Re: [Finale] MIDI/jazz changes

[dershem]

On 5/7/2017 12:27 PM, Martin Nickless wrote:
> Hi there was wondering if anybody that predominately writes big-band charts
> Do they enter the changes by playing the cord on a midi keyboard ?
> May I ask if they have built up a library of the complex chords e.g. flat 13 
> sharp 11s etc
> Thanks
I have an extensive library, but I type faster and more accurately than 
I play piano.  :)

cd

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

[dershem]

On 7/13/2016 8:18 PM, Mark D Lew wrote:
> In the late 1980s I played around with Lime.  I liked Lime in its
> general structure and approach, but it was limited.
>
> The first version of Finale I used was version 2-point-something,
> which I borrowed from a cousin.  It wasn’t long before I knew I
> wanted it, so I bought my own and started with v3.0.  I still fondly
> remember the lovely three-volume user manual/tutorial/encyclopedia.
>
> I was a frequent Finale user all through the 1990s, but some time
> around 2005 my life turned in a different direction and since then
> engraving is something I only dabble in occasionally.  This year, for
> the first time in almost three decades, I’m without any working
> version of Finale.  I had to upgrade my computer in January; I was
> advised that my version of Finale — v2010 — wouldn’t work well on my
> new operating system, so I never reinstalled it.
>
> I’m only now starting to miss it.  A few weeks ago I pulled out an
> old arrangement and started doodling with it — with pen and paper! —
> and more generally I’ve started feeling the desire to get back into
> music again.
>
> So now I’m planning to upgrade.  I think there’s a good chance I’ll
> make the jump to Dorico in the fall, but I don’t think I’ll want to
> be with nothing for that long.  (And besides, most of the cost will
> be made up in the cross-grade vs new price for Dorico.)
>
> mdl

 I did a lot of hand-copying back in the 70's - paid part of my way 
through college doing it, and was tempted to go to LA to work for 
Alphaeus or Judy Greene, but got sidetracked.
 Been using FInale since probably version 2 or so - I remember the 
enormous manuals we got with that version.  I still use version 10, and 
have had zero problems under Windows 10 (64 bit).  I have 2012, but ... 
many of the changes were unfriendly to the way I work, so I don't use it.
 I used Finale during the years I was a copyist for Walrus Music, 
until it got sold, and never had a complaint, but I also built a lot of 
libraries that helped legibility, and that didn't transfer to 2012.

cd

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Re: [Finale] New Steinberg notation software announcement

[dershem]

On 5/17/2016 11:15 AM, John Roberts wrote:
> 300 euro crossgrade price? My breath will not be bated. They could have
> called it Doremi.
> JR

Tell me about it!

cd


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Re: [Finale] Finale Zapped An Entire Opera

[dershem]

On 4/9/2016 2:46 PM, Christopher Smith wrote:
> This happens to me sometimes. I doubt Finale is the one at fault. Just create 
> a new folder (possibly in a new directory) and save it there.
>
> Also, backup in at least two more places than on your hard drive, along with 
> old versions. It isn’t really backed up until then. Don’t ask how I know.
>
> Christopher

Regular backups are CRUICIAL!  I have everything backed up in at least 4 
places, and do regular backups every month, or every time I do a major 
section.  That has saved my bacon more than once.
With external hard drives and thumb drives as heap as they are, there's 
little excuse not to.

cd

>> On Apr 9, 2016, at 1:39 PM, Michael Dutka  wrote:
>>
>> Hi, folks. Working on a long opera for years now, running Finale 10 on a
>> MacBook Pro, and all of a sudden Finale can't find the folder I store it in.
>>
>> Finder finds the folder, and recently modified files show up in the
>> recently modified files menu, but I can't save changes to the right folder,
>> because it doesn't show up in the menu with the 'save as' command.
>>
>> Opened and closed Finale, rebooted, everything. Any ideas, suggestions?
>>
>> Thanks!
>> Mike


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Re: [Finale] Enharmonics in Chord Symbols

[dershem]

On 3/30/2016 8:29 AM, Neal Gittleman wrote:
> Greetings…
>
> I’m working on a pop arrangement with chord symbols in the rhythm part that 
> manages to get itself into B major.  In that section there are chords like 
> C#/E# and C#7/E#.  But when I enter them, Finale insistently “corrects” them 
> to C#/F and C#7/F.  Is there a way to force it not to make that enharmonic 
> substitution?
>
> Thanks!
>
> Neal Gittleman

Under the chord pull-down, do you have "simplify" turned off?

cd


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Re: [Finale] #9b9

[dershem]

On 3/29/2016 2:18 PM, Martin Nickless wrote:
> Hi again
> Does anybody have any idea how to play in or type in for example G7 #9b9
> In jazz font
>
> does anybody use any third party jazz chords that are more comprehensive than 
> the standard issue finale changes ?
> Also do most people type for example G: followed by the relevant number of 
> the suffix you require
>
> Surely there must be a quicker way ...I have seen people using Sibelius and 
> they tend to type in complex changes on their keyboard
> Any views great fully received
> Many thanks
> Martin

I spent many hours building my chord library.  I haven't had much use of 
that particular one, but it's in there as are C+7(#9) and variants. 
It's part of doing the music - you have to just put in what the composer 
wants, and do it legibly.

cd


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Re: [Finale] Hide ties

[dershem]

On 6/27/2015 3:45 PM, GERALD BERG wrote:
 How about just dragging it off the printed page?  I do that (with things) all 
 the time! GJB

I just don't wear them.
:)

cd

From: Darcy James Argue djar...@icloud.com
   To: finale@shsu.edu
   Sent: Saturday, June 27, 2015 4:58 PM
   Subject: [Finale] Hide ties

 What's the easiest way to hide a tie? (Other than duplicating the notation 
 without ties in another layer and hiding the playback layer, which is what I 
 normally have to resort to.)

 Cheers,

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


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[Finale] Dynamic changes

[dershem]

OK - here's one I haven't run across before.
Doing a piece where on the first time through a repeated section, the 
dynamic is P and the second time F.  Marking it is easy enough, but .. 
playback?
Any experience with this?  Any ideas?

Carl

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Re: [Finale] Test 3

[dershem]

On 4/4/2015 6:01 AM, Raymond Horton wrote:
 Anybody see this?
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Not me.  :)

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Re: [Finale] Test 3

[dershem]

On 4/4/2015 11:55 AM, Allen Fisher wrote:
 I see nothing! Nothing!

Hogan!!!


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[Finale] Odd behavior change

[dershem]

Using FinWin2010, all of a sudden all of my drop down menus drop down to 
the left instead of the right.  No idea how to change this back to what 
is normal.  Any clues?

Thanks!

Carl

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[Finale] Some odd behavior

[dershem]

in FinWIn2010.

Doing a big band chart, open solo section with soli fills.  Fills apply 
to instruments also having solo changes, so for instance, I have a bar 
with a half note, followed by two slashes.  The half note has a fall, 
and a 'gliss' down is the composer's preferred mark.  But it refuses to 
be applied in measures with slashes - the half note with a fall and two 
slashes just has the half note and slashes, because, apparently it 
doesn't want to apply them when there's nothing to fall *to*, even 
though in the other (non solo) measures with a half note and a half 
rest, it stays.

Any idea on what setting will allow this?

Thanks.

Carl

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Re: [Finale] Some odd behavior

[dershem]

On 2/12/2015 6:16 PM, Ryan Beard wrote:
 Can you adding the fall first. The shorten the length. Then apply the
 slash staff style?

No, that doesn't work.  :(

 I get around this by assigning the fall as an articulation or
 expression. I can look up the font I use when I get to my Finale
 computer tonight.

I've gone to just creating an accent and using that, but playback 
suffers.  Stuff happens, no?

cd

 On Feb 12, 2015, at 5:38 PM, dershem ders...@cox.net wrote:

 in FinWIn2010.

 Doing a big band chart, open solo section with soli fills.  Fills
 apply to instruments also having solo changes, so for instance, I
 have a bar with a half note, followed by two slashes.  The half
 note has a fall, and a 'gliss' down is the composer's preferred
 mark.  But it refuses to be applied in measures with slashes - the
 half note with a fall and two slashes just has the half note and
 slashes, because, apparently it doesn't want to apply them when
 there's nothing to fall *to*, even though in the other (non solo)
 measures with a half note and a half rest, it stays.

 Any idea on what setting will allow this?

 Thanks.

 Carl

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Re: [Finale] Ideas for drum set notation - multimeasure rests

[dershem]

On 1/25/2015 11:24 AM, Chuck Israels wrote:

 Written music is an impoverished version of what we hear in good
 performances.  It’s a wonder we even come close.

 Drum parts remain somewhat mysterious and are best tailored to the
 drummer of the moment.  That said, I agree that MM rests are rarely a
 good solution.

 Chuck


I wouldn't say 'impoverished' - instead I'd quote my uncle Sandy, who 
said that we call the sheet music a 'chart' because it isn't the music - 
its the map that leads us to where the music actually is.

But yeah, writing drum parts is a black art.  I try to give my drummers 
enough so that they can know what to expect and work from there, but not 
too much or too little.

Carl

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Re: [Finale] Ideas for drum set notation - multimeasure rests

[dershem]

On 1/23/2015 7:06 AM, Craig Parmerlee wrote:
 In most of the big band charts I write, for the drummer I write a
 measure or two with the suggest beat pattern, then turn the rest of the
 measures into staff style Z so they will appear as a multi-measure rest
 up to the next double bar.  If there are any important punches, I will
 typically show those measures with slash notation and write the horn
 rhythms in notes above the staff, letting the drummer figure out how
 best to play that.  If there is an exact part I need played, I will show
 those measures.  For example, there may be a particular tom-tom riff or
 there may be a place where drums hit on 1 and then drop out.  I show all
 those measures explicitly.

