Use MassMover, select that voice only, MassEdit --> Utilities --> Implode
Music --> top staff of selection.
Richard Yates
>-Original Message-
>From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
>Sent: Monday, March 12, 2007 5:24 PM
>To: finale@shsu.edu
>Subject: [Finale] Double Headed Uni
Consarn it!
A so-called professional notation program that can't keep hyphens where
they're supposed to be!
Unfortunately, I write a lot of music with lyrics.
Thank you all for your help:
Chris-to-pher Smith, dc, Dar-cy James Ar-gue, Jo-han-nes Ge-bauer, and
Mi-chael Cook.
My apologies to a
Hello all,
Any way to mass delete all double-headed unisons from imported midi files?
Thanks,
Earl
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Music for beginners tends to favor flat keys for winds and sharp keys for
strings. Professionals should be able to negotiate any key even if they do
gripe about this or that one. I new a bluegrass violist once who was trying
to master the b minor scale and having the devil's time with it. The
"nat
On Mar 12, 2007, at 12:02 AM, Francis Fitzpatrick wrote:
Does anyone else still have disappearing hypens in lyrics in Finale
2007?
I met a couple of developers who deny the problem ever existed.
In a work I am currently editing, I find that hyphens are appropriately
continued across a syst
Bass, drums and piano.
**Leigh
On Mon, Mar 12, 2007, Jonathan Smith <[EMAIL PROTECTED]> wrote:
>Interested to know what the other 3 instruments are...
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On 12-Mar-07, at 4:35 PM, Jonathan Smith wrote:
A fine trombonist friend of mine once told me that he prefered the
sharp keys esp. A, E, and B major as examples. He said that in
those keys most notes never fall in 1st postion and therefore the
player has more versitility and flexibility
Hello all,
I'm arranging some jazz pieces for a quintet which includes viola and
tenor trombone. What are the keys that players of those instruments
tend to enjoy playing in the most?
Thanks.
**Leigh
A fine trombonist friend of mine once told me that he prefered the
sharp keys esp. A, E, a
Thanks to all for their educational (as always) replies. I've got
professional players so I guess the technique isn't an issue. The open
string resonance I didn't know about and now I can take that into
consideration.
And because I'm using Finale, I can easily change the keys!
**Leigh
On Mon, Ma
Hi --
Thanks. Now I'll be curious to hear if a reduction of 1/6 in accuracy
is audible!
D.
Darcy James Argue wrote:
Imported MIDI files are probably assuming a max pitchbend range of 2
semitones, whereas the FinGPO instruments have a max range of 12
semitones.
You just need to take t
Hi Daniel,
Imported MIDI files are probably assuming a max pitchbend range of 2
semitones, whereas the FinGPO instruments have a max range of 12
semitones.
You just need to take the number for the max range and divide by
twelve to get semitones. Check the Finale manual on pitchbend for
As long as we're on the subject of the FinGPO pitchwheel, what number of
pitchbend units per semitone does FinGPO use? When I have tried to
import midi files with per note pitchbends, FinGPO renders them very oddly.
Daniel Wolf
Darcy James Argue wrote:
Hey Dennis,
The Garritan Instrument ra
Hi all,
Just an update on an issue I brought up on this list a while ago --
Allen Fisher just informed me that since the most recent Rosetta
update (not exactly sure when that happened, but definitely sometime
before I purchased my Intel Mac), it IS possible to run the
Registration Wizard
On 12-Mar-07, at 11:55 AM, Leigh Daniels wrote:
Hello all,
I'm arranging some jazz pieces for a quintet which includes viola and
tenor trombone. What are the keys that players of those instruments
tend to enjoy playing in the most?
At 12:52 PM -0400 3/12/07, Christopher Smith wrote:
Trombon
> > I'm arranging some jazz pieces for a quintet which includes viola and
> > tenor trombone. What are the keys that players of those instruments
> > tend to enjoy playing in the most?
>
>
> Trombonists don't really care, as there are no real technical
> difficulties from one key to the next (unle
In a message dated 12/03/2007 17:43:54 GMT Standard Time,
[EMAIL PROTECTED] writes:
"GPO simply drops out when it
thinks it's out of range and doesn't render the sample at all (even
awkwardly, which is okay for my demos -- better a wrong color than no note).
"
If I remember rightly, t
Hey Dennis,
The Garritan Instrument ranges cannot be extended in the player,
though you can get around that by using the pitchwheel. (FinGPO notes
can be shifted up/down 12 semintones w/pitchwheel.) Or, if you
acquire the full version of Kontakt, you can edit the range yourself.
