This is odd.
I recently installed FinWin 2006c on a new system. When I open an old
file, or create a new one with Mister Wizard, on a full orchestra score
I get very large blue triangles attached to the tops of each staff group
on the score. (Or they may be purple, I'm partly color-blind - t
PS：
My system is running MacOS10.4.8(Japanes version).
>I know a few people engaged in Finale localization in Japan, but I have not h
e
>ard of such thing. Maybe that is private version for one of them.
>For my part, I use Finale English version from the 1st version and I can ente
r
> any Japanese
Any idea what I am doing wrong?
Richard Yates
it may be that you are using the wrong setup entirely.
http://www.youtube.com/watch?v=5ajP8Gx2KSk
--
shirling & neueweise ... new music publishers
mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com
I just got a new MIDI keyboard and am having some trouble with setup. It is
a Behringer USB/MIDI Controller Keyboard. With my previous setup I could
enter notes into Finale using my old MIDI keyboard and would hear the notes
as I entered them using Speedy. Now I hear nothing when the notes are
ent
On 22-Jan-07, at 10:52 AM, Guy Hayden wrote:
I would like a reference to a thorough discussion of this topic. I
have an
adult string bass student that wants to learn jazz improvisation.
She needs
some sort of methodical approach.
If someone hasn't already mentioned it, The Jazz Theory
I know a few people engaged in Finale localization in Japan, but I have not he
ard of such thing. Maybe that is private version for one of them.
For my part, I use Finale English version from the 1st version and I can enter
any Japanese character though a little bit inconvenient except during a ce
At 4:03 PM +0100 1/22/07, Stig Christensen wrote:
Content-Type: multipart/signed; micalg=sha1; boundary=Apple-Mail-2-44944075;
protocol="application/pkcs7-signature"
Attachment converted: Howell Ti:smime.p7s (/) (00187FB5)
I don't know what smime.p7s is, but like .vcf and mes a
On 23 Jan 2007 at 15:57, Kim Patrick Clow wrote:
> I have a general question about "daggers."
More properly, you should refer to them as "strokes," as that's the
term used in musicological discourse on the subject, i.e., dots vs.
strokes. It's a big controversy as to whether there is a perform
Hi all:
I have a general question about "daggers." In early baroque music, a
long slash would be noted above (typically, but not always) string
figures. I've seen various ways used to engrave that symbol. Some use
the single quote (which is what I've done), others use an upside down
triangle symb
Hi list,
id been reading about iKeys vs Quickeys, someone mentioned that he wouldnt
use Finale if he would not have this software,
I readed on the product web site and i cant wonder what exactly this kind of
software can do for Finale users that cannot be made by Automator on Tiger
or some Ter
At 6:41 AM -0500 1/23/07, Kim Patrick Clow wrote:
Hi all:
I know typically mordents go above a stave. But would you say the same
for the trill marking? It just looks odd to have the trill not near
the nothead. But I've uploaded a sample here in case what I'm asking
isn't very clear:
http://img.p
At 9:00 AM +0100 1/23/07, Daniel Wolf wrote:
John Howell wrote:
A parallel can be drawn with the figured bass of the 17th and 18th
centuries. (This, by the way, is a no-longer-living language, but
one that served for generations to solve exactly the same problems
that were faced in 20th cen
Right. We do support two-byte, just not unicode.
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED] On Behalf Of Michael Good
> Sent: Tuesday, January 23, 2007 1:00 PM
> To: finale@shsu.edu
> Subject: [Finale] Re: Japanese & Chinese Finale
>
> Hi Robert and Bruce
Hi Robert and Bruce,
Cameo is Finale's distributor in Japan, and they produce the Japanese
version:
www.cameo.co.jp
Finale does not handle Unicode, but it supports the old native
character sets on both Windows and Macintosh. For Japanese, native
character sets are multi-byte, not ASCII. For ou
Andrew Stiller wrote:
On Jan 23, 2007, at 7:15 AM, dhbailey wrote:
In my opinion, all ornaments should be above the staff so they're easy
to see and easy to find.
