Re: [Finale] Changing slurred 8ths to 8th-16th
Thanks to everyone for some great responses to my question. I used JW Rhythm Copy (to change each 8th-8th pair to 8th-16th) and it copied the rhythms correctly. But I noticed that it also erased the slurs in the target measure. (It also erased the staccato marks, but I didn't want those anyway.) Is this correct behavior or am I overlooking something? I could use Robert Patterson's Mass Copy to copy and paste only the slurs, but that will add an additional step to the process. Paul Hayden Magnolia Music Press On Mar 21, 2015, at 12:00 PM, wrote: > Date: Sat, 21 Mar 2015 08:53:53 -0400 > From: Christopher Smith > Subject: Re: [Finale] Changing slurred 8ths to 8th-16th > To: > Message-ID: > Content-Type: text/plain; charset="US-ASCII" > > Jari Williamsson's JW Rhythm Copy will change giant swaths of notes to > another rhythm. You may have to manually delete the articulations, but that's > one very quick operation. Enter one measure as you wish, then select it with > the Selection Tool, invoke JW Rhythm Copy - SET SOURCE (nothing will appear > to happen), then select the passage you want it copied to and invoke JW > Rhythm Copy - COPY and the rhythm will copy over to every measure. I use it a > lot (thanks, Jari!) > > Christopher ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] Changing slurred 8ths to 8th-16th
I have a section with many pairs of eighth notes, each pair slurred with a staccato note on the second eighth. A string player recommended that I change each pair to an eighth slurred to a sixteenth, to make clear that no change of bow is desired on the second eighth: <https://dl.dropboxusercontent.com/u/64656173/slurred%208ths.pdf> 1. Do you think that this _would_ be clearer regarding the bowing? (Of course, I guess I could just show a down-bow on the first pair and an up-bow on the second pair.) 2. If I do change every pair, is there a plug-in that might be able to assist me in changing each pair of eighths to an eighth slurred into a sixteenth? Thanks so much for any advice on this. Paul Hayden Magnolia Music Press ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] Doubling note values
Thanks very much, David and Jari, for your suggestions. Both worked but I think Jari's plugin was particularly helpful. This was the time saver I was looking for. Paul Hayden On Nov 5, 2014, Jari Williamsson wrote: > JW Meter & Rhythm plug-in->Relative Meter Change->Double Meter will do > what you ask for. It will also change metronome markings in the region > if needed. And it will position measure-attached info correctly, which > the Finale's Note Duration thing will not. > > I think the current Meter & Rhythm plug-in still is compatible with OSX > pre-10.7. > > > Best regards, > > Jari Williamsson Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
[Finale] Doubling note values
FinMac 2012 OS X 10.6.8 Patterson Plugins 4.03 TGTools 2.6 I have a section of music 33 bars long, lots of notes, various meters, notated at Q = 60 that needs to be changed to Q = 120. Note values need to be doubled (e.g., 16ths become 8ths) so it will sound the same as before. Are there any tips you can offer that might save me some time in making the conversion? I've never had to do this before on a relatively large scale. Thanks very much. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
Re: [Finale] OT: dividing all orchestral violins into 3 equal sections
On Jan 14, 2014 Christopher Smith wrote: > I have divided successfully into 3 even parts for shorter passage by dividing > BOTH the firsts and the seconds EACH into 3, with 3 different staves on each > part where necessary. as you mentioned. Thanks for this suggestion, Chris. I think that this may be the simplest and clearest way to equally divide all the violins into three equal groups. The other procedures may work as well, but this seems pretty fool-proof. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: dividing all orchestral violins into 3 equal sections
I need to divide all the violins in an orchestral piece into three equal sections for selected passages. (The bulk of the piece uses regular Violin I and II sections.) I'm thinking of following the advice of Martin Wulfhorst in his "The Orchestral Violinist's Companion": "...the parts should be assigned so that the musicians playing the same part are sitting closely together: Group I comprises the outside stands of the first violins. Group II comprises the first two stands of the second violins and the remaining stands of the firsts. Group III comprises the remaining stands of the seconds, with one of the principals positioned strategically." If done this way, Violin I and Violin II parts would each have to show all three groups in those passages where all of the violinists are divided into three equal groups. If I required a specific number of players/stands, I could just specify who plays what (in Violin I and II) when divided into three groups. But I want to be more flexible regarding the size of the entire violin section (i.e., I don't want to specify a minimum size). Other suggestions? Thanks. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Add ossia staff to finished score
Hi Lawrence, You know it's been so long since I used the ossia tool that I don't even remember why I decided to avoid it. If I remember correctly (and I could be wrong), there have been various discussions over the years about the ossia tool and most of the comments have been negative. But I'm certainly open to using it -- not using it creates its own problems. Paul Hayden On May 22, 2013, Lawrence Yates wrote: > Without implying any criticism at all, may I ask why you prefer not to use > the ossia tool? > > Cheers, > > Lawrence > > > On 21 May 2013 18:30, Paul Hayden wrote: > >> Wow, that worked! Thanks so much, Christopher. I thought I had tried this, >> but I must have selected more staves to hide than just the new, blank ossia >> staff. At any rate, when I hid the new staff, the layout went back to what >> I originally had. >> >> Paul Hayden >> >> >> >> On May 21, 2013, Christopher Smith wrote: >> >>> In the Staff Tool, select the entire extra staff (click in the margin >> next to the staff name) and select Hide Empty Staves from the Staff Menu. >> It will only affect the staves (and systems) you've selected, and only the >> empty ones, so the system that has music in it will not be hidden. It WILL >> be hidden in all the other systems. >>> >>> Christopher >>> >>> On Mon May 20, at MondayMay 20 5:33 PM, Paul Hayden wrote: >>> >>>> FinMac12 >>>> OS X 10.6.8 >>>> >>>> I need to add an ossia staff to one page of an already-laid-out >> orchestral score. I usually avoid the ossia tool and just add an extra >> staff which I set at 75%. However, now when I add the extra staff (in Page >> View), it shows up on all pages, forcing me to go back and adjust each >> system. >>>> >>>> Can you just add a staff to one page without it showing up on all the >> other pages you've already laid out? I thought deactivating "Automatic >> Update Layout" (in Preferences) might work, but it didn't. >>>> >>>> Please CC your reply to me as I'm on the digest. >>>> >>>> Thanks very much. >>>> >>>> Paul Hayden >>>> >>>> >>>> >>>> Magnolia Music Press >>>> >>>> Voice & Pre-arranged fax: 225-769-9604 >>>> >>>> >>>> >>>> ___ >>>> Finale mailing list >>>> Finale@shsu.edu >>>> http://lists.shsu.edu/mailman/listinfo/finale Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Add ossia staff to finished score
Wow, that worked! Thanks so much, Christopher. I thought I had tried this, but I must have selected more staves to hide than just the new, blank ossia staff. At any rate, when I hid the new staff, the layout went back to what I originally had. Paul Hayden On May 21, 2013, Christopher Smith wrote: > In the Staff Tool, select the entire extra staff (click in the margin next to > the staff name) and select Hide Empty Staves from the Staff Menu. It will > only affect the staves (and systems) you've selected, and only the empty > ones, so the system that has music in it will not be hidden. It WILL be > hidden in all the other systems. > > Christopher > > On Mon May 20, at MondayMay 20 5:33 PM, Paul Hayden wrote: > >> FinMac12 >> OS X 10.6.8 >> >> I need to add an ossia staff to one page of an already-laid-out orchestral >> score. I usually avoid the ossia tool and just add an extra staff which I >> set at 75%. However, now when I add the extra staff (in Page View), it shows >> up on all pages, forcing me to go back and adjust each system. >> >> Can you just add a staff to one page without it showing up on all the other >> pages you've already laid out? I thought deactivating "Automatic Update >> Layout" (in Preferences) might work, but it didn't. >> >> Please CC your reply to me as I'm on the digest. >> >> Thanks very much. >> >> Paul Hayden >> >> >> >> Magnolia Music Press >> >> Voice & Pre-arranged fax: 225-769-9604 >> >> >> >> ___ >> 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] Add ossia staff to finished score
Thanks for the suggestion, David. Unfortunately, I have some empty staves showing on some, but not all, pages. So I would have to go back to each page and select which staves to hide after adding the new staff. Paul Hayden On May 20, 2013, at 4:55 PM, David H. Bailey wrote: > I don't know of any way to add a staff to a single system without it > affecting all other system. > > Add the extra staff, then put the music in where you need it. > > Then use "Hide Empty Staves" and your layout should be back to where it was > before you added the staff, other than the final page which will the new > staff with the music on it. > > I will add that it's been a long time (at least several Finale versions) so > while this used to work well for me, it might not work the same any more. > > > -- > David H. Bailey > dhbai...@davidbaileymusicstudio.com > http://www.davidbaileymusicstudio.com Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Add ossia staff to finished score
FinMac12 OS X 10.6.8 I need to add an ossia staff to one page of an already-laid-out orchestral score. I usually avoid the ossia tool and just add an extra staff which I set at 75%. However, now when I add the extra staff (in Page View), it shows up on all pages, forcing me to go back and adjust each system. Can you just add a staff to one page without it showing up on all the other pages you've already laid out? I thought deactivating "Automatic Update Layout" (in Preferences) might work, but it didn't. Please CC your reply to me as I'm on the digest. Thanks very much. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Multiple versions of Finale on one computer
Just bought the $99 2012 upgrade (thanks for the tip, Raymond!). Am I correct in assuming that different versions of Finale can happily coexist on my Mac? I usually quit using the older version of an app after I update, but I'm pretty sure that several people on this list have (and use) multiple versions of Finale. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cue staff question
Dejan and jef, thanks very much for the tips dealing with the details of cue staves. I'll try out both of these. Paul Hayden On Jun 8, 2012, Dejan Badnjar wrote: > I have recently done a piece that had lots of these "cut offs" with clefs and > found that the easiest and most precise way was to add an extra measure > before the clef, hide the barline, apply staff style to the previous measures > before the clef, make the bar that has the clef change small and adjust > everything below accordingly. This way you have total control of the size of > the extended staff lines for the clef. Make the cue clef size to 100% in the > document setting so they all match with starting clefs. On Jun 9, 2012, jef chippewa wrote: > tsk tsk tsk... so much kludging :-) > > set up a shape expression with 5 barlines at your default thickness > extending 96 EVPUs and set up the auto-placement to right aligned, > attached to right measure with H adjustment of 10 (it will work for > double barlines as well) and V positioned to staff reference line. > > staffline lengths before clefs will be consistent. you can adjust H > positioning slightly for treble (or alto, or percussion) clef so the > lines extending to the left of the bass and treble clefs are equal. > > grid is at 12 EVPUs: > http://newmusicnotation.com/TEMPFILES/staff-5line_short.pdf > > this is also very useful in percussion lines, where the staff changes > from 1-line to 5-line staff. > > a different version of this shape expression can be set up for the > end of the system if ever needed. > > set the expression at the top of your symbols category list for super > quick access (2-click measure and hit enter). do NOT apply this > expression using a metatool, otherwise you will have multiple copies > of the expression in your document, and if you need to slightly edit > the length or staffline thicknesses... fun fun fun. > > (no matter how detailled you get in selecting partial measures, the > staffline lengths to the left of the clef will ALWAYS change in the > PT or also in the SC whenever you make changes to the measure > spacing, or change the number of measures frozen in the system where > it appears) Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Horn in bass clef
