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Finale User Manual Finale 2010 for Windows

Table of Contents What's New in Finale 2010 .................................................................. 2 Encyclopedia 8va/8vb ................................................................................................ 17 Accelerando ....................................................................................... 18 Accidentals (Simple Entry) ............................................................... 21 Accidentals (Speedy Entry) .............................................................. 22 Adobe PDF documents ..................................................................... 24 Arrows ................................................................................................ 26 Articulations ....................................................................................... 27 Attack and release ............................................................................. 38 Audio ................................................................................................... 39 Augmentation ..................................................................................... 41 Backbeats ........................................................................................... 42 Barlines ............................................................................................... 44 Batch Printing .................................................................................... 49 Beam angles ....................................................................................... 50 Beam thickness.................................................................................. 52 Beaming .............................................................................................. 53 Beaming across barlines .................................................................. 56 Beaming over rests............................................................................ 58 Beaming: feathered beaming ............................................................ 59 Beaming: Secondary beams ............................................................. 60 Beat positions .................................................................................... 62 Bend hats ........................................................................................... 64 Blank pages ........................................................................................ 65 Booklets .............................................................................................. 66 Boomwhackers® Tuned Percussion Tubes / Chroma-Notes™ Instruments ............................................................................................................. 70 Brackets: Horizontal lines ................................................................. 72 Brackets: Notes.................................................................................. 73 Brackets: Staves ................................................................................ 74 Breath marks ...................................................................................... 78 Cadenzas ............................................................................................ 79

Cesuras ............................................................................................... 81 Channel Pressure .............................................................................. 82 Character names ................................................................................ 84 Choral music ...................................................................................... 85 Chord symbols ................................................................................... 86 Chords .............................................................................................. 101 Clefs .................................................................................................. 103 Click and Countoff ........................................................................... 109 Closed symbols ............................................................................... 111 Coda .................................................................................................. 112 Common time ................................................................................... 114 Composite time signatures ............................................................. 115 Compound meters ........................................................................... 117 Continuous data............................................................................... 118 Copying music ................................................................................. 121 Copyright notices ............................................................................ 139 Counting measures ......................................................................... 140 Courtesy accidentals ....................................................................... 141 Courtesy clef changes ..................................................................... 142 Courtesy key signatures ................................................................. 143 Courtesy time signatures ................................................................ 145 Crescendo/Decrescendo ................................................................. 146 Crossed hands ................................................................................. 150 Cross-staff notes ............................................................................. 151 Cue notes ......................................................................................... 155 Custom lines .................................................................................... 158 Cut time ............................................................................................ 159 Cutaway scores................................................................................ 161 Dashed lines ..................................................................................... 162 Date stamps ..................................................................................... 164 D.C..................................................................................................... 165 Diminution ........................................................................................ 167 Distances .......................................................................................... 168 Divisi ................................................................................................. 170 Document Styles .............................................................................. 171 Doits .................................................................................................. 173

Dotted notes ..................................................................................... 174 Double barlines ................................................................................ 176 Double whole notes ......................................................................... 177 Downbeats ........................................................................................ 178 D.S., D.S. al Coda ............................................................................. 180 Dynamics .......................................................................................... 183 8va/8vb .............................................................................................. 186 Elapsed time ..................................................................................... 187 Elisions ............................................................................................. 188 Encapsulated PostScript (EPS) ...................................................... 189 Enharmonics .................................................................................... 190 Engraver slurs .................................................................................. 192 Erasing .............................................................................................. 194 Exploding music .............................................................................. 196 Expressions ..................................................................................... 198 Extracting parts................................................................................ 209 Fall-offs ............................................................................................. 210 Fermatas ........................................................................................... 211 Figured bass..................................................................................... 212 Final barline ...................................................................................... 213 Fingering numbers .......................................................................... 214 First and second endings ............................................................... 215 Flags ................................................................................................. 218 Flutter-tongue................................................................................... 221 Font Annotation ............................................................................... 222 Fonts ................................................................................................. 223 Fretboard diagrams ......................................................................... 233 Fugues .............................................................................................. 235 Garritan Personal Orchestra Finale Edition .................................. 236 General MIDI ..................................................................................... 241 Glissandos ....................................................................................... 242 Grace notes ...................................................................................... 244 Grand Pause ..................................................................................... 248 Graphics ........................................................................................... 249 Grids and guides.............................................................................. 258 Group names .................................................................................... 260

Staff groups ...................................................................................... 264 Guitar bends ..................................................................................... 267 Guitar markings ............................................................................... 268 Guitar notation ................................................................................. 272 Harmonics ........................................................................................ 275 Harp pedal diagrams ....................................................................... 276 Headless notes................................................................................. 277 Hiding key signatures ...................................................................... 279 Hiding notes and rests .................................................................... 280 Hiding staves ................................................................................... 281 Hiding time signatures .................................................................... 284 Human Playback .............................................................................. 285 Hymns ............................................................................................... 288 Hyphens ............................................................................................ 289 Recording with HyperScribe ........................................................... 291 Imploding music .............................................................................. 292 Importing .......................................................................................... 293 Indenting systems ........................................................................... 298 Working with the Instrument List ................................................... 299 Internet .............................................................................................. 300 Key signatures ................................................................................. 301 Key velocity ...................................................................................... 302 Landscape and Portrait orientation................................................ 305 Lead sheets ...................................................................................... 306 Ledger lines ...................................................................................... 307 Left barlines ..................................................................................... 308 Legal-size paper ............................................................................... 309 Limiting MIDI data ............................................................................ 310 Linked Parts ..................................................................................... 311 Lyrics ................................................................................................ 342 Macros .............................................................................................. 356 Major seconds (in different voices and layers) ............................. 357 Manuscript paper ............................................................................. 358 Margins ............................................................................................. 359 Masks ................................................................................................ 360 Measure layout ................................................................................. 363

Measure numbers ............................................................................ 366 Measure repeat signs ...................................................................... 370 Measures .......................................................................................... 371 Measures per line............................................................................. 375 Melismas ........................................................................................... 376 Metatools .......................................................................................... 377 Metronome markings....................................................................... 383 MicNotator ........................................................................................ 387 MIDI ................................................................................................... 392 MIDI files ........................................................................................... 397 MIDI Sync .......................................................................................... 400 Minor keys ........................................................................................ 403 Mirroring ........................................................................................... 404 Mordents ........................................................................................... 407 Multimeasure rests .......................................................................... 408 Multiple key signatures ................................................................... 412 Multiple passes and endings .......................................................... 413 Multiple time signatures .................................................................. 416 Multiple voices ................................................................................. 417 Music spacing .................................................................................. 421 Mutes ................................................................................................ 427 Neutral key ....................................................................................... 428 Nonstandard key signatures ........................................................... 429 Note positioning............................................................................... 436 Note shapes ..................................................................................... 437 Note size ........................................................................................... 440 Noteheads ........................................................................................ 442 Note values (durations) ................................................................... 443 Optimizing systems ......................................................................... 444 Ossia ................................................................................................. 447 Page layout ....................................................................................... 449 Page numbers .................................................................................. 455 Page size .......................................................................................... 457 Page turns ........................................................................................ 458 Page View ......................................................................................... 459 Parentheses ..................................................................................... 462

Part Voicing ...................................................................................... 463 Patches ............................................................................................. 466 Pedal markings ................................................................................ 470 Percussion ....................................................................................... 475 To setup an external MIDI device for percussion input & playback478 Percussion tones ............................................................................. 486 Piano reductions .............................................................................. 488 Pickup measures ............................................................................. 489 Pitch wheel ....................................................................................... 491 Pizzicato ........................................................................................... 496 Playback ........................................................................................... 497 Landscape and Portrait orientation................................................ 505 PostScript ......................................................................................... 506 Printing ............................................................................................. 507 Punch in/Punch out ......................................................................... 508 Quantization Guide .......................................................................... 510 Rallentando ...................................................................................... 515 Recording with HyperScribe ........................................................... 519 Rebarring music............................................................................... 527 Redraw .............................................................................................. 528 Reducing/Enlarging ......................................................................... 529 Rehearsal marks .............................................................................. 532 Repeats (barlines and text indications) ......................................... 535 Rests (Simple Entry) ........................................................................ 537 Rests (Speedy Entry) ....................................................................... 539 Retranscription ................................................................................ 542 Reverse stems.................................................................................. 543 Rolled chords ................................................................................... 544 Running headers.............................................................................. 546 Scanning ........................................................................................... 547 Scroll View ........................................................................................ 552 Search and replace .......................................................................... 553 Selecting music................................................................................ 555 Shape Designer ................................................................................ 559 Shape Note music ............................................................................ 562 Simple Entry ..................................................................................... 563

Slashes ............................................................................................. 569 Slurs .................................................................................................. 570 SmartMusic® .................................................................................... 575 SmartMusic Compatibility Guidelines ............................................ 587 SmartMusic Performance Markers ................................................. 589 Repeat markers for SmartMusic accompaniments ....................... 600 SMPTE and MIDI Time Code ........................................................... 613 Snapping to grids and guides......................................................... 614 SoundFonts ...................................................................................... 616 Speedy Entry .................................................................................... 617 Split points ....................................................................................... 624 Music spacing .................................................................................. 626 Staccato marks ................................................................................ 628 Staff groups ...................................................................................... 630 Staff handles .................................................................................... 631 Staff lines .......................................................................................... 633 Staff names ...................................................................................... 634 Staff size ........................................................................................... 638 Staff styles ........................................................................................ 639 Start and Stop Times ....................................................................... 644 Staves ............................................................................................... 647 Stemless notes................................................................................. 651 Stems ................................................................................................ 652 Studio View ...................................................................................... 656 Swing ................................................................................................ 658 Syncopation ..................................................................................... 660 System (line) break .......................................................................... 661 Systems ............................................................................................ 662 Tab Slides ......................................................................................... 664 Tablature ........................................................................................... 666 Tempo (for playback) ....................................................................... 672 Tempo markings .............................................................................. 673 TempoTap ......................................................................................... 675 Text ................................................................................................... 677 Text blocks ....................................................................................... 678 Ties.................................................................................................... 685

Tiling pages for printing .................................................................. 696 Time signatures ............................................................................... 698 Title page .......................................................................................... 700 Titles ................................................................................................. 701 Transcribing a sequence ................................................................. 703 Transcription Mode.......................................................................... 713 Transposing: by interval ................................................................. 715 Transposing: changing key ............................................................ 716 Transposing instruments ................................................................ 717 Tremolos ........................................................................................... 719 Trills .................................................................................................. 721 Tuplets .............................................................................................. 722 Tuplets (Simple Entry) ..................................................................... 726 Undo.................................................................................................. 729 Using Grids and Guides .................................................................. 731 Vocal music ...................................................................................... 733 Volume .............................................................................................. 734 VST .................................................................................................... 735 Whole rests ...................................................................................... 736 Zoom in/Zoom out............................................................................ 738 Reference ......................................................................................... 739 Appendix .......................................................................................... 740 About the FINMIDI.INI file ................................................................ 741 Alternative music fonts ................................................................... 742 Bank Select - Bank Change Table .................................................. 750 Configuring Ensembles.txt ............................................................. 755 Configuring Instrument.txt .............................................................. 756 Configuring MacSymbolFonts.txt................................................... 758 Configuring Pagesizes.txt ............................................................... 759 Customized Speedy Keymap .......................................................... 760 Document Settings and Program Settings .................................... 767 Equivalents ....................................................................................... 777 Ethnic Percussion MIDI Map Table................................................. 779 Exercise numbers in the Exercise Wizard ..................................... 782 Exercise Wizard Instrument Ranges .............................................. 785 Finale and Explorer.......................................................................... 788

Finale File Extensions ..................................................................... 800 Finale Libraries ................................................................................ 806 Finale Notational Defaults ............................................................... 825 Finale Score Templates ................................................................... 828 General MIDI Patch Set Groupings................................................. 833 General MIDI Percussion MIDI Map Table ...................................... 834 General MIDI Orchestral Percussion MIDI Map Table ................... 836 General MIDI Table........................................................................... 838 Garritan Finale Edition Instrument Details .................................... 842 Guitar markings ............................................................................... 854 Harmony Presets ............................................................................. 858 Human Playback Dictionary ............................................................ 862 Jazz Fusion Percussion MIDI Map Table ....................................... 866 Latin Percussion MIDI Map Table ................................................... 869 Linking Details for Linked Parts ..................................................... 872 Marching Percussion MIDI Map Table ............................................ 885 MIDI Note to Pitch Table .................................................................. 889 MIDI Terminology ............................................................................. 891 More on MIDI .................................................................................... 896 Other SmartMusic SoftSynth Patches ........................................... 899 Percussion MIDI Maps ..................................................................... 901 Plug-in filenames ............................................................................. 902 Quantization Guide .......................................................................... 906 TapSpace Instruments & Percussion MIDI Maps .......................... 911 Troubleshooting............................................................................... 912 Dialog Boxes .................................................................................... 930 3-Beam Groups dialog box ............................................................. 931 4-Beam Groups dialog box ............................................................. 933 About Finale ..................................................................................... 934 Dialog Box Accidental Octave Placement dialog box ...................................... 935 Accidental Order and Amount dialog box ..................................... 937 Accidental Settings dialog box ....................................................... 940 Add Bookmark dialog box .............................................................. 942 Add - Continuous Data dialog box ................................................. 944 Add - Key Velocities dialog box...................................................... 946

Add Measures dialog box ............................................................... 948 Add - Note Durations dialog box .................................................... 949 Add SmartMusic Markers dialog box ............................................. 951 Add Tempo dialog box .................................................................... 953 Additional PostScript Information dialog box ............................... 954 Adjust Lyric Baselines dialog box.................................................. 955 Alter Feel - Note Durations dialog box ........................................... 958 Adjust Page Range dialog box ....................................................... 961 Align Time Tags To Note Starts dialog box ................................... 962 Alter Feel - Key Velocities dialog box ............................................ 963 Alteration for Slot dialog box .......................................................... 966 Alternate Notation dialog box ......................................................... 968 Apply Articulation dialog box ......................................................... 971 Apply Human Playback Preferences dialog box ........................... 973 Apply Music Spacing dialog box .................................................... 975 Apply Staff Style dialog box............................................................ 977 Aria Player for Finale ....................................................................... 979 Arrowheads dialog box ................................................................... 982 Articulation Designer dialog box .................................................... 983 Articulation Selection dialog box ................................................... 990 Audio Clip Attributes dialog box .................................................... 994 Audio Setup dialog box ................................................................... 996 Automatic Check for Updates dialog box ...................................... 998 Backward Repeat Bar Assignment dialog box .............................. 999 Baseline Shift dialog box .............................................................. 1002 Beam Extension Selection dialog box ......................................... 1003 Beaming Chart dialog box ............................................................ 1005 Beat Chart dialog box .................................................................... 1007 Bracket dialog box ......................................................................... 1010 Bracket Style dialog box ............................................................... 1012 Breath Mark dialog box ................................................................. 1013 Category Designer dialog box ...................................................... 1014 Change Articulation Assignments dialog box............................. 1018 Change Chord Assignments dialog box ...................................... 1020 Change Chord Suffix Fonts dialog box ........................................ 1023 Change Clef dialog box ................................................................. 1025

Change Lowest Fret dialog box .................................................... 1027 Change Note Durations dialog box .............................................. 1028 Change Note Size dialog box ........................................................ 1030 Change Expression Assignments dialog box ............................. 1031 Change Note Types dialog box..................................................... 1033 Change Noteheads dialog box...................................................... 1034 Change Ties dialog box ................................................................. 1036 Change Tuplets dialog box ........................................................... 1038 Character Settings dialog box ...................................................... 1043 Check Graphics dialog box ........................................................... 1045 Check Repeats dialog box ............................................................ 1047 Choose Junction for Staff dialog box .......................................... 1048 Chord Definition dialog box .......................................................... 1051 Chord Suffix Editor dialog box ..................................................... 1057 Chord Suffix Selection dialog box................................................ 1061 Clef Designer dialog box ............................................................... 1064 Clef Selection dialog box .............................................................. 1067 Click and Countoff dialog box ...................................................... 1068 Click Assignment dialog box ........................................................ 1071 Click Input dialog box .................................................................... 1073 Click Output Type dialog box ....................................................... 1076 Color dialog box............................................................................. 1078 Compile PostScript Listing dialog box ........................................ 1079 Composite Time Signature dialog box ......................................... 1082 Create/Edit Ending dialog box ...................................................... 1084 Custom Arrowhead Selection dialog box .................................... 1087 Custom Frame dialog box ............................................................. 1089 Customize Toolbar dialog box ...................................................... 1091 Dashed Line dialog box ................................................................. 1092 Define Keyboard Shortcut ............................................................. 1093 Delete Blank Pages ........................................................................ 1095 Delete Element dialog box ............................................................ 1097 Diatonic Instrument Definition dialog box ................................... 1098 Document Options dialog box ...................................................... 1099 Document Options-Accidentals dialog box ................................. 1101 Document Options-Alternate Notation dialog box ...................... 1104

Document Options-Augmentation Dots dialog box .................... 1106 Document Options-Barlines dialog box ....................................... 1108 Document Options-Beams dialog box ......................................... 1111 Document Options-Chords dialog box ........................................ 1115 Document Options-Clefs dialog box ............................................ 1117 Document Options-Flags dialog box ........................................... 1120 Document Options-Fonts dialog box ........................................... 1122 Document Options-Grace Notes dialog box ................................ 1125 Document Options-Grids and Guides dialog box ....................... 1127 Document Options-Key Signatures dialog box ........................... 1129 Document Options-Layers dialog box ......................................... 1132 Document Options-Lines and Curves dialog box ....................... 1135 Document Options-Lyrics dialog box .......................................... 1137 Document Options-Multimeasure Rests dialog box ................... 1139 Document Options-Music Spacing dialog box ............................ 1142 Document Options-Notes and Rests dialog box ......................... 1146 Document Options-Piano Braces and Brackets dialog box ....... 1150 Document Options-Repeats dialog box ....................................... 1152 Document Options-Staves dialog box ......................................... 1155 Document Options-Stems dialog box .......................................... 1157 Document Options-Text dialog box ............................................. 1161 Document Options-Ties dialog box.............................................. 1163 Document Options-Time Signatures dialog box ......................... 1168 Document Options-Tuplets dialog box ........................................ 1171 Dot Offsets dialog box ................................................................... 1176 Duration Allotments dialog box .................................................... 1177 Edit Bookmarks dialog box ........................................................... 1180 Edit Filter/Clear Selected Items dialog box ................................. 1182 Edit Frame dialog box ................................................................... 1189 Edit Keyboard Shortcuts dialog box ............................................ 1195 Edit Learned Chords dialog box ................................................... 1197 Edit Lyrics dialog box .................................................................... 1200 Edit MIDI Modifiers dialog box ...................................................... 1202 Edit MIDI Note dialog box .............................................................. 1204 Edit Modal or Chromatic Spellings dialog box ............................ 1205 Edit Major and Minor Key Spellings dialog box .......................... 1207

