Much better!
The Poulenc Sonata for Horn, Trumpet, and Trombone is full of jokes,
obvious and not so, in the outer movements. These include a few in
the notation, of which my favorite are a couple of examples of
syncopated rests. Once I told an audience to be sure and listen for
them.
I was so
On Dec 4, 2011, at 6:31 PM, Christopher Smith wrote:
> In both songs, the word is hypenated "Ba-bel" even though in the first
> instance it is clearly meant to rhyme with "rabble", which I think is a typo.
A perfect example of being led astray by the dictionary! Clearly the copyist
looked it
On Dec 4, 2011, at 6:17 PM, Raymond Horton wrote:
> But your parallel is not an equal one. If an informed composer chooses to
> break the rules of harmony, the sound will be readily apparent. If he/she
> breaks the rules of hyphenation, the sound will be apparent only if it is
> for some clear a
Hi Chris,
Actually, it's easier (and you get better beaming results) to use the new
shortcut, which is (on Mac) opt-shift-down arrow/opt-shift-up arrow with notes
selected in the Selection Tool:
http://blog.finalemusic.com/post/2011/06/28/Finale-QuickTips-Cross-Staff-Beaming.aspx
Cheers,
- DJ
Hi Linda,
I'll reiterate Chris's observation that using the articulation tool to create
courtesy accidentals is not the optimal solution. The existing shortcuts in
Speedy/Simple are much faster and more reliable in a greater variety of
situations (transposing instruments, transposed passages),
It's still the same. In the Note Mover tool, make sure you select Cross Staff
in the menu, then click the measure, drag across the notes you want to move and
drag them down.
Christopher
On Sun Dec 4, at SundayDec 4 9:36 PM, Katherine Hoover wrote:
>
>
> Years ago one would put - say -
Years ago one would put - say - a run from low to high on the treble
staff, then simply pull the lower notes down to the bass staff. The
beam would remain, connecting the run across the space between the
staves.
No more, apparently. Can someone tell me how to do this in 2011?
Th
On Sun Dec 4, at SundayDec 4 9:00 PM, Mark D Lew wrote:
> The one thing I would say is unclear is where Darcy is quoted and it's not
> immediately obvious where his words stop and mine begin.
The quoted text is blue in my document, but that didn't get preserved when I
copied and pasted. No wo
Ok, it is very simple, then. I am enough of an authority in harmony to
trust my own judgement. The same is NOT true when it comes to language, so
I look for other authority. If I find disagreement among such authorities
on hyphenation, I'll do what I like.
But your parallel is not an equal one.
> Here it is, complete. I think I remember editing lightly for typos (not many
> of yours!) and punctuation and removing a few paragraphs that I didn't think
> were germane. Some of the quoted replied are not clearly delineated in this
> formatting, but mostly you can follow it. I've sent it as
On Sun Dec 4, at SundayDec 4 8:18 PM, Mark D Lew wrote:
> On Dec 4, 2011, at 5:10 PM, Christopher Smith wrote:
>
>> Yet, you have pretty much done that. I kept your long post from a few years
>> back, and will add this last bit to it. I have never seen such a clearly
>> laid-out presentation o
On Dec 4, 2011, at 5:10 PM, Christopher Smith wrote:
> Yet, you have pretty much done that. I kept your long post from a few years
> back, and will add this last bit to it. I have never seen such a clearly
> laid-out presentation of the issues involved in lyric hyphenation.
Thanks for the compl
On Sun Dec 4, at SundayDec 4 7:58 PM, Mark D Lew wrote:
>
> I'm pretty sure I could lay out a clear set of rules for hyphenating in
> French, German, Italian, Latin, or Spanish. Writing up a comprehensive set of
> rules for English would be a challenge.
Yet, you have pretty much done that. I k
On Dec 4, 2011, at 8:58 AM, Raymond Horton wrote:
> And every time I think I know the rules I am surprised by some exception.
> I try to find authoritative sources whenever possible.
Maybe it's because this is close to my specialty, but I think I would dissent
from this.