How many years has it been since any composer wrote a horn part in the bass clef intending it to sound up a fourth? I still write a note about how "the horn part sounds down a fifth regardless of clef". But do you think this is _really_ necessary in 2012? Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cue staff question
On Fri June 8, Chris Young wrote: "You could change the Time Signature in the previous measure to 8/8 or 16/16 (displaying as 4/4) to allow a finer selection of beats with the staff tool." Ah, perfect! Thanks so much, Chris: <https://dl.dropbox.com/u/64656173/cue%20question%204.pdf> Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Cue staff question
On Thu Jun 7, John Blane wrote: "Clear the staff style that hides the staff on beat 2 of the preceding measure (under the clef)." Doh! Forgot about hiding partial measures! Thanks, John. Now for a minor followup question. Here is what I got hiding the first half of that measure: <https://dl.dropbox.com/u/64656173/cue%20question%203.pdf>. Is there a way to hide just a bit more of the staff lines before the bass clef? I've tried placing a blank graphic over the staff lines, but doesn't seem to work when I print the page (the graphic is ignored and the staff lines show). There's probably some sort of kludge that will work... Paul Hayden On Jun 7, 2012, at 9:18 PM, Paul Hayden wrote: > This is a scan of an example on page 577 of Elaine Gould's "Behind Bars": > <https://dl.dropbox.com/u/64656173/cue%20question%201.pdf >. > This five-line staff (a cue staff) starts in the middle of the page. Note how the staff lines under the arrow extend a bit before the barline to encompass the clef. > This is the best I've been able to do (FinMac09): > <https://dl.dropbox.com/u/64656173/cue%20question%202.pdf >. > How can I get those staff lines to extend a bit before the barline to include the staff? > Thanks for any suggestions. > Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Cue staff question
This is a scan of an example on page 577 of Elaine Gould's "Behind Bars": <https://dl.dropbox.com/u/64656173/cue%20question%201.pdf>. This five-line staff (a cue staff) starts in the middle of the page. Note how the staff lines under the arrow extend a bit before the barline to encompass the clef. This is the best I've been able to do (FinMac09): <https://dl.dropbox.com/u/64656173/cue%20question%202.pdf>. How can I get those staff lines to extend a bit before the barline to include the staff? Thanks for any suggestions. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] suggestions sought
Steve Parker wrote: "And a third [hard drive] to back up the second because reinstalling it all [sample libraries] from DVDs is a PITA." That's a good point, Steve. I have backups of my system drive but not the samples drive. That _would_ be a PITA to reinstall from DVDs. Steve also wrote: "I also rarely use convolution reverb because it gains me nothing over my favourite Wave Arts reverb which can be instantiated dozens of times with little processing hit." I've never done a comparison of convolution reverbs and algorithmic reverbs. Have you ever compared Wave Arts to any convolution reverb? If so, how did it fare? If I had a new badass computer, I'd probably just go with convolution. Nick Raspa wrote: "...a second drive is necessary if for no other reason than to house the libraries." Yes, sample companies recommend that so (I guess) you don't get a data bottleneck with system/application/sample data being accessed simultaneously. Nick also wrote: "It sounds like I should take a close look at DP before investing in Logic." I've never used Logic, but I bet it's "deep" like DP and Finale. Not something you (or maybe just me!) can master quickly. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] suggestions sought
Hi Nick & Steve,
I have an old Mac Pro ("1,1", 2 dual-core Xeon, 2.66 GHz) with a second
internal hard drive just for sample libraries. I don't do any sequencing in
Finale as I don't want to pay for mental health counseling. Sequencing is in
Digital Performer using East West Quantum Leap Symphonic Orchestra along with a
couple of Vienna instruments.
I've done orchestral sequences with lots of tracks with no problems -- but I
don't use convolution reverb (_some_ kind of reverb is necessary for any Vienna
stuff). So, I don't know if that would bring everything crashing down or not.
I tried GPO a couple of years ago but didn't like it. I only use it for very
high or low notes not available in the other libraries!
Paul Hayden
*
Nick Raspa wrote:
I'm not sure at the moment. ?I've been using Garritan and probably will
continue to use it, however, I know there are some other good sound libraries
out there, so I will have to investigate them and see what will work best for
me. ?It sounds like the issue lies more with space and that a second drive will
be needed. ?Thanks to everyone who responded!
Nick Raspa
NJR Music Enterprises
On Apr 23, 2012, at 08:46 AM, Steve Parker wrote:
Any idea which virtual orchestra?
As has been said, Finale with Garritan runs very lightly.
I run easy west symphonic orchestra gold and that runs best from an external
FireWire.
EWSI Platinum is best run from at least four separate drives for brass, wind,
strings and percussion as it uses multiple mic setups for each instrument.
I also use Miroslav Vitous orchestra and the full version of Garritan.
A combination of internal drive and one FireWire with EWSI on it runs any
combination of these.
I seem to run out of processing power with a single instance of the new QL
piano (which is very fine!) but a friend runs it from a G5 without problem.
This is the only glitch I've ever had running from my old intel MacBook..
Steve P.
Magnolia Music Press
Voice & Pre-arranged fax: 225-769-9604
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Re: [Finale] OT: Selling PDFs -- final note
On Mar 30, David H Bailey wrote: "Weren't the score and the parts the same PDF file? Most of the time when I buy a PDF of music the seller has combined them all into a single PDF file, which may or may not be password protected." I thought I was doing the buyer a favor by having three different PDFs (zipped into one file for emailing). If you need to print one part, it's very simple -- no specifying pages and then seeing that the part page numbers differ from the PDF page numbers. But I just realized that adding a different password for each buyer is going to be impossible without some expensive (I'm guessing) and complicated backend software. David also wrote: "Congratulations on selling your first PDF! May it be just the first of many!" It's probably already on a Russian server being downloaded by my millions of admirers. :-) Paul Hayden Magnolia Music Press ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: Selling PDFs -- final note
Well, I sold my first PDF today. Being the clever sort, I password-protected the score and two parts using Acrobat. You can probably guess what happened: the buyer could only open the score and not the parts (and he was using the latest version of Adobe Reader). No more passwords, I guess! I did, however, add a text box (not a "stamp") with his name and price. Of course, that can be easily removed... Paul Hayden Magnolia Music Press ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] EPS problems in 2008
The other pages have _nothing_ on them, or do they have some typical corruptions like dotted staff lines (that's an old problem)? Paul Hayden On 28 Mar, Ryan wrote: "I have an old document made in FinMac 2008. I need to make EPS files. However, only the first page exports correctly. The other pages of the document don't. Any idea as to what would be causing this? I've done a font check, and removed document fonts that aren't on the system. This is a real mystery." Magnolia Music Press ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Selling PDFs
On Thu, 29 Mar, David H. Bailey wrote: "Which means that reasonable pricing and reasonable availability which makes it easy and reasonable for everybody to buy their own copy rather than share copies (such as has been the fallout of the recorded music industry) is the best remedy." Yes, I think that's a key issue here. If the product is priced reasonably and is convenient to get, then there's less incentive to pirate. It seems to me that PDFs _have_ to be priced lower than paper products or piracy is more likely. The case with mp3's is slightly different. With PDFs, the quality is _in_ there. You just have to have to equipment to properly print it. Mp3's are inferior quality to uncompressed audio. [Start flame war.] :-) Paul Hayden Magnolia Music Press ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] iPads in place of sheet music [was Selling PDFs]
I have no problem with the use of iPads in place of sheet music. However, I have experienced two mishaps recently involving iPads. In one performance, the (good) performer got momentarily flustered and flubbed the foot pedal page turn on his iPad. The performance had to stop and restart. The other involved a pianist whose iPad crashed just before a performance. Much gnashing of teeth until it successfully rebooted. Having worked with technology for most of my life, I guess I know how much can go wrong. There's not much wind to blow away sheet music in a concert hall! Paul Hayden On Wed, 28 Mar, David Froom wrote: I think we'll come to a time fairly soon when most performers will have an iPad-like device with a full library. The software out there now already allows annotations, has good foot-pedal page turners. But I personally still REALLY like paper. Even when I get something for quick study from imslp.org, if I want to do anything serious with it, I print and bind it on nice, oversize paper and staple bind. Magnolia Music Press ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Selling PDFs
I guess password-protecting a PDF has pros and cons. The most obvious pro is that it makes it a _bit_ more difficult to pirate the PDF -- someone has to remember where the password is and send it along with the PDF. That's also the con! Two years later the buyer wonders, "where's that damned password?" Or they can buy a cheap app to break the password on any PDF they have. Paul Hayden On Wed, Mar 28, Mark D Lew wrote: << 2. Adam Engst (TidBITS founder) was kind enough to offer some advice: don't bother password protecting your PDFs -- they're easily removed. >> I'm not sure I agree with that. Although it's true that someone who wants to remove a password can easily do so, it still sets up a situation where it requires a deliberate effort. It's the same idea as putting up a small fence and a "no trespassing" sign. Anyone who wants to get in can easily ignore the sign and hop over the fence, but then they'll know they're going somewhere they're not supposed to. With an unprotected PDF, a lazy or thoughtless person -- and face it, most of us are lazy or thoughtless at least some of the time -- might just assume it's a free document to be printed or passed around at will. When they're asked for a password, they'll know that its supposed to be proprietary. mdl * Magnolia Music Press ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Selling PDFs
Wow -- great replies! Your comments bring up a couple of other issues:
1. I assume that PDFs should be priced lower than paper copies. If they're not,
I would think there would be a greater incentive to pirate the PDF rather than
just buy your own copy. Does 50% lower sound right?