Edit Page Margins dialog box ....................................................... 1209 Edit System Margins dialog box ................................................... 1211 Edit Text dialog box ....................................................................... 1213 Edit Text limited dialog box .......................................................... 1215 Elapsed Time dialog box ............................................................... 1217 Enclosure Designer dialog box .................................................... 1218 Erase Layer dialog box .................................................................. 1221 Executable Shape Designer dialog box ....................................... 1222 Executable Shape Selection dialog box ...................................... 1226 Exercise Wizard dialog box .......................................................... 1228 Explode Music dialog box ............................................................. 1233 Extract Lyrics dialog box .............................................................. 1236 Export MIDI File Options dialog box ............................................ 1237 Export Selection/Pages dialog box .............................................. 1239 Expression Assignment dialog box ............................................. 1242 Expression Selection dialog box .................................................. 1244 Expression Designer-Main dialog box ......................................... 1247 Expression Designer-Positioning dialog box .............................. 1251 Expression Designer-Playback dialog box .................................. 1254 Extract Parts dialog box ................................................................ 1262 File Info dialog box ........................................................................ 1265 File Integrity Test Results dialog box .......................................... 1267 File Maintenance dialog box ......................................................... 1269 File Statistics dialog box ............................................................... 1271 Fill dialog box ................................................................................. 1273 Filter Channels dialog box ............................................................ 1275 FinaleScript Editor dialog box ...................................................... 1277 Fit Measures dialog box ................................................................ 1280 Fit to Time dialog box .................................................................... 1282 Fixed Split dialog box .................................................................... 1283 Fixed Split Point dialog box .......................................................... 1285 Font dialog box .............................................................................. 1287 Font Annotation dialog box .......................................................... 1289 Font Utilities dialog box ................................................................ 1291 Frame Attributes dialog box ......................................................... 1294 Fretboard Editor dialog box .......................................................... 1298

Fretboard Instrument Definition dialog box ................................ 1300 Fretboard Selection dialog box .................................................... 1302 Fretboard Shape Selection dialog box ......................................... 1304 Fretboard Style Fonts and Shapes dialog box ............................ 1306 Fretboard Styles dialog box .......................................................... 1308 Full Measure dialog box ................................................................ 1310 Graphic Attributes dialog box....................................................... 1311 Garritan Ambience dialog box ...................................................... 1316 Group Attributes dialog box ......................................................... 1319 Guitar Bend Options dialog box ................................................... 1324 Hand Width Split dialog box ......................................................... 1326 Handle Positioning dialog box...................................................... 1328 Human Playback Custom Style dialog box.................................. 1330 Human Playback Preferences dialog box .................................... 1341 Human Playback Preferences - Dynamics & Volume dialog box1344 Human Playback Preferences - Instrument Techniques & Effects dialog box .................................................................................................. 1347 Human Playback Preferences - Garritan Specials dialog box ... 1360 Human Playback Preferences Glissandi & Bends dialog box ... 1362 Human Playback Preferences - MIDI Data dialog box ................ 1364 Human Playback Preferences - Ornaments & Tremolos dialog box1366 Human Playback Preferences - Tempo Variations dialog box ... 1368 Hyperlink ........................................................................................ 1370 HyperScribe dialog box ................................................................. 1371 HyperScribe Options dialog box .................................................. 1373 Implode Music dialog box ............................................................. 1375 Import MIDI from Clipboard dialog box ........................................ 1377 Import MIDI File Options dialog box ............................................. 1378 Import Score Files - Options dialog box ...................................... 1382 Import Score Files - Order dialog box .......................................... 1384 Insert Blank Pages dialog box ...................................................... 1386 Insert Staff Systems dialog box.................................................... 1388 Instrument Definition dialog box .................................................. 1389 Instrument Junction dialog box.................................................... 1391 Instrument List dialog box ............................................................ 1393 Instrument Name Assignments dialog box ................................. 1400

Intelligent Accompaniment dialog box ........................................ 1402 Interval dialog box ......................................................................... 1403 Items to Snap to Grid dialog box .................................................. 1404 Items to Snap to Guide dialog box ............................................... 1405 Key Signature dialog box .............................................................. 1407 Key Step Map dialog box .............................................................. 1410 Last Recorded Tempo dialog box ................................................ 1413 Launch Window ............................................................................. 1414 Limit - Continuous Data dialog box.............................................. 1416 Limit - Key Velocities dialog box .................................................. 1418 Limit - Note Durations dialog box................................................. 1420 Limit - Tempo dialog box .............................................................. 1422 Line Spacing dialog box ................................................................ 1423 Line Thickness dialog box ............................................................ 1425 Listen dialog box ........................................................................... 1426 Listen to Tempo dialog box .......................................................... 1427 Lowest Fret dialog box .................................................................. 1428 Manage Parts dialog box ............................................................... 1429 Manage VST Plug-ins .................................................................... 1432 Measure Assignment for Ossia Measure dialog box .................. 1434 Measure Attributes dialog box...................................................... 1436 Measure Number dialog box ......................................................... 1441 Measure Number Style dialog box ............................................... 1446 Mid-Measure Clef dialog box ........................................................ 1448 MIDI Event dialog box .................................................................... 1451 MIDI Input Filter dialog box ........................................................... 1452 MIDI Setup dialog box ................................................................... 1454 MIDI Thru dialog box ..................................................................... 1458 MIDI Thru Table dialog box ........................................................... 1460 MIDI File Status dialog box ........................................................... 1462 MIDI Tool window dialog box ........................................................ 1463 Mirror Attributes dialog box .......................................................... 1470 Mixer ............................................................................................... 1474 More Settings dialog box .............................................................. 1478 More Quantization Settings dialog box ........................................ 1481 Move Groups dialog box ............................................................... 1485

Move/Copy Layers dialog box ...................................................... 1486 Movie Window ................................................................................ 1488 Moving Split Point dialog box ....................................................... 1490 Multimeasure Rest dialog box ...................................................... 1492 Sample List for Executable Shape dialog box............................. 1494 Multiple Splits dialog box .............................................................. 1496 New Category dialog box .............................................................. 1498 New Staves dialog box .................................................................. 1499 Nonstandard Key Signature dialog box ....................................... 1501 Notehead Settings dialog box....................................................... 1505 Note Shapes dialog box ................................................................ 1507 Open File dialog box...................................................................... 1509 Optional Octave Region dialog box ............................................. 1511 Ossia Measure Designer dialog box ............................................ 1512 Page Assignment for Ossia Measure dialog box ........................ 1515 Page Format for Parts dialog box................................................. 1517 Page Format for Score dialog box................................................ 1520 Page Offset dialog box .................................................................. 1523 Page Setup dialog box .................................................................. 1524 Page Size dialog box ..................................................................... 1525 Part Creation Preferences dialog box .......................................... 1527 Paste Multiple dialog box .............................................................. 1529 Partial Measure Selection dialog box........................................... 1531 Percent Alteration-Continuous Data dialog box ......................... 1532 Percent Alteration Key Velocities dialog box .............................. 1534 Percent Alteration Tempo dialog box .......................................... 1536 Percent Alteration Note Durations dialog box............................. 1537 Percussion Layout Designer dialog box ...................................... 1539 Percussion Layout Selection dialog box ..................................... 1542 Percussion Input Maps dialog box ............................................... 1545 Percussion MIDI Map Editor dialog box ....................................... 1547 Pickup Measure dialog box ........................................................... 1549 Playback and/or Click dialog box ................................................. 1550 Placeholder dialog box .................................................................. 1552 Playback Controls dialog box ....................................................... 1554 Playback Data Dump dialog box................................................... 1557

Playback/Record Options dialog box ........................................... 1559 Playback Settings dialog box ....................................................... 1562 Position dialog box ........................................................................ 1565 Position Groups dialog box .......................................................... 1568 Position Measure Number dialog box .......................................... 1571 Preset Arrowhead Selection dialog box ...................................... 1573 Print dialog box .............................................................................. 1575 Program Options dialog box ......................................................... 1578 Program Options-Display Colors dialog box............................... 1580 Program Options-Edit dialog box ................................................. 1582 Program Options-Folders dialog box ........................................... 1587 Program Options-New dialog box ................................................ 1589 Program Options-Open dialog box .............................................. 1591 Program Options-Palettes and Backgrounds dialog box ........... 1594 Program Options-Save dialog box ............................................... 1596 Program Options-View dialog box ............................................... 1598 Punch In PreRoll dialog box ......................................................... 1601 Quantization Settings dialog box ................................................. 1602 Randomize Key Velocities dialog box.......................................... 1605 Randomize Note Durations dialog box ........................................ 1606 Rebar Options dialog box ............................................................. 1608 Rebeam to Lyrics dialog box ........................................................ 1610 Rebeam to Time Signature ............................................................ 1612 Record Continuous Data dialog box ............................................ 1614 Redefine Pages dialog box ........................................................... 1616 Redefine Selected Pages dialog box............................................ 1617 Rehearsal Mark dialog box (in Add SmartMusic Markers) ......... 1619 Rehearsal Mark Sequence dialog box.......................................... 1621 Remove Staff dialog box ............................................................... 1622 Repeat Designer dialog box .......................................................... 1623 Repeat Endings dialog box ........................................................... 1625 Repeat Marker dialog box ............................................................. 1627 Repeat Selection dialog box ......................................................... 1629 Reposition Guide dialog box ........................................................ 1632 Reset Measure Marker dialog box ................................................ 1633 Reset Tempo Marker dialog box ................................................... 1634

Resize Note dialog box .................................................................. 1635 Resize Notehead dialog box ......................................................... 1636 Resize Page dialog box ................................................................. 1637 Resize Staff dialog box .................................................................. 1639 Resize Staff System dialog box .................................................... 1640 Respace Staves dialog box ........................................................... 1643 Rulers and Grid dialog box ........................................................... 1645 Save As Audio File dialog box ...................................................... 1647 Save Library dialog box ................................................................ 1649 Save Tempo Changes dialog box ................................................. 1652 Scale Continuous Data dialog box ............................................... 1654 Scale Key Velocities dialog box ................................................... 1656 Scale Note Durations dialog box .................................................. 1658 Scale - Tempo dialog box .............................................................. 1660 Score Merger dialog box ............................................................... 1662 Search and Replace dialog box .................................................... 1664 Secondary Beam Break Selection dialog box ............................. 1666 Select Region dialog box .............................................................. 1668 Select Staff Systems dialog box ................................................... 1670 Selection Overview ........................................................................ 1671 Selective Mirror dialog box ........................................................... 1672 Send MIDI Value dialog box .......................................................... 1674 Set Distances dialog box .............................................................. 1676 Set Duration dialog box ................................................................. 1677 Set Patch To dialog box ................................................................ 1678 Set Placeholder dialog box ........................................................... 1679 Set Swing Ratio dialog box ........................................................... 1680 Set To - Continuous Data dialog box ........................................... 1682 Set To - Key Velocities dialog box................................................ 1683 Set To - Start/Stop Times dialog box ........................................... 1684 Set To - Tempo dialog box ............................................................ 1686 Setup Wizard .................................................................................. 1687 Shape Designer dialog box ........................................................... 1694 Shape Selection dialog box .......................................................... 1699 Shift Lyrics dialog box .................................................................. 1701 Simple Entry Options dialog box.................................................. 1703

Simple Entry Tuplet Definition dialog box ................................... 1706 Size dialog box ............................................................................... 1708 Slur Contour dialog box ................................................................ 1709 Smart Line Designer dialog box ................................................... 1712 Smart Line Selection dialog box................................................... 1714 Smart Shape Options dialog box.................................................. 1716 Smart Shape Placement dialog box ............................................. 1719 Smart Slur Options dialog box ..................................................... 1733 SmartScore Lite dialog box........................................................... 1737 SmartFind and Paint dialog box ................................................... 1739 SmartMusic Accompaniment File Compatibility ......................... 1741 SoftSynth Settings dialog box ...................................................... 1743 Space Systems Evenly dialog box ............................................... 1745 Spacing Widths dialog box ........................................................... 1747 Special Key Signature Attributes dialog box............................... 1749 Specify Current Lyric dialog box .................................................. 1751 Speedy Options dialog box ........................................................... 1752 Staff Attributes dialog box ............................................................ 1754 Staff Controls ................................................................................. 1759 Score Lists and Staff List dialog box ........................................... 1761 Staff Setup dialog box ................................................................... 1765 Staff Styles dialog box .................................................................. 1768 Staff Stem Settings dialog box ..................................................... 1770 System Space Before/After Music dialog box ............................. 1772 Staff System Optimization dialog box .......................................... 1774 Staff Transpositions dialog box ................................................... 1777 Staff Usage List dialog box ........................................................... 1782 Standard Frame dialog box ........................................................... 1784 Stem Connection Editor dialog box ............................................. 1786 Stem Connections dialog box....................................................... 1788 Staff Stem Settings dialog box ..................................................... 1790 Suffix Keynumber Offsets dialog box .......................................... 1792 Superscript dialog box .................................................................. 1794 Sweep For Channels Present In A Track dialog box .................. 1795 Swing Playback .............................................................................. 1797 Symbol List dialog box .................................................................. 1800

Symbol Selection dialog box ........................................................ 1802 Sync and Video Options dialog box ............................................. 1804 Tablature MIDI Channels dialog box ............................................ 1806 Tablature Staff Attributes dialog box ........................................... 1807 Tap Source dialog box .................................................................. 1809 Tap States dialog box .................................................................... 1811 Tempo Adjustment dialog box...................................................... 1813 Expression Designer-Main dialog box ......................................... 1816 Text Repeat Assignment dialog box ............................................ 1820 Text Search and Replace dialog box............................................ 1823 There Are Too Many Beats In This Measure ................................ 1825 Tie Alterations dialog box ............................................................. 1827 Tie Contour dialog box .................................................................. 1830 Time Style dialog box .................................................................... 1833 Tilting Mirror dialog box ................................................................ 1834 Time Signature dialog box ............................................................ 1836 Tone Center(s) dialog box ............................................................. 1839 Track/Channel Mapping dialog box.............................................. 1841 Track/Channel Mapping to Staves dialog box ............................. 1845 Tracking dialog box ....................................................................... 1848 Transcription dialog box ............................................................... 1849 Transcription Filters dialog box ................................................... 1857 Transposition dialog box .............................................................. 1859 Tuplet Definition dialog box .......................................................... 1861 Undo/Redo Lists dialog box.......................................................... 1866 Unknown Chord Suffix dialog box ............................................... 1867 Unknown Font dialog box ............................................................. 1869 Update Available dialog box ......................................................... 1871 View Continuous Data dialog box ................................................ 1872 View Resolution dialog box .......................................................... 1874 Voicing for Staff in Part dialog box .............................................. 1876 VST Instruments dialog box.......................................................... 1878 Wait for End of Note dialog box.................................................... 1880 Wait For Foot Pedal dialog box .................................................... 1881 Wait for Note dialog box ................................................................ 1882 Word Extensions dialog box ......................................................... 1884

Zoom dialog box ............................................................................ 1886 Interface Changes .......................................................................... 1887 Finale 2010 Interface Changes...................................................... 1888 Finale 2009a Interface Changes.................................................... 1890 Finale 2009 Interface Changes...................................................... 1891 Finale 2008 Interface Changes...................................................... 1895 Glossary ......................................................................................... 1906 Keyboard Shortcuts and Special Mouse Clicks .......................... 1914 Character Sets................................................................................ 1967 Engraver Font................................................................................. 1968 Jazz Font ........................................................................................ 1994 Broadway Copyist Font ................................................................. 2037 Maestro Font .................................................................................. 2060 Maestro Times Font ....................................................................... 2073 Menus Chord menu .................................................................................... 2074 Chord/Manual Input ....................................................................... 2076 Chord/Allow MIDI Input ................................................................. 2081 Chord/One-Staff Analysis ............................................................. 2082 Chord/Two-Staff Analysis ............................................................. 2083 Chord/All-Staff Analysis ................................................................ 2084 Chord/Chord Style ......................................................................... 2085 Chord/Left-Align Chords ............................................................... 2086 Chord/Italicize Capo Chords ......................................................... 2087 Chord/Show Fretboards ................................................................ 2088 Chord/Position Chords .................................................................. 2089 Chord/Position Fretboards ........................................................... 2090 Chord/Simplify Spelling ................................................................ 2091 Chord/Substitute Symbols ............................................................ 2092 Chord/Edit Learned Chords .......................................................... 2093 Chord/Change Chord Suffix Fonts ............................................... 2094 Chord menu/Enable Chord Playback ........................................... 2095 Document menu ............................................................................. 2096 Document/Edit Score ..................................................................... 2097 Document/Edit Part........................................................................ 2098 Document/Manage Parts ............................................................... 2099

Document/Page Format ................................................................. 2100 Document/Special Part Extraction ............................................... 2101 Document/Data Check ................................................................... 2102 Document/Display In Concert Pitch ............................................. 2103 Document/Display Expressions and Repeats for Parts ............. 2104 Document/Show Active Layer Only.............................................. 2105 Document/Playback/Record Options ........................................... 2106 Document/Sync and Video Options ............................................. 2107 Document/Category Designer....................................................... 2108 Document menu/Edit Measure Number Regions ........................ 2109 Measure menu/Edit Measure Number Regions ........................... 2110 Document/Pickup Measure ........................................................... 2111 Document/Set Default Music Font ................................................ 2112 Document/Document Options ...................................................... 2113 Edit menu ....................................................................................... 2115 Edit/Undo ........................................................................................ 2117 Edit/Redo ........................................................................................ 2118 Edit/Undo/Redo Lists ..................................................................... 2119 Edit/Select All ................................................................................. 2120 Edit/Select Region ......................................................................... 2121 Edit/Cut ........................................................................................... 2122 Edit/Copy ........................................................................................ 2123 Measure/Insert................................................................................ 2124 Edit/Paste ....................................................................................... 2125 Edit/Use Filter ................................................................................. 2126 Edit/Paste Multiple ......................................................................... 2127 Edit/Edit Filter................................................................................. 2128 Edit/Move/Copy Layers ................................................................. 2129 Edit/Clear All Items ........................................................................ 2130 Edit/Use Filter ................................................................................. 2131 Edit/SmartFind and Paint .............................................................. 2132 Edit/Text Search and Replace ....................................................... 2133 Edit/Add Measures......................................................................... 2134 Edit/Insert Measure Stack ............................................................. 2135 Edit/Delete Measure Stack ............................................................ 2136 Edit/Multimeasure Rests ............................................................... 2137

Edit/Edit Measure Attributes ......................................................... 2138 Edit/Enharmonic Spelling ............................................................. 2139 Edit/Measurement Units ................................................................ 2140 Edit/Program Options .................................................................... 2142 Expression menu ........................................................................... 2143 Expression menu/Adjust Above Staff Baseline .......................... 2144 Expression menu/Adjust Below Staff Baseline ........................... 2145 Expression/Favor Attachment to Active Layer............................ 2146 Expression/Edit Rehearsal Mark Sequence ................................ 2147 File menu ........................................................................................ 2148 File/Launch Window ...................................................................... 2149 File/New .......................................................................................... 2150 File/Open ........................................................................................ 2151 File/Close ........................................................................................ 2152 File/Close All .................................................................................. 2153 File/Save ......................................................................................... 2154 File/Save As .................................................................................... 2155 File/Extract Parts............................................................................ 2156 File/Export to SmartMusic ............................................................. 2157 File/Export to Audio File ................................................................ 2158 File/Post at Finale Showcase ........................................................ 2159 File/Revert ...................................................................................... 2160 File/ScoreMerger ............................................................................ 2161 File/MusicXML ................................................................................ 2162 File/Scanning SmartScore Lite ..................................................... 2163 File/Load Library ............................................................................ 2164 File/Save Library ............................................................................ 2165 File/File Info .................................................................................... 2166 File/Page Setup .............................................................................. 2167 File/Print ......................................................................................... 2168 File/Compile PostScript Listing .................................................... 2169 File/Save Preferences .................................................................... 2170 File/Exit ........................................................................................... 2171 Graphics menu ............................................................................... 2172 Graphics/Export Selection ............................................................ 2173 Graphics/Export Pages ................................................................. 2174

