y to a section, appear above the staff. More
localized tempo markings like "rit." and "accel." which are about
things that happen *within* those general markings go under the
staff. It isn't always that clear which is which, but it seems to
make sense mo
(all of which I've heard on
radio stations across the country) pretty much tell it all. any of
those can be partly or all "new music," partly or all old music, or a
mixture. But no one is going to tune in expecting Eminem or the
Beatles (however "classic" the latter might be).
Ah... language... dontcha love it?
Linda Worsley
http://www.ganymuse.com/
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At 7:48 AM -0500 1/11/04, David H. Bailey wrote:
I make the middle line stems go down all the time unless the notes
are beamed to other notes and then the predominating stem direction
takes over.
. . . I wouldn't think of making the stem of the C be an upstem
just to make the slur look better.
At 12:19 AM -0500 1/11/04, Raymond Horton wrote:
But, even in commercial and quintet
gigs I do see players with C trumpets somewhat more than Carl describes.
Also, many commercial players I see will have a Bb/A piccolo and, often, one
other high trumpet (perhaps a convertible F, Eb, sometimes E)
d a couple of Mac 2004 upgrades are getting
raves from this list . The drink-no-wine-before-its-time thing
works for me in more ways than one.
Linda Worsley
http://www.ganymuse.com/
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er for Finale for closing on two
decade, but now I feel betrayed.
I'm sticking with what works,,, regardless of "improvements" in the
new version. A curse on those who made this decision
Linda Worsley
.
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John writes:
... not to belabor the obvious, but serial intervals are one thing,
but >simultaneous intervals are another,
To respond to the first part of John's statement, he's absolutely
right. And I was fortunate enough to be instructed in hearing
simultaneous intervals as well by a couple o
uot;sight singing classes" at all.
Of course, that was a rare case, and one that trained only two dozen
or so young people. But learning by doing... throwing the baby into
the pool to learn how to swim... has its points. I don't know how
this would apply to any class structur
attached to be evoked
every time I heard them.
I know this probably isn't useful in a classroom situation (how many
have played that piece, anyhow?) but I'll bet other young musicians
have inadvertently developed crutches of this kind...
Linda Worsley
_
At 5:41 PM -0400 6/12/03, David W. Fenton wrote:
On 12 Jun 2003 at 21:36, Johannes Gebauer wrote:
I am sorry to go back to this subject...
> I just received a piece of SPAM (the usual African person with
lots of money
etc.
Did everyone on the list receive this? I've not been reading closely
ways
get just the configuration I like...
I don't expect Finale to read my mind, so I'm happy with the default
files as they come. I'm not going to use them for anything but a
jumping off place anyhow. I don't know how anyone can expect to find
"their" perfect
own switch from one computer to another.
You can do it privately, so that I don't clutter the list, but I'd
really like to have it!
Thanks in advance.
Linda Worsley
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, misbehave in really weird ways.
Actually it does help. It never really hangs the program... it's
just weird. But since I'm not alone in observing this abberant
behavior, I feel all warm and cozy about it instead of crazed.
Thanks!
Lin
Eric writes:
I do get the same behavior, but I noticed that it happened only if I quit
Finale and that the last document closed was minimized (only the title bar
showing), which I do to access other shortcuts or documents from the
desktop.
Interesting. I often "minimize," but I haven't really no
ndow) turn into some kind of sanskrit writing... it looks
like arabic or sumerian... or Martian?... It happens, again,
randomly, and disappears if I quit the program and start it over. I
don't need to reboot the computer, just quit and restart Finale.
would go for the text from then
on, but no... It usually lingers in SHAPE box mode till I'm
screaming with frustration. But then, two expressions later, it
gives me the right text expression with the metatool click, and has
gone back to the TEXT set, for no apparent reason.
What am I
e a currently readable backup, keep
doing it, and don't stick with one format.
Just my own narrow perspective.