2. Adam Engst (TidBITS founder) was kind enough to offer some advice: don't
bother password protecting your PDFs -- they're easily removed. Even so, he
said that it's probably a good idea to stamp (in Acrobat) the PDF with the
price and buyer's name. This is similar to what Christopher Smith wrote ("This
score and set of parts is for the exclusive use of [the buyer]").
Paul Hayden
Magnolia Music Press
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[Finale] OT: Selling PDFs
Apologies if you also subscribe to the SCI list: I've been selling my compositions as paper sheet music for years, but I'm getting more and more requests for PDFs. I feel a little uneasy about this since a PDF (even with a password) can be posted online or emailed to anyone who wants it for free. Any thoughts on this from publishers, composers, or engravers currently selling PDFs? Thanks for any insight! Paul Hayden Magnolia Music Press ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Change durations and insert rests?
FinMac09 Mac OS X 10.6.8 I need to change a bunch of this: 2/4: Q Q ...to this: 2/4: 8th note -- 8th rest -- 8th note -- 8th rest I know how to do it manually in Speedy Entry. Utilities>Change>Note Durations only seems to change the original to: 2/4: 8th note -- 8th note -- Q rest I've gone through TGTools and Patterson Plug-Ins but can't seem to find anything. Am I missing something that can save me time? Please CC your post to me since I only get the digest. Thanks for any suggestions. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Chamber music staff sizes and traditional multimeasure rests
Poulenc Sextet Wilhelm Hansen, publisher copyright 1945 Full score, piano = ca. 6.7 mm staff Full score, other instruments = ca. 5 mm staves Parts = ca. 6.7 mm staves These are approximate measurements made with a ruler (and reading glasses!). These staff sizes conform to Gould (pgs. 483 and 557), but I think they look small. I would prefer at least 7 or 7.5 mm for the piano part in the score, and for the other, separate parts. Hansen also uses traditional multimeasure rests in the parts. Not sure why these are really necessary since most musicians are just going to look at the number above the measure. I bring up this particular score since my wife is practicing it for an upcoming performance. I was surprised when I saw the size of the staves in the parts. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Staff size recommendations
On Feb 17, 2011, John Howell wrote: Don't forget that they also ask for large sized paper, 9 x 12" or larger. Those staves on U.S. letter paper would be AWFULLY large! I agree. I use 9.25 x 12 and the large staves (8.5 mm) for orchestral string parts look large but okay. I think 7.5 - 8 mm would be acceptable. 6.7 - 7 mm (as Gould recommends) seems small to me. When I was using Mosaic I used 20-pt or 22-pt for parts, 16-pt or 18-pt for chorus scores. Yes, that seems reasonable. I use 5.5 mm (16 pt.) on octavo-like pages (6.875" x 10.5"). Just in the interest of accuracy, individual vocal PARTS are almost never produced. Oh yes -- I should have said "a cappella scores". On Feb 17, 2011, Jari Williamsson wrote: Powell (on page 8) says staff size 2 for instrumental parts, which is 0.28 inches = 7.1 mm. Yes, and he also says on page 107 that parts can be size 3 (6.8 mm) which would agree with Gould (as small as 6.7 mm). Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Staff size recommendations
Just received my copy of Elaine Gould's "Behind Bars". It's going to take a while to browse through all 600+ pages, but I wanted to ask about one thing she discusses: staff size. On page 557 she states "If the performer is likely to be some distance from the stand or if two players share a copy, the stave size should be larger than otherwise (e.g. 7 mm)... An ideal staff size in good lighting conditions is 6.7 mm..." However, "MOLA Guidelines for Music Preparation" (which I've been following) states "The most readable staff size for all instruments is 8.5 mm... Although 8 mm is readable for winds, it is less so for strings. Wind players can read music from staves that measure 7.5 mm, but this is very problematic for string players." Now the difference between 7 mm and 8.5 mm sounds small, but it is huge on the page! I'd like to ask what you use for the following: 1. Large ensemble string parts (usually 2 to a part). 2. Large ensemble wind parts (1 to a part). 3. Chamber music parts (1 to a part). I know that vocal parts (e.g., a cappella choir scores) are different animals altogether. Thanks. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Slurring grace notes
Kurt Stone in "Music Notation in the Twentieth Century" (page 22) says: 1. "It used to be customary to slur grace notes to the main note, but since such slurs are superfluous it is recommended that they be omitted." 2. Traditional practice is to start the main legato slur on the first main note (not the grace note) of the phrase. "This practice should be revised to include the grace note(s) in the slurs." I've always notated the traditional way (small slur from grace to first main note). I'm afraid that careful performers will see no slur (#1 above) and actually articulate both the grace and the following main note. Stone says to put a staccato mark on the grace if that's what you want. #2 is logical but looks a little strange to me. What do you think about this? Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Crediting the copyist
Richard Huggins wrote: "I was an editor for Word Music in the 90's and we credited the engraver on the inside title sheet. They still do, as do similar publishers." Yes, I noticed that in the score of Thomas Ades's "Asyla" (published by Faber). Along with copyright, legalese, premiere, duration, contact info, etc., it says "Music processed by Paul Rigby". Others on the list would be able to give a better critique of the engraving, but it looks extraordinary accomplished to me. Very dense and complex orchestral score -- must have been a nightmare for the engraver. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Can Finale do this?
These two responses have to do with my question about placing a clef between a grace note and the following note. 1. Rich Caldwell wrote on Feb 27: "Here's what I would do: I often enter grace notes as real notes to avoid Finale's graceless spacing disasters. Doing that will be even more useful here. So make the grace note a real one, and make the existing triplet as 3 in the space of 1 *eighth*. Break the beam between the "grace" and the triplet. Reduce the first notes's size with the % tool, adjust the stem (you might have to shorten it with the special tool) & add a slash (expression shape) if necessary. Now, the right hand won't line up, so you can either move the notes over with the special tool, or if you want the beat to line up forever without worry, insert a hidden 8th rest before the first note in the right hand as well, and make the first note fit into one 8th less. For example, in the second bar in that sample file, insert an 8th rest before the half note, and make a tuplet of the half note to be one half note in the space of a dotted quarter or 3 eighths, choosing not to show the bracket and number. Now you can put the clefs in. Almost everything's a workaround in Finale. At least it keeps you thinkin' Rich" Wow! Thanks very much for the detailed suggestion. It's even more involved than my solution! It's amazing the hoops we have to jump through to do something this simple. 2. jef chippewa wrote on Feb 28: "if you aren't concerned with playback you can insert clefs as expressions and transpose certain notes to "look" right" Yeah, I definitely think this is the way to go. Especially since I do all my sequencing in Digital Performer. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Can Finale do this?
