
Host: The Saturday Night Blues on 89.5 WNIJ-FM, 9pm - 12am (CST) 
WNIJ.org
1-815-973-2317 (m)
1-815-285-4401 (f)
patricksheehanmu...@gmail.com
-Original Message-
From: dc [mailto:den...@free.fr] 
Sent: Tuesday, May 25, 2010 1:47 PM
To: finale-shsu.edu
Subject: [Finale] Da capo roadmap

I'm trying to figure out exactly how to play this piece.

There are three Menuets, that last of which is here:

www.collins.lautre.net/files/da_capo.jpg

The fermatas at the end of the first section are the standard way of 
indicating the Fine of the Da capo.

When does one play Menuet 1 again? I'd say after the Fine of the Menuet 3 
(i.e. after AABA), but that would make the placement of the Menuet 1 Da 
capo a bit strange. Any other interpretations?

Thanks,

Dennis





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[Finale] Human Playback problem

[Patrick Sheehan]

I am using Finale 2008 on an HP with Windows XP:

 

There are few random times when I play back a file, the processing bar
window will come up and when it hits 79%, it's processing hairpins, gets
stuck there, and never ends up playing.  I have to close the program on a
hard close; in essence, it 'crashes.'  Once I load it back up and turn off
Human Playback, its fine.  But, I want Human Playback.  Is this a bug or is
there a way around it?  Regular playback sounds too raw and it is too loud
to bear sometimes.  Help, please.

 

Patrick J. M. Sheehan

P. S. Music

 

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RE: [Finale] String Orchestra Parts layout

[Patrick Sheehan]

Ryan, better to have two separate parts, just like Violin I  Violin II.
The less to look at and process, the better.

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy
P. S. Music
Host: The Saturday Night Blues on 89.5 WNIJ-FM, 9pm - 12am (CST) 
WNIJ.org
1-815-973-2317 (m)
1-815-285-4401 (f)
patricksheehanmu...@gmail.com
-Original Message-
From: Ryan Beard [mailto:rw...@sbcglobal.net] 
Sent: Wednesday, November 25, 2009 11:12 AM
To: finale@shsu.edu
Subject: [Finale] String Orchestra Parts layout

I'm working on a piece for String Orchestra, but it has a second cello part.
(The instrumentation is Violin I, Violin II, Viola, Cello I, Cello II,
String Bass.) My question concerns the cello part. Should I extract the
cello parts together in one part on two staves, or in separate parts, like
the violins?What in your opinion would be best for the performers, and best
for the rehearsal process and performance?Happy Thanksgiving!Ryan

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[Finale] secondary monitor issue

[Patrick Sheehan]

 

I just purchased a wide 22 HP monitor to use to view Finale projects on
the big screen.  It works wonderfully, however, whenever I try to use

my mouse's right click button for certain functions (Selector tool select,
delete measure stack, transpose, etc.), the right click menu won't

come up at all.  I can, however, move the page around with holding down the
right click and moving the mouse trackball.  This only has a 

problem on Finale; other programs with right-click menu's work just fine.
Anyone else seen this issue?  I'm on an HP laptop as well, and 

working iwth Finale 2008 on Windows XP.

 

 

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RE: [Finale] Somewhat OT: How marked-up can/should rental parts be?

[Patrick Sheehan]

Rental parts are nothing but a means to make life difficult for any
conductor who wishes to use them.

This is exactly why I don't publish my works; dealing with publishers and
editors and even rentals is something I do not want to be a part of...ever.
If people want to buy my works, they simply contact me and I have a set
made.  They are copyrighted and notarized, so those roads are covered.

You should contact Music Theatre International (MTI.com) (a musical rental
company) and find out what they charge for a school or professional company.
They have a by-month rate for any musical they rent out, which does not
include the rights.  It's like an insurance company (how many people in the
cast, how many seats in your theatre, how many shows are you doing)...and
then maybe you can formulate your answer from there.  

Call them up and ask for their librarian or musicologist; the receptionist
people don't like long explanations; they WILL hang up on you (part of the
rude population of NYC).

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy
P. S. Music
Host: The Saturday Night Blues on 89.5 WNIJ-FM, 9pm - 12am (CST) 
WNIJ.org
1-815-973-2317 (m)
1-815-285-4401 (f)
patricksheehanmu...@gmail.com

-Original Message-
From: Daniel Wolf [mailto:djw...@online.de] 
Sent: Thursday, August 20, 2009 5:44 PM
To: finale@shsu.edu
Subject: [Finale] Somewhat OT: How marked-up can/should rental parts be?

I need some collective wisdom from the Finale list about a practical  
publishing matter.