Graphics/Place Graphic ................................................................ 2175 Graphics/Alignment ....................................................................... 2176 Graphics/Attributes ....................................................................... 2178 Graphics/Check Graphics ............................................................. 2179 Graphics/Assign New Graphics to Measure ................................ 2180 Graphics/Assign New Graphics to Page ...................................... 2181 Help menu ...................................................................................... 2182 Help/User Manual ........................................................................... 2183 Help/Finale Tutorials...................................................................... 2184 Help/QuickStart Videos ................................................................. 2185 Help/Shortcuts & Character Maps ................................................ 2186 Help/Shortcuts & Character Maps/Keyboard Shortcuts ............. 2187 Help/Shortcuts & Character Maps/Engraver Character Map ...... 2188 Help/Shortcuts & Character Maps/Broadway Copyist Character Map 2189 Help/Shortcuts & Character Maps/Maestro Character Map ....... 2190 Help/Finale Website ....................................................................... 2191 Help/Authorize Finale .................................................................... 2192 Help/Check for Finale Updates ..................................................... 2193 About Finale ................................................................................... 2194 HyperScribe menu ......................................................................... 2195 HyperScribe/Beat Source .............................................................. 2196 HyperScribe/Record Mode ............................................................ 2197 HyperScribe/HyperScribe Options ............................................... 2198 HyperScribe/Record Continuous Data ......................................... 2199 HyperScribe/Transcription Mode.................................................. 2200 Lyrics menu .................................................................................... 2201 Lyrics/Edit Lyrics ........................................................................... 2202 Lyrics/Export Lyrics ...................................................................... 2203 Lyrics/Adjust Syllables .................................................................. 2204 Lyrics/Click Assignment ............................................................... 2205 Lyrics/Clone Lyric .......................................................................... 2206 Lyrics/Edit Word Extensions ........................................................ 2207 Lyrics/Shift Lyrics .......................................................................... 2208 Lyrics/Type Into Score .................................................................. 2209 Lyrics/Alignment ............................................................................ 2210 Lyrics/Justification ........................................................................ 2211

Lyrics/Specify Current Lyric ......................................................... 2212 Lyrics/Adjust Baselines ................................................................ 2213 Lyrics/Lyric Options ...................................................................... 2214 Measure menu ................................................................................ 2215 Document menu/Edit Measure Number Regions ........................ 2216 Measure menu/Edit Measure Number Regions ........................... 2217 Measure/Add Measure Number Enclosures ................................ 2218 Measure/Show Measure Numbers ................................................ 2219 Measure/Hide Measure Numbers.................................................. 2220 Measure/Restore Measure Number Defaults ............................... 2221 Measure/Show Measure Spacing Handles .................................. 2222 MIDI/Audio menu............................................................................ 2223 MIDI/Audio/Play Finale Through VST ........................................... 2224 MIDI/Audio/Play Finale Through MIDI .......................................... 2225 MIDI/Audio/Instrument Setup ........................................................ 2226 MIDI/Audio Track............................................................................ 2227 MIDI/Audio/Human Playback......................................................... 2228 MIDI/Audio/Device Setup ............................................................... 2229 MIDI/Audio/MIDI File Options ........................................................ 2230 MIDI/Audio/MIDI Clipboard ............................................................ 2231 MIDI/Send MIDI Value .................................................................... 2232 MIDI/All Notes Off........................................................................... 2233 MIDI/Set Panning............................................................................ 2234 MIDI/Retranscribe .......................................................................... 2235 MIDI/Click and Countoff ................................................................ 2236 MIDI/Audio/Quantization Settings ................................................ 2237 MIDI Tool menu .............................................................................. 2238 MIDI Tool/Key Velocities ............................................................... 2240 MIDI Tool/Note Durations .............................................................. 2241 MIDI Tool/Continuous Data ........................................................... 2242 MIDI Tool/Set To ............................................................................. 2243 MIDI Tool/Scale .............................................................................. 2244 MIDI Tool/Add ................................................................................. 2245 MIDI Tool/Percent Alter ................................................................. 2246 MIDI Tool/Limit ............................................................................... 2247 MIDI Tool/Alter Feel ....................................................................... 2248

MIDI Tool/Randomize ..................................................................... 2249 MIDI Tool/Clear ............................................................................... 2250 MIDI Tool/Edit MIDI Note ............................................................... 2251 MIDI Tool/Play ................................................................................ 2252 MIDI Tool/Show Selected Notes.................................................... 2253 MIDI Tool/Dragging Copies Music ................................................ 2254 MIDI Tool/Dragging Copies MIDI Data .......................................... 2255 Mirror menu .................................................................................... 2256 Mirror/Dragging Copies Music ...................................................... 2257 Mirror/Dragging Mirrors Measures ............................................... 2258 Note Mover menu ........................................................................... 2259 Note Mover/Copy and Replace ..................................................... 2260 Note Mover/Copy and Merge......................................................... 2261 Note Mover/Delete After Replace.................................................. 2262 Note Mover/Delete After Merge ..................................................... 2263 Note Mover/Cross Staff ................................................................. 2264 Note Mover/Insert Before .............................................................. 2265 Note Mover/Append After .............................................................. 2266 Note Mover/Search and Replace .................................................. 2267 Page Layout menu ......................................................................... 2268 Page Layout/Insert Blank Pages................................................... 2269 Page Layout/Delete Page Break ................................................... 2270 Page Layout/Insert Staff Systems ................................................ 2271 Page Layout/Delete Staff Systems ............................................... 2272 Page Layout/Redefine Pages ........................................................ 2273 Page Layout/Optimize Staff Systems ........................................... 2274 Page Layout/Fit Measures ............................................................. 2275 Page Layout/Space Systems Evenly ............................................ 2276 Page Layout/Avoid Margin Collision ............................................ 2277 Page Layout/Update Page Format For Score .............................. 2278 Page Layout/Systems .................................................................... 2279 Page Layout/Page Margins ........................................................... 2280 Page Layout/Page Size .................................................................. 2281 Page Layout/Resize Pages ............................................................ 2282 Page Layout/Resize Staff Systems............................................... 2283 Plug-ins menu ................................................................................ 2284

Repeat menu .................................................................................. 2291 Repeat/Create Simple Repeat ....................................................... 2292 Repeat/Create First and Second Ending ...................................... 2293 Repeat/Create Ending .................................................................... 2294 Repeat/Create Forward Repeat Bar .............................................. 2295 Repeat/Create Backward Repeat Bar ........................................... 2296 Repeat/Align Brackets ................................................................... 2297 Repeat/Reset Bracket to Default................................................... 2298 Repeat/Delete ................................................................................. 2299 Repeat/Check Repeats .................................................................. 2300 Repeat/Repeat Options ................................................................. 2301 Simple menu................................................................................... 2302 Simple/Simple Entry Options ........................................................ 2303 Simple/Use MIDI Device for Input ................................................. 2304 Simple/Simple Edit Commands .................................................... 2305 Simple/Simple Navigation Commands ......................................... 2309 Simple/TAB Specific Commands.................................................. 2310 Shape Designer menu ................................................................... 2313 Shape Designer/Show ................................................................... 2314 Shape Designer/Send to Back ...................................................... 2315 Shape Designer/Bring to Front ..................................................... 2316 Shape Designer/Group .................................................................. 2317 Shape Designer/Ungroup .............................................................. 2318 Shape Designer/Select Font ......................................................... 2319 Shape Designer/Line Style ............................................................ 2320 Shape Designer/Line Style ............................................................ 2321 Shape Designer/Arrowheads ........................................................ 2322 Shape Designer/Fill........................................................................ 2323 Shape Designer/Bracket Style ...................................................... 2324 Shape Designer/Rulers and Grid .................................................. 2325 Smart Shape menu ........................................................................ 2326 Smart Shape/Slur Contour ............................................................ 2327 Smart Shape/Smart Shape Placement ......................................... 2328 Smart Shape/Smart Shape Options.............................................. 2329 Smart Shape/Smart Slur Options ................................................. 2330 Smart Shape/Guitar Bend Options ............................................... 2331

Smart Shape/Attach to Measures ................................................. 2332 Smart Shape/Attach to Notes........................................................ 2333 Smart Shape/Attach to Noteheads ............................................... 2334 Smart Shape/Direction .................................................................. 2335 Special Tools menu ....................................................................... 2338 Special Tools/Show Handles ........................................................ 2339 Special Tools/Update..................................................................... 2340 Special Tools/Show Crosshairs.................................................... 2341 Special Tools/Tie Direction ........................................................... 2342 Speedy menu ................................................................................. 2343 Speedy/Speedy Options ................................................................ 2344 Speedy/Use MIDI Device for Input ................................................ 2345 Speedy/Playback............................................................................ 2346 Speedy/Jump to Next Measure ..................................................... 2347 Speedy/Create New Measures ...................................................... 2348 Speedy/Check Beaming ................................................................ 2349 Speedy/Check Accidentals ........................................................... 2350 Speedy/Check for Extra Notes ...................................................... 2351 Speedy/Use Five Line Staff ........................................................... 2352 Speedy/Edit TAB as Standard Notation ....................................... 2353 Speedy/Auto Freeze Accidentals.................................................. 2354 Speedy/Insert Notes or Rests ....................................................... 2355 Speedy/Speedy Edit Commands .................................................. 2356 Speedy/Speedy Navigation ........................................................... 2359 Speedy/Tie Direction ..................................................................... 2361 Staff menu ...................................................................................... 2362 Staff/New Staves ............................................................................ 2363 Staff/New (With Setup Wizard) ...................................................... 2364 Staff/Delete Staves......................................................................... 2365 Staff/Delete Staves and Reposition .............................................. 2366 Staff/Edit Staff Attributes .............................................................. 2367 Staff/Respace Staves..................................................................... 2368 Staff/Sort Staves ............................................................................ 2369 Staff/Auto Sort Staves ................................................................... 2370 Staff/Staff Usage ............................................................................ 2371 Staff/Define Staff Styles ................................................................ 2372

Staff/Clear Staff Styles .................................................................. 2373 Staff/Apply Staff Styles ................................................................. 2374 Staff/Reset Staff Styles to Score .................................................. 2375 Staff/Show Staff Styles .................................................................. 2376 Staff/Show Staff Style Names ....................................................... 2377 Staff/Add Group and Bracket ........................................................ 2378 Staff/Edit Group Attributes ........................................................... 2379 Staff/Remove Group ...................................................................... 2380 Staff/Set Default Name Positions ................................................. 2381 Staff/Position Names ..................................................................... 2382 Staff/Show Default Staff Names.................................................... 2384 Staff/Show Default Group Names ................................................. 2385 Text menu ....................................................................................... 2386 Text/Font ......................................................................................... 2388 Text/Size ......................................................................................... 2389 Text/Style ........................................................................................ 2391 Text/Baseline Shift ......................................................................... 2392 Text/Superscript............................................................................. 2393 Text/Tracking.................................................................................. 2394 Text/Character Settings ................................................................. 2395 Text/Inserts ..................................................................................... 2396 Text/Hyperlink ................................................................................ 2399 Text/Edit Page Offset ..................................................................... 2400 Text/Standard Frame ..................................................................... 2401 Text/Custom Frame ....................................................................... 2402 Text/Justification ........................................................................... 2403 Text/Alignment ............................................................................... 2406 Text/Frame Attributes .................................................................... 2407 Text/Line Spacing .......................................................................... 2408 Text/Word Wrap ............................................................................. 2409 Text/Edit Text ................................................................................. 2410 Text/Assign To Measure ................................................................ 2411 Text/Assign To Page...................................................................... 2412 Utilities menu ................................................................................. 2413 Utilities/Transpose ......................................................................... 2414 Utilities/Respell Notes ................................................................... 2415

Utilities/Fit Measures ..................................................................... 2416 Utilities/Lock Systems ................................................................... 2417 Utilities/Unlock Systems ............................................................... 2418 Utilities/Music Spacing .................................................................. 2419 Utilities/Update Layout .................................................................. 2421 Utilities/Update Smart Word Extensions and Hyphens .............. 2422 Utilities/Rebar ................................................................................. 2423 Utilities/Rebeam ............................................................................. 2424 Utilities/Explode Music .................................................................. 2425 Utilities/Implode Music .................................................................. 2426 Utilities/SmartMusic Markers ........................................................ 2427 Utilities/Apply Articulation ............................................................ 2428 Utilities/Check Notation ................................................................. 2429 Utilities/Stem Direction .................................................................. 2430 Utilities/Change .............................................................................. 2431 View menu ...................................................................................... 2432 View/Scroll View............................................................................. 2433 View/Page View .............................................................................. 2434 View/Page View Style .................................................................... 2435 View/Studio View ........................................................................... 2436 View/Zoom ...................................................................................... 2437 View/Bookmarks ............................................................................ 2439 View/Select Staff Set...................................................................... 2440 View/Select Layer........................................................................... 2441 View/Redraw Screen ...................................................................... 2442 View/Grid/Guide ............................................................................. 2443 View/Show ...................................................................................... 2444 View/Select Display Colors ........................................................... 2445 Window menu................................................................................. 2446 Window/Instrument List ................................................................ 2447 Window/Mixer ................................................................................. 2448 Window/Movie Window ................................................................. 2449 Window/Playback Controls ........................................................... 2450 Window/Main Tool Palette ............................................................. 2451 Window/Advanced Tools Palette .................................................. 2452 Navigational Tools Palette ............................................................ 2453

Window/Simple Entry Palette........................................................ 2454 Window/Simple Entry Rests Palette ............................................. 2455 Window/Smart Shape Palette........................................................ 2456 Window/Special Tools Palette ...................................................... 2457 Window/Customize Palettes ......................................................... 2458 Window/menu Toolbars ................................................................ 2459 Window/Status Bar ........................................................................ 2460 Window/Cascade ........................................................................... 2461 Window/Tile Vertically ................................................................... 2462 Window/Tile Horizontally .............................................................. 2463 Window/Arrange Icons .................................................................. 2464 Window/New Window .................................................................... 2465 Window/Close Window .................................................................. 2466 Plug-ins ........................................................................................... 2467 Add Cue Notes Plug-in .................................................................. 2468 Align/Move Dynamics Plug-in ....................................................... 2470 Apply Human Playback plug-in .................................................... 2472 Auto-Dynamic Placement Plug-in................................................. 2474 Auto Slur Melismas Plug-in .......................................................... 2476 Automatic Barlines Plug-in ........................................................... 2477 Band-in-a-Box Auto-Harmonizing Plug-in ................................... 2479 Beam Over Barlines Plug-in .......................................................... 2483 Canonic Utilities Plug-in ................................................................ 2484 Cautionary Accidentals Plug-in .................................................... 2489 Change Fonts Plug-in .................................................................... 2491 Change Noteheads Plug-in ........................................................... 2492 Change to Default Whole Rests Plug-in ....................................... 2493 Change to Real Whole Rests Plug-in ........................................... 2494 Check Range Plug-in ..................................................................... 2495 Check Region for Durations Plug-in ............................................ 2498 Chord Analysis Plug-in ................................................................. 2499 Chord Morphing Plug-in ................................................................ 2501 Chord Realization Plug-in ............................................................. 2503 Chord Reordering Plug-in ............................................................. 2505 Chord Splitting Plug-in .................................................................. 2506 Classic Eighth Beams Plug-in ...................................................... 2508

Clear Lyric Positioning Plug-in ..................................................... 2510 Clear Measure # Positioning Plug-in ............................................ 2511 Command Line Plug-in .................................................................. 2512 Common Tone Transposition Plug-in .......................................... 2517 Composer’s Assistant Plug-ins .................................................... 2518 Count Items Plug-in ....................................................................... 2519 Create Coda System Plug-in ......................................................... 2520 Create Handbells Used Chart Plug-in .......................................... 2522 Cross Staff plug-in ......................................................................... 2524 Drum Groove plug-in ..................................................................... 2526 Easy Harmonics Plug-in ................................................................ 2528 Easy Tremolos Plug-in .................................................................. 2529 FinaleScript™ plug-in .................................................................... 2531 FinaleScript Commands ................................................................ 2535 Find Parallel Motion Plug-in .......................................................... 2559 Find Range Plug-in ........................................................................ 2560 Flat Beams Plug-in, Flat Beams (Remove) Plug-in ..................... 2561 Frequency Modulation Chord Generator Plug-in ........................ 2562 Global Staff Attributes plug-in ...................................................... 2565 Group Style Definition dialog box ................................................ 2567 Latin Percussion plug-in ............................................................... 2569 Ledger Lines (Hide) Plug-in, Ledger Lines (Show) Plug-in ........ 2571 Melodic Morphing Plug-in ............................................................. 2572 Merge Measures Plug-in ................................................................ 2574 menu Shortcuts Plug-in ................................................................ 2575 Mid-Measure Repeats Plug-in ....................................................... 2577 Midline Stem Direction Plug-in ..................................................... 2578 Modify Rests Plug-in ..................................................................... 2579 Move Rests Plug-in ........................................................................ 2580 Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in2581 Number Repeated Measures Plug-in............................................ 2582 Patterson Beams Plug-in .............................................................. 2585 Piano Reduction Plug-in ............................................................... 2590 Process Extracted Parts plug-in ................................................... 2591 Resize Noteheads Plug-in ............................................................. 2595 Rhythm Generator Plug-in ............................................................ 2597

Rhythmic Subdivisions Plug-in .................................................... 2599 Score System Divider Plug-in ....................................................... 2601 Single Pitch Plug-in ....................................................................... 2604 Slash Flagged Grace Notes Plug-in, Slash Flagged Grace Notes (Remove) Plug-in............................................................................................. 2605 Smart Cue Notes Plug-in ............................................................... 2606 Smart Page Turns plug-in ............................................................. 2609 Smart Playback Plug-in ................................................................. 2612 Smart Split Point plug-in ............................................................... 2615 Split Measure Plug-in .................................................................... 2618 Split Point Plug-in .......................................................................... 2621 Tie Common Notes Plug-in ........................................................... 2622 Update Groups and Brackets plug-in........................................... 2623 Vertical Collision Remover plug-in............................................... 2625 Virtual Fundamental Generator Plug-in ....................................... 2628 Voice 2 to Layer Plug-in ................................................................ 2630 Tools Articulation Tool ............................................................................ 2633 Chord Tool ...................................................................................... 2636 Clef Tool ......................................................................................... 2639 Expression Tool ............................................................................. 2641 Graphics Tool ................................................................................. 2645 Hand Grabber Tool ........................................................................ 2647 Key Signature Tool ........................................................................ 2648 Lyrics Tool ...................................................................................... 2651 HyperScribe Tool ........................................................................... 2654 Measure Tool .................................................................................. 2655 MIDI Tool ......................................................................................... 2661 Mirror Tool ...................................................................................... 2663 Note Mover Tool ............................................................................. 2665 Ossia Tool ...................................................................................... 2667 Page Layout Tool ........................................................................... 2670 Repeat Tool .................................................................................... 2673 Resize Tool ..................................................................................... 2677 Selection Tool ................................................................................ 2679 Simple Entry Tool .......................................................................... 2690

