I may have found an answer at
http://www.typenow.net/language.htm
which is a site that has freeware fonts, including Hiragana and Katakana
remapped onto 7-bit ASCII (i.e., pre-unicode) true type fonts. This
looks like it will do the trick, but I need to play with this some.
I really wish Fin
Michael Cook <[EMAIL PROTECTED]> wrote:
I think there is some confusion here about what the repitch
tool should or shouldn't do. The point of the repitch tool
is to be able to quickly change the notes of a whole passage
while keeping the rhythms: as soon as you have repitched one
note, the tool
Finale 2002
I have having both vertical and horizontal spacing problems when using
layers. If the notes are too close together (less than a fourth)
accidentals in one layer can collide with those in another layer. This
happens with notes positioned directly above each other. Also if the
interva
In recent versions of Finale there is a setting to avoid accidental
collisions between layers - however, even that doesn't always work well.
I am not sure when this was introduced, but I think it was probably
after 2k2.
The solution is to use special tools to move the accidentals away from
t
My Friends,
As one who has been in the college teaching business for too long, I would
like to offer a reason for the lack of foreign language excperience these
days. Simply, during the Vietnam War, the language requirement was for
many a ticket to the rice paddies. Thus, it was dropped universall
Chuck Israels wrote:
On Nov 25, 2006, at 1:31 PM, dhbailey wrote:
Chuck Israels wrote:
Hi all,
Has anyone had success adjusting beam angles on linked parts
generated from splitting notes on one staff (i.e. Alto Sax 1 - Alto
Sax 2). I don't seem to be able to access the beams with either a
I know this has been discussed before and I thought I'd saved the
message with the solution!
So . forgiveness please
how do I get each part name to appear like it used to?
Can't find it in "Help"
MacFin 2007
Stan Lord
___
Finale mailing lis
Bruce K H Kau / 2006/11/25 / 03:16 AM wrote:
>Hiragana and Katakana
>remapped onto 7-bit ASCII (i.e., pre-unicode)
Not sure what this means. 7-bit ASCII is an encoding type. For
example, ISO2022-JP encoding uses 7-bit, while Microsoft CP931 uses 8-
bit, the first bit being the Shift bit to ide
At 12:33 PM 11/24/06 -0500, Phil Daley wrote:
>At 08:00 AM 11/24/2006, Dennis Bathory-Kitsz wrote:
>
> >Listen to CNN or especially Fox News morning shows.
>
>Wait . . . People actually listen to that stuff??? They are so
>biased, I can't bear to hear it.
I like new background patter wh
Stan Lord wrote:
I know this has been discussed before and I thought I'd saved the
message with the solution!
So . forgiveness please
how do I get each part name to appear like it used to?
Can't find it in "Help"
What do you mean "like it used to?" When I create a score in Fin2007,
On 11/25/06, Chuck Israels <[EMAIL PROTECTED]> wrote:
Me too, and it is frustrating. Seems to me there are two choices:
wait for a maintenance update in the hope that these matters are
addressed, or extract parts the old way and lose the advantages of
the linked parts (not so much of an advant
On 26 Nov 2006, at 14:14, dhbailey wrote:
Stan Lord wrote:
I know this has been discussed before and I thought I'd saved the
message with the solution!
So . forgiveness please
how do I get each part name to appear like it used to?
Can't find it in "Help"
What do you mean "like it
Good news Darcy. I'm going to try this on the affected parts.
Thanks,
Chuck
On Nov 25, 2006, at 6:34 PM, Darcy James Argue wrote:
Chuck,
Extracted parts inherit the appearance of the existing linked part
at the time of extraction. You should (theoretically) be able to
work with linked
Thank you for the suggestions Robert,
Splitting parts in the score should make it possible to accomplish
most of what I need to do. For some reason, that had not occurred to
me, obvious as it is in retrospect.
