As Finale users, our hope is that musicians can read and understand
what we want them to play and get it right the first time. With that
in mind, I avoid dotted rests. Not because they aren't allowed, but
because I think they make players look twice. If I can make my
notation more clear I
On Mar 12, 2009, at 12:27 AM, John Howell wrote:
I'm all for context, but I would like to gently point you to some
rules regarding what's incorrect and correct practice for
notating rests.
Gardner Read: page 99
Essential Dictionary of Music Notation (Alfred): page 198
Ross: page 180
Hello All, First of all, is there a way to search the SHSU archives?
Second, I have hairpins and articulations set in a Finale File, and since the
Smart
Find function is so outstanding, I have applied the hairpins and
articulations to analagous passages. Unfortunately the hairpins and
Hi Earl--
Try this for the searching question:
http://www.opensubscriber.com/messages/finale@shsu.edu/topic.html
Bob
On Mar 12, 2009, at 11:02 AM, earlrs...@aol.com wrote:
Hello All, First of all, is there a way to search the SHSU archives?
Second, I have hairpins and articulations set in a
At 7:21 AM -0400 3/12/09, Christopher Smith wrote:
On Mar 12, 2009, at 12:27 AM, John Howell wrote:
And Clinton Roemer manages to avoid giving any special rules about
this at all.
No, he doesn't. Page 40, point 19 in the edition I use, he agrees
with everyone else.
I don't doubt you, but
Earl
Re you question,
First of all, is there a way to search the SHSU archives?
I can't say about your system as your screen is a bit diffiuclt to read
from where I sit. However, when I receive emails from the Finale list,
each one contains the closing tag lines:
On 12 Mar 2009 at 6:20, Lawrence David Eden wrote:
As Finale users, our hope is that musicians can read and understand
what we want them to play and get it right the first time. With that
in mind, I avoid dotted rests. Not because they aren't allowed, but
because I think they make
On 12 Mar 2009 at 7:21, Christopher Smith wrote:
you ignore the opinions of every recognised expert in the
field who has published a book on the subject. That HAS to count for
something?
For me, it counts for exactly ZILCH.
--
David W. Fentonhttp://dfenton.com
David
David W. Fenton wrote:
On 12 Mar 2009 at 7:21, Christopher Smith wrote:
you ignore the opinions of every recognised expert in the
field who has published a book on the subject. That HAS to count for
something?
For me, it counts for exactly ZILCH.
I've always wondered whether these
At 12:28 PM -0700 3/11/09, Ryan Beard wrote:
Hi List,
In Common time, I have a pick-up measure of 3 quarter notes. For the
instruments who don't play, would you prefer to see:
3 quarter rests
1 quarter rest and 1 half rest
Is there a correct answer for this case or is it open to
On 11 Mar 2009 at 17:35, John Howell wrote:
What I do NOT like is the old fashioned way of having to make sure
that a pickup partial-bar is subtracted from the bar at the end of a
section, but that's still sometimes used.
If there's a repeat, how is that avoidable?
Here's an example of
At 8:49 PM -0400 3/12/09, David W. Fenton wrote:
On 11 Mar 2009 at 17:35, John Howell wrote:
What I do NOT like is the old fashioned way of having to make sure
that a pickup partial-bar is subtracted from the bar at the end of a
section, but that's still sometimes used.
If there's a
In Fin2007 it is under Time Signatures, subheading: Multiple Time
Signatures. That's the first place I would have looked if I needed to find
it.
I originally had written to look up INDEPENDENT TIME
SIGNATURES in the manual, but realized that, knowing
Finale's manuals, I should probably check
On 12 Mar 2009 at 17:22, Richard Yates wrote:
In Fin2007 it is under Time Signatures, subheading: Multiple Time
Signatures. That's the first place I would have looked if I needed to find
it.
Well, multiple time signatures is not equal to independent time
signatures. And I can't see how a
On 12 Mar 2009 at 21:14, John Howell wrote:
At 8:49 PM -0400 3/12/09, David W. Fenton wrote:
On 11 Mar 2009 at 17:35, John Howell wrote:
What I do NOT like is the old fashioned way of having to make sure
that a pickup partial-bar is subtracted from the bar at the end of a
section,
John Howell wrote:
What I do NOT like is the old fashioned way of having to make sure
that a pickup partial-bar is subtracted from the bar at the end of a
section, but that's still sometimes used.
It's a good rule, but only for music that might need to be repeated ad
lib - anything that
David W. Fenton wrote:
I originally had written to look up INDEPENDENT TIME SIGNATURES in
the manual, but realized that, knowing Finale's manuals, I should
probably check to see if this was helpful or not.
Whether or not the Manual has improved, the interface of the manual has
improved.
De gustibus, etc.
The double-dotted half note on beat one is one of the most useful and
commonly used ways of notating ubiquitous swing rhythms like long
note on one, short note on and of four or (when tied to an eighth at
the end of the previous bar) long chain of long notes on the and
Yes and furthermore, the original question was pertaining to
placement of a dotted half rest starting on beat 2 of a pickup
measure. Syncopated rests (held over to a stronger beat) are NEVER
used in modern notation, whereas syncopated notes are commonplace. I
stand by my original answer.
On 12 Mar 2009 at 23:46, Christopher Smith wrote:
Yes and furthermore, the original question was pertaining to
placement of a dotted half rest starting on beat 2 of a pickup
measure. Syncopated rests (held over to a stronger beat) are NEVER
used in modern notation, whereas syncopated
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