Cheers,
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Hi all,
I ran a score through the Finale GPO for the first time. The results are
okay, but unlike the Finale softsynth, the GPO simply drops out when it
thinks it's out of range and doesn't render the sample at all (even
awkwardly, which is okay for my demos -- better a wrong color than no note).
At 12:45 PM 3/12/2007, shirling & neueweise wrote:
>1a before extracting parts - when extracting parts, do NOT apply
>music spacing, then apply music spacing on individual measures or
>groups of measures if necessary.
>
>1b before generating linked parts - manage parts / part creation
>prefs / cop
Violists don't mind a few flats. F and Bb are certainly safe, maybe not
past Eb for ease. (String sections grown at Eb minor, I know that much.)
Ray Horton
Christopher Smith wrote:
Trombonists don't really care, as there are no real technical
difficulties from one key to the next (unless y
On 12.03.2007 shirling & neueweise wrote:
patterson tools / settings scrapbook allows you to copy over metatool
assignments, doc settings and more between docs. you can copy over individual
options (beaming settings) or the entire pop-up list of options/settings (the
contents of which the use
On 12.03.2007 Christopher Smith wrote:
Usually when I have to work on a file that someone else has sent me, I end up copying the contents to one of my blank files. I lose custom spacing and things like that, but the alternative is way too frustrating.
Same here, in fact I have made some kind o
Trombonists don't really care, as there are no real technical
difficulties from one key to the next (unless you are low) though
most of them like band keys like C to Ab, but this is just what shows
up a lot.
Violists, on the other hand, tend to play better in sharper keys, as
lots of flat
Johannes Gebauer wrote:
To be honest I wonder whether blanking out staff lines is actually
nearly impossible in hand engraved scores? It would certainly make
the work much more difficult and lengthy.
i would think this would be something uncommon in the pre-digital
engraving era, since the f
Theoretically, this makes the measure a sixteenth too long, but it
spaced perfectly for me on the same repeated pitch.
Christopher
set hidden tuplet last note 1 8th : 1 16th
--
shirling & neueweise ... new music publishers
mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com
_
patterson tools / settings scrapbook allows you to copy over metatool
assignments, doc settings and more between docs. you can copy over
individual options (beaming settings) or the entire pop-up list of
options/settings (the contents of which the user can control).
--
shirling & neueweise
It's not the end of the world to have to adjust parts individually
-- in fact, it's exactly what I would have had to do without linked
parts. But it does seem like this is just the sort of thing that
linked parts should make *easier*.
2 possibilities.
1a before extracting parts - when extra
Hello all,
I'm arranging some jazz pieces for a quintet which includes viola and
tenor trombone. What are the keys that players of those instruments
tend to enjoy playing in the most?
Thanks.
**Leigh
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On 12-Mar-07, at 9:24 AM, Johannes Gebauer wrote:
On 27.02.2007 Noel Stoutenburg wrote:
This is a question I have been dealing with for a while. What I
would do is take the file you want to use as a template, and save
_all_ of the library files from it into a new subdirectory, then
open
Dear Johannes,
I have been having a terrible time with losing font selections when
loading a Document Options Library into a new 2k7 document converted
form an earlier version. Many font selections are lost - not only
measure numbers. No one has been able to explain this.
Chuck
On Mar
Michael Cook wrote:
I think this is a good idea. It would be nice if we could select a
region of a part with Mass Edit, then apply a command "Change score to
match part".
[snip]
Remember the old adage "be careful what you wish for, because you just
might get it."
You're thinking of a very
I think this is a good idea. It would be nice if we could select a
region of a part with Mass Edit, then apply a command "Change score
to match part".
On 11 Mar 2007, at 23:17, Chuck Israels wrote:
Wouldn't it be a good feature to be able to edit in the part and
then re-link that edit to t
To be quite clear:
In older versions of Finale, hyphens disappeared in one particular
situation: when syllables got so close together that they are almost
touching. This was useful in pieces where lyric spacing was very
tight, and is accepted practice for certain editors. In 2006b a bug
a
On 27.02.2007 Noel Stoutenburg wrote:
This is a question I have been dealing with for a while. What I would do is
take the file you want to use as a template, and save _all_ of the library
files from it into a new subdirectory, then open a new document without
libraries, and load all of the s
I should note that with Fin2007, I have occasionally run into
situations where, even with Automatic Update Hyphens and Word
Extensions *on*, they sometimes don't show up and I need to manually
update them.
(This was with Automatic Update Layout off -- I don't know if that
makes a differen
On Mar 12, 2007, at 12:02 AM, Francis Fitzpatrick wrote:
Does anyone else still have disappearing hypens in lyrics in Finale
2007?
I met a couple of developers who deny the problem ever existed.
I think the problem is the hyphens DIDN'T disappear when the
syllables got to close to each ot
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