Finale Forum

Gareth is a trumpet player, so his advice on this is more reliable than mine (I'm a mere ex-trombonist - too old, no secure embouchure left).

The first bar here has the transposition -6, 2 the second is the same notes in concert pitch. The score is ‘keyless.’

… … …Or it is just matter of notation? It is indeed just a matter of notation. I've learnt over the years that orchestral trumpet players, at least in much of western Europe, rather like it if all parts are written in C. That allows them to switch back & forth between the instruments of their choic...

motet wrote:It should be -6, 2. … …

That does seem to do it correctly, confusing as it seems at first.

OCTO are you sure your trumpet player doesn't prefer to have the high trumpet part written in concert pitch? This has been my experience here in the UK, but it may not apply elsewhere.

I recognize this type of problem; I have had a similar problem with the percussion clef (= two solid vertical bars) as a (downscaled) cautionary clef.… … Yes indeed. I still transfer your design for the percussion clef correcting this (kindly provided by you on the old forum) to new files/templates...

I may be wrong, but I suspect member of this forum BuonTempi may have developed a means of doing this. He's not so often here now as he has largely moved to using Dorico, but a direct message might get through to him.

This is what I've decided to go for. The verbal directions ‘Faster’ and ‘in tempo’ were perhaps potentially unhelpful

A solution with layout and playback is described in the PDF file I attached. If you have questions, let me know. I can't find my manuscript but in this piece written in 1989 I originally had a time signature for the bar before H of 1 and 2/3 over 4 (I think!). I believe that would be quicker and ea...

How in Finale does one do 2+2/3 over 4 that is 2 full crotchet (1/4) beats plus an incomplete (2/3) triplet? The only alternative seems to be a ludicrously convoluted tempo equation that can't be sightread easily if at all, while the fractional beat is immediately understood and can be sightread by ...

motet wrote:It should be all about clarity and cleanness rather than arbitrarily applying a rule… …

As someone (I think Group Captain Sir Douglas Bader, WW2 fighter pilot) said: “Rules are for the obedience of fools and the guidance of the wise.”

Does anyone know why the relative volume of GIFF instruments is in some cases so wildly improbable without major adjustment? Such adjustment is indeed easy in the Score Manager, but in some cases one wonders why it starts from quite such an unlikely position. The most extreme case that I have discov...

John Ruggero wrote:… … …And I just noticed another quirk: when the tool palettes are stretched out in a single vertical column, it takes several tries before the cursor will decide to grab the top of it to be able to move it.

Yes, I'm definitely affected (and passing irritated) by this one.

I use Box from https://www.box.com/en-gb/home which does much the same as Dropbox (which I do have as well). For local backups I have recently found ForeverSave 2 a great boon and extremely easy to set up. It's available for a very modest charge from https://toolforcesoftware.com/ It saves as often ...

Yes, it happens for me too, but with this difference: the phenomenon does not prevent me from clicking OK.

Michel R E wrote:simpler would just be to redefine the number for that MM rest as something off the page, no?

Yes!

Well clearly, things like rit. (especially if short for ritardando rather then for rintenuto) and accel. are always temporary ‘alterations,’ but there are many other indications that might belong to either category according to context. eg più mosso might be either temporary or long term &c &c.

Do them both in bold not Italic even if italic is the Finale default for tempo alterations. Otherwise the main difference is in default placement (which can be modified). The Finale default placement for tempo marks is at the beginning of a bar, while alterations easily place where you click. As you...

OCTO wrote:

Screen Shot 2018-09-06 at 15.23.38.png

Another ones are doubled (a small one inside of the main symbol).

Is that Couleurs de la cité céleste? The biggest tam-tam I've ever seen was used for the coup formidable! in that, it completely hid the (standing) player.

… …Is it done with an s in British English? Would finalescript recognize (recognise) it? Horizontal is always spelt with a z in the UK too. Getting decidedly OT, although spell checks in their tautologically labelled ‘British English’ specify ‘-ise’ endings rather than ‘-ize’ ones, for many British...

I'm merely guessing here, but there were (are?) problems relating to Finale and some models of Mac if nothing is connected to the audio input. It doesn't have to be anything more than a jackplug, but it might be worth investigating. I know that I can watch YouTube videos with Finale 25 open on both ...

… …Seems like this is going to open up a whole new world for me! I had no idea about that thing in System Prefs, looks really amazing.… … As you will see from my system shortcut list for Finale in the screenshot, it's sometimes helpful to include -> to establish the path. Most of these shortcuts we...

Thing is, I keep adding my email address to the box in the top-right of the screen, just like they say, and I keep checking the box to say that I would like t receive marketing emails, but I don't get any emails.… … … I do seem to get the marketing e-mails. I wonder what's making it work for me but...

PJZ wrote:PS David why are you referring to me as "the OP"? what does that mean? Just curious, Patrick

Original Poster (or something very similar). It seems to be a convention on this and other similar forums.

N Grossingink wrote:You're right - it does work with the Measure Tool as well.… …

Well that's interesting, because it doesn't work with the measure tool for me - with that I get a bar number like the OP - but it does work (as I expect it to) with the selection tool.

What about molto espr. at the first orchestra phrase and sempre molto espr. at the second one? Of course you could always ask yourself how much to trust musicians, but the sempre... should be valid until overruled by a different instruction. Or even sempre molto espr. come prima - probably not over...