FinMac09 <http://files.me.com/haydenp/emb3b1> PDF <http://files.me.com/haydenp/vutr1j> Finale file Can you put only the left-hand's low notes (grace notes, A2 and E2 notes) in the bass clef? The treble clef always insists on moving before (not just after) the grace notes. I do have a time-consuming kludge: 1. Place the treble clef after the first triplet eighth. 2. Move the treble clef slightly to the left. 3. Use the Note Position Tool (Special Tools) to move that first eighth _after_ the treble clef. 4. Use Speedy Entry to move those first eighth notes down so that they appear to be the right pitches. Whew! jef chippewa had a good solution but it involved moving the triplet eighths into the right-hand staff: <http://newmusicnotation.com/TEMPFILES/cross_staff.pdf>. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Spiral binding
Let's say you want to punch holes for the long side of a tabloid (11" x 17") page. How hard is it to realign the page after the first punch (which appears to be 13" or 14" for the machines you own) so you can get enough holes to cover most of a 17" page? I can remember Kinko's screwing that up on occasion. Paul Hayden Lee Actor wrote: CoilMac-M, standard base unit. J D wrote: I have the CoilMac 41 ECI. Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Spiral binding
J D and Lee, which models do you own? Paul Hayden J D Thomas wrote: "This is what I like about the CoilMac machine. It has an open throat design that allows you to bind larger than letter. I do 11x17 all the time. That's why I bought it. But it's not inexpensive." Lee Actor wrote: "I have a CoilMac and a supply of 36" coils in three different sizes (and cover stock)." Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] EPS/PS/TIF/PIC to PDF questions
FinMac09 Mac OS X 10.5.8 Finale, export as EPS or compile PS listing, convert to PDF with Distiller or with Apple Preview. I get this (missing staff lines, stems, multimeasure rest symbol, Smart Shapes): <http://files.me.com/haydenp/ozvsg5>. Finale, export as TIF or PIC, convert to PDF with Preview. All is okay. Finale, Print, PDF>Save as PDF. All is okay. 1. Why would the PS and EPS files be damaged? Bad font (Maestro)? 2. I know you can embed fonts in a PDF. Can you also do that in a TIF or PIC file, or are those just purely image formats (like GIF and JPG)? 3. When you convert a PS file to a PDF file, are fonts imbedded in the PDF? Thanks. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Separate clefs for low grace notes
jef chippewa wrote: the lv ties are really superfluous because of the pedalling indications but can be useful nonetheless. Yes, I was worried that the pianist would not sustain the grace notes. you might want to consider moving the notes above C3 into the RH staff (anything above around A4 should be cross-staffed in any case, really) and adjusting the RH content accordingly (stem direction, rest positioning). I guess I should have included the right hand in my PDF: <http://files.me.com/haydenp/emb3b1> (Just to make sure we're on the same wavelength: middle C = C4, correct? In Digital Performer, it's C3!) At first I thought you were talking about having the RH actually _play_ the notes moved into the treble clef, but now I see that you're talking about making the LH notes more readable. But wouldn't it be more readable if I kept the LH notes on a separate staff and change clefs in that staff as needed? (I have to admit, thought, that this might not look so good with all the bass/treble clef changes.) to keep the beams from your example, after cross-staffing, in the LH staff add an A3 to one chord in every cross-staff beam group and change the A3 notehead to blank (adjust beam positioning according to your standards). this will keep proper positioning regardless of the between-staff distance on various systems. all beamed groups containing an A2 or E2 could also be changed to um... whatever it is called where some notes appear above, some below, the beam. Hmmm... interesting. I'll try it and see what I can get. (your spacing is a bit tight for this kind of figuration and stem length) Yes, I had to "squeeze" some measures due to a variable number of systems per page (this piano part has several places where three staves are needed). Thanks so much for your detailed suggestions! Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Separate clefs for low grace notes
FinMac09 Mac OS X 10.5.8 <http://files.me.com/haydenp/femwik> This is a PDF of the left hand part of a piano passage (the right hand is occupied with other stuff). I have three questions: 1. Should I just leave these measures in bass clef? 2. Should I use a bass clef for the low notes and change immediately back to treble clef for the higher notes? 3. Can you use a different clef for a single grace note in Finale? If so, how? I can only find a way to do this with a _regular_ note. (Temporarily changing a grace to a regular note and back doesn't work.) Thanks. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Text in only one part of a group (linked parts)
On Jan 4, 2010, Christopher Smith wrote: Okay, I understand. Chances are you will only need a couple of different offsets, unless it is a giant orchestra or wind ensemble, but even so I can't see it getting bigger than 10. So this is what I would do if you have to absolutely keep it all in Finale (the PDF option is what I would do, frankly.) When creating parts, I usually place each part page (PDF) on an InDesign page. I can then create a booklet that makes printing parts (2-up, duplexed) easy. But in the past I've never had to add page numbers in InDesign since Finale would do it (using extracted parts). Enter the page number block in the score in page view, setting the options as you want (Use the Page Number insert, select it and the Edit Page Offset option becomes ungreyed. DON'T enter a page number manually, as this way leads to madness.). Hide it in the score. Enter another one with a different offset, and hide it. Continue this for the number of different page number offsets you need, and they will be hidden in all the parts, too, by default. Then in the parts, find the block you want to UNhide, and unhide it. This will only happen in the part, as all the other blocks will stay hidden by default. If you ever have to change the offset for ONE part (say it got a page added), then you hide that page number block and choose or create another one. Don't change this offset, as any other part that uses that offset will also change. I would make myself a non-printing note in the score somewhere to tell me what I did if I ever have to come back. This is heavy kludging. See below for further explanation. Thanks for the suggestion, Chris -- I'll have to try it. The only problem I might find is that I want the page numbers to be in exactly the same place on each part (centered, bottom footer). Perhaps the offset could be very small, however, so it might look okay. Darcy recommends putting all movements in one file so that this part page number issue isn't a problem. I think that if I want to use linked parts in the future, I'll have to do this. Otherwise dealing with text blocks in parts becomes too cumbersome (at least for me). Paul On Jan 3, 2010, Christopher Smith wrote: I don't really get what you are trying to do. Why wouldn't you want a page number to show up on all parts? This is a file of a second movement, and the parts must start on a variety of page numbers. I hope you are using the Text tool (looks like a capital A) in page view, and using the Insert... command from the menu for the page number for this. If you use it in scroll view it attaches to the staff, and if you use the expression tool it attaches to the staff, too. You want to attach to the page. You then set the properties to show from page 2 on (so it doesn't show up on any title page.) Yep, that's what I've been doing. If there is some non-standard situation where you don't want this page number to show up on one or more parts, then hide it (right click, select Hide) while you are in the part. The problem is that if I place the page numbers for all parts in a group (e.g., flutes 1, 2, 3) in the same place on the page (e.g., center, bottom footer), they end up overlapping each other. I don't understand why page numbers on one page of one part should show up in any other part. When you enter a text block, it shows up on EVERY page 1 (or range of pages, depending on how you have set it) in EVERY part and score. The only way around this behaviour is to hide it (right click, uncheck Show). Since I'm working against a deadline here, I've just gone back to extracting the parts from the score. I'm probably doing something wrong here. When I finish this project, I'll RTFM more closely. Thanks for the suggestions. Paul Hayden On Sat Jan 2, at SaturdayJan 2 1:12 PM, Paul Hayden wrote: FinMac09 Mac OS 10.5.8 Orchestral score using linked parts. Flutes 1 and 2 form a group. If I add text (e.g., page numbers) to flute 1, it shows up in flute 2 but not the other parts (which are, of course, not part of the flute group). I've read the manual and looked at the Quickstart Videos, but obviously I've missed something basic here. How can I add text to one part of a group without adding it to the other part(s) of the group? My workaround is to add the page number as an expression in the part. Please CC your reply to my address as I'm on the digest and may not receive your reply for another 24 hours. Thanks very much. Paul Hayden (who really can't believe he doesn't know the answer to this basic question...) Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Text in only one part of a group (linked parts)
On Jan 4, 2010, Darcy James Argue wrote: This is one reason (among many) why separate files for separate movements is a dreadful idea to begin with. Good point. I may need to revise my work methods (horrors!). (One solution would be to forget about page numbers in Finale and add them later in Acrobat.) I thought about that but hoped to have Finale take care of it automatically. Anyway, text tool text cannot be added to "just one part," or even "just the score." By default, text tool text shows up in all parts plus the score. It can be *hidden* from selected parts, or the score, but it can't be modified or deleted without affecting all parts/score. Yes, but if I understand it correctly now, that's awkward (because you'd have to hide a _lot_ of text blocks as you do each part). I think putting all movements in one file would help. I can think of one instance where several movements in one file might be awkward to deal with: suppose each movement uses a different set of the instruments from the tutti? Wouldn't optimization be rather time consuming? If you had a separate file with just those instruments, optimization would be quick and easy. Thanks for the tip. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Text in only one part of a group (linked parts)
On Jan 3, 2010, Christopher Smith wrote: I don't really get what you are trying to do. Why wouldn't you want a page number to show up on all parts? This is a file of a second movement, and the parts must start on a variety of page numbers. I hope you are using the Text tool (looks like a capital A) in page view, and using the Insert... command from the menu for the page number for this. If you use it in scroll view it attaches to the staff, and if you use the expression tool it attaches to the staff, too. You want to attach to the page. You then set the properties to show from page 2 on (so it doesn't show up on any title page.) Yep, that's what I've been doing. If there is some non-standard situation where you don't want this page number to show up on one or more parts, then hide it (right click, select Hide) while you are in the part. The problem is that if I place the page numbers for all parts in a group (e.g., flutes 1, 2, 3) in the same place on the page (e.g., center, bottom footer), they end up overlapping each other. I don't understand why page numbers on one page of one part should show up in any other part. Since I'm working against a deadline here, I've just gone back to extracting the parts from the score. I'm probably doing something wrong here. When I finish this project, I'll RTFM more closely. Thanks for the suggestions. Paul Hayden On Sat Jan 2, at SaturdayJan 2 1:12 PM, Paul Hayden wrote: FinMac09 Mac OS 10.5.8 Orchestral score using linked parts. Flutes 1 and 2 form a group. If I add text (e.g., page numbers) to flute 1, it shows up in flute 2 but not the other parts (which are, of course, not part of the flute group). I've read the manual and looked at the Quickstart Videos, but obviously I've missed something basic here. How can I add text to one part of a group without adding it to the other part(s) of the group? My workaround is to add the page number as an expression in the part. Please CC your reply to my address as I'm on the digest and may not receive your reply for another 24 hours. Thanks very much. Paul Hayden (who really can't believe he doesn't know the answer to this basic question...) Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ 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] Text in only one part of a group (linked parts)