Smart Shape Tool .......................................................................... 2698 Special Tools Tool ......................................................................... 2704 Speedy Entry Tool ......................................................................... 2706 Staff Tool ........................................................................................ 2708 Tempo Tool .................................................................................... 2713 Text Tool ......................................................................................... 2714 Time Signature Tool ...................................................................... 2717 Tuplet Tool ..................................................................................... 2720 Zoom Tool ...................................................................................... 2724 Worksheets .................................................................................... 2725

What's New in Finale 2010 • Easier Percussion Entry. Entering percussion has been greatly simplified with on-screen feedback that displays the percussion instrument you are about to enter. See Entering Percussion for a tutorial. See also Percussion. • New Percussion Layouts. Assigning the staff position and notehead for percussion instrument staves has never been easier with Finale's new percussion layouts. See Percussion Layout Designer dialog box. • Percussion MIDI Maps. To assign the appropriate MIDI notes to your percussion parts automatically when you change the playback instrument, use the Perc. Map column of the Instrument List. See also To setup playback for a percussion staff. • Beat-attached Chord Symbols. Chord symbols are now beat-attached, and no longer require a host note or rest. Notes beneath chords can be edited autonomously. See Chord Symbols. • Improved Chord Playback. Chord symbols now play for the duration of the measure, or to the next chord symbol. Simply type "N.C." (for no chord) to interrupt chord playback. See Chord menu/Enable Chord Playback. • Improved Chord Input. Type-in and/or Play-in chords without changing modes. See To type-in chord symbols. and To play-in chord symbols • Chord scaling. Chord symbols resize with the page automatically. Chords and fretboards can be scaled for a whole document in Document OptionsChords, or for a region using the Change Chord Assignments dialog box. • Automatic Rehearsal Marks. Adding, deleting, and ordering rehearsal marks is now simple and completely automatic. See Rehearsal Marks. • Measure Numbering Enhancements. Now, you can specify separate measure number settings for the score and parts. Also, benefit from more font and positioning options based on context, for example, independent positioning for multimeasure rests. See Measure Numbers. • Alternate Notation. Finale now offers more control over what elements are shown or hidden when you apply alternate notation. See Alternate Notation dialog box. • Music Education Worksheets. Finale now includes hundreds of readymade, educator-approved, music education worksheets. See Worksheets. • Improved Graphic Support. Finale now supports more graphic file types for import AND export. New import support includes JPEG, PNG, BMP, and GIF while new export support includes JPEG and PNG. See Graphics. • Broadway Copyist Handwritten Music Notation Font. Finale 2010 includes the new Broadway Copyist music notation font, created by Robert Piechaud, designer of the esteemed November and Medieval music fonts. 2

Inspired by the golden era of handwritten Broadway scores, the Broadway Copyist font offers a lighter appearance. See Broadway Copyist character set. • Audio and Playback Enhancements (including support of VST/AU Effects Plug-ins). Finale 2010 now supports VST/AU effects plug-ins, includes the Garritan Ambience reverb plug-in, and offers expanded volume control. See VST Instruments dialog box. • Export Lyrics. Finale’s Lyrics Tool makes it easy to export all or part of your lyrics to a word-processing document, and offers new controls to edit your lyrics (adding verse/chorus designations not found in your score, for example) before you export to the clipboard. See Export Lyrics dialog box. • Improved Scanning/SmartScore Lite Enhancements. Finale now includes SmartScore Lite version 5, offering the best music scanning ever. A new interface lets you specify the instrumentation of the scanned staves, ensuring transposing instruments are translated correctly. See To scan and import sheet music and Instrument Name Assignments dialog box. • Improved Help. Not only is Finale easier to use, finding help when you need it is easier too! You will notice a cleaner Help Menu, convenient User Manual welcome screen, and improved topic organization. Powerful filters allow for targeted searches, which allow you to eliminate clutter and quickly identify the content you need. See How to use the Finale 2010 User Manual. • Transparent Handles. Finale's selection handles make it easy to move anything in your score with great accuracy. In Finale 2010 we've made them transparent, so they never obscure what you're trying to edit. See Program Options-View. • Smoother On-Screen Appearance. Finale's on-screen display now features anti-aliasing for smoother on-screen appearance (curves in particular) and more accurate on-screen representation of your final output. • Hyperlink Support. Easily add Hyperlinks to your Finale score. Clickable links appear when viewing your files in other Finale family notation products (including the free Finale Reader) as well in exported SmartMusic accompaniments. See Hyperlink dialog box. For the following feature lists, items that have changed as of the Finale 2010 (or earlier) release marked with an *.

What's New in Finale 2009 • Categorized Expressions. Finale's new Expression categories allow all markings of a similar type (e.g. dynamics) to share font, positioning, and staff list settings. See Expressions and Category Designer dialog box. • New Expression Positioning. Expression positioning is now part of every expression category's definition, and can also be assigned individually. See 3

Category Designer dialog box and Expression Designer - Positioning dialog box. • Drag-apply expressions. You can now click and drag over multiple staves to apply expressions en masse. • Simplified Staff Lists. Staff lists are now part of expression categories, which makes editing, copying, and assigning expressions that apply to the full score easier. See Expressions. • Easier Expression Metatool Assignment. You can now assign several metatools at once in the Expression Selection dialog box. See Metatools To use an expression metatool. • Expression Attachment Indicators. Each expression is now equipped with an indicator that displays its attachment point on the staff (relative to the beat or measure). Expressions can now be dragged to different beats, measures, or staves to change their attachment point. See Expressions_Ref-2104854722. • Selection Dialog Box Zooming and Resizing. New "Zoom In"

and

"Zoom Out" buttons, and resize functionality have been added to Finale's selection dialog boxes for easier navigation. Some dialog boxes that benefit from this are the Expression Selection dialog box, Articulation Selection dialog box, and Shape Selection dialog box. • Multiple Page Viewing and Editing. Finale now displays more of your score at once with multiple pages accessible for convenient editing. See Page View. • FinaleScript 2.0. Finale's scripting language is now capable of calling virtually any command, whether in a dialog box, menu, or list. Press any button, check any check box, or enter a value into any text box. With an integrated dictionary and dynamic text coloring, creating powerful scripts is easier than ever. See FinaleScript Plug-in. • Updated Human Playback. Human Playback Enhancements include user interface improvements, compatibility with the Aria player, a new technique set supporting Finale 2009’s open VST abilities, and additional fixes and improvements. Plus Human Playback options are now found in Finale’s MIDI/Audio menu, making access to different styles – as well as techniques and preferences – much more accessible. See Human Playback. • New Aria Player. The Garritan Aria Player is included FREE and is fully integrated into Finale 2009. It offers superior sound, more control, and a vastly improved user playback experience. See Aria Player. • Use any VST instrument plug-in and accompanying instrument libraries. See Manage VST plug-ins dialog box. • Improved Playback Performance. With new ASIO drivers, Finale's playback engine has been retooled to allow for higher playback quality. 4

• Updated SmartMusic Accompaniment Creation. Creating SmartMusic Accompaniments (.SMP files) has never been easier with improvements to both Finale's saving mechanism and SmartMusic's interpretation capabilities. See SmartMusic. • Updated Music XML. File interchange between notation programs and between different versions of Finale is more accurate than ever. See File/MusicXML. • Tapspace Virtual Drumline Sounds. Finale now includes a library of performance-quality marching percussion sounds by Tapspace. See Setup Wizard.

What's New in Finale 2009a • Staff Assignment Lists for Expressions. Apply dynamics and other expressions to multiple staves simultaneously using Finale's new Assignment Lists. See To add an expression to multiple staves and Expression Selection dialog box. • Expression Assignment Shortcuts. Finale now includes several additional shortcuts for expression assignment. For example, select an expression and press Ctrl-up/down arrow to add the expression to adjacent staves. See Keyboard Shortcuts - Expression Tool. • Layer Assignment Improvements for Expressions. In measures with multiple layers, you can now assign expressions to the active layer or all layers using a new option under the Expression menu. See Edit/Favor Attachment to Active Layer. You can now apply layer colors to expressions by checking Layer Colors Apply To All Layer Items in Program OptionsDisplay Colors. • Improved Category Designer. The Music Font and all positioning options are now available for all categories. See Category Designer. • Expanded Score Lists. The number of Score Lists (previously called “Staff Lists”) has been increased from 4 to 8. See Category Designer dialog box. • Score Lists can now be renamed. See Score List dialog box. • Maintain Expression Attachment when Dragging/Nudging. This new option, in Program Options-Edit, allows you to lock an expression's attachment point while dragging or nudging without using a modifier key. See Program Options-Edit. • Improved SmartScore Lite Scanning with support for triplet recognition and improved results while scanning polyphonic music. See_Ref-1070180788 SmartScore Lite dialog box. • Improved MusicXML. Finale’s updated MusicXML capabilities include enhanced recognition of chord symbols and fretboards. See File/MusicXML.

5

• Graphic Export Settings are now preserved between Finale sessions. See Export Selection/Pages dialog box. • Clearing Staff Styles is Now Easier. With the Staff Tool selected, pressing the Backspace key now clears any existing Staff Styles in the selected region. (Press Backspace twice to clear the music.) See Staff Tool. • Improved Cross-Platform Font Handling. Finale now offers the option to reset the list of recognized symbol fonts, or update the document based on Finale's list of symbol fonts. See Font Utilities. • Show Items Attached to Notes is now available for all Alternate Notation Styles in the Alternate Notation dialog box.

What's New in Finale 2008 • A Powerful New Selection Tool has inherited all the functionality of the expired Mass Edit Tool. Adapted for selecting measure regions, the Selection Tool is now Finale's universal editing utility. See Selection Tool. • Cut, Copy, Paste, and Insert Improvements allow unprecedented flexibility when choosing how, what, and where to copy. Plus, consistent results whether drag-copying or using the clipboard, even between documents. See Copying Music. • Merge Multiple Scores automatically using the Score Merger. Consolidate multiple movements horizontally into a single document (even from different instrumentations) or merge a collection of parts vertically into a full conductor's score. See To combine files with Score Merger. • Add An Audio Track to your score by either importing an audio file or recording a live performance with HyperScribe. See Audio. • New Garritan Sounds including saxophone, guitar, jazz bass, choir, marching percussion and many more. See Setup Wizard. • Human Playback updates provide even more support for Garritan products as well as additional Instrument Techniques and an enhanced dictionary. See Human Playback. • Playback using Garritan and SoundFont instruments simultaneously. See Setup Wizard. • HyperScribe improvements allow you to easily record first and second endings and offer more control of the recording tempo. See Recording with HyperScribe. • Vista support allows you to install, register, and run Finale on Microsoft’s latest operating system. • Boomwhackers® Tuned Percussion Tubes / Chroma-Notes™ Instruments - Ready with colored noteheads and an accompanying 6

Boomwhackers tubes SoundFont. See Setup Wizard and Document Options-Notes and Rests. • Document Styles allow you to formulate a custom medley of libraries and document settings, or choose from one of Finale's offerings, for integration with the instrumentation of your choice in the Setup Wizard. See Setup Wizard and Document Styles. • Customize templates when you open them using the last two pages of the Setup Wizard. See Finale Score Templates. • Improved Scanning with MusicXML technology means better recognition. See Scanning. • Expanded MusicXML import and export offers higher quality formatting and page layout, as well as support for fretboards, metronome markings, piano pedals and can now import the default music font. See File/MusicXML. • More Text Inserts including "Arranger," "Lyricist," and "Subtitle." These are recorded in Finale's New File Info dialog box and can also be defined in Finale 2008's redesigned Setup Wizard. See Text inserts, File Info dialog box and Setup Wizard. • Expanded Setup Wizard Options allow you to select a Document Style, assign Document Styles to specific ensembles, and add additional score information including Arranger, Lyricist, and Subtitle. See Setup Wizard. • Customize Zoom Percentages as you wish them to appear in the View menu. See View menu. • Updated Documentation provides the information you need quickly and easily. Finale's new User Manual features improved navigation, contextsensitivity, and an interactive Visual Index. See How to Use the Finale 2010 User Manual.

What's New in Finale 2008a • In files with VST instruments*, audio files are no longer saved in realtime. The process is now quicker on fast machines, and slower machines will produce better-sounding results. • Time Signatures can now be excluded when copying stacks. See Edit Filter dialog box and To Copy Time Signatures. • Human Playback Improvements to performance, instrument techniques, and more. See Human Playback. • Measure settings can now be copied when either the source or target constitutes a stack.

What's New in Finale 2007

7

• Linked Parts. Content from the score is now intelligently linked to parts so editing the score and part documents separately is no longer required. Print parts directly from your main project file. See Linked Parts. • Latin Percussion plug-in. Use this plug-in to automatically create authentic Latin Percussion rhythm section notation, with a variety of styles to choose from. See Latin Percussion plug-in. • Latin Percussion Sounds. You can now make your Latin rhythms sound as good as they look. See Latin Percussion Map Table. • SMPTE/MIDI Time Code Support. Use MTC to synchronize Finale with the integrated Movie Window or another MTC-compatible device. See SMPTE and MIDI Time Code. • Integrated On-screen Video. Use Finale’s built-in Movie Window to write to picture. No external software required. See Movie Window. • Fit to Time. Instantly assign a duration for any region of music. Finale modifies the tempo to fit the music to the time specified. See Fit to Time dialog box. • Playback Counter. Finale's Playback Controls now include a counter that displays SMPTE MIDI Time Code during playback (hours, minutes, seconds, and frames). See Playback Controls. • Time Markers. A new Measure Number Style allows you to view the elapsed time at any measure. See Measure Number dialog box. • Change Expressions Quickly. Simple key commands can now be used to change the expression definition directly from the document. See Expressions. • Intelligent Articulation Positioning. Finale can now automatically flip articulations to the appropriate side of the staff as stems flip during the addition or removal of layers. Use the Auto Note/Stem Side setting in the Articulation Designer dialog box. • Multimeasure Rests Now Update Automatically when a note is added in Scroll or Studio View to a measure within a multimeasure rest region. See Document Options-Multimeasure Rests. • Vertical Collision Remover. Automatically reformat the vertical positioning of staves, systems, and instrument groups to avoid collision of notes, articulations, smart shapes and other items. See Vertical Collision Remover plug-in. • Human Playback Improvements. The Human Playback Preferences dialog box now includes specific "techniques" designed to give you a completely customizable Human Playback environment. Techniques also allow Human Playback to make the most of multiple sound libraries used in the same document. See Human Playback Preferences dialog box.

8

• KONTAKT™ Player 2 for Finale.* (Now Aria Player). The new integrated Kontakt Player 2 allows you to load up to 64 instruments and channels at once. Also benefit from optimized sample management, and DFD disk streaming, and more. . • More Control of Groups and Brackets. Groups and brackets can now be edited en mass after a systems has been optimized. See Update Groups and Brackets plug-in. • Hide Chords, Fretboards, and Lyrics on Individual Staves. Or, hide them on a region of a staff with Staff Styles. See Staff Attributes dialog box and Staff styles. • New QuickStart Videos. Finale’s QuickStart Videos have been updated with a new look and additional content to get you up and running even faster. See Launch Window.

What's New in Finale 2006 • Studio View. Page View is your print shop for layout like Studio View is your sound stage for playback. Use this new view to audition Finale’s MIDI performance, "conduct" a tempo, adjust playback settings, and record HyperScribe transcriptions. See Studio View. • Mixer Controls. Control the volume, panning, and reverb for your full score, and find the perfect balance using convenient sliders and knobs for each staff - all in real-time during playback. See Mixer. Use the convenient Staff Controls of Studio View to adjust these settings as well. See Staff Controls. • TempoTap. Studio View’s new TempoTap staff allows you to "conduct" your score by tapping with a MIDI device or your computer keyboard. Your tempo is recorded and applied to playback. The beat durations can also be edited to optimize accuracy while recording a tempo. See TempoTap. • New Instrument List Controls. As part of Finale’s real-time playback enhancements you can now audition real-time changes to volume, panning, and instruments with controls added to the instrument list. See Instrument List window. • Kontakt for Finale with Garritan Personal Orchestra.* (Now Aria Player). Assign GPO’s world class instrument sounds to staves of a new document with the Setup Wizard. • Ambience Reverb. Customize the room size, decay, and a collection other reverb settings that allow you to control of the overall reverb effect of playback. See VST Instruments dialog box.* • Speedier Playback Processing. Without the need to prescan your music, a click on the Play button initiates playback with almost no hesitation. Only Human Playback processing is necessary (if HP is enabled).

9

• Export a measure region as a MIDI or Audio File with a new command in the Playback Settings dialog box. To export a MIDI file and To export an audio file. • More MIDI Channels. SmartMusic SoftSynth playback has been expanded from 16 to 128 channels. Now choose up to eight different MIDI Out devices. See MIDI Setup dialog box. • Assign Each Staff a Unique Channel automatically while setting up your score. See Setup Wizard. • Spacebar-click Scrolling Playback. Finale now supports scrolling when you use the spacebar-click method to start playback. See Playback. • Start Playback Mid-Measure. Finale’s Playback Control interface now supports a more robust counter, showing the measure, beat, and EDU. See Playback Controls. • Human Playback Improvements. Enhanced support for GPO and improved performance of percussion rolls and trills are part of the new Human Playback. See Human Playback. • Enhanced Performance. Optimized drawing routines and memory handling now provide faster screen redraw and expedited application startup. You’ve never been able to do so much so fast! • Copy and Paste Measure and Entry Items Simultaneously using Finale’s new Items to Copy dialog box. You can now also choose any combination of items to clear. (Now called the Edit Filter dialog box). • Automatically Insert a © Symbol. You can now insert a Copyright symbol automatically in the Setup Wizard. See Setup Wizard. • Embed Graphics in your Document. Graphics can now be embedded into Finale documents. You no longer need to move graphic files independently when sharing Finale files across computers. See Graphics Tool. • Automatically Fit Music to a Printed Page using Finale’s new Fit to Page option in the Print dialog box. • Improved Scanning Recognition. Import grayscale TIFF images with SmartScore Lite. See Scanning. • Composite Libraries. Save a collection of elements in the same library file for transfer to other documents. See Save Library dialog box. • Create Smart Shape Libraries. Now you can save the Custom Smart Shapes you created in Finale’s Smart Line Designer dialog box in a library to open across documents. See Save Library dialog box. • More Instrument Choices. Choose from an expanded list of instrument staves, including a new Orff Instruments category. See Setup Wizard.

