Re: [Finale] Two vertical systems on a page
I should have said that I am running FinWin 2006C I know this is possible, and very simple, on a PART, but I can't figure out how to do this on a SCORE: I would like to have two vertical systems, with white space in between them, on one page of a score (a tall full orchestra score). This would be similar to adding a Coda. (That is not what I am doing - I am sending in an excerpt of a score, and I want to show a cut all on one page.) Can this be done? I have dragged both the systems I want so hey have a small width, but I don't know how to get them on the same page. Another way to do it would be to put an empty measure between, and cover it with white space, which I have seen you guys talk about for years. How do I do that, for one bar of a tall orchestral score? BTW, I can't RTFM, because of another, very odd problem I've had for months. I'll save that for my next post. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TAN: problem with displaying PDF files
I can't RTFM, or any other PDF file, and I've had serious problems with them for months. I have a Pentium 4 that's about three years old. Several months ago, whether I click on PDFs or call up Acrobat Reader first, the files would load EXTREMELY slowly. Now they won't load at all - Acrobat Reader shows up in Windows Task Manager - Processes as semi- loaded but won't ever fully load. I have uninstalled and reinstalled Acrobat Reader many times, tried older versions, everything I can think of. Any suggestions? RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Two vertical systems on a page
dc wrote: Andrew Stiller écrit: But they can. There's a radio button for that in the Change Clef dialog. But that won't work if you want the time sig and the key sig also, because the clef will appear after them!!! Dennis Right. In this particular case, I don't much care if I have clefs and KS after the cut or not, but it would be nice to have a choice. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Two vertical systems on a page
Thanks Florence + Michael and Dennis. Looks straightforward enough. I use Finale for many hours, every week, but if I don't use a particular feature for a couple of months I can quickly forget it. I makes me realize why we find it so functional and others find it so daunting. My son at college, who has been new to Finale this school year, is considered a Finale whiz among his peers because he was, last fall, showing them how to use LAYERS. RBH Florence + Michael wrote: Here's how you can get two thin systems side by side on one page of a score: - In the Page Layout menu, un-check the option Avoid Margin Collisions. - Drag the widths of the systems to make them as slim as desired. - Position the systems on their respective pages so that the first system is on the left and the second on the right. - Use Page Layout Systems Edit margins to set the Distance Between Systems on the second system to a negative number. The actual number will depend on the size of your page: just try something that is a bit more than the height of a page and increase it until the second system is pushed onto the same page as the first one. - Once the two systems are on the same page you can drag them as you wish. Michael Cook ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] disappearing posts
Andrew and/or John, I did some Web searching to see what I could find about this renumbering, and the only thing I could find is that there is no real Schubert 7th, that the original renumbering of 8 and 9 was made to account for a missing symphony that was later determined to be the Great C Major. Would this account for this new re-numbering of the latter as the 8th, or has the Unfinished really been determined to have been written last? Raymond Horton John Howell wrote: At 9:43 PM -0500 2/12/06, Andrew Stiller wrote: Among other things I asked (partly just to be provocative) whether by Schubert's 9th was meant the Great C Major or the Unfinished, since the two have recently changed places--and I attended a concert last week in which the C Major was performed as Symphony No. 8. I got that one, Andrew, so it did make it to the list. And yes, Daniels mentions that after the first six, the numbering is a worse mess than with Dvorak! John ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Scoring for Band - now overplaying brass, more
This just reminds me of an old recording I heard a few times (cannot find it now - though I haven't searched extensively) of Sousa Marches - played under the direction of his descendants. It was so much lighter and more transparent than the versions with which we are familiar that it sounded almost Mozartean. Part of this was a result of scoring (fewer instruments per section) and part from interpretation. Mark your score Non-Bombastico! Not only that, Chuck, but the (low) brass instruments were MUCH smaller in Sousa's days than they are now. I soloed a couple years ago on a double-bell euphonium that used to belong to one of Sousa's Euphonium players and it was a pea shooter of the first order--smaller bore than today's student models! Many of the Eb tubas of that vintage were the same bore size as my Willson Euphonium pitched a FIFTH higher. Simone Mantia's trombone was smaller bore than a current King 2B. My experience with high brass is not as extensive, but my guess is that there were both Cornets and Trumpets in the old bands, which also would have taken some of the edge off the sound as well. One of Harvey Phillips's biggest gripes with current orchestral brass playing, esp. in the trombones/tuba, is the sheer SIZE of the instruments and the associated volume. Have you seen live performances with the plastic shields up isolating the brass? Some of those things they call 6/4 tubas are scary.! ..more than one famous orchestral player blew their chops out from playing those things. They need to be licensed. I would also talk about bass trombones, but Louisville is not far from Indianapolis, and Mr. Horton might wrap his triple-trigger bi-valve low BBB XL-bore nitro-cylindrical confabulator around my size 16.5 neck seven or eight times. Jim W. You know what happens when you assume don't you?Speaking of Sousa marches, as an example, I got so tired of waiting for conductors, or first trumpet players, to do _anything_ toward performance practice, (brass lay out second strain first time, ditto last strain first time, etc.) that I just started speaking up, every time we get one, and suggesting it myself. And, as far as overplaying brass in general - we used to have a trumpet player like that - but we don't any more. We shipped him up to teach at a large music-factory/university a few miles to your southeast. That's all I'll say. (My bi-valve low BBB XL-bore nitro-cylindrical confabulator only has two triggers, anyway.) RBH Louisville Orchestra You know you may not have us to kick around for long? This is the worst contract mess yet - our Board of Directors seems to be hell-bent on Chapter Seven (full liquidation) and trying to replace it in a year or so with something smaller and cheaper. They pretended to negotiate for three sessions, then pulled their offer from the table. Our contract doesn't even expire until August! Right now they say they won't even go to mediation unless we agree to a smaller orchestra first. They want something like Owensboro (a small city in Kentucky) that buses in kids from IU to fill out every concert. Sigh - This orchestra has a 70 year history, and they seem to be ready to give it up that easily. http://www.courier-journal.com/apps/pbcs.dll/article?AID=/20060121/NEWS01/601210418 http://www.savethelo.org/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Short instant playback.
keith helgesen wrote: I know I can get instant playback with Spacebar, Click measure, and single part playback with Shift, spacebar, click measure. I also know how to create and use list- ie Brass, woodwinds, etc. Query- can I somehow ask for playback from, for example Horns and Saxes, or Flutes, Trpts and Baritone? I realize I can create a list for each combination, but I am talking about a ‘one-off’ checking of one line or phrase –or even note, against another, which may only last four measures and may never be used again. Maybe highlight required staves or something? (That doesn’t work, by the way!) WinFin 2001d Cheers, Keith in OZ Not really the way you want, Keith. The closest thing would be to click on: Window / Instrument List / then select S for solo for each instrument you want to hear. (Or M for mute for each instrument you DON'T want ti hear). You can leave that window open while you hit playback, or not. When you are done with that hearing, you'll have to undo that procedure to get the tutti playback to return. Ray in US ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Contrabass and clefs
Robert Patterson [EMAIL PROTECTED] wrote A more interesting question for clefs with CB is whether to continue to notate them 8vb below sounding pitch. This can be a quite difficult choice. A note that has excessive leger lines in 8vb bass clef can be too low in at-pitch tenor or treble. My understanding is that professional bass players can routinely read 8vb bass, 8vb tenor, and at-pitch treble. I'm not as sure about at-pitch tenor. In any case, any clef change probably requires a notation as to whether it is 8vb or at pitch. Ken Moore wrote: I don't know of any convention that string bass parts in tenor or treble clef should be played at pitch. I would hope that if that was required it would be annotated specifically. One meets treble clef rarely, but on the three occasions that I have played Shostakovich's 10th symphony, I have played the (fiendish) treble clef passage in the scherzo with the 8vb transposition, as a continuation of the bass clef convention. So did all the other players, and the conductors never commented. As a late comer to the bass, after many years of piano and horn, I much prefer treble to tenor clef and, after a fair amount of score reading, prefer alto to it also. Where has anyone come across a bass passage printed loco (except in a C score, of course)? It's non-standard. Even harmonics should be written to be sounding 8ba. Bass players, in order to cover all the available solo and orchestral literature, have to learn treble and tenor clefs, both sounding 8ba. They usually prefer treble, but tenor passages are out there, also. Alto clef should not be used. It's really that simple. They still have it easier than trombonists, who have four clefs to read! Raymond Horton ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Contrabass and clefs
Where has anyone come across a bass passage printed loco (except in a C score, of course)? It's non-standard. Even harmonics should be written to be sounding 8ba. Bass players, in order to cover all the available solo and orchestral literature, have to learn treble and tenor clefs, both sounding 8ba. They usually prefer treble, but tenor passages are out there, also. Alto clef should not be used. It's really that simple. They still have it easier than trombonists, who have four clefs to read! Raymond Horton Lee Actor wrote: Ray, how often have you encountered treble clef on trombone? I'm scratching my head but can't recall seeing it, though I understand that trombone is sometimes written as a transposing instrument in treble clef in British band music. Or am I wrong in assuming that you were referring to treble clef as the fourth trombone clef after bass, tenor, and alto? Lee Actor Composer-in-Residence and Assistant Conductor, Palo Alto Philharmonic http://www.leeactor.com Treble clef (concert pitch, non-8va) is used for tenor and bass trombone fairly often for upper register by contemporary composers - John Adams to name one. We've seen it dozens of times in the Louisville Orchestra. Treble Clef in Bb (down a 9th) is handy, also, (not in orchestra unless reading a band chart that's missing the bass clef parts) but most non-British trombonists read that as tenor clef plus two flats. (I actually started on treble clef euphonium, so I came to it from the other direction, too, but I'm an exception.) RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Contrabass and clefs
Robert Patterson wrote: Raymond Horton wrote: Where has anyone come across a bass passage printed loco (except in a C score, of course)? It's non-standard. Even harmonics should be written to be sounding 8ba. I believe at-pitch treble is fairly common in contemporary orchestral scores. This week we are playing Corigliano Fantasy on an Ostinato. There was some confusion about the correct octave for a very high bass harmonic that I suspect was due to this issue. Bass harmonics _should_ be specified very carefully in the part. The best solution is to write real sound (sounding 8ba) or I suppose real sound (non 8ba) could work. Once, when I put only real sound by some harmonics, members of our bass section asked whether or not it was to be 8ba. I had been taught that real sound always meant 8ba, such as in Stravinsky _Agon_ . I'll check with members of our bass section again, (before we go bankrupt) Since we see more contemporary music than most orchestras (or used to, anyway - now , sometimes, it seems like we see more country and pop back-up music than anything else) they ought to know what the current standards are. Raymond Horton Bass Trombonist occasional composer, arranger Louisville Orchestra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Scoring of Ouv Barber of Seville?
Johannes Gebauer wrote: On 17.02.2006 Michael Cook wrote: In my score (Dover reprint of old Ricordi) of the complete opera, the overture is: 1fl. + 1picc., 2, 2, 2 - 2, 2, 3 - Timpani, Gran Cassa - Str Ah, now this is conflicting information. Are there 3 trombones, or are there not (this is important for me...). Johannes In the reprint ms of the overture that I recall seeing years ago, (reprinted at the back of a printed library full score of the opera) there were no trombones or timpani. Somewhere along the way, someone added three trombone and timp parts to the overture that are commonly played, and these are in the Dover-Ricordi score (I just looked at the latter yesterday, AAMOF.) I don't believe the trombones appear again in the entire opera in the Dover-Ricordi score. It looks like it can be, and has been, performed either way with conviction. Many years ago I played it under one conductor who kept telling us to play softly, since their were no trombones in the ms. I wanted to ask him if we should leave, but I was more shy when I was young. (Anyone used to hearing the Warner Brothers cartoons will miss the trombones, of course.) RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Scoring of Ouv Barber of Seville?
On 17 Feb 2006, at 19:28, Raymond Horton wrote: Somewhere along the way, someone added three trombone and timp parts to the overture that are commonly played, and these are in the Dover-Ricordi score (I just looked at the latter yesterday, AAMOF.) Michael Cook wrote: No, the trombone parts are original Rossini. I don't have access to the different versions of this overture that were used for the other two operas, but the trombone parts certainly come from one of these versions. ___ Michael, please note that I purposely did not say someone ELSE added the trombone parts. I said SOMEONE, specifically to leave open the possibility that it was the composer. I just had the internal evidence: The parts seem to be old, (before the later 19th century when the valve tenor trombone took over in Italy, because the first part is quite high, putting it sqarely in alto trombone register). This would put the parts more likely in the composers pen than a later arranger, if all on I had to guess were the notes themselves. Since you have other evidence, that I don't I'll take your word. (Although I recall seeing a score, many years ago, with the first part not so high, so that is another confusion. Perhaps Rossini revised it for another performance with no alto trombone?) Does the first trombone part you have go up to high D at the breakup strain in the middle? RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Scoring of Ouv Barber of Seville?