Linda Worsley
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At 11:38 PM +0100 2/8/03, Johannes Gebauer wrote:
I actually never use it for that. I use it for a situation very typical for
18th century orchestral music: doubling parts. Say you have a flute part
that doubles the violins, instead of making real copies, I simply mirror it,
and every piano or st
Dear listers,
I have an adult student who is using Encore (urg) and it has taken me
two years to convince him that he should get Finale and learn how to
use it. I have to take his music, import it into Finale, do all the
mundane tasks of removing floating elements like lyrics and slurs,
get r
At 1:27 PM -0500 2/7/03, Crystal Premo wrote:
Sunhawk.com sells commerical music online and has a way of dealing
with it that seems reasonable. I don't know if it would be good for
you, and it seems like your son will come up with a solution for you
that will work.
I think what Sunhawk has wo
se is contemplating (or actually DOING) online sales, I'd
be interested to hear about it. I don't mean sites like "Virtual
Sheet Music"
http://www.virtualsheetmusic.com/
where you can buy and download Public Domain works that have been
made into pdfs. I mean those of you who
At 6:30 AM -0800 1/16/03, George Ports wrote:
The button bar that has various tools on it such as:
Arrow,Staff,Measure,Mass
Mover,Lyrics,Text,etc. has
disappeared. Can someone tell me how to get it back?
George, it sounds like you have inadvertently closed the main tool
pa
At 3:06 PM +0100 1/13/03, Vincent wrote:
Here's my pb : I'm in 6/8 and all my notes are not beamed. I'd like
to get the 6/8 usual beaming, ie 3 eight notes beamed together.
How can I do that for the entire file at once ?
Time signature tool, double click on first measure, in the time
signatur
At 1:43 PM -0500 11/12/02, Crystal Premo wrote:
I would "assume" the same
I agree with all you say regarding tempo markings. My real problem
is that I have input two measure in 4/4, two in 2/2, and 2 in 4/4
again, and when Finale plays it back, all quarter notes take the
same duration. I am
that the quarter note stays the same... but wait... what if the
composer means the beat stays the same? You see the problem. It
needs a "note equals tempo" mark, and I'd consider the omission of it
an error. And a disservice to the performer.
Linda Worsley
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Philip Glass, LeRoy Anderson,
or John Taverner (the one alive now, not the ancient one) but I sure
consider all of them "composers."
But fire away... this has been more fun than actually working.
Linda Worsley
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At 10:32 PM -0800 11/9/02, Mark D. Lew wrote:
With the drivel writers,
"editing" is much less satisfying, and I confess that for them I'm more
inclined to just copy what they've got on the page.
Yeah, I've come to that as well.
Thanks for a lively debate and a lot of good arguments!
Linda
--
At 1:34 PM -0500 11/9/02, Dennis Bathory-Kitsz wrote:
Before this sets off an entire flame war or convoluted thread-debate,
let me just admit that I am nitpicking, being rigid and narrow in my
definition of the term "composer". Guilty as charged.
Too easy! No cop-outs allowed! :)
Aw, come on
At 1:15 PM -0500 11/9/02, Darcy James Argue wrote:
This is akin to other annoying semantic disputes like "What is
jazz?" Linda seems to want to use the word "composer" as an
indicator of quality as well as a descriptive term. Her definition
would relegate brilliant composers like Brian Wilson
At 1:15 PM -0500 11/9/02, Darcy James Argue wrote:
Good lord, what on earth does Billie's suitability as a "role model"
have to do with anything?
When you are dealing with fourth through sixth graders, it has a lot
to do with it. She is "contemporary" enough, and has a sordid enough
story th
At 7:52 AM -0800 11/9/02, I wrote:
The people who made up the list (which included a lot of classical
masterpieces from across the centuries) needed a "minority" and a
"woman" composer for the list in order to be PC. So they combined
the two and chose Billie Holiday! With all the great music
ining my skills as an
architect, I'd resent it if some wannabe with a good idea as to what
his house should look like, and who could draw a little, called
himself an "architect."
Before this sets off an entire flame war or convoluted thread-debate,
let me just admit that I am nit
At 10:24 PM -0500 11/8/02, Crystal Premo wrote:
I just got a call from a film maker who wants me to make her midi
files into Finale files, clean them up and print them out in
parts. Sounds easy enough, but what would be the process?