On Jan 2, 2010, at 3:05 PM, SN jef chippewa wrote: sounds like you might be addding in page view and you have "attach to measures" selected. sh-double-click the text handle and set it to show on the page. Thanks very much for the suggestion, jef. No, I have the text block set to "Attach to Page", not "Attach to Measure". I am in Page View, however, when working with the parts. My workaround is to add the page number as an expression in the part. god no every single change in the layout and beat charts will shift the placement. It's not a good solution, I know. But I have been able to kludge it to work. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Text in only one part of a group (linked parts)
FinMac09 Mac OS 10.5.8 Orchestral score using linked parts. Flutes 1 and 2 form a group. If I add text (e.g., page numbers) to flute 1, it shows up in flute 2 but not the other parts (which are, of course, not part of the flute group). I've read the manual and looked at the Quickstart Videos, but obviously I've missed something basic here. How can I add text to one part of a group without adding it to the other part(s) of the group? My workaround is to add the page number as an expression in the part. Please CC your reply to my address as I'm on the digest and may not receive your reply for another 24 hours. Thanks very much. Paul Hayden (who really can't believe he doesn't know the answer to this basic question...) Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Duplicating linked parts for similar instruments
I completely forgot about "Transfer Layout" in TGTools. It did the trick! Thanks, Chuck. Paul Hayden Chuck Israel wrote: There is a tool in the complete version of TGTools that will do what you need (for v.2009 and earlier). It is called "Transfer Layout" and it works beautifully. If you do not have the full set of Tobias' plugins, this function alone is worth the price. Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Duplicating linked parts for similar instruments
FinMac09 Mac OS 10.5.8 I'm working with linked parts (in an orchestral piece) for the first time. I just finished Horn 1 and would like to duplicate that part and paste in notes for Horn 2 (and then Horns 3 and 4). With extracted parts I would just duplicate the part 1, rename it, paste in the notes for the new part, and take care of details (assuming the new part is similar to the old part). How do you do this in linked parts? I don't want to reformat the entire part when it's so similar to a part I've already done. Thanks. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Hide number on selected multimeasure rests
JD Thomas wrote: "Staff Style." Couldn't figure out how to get this to work for hiding the number on a multimeasure rest. John Blane wrote: "You'll need to edit the individual m.m. rest. In the box marked "Start number at", make the number 1 more then the number of measures it represents. The number over the m.m. rest will then disappear." That did the trick. Thanks! Paul Hayden On Jul 16, 2009, at 7:37 PM, Paul Hayden wrote: Normally you want to see the number of measures in all of your multimeasure rests. However, I have two sections within a movement where certain instruments will improvise. For the other (non- improvising) instruments, I would like to hide the numbers on those two multimeasure rests. How do you do that? This is in regards to individual (extracted, not linked) parts only. The score is fine. Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Hide number on selected multimeasure rests
Normally you want to see the number of measures in all of your multimeasure rests. However, I have two sections within a movement where certain instruments will improvise. For the other (non- improvising) instruments, I would like to hide the numbers on those two multimeasure rests. How do you do that? This is in regards to individual (extracted, not linked) parts only. The score is fine. Thanks. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Fonts for text-related items in scores
I know that many of you are very particular about the fonts you use for for tempos and tempo modifications, instrument names, technical instructions (arco, pizz., a2, con sord., div., G.P., etc.), titles and subtitles, composer's name, copyright info, etc. I've worked out (not very methodically, I'll admit) a set of fonts, styles and sizes that seem to work okay. But I have two questions: 1. For technical instructions (see above), do you use italic? Bold? Roman? Some of both? 2. Is there a webpage somewhere that details a set of fonts (including sizes and styles) that work well for text-related items in a score? I refer to a lot of scores, of course, but I've seen many variations -- sometimes within a single score. Right now I'm looking at page 10 of Thomas Ades's "Asyla" and I see "pizz." and "sul tasto" in roman, while "legato" and "sim. sempre" are in italic. Thanks. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Linked parts--yes or no?
FinMac09 Mac OS 10.5.6 I have never used linked parts before. In about a week I'll be finishing a big score (on deadline) for voices and orchestra, and I'll have to decide whether or not to use linked parts. Bottom line, have you found them to be a time-saver? Thanks. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Word extension handles don't appear
On Apr 20, 2009, David Bailey wrote: Problems with copying music with lyrics from one staff to another has existed for many versions, so don't hold your breath that they will ever resolve this issue. I've found that lyrics entry is best done as one of the final steps in score preparation because of the problems that the lyrics system has (and has had for way too long a time.) Jeez, David, why didn't you let me know that _before_ I started this project? :-) I don't remember if I had this problem in my last project-with-lyrics. Maybe I inadvertently entered the lyrics last (as you recommend). That will certainly be my work method from now on. MM has recommended a workaround involving Lyrics>Clone Lyric. This _does_ prevent additional lyrics getting added to the Edit Lyrics window but it involves additional steps to just copying and pasting music with lyrics into another staff. Turning off Smart Word Extensions (Document>Document Options>Lyrics>Word Extensions) gets rid of some run-on extensions (that can draw across one or more pages), but then I'm have problems manually adding extensions (e.g., they go off the side of the page without jumping down to the next system). Guess I should stop and RTFM again. Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Word extension handles don't appear
Thanks for the suggestion, Christopher. I've tried everything you suggested (including TGTools Pro), but I'm still having problems with word extension handles not showing up, and with extensions that move across one or more pages (deleting the extension doesn't help). I think the root cause of this mess (in my case, at least) is because I have copied music and lyrics from one staff to another. This creates duplicates of the lyric in the Edit Lyrics window. MM knows this is a bug and has suggested a workaround involving "Clone Lyric". Unfortunately, this involves several more steps than simply copying music and lyrics from one staff to another. In my case, I think I'm just going to have to remove all the lyrics and start over. Until MM resolves this bug, I would recommend _not_ copying music and lyrics from one staff to another. If you do, you may have to deal with weird word extension behavior. You also won't be to option-click to add lyrics automatically as you will have a lot of additional words that will have been added to the Edit Lyrics window. Paul Hayden On Apr 19, 2009, Christopher Smith wrote: You're probably not missing anything, except a tactic to deal with this better when Finale messes up, which it does on a regular basis. I take it you've clicked Update Smart Word Extension and Hyphens from the Utilitites menu? And maybe this fixes about half the problems? After this, all you can do is Lyrics Tool, Lyrics Menu>Edit Word Extensions, and grab and drag the damned handles yourself. It usually takes me two tries, because after a screen redraw they aren't in the right place any more. The TG Tools pro version (not the version that comes for free with Finale) has a utility to adjust word extensions that will repair these, but unless you've paid for it... For missing hyphens (yes, this is still a problem) that appear in the Edit Lyrics window but NOT in the score, all you can do is re-type the word with the hyphen. This happens with me when I copy lyrics to other lines in a choral score sometimes. Hyphens and extensions mess up, but not always. Christopher On 18-Apr-09, at 18-Apr-09 3:03 PM, Paul Hayden wrote: Mac OS 10.5.6 Fin09b r3 <http://files.me.com/haydenp/lw2qk1> In this example (PDF file), the French word "reve" appears in all five vocal parts at the same time. However, word extension handles don't appear on two occurrences. I've check the Edit Lyrics window but see no obvious reason why handles wouldn't show up on those two words. I've tried retyping the word using Type Into Score, but the handles still don't appear. What am I missing here? Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Word extension handles don't appear
Mac OS 10.5.6 Fin09b r3 <http://files.me.com/haydenp/lw2qk1> In this example (PDF file), the French word "reve" appears in all five vocal parts at the same time. However, word extension handles don't appear on two occurrences. I've check the Edit Lyrics window but see no obvious reason why handles wouldn't show up on those two words. I've tried retyping the word using Type Into Score, but the handles still don't appear. What am I missing here? Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Fin09 as a sequencer
Here's my usual work method: 1. Sketch on paper. 2. Enter in Digital Performer and realize using plug-in (e.g., AU, VST, MAS) samples (mostly East/West Quantum Leap Symphonic Orchestra). 3. Export from DP as a standard MIDI file. 4. [Take a deep breath and...] Open MIDI file in Finale and work a zillion hours to get it to look right. I've never worked extensively on MIDI realizations in Finale as I've always found DP to be powerful and fairly easy to use (once you learn it). So here's my question: if I try to sequence a big project (chorus, soloist, orchestra) in FinMac09, am I going to go nuts? Is Finale fairly easy to sequence in, or is it awkward? I'm not worried about stuff like note entry -- I'm thinking mostly about crescendos and decrescendos, accelerandos and ritardandos, quickly changing a passage to or from staccato, mixing tracks (e.g., volume automation during playback), recording the final mix to a stereo audio track, etc. Any input on this subject would be appreciated -- especially if you've done big projects in Finale using plug-in samples. (I get the Finale digest, so email me a copy of your post if you're asking me a question.) Paul Hayden Magnolia Music Press Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: OT: CD label maker program
I've used Discus for several years: <http://magicmouse.com> Paul Hayden Martin wrote: Date: Thu, 16 Oct 2008 From: [EMAIL PROTECTED] Subject: [Finale] OT: CD label maker program To: Finale@shsu.edu Does anyone know of a decent CD label maker software program that will work on my new iMac (OS 10.5.5)? I used to use CD Stomper, but the version I have is an old one and would only run on Classic. Magnolia Music Press 6319 Riverbend Blvd. Baton Rouge, LA 70820 Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Engraver slurs not avoiding articulations
Aaron Sherber wrote: "In your staccato mark definition, is "Inside Slurs" checked?" Arrrgg... How can I forget such basic stuff? Thanks, Aaron. Paul Hayden Magnolia Music Press 6319 Riverbend Blvd. Baton Rouge, LA 70820 Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Engraver slurs not avoiding articulations
This has probably been discussed umpteen times, but can somebody tell
me if this is a bug or just a stupid user problem.