Our first trombonist growns whenever this shows up. I'm sure she would love to play one of the lower editions. Michael Cook wrote: In the Eulenburg score the 1st trombone has some high Cs (measures 147-9) but I didn't see a high D. In the Dover edition (where all three parts are written on one staff, in bass clef) the 1st trombone never goes that high: at a quick glance the highest note is an E just above middle C. What is sure is that the trombone parts were not added to this piece: they were there already but were removed (or simply not used) for the first performance of Barbiere. The story, if I remember rightly, goes something like this: Rossini had written an overture for Barbiere composed of Spanish themes, but at the last minute decided that it wasn't good enough. He didn't have time to compose a new one, so he used an overture that he was presumably proud of, having used it in two previous operas. He probably had a look at the scoring, quickly saw that the piece would work without trombones, and gave the parts to the musicians. He didn't make a new version of the score: there was no time and this wasn't necessary anyway: he, or any other conductor, could conduct from the old score with the trombone parts in it. What later happened when the piece became a success and was edited, I do not know: the piece has gone through so many editions that it would be a huge work of research to find out. In fact: Johannes, why do you need to know the scoring? Has all this discussion given you the reply you wanted? Michael ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TAN: new production of original 1935 Porgy and Bess with Gershwin cuts and notes
Forgive the cross post, but I didn't remember if this had been mentioned on this list. (RBH) From [EMAIL PROTECTED] -- posted for Wilson Ochoa [dwochoa at nashvillesymphony dot org] Original 1935 production version of Porgy and Bess As has already been mentioned on this discussion, the Nashville Symphony and Guest conductor John Mauceri will performing a concert version of the Original 1935 Performance Version of Porgy and Bess and recording it for Decca soon thereafter. This is actually a very interesting project (although pretty much a nightmare from the music library preparation point of view!). The publisher published Porgy and Bess well before it went in rehearsals (unusual for Gershwin). His usual method was to make changes in rehearsals that helped the final outcome. (For example, he made cuts in American in Paris before it was ever published, based on what he heard in rehearsals. And, he did this with every Broadway show he ever wrote.) The original 1935 orchestral parts and score exist in the rare book library at Yale, (along with additional scores from that production also existing in the New York Public Library and in the Library of Congress), and researching them has yielded an unbelievable amount of information on how this was performed, with Gershwin himself making cuts (AND additions) to make it work better. There are lots of minor details (an additional 4 measures to start Act 1 Scene 2, small cuts here and there, and many changes in dynamics, etc.) and many major details (cuts of entire sections that slow down the story, or dilute the dramatic element). As a former horn player who has previously performed this opera, at first I missed the music in a couple of cut sections. But if you really look at the dramatic element of the opera, the cuts really help propel the story along, and it will be much tighter. The final opera in this version will be 2 hours and 20 minutes or music (instead of 3 hours of music). In any event, this meant over 80 separate cuts and inserts into our set of parts. But, it's been kind of fun restoring a banda that hasn't been seen in 70 years (in Act 2), among other things. In addition to all of the changes, the parts yielded even more information about how sections were to be performed in regards to tempo, style, balance, etc. A wealth of markings (which we have compiled into a list) was made along the way, all marked meticulously, and uniformly, into each and every part. It's a fascinating project--and the parts we are preparing for this particular version will be left as they have been prepared, and made available by European American Music rental library in the future. D. Wilson Ochoa Principal Music Librarian Nashville Symphony ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: reduction size (was Pesky Page Turns)
I think everybody agrees that rehearsal numbers or letters every ten bars is a bad idea. Stravinsky used them in late scores. IM(very)HO it was his way of seeming as detached and unemotional as possible about his music and telling the performers you figure it out. But he was Stravinsky. Contrast this to Bartok, who bracketed sections of works with timings in some scores to facilitate analysis (oh no, Ray opens a big can o'Fibonacci). Also I think publishers may have been responsible for adding some of the 10-bar rehearsal letters to works when composers had provided none. A cop-out, in other words. I saw something recently that was even worse. Last Christmas we played somebody's Hannukah Festival Overture (or something like that) about 10 times. It had the rehearsal letters and multiple bar rests broken up every EIGHT bars, from beginning to end - but they didn't correspond to the phrases! A few were correct at the start, but some would be one bar off for several phrases in a row. I remember a bunch in the middle of the piece were off by three. It was extremely aggravating to play a simple piece like this, so many times, that was so confusing. RBH Louisville Orchestra Richard Smith wrote: ... I agree completely with the comments about numbering every 5 or 10 bars. Those numbers are never where they should be and often create more confusion than clarity. I think that was an idea from the middle of the last century that (thankfully) is not used much today. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: reduction size (was Pesky Page Turns)
John Howell wrote: At 3:07 PM -0800 2/19/06, Dean M. Estabrook wrote: Mein Gott ... I'm just remembering my MA Thesis, which composed in 1965 or so, and consists of 87 pages of score for 22 wind instruments. I, of course, hand copied the thing using india ink on vellum from Cameo Music in Hollywood, working 8 hours per day and averaging 4 pages of MS each day. I still have an indentation on my right index finger! Just for fun, and to see what it really sounds like (more or less), I've been transcribing the first movement to Fin06/GPO. I'm still averaging about 4 pages per day, 'cause that's about all I can stand of it, but it only takes about an hour to do that much. Times have certainly changed. Ah, another alumnus of 1527 1/2 North Vine St. in Hollywood!!! I wonder if they're still there. We used engrossing ink, which most people have never heard of. When I switched from hand copying to computer, I found that actually entering the notes took me about the same amount of time, but the savings was in being able to manipulate things once entered, just like with word processing. I now work directly to the computer, and have a cabinet full of manuscript paper (King Brand, not Cameo) that I may never use up! John Oh sure, I used Cameo ink and vellum. In my comp teacher's eyes it wasn't really music unless it was sketched on a Cameo pad and copied on Cameo vellum. Later, one of the Cameo main employee's started her own company - what was that name? I never got along with pen and ink - the pens never worked right for me. My wife copied my master's thesis score for me as a I fed her the pencil pages. The computer was a godsend for me. And I love being able to fiddle with old files - rearrange old arrangements, etc. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: reduction size (was Pesky Page Turns)
Now my memory is jogged! We are talking about the same original company. Cameo's name was changed to Alpheus about 1973-4, and a couple of years later Judy Green left Alpheus to form Judy Green Music. Alpheus does not appear to exist any longer, but Judy Green does indeed still exist at: http://www.cs123.com/JGM/ RBH on 2/20/06 12:05 PM, Raymond Horton at [EMAIL PROTECTED] wrote: Later, one of the Cameo main employee's started her own company - what was that name? Don Hart wrote: Unless that scenario played out more than once I believe you're thinking of Judy Green, and I thought she came from Alpheus. My wife (copyist) and I were substantial clients until Finale 1.0. Loved their pencils. Don Hart ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Chorus question
Darcy had mentioned that the soloist was singing at the same time as the rest of the soprano section - that was what made it awkward to label. I suppose it might be even more awkward if the sopranos and the soloist might or might not sing at the same time. All the more reason to have a separate staff, in that case. Christopher --- As a choir director, may I say that logic dictates. if the soloist and section are singing at the same time, then nothing special need be labeled: solo and sopranos is plenty sufficient. (Actually solo, and nothing else would probably do it, if there are four voice parts left.) A soloist cannot sing two parts at the same time, and will always find and choose the solo line first - that's why she is a soloist. Raymond Horton, MCM Minister of Music Edwardsville United Methodist Church ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Chorus question
dhbailey wrote: themark wrote: sorry for leaving the path for a while, what is the difference between choir and chorus? I'm not sure there really is one, sort of like philharmonic and symphony but I generally think of choir as being a church-centered music organization and chorus being a more secular organization. But high schools and colleges often have a concert choir. Churches rarely have a standing chorus. But they sing choruses. And some of the choruses have verses, also. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Chorus question - Choir vs Chorus
Christopher Smith wrote: Can we just agree that while each of the two terms seems to be more popular in certain contexts, there is a fair bit of overlap, both in meaning and usage? Christopher That depends. How do you define overlap, meaning and usage? ;-) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Louisville Orchestra
For anyone who is interested in the threatened Chapter Seven bankruptcy on April 1 of the Louisville Orchestra and how negotiations have sunk to that point, see the excellent series of articles (presently four) by Drew McManus starting on this page: http://www.artsjournal.com/adaptistration/archives/2006/02/examining_the_e.html I only wish the paper and TV stations here had someone who would take the time and trouble to cover the story as thoughly as has McManus. We wouldn't be in as sad a shape if there were. Raymond Horton Bass Trombonist, 1972-2006(?) Louisville Orchestra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Louisville Orchestra
Raymond Horton wrote: For anyone who is interested in the threatened Chapter Seven bankruptcy on April 1 of the Louisville Orchestra and how negotiations have sunk to that point, see the excellent series of articles (presently four) by Drew McManus starting on this page: http://www.artsjournal.com/adaptistration/archives/2006/02/examining_the_e.html I only wish the paper and TV stations here had someone who would take the time and trouble to cover the story as thoughly as has McManus. We wouldn't be in as sad a shape if there were. Carl Dershem wrote: Have you called them, and/or printed out the articles and sent them? You never know what might make a difefrence. Yes, we have, but... It is actually more complicated than that. Newspaper guy who is covering the story already knows about McManus because McManus has been in contact with him for old articles (Newspaper made up it's mind against the players very early in this matter - doesn't want to be confused by facts). TV is complicated - one of the stations broke the story before the others when it ignored a blackout on the story before negotiations had broken off, so the other stations are softpedling the story; the station that broke the story is owned by an orchestra board member, so the coverage is totally one-sided (see parenthetical comment about newspaper). We are trying to hit the media now with stuff like this, a press release put out yesterday: http://www.savethelo.org ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] (no subject)
In Windows in Speedy, with caps lock on, to produce a rest: hit a three note half step cluster (ex: G#, A, Bb). RBH Dean M. Estabrook wrote: Yes, I did that, and the notes appear as expected ... it's the rests which don't occur when I hit the zero key, as I thought he instructed. However, Darcy says it happens in SIMPLE, not SPEEDY. Dean On Mar 10, 2006, at 9:34 PM, Eric Dannewitz wrote: Quoted from the Finale Manual, under Speedy Entry, Chapter 16 page 14 : 1. Click the Speedy Entry Tool and click a measure 2. Press CAPS LOCK then press the number key on the computer keyboard corresponding to the value you want to enter. 3. Play the notes on your MIDI keyboard. Dean M. Estabrook wrote: I did. No diff. Dean On Mar 10, 2006, at 8:05 PM, Eric Dannewitz wrote: You need to have the CAPS LOCK on Dean M. Estabrook wrote: BTW, I went to a Finale session at a conference yesterday, and a Make Music fellow said, if I heard it correctly, that in speedy entry (Fin2006), if one wished to enter a note pattern like 8th note, 8th rest, etc., with a synthesizer, that all one had to do was select 4, play the desired note, then simply hit zero and the 8th rest would appear. That doesn't happen for me. Did I misunderstand him? Dean ___ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Slurs on long, tied notes; Tubin
I happen to be helping my son, the bass player, copy out the piano reduction of the Bass Concerto by Eduard Tubin. (It's written for bass with solo tuning - that is with all four strings tuned a step higher - and he is learning it first on regular tuning. So he and I are copying it so he can transpose it down a step and perform it with piano. Then, if all goes well, he could perform it later with the college orchestra with solo strings. Such is the complicated life of a double bass student, unless his parents want to help him buy a second instrument, and since the future status of his father's orchestra is still in serious doubt, THAT ain't gonna happen.) (It is an absolute monster of a piece, and is taking forever to copy. When we're done, I hope we can get permission to sell or distribute this thing, because it would be a shame to waste all this work on just ourselves!) Tubin (1905-1982 Estonian, moved to Sweden) wrote 10 symphonies and other works, interesting cat if you haven't heard of him (I hadn't) : http://www.erpmusic.com/p_EduardTubinAndHisTime.htm http://www.emic.kul.ee/tubin/ http://en.wikipedia.org/wiki/Eduard_Tubin http://www.amazon.com/gp/product/B016D6/qid=1142524654/sr=1-6/ref=sr_1_6/102-4751030-7695342?s=classicalv=glancen=5174 http://www.amazon.com/gp/product/B016CY/qid=1142524654/sr=1-7/ref=sr_1_7/102-4751030-7695342?s=classicalv=glancen=5174 We are working from the published, well-copied ms, but I don't know if it the composer's. Now, to the point of this reply: The ms follows the rule for slurs over tied notes, except when it comes to grace notes. The music frequently has a figure of one or three grace notes leading to a whole note tied to more whole notes, and it consistently slurs the grace note(s) only to the first whole note. Raymond Horton Bass Trombonist, Louisville Orchestra dhbailey wrote: Colin Broom wrote: I'm working on a piece at the moment that happens to have some long notes tied over several bars. Now I know that conventional wisdom says that if one note is slurred to the next, the slur should extend from the very first note over/under all of the ties to the very last note, so, for example, if, in 4/4, I have a note three whole notes long which then slurs to another note the same length, the slur should extend across all 6 notes. However, I'm thinking more and more that over extremely long notes (often longer than the example above) it looks odd, and it seems to look better and clearer to my eyes to have the slur just between the last note of one and the first of the next. Furthermore, there is part of me that thinks that from one point of view this makes more sense, as a slur is essentally a fast event that takes place between two (or more) notes and not across the entire duration of both (a flimsy argument I'm sure). I know this goes against what is said in most if not all of the engraving books, but I have seen it in other scores, and not just contemporary ones. I'm just wondering if anyone has any particular opinions about this? C. My opinion is that if it looks strange to do it that way, do it differently. As long as the different way is clear and unambiguous it should be fine. Conventions are just that -- devices which have worked the best for the most people over the longest period of time. But they are not necessarily set in stone without change of revision or alteration when the situation seems to call for it. But the clarity is most important, so that some stranger sight-reading that music shouldn't have any doubt about how to play that passage. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Slurs on long, tied notes
Christopher Smith wrote: Oh, I don't think we were talking about terminology at all; we were discussing what shape slurs should have. I don't think it makes any difference if they are serving as slurs or phrase marks. I was just saying that I thought it is not necessary to have perfectly flat parts of slurs, as Mark prefers over long passages, as they might start to look the same as brackets, staff lines, and other things that are horizontal flat lines. For me it was a question of clarity. But I can tell you that as a trombone player, we generally articulate EVERY note, slur or not. The slurs are a sound, not a mechanical instruction, for trombone players. Christopher Some trombone players do, some don't. Many of us Chicago-type disciples natural slur (with no tongue) every legato note possible. But you are right about it not making any difference to the notation whether it's a slur or a phrase mark. Raymond Horton Bass Trombonist Louisville Orchestra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale import into Sibelius question
Raymond Horton wrote: I sent her one Fin2005 file, and she wrote back My home computer said I could not open it because I did not have Anastasia font. Noel Stoutenburg wrote: Hmmm. Did you use a font named Anastasia in your file? If so, she will have to obtain a copy to be able to properly display the file. And you might verify that she is using a Windows system; if not, here is another layer of complexity, as if S~ 2.1 is for an old enough operating system, you have a variety of other font issues, as well. No, I used only Finale fonts, whichever were defaulting in the current version. I'll check again on the recipient's system. Thanks! ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale import into Sibelius question
Thanks to Richard and Noel for advice on this issue. It sounds like a 2003 in ETF format will be the safest way, (short of a Sibelius upgrade) to transmit to a Sibelius 2.1 user. Raymond Horton ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale import into Sibelius question
Duly noted. RBH Richard Smith wrote: It is not *necessary* to copy any imported file into a fresh score. I'm sorry if I left that impression. I have just used that approach as a quick way of beginning clean up on imported files. RE: [Finale] Re: Finale import into Sibelius question I have had the opportunity to import some Music XML files into Sibelius. They work really well and it did not seem as though a fresh score was needed. These were very complex files with multiple voices (piano reductions). Clean up was minor. I was impressed. Richard Smith ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] part extraction question
I've always wondered how the 3rd mvt of the Shostakovitch 5th, which has three vln parts, is printed, but I never think to run over and look at the violin parts when I've been in an orchestra that has played it (which has been about ten times!). I have observed that it is often played with the third section carved out of the back half of the first and seconds. If that is the case, only the first and third parts would be needed in the first violin part, and the second and third parts in the second part. Either that, or there is a separate third violin part. I will try to remember to ask at rehearsal tomorrow. This would be the best precedent I can think of.. Raymond Horton Bass Trombonist, Louisville Orchestra On 3 Apr 2006, at 22:21, Andrew Stiller wrote: I'm dealing with a 19th-c. orchestral score in which the lengthy slow introduction features three violin sections instead of the usual two, but later on, for the rest of the score, reverts to the standard two sections. How ought I to deal with this when I extract the parts? My tentative solution is to create only two violin parts, but to indicate a triple divisi for the slow intro in both the first and second parts. This will distribute the 3 violin lines evenly and equally throughout the entire violin section, which I'm not at all sure is what the composer wanted. Also, the intro is highly contrapuntal, and a divisi in 3 will require three different staves continuing for 56 bars. And the Vn. 3 line is itself divisi at one point! There are several obvious alternative solutions to this problem, and I'd like to know how the rest of you would solve it. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] GPO and Finale - have had enough!