The modest publishing cooperative I belong to has recently begun renting  
sets of orchestral parts.   I'm completely new to this and many of the  
trade practices are all very mysterious to me and my conversations with  
both publishers and orchestra librarians have been cryptic, at best.  I  
feel a bit like I've been caught in an eternal cat and mouse game about  
who is responsible for what and on what terms.  All I wanted to do was  
provide a good set of parts at the going rate, but neither a good set of  
parts nor a going rate seems to have a public standard.  Pricing, of  
course, is kept quite undercover.  (One publisher wrote to me that it  
would be illegal for him to disclose his prices, to which my copyright  
attorney of course immediately replied that there was no such law under  
any jurisdiction of which he was aware, and that it was simply a trade  
practice (what would be illegal, as a restraint in trade, would be a rate  
schedule drawn up collectively and secretly by a group of major  
publishers);  a pair of orchestra librarians replied that they would love  
to see tables of rates, although it seems obvious to me that if the  
librarians are in communication with one another about this, they ought to  
be able to recreate tables themselves and thus assure themselves a better  
bargaining position vis a vis the publishers.)  But the most immediate  
concern is that I just got a set of parts returned from a major European  
radio orchestra.  They are completely marked-up, with bowings and much  
more.  Should the orchestra have cleaned them up? Should I erase all of  
these marks, or should some of them be kept?   Again, my calls to both  
publishers and librarians have been less than helpful.

Many thanks in advance for your collective advice,

Daniel Wolf


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[Finale] Wah-Wah Guitar Notation and Garritan sound

[Patrick Sheehan]

 

Does anyone know of a way to notate the use of a wah-wah pedal for an
electric guitar ---and is there a Garritan sound that I can load to play
back the effect?  I'm looking for the Three's Company kind of sound; real
70's -ish.

 

Patrick J. M. Sheehan

patricksheehanmu...@gmail.com

 

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Re: [Finale] Clef problem

[Patrick Sheehan]

Stu's suggestion is good; I agree.

Also, whatever notes (in whatever clef) end up being those that are on 
multiple ledger lines, just put them there.  If a pianist has to stop and 
think and figure out what those notes are (low D's, C's, B's in treble clef, 
etc.), that's what's done.


--
From: Stu McIntire smcint...@eastern-casualty.com
Sent: Wednesday, December 17, 2008 10:39 AM
To: finale@shsu.edu
Subject: RE: [Finale] Clef problem

Many more sophisticated folks on this list than me, but just in case, 
would

it possibly be appropriate to simply have both hands in two parts in the
treble clef for a few bars? Left hand part stems down, right hand up.  You
see that sort of thing all the time, but maybe you are implying something
more involved than I can picture.

Stu





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Re: [Finale] Black key gliss

[Patrick Sheehan]

Sorry Darcy, I misunderstood.  Being a pianist, yeah, it's generally assumed 
that it's a white key gliss. unless otherwise specified (usually a black key 
gliss in a heavily-flatted key).


--
From: Darcy James Argue [EMAIL PROTECTED]
Sent: Sunday, November 30, 2008 12:37 PM
To: finale@shsu.edu
Subject: Re: [Finale] Black key gliss


Guys,

1) It's not my piece, and the composer wants a (wavy) gliss line. The 
only issue is whether it's necessary to add the text black key gliss  or 
not.


2) If I wrote it out, the player's first instinct would be to finger  the 
notes instead of playing it as a key rip. It would also imply a  degree of 
accuracy that is not intended and is not desirable.


Seriously, it's a piano gliss! We already have a perfectly good way of 
notating that. My only question is whether it is generally understood 
that glisses that start on white notes are played as white note  glisses, 
and glisses that start on black notes are played as black  note glisses.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY

On 30 Nov 2008, at 10:21 AM, Patrick Sheehan wrote:


I would also write it out, note for note.
Depending on what's around it, the gliss. might be able to only go  so 
far because of what's around it / what's coming on the next  beat / can 
the pianist's hand shift that quickly to the next  register...


--
From: Dennis Bathory-Kitsz [EMAIL PROTECTED]
Sent: Friday, November 28, 2008 4:58 PM
To: finale@shsu.edu
Subject: Re: [Finale] Black key gliss


On Fri, November 28, 2008 5:42 pm, Darcy James Argue wrote:

In a piece of piano music, if there is a gliss that beings on a  black
note, is it necessary to specify black key gliss or is that just
assumed?


I specified black key gliss -- and got all sorts of nasty dumped on  me.
And there was blood on the keys. The pianist finally said to write  it 
out,

every note.

Not sure if that helps at all. But that was the end of the blood. :)

Dennis





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Re: [Finale] Black key gliss

[Patrick Sheehan]

I would also write it out, note for note.
Depending on what's around it, the gliss. might be able to only go so far 
because of what's around it / what's coming on the next beat / can the 
pianist's hand shift that quickly to the next register...


--
From: Dennis Bathory-Kitsz [EMAIL PROTECTED]
Sent: Friday, November 28, 2008 4:58 PM
To: finale@shsu.edu
Subject: Re: [Finale] Black key gliss


On Fri, November 28, 2008 5:42 pm, Darcy James Argue wrote:

In a piece of piano music, if there is a gliss that beings on a black
note, is it necessary to specify black key gliss or is that just
assumed?


I specified black key gliss -- and got all sorts of nasty dumped on me.
And there was blood on the keys. The pianist finally said to write it out,
every note.

Not sure if that helps at all. But that was the end of the blood. :)

Dennis






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Re: [Finale] TAN: building a database for a music library

[Patrick Sheehan]

Wow, look at the argument.  tsk tsk tsk
Be a lot shorter if Danneblitz was merely deleted off of the list,
...because this sort of behavior has been exhibited before, sadly.