:-)
Fin08b
OS X 10.5.4
Default font is Maestro
Smart Shape>Smart Slur Options: "Use Engraver Slurs" checked.
1. Two notes: add a staccato mark over the second note.
2. Add a slur over both notes.
3. Apply music spacing and update layout.
The slur touches the staccato mark over the second note.
I tried this in page and scroll views and at different zoom
percentages. I also tried different values in the Smart Slur Options
window ("Maximum Slur Angle in Degrees", "Slur Symmetry", etc.).
TIA
Paul Hayden
Magnolia Music Press
6319 Riverbend Blvd.
Baton Rouge, LA 70820
Voice & Pre-arranged fax: 225-769-9604
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[Finale] Cheap, easy notation apps?
I have a friend who sings in a non-professional choir and he would like to buy a Windows platform notation program that is inexpensive (say, less than $100US) and easy to use. He would be using it mostly for 4-part choral music (including lyrics) with keyboard accompaniment. He does not have a MIDI keyboard, so he'd like to use the computer keyboard for note input, if possible. I'm not up on the various incarnations of Finale (Allegro, PrintMusic, Songwriter) and Sibelius (Student), so I'm not sure what to recommend. Any suggestions -- not just Finale and Sibelius products -- would be much appreciated. TIA Paul Hayden Magnolia Music Press 6319 Riverbend Blvd. Baton Rouge, LA 70820 Voice & Pre-arranged fax: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[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 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] assigning multiple text expressions at once
I've been using note-attached Expression Metatools for years but I'd like to know if it's possible to assign a text expression to notes in several different instruments at once (e.g., all the orchestral woodwinds in a given measure). I've searched the manual (under Expressions and Metatools) but can't find that info. TIA. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] RE: OT: OSX backup software suggestions?
shirling & neueweise wrote: after doing backups manually for years -- and for that reason not doing them nearly often enough -- i am going to automate this. any suggestions? looking for something cheap to free if possible. A good PDF book ($15) that examines OS X backup software is: <http://www.takecontrolbooks.com/backup-macosx.html>. I found it to be very helpful. Another one (which I haven't read) has to do with "Easy Backups in Leopard": <http://www.takecontrolbooks.com/leopard-easy-backup.html>. I've used Retrospect for years and I've come to really admire what it can do -- although it does have a convoluted user interface. This is what I do: 1. use two external Firewire hard drives. 2. partition each into four parts. 3. put backups (cumulative archives) and bootable duplicates (mirroring the original hard drives at a certain moment in time) of my and my wife's computers onto the external hard drives. 4. install Retrospect Client (a little app included with Retrospect) on my wife's laptop. That allows me to backup her computer over a wired or wireless home network. 5. create Retrospect backup scripts that I only have to double-click to start. 6. keep one of the two external hard drives off-premises, and swap hard drives every other week, or so. #4 above is the really cool ability of Retrospect to backup a volume that isn't mounted on your desktop. I don't know of another backup app that can do that in this price range (less than $100). I bought SuperDuper (along with an external hard drive) for my stepson and it works great for him because it's so simple to use. I also like Robert's suggestion to use an online service. I use .Mac ($100 per year) and Apple's Backup app to backup certain music folders. Until our ISPs increase the slow upload speeds most of us have to live with, it will remain a bit of a pain to do online backups. Think all of this is ridiculous overkill? Well, I've replaced crashed hard drives for my sister and my stepson in the past five years, so it can happen. And in the past month alone I've retrieved documents (from Retrospect archives) that had somehow become corrupted for me and my wife. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Searchable Finale Archive [hiding email addresses]
David Fenton wrote: On my own web pages, I use a PHP email form so that the user never knows the address the mail is being sent to. This is probably a good idea, but I wonder if these forms are temperamental (I'm not a programmer, so I don't know). I tried the "Contact David Fenton" link on your pages using Firefox v. 2.0.0.4, Safari v. 1.3.2, and my old Internet Explorer for Mac v. 5.2.3, but I just got a blank page in each case. There are a variety of ways to hide email addresses from spiders, but I don't know which is the best. There are drawbacks to each. You can easily find info on this by Googling something like "hide email address". Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] complex sequences on a Mac Pro
Is anyone doing thick, complex sequences (orchestra, band, etc.) on any flavor of Mac Pro (2, 2.66, or 3 GHz, 4 or 8 cores)? If so, are you experiencing any hiccups due to lack of computing power? If possible, please let us know: 1. exact version of Mac Pro you're using; 2. how much RAM you have; 3. if you're using more than one hard drive and, if so, how it's attached (internal, external, Firewire, etc.); 4. what software (Finale, Digital Performer, etc.) you're using when you have problems. I have an ancient Power Mac (G4, 500 MHz) which I would have upgraded except for all that's happened in the past couple of years: Apple's switch to Intel processors, software that's still not Intel-ready (MOTU's Mach5 -- hopefully next month), Finale's problems with EPS export (I _still_ sometimes boot into OS 9 and use Fin02 because of this), etc. TIA. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] FinMac07 & Leopard
Does anyone know if FinMac07 will work with Mac OS 10.5 "Leopard" when it ships? Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] EPS export - Mac OS X 10.4 - Fin07
I've been confused by some recent postings about EPS exporting on Macs -- I thought MM finally straightened out that problem. Does EPS export work reliably with Finale 2007 on Macs running OS X 10.4 (Tiger)? Any problems with embedding fonts, printing, etc.? I got so fed up dealing with EPS problems that I stopped using Fin04c and started booting into OS 9 to run Fin02! EPS export is problem-free in that configuration and I don't have the printing problems that have plagued Adobe InDesign and Panther (10.3). (Remember the "printing in italics" threads we had months ago?) My system (about to be replaced): PowerMac G4 500 MHz (yeah, I know, I know...) OS X 10.3.9 (Panther) Fin04c (in OS X) Fin02b (in OS 9 -- I don't even try using it in Classic) I would hate to buy a new computer, update all my software, and STILL have these damned EPS problems with Fin07. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: TFT Monitor (follow up from a long time ago)
Chuck Israels wrote: This is not gospel, but I think there are several ATI cards that now support Versavision, including some not so expensive. Whether they work in the newest Power Macs or not, I'm not sure, but it is my impression that they do. I think one problem might be that the newest Power Macs now use the PCI Express architecture for expansion cards. I don't know if ATI makes any PCI Express cards with Versavision that will work in the Power Mac. Paul Hayden On Dec 29, 2005, at 7:29 AM, Robert Patterson wrote: As long as the topic of pivoting (i.e., screen rotation) is back, I should mention I went to the Apple Store to check out the new dual core powermacs. I was dismayed to see that the nVidia cards do not apparently support screen rotation. Anyway the option is missing from the Displays panel. Does anyone know if ATI makes a card for the new PMs? -- > Robert Patterson -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: screen rotation on new Power Mac G5's?
Does anyone have one of the new (October-November 2005) Power Mac
G5's with one ("Dual") or two ("Quad") dual-core processors? If so,
do any of the built-in Nvidia graphics cards (GeForce 6600 LE, 6600,
7800 GT, or Quadro FX 4500) support screen rotation? (These Power
Macs use the PCI Express interface.)
For older Power Macs, you could buy an ATI Radeon card with
Versavision for screen rotation. I don't know if ATI makes any
Mac-compatible PCI Express cards.
My aging Power Mac G4 (500 MHz) needs to be replaced, but I'm trying
to decide whether or not to wait until the new Intel Power Macs come
out (late 2006?).
Paul Hayden
--
Magnolia Music Press <http://www.paulhayden.com>
6319 Riverbend Blvd.
Baton Rouge, LA 70820
Fax (by arrangement) & Voice: 225-769-9604
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[Finale] large Dell monitors with Power Macs
I recently read a good review of Dell's UltraSharp 2005FPW 20-inch LCD monitor ($525): <http://db.tidbits.com/getbits.acgi?tbart=08202> This monitor, as well as the 24-inch version (2405FPW, $1019), rotates 90 degrees. (Well, I _think_ the 24-inch model rotates.) Is anyone on the list using either of these monitors with a Mac and Tiger? If so, does the rotation work? I did find one message at Cnet that this monitor _will_ work with a G5 Power Mac, but no mention of rotation: <http://reviews.cnet.com/Dell_UltraSharp_2405FPW/4864-3174_7-31335738.html?messageSiteID=&messageID=1162086&tag=uolst&cval=1162086&ctype=msgid> Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] font with accordion symbols?