10

• Key Signature Contextual menu. While using the Key Signature Tool, simply right-click a measure to choose from a list of several common key signatures. See Key Signature Tool. • Mass Edit Contextual menu.* (Now Selection Tool contextual menu) While using the Mass Edit Tool, simply right-click a measure to choose from a list of Mass Edit Commands. (Now called the Selection Tool) • Textured Manuscript Background. You now have even more ways to customize Finale’s work environment with a collection of textured manuscript paper backgrounds. Easier on the eyes after long hours. See Program Options-Palettes and Backgrounds. • More Control over Measure Numbering. It’s now easy to instruct Finale to skip a measure in a measure number sequence. No complex Time Signature or Measure Tool adjustments required - just uncheck Include in Measure Numbering. See Measure Attributes dialog box. • Display in Concert Pitch Warning. If you choose to print parts for your brass quintet in concert pitch, Finale now reminds you the music is not prepared for transposing instruments. • Create a Bells Used Chart Automatically with the new Create Handbells Used Chart Plug-in. This plug-in scans your handbell score and generates a bells used chart based on the notes found in the document. See Create Handbells Used Chart Plug-in. • Auto-generate Chord Symbols with the Chord Analysis Plug-in. This plug-in analyzes the harmonic progression of a selected region of your score and adds chord symbols automatically. See Chord Analysis Plug-in. • All-Staff Analysis. Include notes from all staves of your score while adding chords using the staff analysis method. See Chord menu. • Easily Split Measures Across Systems or Create Dashed Barlines with the Split Measure Plug-in. No measure number editing required. See Split Measure Plug-in. • Combine Measures and update measure numbering automatically using the Merge Measures Plug-in. See Merge Measures Plug-in. • Easily Create Mid-measure Repeat Barlines with the Mid-Measure Repeats Plug-in. No time signature or measure number editing necessary. This plug-in does it for you automatically. See Mid-Measure Repeats Plugin. • Create Coda Systems Automatically with the Create Coda System Plugin. Isolate a separate coda system, generate coda markings, and even define a coda for playback with this powerful plug-in. See Create Coda System Plug-in. • Place Slurs on Melismatic Passages Automatically with the Auto Slur Melismas Plug-in. This plug-in can find multiple notes over a syllable and place slurs accordingly. See Auto Slur Melismas Plug-in. 11

• Resize Noteheads of Specific Voices within Chords using the Resize Noteheads Plug-in. See Resize Noteheads Plug-in. • Specify a Staff List for Generated Tempo Markings using the updated Create Tempo Marking Plug-in. See Create Tempo Marking Plug-in. • Create System Separation Marks Automatically with the Score System Divider Plug-in. See Score System Divider Plug-in.

What's New in Finale 2006a • Real-Time Save As Audio Support for VST/AU. Save As Audio now supports Wave or AIFF output for documents that use Finale’s integrated GPO sounds or other supported VST instruments. Furthermore, adjustments to the Mixer or Staff Controls during the saving process apply to the generated audio file.

What's New in Finale 2006b • EPS Export. EPS graphics can now be exported using any Finalecompatible operating system. • Check for Finale Updates Automatically with the new option Check for Finale Updates under the Help menu. • Expanded Documentation. Learn how to get the most out of GPO and HP with the new GPO and HP Finale Installation and Tutorials Supplement.

What's New in Finale 2005 • SmartMusic Accompaniment Wizard. It is now easier than ever to create SmartMusic Accompaniments. (Replaced with File/Export to SmartMusic in Finale 2009. See SmartMusic.) • Easily Add SmartMusic Markers. You no longer need to manually add performance markers with expressions. Easily add pauses, rehearsal markers, and even scan the score to add repeat markers automatically with the Add SmartMusic Markers dialog box. • Enhanced Human Playback capabilities. Combine Human Playback’s interpretation with your own custom MIDI data in the new Human Playback Preferences dialog box. Then, use the Apply Human Playback plug-in to apply Human Playback styles and elements to regions of your score. See Apply Human Playback plug-in. Human Playback now includes a new "Marching Band" style and support for Garritan Personal Orchestra. See Human Playback. • Record Continuous Data. You can now record pitch bend, sustain pedal, and other continuous data controllers in real-time using HyperScribe. See Record Continuous Data dialog box. 12

• New Launch Window. Get up and running quickly with Finale’s new Launch Window. From here, open existing files, choose how you want to start a new one, view reference material, and even import scanned documents. See Launch Window. • Expanded Setup Wizard. Save time by starting a new document using one of Finale’s preset ensembles, or create your own custom ensemble. See Setup Wizard. • Engraver Tuplets. Tuplet brackets now avoid collision with notes, stems, rests, and other items and angle appropriately according to the notation. Finale also offers greater control over the spacing of non-beamed tuplets. See Document Options-Tuplets. • Updated Repeats. Apply repeats to a region of your score using keystrokes and contextual menus; playback is set up for you automatically. You can now also assign staff lists to endings and text repeats. See Repeat Tool. • Improved Scanning. Use Finale’s new TWAIN supported scanning to acquire sheet music from your scanner and configure your scanning software for Finale import automatically. See Scanning. • Simple Entry Improvements. Toggle enharmonic spelling, add expressions, and flip ties while entering with Simple Entry. See KeycutsSimple Entry Tool. • FinaleScript Plug-in Improvements. Now, call any plug-in or menu item from the FinaleScript palette. New commands include "apply staff style", "clear staff style", "title", "composer", "copyright", and more. See FinaleScript plug-in. • Save as MP3. You can now save audio files in compressed MP3 format. See Audio Files. • Marching Percussion Sounds have been added to SmartMusic SoftSynth playback. See Marching Percussion Map Table. • New TGTools Plug-ins. Customize rest appearance, divide voices from one staff into two parts, and generate logical split points with these new plug-ins. See Modify Rests Plug-in, Process Extracted Parts plug-in, and Smart Split Point plug-in. • 3rd Party Sound Font Support. Specify your favorite sound font for playback or audio output. See SoftSynth dialog box. • Improved Grace Note Spacing. Spacing of consecutive grace notes has been improved. See Grace Notes. See Document Options-Music Spacing. • Additional Spacing Controls. Specify before and after barline spacing by measure in the Measure Attributes dialog box. Control spacing between the clef, key signature, and time signature in Document Options-Clefs and Document Options-Key Signatures.

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• Copy Staff Lists. You can now accurately copy measure expressions, repeat text and repeat ending brackets assigned to staff lists from one document to another without manually creating the staff lists in the destination document. See Expressions. • Easily Change the Path for Graphics. Now, you can manually update the path for referenced graphics you have placed in the score (instead of moving or replacing the graphic). See Graphic Attributes dialog box. • New Navigation Keystrokes. Press Ctrl-= to Zoom in or Ctrl--(minus) to zoom out. See View menu.

What’s New in Finale 2005a • New system spacing options. You can now define extra space at the beginning and end of any number of systems. See System Space Before/After Music dialog box. • Repeat "Show On" settings in Document Options. You can now define Staff List information for all repeat markings in a document on the Repeats page of the Document Options dialog box. See Document OptionsRepeats. • Human Playback improvements include enhanced Incorporate MIDI Data, improved rolled and strummed chords, trills, turns with an accidental and hairpins. HP now supports turns with double-sharp and double-flat. Human Playback Dictionary additions include "slargando", "riten.", and "rfz". Messages can now be disabled program-wide. See Human Playback Preferences dialog box. • Batch processing FPA files is now possible with FinaleScript.

What's New in Finale 2004 • Improved Note Entry. Enter notes, articulations, and even clef, key and time signature changes in Simple Entry using your computer or MIDI keyboard. See Simple Entry. • Definable Simple Entry Keyboard Shortcuts. Customize a set of Simple Entry commands to your own preferred keystrokes. Edit Keyboard Shortcuts. • Enhanced Expressions. The redesigned expression designer allows you to use multiple fonts for the same expression, align expressions with automatic placement options and add a description for each expression. Expression Designer dialog box. • Sound Font Playback. Finale’s included General MIDI Sound Font offers high quality instrument simulation. Now, using this sound font, Finale delivers identical playback from one computer to the next. See MIDI Setup dialog box.

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• Human Playback. Playback of Finale documents, as well as MIDI files and SmartMusic Accompaniments generated with Finale now simulate a live human performance with automatic interpretation of expressions, articulations, hairpins and other markings. Choose from several playback styles including Baroque, Jazz, and Reggae. See Human Playback. • Save as Audio File. Like the sound of Finale’s improved playback? You can now save that performance in Wave format to burn to a CD, or as a compressed Wave for transfer over the Internet. See Save as Audio File dialog box. • Improved Redraw. Smoother interface handling. No more residual artifacts, or need for manual redraws. • Smart Hyphens and Word Extensions. No longer manually add word extensions or adjust hyphens. Finale does it for you. See Update Smart Word Extensions and Hyphens. • Smart Page Turn plug-in. Tell Finale to intelligently edit the layout of an entire part to avoid awkward page turns. See Smart Page Turns plug-in. • Smart Cue Notes plug-in. Search an entire score for cue note opportunities, and add them automatically. See Smart Cue Notes plug-in. • Patterson Plug-ins Lite. Easily beam over barlines with the new Beam Over Barlines plug-in, or edit all beams in a document with the Improved Patterson Beams plug-in. See Beam Over Barlines plug-in. • Search and replace text with the new Text Search and Replace plugin. (Now an option under the Edit menu). • FinaleScript plug-in. Apply a change or series of changes using many of Finale features and options to a single Finale document, or batch process multiple Finale documents at once. See FinaleScript plug-in. • Drum Groove plug-in. Choose from dozens of drum groove styles to add to your score along with a percussion map defined for you automatically. Drum Groove plug-in. • Cross Staff plug-in. Easily move notes across staves with a single keystroke. Cross Staff plug-in. • New Text Inserts. Now, insert a copyright symbol, the total number of pages, or the performance time into a text block. See Text menu. • Hidden Text Style. With this new text style, text blocks can be set to display on the screen and not in the printout. See Text menu. • Create SmartMusic Accompaniments with Performance Markers. Now, you can use expressions to indicate performance markers such as pauses, rehearsal marks and repeats, for SmartMusic Accompaniments saved from Finale. See SmartMusic.

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• Multitimbral SmartMusic Accompaniment generation. Create SmartMusic Accompaniments containing many instruments primed for Sound Font playback in SmartMusic. See SmartMusic. • Improved scanning recognition with SmartScore Lite 3.0. See SmartScore Lite. • Updated SmartScore 2.0 and 3.0 Import. Import .FIN files saved in SmartScore version 2.0 and 3.0. See File menu.* (SmartScore (*.fin) Import no longer supported). • Select Multiple Articulations at Once. Drag and edit any number of articulations simultaneously. See Articulations. • Regional Clef Change Selection. Apply a clef change to a highlighted a region of your score. See Clef Tool. • Cross-layer Accidental Positioning. Automatically avoid collision of accidentals between layers and align accidentals on intervals of an octave vertically. See Document Options-Accidentals. • Copy Between Layers. Copy notes in one layer to another, without changing the original notes. See Move/Copy Layers dialog box.

What's New in Finale 2004b • New File Maintenance dialog box allows you to remove duplicate library elements. Remove Deleted Items and Test File Integrity features are also found here. (Look in the Options menu/Data Check submenu). See File Maintenance dialog box.

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8va/8vb To create an

or

marking

1. Click the Smart Shape Tool

. The Smart Shape Palette appears.

2. Click the or Tool. The marking usually goes beneath the music it affects. 3. Position the cursor in the measure where the marking is to begin so that the cursor arrow points to the staff to which you’re attaching it. 4. Double-click and drag to the right. Your double-click marks the side of the marking; as you drag, you increase the length of the dashed-line bracket. Release the mouse when you’ve positioned the right end where you want it. If you double-click below the staff the marking will be used markings instead (unless you have specified another symbol to use). affect playback. To specify that in this Finale document you want the under-bracket Tool to create an marking instead of the default marking, choose Smart Shape Options from the Smart Shape menu. The Smart Shape Options dialog box appears, in which you can choose either marking to appear at the beginning of the bracket.

To move or reshape an

or

marking

If the marking is already selected, it displays diamond editing handles. If not, click the Smart Shape Tool. Any Smart Shape created with this tool displays a handle; click the handle of the marking you want to modify. • Drag the right or left diamond editing handles to move the endpoints. Drag the square handle to move the marking. Press delete to remove bracket is long enough that it straddles one or more it. If the system (line) breaks, it will automatically break into two (or more) segments; the continuation portions will have an in parentheses. See Also: Smart Shape Options Smart Shape Tool

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Accelerando The word accel. or accelerando is a Text Expression, which you put into your score with the Expression Tool. See also Beaming: feathered beaming.

To place the word “accelerando” into a score 1. Click the Expression Tool . 2. Double-click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box appears. 3. Choose the Tempo Alterations category. All the tempo alteration expressions appear in the preview window. 4. If you see the “accel.” expression in the list, double-click it. Finale places the "accel." expression into the score. Positioning is based on the Tempo Alterations Category settings (see Category Designer). If you do not see the "accel." expression, continue: 5. Click Create. The Expression Designer dialog box appears. 6. Type “accel.” or “accelerando.” Finale automatically applies the font, size, and style of the Tempo Alterations category. 7. Click OK and then Assign to return to the score.To adjust the marking, drag its handle; to remove it, click the handle and press delete. You have just added an expression to the expression library - it will now be available to use elsewhere in this document. For more details, see Expressions.

To define the expression for playback The instructions below describe how to assign a tempo change to an expression that can be added to the score at any time. To easily record, or ‘conduct,’ a unique tempo change for any region, use TempoTap. Note: Finale’s Human Playback feature recognizes text such as “accel.” and applies tempo adjustments accordingly during playback. See Playback Settings dialog box for details. To use manually defined tempo or dynamic markings for playback, set Human Playback to None.

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1. Click the Expression Tool . If you haven’t yet placed the mark in the score, double-click any place on a staff. When the Expression Selection dialog box appears, click the desired symbol, click Edit, then skip to step 3. 2. Double-click the expression's handle. The Expression Designer dialog box appears. 3. Click the Playback tab. The playback options appear. 4. From the Type drop-down list, choose Tempo. Select Execute Shape, then click the Select button. Then click Create, then Shape ID. You’re now in the Shape Designer. 5. From the Shape Designer menu, choose Rulers and Grid. Click Eighth Notes, type 1 into the Grid Lines Every: box, and click OK. From the Shape Designer menu, choose Show, and then Grid. Your Shape Designer drawing area now shows a horizontal point for each eighth-note duration, so that you can specify how long you want the accelerando to last. Each horizontal gridline represents a one-point increase in tempo (from 150 to 151 beats per minute, for example). 6. Click the Line Tool . Click on the small white circle (the origin) and drag toward the upper-right. Watch the numbers in the H: and V: numbers as you drag; stop when H: and V: both say 4. You’ve drawn a graph (an Executable Shape) of the tempo during the accelerando. For each vertical gridline you crossed as you dragged to the right, the accelerando lasted another eighth note duration; for each horizontal gridline it crossed, the tempo increased one metronome point. Therefore, to make the accelerando last for one half-note, it should cross four gridlines as you drag to the right. To make the tempo increase by 20 beats per minute, you might think you’d have to cross 20 horizontal gridlines on the way up. For now, however, cross only four, meaning the tempo will only increase by four beats per minute. 7. Click OK to return to the Executable Shape Designer dialog box. 8. In the Level Scale boxes, enter 8:1. You probably wouldn’t even be able to perceive the accelerando if it only sped up by four points during a half note. By changing the Level Scale, you’re multiplying the degree of accelerando. If you enter 8:1, the tempo will change by 32 points—a much more satisfying accelerando. Note that at this point you could also specify a different Time Scale, which would determine how long the executable shape will last. When you designed the shape, it crossed four gridlines (eighth notes)—one half note. Change the Time Scale to multiply that amount; a Time Scale of 1:2 would make the accelerando last half as long (a quarter note), and 3:1 would create one that would last three times as long (six beats).

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9. Click OK, Select, and Assign to return to the score. Listen to the accelerando and see how it works. If it doesn’t speed up enough, increase the Level Scale. If it lasts too long, decrease the Time Scale. (The effect of the accelerando will vary according to the current tempo.)

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Accidentals (Simple Entry) You can add and edit accidentals with the Simple Entry Tool.

To add a sharped or flatted note 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. Click the icon representing the desired note’s duration. 3. Click the Sharp Tool or Flat Tool . 4. Click the staff. A sharped or flatted note appears where you clicked. Also, after entering a note, press the left arrow key to select it. Then, use a keystroke to apply an accidental. Press + to specify a sharp, - to specify a flat and N to specify a natural. 5. After entering a note with the caret, press + to add a sharp or - to add a flat.

To raise or lower a note 1. Double-click the Half Step Up Tool or Half Step Down Tool; then click the note. Use the same technique to add accidentals that raise or lower a note by two half steps (that is, to double-flat or double-sharp a note). 2. Ctrl click a note or enter a note with the caret, and then press numpad + to increment up a half step or numpad - to increment down a half step.

To add parentheses around accidentals 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. Ctrl-click the note with an accidental, or enter a note with the caret. The note is selected. 3. Type P. To remove the parentheses, type P again.

To hide or show an accidental 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. Ctrl-click the note or enter a note with the caret. The note is selected. 3. Type Ctrl-Shift--(hyphen). To toggle between hiding or showing the accidental, hit Ctrl--(hyphen) again.

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Accidentals (Speedy Entry) Accidentals (such as sharps, flats, and naturals) appear automatically if you’ve entered the music from a MIDI keyboard.

To hide (or show) an accidental 1. Click the Speedy Entry Tool . Click the measure containing the accidental. The editing frame appears. 2. Position the insertion bar and crossbar on the note in question. Use the arrow keys or the mouse. 3. Press the asterisk (*) key. The accidental disappears (or, if there was no accidental, one now appears). The note’s pitch, however, doesn’t change; Finale still plays it back as though the accidental were visible. If you press the asterisk again, the accidental reappears.

To add or change an accidental 1. Click the Speedy Entry Tool . Click the measure containing the accidental. 2. Position the insertion bar and crossbar on the notehead in question. Use the arrow keys or the mouse. 3. Press the plus (+) key to raise the note’s pitch, and the minus (–) key to lower it, by half steps. If you press these keys repeatedly, you can add up to seven sharps or flats to a note. If you press the ctrl key as you do so, all subsequent notes on the same line or space in the measure also change. See Speedy Entry Tool for more accidental shortcuts.

To correct accidentals on tied notes After entering music in step time (using the Simple or Speedy Entry Tools), you may discover that Finale hasn’t correctly notated notes that are tied across a barline—and the notes that follow them in the second measure. Using the Check Accidentals command, you can quickly update all accidentals so that they follow the usual musical rules: a note tied from a previous measure doesn’t show the accidental, but any notes of the same pitch in the second measure do repeat the accidental, as shown below.

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1. Click the Selection Tool , and select the region whose tiedaccidental notes you want to correct. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Check Notation, then Check Accidentals. Finale takes a moment to update and correct all ties and accidentals.

To move an accidental 1. Click the Special Tools Tool . The Special Tools Palette appears. 2. Click the measure you wish to edit. 3. Click the Accidental Tool . Handles appear on any accidentals in the measure. Deselect Show Handles from the Special Tools menu if the handles are obscuring the accidentals you want to move. 4. Drag any handle. If you’ve made the handles invisible (by deselecting Show Handles), drag the accidental itself. If you want to undo any accidental repositioning you’ve done, click the accidental’s handle and press delete. To drag the handle vertically, double-click on the handle and check Allow Vertical Positioning.