I can certainly understand the value of one document as opposed to
many. That
Chuck wrote:
I can certainly understand the value of one document as opposed to
many. That's why I am struggling to change established work habits
in order to accommodate the inherent advantages, but I continue to
stumble on difficulties that seem to be more trouble than I used to
hav
Chuck Israels wrote:
I continue to stumble
on difficulties that seem to be more trouble than I used to
Such as (beyond the beam angles, etc. we've discussed)?
If the end result is the same, and the new
method simply takes longer, I'm not sure it is helping my workflow.
When I first pla
Chuck Israels wrote:
Certain kinds of music make the
use of one part serving as a template for other parts a real time saver
in the layout process,
Early on there was much discussion of this issue in a different forum
than this one, and I was given to understand that there is workflow that
At 11:06 AM 11/26/2006, Robert Patterson wrote:
>Early on there was much discussion of this issue in a different forum
>than this one, and I was given to understand that there is workflow that
>allows it. But I have not figured it out either. Perhaps Aaron Sherber
>or Darcy will chime in, because
Sorry, I wasn't clear. What is happening is that this is a non-standard
mapping, similar to the Symbol Font, or in Finale, the EngraverTextFont
in which the characters are octets (eight bit). The "mapping" I speak of
then treats the characters purely as glyphs. What I meant to say
(without tryi
Williams, Jim wrote:
[snip]>
Chuck, if the light goes on for you, please hit me over the head with it.
Before I sent 2007 back, I reached the conclusion that the linked
parts thing was right for a certain class of user--a class of user to which
I don't seem to belong. While my determination does
Bruce K H Kau / 2006/11/26 / 01:32 PM wrote:
>What I meant to say
>(without trying to be too technical) is that the characters themselves
>were mapped into the same character address-space as the 7-bit ASCII
>characters
Oh, I see. Then it must be single byte.
>I totally understand that nativ
On Nov 26, 2006, at 8:01 AM, Robert Patterson wrote:
Chuck Israels wrote:
I continue to stumble on difficulties that seem to be more
trouble than I used to
Such as (beyond the beam angles, etc. we've discussed)?
Robert,
The main time consumer for me has to do with how long each part
l
On Nov 26, 2006, at 10:34 AM, dhbailey wrote:
Williams, Jim wrote:
[snip]>
Chuck, if the light goes on for you, please hit me over the head
with it.
Before I sent 2007 back, I reached the conclusion that the linked
parts thing was right for a certain class of user--a class of user
to which
Hey all,
Are most orchestral percussionists comfortable using four mallets (2-
mallet grip in each hand) on xylophone? Or is this more of a
vibraphone/marimba technique?
Cheers,
- Darcy
-
[EMAIL PROTECTED]
http://homepage.mac.com/djargon
Brooklyn, NY
_
The percussionists in the orchestra here in Mannheim have no problem
with this.
On 26 Nov 2006, at 20:53, Darcy James Argue wrote:
Hey all,
Are most orchestral percussionists comfortable using four mallets
(2-mallet grip in each hand) on xylophone? Or is this more of a
vibraphone/marimba
Darcy James Argue wrote:
Hey all,
Are most orchestral percussionists comfortable using four mallets (2-
mallet grip in each hand) on xylophone? Or is this more of a
vibraphone/marimba technique?
Most of the pros I work with and see in symphonic orchestras are
"percussionists," They play
At 5:21 AM -0600 11/26/06, Henry E. Howey wrote:
My Friends,
As one who has been in the college teaching business for too long, I would
like to offer a reason for the lack of foreign language excperience these
days. Simply, during the Vietnam War, the language requirement was for
many a ticket t
Carl,
What I was wondering was more along the lines of "are there any
xylophone-specific issues that make a four-mallet technique less
practical on xylo. than on other mallet instruments, like vibraphone
or marimba"?
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 26 Nov 2006,
On 11/26/06, Chuck Israels <[EMAIL PROTECTED]> wrote:
The main time consumer for me has to do with how long each part
layout takes when there is no way (as far as I have been able to
figure out) to use one part as a template for another similar one.