 But my question is about the sections where the drummer is just carrying
 along.  I show those as multi-measure rests and put the indication
 (Continue) above the MM rest.  This gives a really clean, compact part
 and allows the drummer to play more artistically instead of trying to
 read a very cluttered chart.  But there is an ambiguity with the MM
 rests.  I am using the same look whether the drummer is continuing to
 play a pattern or whether the drums are out for a section.  My
 (Continue) marking attempts to clarify that, but I wonder how others
 deal with this.

 I think what I'd really like is two different visual styles of MM rest
 -- one for playing and one for resting.

When I was in Louie Bellson's band, I talked to him a few times about 
this, as I was already interested in doing this kind of work (I'd paid 
some of my bills in college doing copy work by hand), and wanted to know 
what a real big band drummer wanted.
He told me in no uncertain terms that less is more.
Start the chart with a marking telling what the foundation is - SWING q 
= 120 is all you need.
Slash notation, marked TIME when there are long periods of playing time.
Hits you have various horns doing something specific in standard notes 
(not slash) either in the space above the staff, or on the first space 
if that really works better for bass drum kicks.
If there are measures out, use rests.
For fills, mark the measures/beats FILL.  For more specific fills 
(descending tom patterns, etc) rough in the basics, but not every 
friggin' note.  The more specific you are, the more the drummer will 
ignore you.  Just give him the bones and let him flesh it out.
Most of the drummers I have worked with in the 30 years since, agree.

cd


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[Finale] doubling question

[dershem]

   Working on a piece where there is an optional double from Bari sax to Bass
   clarinet.  The original has both parts on the same line - stems up and stems
   down, which seems pretty efficient.
   Question is:  How to copy the notes in layer 1 to layer 2, and transpose
   only layer 2 to conform.  Any ideas?  I could do it 1 note at a time, but am
   hoping there's a simpler, faster way to have the computer do it (that's why
   we have them, right?).
   Thanks in advance.
   Carl
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Re: [Finale] doubling question

[dershem]

On 11/3/2014 8:16 PM, Peter Taylor wrote:
 That would do the job asked for, but it would be written with an
 incorrect key signature.

 I have serious doubts this is the right thing to do. I presume the
 notes in Layer 2 are a cue and there's a separate Bass Clarinet part
 with these same notes transposed for Bb.  Any cue notes written on the
 Bari part are intended to be played by an Eb Bari Sax only, so should
 not be transposed for Bb.

No - no separate part for the Bass clarinet.  This is a big band chart, 
and I dont want the book any more bloated than it already is.

cd
 Assuming you don't care about playback:

 1. Edit-Move Copy Layers (copy layer 1 to layer 2)
 2. Switch to layer two.
 3. Select Show Active Layer Only
 4. Transpose.

 If you need playback, you may be able to disable playback for layer
 2.


 On Mon, Nov 3, 2014 at 8:56 PM, dershem ders...@cox.net wrote:

 Working on a piece where there is an optional double from Bari
 sax to
 Bass
 clarinet.  The original has both parts on the same line - stems
 up and
 stems
 down, which seems pretty efficient.
 Question is:  How to copy the notes in layer 1 to layer 2, and
 transpose
 only layer 2 to conform.  Any ideas?  I could do it 1 note at a
 time,
 but am
 hoping there's a simpler, faster way to have the computer do it
 (that's
 why
 we have them, right?).
 Thanks in advance.
 Carl
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Re: [Finale] OT: Office Chair

[dershem]

On 10/15/2014 3:34 PM, Lee Actor wrote:
 Try this: http://tinyurl.com/mtkeevo.  Don't pay extra for lumbar support
 (worthless) or forward tilt (less than worthless).  You should be able to
 price one out between $525-$600, depending on arms and chair size.

 -Lee

I paid under $150 for mine, and it's great.

cd
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Re: [Finale] Anybody think we will ever see any more fixes for F2014?

[dershem]

On 10/13/2014 7:21 AM, Craig Parmerlee wrote:
 I use F2014.  On balance, for me it does enough things better than
 earlier releases to justify staying on that level.  But just barely.
 The product is still riddled with bugs.  The most annoying ones for me
 are in Human Playback.  There are all sorts of cases where volumes get
 gut back to almost nothing, of voices go away entirely for several
 measures.  Staccatos are all over the map in their interpretation.  In
 fast passages some notes don't sound -- as if HP sands the note-off
 before the note-on.  None of these HP problems are seen in normal
 playback without HP.  Basically HP is a real mess.  I have opened
 tickets on specific items, but the staff always just blows them off as
 if I don't know what I'm talking about.

 Given that Finale's exercise guru owners are moving the company to
 Boulder, and they were not known for putting out many fixes even before
 that, what are the odds that we will ever see any more fixes?

Given the dominance of bugs over actual fixes and improvements, I have 
stuck with F2010.  Every version since then has been so problem-ridden 
as to make it unusable.

cd
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Re: [Finale] Muted trumpet playback

[dershem]

On 9/29/2014 4:10 PM, Lee Actor wrote:
 Finale 2012c, GPO 4.  When I use any KS patch for trumpets, they play muted
 when encountering con sord.  But they seemingly stay muted forever; senza
 sord., mute off, norm., nothing gets them to remove the mutes.  When I
 use con sord./senza sord. for strings, it works as expected.  For now I'm
 using non-KS patches so the trumpets never mute, but I'd like to get it to
 work.  I'm using a custom Human Playback style with almost everything turned
 off, except slurs, trills/ornaments/tremolos, haripins/dynamics, and
 glissandi/bends; 0% on all slider controls.  What am I missing?

 -Lee
The patch for mute is apparently set up right, but you have to change 
the playback patch for 'senza sord' back to 'trumpet' alone. That should 
do it.

Carl
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Re: [Finale] Chord symbols with rhythmic notation

[dershem]

On 9/19/2014 5:27 PM, Don Hart wrote:
 You can also mute things in the instrument list.

 On Fri, Sep 19, 2014 at 7:08 PM, trumpe...@verizon.net wrote:

Yes, but that's for the entire playback.  It would be very helpful to be 
able to define a style (like rhythmic notation) to be muted.

 Hello all. I'm having a problem with writing chord symbols in piano or
 guitar parts with rhythmic notation. For example, if I'm writing in bass
 clef and write the rhythms on the third line D, when it plays back, I
 keep
 hearing a D even though I've applied staff styles to rhythmic notation
 or
 percussive notation. I'm trying to avoid going to studio view and
 muting the
 piano part. Any suggestions? I'm using Windows 7 and Finale 2012.

 Thanks in advance.
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Re: [Finale] Half time change?

[dershem]

On 9/18/2014 1:51 AM, Jari Williamsson wrote:
 JW Meter  Change-Relative Meter Change-Double Meter (set to change
 Bottom time sig part).

 This will create 4/2 measures and also adjust measure-attached contents.
 After that, rebar to 2/2.


 Best regards,

 Jari Williamsson

Exactly what I needed.  Thanks!

Carl

 On 2014-09-18 05:32, dershem wrote:
  Recently got an arrangement for a samba that is written in 4/4 instead 
 of
  2/2.
  I plugged everything into Finale (FinWin 2010b) with the intent of just
  going in and doubling the duration of everything and re-beaming it to 
 2/2.
  That doesn't seem to work - it only changes the duration of notes, not
  rests.
  Any idea what else to try?
  I can re-do it all by hand, but was hoping not to have to.
  Thanks!
  Carl
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[Finale] Half time change?

[dershem]

   Recently got an arrangement for a samba that is written in 4/4 instead of
   2/2.
   I plugged everything into Finale (FinWin 2010b) with the intent of just
   going in and doubling the duration of everything and re-beaming it to 2/2.
   That doesn't seem to work - it only changes the duration of notes, not
   rests.
   Any idea what else to try?
   I can re-do it all by hand, but was hoping not to have to.
   Thanks!
   Carl
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Re: [Finale] Percussion playback

[dershem]

On 5/31/2014 10:46 AM, Bill Baker wrote:
 I'm a casual user of Finale and I haven't upgraded since 2001, but I'm
 trying to figure out how to enter percussion parts so that they'll play
 back correctly.  What I've done so far is to enter a note on a staff and
 test its playback.  If what I get isn't the correct sound, I'll drag it
 to a different position in speedy entry, listening to all the sounds it
 plays while I'm dragging the note.  However, none of the sounds are of a
 snare drum.  Is that sound really so rare that Finale didn't include it
 in its percussion sounds?  The instrument list says I'm using Standard
 Kit on channel 10, program 1.  I've tried to find the answer online and
 in the documentation, but everything I've read tells me to build my own
 percussion library with no specific instructions on how to do it.  Can
 anyone help me with this?

Snare drum is usually found on space 3.

cd


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[Finale] latin percussion

[dershem]

using FinWin2010b

Trying to set up a simple latin percussion line - clave and shaker (2/3 
clave).
In a big band score.
I set up the line, put the notes in:
Layer 1: shaker.  just 8th notes.
Layer 2 clave.  2/3
Smart Music SoftSynth, garritan ambience.
Layer 10 (drums)
Nothing comes out.

Where is the error?

Thanks.

Carl

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Re: [Finale] Saxophones and Clarinet and Trumpet transposition question

[dershem]

On 4/7/2014 7:47 PM, Chuck Israels wrote:
 I am working on a passage in C# minor.  When I chose that key, Finale 
 transposes the Eb instruments nicely into 5 flats - fine, but the Bb 
 instruments show sharps (D#minor).  How can I control this so that the Bb 
 instruments show up in a flat key?

