OK - - I've never seen unequal pitches tied together in any music of the last
50
years. If there is a key change, then the tie mark would have go THROUGH the
key signature.
I have never seen that in any of the last 5 decades I've been in the music biz.
Finale does not provide any way to do
Well, an example:
If you tie A# to Bb, then the notes will be on separate lines or spaces.
But that would require a key change, for example B major to B flat major.
Unless you use accidentals, of course.
The key signature would have to be between them. So how would the tie mark
be
Well first of all, if the two pitches are not the same, it's a SLUR, not a tie.
But I've noticed that when you change the pitch of a note
that IS tied, it breaks the tie - and then does not put the correct accidental
on the
other note.
When it plays the music back it gives you two pitches,
Is there a way to set up the chord library so that ALL the chords I put in are
remembered for the next song?
Every time I have to start a new song, the suffixes are started over again.
Also, the size of the chord characters doesn't get remembered either.
Those are set in the documents menu.
I've noticed when I tie across a bar line, the playback engine ignores
the tie as if they are two separate notes. Was this ever fixed?
Why does it allow you to tie a note to a rest? I never see this in real
music performed.
Also, when you change the pitch of a tied note, it does not try to
I would like to uncouple the Garritan plug-in from a particular song, but
not from the other songs I've arranged.
Trying to select the instrument list does not work.
Any ideas?
Thanks; Bill Sinclair
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Dear Finale;
I was wondering how I can keep Hyperscribe from putting an annoying latency
into the recording off a keyboard.
Even when I record quarter notes, it puts a sixteenth note before each one.
In other words, all the note events are moved over exactly 1/4 of a beat too
late.
So
Hello again;
I looked at the Finale 2006 documentation, particularly at Chapter 17.
Latency is never addressed. I think they're refusing to admit that there is
a problem.
CPU processing time should not be relevant here, since I have a 3.2 GHZ
Pentium. If I had a slower CPU, the latency
Yes, I have looked at the documentation. I have Finale 2006. Those weren't
in previous versions that I had.
But I don't understand what those quarter notes at the top of the form are
supposed to do for me. They correspond to the beats in the measure, obviously.
Or you can refer me to
Hello Finale (2006 B);
I have aproject where I would like to use Garritan instruments.
However, they don't give you ALL the instruments you need for a typical big band
setup. For example, electric guitar, or drum kit.
When I select a non-Garritan instrument for a staff, it won't sound it
If I have some horn parts on separate staffs, and I have painstakingly
placed CODAS, Dal Segnos, and expressions on the staffs exactly where I want
them, why does it put them in completely wrong places in the
extracted parts?
After I have extracted the parts, I have to do a lengthy
re-edit
I had a situation where I had two tied notes on the same line or space, but
they had different pitches, due to different accidentals. For
example, F natural tied to F#, or E flat tied to E natural, which would be
slurs, not tied notes.
Finale sometimes HIDES the second accidental in that
The confusion comes here when two adjacent notes are connected together
by something that looks like a tie mark. Notationally, how would you
tell the difference?
The problem in Finale is that on the simple entry you can turn on the
tie option for a notehead and it will cheerfully connect them
Dear Finale;
I have a line of text that I want to appear on all
theparts when I extract them. For example "Take CODA after 2nd
ending." or "Guitar solo - 16 bars"
How do I do that? Is the _expression_ tool the only way?
Thanks; Bill Sinclair
___
Hello Finale;
I have found that when using the "explode music" feature, even though the
articulations are in the right place BEFORE the music is exploded, they come out
funnyin the parts AFTER the chords are exploded.
I was wondering if there is a way forALL articulations of a certain
type
Hello Finale -
I am having trouble combining three pieces of music (MUS files) into
one continuous piece of music. I guess it's a "cut and paste,"
or "copy and append." operation. But I can't seeem to make it work for 3
separate files. How do I put them together into one score?