--
From: Eric Dannewitz [EMAIL PROTECTED]
Sent: Tuesday, August 19, 2008 7:54 PM
To: finale@shsu.edu
Subject: Re: [Finale] TAN: building a database for a music library


Fenton, shut the fuck up guy.
Other people suggested Excel, or even file cards. It worked well for them.
Why not the original poster? So I chime in and say I think it is overkill 
to

have a relational database. Then you go off on a tangent again. As usual.
Oh, and start belittling people. As usual. I can play your game too.



On Tue, Aug 19, 2008 at 5:41 PM, David W. Fenton
[EMAIL PROTECTED]wrote:


On 19 Aug 2008 at 17:21, Eric Dannewitz wrote:

 I have the experience.

It's too bad your posts to this list on this subject do not exhibit
any evidence of that experience.

 It is totally overkill setting up a huge relational thing

Nobody suggested a huge relational thing -- that's a straw man that
you've created in your own mind.

 like that for what
 the person wanted.

Johannes did not provide enough information for you to make a
judgment call on whether or not a relational database is the best for
his needs.

 They wanted simple.

And I've proposed simple, starting with a pre-designed library
template.

 You and a couple of others give out
 the most complex way of doing it.

It's not the most complex in the long run, though it takes more work
at the beginning.

 That way works great for huge amounts of
 data. It isn't really the best way in this case.

Best is going to be determined by Johannes, not by you.

You haven't made anything like a persuasive or coherent argument
against a properly designed database -- you simply insist over and
over again that the straw man huge relational thing is a bad idea.
That's intellectually dishonest on your part since nobody proposed
anything of the sort.

--
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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[Finale] Error that Causes Program Shutdown

[Patrick Sheehan]

Finale 2008 (Windows XP):
I had many many temporary files on my hard drive, and deleted them all to free 
up space, because Finale would shut down immediately at startup.  Now, I can do 
nothing, not even open a saved file.
The exact error that comes up now isCtree error 17 in CTVNOTE:225.   How do 
I fix this in order to get the program running again?  Of course, this is 
extremely urgent.  HELP!!!

Patrick Sheehan
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Re: [Finale] Score Binding Question

[Patrick Sheehan]

I'm with Darcy -- Staples and Kinko's ARE awful -- they only appear to be 
professional and make good products.


I brought a large orchestral score to Staples to have it enlarged and spiral 
bound, and the man put it together b-a-c-k-w-a-r-d-s, and GAVE it to me that 
way.  Open up the cover, and there's page 36, and the entire thing went 
backwards.


Believe it!!

--
From: Darcy James Argue [EMAIL PROTECTED]
Sent: Thursday, July 31, 2008 8:52 PM
To: finale@shsu.edu
Subject: Re: [Finale] Score Binding Question

They can also put in two 11 combs and trim the extra. But you might  have 
better luck with this at a proper (non-chain) print shop. Kinkos  and 
Staples are almost uniformly awful.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY

On 31 Jul 2008, at 9:09 PM, Carolyn Bremer wrote:


See if you can find an employee at one of those locations that can
help you. It is easy to put a 14 comb in the middle of the 17 side.
They'll need to remove the piece that left-aligns the paper in the
binder so they can get to the middle, but that's really all it takes.
Well, that and an employee willing to do it.

-Carolyn



On Thu, Jul 31, 2008 at 4:52 PM, Blake Richardson [EMAIL PROTECTED]
 wrote:


I recently came across the complete handwritten manuscript scores  to 
the
films ALIEN and ALIENS at the Library of Congress, and in my spare  time 
I'm
transcribing them into Finale (they not surprisingly won't let you 
photocopy

them) with the goal of printing them out and binding them to add to  my
collection of film scores.

The problem I've run into is that both scores have such an  extensive 
list of

instrumentation that the only practical size for the printouts is  11x17
paper. (The handwritten ALIENS score is huge-- 12x36.) Neither  Kinko's 
nor
Staples can spiral bind a 17 document-- apparently their machines  can 
only
go up to 14-- so I was wondering if anyone had any suggestions as  to 
where
else I might look to have it done or any other helpful thoughts on 
binding.



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[Finale] Jazz Notation Standards...what's correct?

[Patrick Sheehan]

I have a brother that plays in a prestigious big band, and I have recently been 
hired as the copyist for this particular band. 
I had done non-contracted copy work for them before, and need to clear up some 
notation issues with the experts, because we argue.  I'm not extensive in jazz, 
but I know some things can't be as awkward as what he claims they are, as 
follows:

1.  Accidentals
He claims that, in a (e.g.) scalar run:
(Key of Bb Major), if the clarinet plays a scalar run (with Ab accidentals 
only, outside of the key) starting on it's written low F (below the staff), it 
will play F, G, Ab, Bb, C, D, Eb, F, G, THEN...
should the upper A-flat be remarked since it's in the next octave, or is it 
automatically assumed that it's flat, because it was flat in the lower octave?  
I claim that's not the practice, he claims it is.  Answer on that one, please.