Buy more RAM. I took Darcy's advice, bought more, and life with GPO has been much, much easier since. I'm not giving up those sounds. Raymond Horton ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Gershwin Tomayto/tomahto
I would say, if one did not have access to a recording, that intent of the spelling of the lyrics is obvious, and in most cases, it is nearly obvious what is intended by the two juxtaposed pronunciations. It is still quite interesting, though. For example, unlike the earlier comment, tomato, tomahto reads right to my ear, but, pajamas, pajahmas both sound the same to me. (I could figure it out if I had to sing the song, though.) Ray Horton Michael Cook wrote: As published by Warner Bros, Lyrics by Ira Gershwin (copyright 1936, 1937, renewed 1963, 1964 George Gershwin Music and Ira Gershwin Music) You say ee-ther and I say eye-ther nee-ther; ny-ther po-ta-to; po-tah-to to-ma-to; to-mah-to pa-ja-mas; pa-jah-mas laugh-ter; lawf-ter af-ter; awf-ter va-nil-la; va-nel-la sa's'-pa-ril-la; sa's'-pa-rel-la choc'-late; straw-b'ry oyst-ers; erst-ers Depending on your accent in English, when you say the above words they will or they will not sound as they do when Fred Astaire and Ginger Rogers sing them in the film Shall We Dance (in a great dance number on roller skates, by the way). The only really clear way to indicate the pronunciation in a score would be to use the IPA, but (sadly) not enough people learn that anyway. It's better to accept that for this sort of music, recorded original performances are at least as important as the printed score. Best wishes, Michael Cook On 10 Apr 2006, at 20:25, Darcy James Argue wrote: On 10 Apr 2006, at 11:58 AM, Robert Patterson wrote: Does anyone have the sheet music? If the printed lyrics show no difference in spelling, I believe the printed music spells the words phonetically -- tomato, tomahto, etc. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Albinoni and losses from the Dresden bombing
Preserve all of it. You can quote me. RBH Johannes Gebauer wrote: On 11.04.2006 Dennis Bathory-Kitsz wrote: It's worth thinking about if you're hunting for music to preserve. Our own time is screaming for your attention. When I die, Gilles's work (and mine, too) goes to the dump. Pick a box. I'll pay shipping. I think you can have a different perspective: Perhaps in 200 years time someone will find your box, make a big commercial success out of it, and give you the fame you deserved in your life-time. Unfortunately for you you will never benefit from this financially. But who knows, the New Grove 2200 edition might name you along with the great classics. Seriously, any music of even the most mediocre quality is worth preserving. Those who are working to publish and perform Stölzel's music would probably never publish or perform any of today's music anyway. If there is a market for mediocre baroque music, then it is a good thing to open it. This gives many musicians an income. The much I can understand doubts about certain aspects of the Early Music movement (being myself very much a part of it) we have to realize that it certainly gave the music market a huge push in the 80s, and is still generating lots of work (at least here in Europe), which otherwise wouldn't exist. Fashion does play a huge role in this, we can certainly question a lot of things about it, but eventually I'd rather have a bigger croud interested in music because they like wild italians dancing around on stage playing music which even at its own time was considered unimportant, than noone interested in music at all. The Early Music movement, along with rediscoveries of previously unknown music is certainly very much a 20th century phenomenon, and in itself part of 20th century music (in a similar way as the Rennaissance is a 15th/16th century phenomenon, not anything truly ancient, even though that was the idea at the time). We shall see whether it will last more than a few years into the 21st century. Johannes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fw: Sad Story
Yeah that joke was old - but the most amazing thing this time was following the links and finding that, behind the usual battles over authorship on a simple song like that, behind all of them were, likely title and lyrics written by, I kid-you-not the SHAKERS. Look it up. RBH Christopher Smith wrote: On Apr 11, 2006, at 5:06 PM, Aaron Sherber wrote: At 04:45 PM 4/11/2006, John Hughes wrote: With all the sadness and trauma going on in the world at the moment, it is worth reflecting on the death of a very important person, which almost went unnoticed last week. That's because it didn't happen last week. He died in 1996. See http://en.wikipedia.org/wiki/Larry_LaPrise, or, if you prefer, http://www.cnn.com/US/9604/10/newsbriefs/ (scroll down to second item). Yeah, the joke IS ten years old. Still funny, though. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Albinoni and losses from the Dresden bombing
Johannes Gebauer wrote: On 11.04.2006 Darcy James Argue wrote: It's actually easier to get young people unfamiliar with classical music interested in the work of living composers than dead ones, which is only natural since (as Dennis says) they also gravitate towards living authors, living directors, living photographers, etc. I seriously doubt this theory, as far as non-pop, art music is concerned. Johannes I'm with Darcy oin this. I have seen and heard high schoolers go nuts over works by living composers far more than older works. Michael Daugherty, Schwantner, others, (I'll also throw in Ives - specifically Fourth of July, which sounded brand new to them on orchestra ed concerts, but somehow that doesn't get into the heads of the front office. RBH Louisville Orchestra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Albinoni and losses from the Dresden bombing
I think Dennis makes an excellent point here. The comparison with film is not equal, but it is apt. RBH Dennis B. K. writes: Film has a shorter history, but even so, there's not much clamoring for reshowings of Potemkin or The Great Dictator or Birth of a Nation or Metropolis or even Nosferatu in preference to recent independent films. And in English-language literature, excellent authors Annie Proulx or Salman Rushdie or Robertson Davies or T.C. Boyle, for example, are hardly pop, and are far better known among the arts-oriented general public than even the greatest living concert composers. That public can talk about contemporary literature or art film, but rarely about new nonpop. Just look at your average artsy magazine (such as the New Yorker), even a virtual one like Salon. It covers many topics in depth in the arts, but new nonpop has appeared in but one discussion over the past several years. ... ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Albinoni and losses from the Dresden bombing
Man, I keep my monitor set on that 1800 x 1200 setting for max detail in Finale but I gotta learn to reset it for email, so I don't mis-type so much - it makes me look like an idiot1 Let me repost and edit so it makes at least SOME sense: --- Johannes Gebauer wrote: --- On 11.04.2006 Darcy James Argue wrote: It's actually easier to get young people unfamiliar with classical music interested in the work of living composers than dead ones, which is only natural since (as Dennis says) they also gravitate towards living authors, living directors, living photographers, etc. --- I seriously doubt this theory, as far as non-pop, art music is concerned. Johannes -- I'm with Darcy in this. I have seen and heard high schoolers go nuts over works by living composers far more than older works. Michael Daugherty, Schwantner, others, (I'll also throw in Ives - specifically Fourth of July, which sounded brand new to them) on orchestra ed concerts. Sadly, somehow this doesn't get into the heads of the front office. RBH Louisville Orchestra ___ 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] Classical Music Archives
The MIDI component of the CMA is on the way out, actually, in favor of mp3 and other streaming audio modes. ... David A. Lawrence I hate to hear that. The midi files are very useful. Will there be another repository for them, I wonder? RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Narration in choral score...
Actually, note or measure expressions work very well. They stay were you want them to stay in relation to the music. Use lyrics only when you want a section in rhythm. RBH Ralph Whitfield wrote: Fellow listers... What is the best way to handle a narration in a choral score? Lyric? Text Block? I'm working on a multi-movement cantata. Orchestral score. Thanks in advance. Ralph ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Triplet pickups - bug
I concur, absolutely, with Johannes - do not make pickup measures from the Setup Wizard. If you do, you will very likely have a problem of some sort, eventually. Make your own pickup measure after you are out of the Wizard. RBH Johannes Gebauer wrote: On 04.05.2006 Stephen Lamb wrote: I created the pickup measure using the Document Setup Wizard. Has anyone else run into this? No, but I never use the pickup from the Doc Setup Wiz. In my opinion you shouldn't use that at all, as it creates numerous problems. Instead, use a special meter for that measure only, with the normal meter set for display (use more options to get there). To get the spacing right you may have to change the minimum measure width to something really small in the music spacing options. You can leave it small, there are no negative impacts. I have mine set to 0. Johannes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 3 violin parts and rehearsal letters - numbers
Many Tchaikovsky works (I recall the 5th symphony particularly) are notorious for having the rehearsal letters one bar before the phrase beginings. I don't know if it is a composer preference or a publisher-editor preference. Also, thanks for following up on the Shostakovitch 5th 3rd violin part. I asked four different 1st violinists, and none had any recollection (sigh). I would have asked our librarian, but she is in a tizzy now since our summer season was cancelled as of a few weeks ago and now is back on. Every time I have observed the three part violin section in that symphony, both when we played and when I heard a local community group play it, it was just as you described - the back approx 1/3 of both sections played the third part. It would seem, if that was the case, that the easiest way to print the parts would be to put 1+3 in the first part, and 2+3 in the 2nd part, and note that 3 is in both parts, and/or note the 2/3-1/3 divisi. RBH On 5/12/06 8:31 AM, Christopher Smith [EMAIL PROTECTED] wrote: In the Shostakovich 5 I mentioned in a previous message, I noticed in the score that the barlines at the rehearsal marks were quite thick, about like Finale's thick barlines. It was remarkable because I had never seen them before (except in incompetent Finale copying) and I don't know what to make of them. The rehearsal numbers (about every 4 bars or so) seem to occur in the bar BEFORE a phrase beginning, which is extremely off-putting. The editor is also inconsistent on this, sometimes putting a rehearsal marking ON a phrase start, just to mess with our heads. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 3 violin parts and rehearsal letters - numbers
This was a thread a couple of months ago. I believe someone had a score with 3 violin parts for a movement or so, and I suggested the Shostakovitch Fifth as a precedent. I knew the score was three distinct parts for only the third movement, but was not sure how the violin parts were handled. Raymond Horton Bass Trombonist Louisville Orchestra Owain Sutton wrote: Apologies, but I seemed to have missed out on some emails - what was the query re. Shostakovitch 5? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Raymond Horton Sent: 12 May 2006 17:27 To: finale@shsu.edu Subject: Re: [Finale] 3 violin parts and rehearsal letters - numbers Many Tchaikovsky works (I recall the 5th symphony particularly) are notorious for having the rehearsal letters one bar before the phrase beginings. I don't know if it is a composer preference or a publisher-editor preference. Also, thanks for following up on the Shostakovitch 5th 3rd violin part. I asked four different 1st violinists, and none had any recollection (sigh). I would have asked our librarian, but she is in a tizzy now since our summer season was cancelled as of a few weeks ago and now is back on. Every time I have observed the three part violin section in that symphony, both when we played and when I heard a local community group play it, it was just as you described - the back approx 1/3 of both sections played the third part. It would seem, if that was the case, that the easiest way to print the parts would be to put 1+3 in the first part, and 2+3 in the 2nd part, and note that 3 is in both parts, and/or note the 2/3-1/3 divisi. RBH On 5/12/06 8:31 AM, Christopher Smith [EMAIL PROTECTED] wrote: In the Shostakovich 5 I mentioned in a previous message, I noticed in the score that the barlines at the rehearsal marks were quite thick, about like Finale's thick barlines. It was remarkable because I had never seen them before (except in incompetent Finale copying) and I don't know what to make of them. The rehearsal numbers (about every 4 bars or so) seem to occur in the bar BEFORE a phrase beginning, which is extremely off-putting. The editor is also inconsistent on this, sometimes putting a rehearsal marking ON a phrase start, just to mess with our heads. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 3 violin parts and rehearsal letters - numbers
Concerning thrid violin part in Shostakovitch Fifth third movement: Christopher Smith wrote: I got a look at the other edition's violin parts, finally. First and second violins are written normally for the entire symphony, but there is a part for Violin 3 that has mvt. 1,2 and 4 marked Tacet! I imagine the idea was to distribute this third violin part to selected members of the firsts and/or seconds to substitute for the mvt. 3 they had in their parts. I suspected that this was the way it was in the old Kalmus set. That set also has seperate piano and celeste parts, even though they can easily be covered by one player. This caused the hiring of two players at least once, probably many more times than once. Raymond Horton ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] part extraction question
Christopher Smith wrote: On May 12, 2006, at 4:59 PM, Andrew Stiller wrote: On May 12, 2006, at 9:23 AM, Christopher Smith wrote: In the rare instances where there actually are three distinct parts for the violins (not octave-doublings of other voices) the conductor split the firsts and seconds in this way: The front 2/3 desks of firsts played violin 1. The front 2/3 desks of seconds played violin 2. The back 1/3 desks of firsts and seconds played violin 3. This way the players playing the same parts sit together, and are more or less evenly weighted. The concert master tells me that this last method is overwhelmingly the most usual way of dividing three ways Thanks very much for remembering the question, and for this illuminating reply. I note, though, that the method of division suggested only works if all the violins are seated together (the 20th-c. model). If the 1sts and 2nds are on opposite sides of the stage (as anticipated by all composers pre-Mahler), then the violin 3 grouping would end up being played by two widely separated bodies of players, creating precisely the kind of ensemble-coordination issues that Mahler hoped to avoid when he reorganized the orchl. layout. Yes I can see that, but this was 1937, and S. certainly knew all about Mahler (his 4th had an obvious debt to Mahler) so I think we can reasonably assume S. was envisioning 1sts and 2nds seated together. Although, opposite seating wouldn't kill the effect with different planning. Firsts could be front stands on both sides, seconds back stands to the conductor's left, thirds back stands to his right. Christopher Good thinking! But I'm wondering whether putting career second violinists suddenly on first violin for such an exposed movement is a good idea? RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Items to Clear differences in mac '06
First check None. Then all choices will become available. Raymond Horton Don Hart wrote: I was just trying to clear out a file in order to make a template for the project I'm working on, and when I choose Clear Items from the Mass edit menu and get to the Items to Clear dialog box, many choices are unavailable. For example, Measure widths is grayed out. Do I need to change that (and the other grayed out items) elsewhere in the program? In '05 Everything meant everything. Am I missing something? Thanks, Don Hart ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Kiss Me, Kate books