 Thanks,

 Chuck

IN staff attributes  Transposition, turn off Simplify

That should do it.

cd





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Re: [Finale] Union rules on doubling

[dershem]

On 3/16/2014 5:12 PM, J D Thomas wrote:
 I had a phone conversation with a client earlier today.  And the topic of 
 doublings came up.  This is going to happen in a live situation, not in the 
 studio.  He is going to have a situation where the two clarinets are going to 
 most likely be playing both Bb and A clarinets.  Someone from NYC checked 
 into it for him and told him that the two clarinets were considered the same 
 under union doubling rules.

 I am a member of Local 47, Los Angeles, and I told him if a player picks up 
 another instrument and plays it on a session, it's a double.  Period.  He 
 argued that this was not the case with classical performances and reiterated 
 that the two clarinets are considered the same.  I countered that they were 
 not, and he was getting erroneous information.

 I'd like to hear what everyone knows on this issue.  I did many, many 
 sessions in LA when I lived there for 21 years.  Both live and recorded.  But 
 I will admit my memory is foggy; I've been out of LA for over 13 years.  But 
 I do recall that if a played picks up another axe, it's a double.

 Any and all opinions are most welcome.

 J D Thomas
 ThomaStudios

According to the AFM Local 47
http://www.promusic47.org/wage2/wagemp.htm

It counts as a double:


  The following instruments are not construed as doubles:
  1. Piano and Celeste
  2. Drummer's standard outfit
  3. Tympani
  4. Mallet Instruments: Xylophone, Bells, Marimbas
  5. Latin Rhythm Instruments (see agreement)

The use of electronic devices such as multiplex, maestro, octave 
dividers, etc. will be treated as a double if used to simulate other 
sounds in addition to the normal sounds of the instrument to which the 
device is attached.

ANY COMBINATION OF INSTRUMENTS NOT LISTED ABOVE IS TO BE CONSTRUED AS 
DOUBLING.


So two clarinets in different keys counts, just as trumpet/flugel would 
count.




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Re: [Finale] Paper supply

[dershem]

On 3/10/2014 12:30 PM, Ryan Beard wrote:
 Hi all,
 My paper supplier has discontinued the product I like, so I need to switch to 
 something else. What do you use and where do you get it?
 Ryan

Kelly Paper has always been good to me.

cd





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Re: [Finale] Paper supply

[dershem]

On 3/10/2014 6:28 PM, Ryan Beard wrote:
 That's who I use. The paper I like is discontinued.

 Sent from my iPad

Ah.  And they don't have anything close enough?  That sucks.

cd

 On Mar 10, 2014, at 5:43 PM, dershem ders...@cox.net wrote:

 On 3/10/2014 12:30 PM, Ryan Beard wrote:
 Hi all,
 My paper supplier has discontinued the product I like, so I need to switch 
 to something else. What do you use and where do you get it?
 Ryan

 Kelly Paper has always been good to me.

 cd






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

[dershem]

On 2/23/2014 5:44 PM, Craig Parmerlee wrote:
 Well, there are trade-offs, of course. For jazz band charts, I like to
 keep the parts to 2 pages for horns and drums, 3 for bass, and no more
 than 4 for piano.  But I never  do a DS or DC that will go back more
 than one page.

 If there are good opportunities for page turns, I don't mind going to 4
 pages (both sides of an 11x17 sheet).

 Of course there are extended works that would never fit in that space,
 but for your normal 3-5 minute charts, I think those are reasonable
 limits.  I do agree with you that the road map can be the source of
 train wrecks for a band playing a lot of charts they aren't really
 familiar with, so I will thru-compose as long as I can live within the
 above limits.

 But DS and DC need not be fatal problems.  I always try to have any
 signs begin on a new staff, such that I can hang the segno mark out into
 the margin a little for quick visual reference.  And codas are ALWAYS on
 a new line, always indented.  And if page layout permits, I add a little
 vertical space above the coda.  if you do those things, the performance
 usually goes smoothly.

Agreed.  And there are places where you want repeats  (in Big Band and 
jazz stuff, at least), open solo sections being the most obvious.

If you do your page layouts carefully, roadmapping is not only easier, 
but can almost be obvious.  Of course, if the composer is sloppy or 
bizarre, this can be very difficult, but most of the time, it's not all 
that difficult.

[That said, the one I'm doing right now came with the originals marked 
D.S. al Coda, and there was no coda.  Some composers should get 
smacked upside the head.]

cd





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[Finale] Music search!

[dershem]

An old friend has found a part to an old concert band piece he remembers 
well (and that might be useful to him in his teaching), but has no idea 
if the whole piece is still available or published.
Seeing as how many of you deal with a lot of music that might not be 
current, I'm throwing this out to you.

The piece is called Meet Mr. ___ (as in, fill in the blank to feature 
the Cornet soloist), and was written by Charles Richard Spinney.

The copyright notice at the bottom reads

Copyright 1966 (in roman numerals)
WYNN MUSIC, Berkeley, CA

Does this ring a bell for anyone?  Does anyone have any good leads on 
where we might be able to find this piece?

Thanks in advance!

Carl




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Re: [Finale] Music search!

[dershem]

On 12/20/2013 7:29 PM, Cecil Rigby wrote:
 That piece is listed in the library collection of Meridian Community Band,
 Okemos, MI.
 http://www.meridiancommunityband.org/Meridian_Community_Band//Collection1_fi
 les/widget0_markup.html
 Their website:
 http://www.meridiancommunityband.org/Meridian_Community_Band/Welcome.html
 Facebook:
 https://www.facebook.com/pages/Meridian-Community-Band/30465894100
 Their Director:
 Carolyn Sherrill carolyn.sherr...@me.com

 Hope this helps!
 -Cecil Rigby
 Clemson, SC

YAY!!  Thank you so much!  I will send them a note right away.

Carl





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[Finale] Chord notation question

[dershem]

I'm doing a chart, and the composer has some chords as C (7)  but 
instead of parentheses, the 7 is in a circle.  I have never run across 
that variant before.
What is he trying to specify?

Carl




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Re: [Finale] Chord notation question

[dershem]

On 11/13/2013 8:14 PM, Raymond Horton wrote:
 I would assume G7, but can you ask composer?
 On Nov 14, 2013 11:10 AM, dershem ders...@cox.net wrote:

Lost my ouija board - alas, the composer is dead.  And Canadian.  Don't 
know if that makes a difference or not.  It's an old Rob McConnell chart 
I'm doing a new edition of for the publisher.

cd


 I'm doing a chart, and the composer has some chords as C (7)  but
 instead of parentheses, the 7 is in a circle.  I have never run across
 that variant before.
 What is he trying to specify?

 Carl






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Re: [Finale] Chord notation question

[dershem]

On 11/13/2013 8:21 PM, Williams, Jim wrote:
 What are the instruments playing under that symbol?

 Or do you just have a lead sheet?

 In such cases of odd chord symbols, I've always relied on the notes under the 
 symbol to tell me what the odd symbol *really* means.

I start with the rhythm section usually.  I'll have to enter the parts 
(16 horns) and convert to concert pitch to find out.

cd

 On Nov 13, 2013, at 11:08 PM, dershem ders...@cox.net wrote:

 I'm doing a chart, and the composer has some chords as C (7)  but
 instead of parentheses, the 7 is in a circle.  I have never run across
 that variant before.
 What is he trying to specify?

 Carl




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Re: [Finale] Chord notation question

[dershem]

On 11/13/2013 8:42 PM, Darcy James Argue wrote:
 CMA7.

 Cheers,

 - DJA

Thanks, Darcy.

cd





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Re: [Finale] Chord notation question

[dershem]

On 11/13/2013 8:42 PM, Doug Walter wrote:
 I seem to recall occasionally seeing that mean maj7, but I can't remember for 
 sure. Might that make sense in context?

 Doug

It might.  [looking...]  I see other Maj chords but no Maj7, so, yeah, 
it's likely.

cd

 On Nov 13, 2013, at 8:09 PM, dershem ders...@cox.net wrote:

 I'm doing a chart, and the composer has some chords as C (7)  but
 instead of parentheses, the 7 is in a circle.  I have never run across
 that variant before.
 What is he trying to specify?

 Carl




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Re: [Finale] Chord notation question

[dershem]

On 11/13/2013 8:43 PM, Darcy James Argue wrote:
 (It's an idiosyncratic shorthand for major seventh that only ever took hold 
 in Toronto.)

 Cheers,

 - DJA

Yeah, that makes as much sense as any of Rob's eccentricities.  :)

cd





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Re: [Finale] Playing back a score

[dershem]

On 11/11/2013 3:07 PM, Barbara Levy wrote:
 Hello, all

 OK, I'm trying to play back a score with a chord progression on the piano 
 part.  Is there any way to turn off the playing of the chords so I can hear 
 the melody and the other parts I've written?  The only way I've found to do 
 that is to remove the chord progression and do a save as, but this is 
 rather tedious.

 Many thanks!

 Barb Levy, Orlando, FL

Under the Chord menu, uncheck Enable chord playback.

cd





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[Finale] Question on chords

[dershem]

I'm putting an old Kenton chart into Finale (always have a safety copy 
in case some bozo loses or destroys a part!) and have found some chord 
markings that are new to me.

Measure 1 is  D9(flat)
Measure 6 is  E9(natural)

This might be how it was done back in the day, but .. how would these be 
marked now?  Is it D9(b???)  D7(b9)???  Ummm... new to me.

Any relevant thoughts would be appreciated.

