Finale Forum

What I find even more frustrating than Finale's malaise is that none of these GUI products gives the user complete control over all elements of music engraving. This after so many years of software development. But Finale has fewer show-stoppers than the others and they can be worked around. So I st...

Anders, I couldn't apply the 16th = 32nd after making the whole measure a quintuplet, so I did that first. I do nested tuplets so rarely that I forget how to do it, so I did it the way I could, being "disinclined" to look it up again. I hate to say this, but I think that tuplets over the bar lines a...

That's brilliant, Anders, and applicable to other situations. One learns so much on these forums. The way I was able to do it was to first place three sixteenths in the 3/16 measure. Then make the last 16th a 32nd in the space of a 16th as you describe, and then make the whole measure a quintuplet o...

Using the Patterson is probably what's causing that. I was able to get rid of the stub with the beam extension tool set to 32nd notes. Then I extended the 8th and 16th beams from the second measure back to join the previous measure. There remains a tiny, barely-visible remnant of the 32 beam stub th...

Regarding the quintiplet over two measures. Perhaps one could split the quintuplet of 16ths into two quintuplets of five 32nd notes in each measure. The first would be written as 16th, 16th, 32nd and the other would be 32nd 16th, 16th. Then hide the first note (the 32nd note) of the second measure....

But put too many over the baseline, your performance will suffer, and you are probably going to lose (the match.)

Regarding the quintiplet over two measures. Perhaps one could split the quintuplet of 16ths into two quintuplets of five 32nd notes in each measure. The first would be written as 16th, 16th, 32nd and the other would be 32nd 16th, 16th. Then hide the first note (the 32nd note) of the second measure. ...

Exactly. Which is why the OP placed the explanatory values above the notes. But these are also somewhat puzzling at first sight and unnecessary if standard notation is used.

It's interesting that such notation is actually practical when there is a second voice moving against it in faster, even note values, like sixteenth notes. One sees this in keyboard music as a way to simplify the notation, for example from Chopin's Prelude in D:

If it is just an experiment to see if you can do it that way, sure. But if you are actually writing this for a real performance, I think the musicians would be confused by such a notation, as I was, until I worked it out. It's actually far more confusing than the old practice of positioning a prolon...

Using plugins>Note, beam and rest editing>Paterson lite>beam over barlines>Create

Musicus, if you are imitating a trombone slide, then by all means indicate that in words. I myself would use an asterisk and footnote to avoid cluttering the music, but it could also be in the music with or without parentheses, or quotation marks as you have it. I think Anders' idea of a rinf. is ce...

The accented rolled chord occurred to me as well, Michael, and I think that it is a good solution, if the composer is not concerned about an evenly-spaced quintuplet, although that could be specified in a footnote. Having the complete context, another possibility occurs to me: perhaps a sf on the fi...

I myself have never seen a bracket used with an accent mark and think it might not be standard music notation. I would suggest either of the following: example.jpeg I added a note at the end assuming that you want the roulade to lead on a following note. If you don't, then place the f over whatever ...

I think you are definitely on the right track. Suggestions: Finale doesn't do a good job of spacing the two notes that play immediately before and after the change of stem direction for cross staff notes. I expand and contract the spacing as necessary using the beat chart. Also, the beams should be ...

Thanks Mike for guessing that I meant inches since I didn't specify measure units. I used inches because I was using the Finale Default file to experiment with the various distances. Actually I use various units in my own templates, often "spaces", rarely EVPUs. But 2 EVPUs is a convenient measureme...

Reducing the size of the notes as cue notes seems to exaggerate the distance between the top accidentals so that the B-flat is a little too far from the E-flat and from the note head for my taste. Document options>Accidentals>Space Between Accidentals on Note: 0.00694 produces a result that looks be...

In keyboard music, double trills on one staff are notated with one trill symbol above the staff and the other below the same staff. In Paganini's caprices for solo violin, the double trills in octaves are done this way.

Another huge round of applause for wess, who has been posting elaborate tutorials like this for many years on several forums.

miker wrote: ↑

Thu Jul 29, 2021 4:48 pm

Elbonia (from Dilbert) comes to mind.

That's him.

I think that the regulars who regularly post demos like that and have done it for years, deserve a huge round of applause for their unselfish contributions.

My image of the Finale development "team" has always been this single poor guy rowing upstream against a very strong current trying to keep the program afloat.

I don't think he has time to work on an iPad version.

Most of all, it shows what small development teams can achieve. Dorico’s dev team is no more than ten people; and while they can lean on others in Steinberg for some things, they are doing most of the heavy lifting. And spending time on their forums to respond to user questions. Meanwhile…… Anyone ...

motet wrote: ↑

Wed Jul 28, 2021 6:53 pm

I don't really understand wanting to write music on a tablet. Seems like a step backwards

A good step backwards perhaps. Beethoven had his sketchbook; today's composer has his iPad.

Thank you so much for showing this great technique, wess. The "staff mask" alone has many other applications.