2.  Double Sharps, Double Flats:
As we all know, some big band ballads or jazz chart ballads can be in some 
nasty keys (e.g.  a lot of Glenn Miller's charts are in Db and Ab), moreso in 
favor for the vocalist, and my question is: if something like a chromatic 
scalar run in the woodwinds would have a heavy-sharped key (B Major), would you 
write a chromatic run as B, B-sharp, C#, C double-sharp, D#, etcORB, 
C-natural, C#, D-natural, D#, etc.). I would always go with the former. 

My view is, the natural-then-sharp accidental fashion is much too difficult on 
the eye.  Isn't this what double sharps and double flats (respectively) are 
for?  How about if you had a figure that went inbetween a G# and a G natural 
for two pairs of sixteenth notes (for two counts in 4/4?).  Would you want to 
have to read a G# G-nat G# G-nat  G# G-nat  G# G-nat mess?!?!  Or, easier, a 
G#-to F-double sharp breeze-of-a-read?  

I'll ask a bold question: Do you think musicians who complain about double 
sharps and double flats exemplify poor musicianship, because they're too hard 
to figure out?  Anyone with me on that?I have seen double-sharps and 
double-flats in ALL kinds of stock arrangements, engraved or (poorly) 
hand-written.  

Please let me know if these two points are common (and / or correct) in 
standard jazz notation. I appreciate it.

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Re: [Finale] copying from existing file to make condensed scores

[Patrick Sheehan]

Hi David and Don,

I thought of both of your suggestions while I was enduring this problem, as 
in, copying the full score file and taking out what I needed.  I do my 
condensed score (although I despise them) with the solo line, saxs, 
trumpets, trombones, and rhythm, equaling a 5-staff system, with two systems 
on each page.  Anyhow, what seemed to be making it catch was the human 
playback, so I just turned that off, then it worked fine.  I don't mind if 
the HP doesn't work on a condensed score; I DO want it to work on full 
scores, and of course that already does -- so now I know what to do for the 
future.


DAVID:  I've inserted the signature on both scores and at the bottom of all 
parts...its being put to good use, and it will always be!  Thanks again!


--
From: dhbailey [EMAIL PROTECTED]
Sent: Wednesday, July 09, 2008 5:20 AM
To: finale@shsu.edu
Subject: Re: [Finale] copying from existing file to make condensed scores


Don Hart wrote:

Hi Patrick,

I'm not sure what all needs to be done for your condensed score.  Seems 
it

might help if you tried doing a 'save as' of the complete score and
move/combine things as needed for your new file.  At least the solo would 
be
in place, and if the full score plays back, chances are this new file 
should

as well.



I agree that using a copy of the score and then editing the copy would be 
the best for a condensed score.


Of course, there are different sorts of condensations, so it may or may 
not be possible to do what Patrick wants using the built-in tools.


If Patrick is looking for a condensed score where there is the solo line, 
then all the saxes on one staff, all the trumpets on a second staff, all 
the trombones on another, then using the built-in tools would work fine to 
end up with a condensed score.


If on the other hand he wants to end up with a piano/solo score, I think 
that would have to be done by hand, but it could still be done using a 
copy of the existing score, maintaining playable as the work went along.


--
David H. Bailey
[EMAIL PROTECTED]



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[Finale] Finale 2009 Announced

[Patrick Sheehan]

Anyone see any features worth working with in '09?  How many of you will stay 
with '08?  Let the discussion begin!


Patrick J. M. Sheehan
   Woodlawn Arts Academy, Instructor, Music Director
   Centennial Auditorium, Music Director  Conductor
   P.S. Music
   Host, The Saturday Night Blues: 89.5 WNIJ 9 p.m. - 12 a.m.,
 streaming live at WNIJ.org
   Copyist -- The Glenn Miller Orchestra
   YouTube channel:  MaestroPS2008
   [EMAIL PROTECTED]
   1-815-501-8327 (m)
   1-815-285-4401 (f)
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[Finale] copying from existing file to make condensed scores

[Patrick Sheehan]

I am trying to finish a jazz chart, but am having major problems in making a 
condensed score.
The full score is already finished, and I am making a condensed score at the 
music director's request.  This particular chart is a clarinet solo feature (a 
la Pete Fountain), and therefore the solo part is black with notes and instead 
of re-typing the solo part in all over again, I copied and pasted about 4 bars 
at a time.  Problem is, when I play back the condensed score, it'll always 
stick at the pre-process, and never play, so I have to end up shutting down the 
program.  I start all over again, and the same problems happens at some time or 
another.  Lots of wasted time and effort so far.  Any other ideas?  I don't 
know if I'm the only person this has happened to...

Patrick J. M. Sheehan
   Woodlawn Arts Academy, Instructor, Music Director
   Centennial Auditorium, Music Director  Conductor
   P.S. Music
   Host, The Saturday Night Blues: 89.5 WNIJ 9 p.m. - 12 a.m.,
 streaming live at WNIJ.org
   Copyist -- The Glenn Miller Orchestra
   YouTube channel:  MaestroPS2008
   [EMAIL PROTECTED]
   1-815-501-8327 (m)
   1-815-285-4401 (f)
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[Finale] Playing back former WinFin versions in '08

[Patrick Sheehan]

When I open up a work I've completed in a previous version, e.g. WinFin '06 or 
WinFin '07, the midi sounds are different, and are not the same as '08 -- 
mixer, Garritan, everything.  I tried saving the older version as an '08 
version before closing and this didn't do any help.  So, help!  Thanks 

Patrick J. M. Sheehan
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Re: [Finale] inserting .gif's

[Patrick Sheehan]

Thanks Aaron, but one more step:  how would I save it with Fax 
compression -- I have no idea how to do that.