Carl
-- 
http://projectselene.com




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Re: [Finale] Question on chords

[dershem]

On 12/25/2012 9:07 PM, Don Hart wrote:
 Hi Carl - I've never seen that either. My first guess would be that the 7th
 is assumed and the parenthesized comments concern the ninth in each chord.
   Which chart/arranger? - Don Hart

The Marke Winsten arrangement of Artistry in Rhythm.  Not a bad chart, 
but very old fashioned notation.

cd

 On Tue, Dec 25, 2012 at 9:42 PM, dershem ders...@cox.net wrote:

 I'm putting an old Kenton chart into Finale (always have a safety copy
 in case some bozo loses or destroys a part!) and have found some chord
 markings that are new to me.

 Measure 1 is  D9(flat)
 Measure 6 is  E9(natural)

 This might be how it was done back in the day, but .. how would these be
 marked now?  Is it D9(b???)  D7(b9)???  Ummm... new to me.

 Any relevant thoughts would be appreciated.

 Carl


-- 
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Re: [Finale] Question on chords

[dershem]

On 12/25/2012 9:09 PM, Williams, Jim wrote:
 What do the parts tell you?

 Sent from my iPhone, so please pardon all the typos.

First one is a D9 - D, F#, A, C, Eb.  D7(b9)?
Second is an E9 - E, G#, B, D, F  E7(b9)?

Both have that b7, b9, but both have M3, so not minor 9 chords.

Interesting notation, eh?

 On Dec 26, 2012, at 12:07 AM, Don Hart donhartmu...@gmail.com wrote:

 Hi Carl - I've never seen that either. My first guess would be that the 7th
 is assumed and the parenthesized comments concern the ninth in each chord.
 Which chart/arranger? - Don Hart


 On Tue, Dec 25, 2012 at 9:42 PM, dershem ders...@cox.net wrote:

 I'm putting an old Kenton chart into Finale (always have a safety copy
 in case some bozo loses or destroys a part!) and have found some chord
 markings that are new to me.

 Measure 1 is  D9(flat)
 Measure 6 is  E9(natural)

 This might be how it was done back in the day, but .. how would these be
 marked now?  Is it D9(b???)  D7(b9)???  Ummm... new to me.

 Any relevant thoughts would be appreciated.

 Carl
 --
 http://projectselene.com


-- 
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Re: [Finale] Question on chords

[dershem]

On 12/25/2012 9:54 PM, Williams, Jim wrote:
 Yeah...interesting indeed. Never seen that before.
 You've described the chords correctly as 7(b9), so why not go with what the 
 parts are saying?
 Jim

 Sent from my iPhone, so please pardon all the typos.

Thanks, Jim.  I appreciate the feedback.  It's always useful to have a 
second opinion.

cd

 On Dec 26, 2012, at 12:49 AM, dershem ders...@cox.net wrote:

 On 12/25/2012 9:09 PM, Williams, Jim wrote:
 What do the parts tell you?

 Sent from my iPhone, so please pardon all the typos.

 First one is a D9 - D, F#, A, C, Eb.  D7(b9)?
 Second is an E9 - E, G#, B, D, F  E7(b9)?

 Both have that b7, b9, but both have M3, so not minor 9 chords.

 Interesting notation, eh?

 On Dec 26, 2012, at 12:07 AM, Don Hart donhartmu...@gmail.com wrote:

 Hi Carl - I've never seen that either. My first guess would be that the 7th
 is assumed and the parenthesized comments concern the ninth in each chord.
 Which chart/arranger? - Don Hart


 On Tue, Dec 25, 2012 at 9:42 PM, dershem ders...@cox.net wrote:

 I'm putting an old Kenton chart into Finale (always have a safety copy
 in case some bozo loses or destroys a part!) and have found some chord
 markings that are new to me.

 Measure 1 is  D9(flat)
 Measure 6 is  E9(natural)

 This might be how it was done back in the day, but .. how would these be
 marked now?  Is it D9(b???)  D7(b9)???  Ummm... new to me.

 Any relevant thoughts would be appreciated.

 Carl
 --
 http://projectselene.com

-- 
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Re: [Finale] Including slash in a part name

[dershem]

On 9/30/2012 11:06 AM, SN jef chippewa wrote:

 not wanting to induce panic, but i hope this doesn't have anything to
 do with the file overwrite problem some have had.

 i just did a few tests (but haven't got a solution for you, sorry!)
 on a document i just set up for the tests.

 if the document has only one part and the part name has a slash, it
 prints correctly.  probably because in this case it doesn't append
 the instrument name to the PDF as it does with multi-part documents
 (i didn't know this!)...

 so i have a mellophone PT with its instrument name defined in manage
 PTs as instrument/part and added a horn in F and generated PTs.
 when i print (select both PTs to print) i get only one PDF (although
 the print dialogue appears twice, as you have experienced) whose
 filename is testscore.mus - Horn in F.pdf but in fact the
 instrument name showing is instrument/part... very strange.

the / character is used by the OS (all OS's), and so can't be used in 
a file name.  But you don't HAVE to.

When I have parts that call for doubles (pit orchestra parts and big 
band parts mostly), I leave the default part names intact, and then go 
into File Info and put the detailed names with the ? and the () part 
name there.  They will show up on the parts but will not confuse the 
computer.

This is handy when the part name is Woodwind 1 (Alto 
Sax/Flute/Piccolo) though commas would work as well there.

cd

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Re: [Finale] Including slash in a part name

[dershem]

On 9/30/2012 11:42 AM, Robert Patterson wrote:
 @Carl: I don't understand your solution, but it sounds intriguing. Which
 field in the File Info do you use? Is it different per part?

Yweah, 2012 added a LOT of unnecessary complexity, so you have to go 
into the score manager on each part and change it.  It was (like many 
things) better in earlier releases.

cd

 On Sun, Sep 30, 2012 at 1:23 PM, dershem ders...@cox.net wrote:

 On 9/30/2012 11:06 AM, SN jef chippewa wrote:

 not wanting to induce panic, but i hope this doesn't have anything to
 do with the file overwrite problem some have had.

 i just did a few tests (but haven't got a solution for you, sorry!)
 on a document i just set up for the tests.

 if the document has only one part and the part name has a slash, it
 prints correctly.  probably because in this case it doesn't append
 the instrument name to the PDF as it does with multi-part documents
 (i didn't know this!)...

 so i have a mellophone PT with its instrument name defined in manage
 PTs as instrument/part and added a horn in F and generated PTs.
 when i print (select both PTs to print) i get only one PDF (although
 the print dialogue appears twice, as you have experienced) whose
 filename is testscore.mus - Horn in F.pdf but in fact the
 instrument name showing is instrument/part... very strange.

 the / character is used by the OS (all OS's), and so can't be used in
 a file name.  But you don't HAVE to.

 When I have parts that call for doubles (pit orchestra parts and big
 band parts mostly), I leave the default part names intact, and then go
 into File Info and put the detailed names with the ? and the () part
 name there.  They will show up on the parts but will not confuse the
 computer.

 This is handy when the part name is Woodwind 1 (Alto
 Sax/Flute/Piccolo) though commas would work as well there.

 cd

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 http://projectselene.com




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Re: [Finale] Including slash in a part name

[dershem]

On 9/30/2012 12:03 PM, Jari Williamsson wrote:
 On 2012-09-30 20:53, dershem wrote:

 Yweah, 2012 added a LOT of unnecessary complexity, so you have to go
 into the score manager on each part and change it.  It was (like many
 things) better in earlier releases.

 YOU add the complexity...


 Best regards,

 Jari Williamsson

I disagree, but that's just us.  I found the score manager extremely 
inefficient for changing part names, as it ALWAYS took three or four 
tries before they stuck, and they never came out as I entered them.

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Re: [Finale] Advice on drum set notation

[dershem]

On 7/16/2012 10:07 PM, Craig Parmerlee wrote:
 There is a style of drum set notation that has slash notation in the
 measures, but the punches are written as regular notes above the
 percussion staff.  I can't figure out how to make this happen in
 Finale.  I trued using a second voice for the punches, but if the
 measure is set to slash notation, none of the notes will display,
 regardless of how many voices are used.

 Any suggestions?

I use slash notation on layer 4, and make sure you check 'view 
[everything] in other layers.
Then put UP staff stuff in layer 1, DOWN staff in layer 3, and the 
bizarre stuff in layer 3.

Luck!

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Re: [Finale] Chord Symbol Fonts

[dershem]

On 5/30/2012 4:05 AM, Steve Parker wrote:
 Hi all!

 I'm having another bout of trying to sort everything that niggles me
 in Finale... ;-)

 Any suggestions for chord symbol fonts/settings?

 I'm looking for something clear to use with Maestro but with a fairly
 'thick' house style (staff lines 0.01).

 Also, I always use the triangle for a generic maj7 chord when
 handwriting but haven't got around to sorting this for use with
 Maestro. Any suggestions here?

 Thanks!

 Steve Parker

I have long been using Technical Italic Bold 18 for chords (18 for the 
Base, 16 for the alterations, but for complex ones I use 14 - like 
Eb-7(#9b5) or it gets too big and makes the page look crowded).  It 
works for me.

Gotta get some images of that posted somewhere...

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Re: [Finale] 2012 vs 2010

[dershem]

On 4/19/2012 1:19 AM, SN jef chippewa wrote:

 Extract Parts would NOT save as [filename+partname+ whatevr] - I
 had to manually name each part.

 There is a standard option for extracting parts, and it has been
 there for many years.  It existed as a menu option but never worked.

 i think i have extracted parts maybe once since the (admittedly
 faulty) implementation of linked parts (F2007), but just had a quick
 look at the dialogue in 2010.  what is the issue you are having
 exactly?  i just tried this and it seems to work fine.