. . .
I asked her to have the composer call me and describe wh
At 6:00 PM -0500 11/8/02, Crystal Premo wrote:
I just got a call from a film maker who wants me to make her midi
files into Finale files, clean them up and print them out in parts.
Sounds easy enough, but what would be the process?
You'd better tell her "I'd have to see an example first".
Firs
At 12:13 PM -0500 11/8/02, John Howell wrote:
Well, this is not Finale-specific. In fact it goes 'way back to hand
copying and before that to the couple of years of drum lessons I had in
high school.
I have always used .. etc
What you are describing is very close to what I've always done (eve
her composers/arrangers on this list
create their Finale percussion parts for various uses (orchestra,
band, pop, pit orchestra, etc.).
Linda Worsley
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define my terms in the context of my request, no
player has ever expressed confusion. All this talk of chaos over
transposed/non-transposed scores is overwrought, in my opinion. But
then I don't live in Germany. . .
Linda Worsley
--
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In a message dated 10/10/2002 7:48:45 PM Pacific Daylight Time,
[EMAIL PROTECTED] writes:
<< Secondly I couldn't help but notice in the Finale List archives at
http://mail.shsu.edu/pipermail/finale/1904-January/thread.html
that Linda Worsely has her first post listed from 1904! I bow with respec
a clef selected in the transpose window of the staff tool
dialog box, it stubbornly refuses to change on the page. I had that
problem, which was solved by de-selecting the clef in that window.
Linda Worsley
--
Hear the music at:
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_
At 8:42 PM +0200 10/3/02, Johannes Gebauer wrote:
>Thanks for the tips.
>
>Believe me, I am more than annoyed about this particular customer. I told
>him several times that I need the final order of the pieces before I prepare
>the final correction copy for him. Now he sends me the final correctio
At 9:28 PM -0400 10/2/02, T B wrote:
>Has anyone ever noticed Finale dropping an entire
>stave from a system? All lines appear as normal in
>the scroll view, but in the page view, the trumpet
>disappears, for example. the missing staff is also
>missing when the score is printed, (which I did not
At 4:24 PM -0400 10/2/02, Andrew Stiller wrote:
[referring to]
>>I've never, ever used "a2" to indicate that there are two parts.
>>Yikes. I'd think that would be VERY confusing.
>>
>>Linda Worsley.
>>--
>
>And wrong. But now two diffe
put
an "(a2)" in unison parts where one player doesn't see the other
players part, because I don't wantm for example, oboe 1 to hear oboe
2 playing the same line and think something is wrong.
Strings: "unis." when coming off a divisi section, just to
At 3:09 PM +0200 9/24/02, shirling & neueweise wrote:
>a very frustrated Keith in OZ asked the following "Basic question":
>>Why do we (I) have to set Landscape in TWO places?
Agreed. I don't mind DOING it, I am just frustrated when I forget to
do the second setting and inadvertently print page
At 2:46 PM -0400 9/23/02, Tim Thompson wrote:
>Of course, now with laptops, I use it a lot of other places as well.
Home is where the heart (work, physical presence of Finale person)
is, of course. I have used mine on airplanes, on trains, in hotel
rooms, etc. etc. But as a homeless person,
>David McKay writes:
>
>>I have been using Finale since 1995, but have never met a person who
>>uses the program *at home.*
My best guess is that over half (maybe WAY over) of all Finale users
work "at home". If you've never met one, you don't get out m
n my mac.
My original thought applies: they should be separate, and you
should have full control of the cursor, regardless, and it should
stay where you put it.
Or do I not understand what you are trying to do?
Linda Worsley
--
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At 6:34 PM -0400 9/22/02, David W. Fenton wrote:
>The PAGE DOWN key doesn't move the cursor! All it does is drive the
>scrollbar, and this is one of the reasons why I was having so much
>difficulty losing my place in the EDIT LYRICS window.
>
>Is this the same on the Mac?