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Adobe PDF documents The Adobe Portable Document Format (PDF) was developed by the Adobe company to provide a universal file format that preserves the fonts, formatting and graphics of a source document, regardless of what platform or application was used to create it. PDF files can be shared, viewed and printed by anyone with a free Adobe Acrobat Reader. We’ve provided this basic primer on PDFs because many Finale users want to create PDFs: to publish on the Web, to Email to a friend, to give to publishers for further formatting, or to give to a print shop for printing. In order to *create* PDFs, you will need to buy Adobe Acrobat. For more information about these products, please visit Adobe’s website at www.adobe.com. In addition to Adobe Acrobat, third party products such as PDF995 (www.pdf995.com) are also capable of generating PDF files.

To create a PDF document from a Finale file There’s more than one way to create a PDF, but this method will give you more control over the results. See your Adobe Acrobat manual for full details.

1. Open the file in Finale. 2. From the File menu, choose Print. The Print dialog box appears. 3. Click on Setup. The Print Setup dialog box appears. 4. From the Printer Name drop-down menu, choose "Acrobat Distiller" or "Acrobat PDF" (or whatever Adobe PDF print driver is installed on your computer). Keep in mind, you’ll need to switch the printer back to your regular printer when you’re done creating PDFs. 5. Click OK. If your document has parts, select which ones you would like to print using the score/parts check boxes in the upper left. Adjust any other print settings (see Printing). 6. Click OK. Finale begins printing using the Acrobat Distiller. If Distiller is running in the background (you’ll see it at the bottom of your screen in the Taskbar), it will immediately launch the Acrobat Distiller. Once the Distiller has launched, it will display a Save PDF File As dialog box. 7. Give the file a name (you may wish to save it to the Desktop for convenience) and click Save. The Acrobat Distiller creates a PDF of your file. Depending on your Distiller Assistant settings, it may open your newly created PDF file for viewing.

Troubleshooting PDF documents

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For complete information, see your Adobe Acrobat documentation. The below suggestions are problems that Finale users have commonly encountered. Problem: When I run the Distiller, I get the error message “...[font name] cannot be embedded due to licensing restrictions.” Solution: Update to the newest Acrobat Distiller version. For more information, visit www.adobe.com or call 1.800.272.3623. A quick and dirty workaround is to change to Outline in the Fonts/Send Fonts As portion of the Distiller printer driver.

Problem: I’m using my PostScript printer instead of the Distiller driver. Now I’m getting a Finale-Dict error. Solution: Some drivers seem to require an additional setting for Finale’s mixed graphics and fonts. To correct the problem, exit all programs, including Finale. From the Start menu, choose Settings, Printers. Right-click on the printer and choose Properties. Click on the PostScript tab. Set the PostScript to Optimize for Portability. Click the Apply button, then OK. Close the Printers window and try again. If you still receive errors, or your printer driver does not have a PostScript tab, try the suggestion below.

Problem: I’m using my PostScript printer instead of the Distiller driver. I’m still getting a Finale-Dict error, even though I’ve tried Optimize for Portability. Solution: Some drivers seem to require an additional setting for Finale’s mixed graphics and fonts, but the driver doesn’t allow for Optimizing. Exit all programs, including Finale. Navigate to your Finale folder and double-click on a file called Finale.ini (It may just be called Finale, and the icon will look like a notepad.) The file will open in Notepad. The first section of this file is under the heading [Settings]. Add another line in this first section with this text: OwnPS=0 Then Save and Exit the Notepad. Try creating a PDF again.

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Arrows If you want to create an arrow, for example, to indicate the direction of a strum or for a worksheet example, you can do so with Finale's Shape Designer. See Shape Designer and Arrowheads dialog box.

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Articulations Articulations indicate performance information including the style of attack, delay, and manner or extent to which notes are connected or disconnected. These indications are represented by accents, staccato marks, or harmonic symbols, for example. Articulations are generally added with the Articulation Tool

or Simple Entry

Tool , but can also be applied to notes with the Selection Tool . You can also use the Selection Tool to quickly and easily move or delete articulations. They are positioned in relation to that entry either above or below the note/entry. In Finale, articulations can be applied either one note at a time (see To put one articulation mark in the score), or to a whole group of notes at once (See To apply an articulation to every note in a region). Finale will automatically center the markings, if you wish, and place them the proper distance from the noteheads; you’ll even hear their effect on the music when you play it back. The Articulation Tool is also used for creating and editing the appearance of these markings. Each consists of a single character (letter) from any font or a shape; most of the time, you’ll want to use Finale’s Maestro music font, in which all the characters are musical symbols. A complete list of Maestro characters appears on the Quick Reference Card. An articulation must be attached to a note (or a rest); you can’t insert one into an empty measure. The marking maintains its position relative to that note, even if you transpose it; in fact, the symbol will automatically flip to the opposite side of the note if the stem changes direction, and even switch to a different symbol if the new stem direction warrants (as when a fermata symbol flips upside-down).

Most markings commonly regarded as articulations fall into Finale's definition, however, some others used to articulate musical passages, such as slurs and dynamics , are added with different tools (see Slurs and Expressions respectively).

Working with articulations globally (by document)

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• Designing an articulation • Defining an articulation for playback • Creating an articulation metatool • Articulations in linked parts • Removing an articulation from the list

Working with articulations by region • To apply an articulation to every note in a region • To copy markings based on a rhythmic match • To center and reposition existing articulations • To erase articulations from a region • To copy articulations

See Also Articulation Tool Articulation Selection Articulation Designer Symbol Selection Handle Positioning

To put one articulation mark in the score 1. Click the Articulation Tool . Click on, above, or below a note. (If you are using voices, click above the staff for Voice 1 and below for Voice 2.) The Articulation Selection dialog box appears. 2. Double-click the symbol you want.

Or, to add an articulation while entering music in Simple Entry: 1. Choose the Simple Entry Tool . 2. Select a note and press numpad * or Alt-A and press an articulation metatool key to add an articulation to the note. For example, A for an accent, S for staccato, etc. Click Select (or press Enter) to open the Articulation Selection dialog box where you can choose from a list of articulations. (Note the metatool assignment appears in the upper right corner of each articulation in the Articulation Selection dialog box.)

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3. Press Ctrl-numpad * or Ctrl-Alt-Shift-A and then press an articulation metatool key (or click select or press Enter to choose an articulation) to add a sticky articulation to the caret and mouse cursor. Now, the chosen articulation will appear on all notes entered until the sticky articulation is removed. Press Ctrl-numpad * or Ctrl-Alt-Shift-A again to remove the articulation from the caret and mouse cursor.

To move or delete an articulation 1. Click the Articulation Tool . 2. Drag the handle to move the marking. Select it and press the arrow keys to "nudge” it for fine positioning; select it and press delete to remove it.

To change the articulation character 1. Select the Articulation Tool . 2. Select the articulation’s handle and double-press the desired metatool key. The articulation changes to the definition assigned to the metatool key you used. (A "double-press" simply means pressing the keystroke twice in rapid succession). Or, double-click the articulation handle to open the Articulation Selection dialog box where you can choose from a number of articulations. 3. Double-click the desired articulation.

To design an articulation Follow these steps to add a new symbol to the Articulation Selection dialog box. 1. Click the Articulation Tool , and click a note in the score. It makes no difference what note you click; the symbol you’re about to design won’t appear in the score until you want it to. The Articulation Selection dialog box appears. 2. Click Create. The Articulation Designer dialog box appears. If the symbol you want to create is not a musical symbol in the Maestro music font, click Set Font to specify a different font. 3. Next to the Main Symbol display, click Main. The Symbol Selection dialog box appears. Use the scroll bars to view all the musical symbols available in the font. 4. Double-click the marking you want. You return to the Articulation Designer dialog box. 5. Describe how you want this marking to appear, using the Positioning Options. 29

How you use these options depends upon the type of music you’re notating, and your own preferences. If you make these settings carefully, you’ll save an immense amount of time when you place articulations into your scores, because Finale’s articulations don’t merely snap into place on a note—when a note’s stem direction changes, its marking even flips to the other side, and, as in the case of a fermata , even turns upside down automatically. Note: As you read about the following options, remember that all of these placement options have already been established for the basic set of articulation markings included in your Finale package. You can safely skip this entire section, unless you want to learn to edit these settings (or create new articulations of your own. In some jazz and popular music, it’s standard practice to place certain markings consistently above the staff, regardless of stem direction. If that’s the case, choose Above note from the Position drop-down list. In other music, you may decide that a symbol should appear either above or below the note, depending on the note’s stem direction. In that case, choose either On note side or On stem side from the Position drop-down list.Finally, you’ll find some additional placement options in the form of checkboxes. Click Avoid Staff Lines if you don’t want Finale to place a symbol so that it falls on a staff line. (Since symbols are different sizes, Finale will attempt to place the symbol’s handle so that it doesn’t fall on a staff line. This may mean, however, that the handle of a marking is between lines, but part of the symbol itself crosses a line. In that case, click the Handle Positioning button, and use the H: and V: controls to further adjust the symbol’s positioning within the staff lines.) Click Always Place Outside Staff if you want Finale to place this marking as close as possible to a note, but never within the staff. Finale can accommodate either notational convention: With Always place Outside unchecked, articulations are placed a certain distance from the notehead whether or not they’re inside or outside the staff. With Always Place outside checked articulations are placed as close as possible to their noteheads without appearing within the staff lines.Click Center Horizontally if Finale should neatly center the articulation with the notehead automatically. Finally, click Attach to Top Note if, when you attach this marking to a chord, you want Finale to measure the marking’s distance from the top note instead of the bottom one. 6. If this marking is supposed to flip "upside down" when the stem direction changes, click the Flipped button and select the flipped character. Some symbols, such as are supposed to appear inverted when below a note. Finale can’t turn a symbol upside down; instead, Maestro and other music fonts contain both the normal and inverted 30

versions of each such symbol. When a note’s stem direction changes, Finale can substitute the appropriate "upside-down" symbol automatically. 7. Find the drop-down list that begins, "When Placed Below a Note, use the…", and choose Flipped Symbol. See Finale Libraries in the Appendix for the settings for typical markings. 8. Define the marking for playback, if you wish. Your marking can affect key velocity (i.e., volume—an accent, for example) or timing (a staccato mark, for example). See To define an articulation for playback. 9. Click OK (or press enter). From now on, you may click as sloppily as you wish when attaching this marking to a note; Finale will neatly center it, place it on the correct side of the note, and substitute an inverted symbol when necessary—if you’ve set the marking up that way. Once you’ve placed an articulation on a note, of course, you’re still free to drag it to a new position.

To define an articulation for playback Human Playback interprets and performs articulations during playback automatically. See Human Playback. To hear manual changes to the MIDI playback definition of any articulation you must first set Human Playback to None in the Playback Settings dialog box. 1. Click the Articulation Tool . If you haven’t yet placed the Articulation in the score, click any note. When the Articulation Selection dialog box appears, click the desired symbol and click Edit; then skip to step 3. 2. Double-click the handle. The Articulation Designer dialog box appears. 3. To specify how the marking will affect playback, make a selection from the Playback Effect drop-down list. You have three playback choices: Change Attack, Change Duration, and Change Key Velocity. Choose Change Attack to shift the attack point forward or backward in time—a useful option for producing rolled chord effects. Choose Change Duration to affect the note’s length by changing its release point—to create a staccato mark, for example. Finally, choose Change Key Velocity for accents, stress markings, and marcato markings—symbols that affect a note by striking it with more or less force (generally making it louder or softer). 4. In the Top Note Value and Bottom Note Value text boxes, enter the amount of playback effect you want this Articulation to have. When Change Attack is selected, the numbers you enter in these text boxes are 1024ths of a quarter note. To create an Articulation that strikes a note earlier or later than notated, therefore, enter numeric values large 31

enough to create a noticeable rhythmic difference on playback: 256 (a sixteenth note) and higher, for example. A Change Attack marking makes especially good use of the Top Note Value and Bottom Note Value text boxes. These text boxes come into play when you’re attaching an Articulation to a chord, because the top and bottom notes can have different values; Finale scales any middle notes proportionately. With this setup, it’s easy to create effects such as rolled chords. For example, you might enter -256 as the Bottom Note Value, and 0 as the Top Note Value. Finale would roll the chord from bottom to top, and the top note would land on the beat.If you’re creating a Change Duration marking, the numbers in these text boxes are, once again, 1024ths of a quarter note. Generally, however, you wouldn’t use the Change Duration setting to lengthen or shorten a note’s notated value by a fixed amount. Instead, you’d want an articulation to change a note’s duration by a percentage—a staccato mark should shorten a note’s playback duration by 50%, for example, regardless of whether it’s a quarter note or an eighth note. Therefore, click the Values Are Percentages checkbox, so that the numbers represent percentages of the note’s written value. You’ll usually want to leave the Bottom Note Value blank, so that the Top Note Value affects the entire chord to which it’s attached.Finally, if you’ve selected Change Key Velocity, the numbers you enter are MIDI velocity values. These range from –127 to 127, where a negative number will make the affected note softer than unaffected notes, and a positive number will make the affected note louder (0 = no change). If you’re creating an accent mark, for example, you could enter, say, 40 into the Top Note Value text box; if an affected note has an original MIDI velocity value of 60, it will now play back with a velocity of 100. Of course, it may be easier to click the Values Are Percentages checkbox, so that the numbers you enter represent percentages of the note’s original value. If you enter 200 into the Top Note Value text box, the note would be twice as loud as an unaffected note. 5. Click OK (or press enter). The changes you’ve just made affect all occurrences of this Articulation, even those you’ve already placed into the score.

To apply an articulation to every note in a region 1. Click the Articulation Tool , and drag-enclose a region of notes. The Apply Articulation dialog box appears. If you have programmed a metatool for the particular articulation press the metatool while dragenclosing the notes, and you’re done! See To create an Articulation Metatool. 2. Click Select. The Articulation Selection dialog box appears. 3. Double-click the symbol you want. 32

At this point, you can specify a number of other parameters. Click Notes within Range of Durations to select a range of note values you want affected by the marking—for example, you might want the articulations to appear only on eighth notes and quarter notes; you’d click the eighth note in the upper palette and the quarter note in the lower one. You can also specify whether or not Finale should place the articulation mark on notes beginning or ending a tie (since an accent mark, for example, doesn’t mean much on a note at the right end of a tie). Select Include Notes that Start a Tie or Include Notes that Continue or End a Tie, respectively. Finally, you can specify an additional amount of distance added to (or subtracted from) the marking’s usual distance from the notehead. See Apply Articulation dialog box for more information. 4. Click OK (or press enter). You return to the document, where Finale places the marking on every selected note.

To erase articulations from a region 1. Click the Articulation Tool . 2. Press delete while drag-enclosing a region. The articulations in the selected region are removed.

To center and reposition existing articulations When you place an articulation marking onto a note, Finale automatically centers it and places it a precise distance away from the notehead. Once the marking appears in the score, you’re free to drag it into a new position. To restore the markings’ original positions, eliminating any hand-positioning you’ve done, drag-enclose the desired articulations and press the Backspace key (laptop users Fn-6). The following procedure can be used to move a specific marking into a new position, such as moving breath marks a uniform distance to the right of the notes to which they’re attached. 1. Click the Selection Tool and select the region of music you want to affect. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Change, and then Articulation Assignments. The Change Articulation Assignments dialog box appears. 3. If you want Finale to reposition all articulations in the selected region back to the default position, click OK. 4. If you want Finale to reposition only a certain articulation marking, click Position Selected Articulations; click Select, and double-click the symbol you want.

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You can also swap one marking for another throughout the selected region: select Change All Articulations (or Selected Articulations) to Articulation, and click Select to specify the replacement symbol. You can also specify new positioning information by entering numbers into the H: and V: text boxes. You’re adding distance to either the usual or existing positions of the selected markings, depending on your selection from the drop-down list. The units are whatever you’ve selected using the Measurement Units command (Edit menu). For articulations designed to be placed On Notehead Side, or On Stem Side, positive numbers move the symbols to the right (H:) and away from the staff (V:); negative numbers move them left and in toward the staff. For articulations designed to be placed Manually, Above Note or Below Note, positive numbers move the symbols to the right (H:) and upward (V:); negative numbers move them down and left. See Change Articulation Assignments dialog box and Articulation Designer dialog box for more detailed explanations of these options. 5. Click OK (or press enter). Finale neatly positions every articulation mark in the selected region, according to your specifications.

To quickly change an articulation 1.Select the Articulation Tool

.

2.Select the articulation’s handle and double-press the desired metatool key. The articulation changes to the definition assigned to the metatool key you used. (A "double-press" simply means pressing the keystroke twice in rapid succession).

To copy articulations You can copy any musical elements—such as articulations—from one passage to another. In this discussion, the source region is the music that contains the articulations, and the target region is the music to which you want to copy them. 1. Click the Selection Tool . 2. From the Edit menu, choose Edit Filter. The Edit Filter dialog box appears. 3. Select Articulations; then click OK (or press enter). You’ve just told Finale to copy and paste only articulation markings, and to leave all other musical elements alone. 4. Select the source region. See Selecting music for some region-selecting shortcuts. 34

5. Drag the selected region so that it’s superimposed on the beginning of the target region. If the first target measure is offscreen, scroll to it; then, while pressing and shift together, click it. The Copy Measures dialog box appears (unless you drag to a region directly above or below the source region). In that case, specify the number of times you want the articulations copied, and click OK. Finale only copies articulations to notes that fall on the same beats as they did in the source measures. The articulations maintain their positions relative to the noteheads.

To copy markings based on a rhythmic match 1. Click the Selection Tool 2. Select a region.

.

Click or drag-enclose any region of music to select it. Add additional measures to the selection by shift-clicking. Double-click to select a full measure, and double-click a second time if you want to include all other staves in your selection. The selection must occur on a single staff, not spanning multiple staves. Only rhythms and markings in the current layer of the source region are used for the pattern matching and painting process. 3. From the Edit menu, choose SmartFind and Paint, then Set SmartFind Source. An outline box appears around the selected region. If you selected the wrong region, choose Deselect SmartFind Source from the SmartFind and Paint submenu, and try again. Select a target region to paint. If no region is selected, SmartFind will assume you wish to scan the entire document. You may include partial measures in your target region. 4. From the Edit menu, choose SmartFind and Paint, then Apply SmartFind and Paint. The SmartFind and Paint dialog box appears. See SmartFind and Paint dialog box. 5. Check the box for the markings you want to copy. If you’ve already entered some markings into your document, you may wish to check "Delete Target Markings Before Paint." With this box checked, SmartFind will erase the markings before painting the new markings, so you get an exact duplicate. Note that checking this option will only erase markings checked to paint. For example, if all markings to paint were checked except articulations, SmartFind would erase markings in the target but leave articulations untouched. The checked marking types will

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be deleted regardless of whether the markings appear in the source region. 6. Click Find. SmartFind shows you the first match, if any. SmartFind will look for matches in all layers of the target region, regardless of the source layer. SmartFind will search the first measure of the top staff selected to the last measure of the top staff in the region, then continue through layers, then down through the rest of the staves. SmartFind will search for a match based on the rhythmic or note durations and therefore will consider tied notes. SmartFind will ignore grace notes, Voice 2 and mirrored notes. 7. Click Paint to apply the markings to the match, or Paint All to apply the markings to all matches, or click Find Next to skip this match. SmartFind copies the select markings from the source region onto the rhythmic match target region. Only the first note of a tied note will receive copied markings. 8. When you’re finished, click Cancel or Close. You return to the document.