It works fine for you.  Many thin gs apparently designed into the 
program do not work on this computer.  Probably all of the bugs I am 
having issue with are on this computer, but getting that fixed would be 
more trouble than it is worth.

 If it consistently does the wrong thing, it's a bug.  I could send
 you files, but instead I will just revert to 2010, which works just
 fine.

 well, if there are such serious bugs as you mention they should also
 be checked and documented, and sent to MM.  i would encourage you to
 send the file to christopher for checking.

I have doubts it is the fle - it is almost certainly the program, as 
installed on this machine.  And as I used the default settings here, 
there is probably some conflict with my other software that is causing 
it, and I'm not willing to change programs that work to possibly help 
one that doesn't, especially if I have an alternative that DOES work.

 The only option I would like that 2010 doesn't have is to hide
 staves in the piano part, and I am used to doing that with a
 T-square and x-acto knife.

 hein?!?! once the system is optimized you can remove any staff by
 selecting the lower handle at the start of the staff (staff tool) and
 deleting it (from appearing in the system).  despite my own
 criticisms of the programme i have never come across something that
 could not be resolved somehow in the file itself.  knife and ruler...
 sheesh, sounds so... 1980s.  notation in the dark ages, barbaric =-O

As said earlier, I used that back in the 70's and 80's, before computer 
notation.  And now that I am back on 2010, it is not necessary any more. 
  I only did a dozen or so scores in 2012 before I gave up on it, so 
there is little damage done, and for those clients that still want stuff 
in 2012 format, that can be done by just opening there and saving in a 
new folder.

 It is just FULL of bugs and errors.  2010 works, 2012 does not - it
 takes more effort to do what 2010 did effortlessly.

 could you list a few more of these bugs?

 cheers,
 jef

Hmmm...  trying to get away from them.

One of the more annoying ones was that every time I opened FinWin2012, 
it would ask if I wanted to use the .bak extension for Finale, as 
Photoshop uses it for something else.  No matter how many times I said 
Yes and checked the Don't ask again box, it still came up EVERY 
TIME.  Very annoying.

Then the 'save as' problem when extracting parts (which I have to do a lot).

The page size glitch.

The piano optimization/hiding empty staves problem (Almost all of what I 
do is big band music.  For those who don't do much of this - the piano 
part is usually a few bars of clear notation to establish a pattern of 
interpretation, followed by many measures of just chord changes.  The 
end is often more clear notation, and there is occasionally something in 
the middle.  But in a 200-250 measure piece, there might only be 20-30 
bars of grand staff needed, and empty bass clef staves waste a lot of 
paper and cause page turn problems for my piano player).

Those are the most egregious.

Carl
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Re: [Finale] 2012 vs 2010

[dershem]

On 4/18/2012 11:32 PM, Jari Williamsson wrote:
 On 2012-04-19 03:05, dershem wrote:

 For one thing, I could not upgrade on-line.  I simply would NOT
 function, so even though I bought the upgrade on-line, I had to pay
 extra for a CD.

 Windows with anti-virus program active?

Windows7 (64 bit).  Tried several different browsers and anti-virus 
settings.  None of them worked.

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Re: [Finale] 2012 vs 2010

[dershem]

On 4/19/2012 5:20 AM, Christopher Smith wrote:

 On Thu Apr 19, at ThursdayApr 19 2:14 AM, dershem wrote:


 The only option I would like that 2010 doesn't have is to hide
 staves in the piano part, and I am used to doing that with a
 T-square and x-acto knife.

 Carl


 Hi Carl,

 I know that the piano group is set by default to NOT allow
 optimisation, but you can edit the group to allow optimisation
 normally in the part. This hasn't changed for a very long time. Now,
 of course, in 2012 it's called hide empty staves instead of
 optimisation but the principle (and the restriction!) are the same.
 Please, put down the knife!

 Christopher

I'm an old guy - I put myself through college in the 70's (well, 
partway) doing notation by hand.  Didn't have to go back to that until 
this version of Finale, but it was pretty easy to re-adjust.

Going back to Fin2010b eliminated that need, so no problem.

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Re: [Finale] 2012 vs 2010

[dershem]

On 4/18/2012 6:39 PM, Chuck Israels wrote:
 Carl,

 I have been using 2012 for months without problems (except for an
 issue with Lion compatibility for the paste multiple keyboard
 shortcut).  I no longer extract separate parts, so that may explain
 my ignorance of those problems.  Piano parts arrive by default with
 Hide Normally deselected, and you have to change that in group
 attributes in order to be able to hide a staff in the part. The app
 downloaded online without trouble for me.

 It's not that I doubt that there may be problems, but I want to weigh
 in in order that jef get another point of view.

 Chuck

Understood.  But the piano parts would not hide no matter what I did. 
All of the stupid things 2012 was doing were happening no matter what I 
did.  I would rather use a program slightly less powerful that works, 
instead of one potentially more powerful that fights me every step of 
the way.

cd

 On Apr 18, 2012, at 6:05 PM, dershem wrote:

 On 4/18/2012 12:03 AM, SN jef chippewa wrote:

 carl, i am about to upgrade a few things, including finale, and
 wonder if you could tell me what you found so disastrous moving
 from 2010 to 2012 (which is what i would be doing soon).

 For one thing, I could not upgrade on-line.  I simply would NOT
 function, so even though I bought the upgrade on-line, I had to
 pay extra for a CD.

 For another, many functions ceased to function: Hide staff for
 part of the piano staff didn't work. Extract Parts would NOT save
 as [filename+partname+ whatevr] - I had to manually name each
 part. Page format was messed up - the first 3 pages of every part
 and score had to be enlarged 10 112% to be seen/print normally, and
 pages after that needed to be reduced to 70% to then match the
 earlier pages.

 Those are just the three that I thought of first.  It is just FULL
 of bugs and errors.  2010 works, 2012 does not - it takes more
 effort to do what 2010 did effortlessly.

 cd -- http://projectselene.com




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Re: [Finale] 2012 vs 2010

[dershem]

On 4/18/2012 7:22 PM, Christopher Smith wrote:

 On Wed Apr 18, at WednesdayApr 18 9:05 PM, dershem wrote:

 On 4/18/2012 12:03 AM, SN jef chippewa wrote:

 carl, i am about to upgrade a few things, including finale, and
 wonder if you could tell me what you found so disastrous moving
 from 2010 to 2012 (which is what i would be doing soon).

 For one thing, I could not upgrade on-line.  I simply would NOT
 function, so even though I bought the upgrade on-line, I had to pay
 extra for a CD.

 Carl, did you give it enough time? The initial download is just the
 installer. Once you double-click it, the ACTUAL download starts and
 can take quite a while, especially if you don't have a super-fast
 connection or the MakeMusic server was overloaded. It took me well
 over an hour.

I tried at least a dozen times.  It would freeze solid every time.

 For another, many functions ceased to function: Hide staff for
 part of the piano staff didn't work.

 Had you enabled hide normally in the group attributes IN THE PIANO
 PART (just in the score might not do it)?

Yup.

 Extract Parts would NOT save as [filename+partname+ whatevr] - I
 had to manually name each part.

 I haven't seen this, as I don't extract parts that often. Do you
 have slashes in the staff/part name? That might kill a file creation
 on Mac (I see it all the time when creating PDFs), and it has been
 this way for a while. If you are on Windows, I don't know.

There is a standard option for extracting parts, and it has been there
for many years.  It existed as a menu option but never worked.

 Page format was messed up - the first 3 pages of every part and
 score had to be enlarged 10 112% to be seen/print normally, and
 pages after that needed to be reduced to 70% to then match the
 earlier pages.

 I have my suspicions about that. There are several explanations,
 involving the Zoom tool and the default page/system sizes, which I
 have had to suss out before. Short answer, it's not a bug, it's just
 an unwanted or misunderstood behaviour. If you could send me a file
 privately, I'll check it out, and you won't be bothered with it
 again.

If it consistently does the wrong thing, it's a bug.  I could send you
files, but instead I will just revert to 2010, which works just fine.
The only option I would like that 2010 doesn't have is to hide staves in
the piano part, and I am used to doing that with a T-square and x-acto
knife.

Carl

 Those are just the three that I thought of first.  It is just FULL
 of bugs and errors.  2010 works, 2012 does not - it takes more
 effort to do what 2010 did effortlessly.

 cd




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Re: [Finale] 2012 vs 2010

[dershem]

On 4/18/2012 12:03 AM, SN jef chippewa wrote:

 carl, i am about to upgrade a few things, including finale, and
 wonder if you could tell me what you found so disastrous moving from
 2010 to 2012 (which is what i would be doing soon).

For one thing, I could not upgrade on-line.  I simply would NOT 
function, so even though I bought the upgrade on-line, I had to pay 
extra for a CD.

For another, many functions ceased to function:
Hide staff for part of the piano staff didn't work.
Extract Parts would NOT save as [filename+partname+ whatevr] - I had 
to manually name each part.
Page format was messed up - the first 3 pages of every part and score 
had to be enlarged 10 112% to be seen/print normally, and pages after 
that needed to be reduced to 70% to then match the earlier pages.

Those are just the three that I thought of first.  It is just FULL of 
bugs and errors.  2010 works, 2012 does not - it takes more effort to do 
what 2010 did effortlessly.

cd
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Re: [Finale] Is FINALE worth continuing?

[dershem]

On 4/15/2012 11:39 PM, Jari Williamsson wrote:
 On 2012-04-15 19:44, Howey, Henry wrote:

 After dealing with MAC and PC 2012 I now wonder if FINALE is ready to be 
 ditched.

 Personally I think this list has been dying for quite a long time now,
 so is your question now if you're going to kill this list or not?

