Finale Forum

Tuplet not allowing correct number of notes

I am now somewhat confused, but if you want the right hand in bars 1-4 played the second time only, then just eliminate those notes in the version I posted, assuming the rest is correct. But you probably should just write it all out without any repeat marks.

Second attempt. Hope it is right this time:
If you really want the B naturals, you should add natural signs, or renotate as C-flats as in Peters example.

I concur with HaraldS. Definitely use the pedal (or other) tapping beat rather than the metronome beat. It allows much more flexibility of entry. And it gets over the issue that motet mentioned: waiting four long beats for a whole note. You just tap faster for longer notes.

On a Mac with Finale 25.5 it is MIdI/Audio>Quantization Settings

I have never found that improvising into Hyperscribe leads to useable results. However, it can be a very fast input method under other circumstances: 1. You must be a proficient keyboard player. 2. You must have the correct quantization settings, and you must work carefully, as motet mentioned. 3. Y...

Thanks, michelp. Very informative. I hadn't realized that Steam Deck was not immediately compatible with Finale. The Jetstream project is an exciting one. I will stay informed and may even stick my toe in the water.

No one? It is being highly touted by the Dorico crowd, and I am considering it.

https://www.steinberg.net/forums/viewto ... 6&t=142671

I've read about Finale's imminent demise for 15 years now. I don't think it's going to go away. But I suspect that the constraints on what can be improved without damaging legacy scores are so great that most of the flaws, bugs and limitations are going to remain as they are. You may well be right....

Anybody using Stream Deck?

I agree with Anders. If this is a single staff part, do 2 triplets as you have them and then two septuplets. 7 16ths instead of 4 sixteenths in the dialogue box for each septuplet. If this were a two staff part, like a piano solo, and the other staff was in an even rhythm, then you could do 14 sixte...

You have to convert the rest to a "real" whole rest first. Plug-ins>Note, Beam and Rest Editing>Change to real whole rest

Can Dorico do the note denominator?

I am glad that version worked for you. It happened that the second chord continues on the next system in both cases, so you lucked out with the second tie. But it could still work if both chords were on the same system by creating a new ties on the second chord and then using the tie tool to positio...

Hi Mark. I think your solution is much better than the original and quite clear. The two A's you mentioned could be made distinct within the style I mentioned with stems up and down, (the triplet could even be played by the right hand at that point), but I think that you, as the composer, just prefe...

What you have just run into is the reason that I prefer Chopin's method of indicating pedal with pedal marks rather than the actual held value in notation, which can be cumbersome. It might then look like this. (I wasn't sure if you intended a pedal retake in m. 10 so I put one in.) Chopin style ped...

1. enter the grace notes in the top staff starting with the last one, the high C, and then the rest going backwards toward the first E. 2. move the left hand ones to the lower staff with the note mover 3. break the beam and add the ties in speedy 4. Adjust the ties as wanted with the tie tool exampl...

They may have concluded that they can't compete with Dorico on the engraving side and need to focus on the educational and church markets. It is such a shame that after all this time and effort, musicians still don't have the well-designed, practical and complete notational tool they need.

It sounds like our ideas are even closer together on this one than I realized, Anders. In answer to the issue that you raised, I tell my piano students that experiencing relationships of this type makes one a better musician in general, and this will improve whatever they play. But trying to "bring ...

I don't think I really addressed your comments about "structural" vs. significant. For Schenker, everything was significant. He is sometimes unjustly accused of being more concerned about the "background" than the "foreground" (his terminology.) Yet when you actually read his work, for example, his ...

Thanks very much, Anders. I always appreciate your ideas and opinions, and I don't think that our musical ideas are far apart. I too appreciate all the wonderful details in great music and also in the way in which they are sometimes expressed by interesting notation, as you know. Long ago, I became ...

Thanks for your thoughts on this, Anders. I wasn't talking about the startling effect of the chord, which, as you point out, is exactly why Beethoven omitted the initial C, but how one really experiences many V7's as V8-7's even when the 8 is not present. I gave this example not because of the unusu...

HI Anders. It's my example, not his, but expresses his ideas as I understand them. To me it explains the "why" of these passing harmonies better than anything else I've seen. He was showing their grammatical structure, NOT how they might have arisen historically, since the latter doesn't really effe...

The best explanation of "altered chords" that I have encountered is Schenker's: they are created by chromatic passing tones. In the case of the augmented sixth chords, a chromatic passing tone decorates three standard dominant-tonic progressions from starting vii, V7 and vii07. Composers found (that...

System?