Yes, but page down leave
and even those
are pretty easy to solve. Am I missing something?
Linda Worsley
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ale without passing through Performer, and it turned out
pretty convincing, at least as a reference recording. It took a bit
of tweaking but it worked. Finale is getting close, and I'm
beginning to think that it wouldn't hurt my feelings at all if that
process were even easier and mo
At 3:17 AM +0100 7/18/02, John Bell wrote:
>Linda, there are all kinds of situations where you need many
>regions. And it is understandable that you may want to edit the
>size/position/font/etc of them all.
>
>Johannes' problem is one that I have encountered.
I've done that, too. I just put a
At 12:04 AM +0200 7/18/02, Johannes Gebauer wrote:
>
>If there isn't a way to set the font and position of measure numbers for a
>whole piece this would be a good task for a plugin I guess. I am just
>surprised it doesn't exist yet. Or does it?
OK, I see the problem. Yes, it would be a very goo
At 11:16 PM +0200 7/17/02, Johannes Gebauer wrote:
>On 17.07.2002 22:57 Uhr, Linda Worsley wrote
>
>> At 10:26 PM +0200 7/17/02, Johannes Gebauer wrote:
>>> Is there a way to change the position setting of all measure number regions
>>> in a file?
>>
At 10:26 PM +0200 7/17/02, Johannes Gebauer wrote:
>Is there a way to change the position setting of all measure number regions
>in a file?
Measure tool > measure > measure numbers > edit regions > position.
Linda Worsley
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ge or what?
I've discovered that in distilling pdf files from Finale (or
anything) I have to check all the things about "all fonts" or "all
downloadable fonts" or I get weirdness. Chances are the files were
created without that indication.
At 11:34 PM -0800 7/15/02, Mark D. Lew wrote:
>(By the way, I've never called this symbol a "marcato". I've always known
>it as a "vertical accent", sometimes called a "vee" or a "hat".)
Gardner Read calls it "marcato" and
nstantly improving) and so on. Playback is just fine... Finale
isn't and doesn't need to be orchestra-in-a-box.
End of rant.
Linda Worsley
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At 12:02 PM -0400 7/15/02, Dennis Bathory-Kitsz wrote:
>At 08:47 AM 7/15/02 -0700, Linda Worsley wrote:
>>By the way, am I hallucinating or are marcato markings like that
>>unusual in piano music? After half a century of looking at piano
>>music, I don't remember seeing
no
music, I don't remember seeing those, but I do remember (and find,
now that I look) countless > marks, of course. I use marcatos mostly
in wind parts, but I don't think I've ever put one in a piano
score live and learn, I guess.
Lind
Is there an
inverted version of the "tent" figure used for marcato, so that it
appears like an inverted "V"? Or do I have to create it as a score
expression?
Thanks!
Linda Worsley
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sition, as long as it's crystal clear for the player or singer) it
just isn't that hard. While it's sometimes a challenge to get it just
the way I want it, I grew up knowing that this was part of the work,
so I might as well enjoy it.
Linda Worsley
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n a movie score in 103 degree heat here in Northern
California. I have given away my laptop, or I'd drive across the
mountain and sit on the beach and work
but I digress...
Crescendos are really easy. I do them with the MIDI tool and scale.
Linda Worsley
__
you are just listening to internal sounds, however, and
your staff attributes remain un-transposed, changing instruments
won't change the notation. Is that too confusing?
Linda Worsley
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isks will
allow formatting in pc format....
Linda Worsley
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At 8:31 AM +0200 6/25/02, Johannes Gebauer wrote:
>On 25.06.2002 4:08 Uhr, Robert Patterson wrote
>
>> "Mark D. Lew" wrote:
>>>
>>> Unless I'm mistaken, clef changes don't copy in mass-mover copying even
>>> within the same file. Sort of annoying.
I've noticed that. I've had to be really car
At 10:59 AM -0400 6/24/02, Dennis Bathory-Kitsz wrote:
>At 08:00 AM 6/22/02 -0700, Linda Worsley wrote:
>>So here's my question: (at last) Faced with this daunting task, what
>>would you do?