--
From: Aaron Sherber [EMAIL PROTECTED]
Sent: Thursday, July 03, 2008 9:49 AM
To: finale@shsu.edu; finale@shsu.edu
Subject: Re: [Finale] inserting .gif's


At 10:17 AM 7/3/2008, Patrick Sheehan wrote:
On Windows Finale '08, is there a way to insert a .gif file at the
bottom of a score, within margins?  In other words, inserting an
image file from your computer, such as a scanned signature?

Not a GIF, but you can insert a TIF or EPS. Select the Graphics tool and 
double-click in Page View where you want the graphic to appear.


The catch with TIF files is that they can't be saved with LZW compression, 
which is a common way of saving those files to save space. So you'll need 
to use a graphics program to make sure the TIF is saved as uncompressed.


(If your TIF is straight black and white, like a signature, you can also 
save it with Fax compression, which Finale will recognize. This helps keep 
the file size down.)


Aaron.



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Re: [Finale] Ottava bassa

[Patrick Sheehan]

Personally, I absolutely hate the 8va and 8vb markings (I still see the 8vb 
quite a bit in piano music).  I prefer to space out the score / staves and 
write it in it's true octave, as my eye's ear hears the pitches in the 
octave where they're supposed to be, not an octave above it with an 8vb 
marking on it.


--
From: Paul Hayden [EMAIL PROTECTED]
Sent: Friday, June 20, 2008 1:23 PM
To: finale@shsu.edu
Subject: [Finale] Ottava bassa

I quit using the ottava bassa sign (8vb) _under_ notes several years  ago 
when I read (in Read's book and probably on this list) that the  normal 
octave sign (8va) should be used. I noticed that FinMac08b uses  8vb by 
default when you use the Smart Shapes octave symbol (8va) below  notes. (I 
reset the 8vb symbol so that 8va shows in the Smart Shape  Options 
window.)


1. Do you think 8vb under notes looks amateurish?

2. Do you normally use 8va and its dashed bracket line in Smart  Shapes, 
or do you do it all manually with an Expression 8va and then  the dashed 
bracket tool in Smart Shapes?


Paul Hayden


Magnolia Music Press
6319 Riverbend Blvd.
Baton Rouge, LA 70820

Voice  Pre-arranged fax:  225-769-9604
www.paulhayden.com




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[Finale] June 8th, 9th

[Patrick Sheehan]

Was there digests sent on June 8th and today, June 9th?  

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Re: [Finale] what does a copyist do?

[Patrick Sheehan]

What does a copyist do?

Being a professional copyist, having done work for James Galway and wind 
composer Roger Cichy, I've never had to edit anything that they have given 
me, as I have just reset editions that have been given to me.


However, there are time when I have worked with other clients, one vocalist 
in particular, who knew nothing about notation, and sent me typed-out 
syllabic lyrics and note letter names, along with a CD, and I had to create 
a 7-piece score (with vocals) for use as a sacred psalm.  So, in that case, 
it was more than just copying.


I believe it's the copyists job to catch those errors, if there are typos or 
tessitura errors and such.  Anyone want to revisit this discussion?


- Original Message - 
From: dhbailey [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Friday, February 22, 2008 10:36 AM
Subject: Re: [Finale] what does a copyist do?



shirling  neueweise wrote:


From a copyist, composers generally [expect] their score to be copied 
exactly as they gave it, no more and no less.


i won't say where this came from other than to mention it is from a 
composer and was sent to an experienced and diligent copyist i know.


i know there are copyists that also feel this way, but i've always felt 
that the copyist's most important role is to improve the performers' 
relation with the music, which means in some cases slight editing and 
corrections (notational standards, obvious typos/errors etc.) and in 
others actually arguing points with the composer that you know to be 
true, because you have spoken to dozens upon dozens of composers, 
performers, copyists and musicologists and have gleaned and considered 
various perspectives on notation standards, tendencies, alterations etc. 
and have a braod understanding of what the norms are and when it is 
pertinent to break them and when it is not.


further, in my view -- as a composer and as a copyist -- the composer is 
not always the person who knows best about their scores exactly because 
of the fact that they have spent so many months on the composition that 
they cannot distance themselves from things that actually hinder a proper 
rendition of the score by a performer who has not spent the same kind of 
obsessive focus (tunnel vision?) on the score. (this is not a comment on 
performer disengagement, that is another discussion altogether).


but i'm just one measly copyist, what do the collective you think about 
all this?  i'll start the list:


1. poor composer.
2.



I think that generally whenever anybody says generally that whatever 
they say is only true in a general sense and when examined more closely it 
often falls apart.