 I personally spend almost all of my Finale discussion/reading time in
 other forums nowadays. But perhaps there are some users out there that
 still think this list is of use, that want to take over the management
 of the list?


 Best regards,

 Jari Williamsson

I still get some good stuff from the list, even though I went back to 
Finale 2010b after 2012 being such a disaster.

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Re: [Finale] Piano not so grand staff?

[dershem]

On 3/16/2012 11:14 PM, John Blane wrote:
 Yes, you can remove the empty staff.

 2 things to check:
 1) in the staff attribute for the LH staff, make sure the Allow hiding when 
 empty box is checked
 2) Staff Tool: double click on one of the Brace handles to access the group 
 definition.
  Next to When Hiding Empty Staves, make sure Hide Normally is showing
 Changing either one of these option should now let you hide the empty staff.

Thanks!!  Just what I needed.

cd

 On Mar 17, 2012, at 12:04 AM, dershem wrote:

 The vast majority of the music I do is Big Band parts.  That means that
 while I occasionally need a full Grand Staff, most of the time I only
 need one stave, with Chord Changes and cues.

 But you can't Hide Empty Staves in a Grand Staff.  And that leaves me
 with MUCH longer parts than are needed - lots of empty stuff cluttering
 up the part, and making the parts twice as long as necessary.

 Any suggestions on how to work around this?  What has worked for you all?

 Carl

 using WinFin 2012a
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Re: [Finale] Piano not so grand staff?

[dershem]

On 3/17/2012 9:56 AM, TXSTNR POP account wrote:
 Why not just delete the unwanted staff?  That's what I do in this case.

Because, as I said, there are places where I need a grand staff.  Charts 
without any need for that just get a simple singe staff.

cd


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[Finale] Piano not so grand staff?

[dershem]

The vast majority of the music I do is Big Band parts.  That means that 
while I occasionally need a full Grand Staff, most of the time I only 
need one stave, with Chord Changes and cues.

But you can't Hide Empty Staves in a Grand Staff.  And that leaves me 
with MUCH longer parts than are needed - lots of empty stuff cluttering 
up the part, and making the parts twice as long as necessary.

Any suggestions on how to work around this?  What has worked for you all?

Carl

using WinFin 2012a
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[Finale] Contrabass clarinet part?

[dershem]

I'm doing an arrangement that calls for bass and contrabass clarinet 
parts.  Using FinWin 2012a.
There is NO playback for those instruments (though the other instruments 
play just fine).  Any suggestions for workarounds?

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Re: [Finale] Drum Set with Ensemble Cues

[dershem]

On 2/29/2012 9:31 AM, wph...@mindspring.com wrote:

 Dear Collective Wisdom,

Mac OS 10.6.8, Finale 2011.b

I need help creating ensemble cues on top of a slash drum set part. The
 Help Section wants me to check items in [ Staff Styles - Define Staff 
 Style
 - Alternate Notation -  ]   that do not exist in the drop down window. 
 Same
 for Finale online support. I don't care if the part plays back properly, I
 just need ensemble cues on top of a slash drum part. My neighbor's dog has
 sensed my frustration and has brought me one of her toys so that I might
 feel better. (What a great dog!) For her sake, if not mine, does anyone 
 have
 a solution?  :-)

I'm sure that this is an easy fix, and I apologize for boring the List
 with it. But the non-agreement of Help with the application has me 
 stymied.
 Please feel free to respond off-list if this is too old-hat for the List.

Sincerely,

 Bill Huber

 Nashville, TN

 wph...@mindspring.com

For the drum parts for my band (17 piece big band) I use the following 
settings:
Layer 4 - slash notation (allow all other thingies in other layers).
Layer 1 - cues for punches/cues for other sections (bones have rhythm 
X, etc).
Layer 3 - bass drum kicks.
This is with the percussion line set to Drum Kit.
Layer 1 cues are either Hi Tom or Hi Hat/Crash cymbal.

That's enough to get the idea through to my drummer (and those who sub 
for him), and is all they want.

Carl
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[Finale] rests and copying

[dershem]

OK - this is a new one to me.
Using FinWin2012, and I have 'enable dotted rests' quantized.  That 
allows dotted eighths, which are needed in this piece.
But when I copy a measure with, for example, a quarter, quarter rest and 
half rest, it pastes as a quarter and a dotted half rest.
Why doesn't it paste what is copied?

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Re: [Finale] FinWin2012 question

[dershem]

On 11/20/2011 8:54 AM, Christopher Smith wrote:

 On Sun Nov 20, at SundayNov 20 10:34 AM, Jari Williamsson wrote:

 On 2011-11-20 14:38, Christopher Smith wrote:

 Notes was the first thing on my list. When I click a note, the
 entire note and anything attached to it (stem, flag, articulation,
 lyric) gets changed in size. I can't get it to just change the note
 HEAD. Am I missing something?

 Resize Notehead To: is the text on the dialog box in the FinWin2012
 for notehead resize, at least. You can also bring up the context menu in
 the Resize Tool to see all the 5 levels.


 Best regards,

 Jari Williamsson

 I stand happily corrected! Is this new in 2012? They don't seem to document 
 these little things.

 Christopher

Tell me about it.  :(

cd


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[Finale] FinWin2012 question

[dershem]

I just upgraded to FinWin 2012, and have found that the new project I'm 
working on is glitching in an unusual way.

Pages 4 and on have the music MUCH larger than pages 1 to 3.  I have 
tried resizing and scaling the pages (I print my scores on 11x17 paper), 
and nothing has helped.

Any idea what may be causing this, or how to cure it?

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Re: [Finale] Page turns for parts

[dershem]

On 11/5/2011 12:17 PM, Dean M. Estabrook wrote:
 Yeah  I find playing the Bass Bone, any way, that grabbing the
 bell with the R.H. to free up the L.H. for turning, is real
 difficult  and assumes the L.H. can even reach the page  to turn
 it, which is usually on the right side of the desk.

 Dean

I was playing a piece the other day where all four of the trombone parts 
were on plunger.  And the bass bone parts were all trigger parts.

You'd think that Sammy, being a trombonist himself, would know better!

cd
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Re: [Finale] Page turns for parts

[dershem]

On 11/4/2011 3:28 PM, Dean M. Estabrook wrote:
 As I'm sure you have all encountered,  I'm redoing parts for a rather
 long Wind Ensemble transcription,  which, ergo,  has parts lasting up
 to 6 or 7 pages (presently printed on both sides back to back).  A
 group managed to read it reasonably well a few nights ago, but most
 of the page turns occur with no breaks at all between measures.  What
 is the best solution for this problem (if, in fact, there is one)?

 Thanks,


 Dean

When doing long pieces, page turns are one of the controlling ideas in 
layout.  Trying to understand the phrasing and thematic breaks is 
something I try to pay attention to for that - if I can put, for 
instance, a repeated section on one page, it really helps.

Other than that, I try to play each part before doing a final print - 
that really highlights where the difficulties will lie.

Luck!

Carl

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Re: [Finale] Right-left page annoyance

[dershem]

On 10/23/2011 5:50 PM, Raymond Horton wrote:
 Of course it is easy to change.  (The only lister who implied it was not
 hasn't actually used Finale since sometime in the late 50s.)  I still
 prefer, as a general rule, odd pages on the right, etc.

 Raymond Horton

Considering some of the arrangements I'v e been doing, all of the pages 
can be considered odd.

Hmmm...

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[Finale] Fin2012 upgrade

[dershem]

A friend upgraded me (very nice of him - I guess when you do charts for 
people, they occasionally pay you back in unexpected ways!), but when I 
went to install, it froze.
Froze solid.
I downloaded the upgrade, and got to the screen where it says 
Installing - Please wait while Finale 2012 is being installed (which 
is actually bad grammar), and since then, it just sits there and stares 
at me.

Re-try from scratch, or...?

Any advice?

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Re: [Finale] Fin2012 upgrade

[dershem]

On 10/21/2011 9:18 PM, David McKay wrote:
 How is it bad grammar, please?
 David McKay

 Sent from my iPhone

Inaccurate for one, as it isn't being installed - just sitting there, 
frozen.  And 'installing' and 'being installed' disagree on the verb.

cd

 On 22/10/2011, at 10:34 AM, dershemders...@cox.net  wrote:

 A friend upgraded me (very nice of him - I guess when you do charts for
 people, they occasionally pay you back in unexpected ways!), but when I
 went to install, it froze.
 Froze solid.
 I downloaded the upgrade, and got to the screen where it says
 Installing - Please wait while Finale 2012 is being installed (which
 is actually bad grammar), and since then, it just sits there and stares
 at me.

 Re-try from scratch, or...?

 Any advice?

 cd


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Re: [Finale] Fin2012 upgrade

[dershem]

On 10/21/2011 10:03 PM, Eric Dannewitz wrote:
 I'm going to assume that you are on a pc.since you are virus
 scanning email..that must suck..virus scanning.

 I'd first make sure you have the right patches and stuff for windows.
 Second, make sure your virus program isn't screwing things up.

 Sent from my iSomething
 --
 Eric Dannewitz
 Musician/Polymath/Evil Genius
 http://www.ericdannewitz.com/
 iMessage ericdannew...@me.com

Yeah, using Windows 7.  :/
I'll have to check my antivirals once I get home from LA on Sunday.

Carl

 On Oct 21, 2011, at 9:35 PM, dershemders...@cox.net  wrote:

 On 10/21/2011 9:18 PM, David McKay wrote:
 How is it bad grammar, please?
 David McKay

 Sent from my iPhone

 Inaccurate for one, as it isn't being installed - just sitting there,
 frozen.  And 'installing' and 'being installed' disagree on the verb.

 cd

 On 22/10/2011, at 10:34 AM, dershemders...@cox.net   wrote:

 A friend upgraded me (very nice of him - I guess when you do charts for
 people, they occasionally pay you back in unexpected ways!), but when I
 went to install, it froze.
 Froze solid.
 I downloaded the upgrade, and got to the screen where it says
 Installing - Please wait while Finale 2012 is being installed (which
 is actually bad grammar), and since then, it just sits there and stares
 at me.