John Howell wrote: But in every case an instruction like [to 115] is given, even though the next bar in the music is actually bar 115. That strikes me as a temporary expedient that I would have removed when the intervening measures had been removed. Is there a reason for leaving them in? More than once in ballet rehearsals, we have had the conductor give us cuts we already have in the parts. If he/she starts to say make a cut from bar 99 to 115, in this case, we would say It looks like the cut is already in the parts. Even if the bars are still numbered 98, 99, 115, 116, leaving the written direction in could make that more clear. (1) I was surprised to find that the bass clarinet parts (the primary instrument out of 4 in the Reed 4 book) is clearly written for a low C bass clarinet, and the bottom three notes are used a LOT! Our bass clarinet player discovered last night that most of those low notes are doubled by cello, so he'll just take them up an octave, but my question is whether low C bass clarinets have become as common as low A bari saxes outside NYC? It's a cinch that nobody around here has one. Pro symphony players will often have one. Tremendous sound - Khachaturian Piano Concerto is one of the best examples that require it, along with many other Russian scores. Also, there are no ossiahs to make the English horn passages playable on oboe, as there are in a lot of other Broadway scores. Has this become common? Because an oboe is is no replacement for an English Horn. You can usually find a good oboist that doubles. Certainly NYC wasn't worried about it. (Don't you just HATE smart-aleck answers like this one!) Perhaps you could rent your oboist an English Horn? RBH John Howell wrote: Had our first rehearsal last evening with the orchestra for the revival version of Kiss Me, Kate, and as assistant to the music director I've been through every page of every book trying to identify problems before we gave the books out. First, I prayed that the music would be computer engraved, and it is, quite beautifully. Anybody know who did the work? Someone on this list, perhaps? It's definitely done in Finale; the giveaway is a couple of real ugly slurs! And somebody was also smart enough NOT to use Jazzfont, which surprises me. Somebody also finally realized that paper is cheap and rehearsal time is expensive, and that you break pages early for a good page turn!! It would have been done in 1999 or 2000 for the Broadway revival, reorchestrated very skillfully by Don Sebesky. (sp?) Has engraved parts become usual on Broadway these days? And since they were done in Finale, it would have been trivial to produce a full score, so why don't they!???! Almost all good, well planned page turns (I'm playing viola), although that brings up one of my questions below. Some errors have been caught and corrected, obviously on the master pages because they are identical in identical books (i.e. the 3 violin books). A few, but very few, remain. (a) The first bars of a number printed as if they are cues, including the reduced size of the instrument indication, but after a lot of thought I realized that they COULDN'T be cues because the instrument indicated is the instrument in whose book the passage is included. (Especially bad on No. 15, If I remember correctly.) (b) Failure in a very few cases to indicate the instrument to be played at the very beginning of a number, rather important when each Reed book includes 3 to 6 separate instruments. I was able to resolve most of these by comparing key signatures with other books, but the rubrics should have been there. OK, no problem with the indications Segue and Segue as one (the latter meaning the same as Attaca, which is not used). But one rubric really has me puzzled. That is No turn or V.S. no turn at the bottom of an odd numbered page when the music goes right on and there MUST BE a page turn! Never seen it, can't figure out what it's supposed to mean. Ideas? At first I though it was a mistake to stick with the 4-bars-per-line rule when typeset music can be more efficiently compressed. (Is that a union rule?) Then we had our first rehearsal, and the 4-bars really helped me when we'd made a page turn and I couldn't remember how many bars rest were left on the previous page. OK, I'm convinced! Typical of Broadway music, there are many instances where a number of bars have been cut out, but atypical of the old manuscript parts, they've simply been excised from the parts while keeping their original bar numbers. But in every case an instruction like [to 115] is given, even though the next bar in the music is actually bar 115. That strikes me as a temporary expedient that I would have removed when the intervening measures had been removed. Is there a reason for leaving them in? The string bowing is very well done, quite possibly by string
Re: [Finale] OT: names of kids (with warning attached)
Warning: I'm taking this thread ridiculously OT with theoretical names: Every time I see an out of town couple I know named _Story_ I ask them if they've yet had their three kids: Short, Tall and Likely. Once when we played a work by _Jacques Ibert_, I told the Music Director that the composer had three famous brothers: Ted, Smoke and Gum. I need one more for a good comedy rule of threes but I don't have it right now. Group? Raymond Horton Bass Trombonist Louisville Orchestra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Kiss Me, Kate books
Like I said, we are getting a bit smart-ass for the original poster, who has a community orchestra that goes down to middle-schoolers. Some shows are published with school editions, but obviously this one isn't, or hasn't been yet. But John is used to making adjustments, and will have to make one sort or the other for the English horn. When my first reply didn't show up, I revised my reply on the low C bass clarinet from Pro symphony players will often have one to ... usually have one, when I remembered that I noticed that not only has our full-time bass clarinetist had one for many years, but also our local substitute has one. It sounds like cellists are having to know three clefs, instead of just two, and to know treble in two different octaves. Poor kids. When they get to four clefs, treble in two octaves and in Bb, then they'll be caught up to trombonists! _-=-__-=-__-=-__-=-__-=-__-=-_ (Sound of a worm can being opened) RBH Eric Dannewitz wrote: Raymond Horton wrote: John Howell wrote: (1) I was surprised to find that the bass clarinet parts (the primary instrument out of 4 in the Reed 4 book) is clearly written for a low C bass clarinet, and the bottom three notes are used a LOT! Our bass clarinet player discovered last night that most of those low notes are doubled by cello, so he'll just take them up an octave, but my question is whether low C bass clarinets have become as common as low A bari saxes outside NYC? It's a cinch that nobody around here has one. Pro symphony players will often have one. Tremendous sound - Khachaturian Piano Concerto is one of the best examples that require it, along with many other Russian scores. Every reed doubler I know who is called to do lower reeds owns a bass clarinet with a low C. Also, there are no ossiahs to make the English horn passages playable on oboe, as there are in a lot of other Broadway scores. Has this become common? Because an oboe is is no replacement for an English Horn. You can usually find a good oboist that doubles. Certainly NYC wasn't worried about it. (Don't you just HATE smart-aleck answers like this one!) Perhaps you could rent your oboist an English Horn? Again, any double reed players out there who do the stuff a lot have their own English horn and Oboe, or can get them on short notice. I mean, for double reeds, you have to have both. It's like a flute player NOT having a piccolo. ___ 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] Kiss Me, Kate books
I've heard the oboists who play EH after a half hour, max, and I've heard the ones who spend real time on it and take lessons. I'll take the latter, thank you. RBH Andrew Stiller wrote: On Jun 16, 2006, at 10:39 PM, Raymond Horton wrote: Perhaps you could rent your oboist an English Horn and a few lessons? He/she would be most appreciative, I'm sure. You don't need no steenkin' lessons! Anyone who can play the oboe can play EH acceptably on 1/2 hour's practice, max. Same goes for the various different sizes of other WW, except the cbn (the fingerings differ) and maybe picc. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ 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] Kiss Me, Kate books
Andrew Stiller wrote: On Jun 17, 2006, at 10:29 AM, Carl Dershem wrote: Most shows have long stretches of I'd be reading the paper now, but the conductor would get mad, middling stretches of just plain work, and a few instances of let's hope I survive this bit tonight, but they almost always have something associated that's good for stories that last years. Oboist Claire Tindall, in her kiss-and-tell memoir _Mozart in the Jungle_, describes how she memorized her part for _Les Misérables_, and thereafter read books hidden behind her part during performances. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ Of course. I have read a lot during the _Nutcracker_ ballet over the years. How much of your brain do you need to play the Waltz of the Flowers a thousand times in your lifetime? Raymond Horton Bass Trombonist Louisville Orchestra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] trombones and worm cans
Robert Patterson wrote: ... Where are the worms? No worms. This is what I thought was opening the can. I thought I was insulting cellists, but no one went for it, and it turned into a tame thread on clefs instead. Probably no cellists here. Maybe they are to busy practicing: ... RBH wrote. a few days ago: It sounds like cellists are having to know three clefs, instead of just two, and to know treble in two different octaves. Poor kids. When they get to four clefs, treble in two octaves and in Bb, then they'll be caught up to trombonists! _-=-__-=-__-=-__-=-__-=-__-=-_ (Sound of a worm can being opened) RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Kiss Me, Kate books
Andrew Stiller wrote: In 1964, we did West Side Story with exactly one line change, altering You came here w. your pants open! to You came here w. your mouth open! ... Since the Clinton years, I think the amended version might be worse. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Kiss Me, Kate books
In 1964, we did West Side Story with exactly one line change, altering You came here w. your pants open! to You came here w. your mouth open! ... Since the Clinton years, I think the amended version might be worse. Since the Clinton years, everything's been worse. :-( Without a doubt, but I suppose we shouldn't go there. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re:OTmusic getting louder - was Trombones
The arms race is true in orchestras, but can be much more true in live pop and jazz. .. About ten or 12 years ago, the Tempataions did a pair of outdoor concerts with us. They had synths doubling all the orchestra parts at , and sound guys would come back and tell us that we couldn't be heard, so we needed to jam the mics in our bells and play as loud as possible. The volume was deafening on stage. .. One song (I think it might have been Ain't Too Proud To Beg, but I'm not sure) has a break in the middle with a trombone unison sixth position C. It was pencilled in to double it down an octave, and marked with as many f's as could fit on the page. We played the octaves as loud as humanly possible, but, again, they were doubling everything with hugely amplified keyboards (I take that as a sign that they have played with orchestras they don't trust to come in, or that they play the show without brass and don't want to mess with playing any differently with or without - but can't they adjust their own _volume_ when they have an orchestra so that the orchestra can be heard?) .. After the second show, I left to drive overnight up to Cleveland for the trombone workshop. On the way up , I heard the original recording of the above mentioned song on the radio. My jaw dropped open - it sounded like chamber music by comparison - and the trombone Cs were unison only, very small bore, and light. The recording sounded like about 12 instruments, tops. (And no synths, of course.) .. Raymond Horton Bass Trombonist, Louisville Orchestra ___ Chuck Israels wrote: Hi Jim et al, This issue doesn't come up at my school, where most of the students lack a concept of basic breathing and support. My reference has been professional circumstances. Three brief anecdotes: Many years ago, I kept my friend Dave Taylor company while he auditioned for the bass trombone spot in the BSO (it took place at Tanglewood, and I was spending the summer there). Dave was one of the three biggest sounding players, but the loudest guy (Halliburton, I think was his name) got the job. To my ears, other differences were minimal. All of the top applicants were phenomenal. We used to have an LP (since disappeared) of Sousa music here in the school music library that was a revelation to me. It was made by musicians in Sousa's family, his children, I believe, and it sounded much clearer and more lightly orchestrated (fewer instruments on each part), and more lightly played, than anything I'd been used to hearing - almost what we think of as Mozartean in effect. It made me appreciate the music in new ways. I played on a recording date in 1963 with JJ Johnson - arrangements written by JJ for himself, 4 other trombones (Urbie Green and Lou McGarity, on tenors, Tommy Mitchell and Paul Faulise on bass trombones, and a rhythm section that included Hank Jones and Walter Perkins, now available on Verve CD V6-8530). The arrangements and players were wonderful. The close miked recording sounds quite good to me now, and the effect is somewhat louder than I remember the sound in the room, but the impact and feeling of immersion in the glory of the vibrating air in the studio, even if not quite as loud as the recording can be played, was orders of magnitude more beautiful, and it took my breath away. Maybe some of that can be put through microphones, recordings, and loudspeakers, but there is something about the sound in the room, un-amplified and un-interfered with, that doesn't survive the process. Chuck On Jun 27, 2006, at 3:44 PM, Williams, Jim wrote: Chuck and list... I am also of the opinion that things are getting louder, especially in orchestras...I had a discussion with Harvey Phillips a while back about it, and he feels the same way. Compared to 50 or so years ago, the low brass are gigantic in bore size. What was a bass trombone back in the day is now merely a medium-large-bore tenor, and the tubas many people use in orchestras are downright frightening in size. Harvey had no trouble BLENDING with an orchestra on a 3/4 size Conn tuba with only 4 valves. Is it just me, or is BLENDING a declining skill? What's it like at your college, Chuck? In the recent past, a couple of well-known orchestral tubists retired, probably due at least in part to chop damage caused by playing so loud for so long. I occasionally visit the major midwestern conservatory about an hour from my house and am shocked by the loudness of the brass playing in the ensembles. As I may have mentioned in an earlier post, I was amazed when I played the euphonium that had belonged to the Sousa Band member. It's a real peashooter compared to what I play now, and it was a day or 2 of practice before I quit overblowing it. Even though my history encompasses only 54 years and a day job, I never thought I'd see a day where the brass had
Re: [Finale] Re:OTmusic getting louder - was Trombones
Your point is well made, although the Temps had, at that time, two original vocalists and three that went back many years (that group started dying off pretty quickly, as I recall). But the touring band was mostly young. The conductor for them, and for the Four Tops (the vocalists were intact for that group for nearly forty years) would rehearse the orchestra without the rhythm section. He would stand in the middle of the orchestra and beat on a cowbell throughout the rehearsal. Cute. At least we got to hear ourselves at the rehearsal. RBH Darcy James Argue wrote: Of course, the Funk Bros. (who played on all the original Motown recordings before the label relocated to LA) were some of Detroit's finest jazz players. They would track for Motown during the day (for which they were paid a flat rate of $10/song) and play in the jazz clubs at night. This was before the days of isolation booths and recordings built up one track at a time, let alone today's auto-tune and groove quantization -- the band had to do it in one, and it it had to sound balanced in the room. (Vocals were overdubbed later.) Even 10-12 years ago, The Temptations was just a brand, bearing little to no resemblance to the individuals that actually recorded Ain't Too Proud To Beg and the rest. They're effectively a Temptations tribute band, with all of the bad taste that entails. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] String Harmonics Playback With Full GPO
On 01 Jul 2006, at 11:58 AM, Leigh Daniels wrote: I'm working on a piece that needs violin and cello harmonics and I'd like to be able to hear at least an approximation of them via Finale playback using the Full GPO. It looks like Finale 2006/GPO cannot play them. List archive posts from last year mention that functionality comin in GPO Advanced but I can find nothing about it on the Garritan web site. I've had pretty good luck for playback in GPO by combining a violin patch at the correct octave with a soft piccolo (hidden) doubling the same pitch. Raymond Horton ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: OT [Finale] Robert King
The Robert King post could have been labeled OT, but it's no big deal, considering the threads we get into here. The list often discusses many areas pertaining to serious music not directly relating to Finale. The list will survive and thrive. Perhaps it is time to move on? RBH Kim Patrick Clow wrote: *dhbailey* [EMAIL PROTECTED] mailto:[EMAIL PROTECTED] wrote: the Sawkins topic was of importance to many Finale users because of the copyright issues involved. Robert King's group that performed the music that was involoved in the Sawkin's case. So, yes there is a connection between news about Robert King and classical music. I only mentioned this news in passing. I didn't offer opinions or editiorial comment about it. If I was wrong in my assumption that others on the list wanted to know about this news, sobeit. David: if the post doesn't help you in anyway, or give you any new knowledge (or knowledge that you care about), please hit delete. And move on. It's really that easy. Thanks. Kim Patrick Clow -- Kim Patrick Clow There's really only two types of music: good and bad. ~ Rossini ___ 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: OT [Finale] Robert King
Thanks, Andrew. Raymond Horton Andrew Stiller wrote: While I fully expected the Robert King posting (I had never heard of him, BTW) to generate much discussion, I was absolutely astounded at the form that discussion has taken, with nose-in-the-air sniffing about gossip and inappropriateness. ... [The rest of your excellent post deleted] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tempo changes
What version (what year, and Mac or Windows) of Finale are you using, Phil? Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 7, 2013 at 11:37 AM, Phil Buglass bloke...@comcast.net wrote: I'm sorry, I don't know how to do that... I am finding this process very frustrating. Most of my stuff is producing printed music to be played, but this one is to be 'performed'. Trying to get it to sound right is driving me in circles. Some of the stuff - articulations, slurs, for example - are interpreted by the human playback. To get it to alter tempo, the manual says that HP has to be off. I could probably do this easier using midi in Music Creator, but this was why I shelled out hard-earned money to buy the Garritan GPO, to get the realistic sound. Some of the examples on the Garritan website are incredible - I couldn't tell they weren't played by real musicians. How do they do it??? I realise that they have probably been working with the program for years, while I have had it about 3 months, but even then... I could do it in midi then import it, but importing midi is not the program's strongest aspect. One piece I ended up entering from scratch because I couldn't get it to play properly. I have places in this piece where the program doesn't play the notes that are written. Just totally ignores them! If it played them wrong, at least I would have an idea where to look. I have a bit of melody which hops around different parts, and in at least one place, it plays the first note and then ignores the rest. Hey guys, sorry for the rant. I guess I am just fighting a very steep learning curve! Phil. At 06:00 PM 4/6/2013, you wrote: You could clear the performance data Mark McCarron “Outside of a dog, a book is a man’s best friend. Inside of a dog it’s too dark to read.” Groucho Marx ___ 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] Tempo changes