I went back and reviewed the old thread on
On 26 Nov 2006, at 3:33 PM, Robert Patterson wrote:
On 11/26/06, Chuck Israels <[EMAIL PROTECTED]> wrote:
The main time consumer for me has to do with how long each part
layout takes when there is no way (as far as I have been able to
figure out) to use one part as a template for another simi
Darcy James Argue wrote:
Carl,
What I was wondering was more along the lines of "are there any
xylophone-specific issues that make a four-mallet technique less
practical on xylo. than on other mallet instruments, like vibraphone or
marimba"?
Alas, being a brass player, I rarely deal in
I don't know if this has been dealt with yet; if it has, I apologize for
bringing it up again
Is there a reason that the tempo box in the playback controls window would be
greyed out and inaccessible? I'm running MacFin2007, and there seems to be an
issue about whether or not I can change tempo
Darcy James Argue wrote:
Carl,
What I was wondering was more along the lines of "are there any
xylophone-specific issues that make a four-mallet technique less
practical on xylo. than on other mallet instruments, like vibraphone
or marimba"?
With regard to playing technique, aside from ge
On Nov 26, 2006, at 12:40 PM, Darcy James Argue wrote:
On 26 Nov 2006, at 3:33 PM, Robert Patterson wrote:
On 11/26/06, Chuck Israels <[EMAIL PROTECTED]> wrote:
The main time consumer for me has to do with how long each part
layout takes when there is no way (as far as I have been able to
Thanks Daniel, that's all very helpful.
I'm calling for soft mallets, and the four-mallet xylo parts I have
in mind are all double tremolos.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 26 Nov 2006, at 4:04 PM, Daniel Wolf wrote:
Darcy James Argue wrote:
Carl,
What I was wo
John Howell wrote:
At 5:21 AM -0600 11/26/06, Henry E. Howey wrote:
My Friends,
As one who has been in the college teaching business for too long, I
would
like to offer a reason for the lack of foreign language excperience
these
days. Simply, during the Vietnam War, the language requirement
At 2:53 PM -0500 11/26/06, Darcy James Argue wrote:
Hey all,
Are most orchestral percussionists comfortable using four mallets
(2-mallet grip in each hand) on xylophone? Or is this more of a
vibraphone/marimba technique?
Sure it is, but mallet players who have that technique can certainly
a
I had thought this was easy. I had it working. I had time to check
today, it was a file on finale 3.5. Before XP, that is.
I had it working using some japanese software extension on win98, I
guess... Was it Twinbridge?
I thought it would work with XP using Microsoft IME, but I installed
and
At 3:20 PM -0500 11/26/06, Darcy James Argue wrote:
Carl,
What I was wondering was more along the lines of "are there any
xylophone-specific issues that make a four-mallet technique less
practical on xylo. than on other mallet instruments, like vibraphone
or marimba"?
For the playing techni
On Nov 26, 2006, at 3:44 PM, Whittall, Geoff wrote:
I don't know if this has been dealt with yet; if it has, I
apologize for bringing it up again
Is there a reason that the tempo box in the playback controls
window would be greyed out and inaccessible? I'm running
MacFin2007, and there see
On Nov 26, 2006, at 2:53 PM, Darcy James Argue wrote:
Hey all,
Are most orchestral percussionists comfortable using four mallets
(2-mallet grip in each hand) on xylophone? Or is this more of a
vibraphone/marimba technique?
You have gotten some good advice, to which I add:
The xylophone
Hi,
Has anyone else noticed that the TGTools Align-Move hotkeys don't
seem to work on transposed staves in Finale 2007? They always align
the hairpins as if "Display in Concert Pitch" is on, even when it's
not. This isn't a problem for notes in or above the staff, but it's a
big problem f
I noticed that sometimes it works, and sometimes not. I really didn't
know why. But I am not sure it is always on transposed staves that it
doesn't work here.
