Behalf
> Of Derek Kane
> Sent: Friday, December 08, 2006 3:31 PM
> To: finale@shsu.edu
> Subject: [Finale] time signature question
>
> Greetings,
>
>
>
> Just a quick question here, I am working with a symphonic score, and I
> want
> one staff to be in 12/8
At 04:30 PM 12/8/2006, Derek Kane wrote:
>Just a quick question here, I am working with a symphonic score, and I want
>one staff to be in 12/8 and the rest to be in 4/4 (or common time). Later
>in the piece I want one staff to be in 4/4 while all the others are in 12/8.
>Any suggestions?
Sure.
Greetings,
Just a quick question here, I am working with a symphonic score, and I want
one staff to be in 12/8 and the rest to be in 4/4 (or common time). Later
in the piece I want one staff to be in 4/4 while all the others are in 12/8.
Any suggestions?
Thanks for all your help.
Derek
On 22 Jan 2006 at 11:43, Eric Dannewitz wrote:
> You did read the manual? Oh yeah, just didn't see anything under
> OCTAVE, or doubling. I don't need to pour salt in your wounds anymore.
> I know it hurts. And it's not a filthy lie, unlike most of the posts
> you do here.
It is a blatant lie and
You did read the manual? Oh yeah, just didn't see anything under OCTAVE,
or doubling. I don't need to pour salt in your wounds anymore. I know it
hurts. And it's not a filthy lie, unlike most of the posts you do here.
However, you are coming across as a "know it all". Just stop it. Stop
insult
On 21 Jan 2006 at 19:42, Eric Dannewitz wrote:
> Keep in mind, this is the guy who didn't take time to RTFM
That's a filthy lie.
I clearly stated several times that really *did* read the manual, but
I wasn't successful in finding the part having the needed
explanation.
And you probably know
Keep in mind, this is the guy who didn't take time to RTFM
sotake it with a grain of salt..
dhbailey wrote:
David W. Fenton wrote:
[snip]>
My original reply, which I edited, used the term "idiotic."
How kind of you. I feel ever so much better now.
___
David W. Fenton wrote:
[snip]>
My original reply, which I edited, used the term "idiotic."
How kind of you. I feel ever so much better now.
--
David H. Bailey
[EMAIL PROTECTED]
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailma
On 21 Jan 2006 at 17:07, dhbailey wrote:
> David W. Fenton wrote:
> > On 21 Jan 2006 at 6:21, dhbailey wrote:
> >
> >>If you're just placing the two meters beside each other at the start
> >>of the work, how will anybody know when a measure is supposed to get
> >>the 3/4 feeling instead of hemiol
Exactly. After all, he's ALWAYS right.
Who care what he thinks anyways? I think alternating 3/4 to 6/8 is just
fine, especially if it is some sort of jazz piece where the 6/8 is
played in a different feel. In fact, I know I have played something that
alternated like this fairly recently. Maybe
David W. Fenton wrote:
On 21 Jan 2006 at 6:21, dhbailey wrote:
If you're just placing the two meters beside each other at the start
of the work, how will anybody know when a measure is supposed to get
the 3/4 feeling instead of hemiolas in 6/8?
From my point of view this is not a very smart
On 1/21/06, Owain Sutton <[EMAIL PROTECTED]> wrote:
> Brad Beyenhof wrote:
>> On 1/21/06, Owain Sutton <[EMAIL PROTECTED]> wrote:
>>> David W. Fenton wrote:
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
> Yes, I'll admit that that was a silly example, since it can easily be
> adapted to
Brad Beyenhof wrote:
On 1/21/06, Owain Sutton <[EMAIL PROTECTED]> wrote:
David W. Fenton wrote:
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
Yes, I'll admit that that was a silly example, since it can easily be
adapted to make either signature clear. What about a dotted half?
This is a ludi
On 1/21/06, Owain Sutton <[EMAIL PROTECTED]> wrote:
> David W. Fenton wrote:
>> On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
>>> Yes, I'll admit that that was a silly example, since it can easily be
>>> adapted to make either signature clear. What about a dotted half?
