On 8/31/2015 4:44 AM, Philip Brink wrote:
> I have a problem a bit different from the formatting and oversize concerns
> of late. I am making a special edition of the trombone section parts from
> the Ring of the Nibelung. Most of the work is straightforward and doesn't
> present a problem. Howev
Hi Ryan,
Here's my set up that's works well for any two parts on one stave.
In Document Options select Layers.
Layer 1 check ONLY these items:
Freeze stems & ties (Freeze stems up)
Freeze ties in same direction as stems
Adjust floating rests by 6 steps
Apply adjustments only if notes are in oth
That is checked. What I needed to check was "Ignore Layers Containing Only
Hidden Notes."
But, the ties are still flipped in the wrong direction.
On Wed, Nov 16, 2011 at 4:54 PM, Christopher Smith <
christopher.sm...@videotron.ca> wrote:
> Make sure Layer 2 is set to only switch stem directions w
Make sure Layer 2 is set to only switch stem directions when there are items in
other layers. This should show up correctly in the part. If it doesn't, maybe
stems were flipped manually (L) or there is file corruption.
Christopher
On Wed Nov 16, at WednesdayNov 16 7:09 PM, Ryan wrote:
> Tryin
solution,
also.
Michael
mmathew_musicp...@yahoo.com
http://www.musicengravers.com/cgi-bin/engravers.pl
http://oregonmts.com/mathew/
>
>From: Ryan
>To: finale@shsu.edu
>Sent: Wednesday, November 16, 2011 4:09 PM
>Subject: [Finale] stem direction
Trying to solve a mystery with linked parts with voices.
A part voicing is specified to show Layer 2 when more than one layer is
present. How do I get the stem direction to show correctly on the linked
part? The stems are all downward, even though the notes are at the bottom
of the staff.
Finale 20
On 27 Jan 2010 at 8:57, Harold Owen wrote:
> Dennis writes:
>
> >Say you have three voices on one staff, as in the first bars (left
> >hand), of the Goldbergs (see link to scan below). Assuming the upper
> >voice has all its stems upwards, the lower voice all stems
> >downwards, what is the ru
Dennis writes:
Say you have three voices on one staff, as in the first bars (left
hand), of the Goldbergs (see link to scan below). Assuming the upper
voice has all its stems upwards, the lower voice all stems
downwards, what is the rule for the middle part?
http://www.collins.lautre.net/fil
dc wrote:
Say you have three voices on one staff, as in the first bars (left
hand), of the Goldbergs (see link to scan below). Assuming the upper
voice has all its stems upwards, the lower voice all stems downwards,
what is the rule for the middle part?
What you coud do, is notate the three v
I frequently run into this situation in guitar music. I have never found a
rule for the stem direction of the middle stems and so always point the
stems to best minimize confusion caused by wrongly reading the notes of two
voices with stems in the same direction as one voice (and not adding up
corr
There is no rule as far as I know, but I would have thought
legibility would be improved by having the stems in the middle voice
down, so as not to have to avoid a collision with the rest on beat 2.
In the last measure though, the stem should be up, otherwise there
would be a collision with
If you must have three distinct voices, using Goldberg as an example, Im not
aware of a rule governing the stem of the third note. My point was that you
coould have a G on beat one, a G-B on beat 2, and a G-B-D on beat 3, with Gs
and Bs tied. If a pianist played the Goldberg acc to the example o
If you're not otherwise bound by some editorial edict you could use tied
quarter notes across the three beats.
Sent from my iPhone
On Jan 27, 2010, at 4:44 AM, dc wrote:
Say you have three voices on one staff, as in the first bars (left hand), of
the Goldbergs (see link to scan below). Assum
On 2.1.2009, at 15:24, Lawrence David Eden wrote:
Currently suffering from a brain freeze:
How do I change the stem direction on a single note?
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Speedy Entry /
In a message dated 02/01/2009 15:38:40 GMT Standard Time,
rich...@yatesguitar.com writes:
Speedy, "L"
That's the one!!!
lawrenceyates.co.uk
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In Finale 2006 it's:
tools-advanced tools - special tools - stem direction.
But I'm sure there's a much simpler, quicker way but i can' remember it
either.
Cheers
lawrenceyates.co.uk
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Speedy, "L"
>-Original Message-
>From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu]
>On Behalf Of Lawrence David Eden
>Sent: Friday, January 02, 2009 7:24 AM
>To: FinaleList
>Subject: [Finale] stem direction
>
>Currently suffering from a br
Currently suffering from a brain freeze:
How do I change the stem direction on a single note?
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At 5:55 PM +0100 12/3/07, Raimund Lintzen wrote:
What is the rule for stem direction
when a single (8th) grace note (flag not crossed)
If the flag is not crossed it would be an appoggiatura rather than a
grace note. And I would put the stem up by instinct, although I
don't know any rule abo
riginal Message -
From: dhbailey<mailto:[EMAIL PROTECTED]>
To: finale@shsu.edu<mailto:finale@shsu.edu>
Sent: Monday, December 03, 2007 12:04 PM
Subject: Re: [Finale] stem direction for grace notes?
Raimund Lintzen wrote:
> What is the rule for stem direction
>
>
Raimund Lintzen wrote:
What is the rule for stem direction
when a single (8th) grace note (flag not crossed)
preceed a note:
Is there a fixed rile for stem direction?
Thank you for helping!
I don't think there's any hard-and-fast rule. I seem to recall seeing
grace note stems mostly goin
What is the rule for stem direction
when a single (8th) grace note (flag not crossed)
preceed a note:
Is there a fixed rile for stem direction?
Thank you for helping!
