Breaking Through Bar Lines

[Zevy]

Hi. I'm a newbie on this forum. I've been using Finale for a while and I currently have 2014.5 for Windows.
I'd like to know how to "break through" bar lines. Attached is an example of where I feel the bar line gets in the way; especially on certain printers. And please don't make any accordion jokes....

[Nick Mazuk]

Hi Zevy,

Welcome to the forum!

Here's one way to achieve the effect that I think you're going for.

Assuming that the "Sempre Staccato" is an expression, go to the expressions tool and edit the expression. On the Main tab, make the enclosure shape a rectangle. Hit edit. Check the "Opaque" box and set the line thickness to 0. Then, hit OK on all the windows to save the changes.

That's it!

You can also change the height and width of the enclosure to make sure it only just surrounds the words.

Hope this helps,

Nick

Screen Shot 2018-08-28 at 7.32.56 PM.png

[John Ruggero]

Hi, Zevy. You need to put a opaque rectangle around the expression. This will white out the bar lines where they conflict with the expression.

1. Edit "Sempre Staccato" in the Expression Selection. Double click on the "Sempre Stacato" handle to take you there.
2. Set "Enclosure Shape" to rectangle. "
3. Then Edit the Enclosure Shape by clicking Edit and then checking the "Opaque" box, and setting Line Thickness, Height and Width all to 0
4. "Options" should be "Enforce Minimum Width"

OT Actually "Sempre Staccato" should not be capitalized.

I see that Nick already answered while I was typing but will post this anyway in case it clarifies anything.

[Peter Thomsen]

… please don't make any accordion jokes …

May we make Rossini jokes, then?
(I think that most of the users here recognize the music in your example)

[Vaughan]

My favourite three Rossini jokes:

When asked what he thought of Wagner: 'He has beautiful moments and horrible hours.' (actually he said quarter-hours but that doesn't sound so good in English)
When asked what he thought after hearing Tannhäuser for the first time: 'That's an opera you need to have heard several times. I'm never going again.'
After having done something for wine-baron Rotschild, the latter sent him a box of his best grapes in gratitude. Rossini sent them back with a note: 'My apologies but I don't take my wine in pills.' Rotschild apparently enjoyed the sentiment and sent him a few bottles of a good Lafite.

[miker]

And my favorite accordion joke:

A musician drove into a bad part of town, locked his car, and walked away, leaving his accordion in the back seat. When he returned, the rear window was shattered, and there were two accordions in the back seat...

[N Grossingink]

Come on guys, be nice. Listen to this
https://youtu.be/pSSzyAGy3t0?t=2m30s

N.

[miker]

Awesome. But if we can’t make accordion and Rossini jokes, we’re left with sopranos.

[N Grossingink]

Here's a bodhran joke:

What do you call 1,000 bodhrans at the bottom of the English Channel?
A good start.

To be fair, I'll hit my own gang:

What's the difference between a dead squirrel in the middle of the road and a dead trombonist in the middle of the road?
The squirrel was on his way to a gig.

N.

[miker]

What's the difference between a dead squirrel in the middle of the road and a dead trombonist in the middle of the road?
The squirrel was on his way to a gig.

N.

And there were skid marks, in front of the squirrel.

[Peter Thomsen]

And there were skid marks, in front of the squirrel.

Ever heard about “business before pleasure”?

(sorry, could not resist)

[Zevy]

Thank you Nick & John. It worked!
Now I have to figure out two things:
1. The correct way to write "Sempre Staccato".
2. How to receive notifications when my posts are answered.

BTW My standard line is: Tell me an accordion joke I haven't heard and I'll give you $5. And I do have a whole file of William Tell jokes. I think Don Martin (may he rest in peace) went to town on the subject.

[John Ruggero]

Hi Zevy, glad that worked. To answer one of your questions:

sempre staccato

[Zevy]

Hi Zevy, glad that worked. To answer one of your questions:

sempre staccato

Thank you so much!

[John Ruggero]

You 're welcome, Zevy. Incidentally, my first instrument was the accordion, taught to me by my father, who was a professional accordionist who knew P. Diero, Charles Magnante and many others. My father's sister was Addie Cere, wife of Mindie Cere both of whom were well-known accordionists and composers for the accordion in the 50s and 60s in the US.

[motet]

Were they all together at the World Accordion Garp?

[John Ruggero]

No Garp, but Pietro Diero, Charles Magnante and Addie Cere were all past presidents of the American Accordionists Association.

[Zevy]

You 're welcome, Zevy. Incidentally, my first instrument was the accordion, taught to me by my father, who was a professional accordionist who knew P. Diero, Charles Magnante and many others. My father's sister was Addie Cere, wife of Mindie Cere both of whom were well-known accordionists and composers for the accordion in the 50s and 60s in the US.

Wow! I was a student of the last of the founding members of the AAA, Charles Nunzio. Among his many accomplishments was his own adaptation of Hanon for the Accordion.

[Anders Hedelin]

Talking of which, here's another remarkable accordion performance. Unfortunately the YouTube clip does not tell what music it is.
https://www.youtube.com/watch?v=alz8h7V ... r_embedded

[Peter Thomsen]

That sounds like the 4th movement of Sonata #3 by
*** *** ***
Vladislav Andreyevich Zolotaryov (1942–1975).

The piece contains several elements I recognize from other accordion compositions by him, such as the passage from 0:45 where minor chords are (slowly) transposed up in chromatical halfsteps.

Also, the Dies Irae quote beginning at 1:43 is typical.

And the repeated right hand staccato chords beginning at 4:08.


Here is another composition by the same composer:
Rondo-Capriccioso for accordion trio
I think that you will recognize some of the elements I mentioned above:
https://www.youtube.com/watch?v=hvIVKbN__fE

[Zevy]

You 're welcome, Zevy. Incidentally, my first instrument was the accordion, taught to me by my father, who was a professional accordionist who knew P. Diero, Charles Magnante and many others. My father's sister was Addie Cere, wife of Mindie Cere both of whom were well-known accordionists and composers for the accordion in the 50s and 60s in the US.

Here's a photo of a bunch of the great players from the Golden Age of the Accordion. I believe they are (sitting L-R) P. Frosini, P. Deiro, M. Cere. The first two standing (L-R) are John Gart and Charles Nunzio.

[John Ruggero]

Great picture, Zevy! Thanks so much. I don't think I have seen it before. I played pieces by Gart and had heard about Nunzio. What was so wonderful was that these performers most often played their own compositions and arrangements, like the composer-performers of previous centuries.

My hero at the time was Charles Magnante because of the perfection of his playing.

Magnante:

https://www.youtube.com/watch?v=BC8F5mTTqLg
https://www.youtube.com/watch?v=zP5qCHK1MSo

Nunzio:

https://www.youtube.com/watch?v=cg0mxOj2Y-c

All this accordion talk makes me want to get out my father's Pancordion and play a little Trieste Overture!

[Zevy]

Great picture, Zevy! Thanks so much. I don't think I have seen it before. I played pieces by Gart and had heard about Nunzio. What was so wonderful was that these performers most often played their own compositions and arrangements, like the composer-performers of previous centuries.

Nice. I was just practicing "Vivo" by John Gart. It's great!

[murphybridget]

Don't be to hard on the bodhran.

Here's a bodhran joke:

What do you call 1,000 bodhrans at the bottom of the English Channel?
A good start.

To be fair, I'll hit my own gang:

What's the difference between a dead squirrel in the middle of the road and a dead trombonist in the middle of the road?
The squirrel was on his way to a gig.

N.