For *some* composers that original quote is true, but for many others, 
they welcome the corrections that copyists can provide.  And arguing 
points from the perspective of a performer to help a composer clarify what 
is being communicated on the printed page should, in my opinion, be 
welcome by any and all composers.  As long as the copyist realizes which 
sort of composer he/she is dealing with and ultimately adheres to the 
client is always right (until the check clears) mentality.  Composers 
need to be allowed their idiosyncracies -- otherwise what will the 
musicologists of the 2200s have to argue about and write dissertations 
about?  ;-)





--
David H. Bailey
[EMAIL PROTECTED]




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Re: [Finale] respect the lists purpose!!!!!!

[Patrick Sheehan]

I agree -- it's a Finale list.  We all use it for specific reasons, so let's 
leave the Sibelius topics out of it.  Is there a Sibelius user list server? 
Find that.


- Original Message - 
From: Dean M. Estabrook [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Monday, October 15, 2007 4:35 PM
Subject: Re: [Finale] respect the lists purpose!!


This little contention reminds me to aver; when making a post on the  Sib 
list, one has to wait quite a while for approval before it's  published. 
Not do here ... the fin list almost exists in real time.  Very handy for 
quick solutions, if one they are in fact coming   (almost always they are, 
except perhaps, late on a sunday evening).


Dean

On Oct 15, 2007, at 1:54 PM, Ray Horton wrote:


Christer Wallstrom wrote:

Isnt this a finale list?
Not a Sibelius promotion. I think it is enough Sib talk know.  Please 
use an

other fourm for Your Sib talk
Thanks
Christer W
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Start any Finale topic you want!!!


RBH
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http://deanestabrook.googlepages.com/home

Don't worry about the end of the world, it's already tomorrow in 
Australia.


Charles Shultz










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[Finale] jazz playback

[Patrick Sheehan]

Just got Finale '08 for Windows XP, and I'm creating my first jazz chart in 
this version -- and I'm not getting the swing playback.  Any help?  Please give 
me any tips about playback controls, human playback, etc...have no idea why 
this isn't working...is this a bug with '08?  Grrr.

Patrick J. M. Sheehan
Woodlawn Arts Academy
Music Director  Secretary -- Sauk Valley Productions
PS Music
Host, The Saturday Night Blues: 89.5 WNIJ 9 p.m. - 12 a.m.
[EMAIL PROTECTED]
1-815-501-8327 (m)
1-815-285-4401 (f)
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[Finale] Garritan sounds to use in earlier versions

[Patrick Sheehan]

I'm on Windows 2000 XP and just upgraded to Finale Windows '08.  

I installed the Garritan sounds, and absolutely love them; MUCH better than a 
general midi sound card.  Does anyone know if I can open up my earlier projects 
in '02, '05, '06, and '07 and convert them to use those Garritan sounds from 
'08, now that the sounds are actually on my system?  

Patrick J. M. Sheehan
Woodlawn Arts Academy
Music Director  Secretary -- Sauk Valley Productions
PS Music
Host, The Saturday Night Blues: 89.5 WNIJ 9 p.m. - 12 a.m.
[EMAIL PROTECTED]
1-815-501-8327 (m)
1-815-285-4401 (f)
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[Finale] break points

[Patrick Sheehan]

Does anyone know how to insert (and where to find) the cessura markings for 
scores that have a small number of staves per system?  Say I'm working with a 
chamber score setup, and I'll have two full systems on each page, I'd like to 
insert a visible, thick cessura-like marking into the middle of the page to 
clearly mark that the system is broken.  Any help? 

Patrick J. M. Sheehan
Woodlawn Arts Academy
Music Director  Secretary -- Sauk Valley Productions
PS Music
Host, The Saturday Night Blues: 89.5 WNIJ 9 p.m. - 12 a.m.
[EMAIL PROTECTED]
1-815-501-8327 (m)
1-815-285-4401 (f)
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Re: [Finale] Recorder in Wizard of Oz

[Patrick Sheehan]

It's true that it's played on a piccolo in the traditional pit orchestras of 
today; I conducted it a few years ago and had my flutist put on her 
picclist hat for those moments.


I don't argue that a soprano recorder should be used, but it may not carry 
if your orchestra is (as it should be) IN the pit, not backstage or 
wherever-else.  Flutists who are not very verse on recorders would have a 
tendency to crack on the notes, as well.


Luckily the tune is in F, and the dotted / triplet figure that is so famous 
doesn't contain any accidentals, so it lays easy on the instrument.


- Original Message - 
From: Guy Hayden [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Monday, September 10, 2007 11:28 AM
Subject: [Finale] Recorder in Wizard of Oz



When I prepared this show a few years back I was fortunate to have a flute
player who also played soprano recorder.  The effect was wonderful!  If 
you
listen carefully to the movie you will hear the recorder, not a piccolo, 
and

not a flute.  The passage in question is in If I Only Had A Brain.

Guy Hayden

-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf 
Of

John Howell
Sent: Monday, September 10, 2007 11:55 AM
To: finale@shsu.edu
Subject: Re: [Finale] alto as tenor?

(BIG snip)


In the Broadway score of The Wizard of Oz there is a brief passage
marked Recorder in one of the reed books.  It apparently means
soprano recorder, but it is notated at pitch with multiple ledger
lines, and is normally (perhaps always!) played on piccolo rather
than recorder.