 Re-try from scratch, or...?

 Any advice?

 cd

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Re: [Finale] copy to drum part

[dershem]

On 10/13/2011 9:35 PM, Darcy James Argue wrote:
 Plug-ins -  Notes and Rests -  Single Pitch

 Cheers,

 - DJA

THANKS!!

Carl
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[Finale] copy to drum part

[dershem]

I have a fairly (ridiculously) complex soli section where I'd like to 
copy the rhythmic patterns of the trumpet 1 line to the drum part - all 
on one line.
Is there a way to take all of the rhythms and put them onto one pitch on 
the drum line?

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Re: [Finale] Augmented 6th chords as jazz chords

[dershem]

On 10/1/2011 1:16 PM, Robert Patterson wrote:
 Is there any accepted practice for writing aug 6th chords in a jazz chart?
 For example, in the key of D Maj, a Ger 6th would be enharmonically Bb7, but
 is there a more appropriate notation? And what about Fr and It 6th chords?

The only 6 I use much is a 6/9 Chord.

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Re: [Finale] Playback of Cues

[dershem]

On 4/17/2011 9:37 AM, Dean M. Estabrook wrote:

I used to remember this, but (no surprise here) I have forgotten. How do
I get a cued part to NOT play back?

Dean


I would use a hidden expression, setting velocity to 0.

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Re: [Finale] Playback of Cues

[dershem]

On 4/17/2011 11:56 AM, Michael Mathew wrote:

Hello,

I use the instrument list for play-activated or de-activated layers and parts. 
When I finally discovered how to use it my stress level diminished exceedingly!

Michael



I used to remember this, but (no surprise here) I have forgotten. How do I get 
a cued part to NOT play back?

Dean


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

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


This is useful.

What I would find more useful would be how to get items with the staff 
style rhythmic notation not to play back.


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Re: [Finale] chords - basic tips?

[dershem]

On 2/13/2011 9:35 AM, SN jef chippewa wrote:


ok am building a chord library and i see that editing and fine-tuning
them (changing fonts, V / H position) is a serious pain in the ass once
they have been created so i aim to do this right the first time.

the default in my doc was trebuchet, but i have changed to another
sansserif. ok that works. a few questions.

the font height is currently 1-1/2 space, is this correct?

the suffixes need to be only slightly smaller than the root? so 12pt
suffix on a 14pt root is good?

the alterations on the suffixes should also be smaller than in the root,
correct?


I've built my chords out of:
Root:  Technical Bold 16
Suffix: Technical Bold 16
Alterations (#5, v9): Technical Bold 14

So far it seems to work well, and my rhythm section likes them.

cd
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Re: [Finale] Chord symbols, #s and bs (F2010)

[dershem]

On 2/12/2011 5:45 PM, Matthew Hindson (gmail) wrote:

Is this a common problem? I am analysing chords by One or Two staff
analysis. If I have an F# major chord, for example, it will come up with
Gb chord symbol, despite what my preferences are as Favour Sharps.

Matthew


Do you have Simplify key checked?  That can bite you if not prepared.

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[Finale] Fin 11 to fin 10?

[dershem]

A friend is using Finale 2011, while I don't upgrade that often and use 
2010.  (Both Windows).  What is the optimal way for me to read files he 
sends me?


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Re: [Finale] OT: Jazz chord names

[dershem]

On 1/26/2011 4:55 PM, Matthew Hindson (gmail) wrote:

Forgive if this is a dumb or simplistic question, but does anyone know
of such a thing on the 'net wherein you can specify letter names and it
will give the variety of jazz chord names for such a chord?

Thanks in advance

Matthew


Not sure what you mean.  Can you give an example?

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Re: [Finale] whole notes in 5/4

[dershem]

On 1/13/2011 3:57 PM, John Howell wrote:

At 12:27 PM -0800 1/13/11, Ryan wrote:

Opinion poll:

What is your preferred method of writing a note that sounds for the
duration
of a 5/4 bar?

1) Using Whole tied to Quarter, regardless of wether the division is
3+2 or
2+3
2) Using a Halfs and Dotted Halfs tied to each other to reflect the
division
of the bar (whatever the case may be).


Definitely the latter, based on the fact that in duple time the rule is
to divide the measure according to the natural subdivision (although in
that case it results in two equal halves).

I'm trying to remember what Holst did in The Planets, but I can't. But
it made it easy to read and play.

John


I know Mars was 3+2, but the rest...

You gotta just write what makes the music clear, is my opinion.

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Re: [Finale] Microtonal Playback

[dershem]

On 1/8/2011 9:56 AM, Steve Parker wrote:

I've played a bit with this method.
The big drawback is needing to cancel the pitch bend after each instance
with another expression.

Finale is so close in already allowing any number of written accidentals
between diatonic pitches and also a different number for each if wanted.

Steve P.


On 8 Jan 2011, at 17:33, Dennis Bathory-Kitsz wrote:


In any case, I assigned a pitch bend value and created the microtonal
accidentals as expressions and assigned pitchwheel values to them.


The trick with microtones is not getting Finale to do it, but it keeping 
musicians from doing it unintentionally.  :)


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Re: [Finale] title and instrument name on each page

[dershem]

On 1/8/2011 3:20 PM, Chuck Israels wrote:

Yes, you can.  There's an item in the File menu called File Info.
You can set that up to have things appear where you want them on
whatever pages you want in score and parts.  You usually want those
appearances to be different, so in your default document, you can set
up the score with these things showing in the correct place and hide
those (score) appearances where they show up in the linked parts.
Then you reverse the procedures for the parts, showing what you want
there (placed where you want) and hiding the (part) appearances in
the score.  Perhaps another element of this I haven't mentioned is
that there is an item called inserts under the Text menu where you
will discover how to enter things automatically.  This becomes pretty
intuitive, if you play with it for a while. but it does take some
time and fussing to get things to show/hide where you want them.
That is part of why default documents and templates are useful.

Chuck


This is indeed very useful.

Here's my question:  Is there a way to have this set up in default 
parts?  I have a setup I like to use for extracted parts, but am really 
not certain how to set it up so that, in my default file, parts (and 
score, for all of that) are already formatted with this information?


It's very useful to have [TITLE, Part, Page] at the top of every page, 
but so far I have to go in and do that with the Inserts every time I 
extract parts from a new score.


Carl


On Jan 8, 2011, at 3:02 PM, Steve Parker wrote:


My last question for now I promise.

Can I get Finale to place the title and instrument name on each
page automatically?

Thanks,

Steve P.

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[Finale] {Spam} 6/9 chords

[dershem]

For whatever reason, when I type in a 6/9 chord [Example C6/9] it gives 
me something different [C6/G].

Why?  How can I stop this happening?

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Re: [Finale] Finale's GUI ongoing anomaly

[dershem]

On 12/23/2010 10:26 AM, J D Thomas wrote:

OK.  A built-in kludge that the programmers inserted.  Didn't know that.  
Thanks.  (I've had a QuicKey for years that got around the asinine dialog).

But, it doesn't address my original question:  WHY???

I know of no other Mac application that reacts this way.

J D  Thomas
ThomaStudios

On Dec 23, 2010, at 10:21 AM, Mark McCarron wrote:


Command D for don't save.



Finale has had an annoying GUI quirk as far back as I can remember.  At least 
since 2001, maybe before that.  And it still exists in 2011.

Why is it that whenever you open an existing file, switch to Page View, print, 
and then close the file, Finale asks if you want to save it???  Huh???  Even if 
I've made a modification, save it, then print, it asks if I want to save it up 
closing!?!?!

Is it just that the programmers or designers at Coda, MakeMusic, whatever 
they're called this week, they just don't get it?

Maybe this has been discussed before, but…

J D  Thomas
ThomaStudios


My guess - it is saving the print preferences.

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Re: [Finale] ATTENTION Arrangers/Composers-JOHNNY MANDEL Masterclass Saturday

[dershem]

On 12/9/2010 8:06 PM, Kim Richmond wrote:

This is an important opportunity for all arrangers and composers:
A first-time Masterclass with Composer/Arranger JOHNNY MANDEL
Presented by the American Society of Music Arrangers  Composers (ASMAC)
WHERE: Los Angeles Valley College, Music DepartmenT, Fulton  Oxnard,
North Hollywood, CA
WHEN: On Saturday, December 11, from 11 AM to 2 PM, ASMAC will present a
masterclass with famed composer/arranger / conductor Johnny Mandel.
ASMAC Boardmember, Composer/arranger / conductor/jazz musician Kim
Richmond will join us as host and Moderator for the 3+ hour master class.


During the class, we will examine some of Mandel’s scores along with
recordings, and hear his views and insights, and his arranging/composing
processes for his own work as well as backgrounds for stars such as
Shirley Horn, Barbra Streisand, Diana Krall, Natalie Cole (seven
arrangements on her Grammy-winning Unforgettable album), Michael
Jackson, Quincy Jones, Miles Davis, Tony Bennett, and films such as I
Want to Live and M.A.S.H.
Highly regarded for compositions such as Suicide Is Painless (theme
from the movie and TV series M*A*S*H), Close Enough for Love, Emily
and A Time for Love (nominated for an Academy Award). He has written a
great many film and television scores, from “The Verdict,” “Staying
Alive”, “Caddyshack” and “Escape from Witch Mountain” to “An American
Dream” and “The Sandpiper” - the love theme for that film, The Shadow
of Your Smile, which he co-wrote with Paul Francis Webster, won the
1965 Academy Award for Best Song and the Grammy Award for Song of the
Year in 1966.

