Why would there be "serious issues" with the new iMacs? I haven't heard a peep
about any problems, and I frequent about 10 Mac devoted sites in addition to
sites like Engadget..
I'd say, whatever you get, get lots of RAM. Using sampled sounds without enough
ram will make even a Mac Pro slow
Dear Eric,
I have a 27" i5, and it is fast and stable. Not sure the i7, which was
not available locally when I bought this machine, is significantly
faster with Finale. Anyway, no problems.
Chuck
Sent from my iPhone
On May 29, 2010, at 2:04 PM, Eric Fiedler
wrote:
Hello all,
Is ther
Bob Clifton wrote:
I have a dim memory of being able to hide chords and/or lyrics in
display and/or printouts without removing them from the file,
The only way I ever found to hide lyrics in FIN 2k4 is a kludge. Define
the staff, and set the baseline position relative to the staff so that
th
Hello all,
Is there anyone out there with one of the new Core i7 iMacs who has
been having any serious "issues" with Finale 2010? We are seriously
thinking about biting the bullet and retiring our ancient trio of 10-
year-old (!) G5 towers and replacing them with something from the
21st cen
In Staff Attributes you have the option to display these things on a
per-staff basis. The Global Staff Attributes plugin will do it for
every staff in one go. If you only need to do this for a portion of a
staff, create a Staff Style, which can do pretty much anything the
Staff Attributes c
I have that uh-oh feeling that the answer to this is so obvious that
I'm going to be embarrassed. But I'll ask it again anyhow.
At 12:00 PM 5/26/2010 -0500, I wrote:
I have a dim memory of being able to hide chords and/or lyrics in
display and/or printouts without removing them from the file,
On May 29, 2010, at 7:02 AM, Andrew Stiller wrote:
In my youth, I used the beginning of "Maria" to help my sight
singing of tritones, and I've also pointed it out to others for the
same purpose
I did that, too, but only for augmented fourths, not diminished
fifths. Even if they sound the
On May 29, 2010, at 7:39 AM, Aaron Sherber wrote:
I've run into this before, but I'm finding myself frustrated with
Finale's beaming options over rests.
I remember that problem from years past. I had one particular piece
that was chock full of them.
I'm semi-surprised that it still isn't
At 9:32 AM +0200 5/29/10, dc wrote:
I have a piece in "rondeau" form ABACADAEA, where A is only written
out the first time in the source, the repeats being marked by a "Da
Capo".
But since I can't possibly get it to fit on two pages, so I have
several solutions to limit the number of page tur
Hi all,
I've run into this before, but I'm finding myself frustrated with
Finale's beaming options over rests. Here's a page that shows what I've got:
http://aaron.sherber.com/beams
With "Extend beams over secondary rests" on, I get the top row, and with
it off I get the bottom row. But w
Also, "Somewhere" ("There's a place for us") begins with a minor 7th.
Guy Hayden
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Andrew Stiller
Sent: Saturday, May 29, 2010 10:02 AM
To: finale@shsu.edu
Subject: Re: [Finale] O.T. Secco recitat
Hah! Right! The first four notes are actually C-H-B-A (the "worm"
variant, as one of my composition teachers used to call it) up a
semitone. Nice catch.
Christopher
On Sat May 29, at SaturdayMay 29 9:47 AM, Guy Hayden wrote:
So far no one has mentioned that the fugue subject is a version o
On Sat May 29, at SaturdayMay 29 10:02 AM, Andrew Stiller wrote:
On May 28, 2010, at 9:57 PM, Christopher Smith wrote:
The other thing that is structurally very cool (hah!) about West
Side Story is that the whole thing is based around the tritone
interval... Many of the tunes use the tri
Write out the last "A" in full (as Couperin often did), with a final
barline at the very end and regular double-bars everywhere else.
Players will automatically assume that if they haven't encountered a
final bar, the piece isn't over yet.
Andrew Stiller
Kallisti Music Press
http://www.kallist
On May 28, 2010, at 9:57 PM, Christopher Smith wrote:
The other thing that is structurally very cool (hah!) about West Side
Story is that the whole thing is based around the tritone interval...
Many of the tunes use the tritone melodically in prominent position.
In my youth, I used the begi
So far no one has mentioned that the fugue subject is a version of B-A-C-H
(transposed) so I do.
Guy Hayden
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Christopher Smith
Sent: Friday, May 28, 2010 9:57 PM
To: finale@shsu.edu
Subject: Re:
This bad keyboardist votes for #1. #2 is difficult to decipher without
repeated looks.
RBH
On May 28, 2010, at 7:47 AM, dc wrote:
I didn't get many (or any) replies to my first message on this
subject, so I thought I'd try again with an example to make my
question clear.
This is a q
Having never seen any other example of your 2nd notation, No. 1 looks
like most of the keyboard literature I have.
Looks normal to me and easy to understand, especially with only one
voice part. Sometimes, with 4 or 5 voices,
it gets problematic and a "r.h." or "l.h." may be added , and then
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