>>
>> This is a ludicrous ques
Le 06-01-21 à 16:05, John Howell a écrit :And another question: When one does change time signatures, is it proper always to use a double bar line, or never to use a double bar line? I've always used it, but I'm not sure why. Of course I use double bar lines at structural points as well, just to
At 8:42 PM + 1/21/06, Owain Sutton wrote:
David W. Fenton wrote:
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
Yes, I'll admit that that was a silly example, since it can easily be
adapted to make either signature clear. What about a dotted half?
I've stayed out of this particular food-f
David W. Fenton wrote:
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
Yes, I'll admit that that was a silly example, since it can easily be
adapted to make either signature clear. What about a dotted half?
This is a ludicrous question, seems to me, because there's no way
whatsoever for a pe
I'm using "show as" and handling the beaming etc. manually. The adjustments
are straight forward and hardly noticeable for this piece.
Don
on 1/21/06 12:25 PM, Brad Beyenhof at [EMAIL PROTECTED] wrote:
> On 1/21/06, dhbailey <[EMAIL PROTECTED]> wrote:
>
>> Am I misunderstanding the process?
This post provided a nice little nudge for me to explore the positioning of
expressions further than I had previously. I guess those of you who are
more serious about engraving are already on top of things, but those who
aren't should really check this out. I didn't realize that the Measure
Posit
On 21 Jan 2006 at 9:19, Brad Beyenhof wrote:
> On 1/21/06, Christopher Smith <[EMAIL PROTECTED]> wrote:
> > On Jan 21, 2006, at 11:22 AM, Brad Beyenhof wrote: > >> Yes, but
> what if there are no beams (a half note and a quarter note, >> for
> example)? > > How would your example be performed diff
On 21 Jan 2006 at 8:22, Brad Beyenhof wrote:
> Yes, but what if there are no beams (a half note and a quarter note,
> for example)? . . .
Well, I don't know how someone could play that without it sounding
like it's in 3/4 not 6/8, but if you really wanted them to try, you'd
notate it as dotted
On 21 Jan 2006 at 6:21, dhbailey wrote:
> If you're just placing the two meters beside each other at the start
> of the work, how will anybody know when a measure is supposed to get
> the 3/4 feeling instead of hemiolas in 6/8?
>From my point of view this is not a very smart question. Hundreds of
I think that's where I originally saw this sort of thing. - Don
on 1/21/06 5:41 AM, Michael Cook at [EMAIL PROTECTED] wrote:
> I don't know what Don's piece looks like, but to take a well-known
> example: "I like to be in America" is notated this way, with 6/8(3/4)
> as time signature at the beg
This is an answer to David's question but it gets into a few of the other
ideas that have been brought up since. I was a little slow getting around
to the list today (it's Saturday after all!).
A recurring rhythmic figure in the piece is:
q e q e / q q q
- one measure clearly 6/8 and one 3/4.
Le 06-01-21 à 11:22, Brad Beyenhof a écrit :Yes, but what if there are no beams (a half note and a quarter note, for example)? in 6/8, a half plus a quarter note should be written as a dotted quarter tied to an eight note plus a quarter. This make it clear for the reader that he is in 6/8. Really
On 1/21/06, dhbailey <[EMAIL PROTECTED]> wrote:
> Am I misunderstanding the process? Is there really a way to enter the
> two different meters and have Finale automatically switch beaming
> between alternating measures?
Seems I was misremembering with the alternation thing. In any case,
giving t
Christopher Smith wrote:
On Jan 21, 2006, at 11:22 AM, Brad Beyenhof wrote:
On 1/21/06, Éric Dussault <[EMAIL PROTECTED]> wrote:
Le 06-01-21 à 06:21, dhbailey a écrit :
If you're just placing the two meters beside each other at
the start of the work, how will anybody know when a measure
is
On 21.01.2006 Brad Beyenhof wrote:
Yes, I'll admit that that was a silly example, since it can easily be
adapted to make either signature clear. What about a dotted half?
In what way would a dotted half be performed differently in 6/8 and 3/4?
Reminds me of Gerald Hoffnung (the GP in 3/4, whi
On 1/21/06, Christopher Smith <[EMAIL PROTECTED]> wrote:
> On Jan 21, 2006, at 11:22 AM, Brad Beyenhof wrote:
>
>> Yes, but what if there are no beams (a half note and a quarter note,
>> for example)?
>
> How would your example be performed differently in 6/8 or 3/4?