A staccato or a > accent (to name but 2) is easiest to find when it
adjoins its notehead, because that's what players most ofte
Kim,
I guess I'll dip my oar in this stream.
I have a Finale document that I'm finally happy with. The score and
parts look fine.
The parts were troublesome and very time consuming Let's call that
"File A.". My question is this: can I somehow get the layout from
"File A" to my new file "File B."
Actually - and while it doesn't help at all, I recall this playback problem
was a 2002 bug - that is that tenuto markings played back in a sort of odd
staccato.
I don't recall any decently consistent workaround, only that the behavior
problem was alleviated in 2003.
Or does my memory really
Robert,
Do you have the website URL? I am not sure how Finale works in Japanese.
There are many 8-bit fonts that map katakana, hiragana, and kanji. One
of the better ones I found is noted below.
Robert Patterson wrote:
This list has famously reported that Finale does not have native Unicode
On Jan 23, 2007, at 7:15 AM, dhbailey wrote:
In my opinion, all ornaments should be above the staff so they're easy
to see and easy to find.
A staccato or a > accent (to name but 2) is easiest to find when it
adjoins its notehead, because that's what players most often see and
therefore ex
On Jan 23, 2007, at 6:41 AM, Kim Patrick Clow wrote:
Hi all:
I know typically mordents go above a stave. But would you say the same
for the trill marking? It just looks odd to have the trill not near
the nothead.
The only time a trill may legitimately be notated below or within the
staff i
At 3:27 PM + 1/23/07, Ken Moore wrote:
We don't even agree on what is one note. Notation allows us to
distinguish 35 names which map variously onto different numbers of
pitches depending on context (only players of keyboards and some
fretted instruments have as few as 12 per octave), and
This list has famously reported that Finale does not have native Unicode
support. But I have seen at least one Japanese website that shows Finale
dialogs (including Patterson Beams) translated into Japanese. Does anyone
know how this was done? Are there ASCII fonts that do Japanese and Chinese
scr
"David W. Fenton" <[EMAIL PROTECTED]> wrote:
This whole issue is the part of music that I have always found
hardest for beginning theory students to learn, that music is not
about absolute, fixed objects that are unchanging. Music is instead
about the changing relationships between the musical
I use Mozilla Thunderbird (with Windows, but I believe a Mac version is
available). "Reply" produces (in order) the quoted original text, the
cursor, the sig.
--
Ken Moore
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinf
Yes, it only takes seconds.
With the cut and paste method you run the risk of copying the wrong
part of file A to B. And I'd never feel secure if I didn't proof the
resulting document. That'd be just another time filled step in a
process that's already just too long and complex..
Thanks !
Kim Pa
On Jan 23, 2007, at 7:49 AM, dhbailey wrote:
[EMAIL PROTECTED] wrote:
[Finale 2002]
I am having problems using the tenuto articulation (line above/
below a
note-head) when applied to repeated notes. The default playback
is 'change
of duration' set to 105%. This works fine when the notes v
Do you think that would work to copy a layout from a separate part
(from an older version) to a linked part?
you can for sure copy between linked parts within the same doc. i
don't have finale open to check, but if the measure #s are the same,
yeah you should be able to copy across (unlinke
[EMAIL PROTECTED] wrote:
[Finale 2002]
I am having problems using the tenuto articulation (line above/below a
note-head) when applied to repeated notes. The default playback is 'change
of duration' set to 105%. This works fine when the notes vary, but used on
a repeated note, the playback is b
[Finale 2002]
I am having problems using the tenuto articulation (line above/below a
note-head) when applied to repeated notes. The default playback is 'change
of duration' set to 105%. This works fine when the notes vary, but used on
a repeated note, the playback is bizarre. The first note wor
At 07:20 -0500 1/23/07, Christopher Smith wrote:
The way I've always done this is to copy the music from File A and
paste it into File B, then save under the name File A1 (so as not to
lose everything if I make a mistake.) I also have to change the
instrument titles and transpositions, but tha
On Jan 22, 2007, at 8:35 PM, Kim Patrick Clow wrote:
Hi all!