Johnny Mandel is a recipient of the 2011 NEA Jazz Masters Award. In
addition to his Academy Award and two nominations, he has won four
Grammies and six nominations, as well as three Emmy nominations and two
Golden Globe nominations, plus countless others.

Location: LA Valley College - Music Department
Corner of Fulton  Oxnard in North Hollywood

Please check in between 10:30am and 11:00am

Admission Charge: Non-members - $40, ASMAC members and students with ID
- $25
Please reserve by e-mailing sch...@theproperimageevents.com or by
calling 818-994-4661. Walk-Ins welcome.


Aaugh!!!

I have a gig that day.

learn something good for all of us!
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{Spam} Re: [Finale] Large format printers?

[dershem]

On 10/23/2010 7:29 AM, Christopher Smith wrote:


On Sat Oct 23, at SaturdayOct 23 9:55 AM, James Cooper wrote:


Thanks much for the link, Christopher.

I have been using a HP 1220C Deskjet which prints up to 13x19

-- James



Oo, that's got to be useful for double-page orchestra parts! It handles thick 
paper well?

Christopher


I use an HP 9650, which will do 13x19, and will handle heavy paper, but 
because it is an inkjet has a down side - the parts are not as durable, 
and ink is bloody expensive.  But the output is gorgeous, especially 
full color.


I always print music in B/W and take to work to copy onto heavy cream 
colored paper, which holds up better and won't run.  Hence my search for 
a good large format laser.


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Re: [Finale] Large format printers?

[dershem]

On 10/22/2010 8:38 PM, James Cooper wrote:

Does anyone know if this printer can take 12 x 18 paper?

   --- JMC


No, but if you hum a few bars, we can fake it.
Most large format lasers top out at 11x17.

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Re: [Finale] 64 bit

[dershem]

On 10/10/2010 8:18 PM, David McKay wrote:

G'day folks
I'm contemplating buying a new computer which is a 64 bit 6 gigs ram, 1 TB
hard drive and other stuff.
I haven't owned a 64 bit computer before. Will most programs run on a 64 bit
computer? Will the latest version of Finale run on a 64 bit computer?

Thanks for any help you can give me on this

David McKay


I use Finale 2010 under Windows 7 (64-bit), and it works fine.  There is 
even a 64-bit patch for it that can be downloaded.


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Re: [Finale] Jazz Accidentals (ds, df)

[dershem]

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

In 35+ years of playing jazz and big band stuff, I have run across doubles 
precisely once.  And that includes stints with bands that specialized in 
playing off the wall stuff (Toshiko Akiyoshi and the like).

In general, doubles are seen as evidence of laziness - An Abb should be written 
as a G natural - there are fewer marks to make, and less chance of reading it 
wrong, etc.

cd
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[Finale] Non-linear melodies

[dershem]

I was recently given a copy of Willie Maiden's Kaleidoscope.  It is 
... unique.


No one part has the melody line.  It's all just notes spread across the 
band in varying rhythms, and you have to have the whole band playing in 
precise rhythm to allow the audience to be able to hear the melody 
sneaking through.


Kenton recorded it.  Are any of you familiar with it?  Have any of you 
experimented with the idea of note 1 goes here, note 2 goes to a 
different players, etc.?


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[Finale] ITunes?

[dershem]

I'm trying to set up file sharing between my laptop and desktop to share 
my ITunes library, and it's not working.


Have any of you tried this?  Any hints?

Both run Windows 7, 64 bit.  I can't find the right hoop to jump through 
to make them happy.


cd
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Re: [Finale] ITunes?

[dershem]

On 8/1/2010 6:53 PM, Darcy James Argue wrote:

Just turn on Share my Library on my local network in your iTunes
Preferences (or Settings, I think they're called in Windows).

Cheers,

- DJA


Yeah... that doesn't work.  It says there's firewall interference, but I 
checked those settings, and it still doesn't work.


Hrmph.

Thanks.

cd


On 1 Aug 2010, at 9:36 PM, dershem wrote:


I'm trying to set up file sharing between my laptop and desktop to
share my ITunes library, and it's not working.

Have any of you tried this?  Any hints?

Both run Windows 7, 64 bit.  I can't find the right hoop to jump
through to make them happy.

cd -- http://members.cox.net/dershem/index.html
http://dershem.livejournal.com/
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Re: [Finale] ITunes?

[dershem]

On 8/1/2010 7:15 PM, Eric Dannewitz wrote:

Are you trying to actually SHARE a library between two computers or
having a library on ONE computer and have another one access it (Read
only)? Two different things.

Darcy's solution accomplishes the second one.


Trying nto share.  According to the manuals (on line, such as they are) 
this should work, but...


cd


On Aug 1, 2010, at 6:36 PM, dershem wrote:


I'm trying to set up file sharing between my laptop and desktop to
share my ITunes library, and it's not working.

Have any of you tried this?  Any hints?

Both run Windows 7, 64 bit.  I can't find the right hoop to jump
through to make them happy.

cd -- http://members.cox.net/dershem/index.html
http://dershem.livejournal.com/
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NOT Sent from my iSomething



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Re: [Finale] Trumpet question

[dershem]

On 7/20/2010 6:30 AM, Barbara Touburg wrote:

Dear all,

What does it mean if a trumpet player gets a roll? Something about his
embrochure?

Barbara


In my 40+ years playing, it means lunch.

cd
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Re: [Finale] Trumpet question

[dershem]

On 7/20/2010 10:29 AM, Barbara Touburg wrote:

John Howell wrote:


Never heard or came across the term. Do you have a context for it?

John


Yes, I have a context.

It's in a movie about a trumpet player based on the life of Bix
Beiderbecke. His teacher warns him: You're getting a roll, not bad yet,
but on the way. You're dropping your mouthpiece too low on your lower
lip. Once you get that roll, it closes up your lips and gives you a
choked feeling in your throat and you get tired after a half hour of
steady playing.

The trumpet player is developing a bad habit in his technique.

I'm looking for a proper translation into Dutch for the term roll.
I'd be very happy if you had one!

Barbara


Ah.  That makes more sense.

If you roll your lip in (or out), it will affect your embouchure. 
Imagine playing with a severe 'pout' to your lips, and using the part 
further and further in (or out) of the usual placement.


I hope that allows you to find a context for translation.

cd
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Re: [Finale] part names not showing up

[dershem]

On 7/17/2010 3:53 PM, Lawrence David Eden wrote:

FinMac 2K7

My part names are visible in the score, but when I go to each individual
part, they are no there.

I have my first system indented so that the part name should
show.but they don't.


Also, what settings must I use so that Finale automatically creates
multi-measure rests in my parts? As things are now, I have to create
them manually.

Thanks,

Larry


Ummm... is you have the part name in the score marked to not show, that 
can affect the linked parts.  That is to say where it says SCORE at 
the top of the score.


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[Finale] spacing tip

[dershem]

Someone posted a tip here recently about keeping spacing from updating 
when you print, and messing up your manual spacing.  I meant to print it 
but apparently spaced out.

COuld someone re-post, or give me a pointer to it?

Thanks!

cd
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Re: [Finale] spacing tip

[dershem]

On 7/8/2010 8:24 PM, Ryan wrote:

Doc Options. Multi measure rest. Uncheck box that says update automatically
or some such.
Is that the one you're looking for?


Yes!  Thanks.

cd

PS - don't get old, or to busy!
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Re: [Finale] Doubling part label

[dershem]

On 7/7/2010 10:11 AM, John Howell wrote:

At 8:56 PM -0700 7/6/10, dershem wrote:


But a warning is always welcome. I do the same with mute changes,
using get plunger ready and the like. With software, it's easy to
do, and there's really no reason not to.


Absolutely. Case in point: we're in rehearsal for our annual summer
musical (The Pajama Game, 1954), and the string books are filled with
pizz., arco, con sordino, and senza sordino markings that ARE NOT
CANCELLED! We're having to make it up as we go along. (Which means my
concertmaster is earning her no-pay!) And we had the same problem with
modern engraved books for Joseph last summer, so it isn't just a case
of a single sloppy copyist back in 1954!

Good copy, easy to read, but horrible page turns.

John


The local light opera company is doing Pajama Game this summer. 
Apparently it's a popular show right now.  :)


Alas, I'm not on the contractor's short list, and won't be in the pit.  :(

cd
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Re: [Finale] OT: Tuning without an Oboe in the group

[dershem]

Seriously, though, why doesn't everybody have their instrument already
tuned when they unpack it and start warming up? It's not as though
perfectly capable automatic tuners are beyond anybody's financial reach
these days.


My horn was tuned at the factory.  I shouldn't have to change it now, right?

;)

cd
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Re: [Finale] Doubling part label

[dershem]

On 7/7/2010 6:29 PM, John Howell wrote:

At 5:48 PM -0700 7/7/10, dershem wrote:


The local light opera company is doing Pajama Game this summer.
Apparently it's a popular show right now. :)

Alas, I'm not on the contractor's short list, and won't be in the pit. :(


You'd be welcome in my pit anytime, but unfortunately we're a 100%
community volunteer operation, including the creative staff and
orchestra, and have been for 19 years. We do have some decent community
musicians, and usually a few excellent younger students. Our best
cellist is 13, and played last summer when he was 12! And we have one
principal dancer this summer who's 12, and darned good.

John


Thanks, John!

I've worked with some amazing young players, and have learned to never 
underestimate them.  Just make the best of the talents we're given is 
my take on it all.


cd
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