>
>I've been following this for a few days, because I had a student exactl
ll the
time.
Or am I missing something?
Linda Worsley
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At 1:14 PM -0400 6/23/02, Christopher BJ Smith wrote:
>The term "arranger' is hardly used any more, as his duties in the
>industry now seem to be covered by the title "producer", who used to
>be the guy who assembled the team and arranged financing and
>distribution, but now makes musical dec
I'm going to get the book.
Thanks!
Linda Worsley
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nture is pretty much
entirely from slogging through the notation and fixing everything.
Thanks very much for the tips!
Linda Worsley
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At 11:19 AM -0700 6/22/02, Chuck Israels wrote:
For learning harmony and voice leading in the 21st Century (and
according to your description of this man's music), I would assume
the seventh chord as the basic unit rather than the triad. The
advantage of this, besides the fact that it would s
At 1:59 PM -0400 6/22/02, Christopher BJ Smith wrote:
>At 8:00 AM -0700 6/22/02, Linda Worsley wrote:
>>
All the songs are way, way too complicated, two thick, and can only
be played or "sung" by machines, not humans.
>
>
>This last point may not be the problem
tom" thing. Generally when a dot (staccato) is
combined with anything, the staccato appears closest to the note,
whether it's above or below, with the other sign (an accent or
whatever) on the outside.
Linda Worsley
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I know about how to take a student sequentially from point A to
point B and beyond. But I have no CLUE as to materials for someone
like my student, who jumped over all the basics and started writing
huge "scores". I have a few ideas, but I thought I'd throw this at
the group, an
er and ease of use. And since you brought
it up, there are lots of keypad commands and macros (metatools) that
have made my life much more manageable, and they pretty much work
like a charm.
Good luck,
Linda Worsley
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_
melisma had an
accidental on every note G G# Gnat Gb Gnat etc... and, for example,
an Ab major chords spelled Ab C D#.
Grueling. At least I was well paid. But it's not the kind of thing
I want to spend my life doing. I sympathize with your text block
chore, Johannes. I hope you are
ey can be printed for a specified time period,
and maybe THEN self destruct, for just the reasons he cites.
Linda Worsley
Hear the music at:
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No musicians were harmed in the making of my web site.
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ghtmare, so I just don't go
there.
>
>(And please don't get too angry with me ;)
Never. If you and the rest of the list doesn't get angry with me for
posting this long explanation.
Hope this clarifies.
Linda Worsley
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for less that $50 an hour... They
probably won't go for that, but I'd say $25 per hour is a bargain.
For them. Don't give your skills away.
Linda Worsley
Hear the music at:
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everyone is
busy at the beach, the grill, the movies, or the hammock taking it
easy. I'm working (damned deadlines) so I got your message, but a
lot of people here are not going to be active for these three days.
Wait till tomorrow!
Linda Worsley
_
At 4:14 AM + 5/20/02, Jón Kristinn Cortez wrote:
>On 20.5.2002 03:43, "Linda Worsley" <[EMAIL PROTECTED]> wrote:
> Do I need to
> > call my pickup measure "measure one"?
>
>The measure that is full according to the time-signature is the first
>
etc. have no reference to this.
Anyone out there have the gospel according to whomever? Do I need to
call my pickup measure "measure one"?
Thanks, all.
Linda Worsley
Hear the music at:
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with one click. they will automatically already be sharped. To keep
the quaver (eighth) note value and enter a non-sharp note, just hit
the s again and it turns off the sharp.
Linda Worsley
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>
>Fact is that Henle in their other scores do some things that cannot possibly
>be done in Finale,
Johannes, you have mentioned this before. If at all possible, can
you give us examples? I'm intensely curious!
Thanks!
Linda
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> If you click
>on the slur icons the "Attach to Notes" option in the menu is available, but
>with any other shape it is greyed out.
I'm using (mac fin 2002). Both the gliss and bend smart shapes can be
note attached or score attached.. not ju
ng on?
Linda Worsley
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