No problem
Hello Finale;
I tried forcing accidentals with the 'courtesy accidentals' plugin. It not
only changed the pitch when it shouldn;t have, it used the
wrong kind (i.e. F# rather than Gb). Is there a way to fix those over a certain
range of measures without painstakingly having to edit the
Hello finale;
MY instructor at CSU says he does not want to see meter
markings or measure lines on the assignment. How do I suppress those?
Also, I would like it to force all
accidentals even when they've appeared before on the staff.Is
there a way to do that?
Thanks Mucho;
Bill
Hi Finale;
I have found that when I have a key signature involving many sharps or
flats (e.g. G flat), those can clash with accidentals on the first note or chord
of the measure, making it very hard to read.
Is the a way to FORCE a little more space so that the clash could be
avoided? Say,
Hello Finale;
I have been asked to do a choral piece, where the voices
are grouped two in the treble staff, and two
in the bass staff. The two upper voices must have stems pointing in the opposite
directions, regardless of their position on the staff. They also don't have the
same rhythmic
Hi Finale gurus;
I'm trying to understand better how to manipulate staff systems, or line
grouping of measures. Suppose I encounter a situation where 4 measures (let's
say 33-36) are on a linethat istoo crowded. I see that I can reduce
crowding by forcing measure 36 to be on a line with the
When generating a lead sheet, it is often desirable to have chords that
sequence under a fixed melody note. For example, you might have
an 8 beat whole note wherea sequence ofchords are changing under it.
This is not in keeping with the way finale anchors chords, since it the chord
anchor
When generating a lead sheet, it is often desirable to have chords that
sequence under a fixed melody note. For example, you might have
an 8 beat whole note wherea sequence ofchords are changing under it.
This is not in keeping with the way finale anchors chords, since it the chord
anchor
I paid someone to do some work for me. He has a MAC with Finale 2001, and I
have Finale 2004 on my PC with AOL as my ISP and E-mail provider.
I was hoping he could send me the finished project, but so far the only
thing I can get on-line from him is the MIDI file he posted on his Web site.
Dear finale;
If I have some kind of text descriptor that needs to go on ALL the
extracted parts, how do I tell the text tool to do that? Or should I not use
that tool?
What if I want the text to only appear on SOME parts, but not all
instruments?
Yours; Bill
S.
Actually, a C13 chord is not at all related to a C6 chord. A C13 implies
it's from the Dominant 7th family, but has extensions. The
notes would be C-E-G-Bb-D-F and finally A.
Of course there are numerous ways to voice these chords,
and that depends upon what instrument, i.e is it guitar or
I've noticed that when you enable playback of chords that are inputon
thescore, some of the voicings being used are very weak, and others are
just plain wrong, i.e.have wrong notes. I would like to replace
the bad voicings wherever needed.
There should be a way to input those in a simple
A number of people have stated that the 13th, for example aC 13th
should have an F# in, it, i.e. the sharp 11th. You could of course use that, but
I sometimes prefer to use the "F" (natural 11th) and omit the 3rd toavoid
the minor ninth clash. The notation though is awkward. I guess you
Hello Finale;
I am familiar with how one changes the fonts of chord symbols to be larger
and more readable. But I don't understand why some chord suffixes revert back to
the eensy-teensy font sizes that existed before I used the
fonts option.
I would like to see ALL the chord symbolscome
I have found in many cases that the song title at the top of pages 2,3,etc.
clashes with chord symbols connectedto the top staff "system." Sometimes I
can move the chord symbols over, but sometimes this is not practical. It still
looks too crowded anyway.
How can I force the top system to
Using the maestro font, I use the lower case "B" for the
root if it has a flat, for example AbMaj7. However, this does not
work with a jazz font. The lower case "B" does not look like a flat
symbol.
How do I get around this?
Yours; Bill
S.
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When I am in the key of "A", I sometimeswant to say Db major 7, Eb7,
or Ab9. The software sometimes stupidly forces the chord roots to be the
sharp notes instead of the flat notes, like it
will force it C# instead of D flat, or G# instead of A flat.I do
not want to transpose that portion
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