OK, Phil, looking over your older posts, I am guessing you are using Finale-Windows 2012. I have that, but because of a couple of issues I reverted to 2011. I am going to be trying 2012 again in a few days, though. I think this stuff has not changed, so try this: 1) Save your file 2) With the Selection Tool, select all of the bars from which you want to remove the tempo changes. Depending on the length of the piece, you can do this with a shift-click at both ends, or you can go to the Edit menu and click select region and follow the instructions there. You'll probably want to select all of the staves (vertically) in the region. 3) Click on the Edit menu again, and click on clear selected items. A menu will open up - first, select none. Then, select midi data on the right, and Expressions: Tempo marks... (etc.) on the left. Click OK at the bottom, and it should clear all of the extra expressions and any hidden midi info. 4) Then save it under a different name, just in case you deleted anything important, play it back and see where you are. We can go from there. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 7, 2013 at 11:37 AM, Phil Buglass bloke...@comcast.net wrote: I'm sorry, I don't know how to do that... I am finding this process very frustrating. Most of my stuff is producing printed music to be played, but this one is to be 'performed'. Trying to get it to sound right is driving me in circles. Some of the stuff - articulations, slurs, for example - are interpreted by the human playback. To get it to alter tempo, the manual says that HP has to be off. I could probably do this easier using midi in Music Creator, but this was why I shelled out hard-earned money to buy the Garritan GPO, to get the realistic sound. Some of the examples on the Garritan website are incredible - I couldn't tell they weren't played by real musicians. How do they do it??? I realise that they have probably been working with the program for years, while I have had it about 3 months, but even then... I could do it in midi then import it, but importing midi is not the program's strongest aspect. One piece I ended up entering from scratch because I couldn't get it to play properly. I have places in this piece where the program doesn't play the notes that are written. Just totally ignores them! If it played them wrong, at least I would have an idea where to look. I have a bit of melody which hops around different parts, and in at least one place, it plays the first note and then ignores the rest. Hey guys, sorry for the rant. I guess I am just fighting a very steep learning curve! Phil. At 06:00 PM 4/6/2013, you wrote: You could clear the performance data Mark McCarron “Outside of a dog, a book is a man’s best friend. Inside of a dog it’s too dark to read.” Groucho Marx ___ 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] Tempo changes
I have gotten some great sounding demo recordings using Finale and GPO. Takes a little work, but you just have to figure out the best ways to use GPO. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 7, 2013 at 12:51 PM, Phil Buglass bloke...@comcast.net wrote: That is what I am finding too... It is a bit annoying, having just bought GPO4, especially to get better-sounding output. Most of the stuff I have done, the appearance is most important. It is going to be used by real people, and the audio output is just for my own use as I work on it. This time, I am working on some pieces which are going to be played through an audio system in lieu of real people. The appearance doesn't matter half as much, but it needs to sound right. I have never tried exporting midi from finale to another program, but I know that it doesn't import midi too successfully. The few times I have tried, I ended up scrapping it and entering the music by hand. I don't mind that, but it would be a real pain if I were working on a symphony! Thanks, Phil. At 12:18 PM 4/7/2013, you wrote: I've been using Finale since 2000 and I've found that when I need truly realistic playback I need to go elsewhere for it. In my case I use MOTU's Digital Performer. I DO NOT try to import or export MIDI files, as I've found that to be too problematic. So I end up doing all of the work twice, but that's what I have to to in order to get my music to sound right on one hand (in DP), and to look right on the other (in Finale). On Apr 7, 2013, at 8:37 AM, Phil Buglass wrote: I'm sorry, I don't know how to do that... I am finding this process very frustrating. Most of my stuff is producing printed music to be played, but this one is to be 'performed'. Trying to get it to sound right is driving me in circles. Some of the stuff - articulations, slurs, for example - are interpreted by the human playback. To get it to alter tempo, the manual says that HP has to be off. I could probably do this easier using midi in Music Creator, but this was why I shelled out hard-earned money to buy the Garritan GPO, to get the realistic sound. Some of the examples on the Garritan website are incredible - I couldn't tell they weren't played by real musicians. How do they do it??? I realise that they have probably been working with the program for years, while I have had it about 3 months, but even then... I could do it in midi then import it, but importing midi is not the program's strongest aspect. One piece I ended up entering from scratch because I couldn't get it to play properly. I have places in this piece where the program doesn't play the notes that are written. Just totally ignores them! If it played them wrong, at least I would have an idea where to look. I have a bit of melody which hops around different parts, and in at least one place, it plays the first note and then ignores the rest. Hey guys, sorry for the rant. I guess I am just fighting a very steep learning curve! Phil. At 06:00 PM 4/6/2013, you wrote: You could clear the performance data Mark McCarron “Outside of a dog, a book is a man’s best friend. Inside of a dog it’s too dark to read.” Groucho Marx ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Lon Price lonpr...@txstnr.com http://www.txstnr.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale “Outside of a dog, a book is a man’s best friend. Inside of a dog it’s too dark to read.” Groucho Marx ___ 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] Tempo changes
Are the notes that are not playing repeated notes of the same pitch? I often have to shorten notes so the repeated ones will play. I will routinely use the midi tool to highlight the entire score, then under midi tool menu select edit note durations, then percent alter to a number like 96 or 94 percent of original length (or higher or lower, depending on the legato vs staccato nature of the score and how much reverb you are using). That takes care of the repeated notes problem. Human playback seems to make notes longer than 100% and the overlap creates the problem. For volumes, you can strip the midi velocities using the procedure I described earlier, and just use volumes. The idiosyncratic nature of playback seems to multiply with Finale X Human Playback X GPO, but with patience can really pay off. Speaking of playback volume, when GPO first appeared, it only responded to commands that used Modulation, not Key Velocity. This meant we had to define a set of dynamics that used the Mod wheel. Later, GPO was supposed to respond to the same Key Velocity dynamics that Finale had by default. But, sometimes I notice that those don't work and I have to define some for Modulation. I haven't needed to make a good demo in a while, so I don't know where this stands, now, so try some of both. (To define a dynamic for Modulation, duplicate a dynamic and edit the playback to controller / modulation and try some different numbers there.) Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 7, 2013 at 12:57 PM, Phil Buglass bloke...@comcast.net wrote: As I said in another post, most of the tempo changes - both wanted and unwanted - failed to survive the night. I think the cat must be getting on here after I am asleep... Today's problem is getting the program to consistently play the notes that are there. I have a couple of sections where nothing gets played in one part for a few measures. I have some places where it gets played but *so* quietly that I am not sure it isn't my imagination providing a 'fill in'. I have the volumes turned up pretty high using studio view, and the parts are marked f or ff, but they still play very quietly. I haven't given up yet, but there are a few head-shaped dents in the wall... Phil. At 12:02 PM 4/7/2013, you wrote: OK, Phil, looking over your older posts, I am guessing you are using Finale-Windows 2012. I have that, but because of a couple of issues I reverted to 2011. I am going to be trying 2012 again in a few days, though. I think this stuff has not changed, so try this: 1) Save your file 2) With the Selection Tool, select all of the bars from which you want to remove the tempo changes. Depending on the length of the piece, you can do this with a shift-click at both ends, or you can go to the Edit menu and click select region and follow the instructions there. You'll probably want to select all of the staves (vertically) in the region. 3) Click on the Edit menu again, and click on clear selected items. A menu will open up - first, select none. Then, select midi data on the right, and Expressions: Tempo marks... (etc.) on the left. Click OK at the bottom, and it should clear all of the extra expressions and any hidden midi info. 4) Then save it under a different name, just in case you deleted anything important, play it back and see where you are. We can go from there. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 7, 2013 at 11:37 AM, Phil Buglass bloke...@comcast.net wrote: I'm sorry, I don't know how to do that... I am finding this process very frustrating. Most of my stuff is producing printed music to be played, but this one is to be 'performed'. Trying to get it to sound right is driving me in circles. Some of the stuff - articulations, slurs, for example - are interpreted by the human playback. To get it to alter tempo, the manual says that HP has to be off. I could probably do this easier using midi in Music Creator, but this was why I shelled out hard-earned money to buy the Garritan GPO, to get the realistic sound. Some of the examples on the Garritan website are incredible - I couldn't tell they weren't played by real musicians. How do they do it??? I realise that they have probably been working with the program for years, while I have had it about 3 months, but even then... I could do it in midi then import it, but importing midi is not the program's strongest aspect. One piece I ended up entering from scratch because I couldn't get it to play properly. I have places in this piece where the program doesn't play the notes that are written. Just totally ignores them! If it played them
Re: [Finale] Tempo changes
Try the modulation I described. And check the GPO patch to make sure it is loaded OK. Also, don't forget you can adjust balance in the Studio view. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 7, 2013 at 2:12 PM, Phil Buglass bloke...@comcast.net wrote: No, they are not repeating notes. Besides, it is a 2-measure phrase which repeats several times among different voices, and all the others play ok. Just the alto line, which is turned up pretty high, and marked forte right at that entry. I have tried this new stripped-down copy both with and without HP, but it doesn't seem to make much difference either way. Phil. At 01:57 PM 4/7/2013, you wrote: Are the notes that are not playing repeated notes of the same pitch? I often have to shorten notes so the repeated ones will play. I will routinely use the midi tool to highlight the entire score, then under midi tool menu select edit note durations, then percent alter to a number like 96 or 94 percent of original length (or higher or lower, depending on the legato vs staccato nature of the score and how much reverb you are using). That takes care of the repeated notes problem. Human playback seems to make notes longer than 100% and the overlap creates the problem. For volumes, you can strip the midi velocities using the procedure I described earlier, and just use volumes. The idiosyncratic nature of playback seems to multiply with Finale X Human Playback X GPO, but with patience can really pay off. Speaking of playback volume, when GPO first appeared, it only responded to commands that used Modulation, not Key Velocity. This meant we had to define a set of dynamics that used the Mod wheel. Later, GPO was supposed to respond to the same Key Velocity dynamics that Finale had by default. But, sometimes I notice that those don't work and I have to define some for Modulation. I haven't needed to make a good demo in a while, so I don't know where this stands, now, so try some of both. (To define a dynamic for Modulation, duplicate a dynamic and edit the playback to controller / modulation and try some different numbers there.) Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 7, 2013 at 12:57 PM, Phil Buglass bloke...@comcast.net wrote: As I said in another post, most of the tempo changes - both wanted and unwanted - failed to survive the night. I think the cat must be getting on here after I am asleep... Today's problem is getting the program to consistently play the notes that are there. I have a couple of sections where nothing gets played in one part for a few measures. I have some places where it gets played but *so* quietly that I am not sure it isn't my imagination providing a 'fill in'. I have the volumes turned up pretty high using studio view, and the parts are marked f or ff, but they still play very quietly. I haven't given up yet, but there are a few head-shaped dents in the wall... Phil. At 12:02 PM 4/7/2013, you wrote: OK, Phil, looking over your older posts, I am guessing you are using Finale-Windows 2012. I have that, but because of a couple of issues I reverted to 2011. I am going to be trying 2012 again in a few days, though. I think this stuff has not changed, so try this: 1) Save your file 2) With the Selection Tool, select all of the bars from which you want to remove the tempo changes. Depending on the length of the piece, you can do this with a shift-click at both ends, or you can go to the Edit menu and click select region and follow the instructions there. You'll probably want to select all of the staves (vertically) in the region. 3) Click on the Edit menu again, and click on clear selected items. A menu will open up - first, select none. Then, select midi data on the right, and Expressions: Tempo marks... (etc.) on the left. Click OK at the bottom, and it should clear all of the extra expressions and any hidden midi info. 4) Then save it under a different name, just in case you deleted anything important, play it back and see where you are. We can go from there. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 7, 2013 at 11:37 AM, Phil Buglass bloke...@comcast.net wrote: I'm sorry, I don't know how to do that... I am finding this process very frustrating. Most of my stuff is producing printed music to be played, but this one is to be 'performed'. Trying to get it to sound right is driving me in circles
Re: [Finale] Tempo changes
Some suggestions: 1) Just as the esteemed composer David Froom suggested earlier, don't use the Finale-defined rits, etc. Make your own tempo marks - they can show, they can be hidden, they can be a rit. with a tempo attached. 2) To make your own tempo mark, select expressions (mf), select Tempo Marks and either create a new one or duplicate one there and redefine it. For a mid-measure tempo change you will have to edit the positioning - deselect the Use Tempo Marks Positioning and change the Horizontal Alignment Point to Horizontal Click Positioning. Then you can attach 3) When busy people take time to try to help you, even if you are still having trouble: show a _little bit_ of appreciation in your reply! That will be your best assurance of getting more help. It is not our fault that Finale can be frustrating! We did not design the program (which, even when I curse it, I consider a gift from God that has improved my life tremendously.) You are getting a lot more help than some of us got when we started out (back when the program was WAY more confusing, I could add!). FIRST, say 'thanks for your help, then tell us what worked better, what didn't. It will make the next set of suggestions easier to type for those who are trying to help you. I see that some later replies from you DO contain some appreciation, so I may be out of line with that last paragraph. Without looking up your earlier replies, I recalled some mis-directed frustration. If the shoe doesn't fit, please toss it back. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 7, 2013 at 2:12 PM, Phil Buglass bloke...@comcast.net wrote: No, they are not repeating notes. Besides, it is a 2-measure phrase which repeats several times among different voices, and all the others play ok. Just the alto line, which is turned up pretty high, and marked forte right at that entry. I have tried this new stripped-down copy both with and without HP, but it doesn't seem to make much difference either way. Phil. At 01:57 PM 4/7/2013, you wrote: Are the notes that are not playing repeated notes of the same pitch? I often have to shorten notes so the repeated ones will play. I will routinely use the midi tool to highlight the entire score, then under midi tool menu select edit note durations, then percent alter to a number like 96 or 94 percent of original length (or higher or lower, depending on the legato vs staccato nature of the score and how much reverb you are using). That takes care of the repeated notes problem. Human playback seems to make notes longer than 100% and the overlap creates the problem. For volumes, you can strip the midi velocities using the procedure I described earlier, and just use volumes. The idiosyncratic nature of playback seems to multiply with Finale X Human Playback X GPO, but with patience can really pay off. Speaking of playback volume, when GPO first appeared, it only responded to commands that used Modulation, not Key Velocity. This meant we had to define a set of dynamics that used the Mod wheel. Later, GPO was supposed to respond to the same Key Velocity dynamics that Finale had by default. But, sometimes I notice that those don't work and I have to define some for Modulation. I haven't needed to make a good demo in a while, so I don't know where this stands, now, so try some of both. (To define a dynamic for Modulation, duplicate a dynamic and edit the playback to controller / modulation and try some different numbers there.) Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 7, 2013 at 12:57 PM, Phil Buglass bloke...@comcast.net wrote: As I said in another post, most of the tempo changes - both wanted and unwanted - failed to survive the night. I think the cat must be getting on here after I am asleep... Today's problem is getting the program to consistently play the notes that are there. I have a couple of sections where nothing gets played in one part for a few measures. I have some places where it gets played but *so* quietly that I am not sure it isn't my imagination providing a 'fill in'. I have the volumes turned up pretty high using studio view, and the parts are marked f or ff, but they still play very quietly. I haven't given up yet, but there are a few head-shaped dents in the wall... Phil. At 12:02 PM 4/7/2013, you wrote: OK, Phil, looking over your older posts, I am guessing you are using Finale-Windows 2012. I have that, but because of a couple of issues I reverted to 2011. I am going to be trying 2012 again in a few days, though. I think this stuff has not changed, so try this: 1) Save your file 2