Please bear with me, this is only the 2nd time I've done this.
I have a Finale document that I'm finally happy with. The score and
parts look fine.
The parts were troublesome and very time consuming Let's call that
"File A.". My que
Please allow for a little bit of self-promotion...
I will be taking part as concertmaster in a performance of Mozart's
Zaide, to be heard on Sunday, at 2.30 in Toronto. Details can be found here:
http://toronto.broadwayworld.com/viewcolumn.cfm?colid=15013
It will be performed by Opera in Conc
Kim Patrick Clow wrote:
Hi all:
I know typically mordents go above a stave. But would you say the same
for the trill marking? It just looks odd to have the trill not near
the nothead. But I've uploaded a sample here in case what I'm asking
isn't very clear:
http://img.photobucket.com/albums/v601
On 23.01.2007 Kim Patrick Clow wrote:
I know typically mordents go above a stave. But would you say the same
for the trill marking? It just looks odd to have the trill not near
the nothead. But I've uploaded a sample here in case what I'm asking
isn't very clear:
http://img.photobucket.com/albums
On 1/23/07, dc <[EMAIL PROTECTED]> wrote:.
What about if you simply select the measures in question, "Music Spacing",
"Apply [note] spacing"?
It was suggested (by Brad) that I use the mass edit tool, select all,
then hit 4 which restores everything to note spacing. I think what you
suggest is
Hi all:
I know typically mordents go above a stave. But would you say the same
for the trill marking? It just looks odd to have the trill not near
the nothead. But I've uploaded a sample here in case what I'm asking
isn't very clear:
http://img.photobucket.com/albums/v601/graupner/trill.jpg
Than
Yes, a friend suggested that. I'm so thrilled I do not have to
reinvent the wheel everytime I go to extract parts for a new file.
*Whew*
Thanks for all the help and suggestions everyone, much appreciated.
Kim Patrick Clow
On 1/23/07, shirling & neueweise <[EMAIL PROTECTED]> wrote:
>you can do
On 1/23/07, Daniel Bernhardsson <[EMAIL PROTECTED]> wrote:
I wish you the best of luck with this. It was a bit of a wonderful
coincidence.because the day after I purchased this new release on
SACD:
http://www.audaud.com/article.php?ArticleID=2286 , I came across your
website after it was mention
you can do this by copying and inserting.
far better solution: use TGTools to copy layout (#mm/system; layout)
from A to B
--
shirling & neueweise ... new music publishers
mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com
___
Finale mail
On 23.01.2007 Daniel Bernhardsson wrote:
I did a search on my domain name and was impressed by the discussion
our site had sparked. I would like to take the opportunity to adress
some points that arose:
Dear Daniel,
I wrote you a personal email some time ago, did it ever reach you?
For what it
Kim,
you can do this by copying and inserting.
Save your file A under a new name.
Copy all with Mass Mover in file B
Go to the new named file.
Highlight the first measure.
'Insert' from Edit Menue.
Delete all measures from file A at the end of the new file.
Regards
Raimund Lintzen
Kim Patr
Dear Finale mailing list members,
I did a search on my domain name and was impressed by the discussion
our site had sparked. I would like to take the opportunity to adress
some points that arose:
On 1/12/07, Johannes Gebauer <[EMAIL PROTECTED]> wrote:
The much I would love to see more by this c
John Howell wrote:
A parallel can be drawn with the figured bass of the 17th and 18th
centuries. (This, by the way, is a no-longer-living language, but one
that served for generations to solve exactly the same problems that
were faced in 20th century pop and jazz.)
I have to object to th
43 matches
Mail list logo