John


--
John R. Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
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Re: [Finale] Staff order?

[Patrick Sheehan]

I'd say:
Violincello (it's own independent line and in it's own family)
Piano (obvious)
Percussion (more busy and I'm guessing multiple instruments...always looks 
better at the bottom)


- Original Message - 
From: Lee Actor [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Saturday, September 01, 2007 1:51 PM
Subject: RE: [Finale] Staff order?



For a chamber piece for piano, cello, and percussion, what staff
order would everyone recommend?

I'm thinking (top to bottom): perc - vc - pno?

Cheers,

- Darcy


I agree.

Lee Actor
Composer-in-Residence and Assistant Conductor, Palo Alto Philharmonic
http://www.leeactor.com








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[Finale] fermatas and cessuras

[Patrick Sheehan]

In Windows Finale 2007, is there a way to put a fermata in an empty bar, and 
also a cessura in an empty bar (to match the other vertical bars in a score)?

Patrick J. M. Sheehan
Woodlawn Arts Academy
Music Director  Secretary -- Sauk Valley Productions
PS Music
Host, The Saturday Night Blues: 89.5 WNIJ 9 p.m. - 12 a.m.
[EMAIL PROTECTED]
1-815-501-8327 (m)
1-815-285-4401 (f)
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Re: [Finale] Turn-of-the-century Band Music

[Patrick Sheehan]

I agree with you, David.  When I orchestrate or arrange, and want a specific 
sound from an instrument family, I'll have no qualms about using an alto 
clarinet (non-doubled) or a couple flugelhorns, or whatever.  I mandate that 
the ensemble find the instrument or don't play the piece; I'm that adamant 
about it.  Glad some people out there feel the same way.


- Original Message - 
From: dhbailey [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Saturday, August 25, 2007 7:19 AM
Subject: Re: [Finale] Turn-of-the-century Band Music



David W. Fenton wrote:
[snip]
Am I misinterpreting the discussion here? Is my position basically what 
all y'all were advocating? Or do even university-level and professional 
bands seldom/never adapt their instrumentation to the music they are 
playing?




I think you would find that the upper level university bands and 
professional bands will perform as close to the original instrumentation 
as possible, even to the use of Db piccolos.


But the lower level university bands (at those colleges and universities 
which have more than one band) and all community bands are a lot like high 
school bands -- if you're a member you expect to play some in every piece.



--
David H. Bailey
[EMAIL PROTECTED]




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Re: [Finale] Turn-of-the-century Band Music

[Patrick Sheehan]

Agree with you, John!  Every part is independent!

- Original Message - 
From: John Howell [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Saturday, August 25, 2007 4:37 PM
Subject: Re: [Finale] Turn-of-the-century Band Music



At 2:40 PM -0400 8/25/07, Andrew Stiller wrote:

On Aug 24, 2007, at 10:29 PM, John Howell wrote:

It's considered prestigious to be the person selected to play the 
Eb soprano.  Same thing is true for the alto, bass, and lower 
clarinets.


When I was in bands (admittedly a long time ago now) it was 
definitely *not* prestigious to play the alto clarinet,


Sorry, out of context.  The second sentence was intended to refer to 
an earlier sentence.  But you're quite right about the alto. 
Directors assign less competent players to the instrument, and then 
complain that nobody plays alto well.  Self-fulfilling prophesy!


In my own case, for reasons known only to the gods of statistics, we 
always have one, often two, and occasionally three alto clarinets in 
our Community Band, and the ladies who play them are quite competent, 
so I do write real parts for them and don't just double 3rd clarinet 
or alto sax.


John


--
John R. Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html



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[Finale] Text Blocks in the Right Place

[Patrick Sheehan]

I'm working with an organ score that needs to have many text boxes for 
instructions, etc.  When I print out the score (no part extraction needed), I 
want the boxes to be exactly where they are in the score layout, not offset 
somewhere else; this has happened when I've used Text Blocks in the past.  Is 
there a way to make this setting?  

I'm on Finale 2007 for PC
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Re: [Finale] New Question

[Patrick Sheehan]

Either way has worked for me.  I was a pencil-paper-ruler man for many 
years, and could always look at a section of score and hear it with my 
mind's eye...remember that, Dr. Deemer? It is beneficial, though, as Mr. 
Eden says, to have Finale playback your theories.  A brother of mine uses 
it as that for his jazz and big band transcriptions. At this point in time, 
it is also MUCH faster for me to generate a score and parts in Finale rather 
than the old method.  However, the paper and pencil method really keeps you 
on task in vertical alignment, and, if you have good script, keeps you in 
good practice of neatness in writing and hence, reading.


- Original Message - 
From: Lawrence David Eden [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Thursday, June 21, 2007 7:21 AM
Subject: Re: [Finale] New Question



My response is this:
  I write and arrange MUCH better using Finale instead of paper and 
pencil.  I guess my inner ear is just not advanced enough to be able to 
write and know exactly how something will sound, so I rely on Finale 
playback to test my theories.
I think that Beethoven and Mozart would have used Finale if it were 
available back in their day.