Re: [Finale] Tempo changes
That's an important difference that Don points out: the Tempo Marks category defaults to Beginning of Measure, (or Start of Time Signature, I forget which) while the Tempo Alterations category defaults to Horizontal Click Positioning Of course, either can be redefined as a category or individually, or - perhaps best for Phil's use - a new category could be made - with hidden tempo marks that default to horizontal position, for example. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Mon, Apr 8, 2013 at 1:17 PM, Don Hart donhartmu...@gmail.com wrote: Hi Phil, I've used hidden tempo marks for years (with and w/out HP) and have been quite successful getting tempos how I like/envision them. For positioning, put those expressions in the Tempo Alterations category. The default positioning in that category is Horizontal Click Positioning which will attach the expression to a beat or note, and the playback is affected starting where it's attached. Remember, you can option-drag to change the point of attachment. Because I hide these expressions, I rarely create a separate staff for them. Most of the time, attaching to notes available in the score is sufficient. The only problem I haven't totally overcome is in certain situations where I want to define an accel. or rit. differently from what HP gives me, but I need the indication in the score/parts. I'm not sure how to turn off HP for one rit. and not another. Does anyone know how? Would a hidden character or hard space do the trick? Don Hart On Sun, Apr 7, 2013 at 3:21 PM, Phil Buglass bloke...@comcast.net wrote: Hi, This is a great idea. The problem is that these tempo marks attach themselves to the beginning of the measure. The manual says you can attach expressions to notes, but it doesn't work with these. I tried dragging them around, but the attachment snaps to the next measure, not the next note. The end result is that they all take effect at the same time, so it ends up being a tempo change rather than a rallentando. Thanks for the help. My brain is fried, and I think it's time I got on with some other stuff for now. There has to be a way of getting this to work... Maybe it will come to me in my sleep or something, Thanks again, Phil. At 02:17 PM 4/7/2013, you wrote: On 7 Apr 2013, at 1:00 PM, finale-requ...@shsu.edu wrote: If you really don't care what it looks like, you can try this: put a real tempo mark (quarter = whatever) wherever you want to change tempo. For gradual tempo changes, put a tempo mark one on every beat (quarter, eighth, sixteenth). These DO work, at least nearly always. You can create a silent scratch track with a string of notes to which to attach the tempo marks. “Outside of a dog, a book is a man’s best friend. Inside of a dog it’s too dark to read.” Groucho Marx ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Splitting Chords by Note
Consider exploding the staff onto as many separate staves as notes in the track, then re-order the staves and combine them as needed. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Mon, Apr 8, 2013 at 10:02 AM, Dean Rosenthal deanrosent...@gmail.comwrote: Hello: My question is about moving specific notes of a chord, given on a single MIDI track, to another staff and handling regions. It is chord splitting. However, a split point won't work here, what I need to do is divide up the notes in a way that doesn't reflect top to bottom etc. I have looked into cross staff notation and the MIDI tools, but can't find a solution. Simply put, I need control over each note in a given chord of a given MIDI track, to move the chosen notes to a separate staff. The Note Mover tool might help, but it doesn't appear to be able to handle regions of repeated chords. Thanks, Dean -- updated site: www.deanrosenthal.org ___ 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] Garritan band library
I can't speak to matters of taste, but i can say that there are a great many MORE brass samples in Garritan Band than in GPO. Euphs vs. baritones, etc. I find for brass band work it is quite helpful. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Wed, Apr 24, 2013 at 7:08 AM, Klaus Smedegaard Bjerre yorkmaster...@yahoo.com wrote: Bought the Garritan Personal Orchestra some months ago. The better depth and more richness in details compared to the fewer sound samples coming with FM2012 have pleased me and been helpful in my work. Now I wanted to do a brass band version of a recent project, where it would have been of benefit to work with cornet sounds over the GPO trumpets. Also to have access to the alto/tenor horn sounds over the orchestral horn sounds. Same for a greater variety of baritone, euphonium, and tuba sounds. So I listened to the sound samples on the makemusic site. And I was deeply disappointed by the artificial, glassy, orchestrion quality of the soundscape. Do I have a wose than usual ear-day, or have others had similar experiences? Is the band library being in version 2 over the GPO being in version 4 a hint that the band library is kind of outdated? Klaus ___ 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] Playback Weird Behavior Playing a Semitone Lower
Pitch going flat on the trombone patch? I can help you with that! Make sure you've got the slide lock on! Actually, I used to have a bass trombone that developed a problem in which the tuning slide (behind my head) would slip in (making the horn sharp) while I was playing! Drove me crazy until I figured out what was happening! Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Thu, May 9, 2013 at 10:14 AM, Giovanni Andreani i...@giovanniandreani.eu wrote: It happens with the keyboard turned off as well! It occurs, I've lately discovered, when closing the Playback Controls window and triggering playback with the space bar-mouse click combination. Playback with the Playback Controls window opened is ok. Unwantes transposition although happens on two staves grouped for a synthesizer to play with a trombone timbre (the sound set for these staves) Giovanni Andreani www.giovanniandreani.eu Is it possible you have an expression set to pitch bend? Like a scoop or a fall, or maybe a gliss marking that isn't resetting itself like it should? Or if it is only one sound source, check the pitch wheel. Sometimes my cat walks on my keyboard pitch wheel, causing me all kinds of grief until I figure it out. Christopher On Thu May 9, at ThursdayMay 9 9:00 AM, Richard Yates wrote: Probably time to upgrade from that 1720 version of Finale (the 'Handel Edition') :- Hello, I'm in a muddle trying to find out how to avoid a peculiar, weird behavior Finale is adopting. I've got some staves playing back a semitone lower than how they should be performed and no transposition has been set on them. Quitting and reopening finale doesn't fix the problem. Any clues? Thank you Giovanni ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] What will be the state of notation products by 2016?
I think Steinberg notation software is, at this point, the poster boy for 100% vaporware. They put out a video with demos made on a totally different product, for goodness' sake! I wish them only the best, and hope the ultimate product does all that is promised and more, but only vapor is available now. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Tue, Sep 17, 2013 at 1:56 PM, David H. Bailey dhbai...@davidbaileymusicstudio.com wrote: On 9/17/2013 1:35 PM, Robert Patterson wrote: I agree with Darcy's list of wishes long before playback features, and to them I would add music spacing options by region and part. BTW: if you are looking for an open framework, there is MuseScore. I haven't been following exactly where it is going lately, but I think it has the potential to leave all the others in the dust, just because of the large number of people that seem to be contributing. I certainly think that any new commercial product will have trouble competing with it. The Steinberg offering, for example, seems to be 100% vaporware. If I had a dollar for every vaporware announcement that never saw the light of day, I would be a rich man. I'm not sure it can truly be called vaporware -- isn't vaporware an item which has a name, has a price, has an announced shipping date and then never appears? The Steinberg product is admittedly (by Steinberg and the development team) to be in development with no announced shipping date. There has been no pricing announced and as far as I recall, no product name yet either nor a proposed shipping date. Or do you consider every product which is in development to be vaporware? -- David H. Bailey dhbai...@davidbaileymusicstudio.com http://www.davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] What will be the state of notation products by 2016?
The video is what made it instant vaporware. That video reminded me of the movie Tucker. (I'm assuming that there was some Hollywood compression and exaggeration in the film, but for these purposes I'll take the film as as fact.) Tucker and cronies crammed together a car for an early showing that was a total sham, but eventually came up with a product that was innovative and a classic. (He then was forced out of business by corrupt pols in league with the Big Three automakers, but let's hope that is not part of the notation story.) If that movie stopped after that first bogus showing we would have no idea if the Tucker (car) ever came to be. That's where we are now, with the Steinberg-Spreadbury notation app.We had the bogus preview video (which I cannot seem to locate, now) and bright people are hard at work behind the scenes, but only the air expended on their promises is out there. Vaporware. As I said, I wish them only the best. Their success could only help the industry, just as that of Sibelius did. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Tue, Sep 17, 2013 at 2:37 PM, Craig Parmerlee cr...@parmerlee.comwrote: On 9/17/2013 2:18 PM, Raymond Horton wrote: I think Steinberg notation software is, at this point, the poster boy for 100% vaporware. They put out a video with demos made on a totally different product, for goodness' sake! I wish them only the best, and hope the ultimate product does all that is promised and more, but only vapor is available now. But they are not representing it as a product, only as a development project. While the implication may be that they indent to produce a discrete notation product that would be Sibelius: The Next Generation, if you will, it is possible that these efforts would roll back into the Cubase platform to extends its notation capabilities. I don't think suppliers should ever be discouraged from talking about the future as long as they aren't making any solid promises they can't keep. The natural inclination of software suppliers (incumbents especially) is to clam up. There can be several reasons for this: 1) If what they have to say isn't all that impressive, that will lose loyalty during the incubation period. 2) If what they have to say is so-so, they would rather hold everything for a big flashy announcement. 3) If what they have to say is really impressive, they don't want to give the competition a chance to get organized against their messages. And conversely, a newcomer is more likely to talk openly: 1) To get some attention 2) To start to dislodge loyalties with the incumbents 3) To freeze people from buying competitor upgrades in the interim 4) If they decide the incumbents aren't really competing very much anyway. We will have to wait until 2016 to see what 2016 really looks like, but I don't see where some speculation hurts anyone. ___ 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] What will be the state of notation products by 2016?
Oh, Oh, OH! My mistake! My memory was running things together. Thanks for setting me straight, DJA! I take it all back. About the video, that is. I'm not sure if I retract the 100% vaporware label, though. It still seems to fit (actually Mr. Patterson applied it, first, but I jumped in with both feet, partially in mouth). Yeah, I don't - it's still vaporware. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Wed, Sep 18, 2013 at 3:06 AM, Darcy James Argue djar...@earthlink.netwrote: Again, that spoofed video that you guys are talking about is for a completely different product, ThinkMusic. Steinberg's Daniel Spreadbury (formerly of Sibelius) is one of the people who helped *expose* it. I repeat my link: http://www.sibeliusblog.com/news/makers-of-music-handwriting-app-video-used-sibelius-and-goodreader-to-create-dramatization/ Cheers, - DJA - WEB: http://www.secretsocietymusic.org On Sep 18, 2013, at 1:25 AM, Raymond Horton horton.raym...@gmail.com wrote: The video is what made it instant vaporware. That video reminded me of the movie Tucker. (I'm assuming that there was some Hollywood compression and exaggeration in the film, but for these purposes I'll take the film as as fact.) Tucker and cronies crammed together a car for an early showing that was a total sham, but eventually came up with a product that was innovative and a classic. (He then was forced out of business by corrupt pols in league with the Big Three automakers, but let's hope that is not part of the notation story.) If that movie stopped after that first bogus showing we would have no idea if the Tucker (car) ever came to be. That's where we are now, with the Steinberg-Spreadbury notation app.We had the bogus preview video (which I cannot seem to locate, now) and bright people are hard at work behind the scenes, but only the air expended on their promises is out there. Vaporware. As I said, I wish them only the best. Their success could only help the industry, just as that of Sibelius did. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Tue, Sep 17, 2013 at 2:37 PM, Craig Parmerlee cr...@parmerlee.com wrote: On 9/17/2013 2:18 PM, Raymond Horton wrote: I think Steinberg notation software is, at this point, the poster boy for 100% vaporware. They put out a video with demos made on a totally different product, for goodness' sake! I wish them only the best, and hope the ultimate product does all that is promised and more, but only vapor is available now. But they are not representing it as a product, only as a development project. While the implication may be that they indent to produce a discrete notation product that would be Sibelius: The Next Generation, if you will, it is possible that these efforts would roll back into the Cubase platform to extends its notation capabilities. I don't think suppliers should ever be discouraged from talking about the future as long as they aren't making any solid promises they can't keep. The natural inclination of software suppliers (incumbents especially) is to clam up. There can be several reasons for this: 1) If what they have to say isn't all that impressive, that will lose loyalty during the incubation period. 2) If what they have to say is so-so, they would rather hold everything for a big flashy announcement. 3) If what they have to say is really impressive, they don't want to give the competition a chance to get organized against their messages. And conversely, a newcomer is more likely to talk openly: 1) To get some attention 2) To start to dislodge loyalties with the incumbents 3) To freeze people from buying competitor upgrades in the interim 4) If they decide the incumbents aren't really competing very much anyway. We will have to wait until 2016 to see what 2016 really looks like, but I don't see where some speculation hurts anyone. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale Digest, Vol 124, Issue 10