To create an articulation metatool A Metatool is a keyboard equivalent for a certain Articulation. By creating a Metatool for a symbol, you can pop it into the score with a single click of the mouse. You bypass the selection box that would otherwise appear. 1. Click the Articulation Tool .While pressing shift, press the letter or number key you wish to use for your metatool. It makes no difference whether you use the top row of the alphabet keyboard or the numeric keypad with num lock on to use the numbers. The Articulation Selection dialog box appears. If the marking you want isn’t present in the Articulation Selection dialog box, you can create it in the usual way; see To design an articulation for instructions. (Predefined metatools are in parentheses in the Articulation Selection dialog box). 2. Double-click the desired marking. You return to the document, having successfully prepared the Metatool for use. You’ve just assigned a specific Articulation mark to a number or letter key; you might want to write down which symbol you assign to each number. Repeat this procedure for other number or letter keys, if you wish; you can re-assign your Metatools at any time by repeating this procedure. Here’s how to place the marking in the score: 36

3. While pressing the appropriate letter or number key, click the note on which you want the marking to appear. The Articulation appears in the score. By pressing a different key each time you click a note, you can rapidly add articulations to your score. You can also drag-enclose a number of notes while pressing the metatool key and apply the articulation to all the notes at once.

To remove an articulation from the list 1. Click the Articulation Tool . Click any note. The Articulation Selection dialog box appears. 2. Click the symbol you want to remove; then click Delete. If the item is being used in the score, the Delete Element dialog box appears. Select whether to replace the articulation with a different articulation, or simply delete all instances from the score. See Delete Element dialog box. 3. Click Cancel.

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Attack and release Finale automatically performs attacks an releases based on the Human Playback Style selected in Finale's Playback Settings dialog box. If Human Playback is set to none, you can define your own attack and release points for a single note or notes in a chord (to produce a rolled chord effect), or for specified notes in a specified region. See Rolled Chords, and Start and Stop Times.

See Also: Articulations Human Playback

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Audio Finale's audio options include the ability to add an audio track to your document suited for either recording a live performance or inserting an external audio file. Additionally, any document can be saved as an audio file using the same high-quality results you hear during playback. Wave, AIFF, or mp3 files can be loaded into a Finale document's audio track. To add an audio track to a Finale document and add an audio file, see To import an audio file (below). To record audio in real-time with HyperScribe, see To record an audio track. The Mixer controls and Studio View Staff Controls that are used for controlling staff volume, panning, and other playback parameters also apply to audio tracks. See Studio View. Note: Finale does not include any audio editing capabilities. To make changes to an audio file itself, use an audio editing product. (Pro Tools, Sonar, and Cubase are examples of audio editing products). You can save a Finale document as a standard Wave file (for burning to a CD), or as a compressed Mp3 (for storing on your computer or transfer over the Internet). See To export an audio file (below). Finale generates the audio file based on the MIDI performance of the Finale document. For sound, Finale uses a General MIDI SoundFont installed to the Finale/Component Files folder named “synthgms.sf2.” This file contains the sounds used to ‘record’ the audio file. To use a different General MIDI SoundFont, from the MIDI/Audio menu, choose MIDI Setup, click SoftSynth Settings, and then click Select to open a different SoundFont. To burn audio files to a CD, follow instructions included with your CD burning software to organize the files into tracks and burn them to a recordable CD. Note: Finale can use VST sounds when saving as audio, although the file is recorded in real-time, and is not in a compressed (MP3)format. See Also: To record an audio track

To import an audio file 1. From the View menu, choose Studio View. Audio tracks are only visible in Studio View. 2. From the MIDI/Audio menu, choose Audio Track, then Add Audio Track. An empty audio track appears beneath the TempoTap staff. 39

3. From the MIDI/Audio menu, choose Audio Track, then Load Audio. The Open dialog box appears. 4. Navigate to the desired audio file and click Open. The Audio Clip Attributes dialog box appears where you can adjust the start point of the audio file in the score, or specify at what point to begin/end the audio file (the portion you would like to play).

To export an audio file 1. Review playback. The audio file created by Finale is generated from the MIDI performance, so changes to the document’s MIDI data will apply to the generated audio file. IMPORTANT: Human Playback settings apply to saved audio files, so all generated audio files sound the same as the document played from Finale. To use MIDI data added deliberately (with the MIDI Tool for example), set Human Playback to None in the Playback Settings dialog box. To edit Finale’s MIDI performance manually (instead of using Human Playback), you can use the MIDI or Expression Tool. See MIDI Tool and Expressions. To export a specific region, in the Playback Settings dialog box, check Observe Playback Region when saving to MIDI or audio file, and the specify the region you would like to export in the options above. 2. Review playback. Your audio file will sound the same as playback in Finale. 3. From the File menu, choose Export to Audio. The Save As Audio File dialog box appears. Here, you can choose to generate a standard, or compressed audio file. 4. Choose the destination folder and click Save. Finale generates the audio file and saves it to the specified folder. See Also: To record an Audio Track

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Augmentation Augmentation refers to the process of doubling a motif’s rhythmic values, so that each quarter note becomes a half note, and so on. In effect, the following process re-notates any passage so that it doubles every note’s value.

To double the rhythmic values in a passage 1. Click the Selection Tool and select the region of music you want to affect. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Change, then Note Durations. The Change Note Durations dialog box appears. 3. Choose 200% from the Change All Note Durations by drop-down list. If you want Finale to re-bar the selected measures so that there are half as many notes per measure, make sure Rebar Measures is selected. See Change Note Durations dialog box for details on these options. 4. Click OK (or press enter). You can even double the values of the notes in a specific layer (if Show Active Layer Only is selected in the Document menu). Note that this command does not affect empty measures. (A measure in which you’ve entered a “real” whole rest doesn’t count as empty in this context.) That is, the command will double the values of all notes and rests you’ve entered, but it won’t create a second completely empty measure.

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Backbeats In Finale, a backbeat is the second half of the beat (in duple meters); thus the second eighth note of every beat in

or

time (or the second quarter note

in time) is the backbeat. In triple meters, the last two thirds of the beat are the backbeats. In both cases, “beat” is determined by the durational value of the denominator in the Time Signature dialog box. The backbeats of a meter could either be the second eighth note of each beat (if you represented the meter with three quarter notes in the Time Signature dialog box) or the second and third quarter notes of the measure (if you represented the meter as a dotted half note in the Time Signature dialog box). See Time signatures for more information on defining meters. You can use the MIDI Tool to affect only the backbeats of a piece. You might, for example, boost the velocity of the backbeats to give the music a rockier sound. If you’re preparing a Strauss waltz for playback, you could delay the attacks of the backbeats for a slightly more Viennese feeling.

A downbeat is the first beat of the measure. A backbeat is the second half of the beat (or, in a triple meter, the second and third of the beat). An Other beat is any other beat, where a “beat” is defined as the lower half of the time signature (a quarter note in the top example, a half note in the next, and a dotted half note in the bottom example).

To alter the key velocity of backbeats

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1. From the Window menu, choose Advanced Tools. Click the MIDI Tool and select the region to be affected. Click to select one measure, shift-click to select additional measures, drag-enclose to select several onscreen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit menu. If you want to edit only one staff (and the desired region fits on one screen), double-click the highlighted region to enter the MIDI Tool splitwindow. 2. Choose Key Velocities from the MIDI Tool menu. 3. Choose Alter Feel from the MIDI Tool menu. The Alter Feel dialog box appears. 4. Enter the desired amount of key velocity alteration (a positive or negative number) in the Backbeats By box. The range of MIDI key velocity is 0 to 127, so the number you enter here, when added to the existing velocity values of the notes, will not exceed 127. (If you prefer, you can click the Percent of Original button and type a percentage value into the Backbeats By box.) 5. Click OK (or press enter).

To copy or erase MIDI Tool editing See MIDI —To copy or erase captured (or edited) MIDI data.

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Barlines Use the Staff Tool and the Group Attributes dialog box to draw barlines and set alternate barlines (instead of the barline style selected in the Measure Attributes dialog box) for groups. Use the Measure Tool to set the barlines for staves, and to override the group barline setting. See also Automatic Barlines Plug-in.

To draw the barline on a group Grouped staves have an important characteristic: instead of drawing barlines only on the staves, the barlines can either be drawn through or between staves in a group. Make sure you’re in Scroll View before you begin; if you’re not, choose Scroll View from the View menu (in case staves have been hidden due to optimization). 1. Click the Staff Tool . The Staff menu appears. 2. If you haven’t yet created the group, do so now. See Groups-To group staves. 3. Click a group handle, then choose Edit Group Attributes from the Staff menu. Or, double-click a group handle. (Or, choose Edit Group Attributes from the Staff menu without selecting a group.) To display the attributes of another group, use the arrow controls to select another Group ID number. 4. Use the Draw Barlines drop-down list in the Group Attributes dialog box to specify how you want barlines to appear for this group. To draw the barline only within each staff, and not connect each staff with the barline, choose Only on Staves from the drop-down list. To draw a barline as one continuous line passing through all the staves in the group, choose Through Staves. To draw a barline between staves, but not through the staff lines themselves, choose Only Between Staves (Mensurstriche). Hint: If Group Attributes do not appear in page view, turn off optimization. You can then re-apply optimization as needed. 5. Click OK to confirm your barline settings.

To break a barline between grouped staves There are several ways to draw or break barlines between every staff in a group. If you don’t want to draw the barlines through any staff on a group, use 44

the Draw Barlines drop-down list in the Group Attributes dialog box to specify the appearance of the barlines (see To draw the barline on a group). However, to break a barline above a single staff in a group whose barlines are otherwise drawn through the group of staves, follow these instructions: 1. Click the Staff Tool . The Staff menu appears. 2. Select the staff immediately below the desired break, then choose Edit Staff Attributes from the Staff menu. Or, double-click a staff, staff handle, or staff name handle immediately below the desired break. The Staff Attributes dialog box appears. 3. Click Break Barlines Between Staves, then click OK. The barline is no longer drawn continuously through the space above the staff you selected.

To create one double, dotted, final, or other barline 1. Click the Measure Tool , and double-click the handle of the barline you want to change. The Measure Attributes dialog box appears. 2. Click the desired barline type. When you select any unusual barline type, Finale automatically selects Break a Multimeasure Rest; that’s so that, when you extract parts, the special barline will break a multimeasure rest (or “block rest”) into two block rests, one on each side of it. (Such block rests automatically break for key and time changes, clef changes, and so on.) 3. Click OK.

To change barlines for groups 1. Click the Staff Tool . The Staff menu appears. 2. Click a group handle, then choose Edit Group Attributes from the Staff menu. (Or, double-click a group handle.) Or, choose Edit Group Attributes from the Staff menu without selecting a group. The Group Attributes dialog box appears. To display the attributes of another group, click the spin controls to select another Group ID number. 3. To use an alternate barline style instead of the barline style originally defined in the Measure Attributes dialog box, select Use Alternate Group Barline, then select the barline style from the palette for the group. 4. Click OK to dismiss the dialog box.

To change barlines in a selected region (or at regular intervals) Using this method, you can either change all barlines in a region to a specific type (such as an Invisible barline), or you can change barlines at regular intervals (for example, creating a double barline every eight measures). 45

1. Click the Measure Tool , and select the region you want to affect. See Selecting music for some region-selecting shortcuts. 2. From the Measure menu, choose Edit Measure Attributes. The Measure Attributes dialog box appears. 3. Click to select the barline type you want. In the Change Every Measures text box, enter the frequency of barlines you want to change. In other words, to create a double barline every eight measures, select the double barline and enter 8 in the Change Every text box. (If you’re changing all barlines, leave a 1 in this text box.) If you’re creating a part that will be extracted, you may also want to select the Break a Multimeasure Rest checkbox (by clicking it twice), so that Finale will break bars of rest at each double barline. 5. Click OK (or press enter).

To hide one barline 1. Click the Measure Tool and double-click top handle of the barline you want to hide (there may be more than one handle). You’re about to hide the right-hand barline. 2. Click the invisible barline type. 3. Click OK.

To hide all barlines (no-barline music) 1. Create the music normally (with barlines). 2. From the Document menu, choose Document Options and select Barlines. The Barlines options appear. 3. Click Display All Barlines so that the X disappears. Click OK. Note, however, that Finale “thinks” in measures, even if you’re creating scores with no barlines. Note: To hide the meter in such a document, see Hiding time signatures.

To move a barline 1. Click the Measure Tool . A handle appears on each barline. 2. Drag the top handle of the desired barline horizontally (there may be more than. The measure becomes wider or narrower. If you move a barline in Page View, you don’t just change the width of the measure whose right barline you drag; you also increase or decrease the width of the measure to its right, making this a useful technique for touching up your

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page layout. (You can adjust all measures in a system except the last one with this method.)

To insert a false or custom barline These instructions assume you want to insert a false barline in the middle of an existing measure. This method lets you create a barline of any thickness, size, or shape—curved, dotted, triple, or anything you can think up. You can also use Maestro or Engraver font characters at 24 pt for barlines. The \ character is a normal barline and the alt+0241 character is a dashed barline in the Maestro font. The normal barline is the same in the Engraver font and the dashed line is the alt+0200 character. 1. Click the Expression Tool . 2. Double-click the measure to which the barline will be attached. The Expression Selection dialog box appears. 3. Click Create, then click the Shape radio button. 4. Click Create. The Shape Designer appears. If you want to change the thickness of the barline, use the Line Thickness submenu of the Shape Designer menu. You can also specify how you want a dashed or dotted barline to look by using the Dash options in the Shape Designer menu. The following instructions give measurements in points (1/72 inch). If you’ve been working in different units, choose Rulers and Grid from the Shape Designer menu and select Points (with gridlines every 6 points). 5. From the Shape Designer menu, choose Show, then Grid. From the Shape Designer menu, choose Show, then Staff Template. 6. Click the Line Tool . Begin drawing on the origin (the small white circle at point 0,0). While pressing shift, drag in the drawing area, straight down, until the V: text box says -24. You’ve just drawn a vertical line (the shift key constrains your mouse to perfectly vertical or horizontal lines) that’s exactly the height of a staff. 7. Click OK to return to the Expression Designer. 8. Click Allow Horizontal Stretching to deselect the checkbox. You’ve just told Finale that the Shape Expression you’ve just created should not be allowed to stretch horizontally along with the measures (when Finale widens measures slightly to make them flush with the page margins). 9. Click OK, then Assign. The “barline” appears in the measure. Drag its handle to move it. Select its handle and press delete to remove it.

To change the thickness of barlines in a document 1. From the Document menu, choose Document Options, then select Barlines. The Barlines options appear. 47

2. Enter a new value in either the Heavy Line Thickness or the Thin Line Thickness text box. The units are whatever you’ve most recently selected using the Measurement Units command (Edit menu). (The default value for barline thickness is 0.46 points.) Note that this setting does not change custom barlines. 3. Click OK (or press enter).

To correct barline display In the process of creating your document, you may have added or dragged staves between existing staves. Such changes could have unexpected results, especially concerning the appearance of your barlines. If a barline doesn’t appear to be drawn correctly, you can usually solve the problem with this technique. If you keep Auto Sort Staves turned on, the barline display should save you these steps. See Auto Sort Staves in the Staff menu. 1. Click the Staff Tool . The Staff menu appears. 2. Choose Sort Staves from the Staff menu to restore their appearance, based on the new staff order.

To create a double left barline See Left barlines.

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Batch Printing You can print many documents at once using the FinaleScript plug-in. 1. Move all files you want to print into the same folder. FinaleScript is capable of processing any number of files in a folder. All files in this folder will be printed. 2. From the Plug-ins menu, choose Finale Script, and then FinaleScript Palette. The FinaleScript palette appears. 3. Choose the Batch Process folder and choose “Batch Printing”. The Script Editor appears. Here you can view and edit the commands. It is already setup to process a folder. Enter the path after "process folder" to specify a folder. Note the additional commands listed (More attributes, print pages 1 to 2, etc.). Remove the // markings to use one of these commands. You can edit or add new commands as needed. For a complete list of FinaleScript commands, see FinaleScript. 4. Click Run Script (with or without specifying a folder). If a folder is not specified, you can open the Browse for Folder dialog box where you can specify a folder. When you have selected the folder, Finale batch prints the documents in that folder.

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Beam angles The angles of the beams on eighth notes (and smaller values) can be set either globally or one-by-one. You can also specify flat beams (no angling). See also Patterson Beams plug-in.

To set the beam angle style globally 1. From the Document menu, choose Document Options, then select Beams. The Beam options box appear. 2. Choose a beaming style from the Beaming Style drop-down list. Below are some examples of beaming style differences for the various beaming styles. Flat beams make all the beams flat in the entire document. See Document Options-Beams for more information.

The determining note or notes are marked with an X. 3. Click OK (or press enter).

To change or restore the angle of a beam (Special Tools) 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool

, and click the measure in question.

2. Click the Beam Angle Tool . A handle appears at the beginning and the end of the beam. 3. Drag the right handle up or down to change the beam angle. Drag the left handle up or down to change the stem heights. To restore the beam to its default angle and height, click the handle you used to change the position of the beam; press delete.

To remove angle modifications from a selected region 50

1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. From the Edit menu, choose Edit Filter. Check (only) Stem and Beam Alterations. Click OK (or press enter) twice.

To change the angle of secondary beams See Beaming: feathered beaming.

To limit the steepness of beams 1. From the Document menu, choose Document Options, then select Beams. The Beam options appear. 2. Enter a new value in the Max Slope box. The number in this text box specifies the maximum vertical distance between the high and low ends of any beam, measured vertically in lines and spaces. See Document Options-Beams. 3. Click OK (or press enter).

To allow only flat beams on a single staff 1. Click the Staff Tool and double-click the handle of the staff which should have flat beams. The Staff Attributes dialog box appears. 2. Select Flat Beams from the Options section of the dialog box. See Staff Attributes dialog box for details. If you have a number of staves to select Flat Beams for use the Global Staff Attributes plug-in. This plug-in allows you to set up the staff attributes for a number of staves at once. See Global Staff Attributes Plug-in. 3. Click OK (or press enter).

To change a beam from the default angle to flat 1. Click the Speedy Entry Tool and click in a measure where the music has beams that you would like to be flat. The Speedy frame appears. 2. Click on the first note of the beam group and press \ (backslash). This will change the beam to flat. If you have a number of beams you would like flattened, use the Flat Beams Plug-in which will allow you to select a region with the Selection Tool and flatten all the beams in the region. See Flat Beams Plug-in, Flat Beams (Remove) Plug-in.

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Beam thickness To change the thickness of beams globally 1. From the Document menu, choose Document Options, then select Beams. The Beam options appear. 2. Enter a new number in the Beam Thickness text box. 3. Click OK (or press enter).

To change the thickness of beams individually 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


2. Click the Beam Width Tool . A handles appears on each beam. 3. Drag either handle to adjust the width of the selected beam. To restore the beam width, select its handle and press delete.