The request for new topics plus the fact that there's a Mythbusters 
marathon

going on got me thinking about confirming or busting a notation myth. I've
heard many composers state that composing/arranging on paper with pencil 
is
not only preferable but artistically better than composing directly into 
a

computer notation application.

What are your thoughts? Discuss.

-Rob

--
Dr. Rob Deemer
Composer/Conductor
www.robdeemer.com
www.myspace.com/robdeemer

Assistant Professor
Composition Department Chair
School of Music
SUNY-Fredonia

The Composer Next Door
Producer/Host
KCSC-FM
www.thecomposernextdoor.org
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[Finale] Part Names IN Extracted Parts

[Patrick Sheehan]

I'm having trouble in Finale 2007 to get the part names on the parts when 
they're extracted.  Right now, everything is coming out to what I've edited it 
to: Full Score in C, and I have to manually change each one; shouldn't have 
to do that?  Help!

Patrick J. M. Sheehan
Woodlawn Arts Academy
Music Director  Secretary -- Sauk Valley Productions
PS Music
Host, The Saturday Night Blues: 89.5 WNIJ 9 p.m. - 12 a.m.
[EMAIL PROTECTED]
1-815-501-8327 (m)
1-815-285-4401 (f)
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[Finale] jazz font chord symbols and extensions

[Patrick Sheehan]

Can anyone tell me step by step how to create chords (in a jazz chart, using 
the Jazz font), where I can use the triangle and a 'minus' sign for major and 
minor chords respectfully?  I also need to have extensions on those chords with 
the triangle and minus symbols as well, such as 6-9, ...and all other sorts of 
extensions.  Any help?  Thanks.

- Patrick Sheehan
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[Finale] converting

[Patrick Sheehan]

Including the current version, I have worked with (and still have pieces) in 
Finale 2002b, 2006a, and now 2007.  I need to know how to properly convert all 
of my previous (2002b, 2006) works into 2007, and have them play back with the 
Human Playback (every instrument on one channel, preferably), and save in 2007 
format (no, I don't want to go back and work in the earlier versions).  Any 
help?  Thanks.

- Patrick J. M. Sheehan
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[Finale] first and second ending repeats with multimeasure rests

[Patrick Sheehan]

I'm pretty verse in Finale '06, but there are a few things I still cannot 
figure out:

I am extracting parts for a jazz chart, and when I plant a 1st and 2nd ending 
with a repeat, the rests do not come out correctly when I extract the parts.  
For example, in a trombone part, it has four bars of rest (2 bars of rest, and 
then I'd like the 1st ending to extend over two bars), yet what appears is 
THREE bars of multimeasure rest, then one whole rest bar under the first 
ending.  I need it to appear as a TWO bars of multimeasure rest, then another 
two bars of multimeasure rest with the first ending above it (repeat at the end 
of that set), and then the second ending (there is no problem with this).  Can 
anyone help?

- P. Sheehan
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[Finale] changing keys within extracted parts

[Patrick Sheehan]

Another question, everyone:

After extracting parts from a jazz chart, there are woodwind changes, where I 
need to change the key signature and transpose the written notes with regard to 
what instrument the player needs (saxophone, clarinet, flute, or etc.).  Anyone 
know how to change the key signature within the extracted part?  I'd like to do 
it this way rather than using extra staves and optimizing; plus, the extracted 
parts would come out on a double staff...don't want that.  Awaiting a reply.  
Thanks!

- P. Sheehan
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[Finale] Re: E-mailing files...think twice.

[Patrick Sheehan]

In regarding e-mailing Finale files, I have one rule:  I don't.

For your own protection and safety, never e-mail them, no matter how 
computer savvy or non-savvy the composer or client is.  There are many 
pitfalls as to what can happen to your documents after they've been e-mailed 
to the next party, or the next, or the next.  Always keep the hard copy of 
your work.  It's not very costly to just print out a hard copy of the score 
(I print two:  one for myself, and one for the client), and a set of however 
many parts.  The client splits the cost of paper printing and postage with 
me.  If they need another copy in the future, then I mail another copy. My 
layout and usage of other tools is complicated, and most of my documents 
look the same.  If they're altered somehow, other attributes can easily be 
screwed up in a bad way...Never e-mail...always snail mail. This is for your 
own protection (I feel).


Also, if you relocate or relinquish the work, leave a forwarding address or 
the name and contact information of a successor or replacement, so you don't 
leave the client high and dry.  You can always contact me, as well 
(signature at end).



- Original Message - 
From: [EMAIL PROTECTED]

To: finale@shsu.edu
Sent: Tuesday, November 14, 2006 12:00 PM
Subject: Finale Digest, Vol 40, Issue 15



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Today's Topics:

  1. Re: Clients Requesting Finale Files (Mark D Lew)








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[Finale] Jazz Font problem

[Patrick Sheehan]

Hi -- 

I have recently purchased Finale 2006b, and am trying to open up some jazz 
charts that I had created in v. '02, and nothing but the Wingdings font is 
coming up on my screen inside the document.  Can you tell me how to download 
the Jazz font into my system so that I can read, edit, and print these files?  
Thanks!

- Patrick Sheehan
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