I agree 100% that accidentals ABOVE the note is the way to add cautionary acci's. Solves all of the problems mentioned. On Nov 13, 2013 3:35 AM, Clif Ashcraft wa2...@optonline.net wrote: Anyone know whether the bug on accidentals tied into the next measure has been fixed in the 2014 version? In all past versions, if you scan in a score and have a note that is natural in the key signature but has an accidental in front of it in this instance and the note is tied to another note in the next measure, you invariably find that the note in the next measure is natural and does not have the accidental applied. It looks normal, but if you delete the tie you see that the accidental does not appear. On playback you get an half step rise or fall in pitch as you cross the end of measure line. Very frustrating. After scanning in a score you have to check every tied accidental and make sure it is done right. For musical typesetting application it does not matter because it looks right. It is only a problem for playback. The same problem happens if the note is sharp or flat in the key signature and a natural sign is applied in front of the note which is tied into the next measure. The note in the nest measure is not natural, but sharp or flat as in the key signature. I find this a very annoying and time wasting bug in the program. Clif Ashcraft On Nov 12, 2013, at 1:00 PM, finale-requ...@shsu.edu wrote: Send Finale mailing list submissions to finale@shsu.edu To subscribe or unsubscribe via the World Wide Web, visit http://lists.shsu.edu/mailman/listinfo/finale or, via email, send a message with subject or body 'help' to finale-requ...@shsu.edu You can reach the person managing the list at finale-ow...@shsu.edu When replying, please edit your Subject line so it is more specific than Re: Contents of Finale digest... Today's Topics: 1. Re: random thoughts on 2014 (Craig Parmerlee) 2. Playing back a score (Barbara Levy) 3. Re: Playing back a score (christopher.sm...@videotron.ca) 4. Re: Playing back a score (dershem) 5. Re: Playing back a score (John Blane) 6. Re: Playing back a score (John Blane) From: Craig Parmerlee cr...@parmerlee.com Date: November 11, 2013 2:36:10 PM EST To: finale@shsu.edu Subject: Re: [Finale] random thoughts on 2014 Reply-To: finale@shsu.edu Yes, this is exactly what happens to me. I find myself sight-reading live performances a more often than I would like. I guess I am good enough at it that people are willing to call me in an emergency. Every time I trip up on one of these redundant accidentals non-parenthesized, I cuss the mother of whoever did that notation. Either put the parentheses in there or leave out the cautionaries altogether. That's why we have key signatures. The only exception I would make is for music targeted at students in the 8th-20th week of playing an instrument. Before that time, they don't see accidentals. After that time, they should be reading accidentals properly. On 11/10/2013 4:45 PM, Lawrence Yates wrote: Steve P, I agree entirely. On seeing a cautionary accidental without parenthesis I would, for a split second, think I must have missed a natural earlier. That split second is enough to disturb my sight reading. All the best, Lawrence On 10 November 2013 19:43, Steve Parker st...@pinkrat.co.uk wrote: another differing opinion.. I sightread a lot for a living, but I don't like cautionarys without parentheses - I find they make my eyes skip back to the key sig. or original accidental to check. In keyless music, parantheses are usually redundant. Steve P. On 10 Nov 2013, at 20:27, Christopher Smith wrote: If you will permit a somewhat differing opinion, I think there are places where cautionaries are necessary, even when there isn't a key change, and I have figured out after many years that NON-parenthesised ones actually are easier to read. I know that parentheses make logical sense, that a parenthesised accidental is kind of like saying, I KNOW you know this, but here's a reminder to differentiate it from one that is absolutely necessary. But from a distance, parentheses around an accidental makes all three (sharp, flat, and natural) into the same outline, so you have to read more closely to see which accidental it actually is. Already, sharps and naturals are easy to confuse with each other; the parentheses make it worse. I keep getting caught by these on the gigs I do where the Finale user is less than professional. And Sibelius seems to have this redundant accidental default that puts in accidentals on the SECOND of two tied notes! Christopher From: Barbara Levy barb...@msn.com Date: November 11, 2013 6:07:15 PM EST To: Finale Discussion finale@shsu.edu Subject: [Finale] Playing back
Re: [Finale] Chord notation question
I would assume G7, but can you ask composer? On Nov 14, 2013 11:10 AM, 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 === Email scanned by PC Tools - No viruses or spyware found. (Email Guard: 7.0.0.18, Virus/Spyware Database: 6.18500) http://www.pctools.com/ === ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Chord notation question
Dead. And Canadian... Hah! The old MTV quiz show had a category called Dead or Canadian - name a celebrity, contestant would guess which: William Shatner? (Canadian), 'William Frawley?. (Dead). On Nov 14, 2013 11:20 AM, dershem ders...@cox.net wrote: 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 === Email scanned by PC Tools - No viruses or spyware found. (Email Guard: 7.0.0.18, Virus/Spyware Database: 6.18500) http://www.pctools.com/ === ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Chord notation question
The old MTV quiz show Remote Control. Gave the world Adam Sandler On Nov 14, 2013 11:28 AM, Raymond Horton horton.raym...@gmail.com wrote: Dead. And Canadian... Hah! The old MTV quiz show had a category called Dead or Canadian - name a celebrity, contestant would guess which: William Shatner? (Canadian), 'William Frawley?. (Dead). On Nov 14, 2013 11:20 AM, dershem ders...@cox.net wrote: 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 === Email scanned by PC Tools - No viruses or spyware found. (Email Guard: 7.0.0.18, Virus/Spyware Database: 6.18500) http://www.pctools.com/ === ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Default rests in 6/4 (Finale 2014)
Also, when defining your time signature, make it 2 dotted half notes rather than 6 quarter notes. AND, under Speedy /Speedy Options un-check 'fill with rests.' Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Dec 15, 2013 at 2:10 PM, Ryan ry.squa...@gmail.com wrote: MIDI/Audio Quantization Settings More Settings… Check the box that says Allow Dotted Rests in Compound Meters That should do it. On Sun, Dec 15, 2013 at 10:52 AM, Steven Larsen st...@larsenbein.com wrote: It seems that I knew how to solve this before but can't figure it out now. I'm writing a piece in 6/4 time, using Finale 2014 (PC) and anytime there are rests for three beats or more Finale wants to enter three quarter rests. I want half measures to use a dotted half rest. Even when I enter the dotted half rest myself, when I exit the measure it goes back to three quarter rests. Can anyone help? Steve Larsen ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan Contrabass Clarinet
Garritan Concert and Marching Band has a contrabass clarinet. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Dec 15, 2013 at 3:39 PM, Ryan ry.squa...@gmail.com wrote: When I choose Contrabass Clarinet as an instrument in the score manager, Finale assigns the Solo Bb Clarinet sound. That ends up not playing back since the pitches are below the Bb Clarinet's range. I can change the sound to Bass Clarinet, but there's still an extra lower octave I'm not getting. Is there a Garritan Contrabass Clarinet sound available? Is there a way I can force Finale to play back those low pitches using the Bass Clarinet sound? Thanks ___ 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] tuplets in Finale 2014
To Use the tuplet tool - enter your first 16th, then click on it with tuplet tool, describe the 5 to 4, then go back, enter the rest of the figure and edit it as you wish. I have not tried 2014 yet, though. The above is how it works in 2011. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Thu, Jan 2, 2014 at 6:36 AM, David H. Bailey dhbai...@davidbaileymusicstudio.com wrote: On 1/2/2014 1:42 AM, Klaus Smedegaard Bjerre wrote: Bad spelling, too, by me after a long night of work. In Finale 2014 on my desktop Mac I enter tuplets in Speedy Entry. Pressing alt+5 I enter the first sixteenth and the the next ones. If you want a 5/16 tuplet, you have to enter a sixteenth as the first note to tell Finale the denominator. But you may edit the length of that first note after it has been entered. Klaus I just did it and it works like you want, assuming that your original message about wanting a dotted-8th/8th combination to be the quintuplet: In Speedy Entry: 1) hit ctrl-5 2) enter a 16th-note 3) move the cursor back onto the 16th-note and change it to a dotted-8th 4) enter the 8th note They both showed up with the quintuplet bracket. You don't need to use the tuplet tool at all. -- David H. Bailey dhbai...@davidbaileymusicstudio.com http://www.davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale2014a updater installation instructions
Thanks, Yvonne! On Jan 10, 2014 6:18 PM, Grover, Yvonne ygro...@makemusic.com wrote: I'm Yvonne Grover, Notation Product Manager at MakeMusic. I'd like to reassure Windows Finale 2014 users that the Finale 2014a updater works correctly. We have had just a few customers like Jan with system-specific issues that required uninstalling and reinstalling. When the update notification appears you'll also see the release notes, telling you about the bug fixes and new features. If you decide to install the update you can download immediately without needing to sign into your Finale account online. I hope this new system makes updating Finale a lot quicker and easier for everyone. Yvonne ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [OT] range of malletkat?
Dennis, is there a video of the performance of the MalletKat piece? Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Mon, Jan 13, 2014 at 7:12 AM, Dennis Bathory-Kitsz bath...@maltedmedia.com wrote: On Mon, January 13, 2014 6:46 am, SN jef chippewa wrote: anyone know how this instrument is supposed to be notated? the performer is using the 4-octave model and has assigned sounds that need to be triggered mainly in the centre and avoiding the extreme keys, so it fits well on treble clef (G3-Bb7) without having to resort to clef changes or 8va markings. note this is NOT being used as an electronic marimba, the performer triggers sound files that are often not pitched and has mapped out the sounds across the instrument range for ease of playing, so it doesn't really have to reflect the range of the marimba in this piece; it is just a keyboard here. http://www.alternatemode.com/articles/aug4.shtml My piece for MalletKAT for Michael Manion was notated as a standard marimba, using it to trigger events and samples, with the events notated in text below. I left it up to Michael to program the changes the way he preferred them. Here's the score and performance: http://maltedmedia.com/people/bathory/cat-solo.html#ratgeyser Sadly, Michael died some time ago, and all his MAX patches and hardware settings went with him. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [OT] range of malletkat?
Thanks! Fascinating! From the audio only I had assumed that much of the fast stuff was sequenced. I'm glad the MK is still a musical instrument, not just a push button machine. Although I feel compelled to report (not sure why) that my napping daughter (a musical genius but with conservative tastes) just screamed at my from the second floor to turn it down. I think that, perhaps, Dennis will chuckle at this. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Mon, Jan 13, 2014 at 11:08 AM, Dennis Bathory-Kitsz bath...@maltedmedia.com wrote: On Mon, January 13, 2014 10:50 am, Raymond Horton wrote: Dennis, is there a video of the performance of the MalletKat piece? I've uploaded what I have. It's here: https://www.youtube.com/watch?v=zyzhEhWalNc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [OT] range of malletkat?
Did it sound like the instruments it replaced? I recall hearing my daughter's youth orchestra, with a keyboard synth replacing harp, in which the latter sound seemed to be uncomfortably coming from all over the room, while the real instruments were heard from where they were being played. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Mon, Jan 13, 2014 at 10:17 AM, David H. Bailey dhbai...@davidbaileymusicstudio.com wrote: Funny you should ask that -- I played one this past weekend, sharing it with another percussionist. The man who owned it had programmed the bottom 2 octaves to be chimes (written treble clef) and had programmed the top two octaves to be orchestra bells in the same octave. So it can be notated however you wish -- it is a four octave range but you can have multiple zones, each set in its own octave and with its own sounds. David H. Bailey On 1/13/2014 6:46 AM, SN jef chippewa wrote: anyone know how this instrument is supposed to be notated? the performer is using the 4-octave model and has assigned sounds that need to be triggered mainly in the centre and avoiding the extreme keys, so it fits well on treble clef (G3-Bb7) without having to resort to clef changes or 8va markings. note this is NOT being used as an electronic marimba, the performer triggers sound files that are often not pitched and has mapped out the sounds across the instrument range for ease of playing, so it doesn't really have to reflect the range of the marimba in this piece; it is just a keyboard here. http://www.alternatemode.com/articles/aug4.shtml ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey dhbai...@davidbaileymusicstudio.com http://www.davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: dividing all orchestral violins into 3 equal sections
The Shostakovitch 5th has 3 violin parts in the slow movement. I THINK the usual practice is to give the third part to the back few stands of both 1st and 2nd - this works well if the 1 2 sections sit next to each other. I am not sure how the parts are laid out - I suppose both first and second parts have the third part, but there may be a separate 3rd part. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Mon, Jan 13, 2014 at 5:18 PM, Don Hart donhartmu...@gmail.com wrote: [Continued--sorry, didn't realize the tab key would send a message in Gmail.] Here's what I would try: Group I: front third of Violin I II Group II: middle third Group III: back third I just think distinct lines would be less jumbled that way, if that's what is wanted. This may also be a better solution if vln I and II are not next to each other, like in some orchestras. Don Hart On Mon, Jan 13, 2014 at 4:06 PM, Don Hart donhartmu...@gmail.com wrote: Hi Paul, Interesting question. Seems the nature of the writing, whether homophonic (triadic) or polyphonic. I would think Wulfhorst's suggestion might be better suited to a passage that is more homophonic. For something more polyphonic I might try something like this: On Mon, Jan 13, 2014 at 3:46 PM, Paul Hayden phayden...@cox.net wrote: 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 www.paulhayden.com 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 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: dividing all orchestral violins into 3 equal sections
On Mon, Jan 13, 2014 at 5:07 PM, Christopher Smith christopher.sm...@videotron.ca wrote: .. . So the conductor and the concert master between them decided on the division (it IS their job, not the composer's) ... Absolutely correct! 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. I have done this, also. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com I don't like to have more than two notes on a staff ever, and would split into different staves at the slightest hint of technical difficulty or fast passages. The exact stand (and chair!) division is then left to the concert master/conductor. The only drawback with this method is how little music fits onto a double page. I see no problem with making a note in the score if you want uneven division. I haven't found it makes that much difference, except for small string sections. Christopher On Mon Jan 13, at MondayJan 13 4:46 PM, Paul Hayden wrote: 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 www.paulhayden.com 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 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] insert measure stack crashes programme
I am using FinWin2011 and recently came across this bug for the first time, when I was trying to insert a new bar in front of bar one. I tried several different work-arounds,including changing the 4/4 bar after the needed insert to 8/4 and re-barring, but every time, Finale figured what I was really trying to do and refused to do anything but crash. I was fortunate - I finally realized that the first two bars were identical and put a repeat sign on the one bar I had. That is a pretty sorry solution. I had never seen this problem before, which surprises me. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Fri, Feb 14, 2014 at 9:11 PM, Robert Patterson rob...@robertgpatterson.com wrote: Have you updated Fin12 to the latest? This problem was a known bug that was supposedly fixed in one of the updates. On Fri, Feb 14, 2014 at 6:56 PM, Lawrence Yates yateslawre...@gmail.com wrote: Amazingly, that has worked this time (but earlier this evening when really did want to add a large number of bars in the middle of the piece it also crashed the programme.) Thanks, lets hope it works every time from now on. Cheers, Lawrence On 15 February 2014 00:40, John Blane j...@blanemusic.com wrote: The old solution was to insert a silly number of extra measures, like 20, and then delete 19. I don't recall what version that was for but give it a try. JB Sent from my iPhone using my thumbs w/out a spellchecker On Feb 14, 2014, at 6:35 PM, Lawrence Yates yateslawre...@gmail.com wrote: I have a piece for full orchestra. When I try to insert a measure stack the programme crashes. Has anyone else had this and is there a reason/solution? This is Finale 2012 running on Windows 8 (new computer). Cheers, Lawrence -- Lawrenceyates.co.uk ___ 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] Paper supply
I'd love to join this, also. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Mon, Mar 10, 2014 at 3:53 PM, Chuck Israels cisra...@comcast.net wrote: Hi Ryan, I get beautiful ivory colored heavyweight 9.5 x 12.5 parts paper in a kind of consortium with others who use it, one of whom lets us know when he is running out and preparing another large order. I don't know where he gets it, but I suppose there's a possibility of your joining this (or of finding out from whom it is ordered and how much constitutes a practical order), if this is the kind of thing you are looking for. Chuck On Mar 10, 2014, at 12:30 PM, Ryan Beard ry.squa...@gmail.com 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 ___ 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 Chuck Israels 8831 SE 12th Ave. Portland, OR 97202-7097 land line: (503) 954-2107 cell phone: (360) 201-3434 www.chuckisraelsjazz.com ___ 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 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] Paper supply
Thanks! On Mar 10, 2014 9:13 PM, Chuck Israels cisra...@comcast.net wrote: Raymond, I'll ask to see what might be possible. Bigger order - less expense? Worth a try. I'll let you know what I find out. Chuck Sent from my iPhone On Mar 10, 2014, at 5:49 PM, Raymond Horton horton.raym...@gmail.com wrote: I'd love to join this, also. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Mon, Mar 10, 2014 at 3:53 PM, Chuck Israels cisra...@comcast.net wrote: Hi Ryan, I get beautiful ivory colored heavyweight 9.5 x 12.5 parts paper in a kind of consortium with others who use it, one of whom lets us know when he is running out and preparing another large order. I don't know where he gets it, but I suppose there's a possibility of your joining this (or of finding out from whom it is ordered and how much constitutes a practical order), if this is the kind of thing you are looking for. Chuck On Mar 10, 2014, at 12:30 PM, Ryan Beard ry.squa...@gmail.com 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 ___ 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 Chuck Israels 8831 SE 12th Ave. Portland, OR 97202-7097 land line: (503) 954-2107 cell phone: (360) 201-3434 www.chuckisraelsjazz.com ___ 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 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 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 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 Pistone?