Does anyone know of a font that includes the symbols that are used to designate accordion registers? Each symbol looks like a circle enclosing two horizontal lines and up to four dots. I found a circle with two horizontal lines (no dots) in the font "Acoustica", but I would prefer not to add the dots manually. Thanks. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] tacet instrument
Two questions about using "tacet": 1. An instrument is not used in the first movement of a multi-movement work. Should the instrument be included on the first page of music in the score (and then perhaps deleted on other pages of the first movement)? 2. When creating the part for that instrument, should I just put "I. TACET" and then start the second movement directly below on the same page? TIA. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] EPS Issues (was: Including a graphic score in Finale)
Darcy James Argue <[EMAIL PROTECTED]> wrote: 2) EPS export works in Mac OS X, but the onscreen graphic preview is very low quality compared to OS 9. The print quality, however, is fine. Other possible problems with EPS export on a Mac: 1. I'm still using FinMac 2004c (under OS X 10.3.5), but I've read that FinMac 2005 also gives you that font warning on _every_ single page you try to export as an EPS file. I'm so frustrated with this that I'm booting in OS 9 and using FinMac 2002 to do EPS exporting. 2. Maybe it's my ancient 'puter (PowerMac G4, 500 MHz), but EPS export is very, very slow using FinMac 2004c. It's fast, however, with FinMac 2002 under OS 9.2.2. Not directly related to EPS export, but FinMac 2002 under OS 9 is quite zippy, while FinMac 2004c under OS X is rather sluggish. Nothing that a few thousand dollars can't fix. :-\ Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: OS X 10.4 "Tiger"
Eric Dussault wrote: I haven't timed the exact duration of eps. export, but I've seen it take around 8-10 seconds per page on big scores. About 4-5 seconds is what I estimate it takes for normal sized music. Times for my old Power Mac G4 (500 MHz), OS X 10.3.5, FinMac04c r1: 1. large 11" X 17" orchestral score with 27 staves: 57 secs. rotating eighth note, 1 sec. with that EPS export progress window. 2. letter size page with 9 staves: 13 secs. rotating eighth note, 1 sec. with progress window. I emailed MM in July of 2004 about these long export times (EPS export was very fast in previous versions of Finale under OS 9), and they replied: "Finale 2004 in general will be slower number 1 because it is under OSX (a more processor-intensive operating system to begin with), as well as the fact that it is not yet fully optimized for OSX having just been ported over from OS9 code (dating back over 14 years ago!)." I did everything they suggested, but it did not speed up export times. I just hope a dual-2.5 GHz Power Mac G5 with Finale 2005 or 2006 will perform EPS exports at a decent speed without that stupid font warning window (fixed in Fin05, I hope). Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OS X 10.4 "Tiger"
I wrote: 1. Finale 2005 will probably not work with "Tiger", correct? Don Hart wrote: I'm not sure exactly why you assume this. I am by no means any sort of expert on the subject, but I believe the initial leap from system 9 to system X presented the biggest hurdle for Finale, and that shouldn't be the case now on any sort of regular basis. True, I guess. But weren't there a few Jaguar apps that wouldn't work correctly in Panther? I wrote: > 4. I think I should order the Power Mac G5 before Tiger comes out (i.e., soon!), since I have this project due in September. Does this sound like a good idea? Darcy James Argue wrote: No, that's actually a very bad idea, because then you will have to pay an extra $129 for Tiger when it is released. If you hold off buying your new Mac until 10.4 is released, you will get 10.4 for free -- it will be preinstalled on your computer. I had thought that Apple might have an Up-To-Date program where I could upgrade to Tiger for $20 if I bought a Power Mac just before Tiger was released. I called Apple today but they are noncommittal about whether they will do this. Eric Dussault wrote: EPS export takes forever on ANY system. I have a PowerMac G5 Dual 1.8 GHz with 1 GB of Ram, and it doesn't make any difference. ...and Hiroaki Honshuk wrote: Did I tell you I bought G5 Dual 2.5GHz a month ago? How long does it take you gentlemen to export one page from a score or part? Hiroaki Honshuk wrote: If you wait for a machine that doesn't run Panther, and you find some of your app won't run reliably with Tiger, you are done. Could you still install Panther alongside Tiger and then pick which one you want to start up with? Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OS X 10.4 "Tiger"
I currently own: Power Mac G4 (500 MHz) OS X 10.3.5 Finale 2004c EPS export on this system takes forever, which is one of the reasons I'm going to get a new Power Mac G5 soon. I have an orchestral score and parts due September 1, 2005, for which I'd like to use the new Power Mac G5. If anyone can shed any light on the following questions, I would appreciate it: 1. Finale 2005 will probably not work with "Tiger", correct? 2. Do you think it's more likely that MM will update Fin05 for Tiger, or that it will just include that compatibility with Fin06? 3. Any idea when Fin06 will likely ship? 4. I think I should order the Power Mac G5 before Tiger comes out (i.e., soon!), since I have this project due in September. Does this sound like a good idea? TIA. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Bluetooth keyboard
Is anyone using a Bluetooth (wireless) keyboard and/or mouse with a Mac? If so, does it work okay for you? Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] duplets to dotted-eighths
Is there an easy way to change a bunch of duplets (two eighths with a "2" over them) in a compound meter (12/8 in this case) into dotted eighths (two dotted eighths with no "2" over them)? Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale dual processors
On 12/15/04 Allen Fisher <[EMAIL PROTECTED]> wrote: What specifically are you looking for from Finale in regards to "dual processor support"? Hi Allen, I'm not sure if you're asking me or James that question, but for me this dual-processor question had to do with whether I should buy a dual-processor upgrade for my aging Power Mac G4 (500 MHz), or get a near-bottom-of-the-line G5. Apparently some apps (like Digital Performer) are built to take full advantage of dual processors thereby speeding up many tasks. So, it looks like a dual-processor upgrade would have a greater effect on an app like Digital Performer than it would on Finale. I know that right now (under OS X 10.3.5 using Finale 2004c with 832 MB RAM), EPS export is unbelievably, incredibly, astonishingly slow. Other things (like creating a metatool dynamic and then dragging it) are sluggish. Paul Hayden > On 12/13/04 James Bailey wrote: Just so I'm clear, Finale does NOT make use of the dual processor? James, I have heard in the past that that is the case. John Hinchey reinforced that when he wrote (on 12/8/04): I asked tech support this question before I upgraded to FIN MAC 2005. I was told there were no functions that took advantage of dual processor Macs. Now if you are using Digital Performer and some other music sequencing and recording software, that is a different story. The Dual is definitely the way to go. More, tracks, faster and you can use more plugs for instruments and effects. My understanding is that a piece of software must be specifically written to take advantage of dual processors. I'm not a programmer, so I can't say for sure. > Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale dual processors
On 12/8/04, Paul Hayden wrote: Digital Performer will clearly perform better regardless of which I choose, since it takes advantage of dual processors. But Finale? I'm not sure what kind of real-world improvement I can expect with the upgrade. On 12/13/04 James Bailey wrote: Just so I'm clear, Finale does NOT make use of the dual processor? James, I have heard in the past that that is the case. John Hinchey reinforced that when he wrote (on 12/8/04): I asked tech support this question before I upgraded to FIN MAC 2005. I was told there were no functions that took advantage of dual processor Macs. Now if you are using Digital Performer and some other music sequencing and recording software, that is a different story. The Dual is definitely the way to go. More, tracks, faster and you can use more plugs for instruments and effects. My understanding is that a piece of software must be specifically written to take advantage of dual processors. I'm not a programmer, so I can't say for sure. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] slave PC for GigaStudio (was "Finale dual processors")
Are any Mac users on the list using a PC as a slave to run GigaStudio? If so, how well does it work? Tascam Tech Support writes: "How do I connect my Mac running my sequencer to the PC that I am running Giga on? Think of your PC running Giga as you would any hardware sampler or synthesizer (as far as connecting it). If you are using a controller keyboard, that would go to the MIDI in on the Mac, The MIDI out of your Mac would go to the MIDI in of your Gigastudio PC. (So you will need a MIDI interface on your Mac and one on the PC)." This is an interesting interview on the subject: <http://www.tascamgiga.com/pdf/giga-in-a-mac-world.pdf> At 5:50 PM -0600 12/8/04, Darcy James Argue <[EMAIL PROTECTED]> wrote: The dual- or not-dual dichotomy is a red herring here. Finale, GPO, and Digitial Performer 4 will certainly perform far better on a single 1.8 GHz G5 ($1500) than on a dual 1.3 GHz G4 upgrade slapped into a 500 MHz G4 minitower. Excellent point. The two computers I have purchased (1995 and 2000) were both top-of-the-line Macs, so I was looking at the best available now (ca. $3000 by the time you add lots of RAM). I bought the best available as I knew that software bloat would quickly catch up with any increases in computing power. Some things never change... :-\ Definitely hold off on any purchases until after the January 2005 MacWorld conference. If Steve unveils new G5s (as expected), there will be substantial discounts available on the old models. Great suggestion! Thanks! Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Finale dual processors
At 12:00 PM -0600 12/8/04, John Hinchey <[EMAIL PROTECTED]> wrote: I asked tech support this question before I upgraded to FIN MAC 2005. I was told there were no functions that took advantage of dual processor Macs. Now if you are using Digital Performer and some other music sequencing and recording software, that is a different story. The Dual is definitely the way to go. More, tracks, faster and you can use more plugs for instruments and effects. That is exactly why I am having difficulty deciding what to do about my aging PowerMac G4 (AGP, 500 MHz, 832 MB RAM, OS X 10.3.5). Finale 2004c is annoyingly slow, and Garritan Personal Orchestra "probably won't work at all" (Gary Garritan) with Digital Performer 4 on this Mac. (I haven't even bothered trying yet.) So, the choices are: a dual-G4 (ca. 1.3 GHz) upgrade for ca. $680, or a new PowerMac G5 dual-processor (ca. 2 - 2.5 GHz) for ca. $2500 - $3000. Digital Performer will clearly perform better regardless of which I choose, since it takes advantage of dual processors. But Finale? I'm not sure what kind of real-world improvement I can expect with the upgrade. Right now, my wallet says the upgrade is the way to go. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] copy only time signatures between documents
Many thanks to those who suggested ways to copy only slurs to identical rhythmic patterns. I ended up using Jari Williamsson's suggestion about using SmartFind and Paint (in the Mass Edit tool). I also downloaded and will try out Robert Patterson's Mass Copy plugin. I'm now having a problem copying _only_ time signatures from one document to another. I'm doing something wrong because the notes copy but not the time signatures. Here's what I'm doing: 1. Mass Edit>Copy Measure Items>Time Signatures 2. Mass Edit>Copy & Replace 3. Select one or more complete staves in document to copy from. 4. Edit>Copy 5. Select one or more complete staves in document to copy to. 6. Edit>Replace Entries The time signatures remain unchanged but notes are copied. FinMac04c r.1 Mac OS X 10.3.5 Thanks again! Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] applying slurs to several lines at once
I have several rhythmically identical lines (Vln. I, Vln. II, Vle., etc.) to which I need to apply identical slurs. What's the easiest way to do this? I know how to drag over notes for articulations but I'm not sure about slurs. FinMac04c r.1 Mac OS X 10.3.5 Thanks. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Mac Back-up Options Help Sought
On 11/3/04 Thurletta Brown-Gavins wrote: I'd like to know what back-up devices are being used *successfully* by Mac owners with similar setups. You've received several good suggestions on backing up your internal hard drive. Whatever method you decide to use, you still may want to copy all of your really, REALLY important files to one or more CDs and place those off-premises (your office, a friend's house, a safe deposit box, etc.). If your place burns down or your 'puter gets stolen, at least you will have those important files elsewhere. I do that with DVD-RAM disks. BTW, I see that Iomega (Zip disk maker) now makes something called a "Rev" drive. Each Rev cartridge holds a 35 GB hard disk that is removable and durable. There's a review in this month's MacWorld. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) & Voice: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hard Drives [was Re: No more OS9!]
