Thanks for your detailed reply, Darcy. Sadly, I DID spend quite a bit
of time with the manual when I started using 2k8, but obviously
either not enough time or not recently enough for me to have
remembered that particular point.
I always find it tricky to strike a balance between a) approac
On 21 Apr 2008 at 14:15, Noel Stoutenburg wrote:
> I also remember a couple of instances when Bach
> wrote out an ornament when he wanted something different from what the
> standard interpretation of a particular ornament would be. Might the
> Charpentier example referenced be another instance
Hi Doug,
On Mac, the command key is the override key for linked parts. When you
perform an action with the command key held down (like, for instance,
dragging an expression), you are telling Finale to override the
default behavior w/r/t linked parts and do the opposite.
For example: norma
I thought I'd bring up something that I haven't seen mentioned (it
may have come up before and I didn't notice) in hopes of saving
others some time and potential frustration.
In working on a score in 2008, I found myself using Command-F to flip
tuplets from above to below or vice versa, but
dhbailey wrote:
dc wrote:
Charpentier, in his manuscript, uses the following notation for the
end of a vocal melisma:
http://www.philomela.net/ex/charpentier.jpg
With the quarter note at the end of the second measure shifted one
16th of the beat.
How would you render this measure in a perf
At 5:37 PM +0200 4/21/08, dc wrote:
As I said in a preceding message, the fact that it has an ornament
seems to argue against dividing the value. How would one indicate
that the ornament applies to the whole value?
An excellent question, and perhaps the reason he chose to notate it
as he di
At 2:47 AM -0400 4/21/08, Adam Golding wrote:
How do we know Charpentier didn't accidentally forget the dot on the eight,
and that those two 32nd notes aren't grace notes? Perhaps grace notes were
not written that way at the time, I'm not sure.
I'll go out on a limb here and suggest that "grac