Soprano Cornet suffices in brass band circles, yes. In any other context, Cornet in Eb or Eb Cornet would be necessary. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sat, Mar 15, 2014 at 8:31 PM, Michael Lawlor mjlaw...@virginmedia.com wrote: Also known as a soprano cornet. Regards, Michael Lawlor On 14/03/2014 23:40, Peter Taylor wrote: What's the modern English instrument equivalent to a Pistone Mib please? Am I right in assuming it is a Soprano Eb, not a Tenor. ___ 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 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 Pistone?
On Sun, Mar 16, 2014 at 6:37 AM, Peter Taylor pe...@euphonium.plus.com wrote: ... If it's [Pistone] a cornet then I'm pondering why it wasn't called a Cornetto Mib. The brass, valved cornet was, early on, called Cornet a Pistons to differentiate it from the older cornet (AKA cornetto or zinc) from which it took it's name. Later the name Piston was used, for a time, by itself for the brass instrument. Spellings and languages vary on all of these. Someone has asked me to produce a modern (British) brass band set of a piece by Amilcare Ponchielli, and Henry has very helpfully directed me to his Pochiello website, which I'm sure is going to give me a lot of guidance. I'm surprised Henry hasn't already done your piece! He has done a lot of Ponchielli brass band works. Many thanks again Peter You are more than welcome! Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com ___ 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] Union rules on doubling
Doubling rules are itemized in orchestral contracts. Clarinets are commonly not paid doubling for Bb - A, but are paid for bass or Eb in addition to soprano. My orchestra, in the past, had a rule that exempted the 3rd/bass clarinet chair from doubling - it did not pay that chair doubling unless they played three instruments at one service, so Bb and bass was not doubling for the player contracted for that chair. Now, it's common to see doubling paid for the bass clarinet player to play anything other than bass, but this can vary quite a bit among different orchestras. Union rules, outside of a steady contract, are usually more strict on doubling than are symphony contracts. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Mar 16, 2014 at 8:45 PM, Christopher Smith christopher.sm...@videotron.ca wrote: Clarinet in A and B flat are not supposed to be paid doubles in this local. You could just write it all for Bflat clarinet and have him fumbling with awkward fingerings to save the orchestra a couple of bucks, but I don't think anyone would be happy with that. Christopher On Sun Mar 16, at SundayMar 16 8:12 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 ___ 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 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] Union rules on doubling
generally flugel is a double, sometimes picc. It varies. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Mon, Mar 17, 2014 at 9:04 AM, Lawrence David Eden lde...@comcast.net wrote: I don't think this is a double. What about the trumpet players who play more than one horn? Larry 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 ___ 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 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 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] (no subject)
For today: King's College Choir announces major change http://youtu.be/ukDAfF0-8q8 Raymond Horton ___ 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] (no subject)
Glad this went through! I had a couple of posts that never made it to the list, last week. Fortunately the problem resolved itself. Glad you liked it - seriously. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Tue, Apr 1, 2014 at 10:34 AM, Allen Fisher al...@fisherartandtech.comwrote: That's the funniest thing I've seen today. Sent from my iPhone On Apr 1, 2014, at 9:29 AM, Raymond Horton horton.raym...@gmail.com wrote: For today: King's College Choir announces major change http://youtu.be/ukDAfF0-8q8 Raymond Horton ___ 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 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 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] Changing clefs within same measure in concert pitch score
Some bass players detest tenor clef. I have seen reviews in a bass journal that said something like 'the much-feared tenor clef' appearing in a piece that was being reviewed. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Sun, Apr 13, 2014 at 11:31 AM, Chuck Israels cisra...@comcast.net wrote: I see treble clef more often than tenor clef for high notes in bass parts. At least that has been my experience in recent years. Sent from my iPhone On Apr 13, 2014, at 2:46 AM, Jan Angermüller j...@angermueller.com wrote: Hi Darcy, use a mid-measure clef and then assign a playback expression to the first note in the new clef that sets transposition to whatever you need (0, -12, 12). Repeat the same when switching back to bass clef. But do you really need to change the transposition ? In standard contrabass notation the treble clef is also read as 8vb, just like the bass clef. So if you assign a standard bass clef (without 8vb) and a standard treble clef (without 8vb) and set the transposition settings in score manager to Down octave. Everything should be clear for the bass player and you don't need any manual transposition changes. Using an 8vb bass clef and a treble clef without 8vb, but that playsback as 8vb, seems inconsistent to me and also not clear for the bass player. And last but not least, treble clefs rarely appear in contrabass notation. Usually the tenor clef is used for high notes. Only the highest flageoletts or Bottesini style arpeggios are usually written in treble clef. Hope this helps. Jan Am 13.04.2014 08:08, schrieb Darcy James Argue: Hello, I'm working with a score in concert pitch, where the contrabasses are notated with the 8vb bass clef in the score, but a regular bass clef (as usual) in the part. This is all fine and well and easy to set up in the Score Manger (with a transposition and Set To Clef). The problem arises when you need to change clefs to an 8vb treble clef in the score, showing as a regular treble clef in the part, and this clef change occurs mid-measure. In Finale 2011 in older, you could simply apply a staff style with the same transposition but Set To Clef assigned to treble clef -- but Fin2012 and 2014 won't allow you to apply a transposing staff style to a partial measure. Given that, what is the best workaround? There is one I can think of involving clefs as expressions but I'd prefer to avoid going down that rabbit hole if I can avoid it. Cheers, - DJA - WEB: http://www.secretsocietymusic.org ___ 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 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 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 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] ***POSSIBLE SPAM***(6.1) Re: OT Files missing from list
There is a Sib Scorch file that I would like to use in Finale. Could someone please convert it for me? Whatever results, fine. I can re-insert text or whatever. I actually own a copy of Sib, I bought when fighting Finale once, but I found the problem was Windows, never installed Sib don't want to. http://www.gbod3.org/musicdownloads/AMERICATHEBEAUTIFUL-original.htm Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com ___ 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] arco vs.pizz dynamics (repeated question)
I had same prob, never found solution. Finwin and Garritan On May 7, 2014 2:13 PM, dr.a.s. weinstangel dr...@hotmail.com wrote: As there was no response, I'll try one more time (He who asks shall find): From: dr...@hotmail.com To: finale@shsu.edu Subject: arco vs.pizz dynamics Date: Mon, 5 May 2014 16:23:04 -0400 In the Finale (2012c PC) playback of my new string quartet I am getting exploding pizzicatos and barely audible arcos. Is there a way to globally adjust the volumes of these independently, to get an acceptable balance? TIA for your help. Dr.A.S.Weinstangel sasha.weinstan...@utoronto.ca NEW! cel.647-292-4605 ___ 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 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] arco vs.pizz dynamics (repeated question)
Exactly! On May 7, 2014 5:20 PM, David H. Bailey dhbai...@davidbaileymusicstudio.com wrote: I believe the problem lies in the fact that the two different sample sets were not recorded at the same volume level. Apparently the pizzicatos were recorded much louder than the arcos, so at the same indicated dynamic level in your score they won't sound at the same volume. This is my biggest gripe about all the sample sets I've listened to (and most that I've purchased, alas!) -- the designers of the sample sets don't take the extra time to ensure that all the samples which pertain to the same instrument sound at the same volume level when played by a midi program at the same dynamic level. One solution is horribly painful in Finale -- it requires you to dig into the midi editing capabilities (sort of like watching sausage being made -- it's ugly, it's messy and it will turn you off ever wanting to do it again) and adjust the velocity and/or the volume for each note that you are unhappy with what you're hearing. One would think that it would be simpler than that, but it's not, from my experience. And I think the reason you received no responses to your first query is that nobody has an answer for you -- at least not one that's easy to accomplish and won't take many hours/days to get things right with. I hope I'm wrong, but Raymond's reply indicates I may not be. I gave up worrying about such things long ago -- what's left of my sanity was too valuable to me. :-) Good luck! David H. Bailey On 5/7/2014 2:13 PM, dr.a.s. weinstangel wrote: As there was no response, I'll try one more time (He who asks shall find): From: dr...@hotmail.com To: finale@shsu.edu Subject: arco vs.pizz dynamics Date: Mon, 5 May 2014 16:23:04 -0400 In the Finale (2012c PC) playback of my new string quartet I am getting exploding pizzicatos and barely audible arcos. Is there a way to globally adjust the volumes of these independently, to get an acceptable balance? TIA for your help. Dr.A.S.Weinstangel sasha.weinstan...@utoronto.ca NEW! cel.647-292-4605 ___ 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 -- David H. Bailey dhbai...@davidbaileymusicstudio.com http://www.davidbaileymusicstudio.com ___ 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 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] Volume just drops away
Try this: Select all file, go to Edit/ edit filter. Then, in filter, select only midi data and erase using filter. If that doesn't fix it, go back and add other elements to the filter (expressions, etc.) until it does Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com On Thu, May 8, 2014 at 3:51 PM, Michael Lawlor mjlaw...@virginmedia.com wrote: [Finale 2009] I have encountered a problem I have had in the past and did not get a resolution to - I had to delete the affected bars and enter the notes from scratch. I am using the VST instruments in Finale: violin and piano. I have not changed the dynamics or changed to or from pizzicato or any other technique that could affect playback. The violin volume just drops to almost nothing, while the piano part continues at the original dynamic level. It happened earlier in the work and I deleted the bars and entered them from scratch and it fixed the problem, but I do not want to have to do this every 10 bars or so. Does anyone know what might be going wrong? Regards, Michael Lawlor ___ 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 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] Crowd Funding for a CD recording
No problem here about the promotion. Sounds like a great project. I wish I could donate but I cannot. Good luck! On May 31, 2014 2:20 PM, Johannes Gebauer li...@musikmanufaktur.com wrote: Dear All, some will remember me from this list, I used to be quite active, but these days I am not doing much Finale related work, so I have become more a silent member. But I am still here, reading the occasional post. I don't usually use this list to advertise myself, but in this special case I want to make an exception and draw your attention to a Crowd Funding Campaign we are running to record the string quartets of Carl Gottlieb Reissiger (1798-1859) Reissiger was Kapellmeister in Dresden, where he succeeded Carl Maria von Weber in 1826. He is hardly known today, partly because his stage works not the greatest, due to rather poor libretti, and partly probably because Wagner made some rather biased comments about him. Reissiger himself was actually one of Wagner's supporters, it was mostly Reissiger's influence which let to Rienzi and the Flying Dutchman being premiered in Dresden (Rienzi under Reissigers direction and very successful, the Dutchman under Wagner, and originally not a success). Reissiger later supported supported Wagner and performed his music even after Wagner's flight from Dresden. Reissiger wrote 8 (or possibly 9) string quartets, and we are hoping to record all of them in the next years. This time we are planning to record the first two, op. 111 No 1 and 2. We think the music is phantastic! Have a look at the Crowd Funding Site at: http://www.visionbakery.com/reissiger-quartette?ln=en There is an English text further down. Unfortunately our film is only in German - apologies. If you think you can spare a few bugs, we welcome every kind of donation, and perhaps you will find one of our gifts attractive, too. You can use PayPal to donate. Apologies if you object to this kind of self-advertisement. Best wishes from Berlin, Johannes ___ 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 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] Fwd: Re: Delivery Status Notification (Delay)
-- Forwarded message -- From: Raymond Horton horton.raym...@gmail.com What is wrong with this list Why can't my posts make it through when I post them? On Jun 29, 2014 2:00 AM, Mail Delivery Subsystem mailer-dae...@googlemail.com wrote: This is an automatically generated Delivery Status Notification THIS IS A WARNING MESSAGE ONLY. YOU DO NOT NEED TO RESEND YOUR MESSAGE. Delivery to the following recipient has been delayed: fin...@lists.shsu.edu Message will be retried for 1 more day(s) Technical details of temporary failure: The recipient server did not accept our requests to connect. Learn more at http://support.google.com/mail/bin/answer.py?answer=7720 [(0) lists.shsu.edu. [158.135.1.14]:25: Connection timed out] - Original message - DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:from:date:message-id:subject:to:content-type; bh=I1BtF3yc676D4mW2O/RvuV9uLbEGQlXdn3Wf18UOe5I=; b=fgleuFsgJLVePQ92uIWNgVPWfM/lnVGJrqXmWomANhkRxL6vaLKt3PBR7TjknmgSD7 WpCVQcfHQbMDtUmqjggLg5Ru5RN63/utuaT9e0hgrkofuw8geoz2BVqIoOIRuaJZ30ol qoTS0ebXudqfNTkGPrKKjXHgxFrj9nOZeuCHH8ju2JRTFh1zKUtKWf1CiwWMEkSPsCLe QOY9S6A7jvpBhbkhNy1w7bexRNFP9yxDoGFfiRoE/b5rWim2gI3+i9E05bs3kxKAuoqG ti0dsLuXj4+25YFFaM4ifvledBVtIAA0k74iRQE0EIm9w8mw+Brv+RU7R7tc0DkRlnyz rubA== X-Received: by 10.236.38.228 with SMTP id a64mr21000621yhb.108.1403841997286; Thu, 26 Jun 2014 21:06:37 -0700 (PDT) MIME-Version: 1.0 Received: by 10.170.200.7 with HTTP; Thu, 26 Jun 2014 21:06:22 -0700 (PDT) From: Raymond Horton horton.raym...@gmail.com Date: Fri, 27 Jun 2014 00:06:22 -0400 Message-ID: CAAMjx4B9XShEFsUPucruS=XB8W_= 1eoussmay0ca1noiehz...@mail.gmail.com Subject: 2011 crashes with measure insert. To: finale fin...@lists.shsu.edu Content-Type: text/plain; charset=UTF-8 Windows Finale 2011 crashes with measure insert. I've rebooted, tried to fool it by making a longer bar and then re-barring it, but every time it comes to the point of actually adding more measures, it crashes. I had this problem once before, it seemed to be file related. I could start over and copy, but I've got a lot of note alterations, etc., so I 'd rather not. I own 2012 but haven't been using it. Not interested in 2014. Any idea if that will work better? Thanks for any suggestions - tight deadline! Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com ___ 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] (no subject)
Owner Henry Howey fixed the problem with my posts being delayed - I had signed on with an ancient email address that just expired. I would appreciate any suggestions regarding GPO, though. === I don't know why my message was rejected for a few days! Anyway, installing 2012 fixed it. I had avoided 2012 after some initial problems with GPO, but now GPO is not working with either version so it's a wash. Any help with paths, etc to get GPO working would be appreciated. WinFin 2012 - I have full GPO, jazz and band, none show up anywhere. On Jun 27, 2014 12:06 AM, Raymond Horton horton.raym...@gmail.com wrote: Windows Finale 2011 crashes with measure insert. I've rebooted, tried to fool it by making a longer bar and then re-barring it, but every time it comes to the point of actually adding more measures, it crashes. I had this problem once before, it seemed to be file related. I could start over and copy, but I've got a lot of note alterations, etc., so I 'd rather not. I own 2012 but haven't been using it. Not interested in 2014. Any idea if that will work better? Thanks for any suggestions - tight deadline! Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT rayhortonmusic.com ___ 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