I'll try to investigate more, maybe even send a notice to Tobias.
Éric Dussault
Le 06-11-26 à 18:20, Darcy James Argue a écrit :
Hi
Yes, I've noticed this. The problem is likely due to the fact that Display
in Concert Pitch is now a permanently-unlinked setting. All I can suggest is
to check the latest version to see if the problem is fixed. The good news is
that a fix is possible. (I had to fix my plugin set for it, too.)
On
Éric Dussault wrote:
I noticed that sometimes it works, and sometimes not.
There is a reason for this, which is too technical to explain in detail.
It depends on what the Display in Concert Pitch setting was immediately
prior to upgrading the file to Finale 2007.
--
Robert Patterson
htt
Hi Robert,
I figured as much. I also notice it's not just Align-Move -- any
TGTools plugin that depends calculating the vertical position of
notes is similarly affected.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 26 Nov 2006, at 6:58 PM, Robert Patterson wrote:
Yes, I've n
Le 06-11-26 à 19:01, Robert Patterson a écrit :
There is a reason for this, which is too technical to explain in
detail. It depends on what the Display in Concert Pitch setting was
immediately prior to upgrading the file to Finale 2007.
Had I to convert files to 2007 again (very likely), is
Éric Dussault wrote:
Had I to convert files to 2007 again (very likely), is there a
procedure related to Display in Concert Pitch that I should follow to
cure this problem?
Make sure it is set the way you want it in the score before upgrading
it. Plugins not updated to recognize the
At 10:18 PM +0100 11/26/06, Daniel Wolf wrote:
John Howell wrote:
At 5:21 AM -0600 11/26/06, Henry E. Howey wrote:
My Friends,
As one who has been in the college teaching business for too long, I would
like to offer a reason for the lack of foreign language excperience these
days. Simply, duri
Hi,
there will be a TGTools update for this issue soon.
Kind Regards,
Tobias Giesen
Super Flexible Software Ltd. & Co. KG
www.superflexible.com
www.tgtools.com
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
On 26 Nov 2006, at 4:07 PM, Chuck Israels wrote:
Why, Darcy? I've done this forever with no untoward incidents.
I've had tremendous problems in the past, especially with measure-
attached expressions, staff styles, clef changes, and so on. I've
tried to join individual files of multi-move
Hey Tobias,
Excellent. Thanks so much!
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 26 Nov 2006, at 8:56 PM, Tobias Giesen wrote:
Hi,
there will be a TGTools update for this issue soon.
Kind Regards,
Tobias Giesen
Super Flexible Software Ltd. & Co. KG
www.superflexible.com
www.tgtools
On Nov 26, 2006, at 6:00 PM, Darcy James Argue wrote:
On 26 Nov 2006, at 4:07 PM, Chuck Israels wrote:
Why, Darcy? I've done this forever with no untoward incidents.
I've had tremendous problems in the past, especially with measure-
attached expressions,
Oh yes, Darcy. I remember this
On 26 Nov 2006, at 9:32 PM, Chuck Israels wrote:
Don't Bill's custom staff styles take care of the current
instrument name?
I use my own staff styles, not Bill's, but neither one solves the
problem I'm talking about -- page headers (not staff names).
The problem is there is no insert for
Kurt Gnos / 2006/11/26 / 04:55 PM wrote:
>I had it working using some japanese software extension on win98, I
>guess... Was it Twinbridge?
Ah, good old Twinbridge, which was developed for and funded by US
Library, a pseudo Unicode-like, runs on DOS. Twinbridge created own
font and mapped them o
On 27.11.2006 Robert Patterson wrote:
Éric Dussault wrote:
I noticed that sometimes it works, and sometimes not.
There is a reason for this, which is too technical to explain in detail. It
depends on what the Display in Concert Pitch setting was immediately prior to
upgrading the file to Fi
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