The authoritative sourc
On Dec 3, 2011, at 9:40 AM, John Howell wrote:
> I agree with Mark in principle, but in practice
> it can be a real can of worms! The problem he
> cites with English words in long melismas is a
> real one, simply because in English each vowel
> had a number of possible pronunciations, unlike
At 1:55 PM -0500 12/4/11, Mark Ralston wrote:
>
>Parenthesized accidentals should be used as a reminder that a pitch
>has returned to the key signature only after that pitch has been
>altered in a previous measure. If you don't use parentheses for
>pitches returning to the key signature, the pla
For what it's worth, I always use parentheses for courtesy accidentals - if
I don't it leads to the time wasting question, "Why is there a sharp sign
there - should the previous one be a natural?" With the parentheses it's
recognised as a courtesy.
Cheers,
Lawrence
--
Lawrenceyates.co.uk
You do not need to hit the asterisk key first to force the courtesy
accidental w/parentheses to show on a note. With the cursor on the
beat in question, just hit the "p" key in Speedy to make it appear. It
has a toggle action, so another "p" stroke will hide it again. As has
been mentioned
OK, here is a new one for me.
Fin Mac 2011, OS 10.6.8.
When I play back my current file, the time reported while running (in seconds)
is correct, but when I stop, or when I simply type in a measure to start
playback, the timing is off. There are number of tempo changes, some done with
executa
wow! Thanks so much!
Linda
On Sun, Dec 4, 2011 at 9:07 AM, TXSTNR POP account wrote:
> Hi Linda,
>
> I'm sending you the Fin 2010 Help Files via YouSendIt.com. Hope this
> helps.
>
> Lon
>
> On Dec 4, 2011, at 8:09 AM, Linda Worsley wrote:
>
> > Thanks to everyone for the help on courtesy acci
Hi Linda,
I'm sending you the Fin 2010 Help Files via YouSendIt.com. Hope this helps.
Lon
On Dec 4, 2011, at 8:09 AM, Linda Worsley wrote:
> Thanks to everyone for the help on courtesy accidentals. They all work,
> but take about four times as long as I remember. I seem to remember a set
> o
I used to parenthesise courtesy accidentals, so as to differentiate them from
real (needed) accidentals, kind of as a wink to the performer as if to say, "I
know you know this is flat now, but this is just to keep you from having to
look back and waste CPU cycles thinking about it."
But I notic
It's my experience that when I give a new piece to the players either for
live performance or recording, that leaving out courtesy accidentals
*does* waste
time. I have always erred on the side of using them, especially when
cancelling a previous accidental that might prove confusing. I made this
On Sat, Dec 3, 2011 at 12:40 PM, John Howell wrote:
> I've been writing vocal charts for upwards of 60
> years, and I strongly advise using normal,
> dictionary hyphenation in ALMOST every case. It
> comes under "better the devil you know ..."
>
> John
>
Excellent advice - I agree 100%.
And
On the use of courtesy accidentals:
I seem to get more questions from performers if I "really meant to write those
notes" when I use courtesy accidentals than when I don't use anything. I just
want to clarify things and not waste rehearsal time, but it often seems to
backfire. I haven't decided
Maybe you had created an articulation library that included the symbols from
the Maestro font?
Two different sizes of accidental in parentheses are :
(#) at position 91 and 97
(natural) at 78 and 210
(b) at 65 123
At least they are still there in Maestro in my Fin2003 version
Hope that helps
M
On my Mac, adding a courtesy in Simple Entry is command-shift-minus.
I don't use Simple myself (except for Repitch with a MIDI keyboard,
which is brilliant) so I don't know what the parentheses would be,
but I'm sure it's something simple, maybe P. You don't want to add
courtesy accidentals
Thanks to everyone for the help on courtesy accidentals. They all work,
but take about four times as long as I remember. I seem to remember a set
of accidentals, both with and without parentheses in either the
articulation tool or the expression tool, where I could just select and
position the co
Noel Stoutenburg wrote:
> courtesy accidentals) I do press the "P" key. However, in some
> circumstances the cursor has to be on the pitch of the note on which I'm
> placing the courtesy accidental.
That would be if you've got a chord. If you only have one note, the
cursor can be vertically anywh
At 11:48 PM -0800 12/2/11, Mark D Lew wrote:
>
>Also, I would further suggest that "correct"
>hyphenation per standard hyphenation rules is
>occasionally not the best choice. Hyphenation
>in vocal music should above all serve the
>singer. Standard hyphenation will usually do
>that, but I've
My experiences are not quite what Ryan described, but perhaps this is
because I use WinFin, rather than MAC. Yes, to force the display of an
accidental, I select the note in speedy entry, and press the "*". Also,
to place the parenthesis around the note (which I don't always do for
courtesy acc
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