All of the systems have been locked (mass edit), but the strange problem
persists. With various kinds of subterfuges, I've managed to delete all the
unnecessary measures but one--but deleting that one measure skews the format of
the 9 following pages. I've tried inserting a page break, but
To Aaron Sherber (and/or anyone with suggestions),
Thank you for your speedy helpful response.
One question about the Instrument List window: Since this is a piano solo, do
I need a different type of piano for each channel? Ideally, it would be best
if all channels could be Acoustic
Patricia Spedden wrote:
1. For dynamics/voicing control, is it possible to assign each staff (generally 2 staves, sometimes 3) to different channels after a piece is completed in Finale?
Yes,
If so (or if it has to be assigned when setting up a project), how is this done?
When setting up a
Patricia Spedden wrote:
One question about the Instrument List window: Since this is a piano solo, do
I need a different type of piano for each channel?
No. You can define multiple channels to play the same instrument sound.
Ideally, it would be best if all channels could be Acoustic
2. Is it possible to assign each layer to different channels for
complete dynamics/voicing control? If so, how?
Yes. Certainly. Use the instrument list. Click the drop down menu on the
staff list. Define each layer as a different instrument number and channel
number but with the same MIDI
At 04:35 AM 6/16/2006, Patricia Spedden wrote:
One question about the Instrument List window: Since this is a piano
solo, do I need a different type of piano for each channel? Ideally,
it would be best if all channels could be Acoustic Grand Piano with
different dynamics/
voicings for the
At 01:20 AM 6/16/2006, Darcy James Argue wrote:
On 15 Jun 2006, at 10:20 PM, Aaron Sherber wrote:
Well, you might try turning off Edit | Automatic Update Layout.
That will prevent Finale from doing anything with the layout behind
your back.
NOT recommended. This is not the problem here --
Aaron,
If Automatic Update Layout is off, and you forget to manually update
layout before printing, you will run into all kinds of problems with
incorrect measure widths, serious spacing issues, music running off
the edge of the page, missing measures or systems, and the like. For
years,
Hi everyone!I'm lurking around with ideas for plug-ins I've not yet seen for Finale.Do you know anyone who would be interested in developing the following (I'm not near being a programmer myself) :1. "Transposer" When transposing arrangements more than a major second I find I in most
At 01:21 PM 6/16/2006, Darcy James Argue wrote:
If Automatic Update Layout is off, and you forget to manually update
layout before printing, you will run into all kinds of problems with
incorrect measure widths, serious spacing issues, music running off
the edge of the page, missing measures or
Karl-Johan Ankarblom wrote:
c) A clipboard!! Be able to copy and name sections like Verse,
Bridge etc on a userfriendly clipboard. Just drag and drop from a
window into the score! I know one can use Clip-files but I think it
should be easier and more accesible.
Unfortunately,
Hey Aaron,
Missing measures/systems = nasty surprise (in my book, at least... )
Cheers,
- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
On 16 Jun 2006, at 2:08 PM, Aaron Sherber wrote:
At 01:21 PM 6/16/2006, Darcy James Argue wrote:
If Automatic Update Layout
On Jun 16, 2006, at 1:55 PM, Karl-Johan Ankarblom wrote:
Hi everyone!
I'm lurking around with ideas for plug-ins I've not yet seen for
Finale.
Do you know anyone who would be interested in developing the following
(I'm not near being a programmer myself) :
1. Transposer When
At 02:43 PM 6/16/2006, Darcy James Argue wrote:
Missing measures/systems = nasty surprise (in my book, at least... )
Darcy, I'm not disagreeing with you about the benefits of AUL. All
I'm saying is that I read your original statement as saying that if
you don't update the layout (auto or
I'm not sure if this is your exact problem or not, but it seems worth
mentioning. I would suggest that before optimizing you *first* finalize
your music and its horizontal spacing, especially, in this case, the number
of measures in each system. After doing this the vertical layout can be
dealt
If you have a mac, check this out
http://www.macdailynews.com/index.php/weblog/comments/popcopy_clipboard_history_in_your_mac_os_x_menu_bar/
Christopher Smith wrote:
c) A clipboard!! Be able to copy and name sections like Verse,
Bridge etc on a userfriendly clipboard. Just drag and drop from
At 9:21 PM -0400 6/14/06, Dennis Bathory-Kitsz wrote:
Layers would do it, but I'm not much of a notation expert in how to
indicate early music. Most of my knowledge is old scholarship, as I stopped
studying early music by the mid-1970s, when all you got was a melody and
had to fit the words as
At 05:22 PM 6/16/06 -0400, John Howell wrote:
A student of Josquin tells us that the first thing he taught
his singers was how to set the words to the music!
That's very interesting, and no wonder why we have such marvelously
different editions.
The best way to approach it is this. Remember
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
On 16 Jun 2006, at 6:29 PM, John Howell wrote:
Somebody also finally realized that paper is cheap and rehearsal
time is expensive, and that you break pages early for a good page
turn!!
Standard B'way practice for years. No reputable B'way music service
would turn out books with crappy
Well, as a computer geek, I have to note:
Admiral Grace Hopper (grasshopper) who was a well-respected icon in
computing - she was instrumental in many computer advances, including
COBOL (trust me, it was an advance at the time).
Richard (Dick) Pick, inventor of the Pick Operating System. I
On Jun 16, 2006, at 6:29 PM, John Howell wrote:
Had our first rehearsal last evening with the orchestra for the
revival version of Kiss Me, Kate,
And thank you for a very complete overview (for those of us who love
these details, that is!)
First, I prayed that the music would be
At 4:26 AM -0400 6/16/06, Patricia Spedden wrote:
All of the systems have been locked (mass edit), but the strange
problem persists.
Patricia: There are attachments to your last 2 messages that start
with msg followed by a string of (different) numbers and ending in
.txt. I suspect that
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?
Forgot to mention: My Primary Care Physician is Dr. Payne! Makes
you stop and think, right?
John
--
John Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
On 16 Jun 2006 at 17:22, John Howell wrote:
The best way to approach it is this. Remember that the composer
started with the words, so that's where you have to start. He (seldom
she) composed the music to fit the words. Therefore it is important
to sing the various possibilities and decide
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
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