Finale Forum

I'm not sure what Schenker intended by his example. If it's meant as a simple explanation of what an altered dominant is, and how it relates to an unaltered one it's very clear and instructive (barring the passing tone markings). If the intention was to explain the origin, and 'the why', of these ch...

I had thought of adding chord symbols to her set pieces as an aid to the singer's learning the part, but gave up when I was informed (I think on this forum, no less) that there was no recognized chord symbol for an augmented sixth chord, but that it would have to be respelt as a dominant seventh. I...

I use minus plus - +, flat sharp b #, and all the other associated graphic symbols as per the desires of my clients. For my students I use - + exclusively to avoid confusion when half diminished "flat 5" chords contain three double flats, as in Cb half-diminished 7 (Cb Ebb Gbb Bbb) Thanks peerlessn...

An advice that pops up here regularly when something strange happens is to trash the preferences. Maybe that would be worth a try?

Thanks, Michelp. Well, here's one of the strange chord symbols - strange to me that is: Cm7 5÷ obviously meaning Cm7b5 or Cm7-5.
Is this commonly known anywhere, in any country?

I had a proof-reading job where there were some, for me, strange chord symbols. They were that strange that I will not show them here, but I have a question, below. When I look into the internet I find a lot of pages which seem to be Anglo-American and their recommendation for a half-diminished chor...

I had another wild idea, perhaps of no help to you, John, but it possibly might give someone an inkling as to what's going on. I have a vague memory of seeing handles that shouldn't be there when I used an older document as a template for a new one - i.e. 'ghost handles' somehow 'visiting' the new d...

Another shot in the dark: When I've experienced really strange displacements of various and unexpected elements it was solved by checking Display Actual Measure Numbers in Preferences > View. Probably you know this already. Have you tried scrolling down and up? It usually works for me, but then I'm ...

John, I doubt that this would be of any help, but I was thinking of the tools that place handles in unusual or 'irregular' places: Special Tools, and Text Tool. You wouldn't happen to have a lot of empty, discarded text blocks on the page by any chance? When I see handles that shouldn't be there, us...

I also don't doubt that string musicians would find their way round the divisi writing in the OP. When I've written string divisi myself (quite a few by now), I've supplied the instruction a 2, a 3 etc. when necessary, but how exactly to divide the string section I've left to the musicians. I never ...

I think your writing is clear and without problem. The eighth rests would be better placed below the staff, though.

the last note of the passage (the non-tremolo 8th note) indicates how the passage is meant to be divided. 4-note chords are divisi a 2, 2 notes per part (though it would most likely be played divisi in 4). 3 note chords are divisi a 2 as well, but with 2 notes to the outside part, and 1 note to the...

After some thought I would think that the notation with double tremolo signs in measures 1-2 makes sense only if it's palyed divisi a 2 (with double stops). And if not, none of the double tremolo signs makes sense.

The notation in measure 1-2 would suggest a divisi a 2, with both parts of the divisi playing a doublestop. Or a divisi a 4. But then, in measure 3? Or, are the musicians expected to distribute the notes among themselves 'spontaneously' according to what turns up for the moment? Anyone has experienc...

I can gather from the "getheilt", divisi, that the example is from a 19th century German score. To place the tremolos properly, it would help to know how the divisi are meant to be performed, a2, a3, a4? Maybe there's no indication in the original score. Then it's more tricky. Nowadays a tremolo wit...

Finale is a tool for copyists, not so much for composers. [N.B. a composer who uses pencil and paper and then brings the manuscript in Finale is at that point a copyist, not a composer.] Please bear that in mind when judging people when they assess the usability of Finale differently. Most people d...

Slavicek wrote: ↑

Wed Jan 15, 2020 12:47 pm

I guess Cut Away Style + Text Tool tool is the only way to go.

Good idea. Perhaps not the only, but the best way so far. With measure-attached texts you won't have to worry about them showing or not. (As opposed to text expressions.)

Actually I have gotten a few double slurs when copying. I don't remember how, nor do I care because they weren't visible. They were in the exact same place. I deleted them when necessary only.

Well, it's both very easy and not so easy to have an opinion on MM and their developing of Finale. The easy way is to say that so and so many issues haven't been fixed yet, and therefore to take up a rather gloomy or petulant attitude. The not so easy way is to try to judge whether MM is going to do...

I've never tried the "view ... margins", but what I usually do to have a check is to place the guidelines I need in the ruler. One for each margin of the page, plus one vertical, centered horizontally.

Straight-line glissandi are quite commonly written also for instruments which cannot produce a seamless glissando. They do it best they can, quasi-glissando-like.

Your writing for the guitar looks really nice! A thought though: I think you may do well without the "gliss." text on the the glissando line. A straight line between two notes - or two fingerings - meaning glissando is fairly common usage, I would think. The text is just clutter.

Thumbs up for the members of this forum who give even the most unserious post so many serious replies!

By the way, here's a discussion about this and related issues:
https://makemusic.zendesk.com/hc/en-us/ ... g-problems

Thanks N Grossingink for your very elegant solution! I will definitely try that when the issue pops up next time. Waiting for MM to do something about it of course...