It certainly _is_ a good idea to backup your internal hard drive and keep a copy off-site. I back up (using Dantz's Retrospect Desktop) to two different sets of DVD-RAM disks (2.6 GB per side) and keep one set in a safe deposit box (which costs maybe $25 per year). I also backup to an external FireWire hard drive. I rotate the DVD-RAM sets every week or two. If you want an even more convenient backup scheme, you could try a WiebeTech BayDock 400 or 800 with two cheap ATA hard drives: <http://www.macsonly.com/arch00404.html#261> <http://www.wiebetech.com/products/baydock.html> <http://www.wiebetech.com/products/Baydock800.html> If I understand the product correctly, these are just FireWire enclosures. If the drive dies, or you just want to replace it, you just pop it out of the tray and pop in another drive. BTW, if you have a newer PowerMac with FireWire 800 ports, you need to be aware of a problem with using certain FireWire hard drives under Panther: <http://docs.info.apple.com/article.html?artnum=120288>. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Voice & Fax: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] RE: (ot) printer & computer
Several people have recommended installing an Ethernet card -- and that's probably the best way to go. If you want to try to use a USB-to-serial adapter cable, I _think_ you may have a more complex job in store. I've read that some people are able to print to older serial port printers (to some degree), but you have to find the right combination of cable and software to make it work. Try looking around these pages for tips: <http://gimp-print.sourceforge.net/p_FAQ_OS_X.php3> <http://sourceforge.net/forum/?group_id=1537> <https://sourceforge.net/tracker/?func=detail&atid=351537&aid=644565&group_id=1537> Let us know if you do decide to try an adapter cable -- I'd be curious to know if it works. Paul Hayden On 7/13/04, Bob Florence wrote: I have a seven year old HP 4mv printer with a serial port and a new Mac G5 which uses USB ports. Can I get them to work together? I am using MacFin 2004c with OS X 10.3.4. I also have an HP 5110. I would like the 4mv to be a backup. It is in great condition. -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Voice & Fax: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] RE: FinMac04c - slow EPS export of big files
On 7/9/04, Paul Hayden wrote: Has anyone tried this? Any problems? 1. In FinMac04c, open a large ensemble file (orchestra, band, etc. with lots of staves and notes per page) created in FinMac02 or earlier. 2. Try EPS export of one or more pages. I skipped FinMac03 and waited for EPS export on Fin04. For some reason, EPS export in Fin04c is very slow on my PowerMac (G4, 500 MHz, 832 MB RAM, OS 10.3.4). I finally got a reply (see below) from MakeMusic about this problem. I tried their suggestions, but none of them helped my EPS export speed problem. I guess I'll just have to save my pennies and buy a 10 GHz quad-processor G8. :-\ Paul Hayden At 3:46 PM -0500 7/9/04, MacSupport wrote: Finale 2004 in general will be slower number 1 because it is under OSX (a more processor-intensive operating system to begin with), as well as the fact that it is not yet fully optimized for OSX having just been ported over from OS9 code (dating back over 14 years ago!) Finale's performance depends essentially on your system hardware. (processor speed, RAM, video card, etc...) There are also some minor adjustments you can make that will help its performance. First, make sure that you are quit out of classic (which can take up a huge amount of resources from OSX, as well as conflicting with how OSX CoreMIDI works). Go to the System Preferences, and click on the Classic icon. Click STOP if you have the choice to do so. Some things you can do in Finale: - Have Finale load only the Plug-ins that you use. This can be done by dragging the unwanted plugins out of the "Plugins" folder found in the Finale folder on your desktop or a separate folder. - Turn off "Automatic Music Spacing" and "Automatic Update Layout" in the Edit menu. (Remember to update the layout of your document regularly by using the "Update Layout" option in the Edit menu, and to space your music using MassEdit.) - Play back without the SmartMusic Softsynth soundfont. Go to the MIDI menu>>Internal speaker playback and choose Off, or the Quicktime Playback instead. -If you are using lyrics in your document, make "Smart Hyphens" and "Smart Word Extensions" be a manual update instead of automatic. You will find these options in the Options menu>>Program options>>View. You can manually update these by going to the Lyrics menu>>Update Word Extensions, Lyrics menu>>Update Hyphens. - Set Human Playback to "None" in the Playback Controls. -If you are experiencing delays when nudging or dragging items, try decreasing your monitor color depth from millions to thousands of colors. Reducing your overall monitor resolution will also help in this regard. -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Voice & Fax: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] FinMac04c - slow EPS export of big files
Has anyone tried this? Any problems? 1. In FinMac04c, open a large ensemble file (orchestra, band, etc. with lots of staves and notes per page) created in FinMac02 or earlier. 2. Try EPS export of one or more pages. I skipped FinMac03 and waited for EPS export on Fin04. For some reason, EPS export in Fin04c is very slow on my PowerMac (G4, 500 MHz, 832 MB RAM, OS 10.3.4). Thanks. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Voice & Fax: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] FinMac04c--slow EPS export in Panther
I sent the following message to <[EMAIL PROTECTED]> and am waiting for a reply. Has anyone else had this problem? Suggestions? My system: G4 PowerMac (500 MHz, AGP graphics, 832 MB RAM) OS 9.2.2 & 10.3.4 (Panther) -- my hard disk is not partitioned This problem is about Finale 2004c in Panther. I just bought Finale 2004 and updated to 2004c for EPS export. However, EPS export is very slow. This is what happens when I try to export a single page from various files. All exports include Pict preview and all fonts: 1. Orchestral piece, tabloid size, 34 staves (1 system): spinning eighth note for 2'08", then 2" of the EPS window showing exactly what is being processed on the page. TOTAL TIME: 2'10". 2. Same piece, different page, 29 staves: spinning eighth note for 1', then 2" of the EPS process window. TOTAL TIME: 1'02". 3. Chamber piece for four instruments, letter size, 12 staves (3 systems): spinning eighth note for 24", then 2" of the EPS process window. TOTAL TIME: 26". 4. Chamber piece for two instruments (tuba/pno), letter size, 9 staves (3 systems): spinning eighth note for 8", then 2" of the EPS process window. TOTAL TIME: 10". 5. Test chamber piece for two instruments (fl/pno), letter size, 3 staves (1 system), created in Finale 2004c: no spinning eighth note, EPS process box for 2". TOTAL TIME: 2". #1 - 4 export in less than 6" under Finale 2002 (OS 9.2.2). Under OS X, these times for all but the test piece are terrible. Is there something wrong with my system, or is it Finale 2004c? Thank you. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Voice & Fax: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: OS X & RAM on original iMac
Please respond off-list if you have: 1. successfully installed any version of Mac OS X on an original Bondi Blue iMac (233 MHz G3, tray-loading CD), or 2. successfully installed additional RAM. I may need to do one or both of these things to my sister's iMac, and I'd like to know if #1 is feasible (given processor and RAM limitations), and how hard #2 is. Thanks very much. Paul Hayden -- Magnolia Music Press <http://www.paulhayden.com> 6319 Riverbend Blvd. Baton Rouge, LA 70820 Voice & Fax: 225-769-9604 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