>
> However, the notation of it
On Jan 21, 2006, at 11:22 AM, Brad Beyenhof wrote:
On 1/21/06, Éric Dussault <[EMAIL PROTECTED]> wrote:
Le 06-01-21 à 06:21, dhbailey a écrit :
If you're just placing the two meters beside each other at
the start of the work, how will anybody know when a measure
is supposed to get the 3/4 fe
> Yes, but what if there are no beams (a half note and a quarter note,
> for example)? Also, Finale might make it difficult to ensure correct
> beaming, since it will alternate its default beaming between 6/8 and
> 3/4 in each subsequent measure. That's what "adding" timesigs together
> is supposed
On 1/21/06, Éric Dussault <[EMAIL PROTECTED]> wrote:
> Le 06-01-21 à 06:21, dhbailey a écrit :
>
>> If you're just placing the two meters beside each other at
>> the start of the work, how will anybody know when a measure
>> is supposed to get the 3/4 feeling instead of hemiolas in 6/8?
>>
>> With
Le 06-01-21 à 06:21, dhbailey a écrit :If you're just placing the two meters beside each other at the start of the work, how will anybody know when a measure is supposed to get the 3/4 feeling instead of hemiolas in 6/8? With both meters allowing 6 8th notes (or 3 quarter notes) it may not be imme
I don't know what Don's piece looks like, but to take a well-known
example: "I like to be in America" is notated this way, with 6/8(3/4)
as time signature at the beginning, and I don't think there's any doubt
how to play or conduct this piece.
Michael Cook
On 21 Jan 2006, at 12:21, dhbailey w
Don Hart wrote:
Thank you to Johannes, Robert and Eric for the help on this.
There is one thing I discovered which seems to alleviate the need for
TGTools in this situation. I kept the 3/4 part of the signature in the Time
Signature tool and replaced the plus sign with an *option* space. This
Thank you to Johannes, Robert and Eric for the help on this.
There is one thing I discovered which seems to alleviate the need for
TGTools in this situation. I kept the 3/4 part of the signature in the Time
Signature tool and replaced the plus sign with an *option* space. This gave
me enough spa
Le 06-01-20 à 16:36, Don Hart a écrit :I can get a beautiful 6/8 *plus* 3/4 using the composite option in "use different time signature for display", but haven't found a way to get rid of the plus sign or add the parentheses (within the realm of the time signature). To remove the plus sign, go to d
Don Hart wrote:
I want the time signature to be
6/8 and to have 3/4 show immediately after in parentheses.
Doing it with expressions is quite painless starting in Fin04, esp. with
the help of TGTools to make the space at the beginning of the bar. I
don't know of a better way. I would actu
On 20.01.2006 Don Hart wrote:
I can get a beautiful 6/8 *plus* 3/4 using the composite option in "use
different time signature for display", but haven't found a way to get rid of
the plus sign or add the parentheses (within the realm of the time
signature).
I don't know about the paranthesis,
I think this has been discussed before but I can't remember if there's a way
to do it or not.
The piece I'm working on alternates freely between 6/8 and 3/4 (probably
conducted in one, with a dotted quarter = 90 bpm). Instead of cluttering
the page with many, many time signatures, I want the time
Surely you intend that the crotchets in the 2/4 time will be dotted
crotchet length of the crotchets in 3/4 time?
I can't figure how you have different numbers of bars at the end.
I just set up a SATB system and with staff tool set S and A to
independent time sigs, selected 3 bars on these staves
Lawrence David Eden wrote:
Greetings Listers,
I am try to transcribe the Zither Carol and I don't know how to make a few
things happen.
Here are my questions:
Soprano and alto must use an independant time signature at various times
during the music. The carol is written in 3/4 time, but the sopran
Lawrence David Eden wrote:
Greetings Listers,
I am try to transcribe the Zither Carol and I don't know how to make a few
things happen.
Here are my questions:
Soprano and alto must use an independant time signature at various times
during the music. The carol is written in 3/4 time, but the sopran
Greetings Listers,
I am try to transcribe the Zither Carol and I don't know how to make a few
things happen.
Here are my questions:
Soprano and alto must use an independant time signature at various times
during the music. The carol is written in 3/4 time, but the soprano and
alto are in 2/4.
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