I asked about changing the staff spacing in just one system of a piece.
Thanks to all who offered various solutions.
Rob Deemer replied:
> While you've already gotten good advice
> on how to adjust the spacing of your
> staves, ...
Yes, but unfortunately every one of those solutions involves d
I regularly encounter a problem for which I can't find the solution:
Suppose I have a score with 18-20 staves per system, one system on every
page. I don't want to optimize the score; I need to have all staves
visible at all times.
If I set the staff spacing so that everything fits neatly on p
For the first time today, I decided to try to scan a printed music sheet
(Eb Cornet part from an old Brass Band set) and import it into Finale.
I scanned it to a *.tif file, and saved it.
Then, when I tried to import it using SmartScore lite/light/whatever
it's called, I got the following error me
Here's an odd thing
I'm running Fin 2003 under Windows XP. When I copy and paste a large
section of a score, many of the articulations don't copy properly. The
"copied" section of the score will have a variety of articulation marks
on various notes. When I "paste" those measures into anothe
RL Jenks wrote, in part:
> I saw only one public response to your
> query about suppressing Courtesy Time
> Signatures and that one, which described
> the measure tool option controlling time
> signature display, did not really address
> your problem.
Actually, it did address the problem pe
Thanks to all for the public and private replies to my query.!
As a relatively new (9 months) user of Finale, after seven years on
ENCORE, I'm still discovering the flexibility of this program -- and
thus, the accompanying complexity.
Thanks again!
Jim O'Briant
Bayside Music Press
Gilroy, CA 9
I have a question about courtesy time signatures.
I'm engraving a three-movement work in Finale Windows 2003. At present
I've gone to [Document Options] [Time Signatures] and have courtesy time
signatures turned on. I need them in the second movement, which has
many meter changes.
The problem
Tom Jordan wrote, in part:
> What are publishers doing to address
> the creation of parts to match student
> band personnel?
Some, like Bayside Music Press, sell a set that includes a score and one
copy of each part. Purchase of the set includes permission to make
additional copies of parts fo
Darcy James Argue wrote, and quoted his orchestra manager:
> For those interested in the outcome,
> I got this email from the producer:
> > Go ahead and score the woodwinds as
> > you think best for the music. We'll
> > get it done no matter. If later it
> > seems 'practical' to revise, then
Posted by Bob Moody to the Community Music List.
I think it's important enough to forward to this list as well.
-Original Message-
From: Bob Moody [mailto:[EMAIL PROTECTED]
Sent: Monday, June 09, 2003 4:12 AM
To: Community Music
Subject: C-M: public domain
A few years back, congress pa
Darcy James Argue wrote, in part:
> ... there's a piece I'm arranging where
> I'd like to use a lot of low wind
> instruments. ... I would probably want
> three contrabassoons and three contrabass
> clarinets. Or maybe a contrabass clarinet,
> a contra-alto clarinet, and a bass clarinet. .
I wrote:
> > And I guess that that's the whole point of this discussion -- where
> > does deviation from traditional standards begin to detract from ease
> > of reading, when does it become downright misleading, and when is it
> > just plain incorrect?
David Fenton replied:
> What bothers me
I wrote, in part:
> > He wanted the music itself printed on two facing pages,
> > so there would be no page turns, even though this meant more than a
> > dozen staves per page -- far too dense for easy readability.
Michael Edwards replied, in part:
> It could be a problem, though, requiring th
Mark D. Lew wrote, in part:
> [This has become] ... a debate about
> publishers trying to suppress non-standard
> notation, which as far as I can tell nobody
> is defending.
What I've written in that discussion may come across that way. And in
traditional music -- that is, traditional in th
Michael Edwards wrote, in part:
> This leads me to wonder whether a publisher
> would impose their method in this (whether
> the old or new one) on any music they
> published, overriding what the composer
> wrote.
>
> Perhaps some composers don't care a lot, as
> long as the result is clear,
Robert Patterson wrote:
> ...If you take nothing else away from a reading
> of Ted Ross's book, you should take away that
> communication of the composer's intent to a
> performer in the most efficient and clear way
> was his overriding concern.
I agree that clear communication of the compo
Christopher BJ Smith wrote:
> Huh? Finale doesn't automatically put
> in courtesy accidentals at all, with
> or without parentheses, unless you
> invoke the Cautionary Accidentals
> plugin, ...
>
> Or are you referring to something else?
I do my note entry in standard entry. When I see the
Giz Bowe wrote, in part:
> do I understand you correctly: that you
> would "naturalize" the outgoing key signature
> in addition to the new key signature? That is,
> going from Bb to G you'd naturalize the Bb &
> Eb and put F#?
Yes.
> Some of the other posts here suggest that
> using courte
Somehow, I just can't understand all this desire to do everything
differently, just for the sake of making a change or developing an
individual engraving style!
If music is tonal, it needs a key signature. Printing it with no key
signature, and with accidentals, only provides an obstacle to goo
John Howell wrote, in part:
> ... (And yes, it could be PD in one country and
> under copyright in another with different laws.
> I don't believe that the laws of the original
> copyrighting country apply, except in that country.)
I had understood the opposite to be true -- that as long as a
Larry Kent wrote:
> What can I possibly have done to cause every
> rest in the score to jump up above the staff???
> (Win 2001d). TIA
Along the same lines, I find that in Finale 2003 (Windows), when I copy
and paste a passage, there are often a few rests -- not too many, but
enough that it's a
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