Raimund Lintzen
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Thanks for the replies. I did finally find
the info in the QuickRef book, but a search
of the PDF help doc showed nothing about
stems and I find the tutorial method in the
booklet to be very unhelpful: I don't work
the way the author works, I don't have the
same needs as he/she when I transcr
> I also can't find anything about changing
> stem direction. I have a vocal part that
> splits the soprano and the chords must show
> stems as up and down, but I can't find
> anything that refers to stem direction settings.
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>
In 2008, DOCUMENT OPTIONS>LAYERS is where you need to look. Set the options as
you want them.
Jim
From: [EMAIL PROTECTED]
Sent: Thu 12-Jul-07 15:52
To: finale@shsu.edu
Subject: [Finale] Stem direction?
I also can't find anything about changing
stem direction. I have a vocal p
I also can't find anything about changing
stem direction. I have a vocal part that
splits the soprano and the chords must show
stems as up and down, but I can't find
anything that refers to stem direction settings.
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Owain:
a pet peeve of mine is string players' belief that they can
overrule a composer's explicit indications at will. Quite how
somebody interprets "sul G" as "sul G until you don't like it very
much, or until you get above 4th position, and then do whatever you
want" is beyond me.
Not just
This work contains many other instances of double-stops that need to be
played by each player for the above mentioned reason of resonance.
This observation is spot-on. It is a simple fact that the timbre of
double stops is completely different to single stops on multiple
instruments. Exampl
I add my voice to this discussion.
Dividing double stops is usually not done to improve intonation. It is an
axiom that the string player never really plays in tune until mastering
double-stops. When the player sounds both pitches they not only hear the
correct temperament, they feel it. When
On Sep 7, 2004, at 11:41 PM, Raymond Horton wrote:
To reopen an old can of worms, orchestral string sections divide
nearly everything, even passages marked as double stops, to get
maximum sound and best intonation. So, generally, don't sweat the
notation to differentiate. The players don't.
A
Raymond Horton wrote:
To reopen an old can of worms, orchestral string sections divide nearly
everything, even passages marked as double stops, to get maximum sound
and best intonation. So, generally, don't sweat the notation to
differentiate. The players don't.
I've never ever come across t
On Sep 7, 2004, at 11:39 AM, Brad Beyenhof wrote:
Oh, and as a side note: Vocal staves should never share stems (Stone,
Music Notation in the Twentieth Century, p. 165).
Don't know what Stone means by "vocal staves", but if you're writing
SATB on two staves in "hymnbook" style, sharing stems is co
To reopen an old can of worms, orchestral string sections divide nearly
everything, even passages marked as double stops, to get maximum sound
and best intonation. So, generally, don't sweat the notation to
differentiate. The players don't.
Even chamber groups will do this. I once observed
Dennis Bathory-Kitsz wrote:
At 12:29 PM 9/7/04 -0700, Brad Beyenhof wrote:
There seems to be a clear way of notating any possible outcome;
perhaps this method is not held to very widely among composers? Or if
it is, is it possible that string players themselves are not
well-versed with the convent
Owain and Brad,
Thank you for your replies. You both have been immensely helpful. There is
no divisi in the strings and separate staves for SATB easily fit on the page.
I never thought to check Gardner Read. And the book was right there on the
shelf in plain sight.
Where would I be without this
At 12:29 PM 9/7/04 -0700, Brad Beyenhof wrote:
>There seems to be a clear way of notating any possible outcome;
>perhaps this method is not held to very widely among composers? Or if
>it is, is it possible that string players themselves are not
>well-versed with the convention?
If my recent piece
Brad Beyenhof wrote:
On Tue, 07 Sep 2004 20:15:44 +0100, Owain Sutton
<[EMAIL PROTECTED]> wrote:
Oh, and as a side note: Vocal staves should never share stems (Stone,
Music Notation in the Twentieth Century, p. 165).
I wish this was also common practice for divisi string parts, to clearly
distingu
On Tue, 07 Sep 2004 20:15:44 +0100, Owain Sutton
<[EMAIL PROTECTED]> wrote:
>
> > Oh, and as a side note: Vocal staves should never share stems (Stone,
> > Music Notation in the Twentieth Century, p. 165).
>
> I wish this was also common practice for divisi string parts, to clearly
> distinguish
Oh, and as a side note: Vocal staves should never share stems (Stone,
Music Notation in the Twentieth Century, p. 165).
I wish this was also common practice for divisi string parts, to clearly
distinguish them from double stops. Alas, it isn't the case, and things
get played wrongly as a result
On Tue, 07 Sep 2004 13:59:42 -0400, D. Keneth Fowler wrote:
> Using one stem where rhythms are identical is less busy and seems to offer
> added open space between staves. For each pair the rhythm is the same,
> except for several short rhythmically independent moments. Does common
> practice cal
D. Keneth Fowler wrote:
To the wisdom of the list,
FinWin 2004b. Full score for anthem with instrumental accompaniment.
Question regards handling stems in the wind parts: Flutes 1 and 2,
Clarinets 1 and 2, Horns 1 and 2. In each case 1 and 2 share the same
staff. At the moment I have set two st
To the wisdom of the list,
FinWin 2004b. Full score for anthem with instrumental accompaniment.
Question regards handling stems in the wind parts: Flutes 1 and 2,
Clarinets 1 and 2, Horns 1 and 2. In each case 1 and 2 share the same
staff. At the moment I have set two stems in opposing direction
On 5/19/04 3:57 PM, David McKay wrote:
> Can anyone tell me how to make an extracted part's stem direction revert to
> normal convention, please?
Mass Edit tool, Select All, then Mass Edit > Utilities > Remove Stem Changes
--
Brad Beyenhof
[EMAIL PROTECTED]
Can anyone tell me how to make an extracted part's stem direction revert to
normal convention, please?
David McKay
davidDOTmckayATozemailDOTcomDOTau
http://members.ozemail.com.au/~musicke
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