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Beaming See also Beam angles; Beaming across barlines; Beaming: feathered beaming; Beaming over rests; Beaming: Secondary beams; and Beam thickness. Beaming of eighth notes (and notes of smaller value) is automatic in Finale, although you can override Finale’s beaming decisions, either on a global, regional, or case-by-case basis. Note: To automatically modify the appearance of all beams at once, use the Patterson Beams plug-in.

To break (or create) a beam 1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. Use the arrow keys to position the insertion bar on the note at the end of the desired beam. 2. Or click the Simple Entry Tool , and control-click the note at the end of the desired beam. 3. Press the slash key (/). If the note was beamed to the previous note, the beam breaks. If the note wasn’t beamed to the previous note, two notes are now beamed together. Press the slash key again to restore the beam to its previous form.

To rebeam a selected region When you first enter music into Finale, the time signature determines how eighth notes (and smaller notes) are beamed together. In , Finale groups beamed notes in quarter note groupings with the exception of eighth notes which are beamed in groups of 4. See Document Options-Beams to change this setting. In

, Finale groups beamed notes in half note groupings.

If you change the time signature after you’ve entered music, the beaming patterns changes unless you have deselected the Rebar music checkbox in the Time Signature dialog box. In such a case, it’s easy to rebeam the music to match the new time signature: Select the region (using the Selection Tool) and choose Rebeam Music (from the Rebeam submenu of the Utilities menu). However, if you want to give a region a beaming pattern that’s completely unrelated to the time signature—for example, to beam eighth notes in groups of 3, 3, and 2 in a

meter, follow these steps:

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1. Click the Selection Tool , and select a region. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Rebeam, then Rebeam to Time Signature. The Rebeam dialog box appears. 3. Using the upper and lower scroll bars, adjust the upper and lower numbers of the “beaming signature” until you see the desired beaming patterns. In other words, if you want eighth notes in common time beamed in groups of four (rhythmic value equals a half note), adjust the display until it shows two half notes (two groups of four eighth notes). If you’re in and you want all six eighth notes beamed together in each measure, adjust the display until it shows a dotted half note (one group of six eighth notes). Note that if you want an asymmetrical beaming pattern (such as three, three, and two eighth notes in common time), click the Composite button and enter the desired groupings into the text boxes. You specify the new beaming pattern for the selected music much as you would create a time signature. See To create custom beaming patterns.

To create custom beaming patterns Normally, Finale beams 16th notes (and notes of smaller value) according to the time signature. In , they’re grouped in quarter-note units; in , they’re grouped in half-note units. Eighth notes are beamed in groups of 4. See Document Options-Beams to change this setting for eighth notes. Occasionally, you may find it useful to break this rule. You may want to create a section of music in time, but whose eighth notes are grouped (for example) in patterns of 3, 3, and 2. 1. Click the Time Signature Tool , and double-click the measure where you want the meter to change. The Time Signature dialog box appears. 2. Using the two scroll bars, specify the beaming pattern you want. If you want eighth notes beamed in groups of 3, 3, and 2, click Composite, and enter “3+3+2” in the top box (and 8 in the bottom box). See Time signatures for further instructions in using the Time Signature Tool. 3. Click More Choices. The dialog box expands. 4. Select Use a Different Time Signature For Display. Using the lower set of scroll bars, specify the time signature you want to appear in the

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score. If you’ve specified a bars, you could enter

“beaming signature” using the upper scroll

as the display meter. Or if you’ve specified a

beaming pattern of , you could set the lower scroll bars to or . 5. Using the Measure ___ Through ___ (or Through End of Piece) text boxes, specify the range of measures you want affected by the time signature/beaming patterns. 6. Click OK (or press enter).

To prevent Finale from beaming automatically (Speedy Entry) Finale normally beams notes together according to the denominator of the time signature (quarter note groupings in , half note groupings in , and so on) when you’re entering notes in step time using the Speedy Entry Tool. You can, if you wish, turn off this feature. 1. Click the Speedy Entry Tool . The Speedy menu appears. 2. Choose Check Beaming from the Speedy menu, so that the check mark no longer appears.

To beam eighth notes in quarter note groups 1. From the Document menu, choose Document Options, then select Beams. The Beaming options appear. 2. Deselect Beam 4 Eighth Notes Together in Common Time. This will only affect entries from this point forward. 3. Click OK (or press enter).

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Beaming across barlines In certain cases, you may want the beams on eighth notes (and smaller values) to extend across a barline to join a beam in the next measure. Finale gives you two methods to accomplish this manually. To beam over barlines automatically using a plug-in, see Beam Over Barlines plug-in.

To extend a beam across a barline (Speedy Entry Method) The first method is best for scores where playback isn’t important. 1. Click the Speedy Entry Tool . 2. Under the Speedy menu, uncheck Jump to Next Measure. 3. Click a measure. At the end of the measure, enter the notes that belong at the beginning of the next measure (the ones to which you want to beam from the first measure). Use the / key to beam or unbeam notes as needed. Don’t worry that you've added too many beats to the measure. When Finale tells you that there are too many beats, just click OK. 4. In the second measure add the same number of rests at the beginning of the measure as you added extra notes to the previous measure. These rests will act as placeholders when you drag notes from the first measure into the second measure. 5. Move the cursor over the top of each placeholder rest and press the letter H key. This will hide the placeholder rests. 6. From the Window menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure. If the Note Position tool isn’t already selected, select it. 7. Drag the note(s) from the first measure that you want in the second measure to the right, so that they now appear in the second measure.

To extend a beam across a barline (Beam Extension Method) This method creates cross-barline beaming that plays back correctly. 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool to extend.

, and click the measure containing the beam you want

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2. Click the Beam Extension Tool. Handles appear at each end of each beam. 3. Drag a handle horizontally to extend the beams. To restore an extended beam to its normal length, click its handle and press delete.

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Beaming over rests In normal circumstances, Finale doesn’t include rests in beam groups. However, you may prefer to have eighth-note (and smaller value) beams include rests on the outside of beam groups.

To globally beam over rests on the outside of beam groups 1. From the Document menu, choose Document Options and select Beams. The Beam options appear. 2. Select Extend Beams Over Edge Rests and Extend Secondary Beams Over Rests. Click OK (or press enter). This is a global option. You can, of course, override this beaming pattern in the usual way; see Beaming.

To create (or remove) half-stems on beamed rests 1. From the Document menu, choose Document Options and select Beams. The Beam options appear. 2. Select Display Half-stems for Beamed Rests. Click OK. To hide the halfstems, turn this option off. To adjust the position of the stems, see To change the position of the stem relative to its notehead.

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Beaming: feathered beaming In some music, ritards and accelerandi are notated with converging secondary-beam angles in a technique called feathered beaming. In the case of the ritard, the player increases the rhythmic values gradually from the faster values, at the left end, to the slower values, on the right end, as shown below.

To create feathered beaming To create this form of notation, notate all values as the smallest values (in this case, 64th notes). Then proceed as follows. 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


2. Click the Secondary Beam Angle Tool . Handles appear at both ends of secondary beams. 3. Drag the handles so that the secondary beams converge with the primary beam. The left handle moves its entire beam up and down, without changing its angle; the right handle changes the angle. To remove any changes you make this way, click the appropriate handle and press delete.

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Beaming: Secondary beams If rhythmic values smaller than eighth notes are beamed together, the sixteenth-note (and smaller value) beams are called secondary beams. Finale provides considerable independent control for such beams.

To break secondary beams If you want, you can specify places to break secondary beams even though the primary (eighth note) beam continues. 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


2. Click the Beam Break Tool . A handle appears over every note grouped by a secondary beam. 3. Double-click the handle at the right end of the pair of notes whose beam you want to break. The Secondary Beam Break Selection dialog box appears, letting you specify exactly which beams you want to break. If you select Break Only, you can specify individual levels of beams to be broken; thus if you select Break Only 32nds, the sixteenth-note beam (and always the eighth note beam) will remain intact. If you select Break Through, however, Finale will break the beams of the note value you specify and all smaller values. 4. Select the desired Break options, and click OK (or press enter). To restore the beam grouping, click the handle you used to make modifications. When the dialog box appears, click Reset.

To change a broken beam’s direction Depending on the meter, it’s sometimes useful to override Finale’s decision about which direction a secondary beam “stub” should extend: Using the Broken Beam Tool, you can flip such a stub from its default position (below, left) to the other side (below, right).

1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool

and click the measure in question.

2. Click the Broken Beam Tool beam in the measure.

. Handles appears on each broken

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3. Click the top/bottom handles to alternate the direction of the secondary beam.

To change the distance between beams Finale lets you specify the amount of vertical space between the beams in sixteenth-note (or smaller value) beam groupings. 1. From the Document menu, choose Document Options, then select Beams. The Beam options appear. 2. Enter a new number in the Secondary Beam Separation text box. 3. Click OK (or press enter). You can also change the separation between secondary beams on a case-by-case basis with the Secondary Beam Angle Tool in the Special Tools Tool. See Beaming: feathered beaming.

To change the angles of secondary beams See Beaming: feathered beaming.

To change the height of stems in secondary beams 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool

and click the measure in question.

2. Click the Beamed Stem Length Tool . Handles appears on each beamed stem in the measure. 3. Drag the handles to the desired location. For example, stems could be dragged to touch the beam closest to the noteheads, and not go all the way through the secondary beams. Don’t forget that you can select more than one handle at a time.

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Beat positions When using Finale, beats are positioned according to nonlinear spacing—in other words, the positioning of beats in a measure that contains a half note and four eighth notes won’t be the same as in a measure with four eighths and a half note—even though the measures are the same width. See Document Options-Music Spacing for a more complete discussion. Each measure has beat chart (when using Automatic Music Spacing), providing handles that you can drag horizontally to reposition the beats in a measure. Moving a beat is not the same as moving a note—when you move a beat, the note that falls on that beat in every staff moves at once.

To create a beat chart in one measure Until a measure has a beat chart, you won’t have control over the positions of the individual beats. If you apply the Music Spacing command to a certain measure, you affect the spacing of the notes and provide a beat chart; see Document Options-Music Spacing. The following method, on the other hand, adds a beat chart to the selected measures without changing the spacing of the music in them. 1. Click the Measure Tool , and double-click the barline handle of a measure. The Measure Attributes dialog box appears. 2. From the Position Notes drop-down list, choose Using Beat-Chart Spacing. Click OK. To copy the positioning mode you’ve just established to other measures, you’ll need to turn off Automatic Music Spacing in Program Options-Edit. Next, click the Selection Tool. From the Edit menu, choose Edit Filter; check Note Positioning (only), and click OK. Drag the measure you’ve already modified so that it’s superimposed on the first target measure. Finale asks how many times you want to copy the positioning mode; enter the appropriate number and click OK (or press enter).

To move a beat This process won’t work unless the measure in question has a Beat Chart (see Document Options-Music Spacing or To create a beat chart in one measure. 1. Click the Measure Tool . Two stacked handles appear on each barline. 2. Click the second from the top barline handle of the measure in question. The beat chart appears above the measure. The top row of handles indicates the positions of the beats according to the time signature

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(as they were before you respaced the music). By dragging a handle on the bottom row, you can reposition a beat in all staves at once. When you click on the bottom barline handle, a beat chart appears. The top row of handles indicates the positions of the beats as they’d fall with linear spacing, and the bottom row of handles allows you to move beat positions by dragging them. 3. Drag the desired beat’s handle horizontally. If you press shift while dragging, all handles to the right of the dragged handle move in tandem. If you double-click between two top-row handles, a new handle appears, which governs the position of the beat halfway between the handles on either side. 4. If you double-click any top-row handle (except the first), the Beat Chart Element (#) dialog box appears. See the Beat Chart dialog box for more details.

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Bend hats A bend hat in Finale is just a special kind of slur. See also Slurs. 1. Click the Smart Shape Tool in the Main Tool palette. The Smart Shape Palette and Smart Shape menu appear. Make sure that a checkmark appears next to Attach to Notes in the Smart Shape menu. 2. Click on the Bend Hat Tool in the Smart Shape palette, then position the cursor on the bend's beginning note. 3. Double-click the mouse, holding the mouse button down on the second click. The note will be highlighted and a small bend hat will appear. Continuing to hold down the button, drag the slur to the right until you reach the note marking the end of the attachment. When Finale highlights that note, let go of the mouse button. The new note-attached bend hat appears. To create a bend hat spanning two consecutive notes, just double-click the mouse on the first note. Finale places the bend hat on the adjacent notes. Note that bend hats will convert to Guitar Bend Smart Shapes when dragcopied into a TAB staff with the Selection Tool. See To create tablature notation.

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Blank pages You can create blank pages anywhere in your document. These pages can then be used for dialogue (in an operetta or musical), discussion (in a textbook), or title pages, for example.

To add a blank page anywhere in your document 1. Click the Page Layout Tool . 2. From the Page Layout menu, select Insert Blank Pages. The Insert Blank Pages dialog box appears. 3. Select the number of blank pages, and where you want the new pages to appear in your document. See Insert Blank Pages dialog box. 4. Click OK to return to your score.

To delete a blank page anywhere in your document 1. Click the Page Layout Tool . 2. From the Page Layout menu select Delete Blank Pages. The Delete Blank Pages dialog box appears. 3. Select the blank pages to be deleted. See Delete Blank Pages dialog box. 4. Click OK to return to your score.

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Booklets To print in Booklet form using FinaleScript 1. Set your printer to landscape format. To do this, from the Start menu, choose Settings, Control Panel, then open your Printer settings (the wording depends on the version of Windows). Right-click the desired printer and choose Preferences. Your printer software opens. Here, set the layout to landscape and click OK (exact procedure varies depending on the printer). 2. In Finale, open the file you want to print, then, from the Plug-in menu, choose FinaleScript > FinaleScript Palette. The FinaleScript Palette appears. 3. Scroll down and double-click “Print Booklet”. 4. Double-click the Script Editor button . The FinaleScript Editor appears. 5. Follow the instructions in this script to print your score. For example, if you do not have a printer that is capable of printing on both sides, enter // before print booklet (so FinaleScript will ignore it) and remove the // characters before “print booklet recto” and print 6. Click Save and Close and then click the

button to print the booklet.

To print in booklet form (manually) 1. 2. 3. 4.

Select Page Setup from the File menu. Choose Landscape as the page orientation. Click OK. Check how many pages you have. If the number of pages is not divisible by four (such as 3, 5, 6, 7, 9 etc.), add a blank page to the end of your document. This will allow for staggered printouts. See To add a blank page anywhere in your document. If you have 4, 8, or 12 (etc.) pages of music, you do not need to add a blank page at the beginning. 5. Select Print from the File menu. 6. Select 2-up printing. 7. If you want to run the paper through your printer once and then go to a print shop and copy your 1 page originals to front and back, enter the following numbers (including commas) in the Page Range field then click print. Single page originals to take to a print shop 66

Number of pages with music

Page numbers to type

3

4,1,2,3

4

4,1,2,3

5

6,5,4,1,2,3

6

6,7,7,5,4,1,2,3

7

8,1,2,7,6,3,4,5

8

8,1,2,7,6,3,4,5

9

10,9,8,1,2,7,6,3,4,5

10

10,11,11,9,8,1,2,7,6,3,4,5

11

12,1,2,11,10,3,4,9,8,5,6,7

12

12,1,2,11,10,3,4,9,8,5,6,7

13

14,13,12,1,2,11,10,3,4,9,8,5,6,7

14

14,15,15,13,12,1,2,11,10,3,4,9,8,5,6,7

Blank pages are in bold

8. If you wish to run the paper through your printer twice to have music on both sides of the paper, enter the first row of numbers in the Page Range in the Print Score dialog box. 67

Double-page originals (print twice) Number of pages with music

Page numbers to type for first side

Page numbers to type for second side

3

4,1

2,3

4

4,1

2,3

5

6,5, 4,1

2,3 (Do not place paper with page 5 in printer second time)

6

6,7,4,1

7,5,2,3

7

8,1,6,3

7,2,4,5

8

8,1,6,3

2,7,4,5

9

10,9,8,1,6,3

2,7,4,5 (Do not place paper with page 9 in printer second time)

10

10,11,8,1,6,3

11,9,2,7,4,5

11

12,1,10,3,8,5

2,11,4,9,6,7

12

12,1,10,3,6,7

2,11,4,9,6,7

13

14,13,12,1,10,3,8,5

2,11,4,9,6,7(Do not place paper with page 13 in printer second time)

14

14,15,12,1,10,3,8,5

15,13,2,11,4,9,6,7

Blank pages are in bold

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9. Click Print. 10. Turn the paper over and place back in the Printer to be printed on. 11. Enter the second row of numbers in the Page Range in the Print Score dialog box. 12. Choose Print.

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Boomwhackers® Tuned Percussion Tubes / Chroma-Notes™ Instruments Boomwhackers Tuned Percussion Tubes / Chroma-Notes Instruments are brightly colored plastic tubes that are tuned by length to musical notes. Each pitch is identified with a specific color based on the Chroma-Notes color scheme. Finale supports colored noteheads and its default colored noteheads settings are also based on the Chroma-Notes color scheme used with Boomwhackers percussion tubes and other instruments using the ChromaNotes colors as they become available. Additionally, Finale includes options for starting a new Boomwhackers percussion tube / Chroma-Notes instruments score directly from the Setup Wizard. Note: “Boomwhackers” is a registered trademark under license to, and “Chroma-Notes” is a trademark of, Whacky Music, Inc., of Sedona, Arizona (www.boomwhackers.com). MakeMusic has licensed from Whacky Music, Inc., the use of the “Boomwhackers” and “Chroma-Notes” trademarks and logos, Boomwhackers® tube sounds and Chroma-Notes™ Colored Music colors in Finale. See Also: Staff Tool Simple Entry

To create a new Boomwhackers® Percussion Tubes or ChromaNotes™ Instruments score 1. From the File menu, choose New, then Document with Setup Wizard. 2. Choose the desired Document Style and click Next. For details, see Document Styles. 3. In the list box to the left, click Pitched Percussion. "Boomwhackers(R) Tubes" and "Chroma-Notes(TM) Instruments" appear in the middle list box. 4. Double-click "Boomwhackers(R) Tubes" and/or "ChromaNotes(TM) Instruments" to add it to the list on the right. 5. Click Next and enter a title, composer, and additional information as required. 70

6. Click Next and specify a time signature, key signature, and document details. See Setup Wizard. 7. Click Finish. The document opens based on your settings. Notes are now automatically colored based on the Chroma-Notes color scheme as they are entered. See Simple Entry. Note that although you can enter pitches outside of the Boomwhackers tubes' range, only pitches within the range will sound during playback. The supported range is C2-G5 (see MIDI Note to Pitch Table). The lowest octave requires using specially designed caps on the bass octave tubes.

To apply colored noteheads to an existing score 1. Open the document. 2. Click the Staff Tool . 3. Double-click a staff. The Staff Attributes dialog box appears. 4. Check Colored Noteheads. Click the Define button to the right to open Document Options-Notes and Rests where you can adjust the coloring as needed. 5. Click OK. Repeat the previous three steps for any other staves that require colored noteheads.

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Brackets: Horizontal lines This entry contains instructions for placing a horizontal line or bracket above a staff, with or without a hook at the end, like this:

To draw a horizontal line 1. Click the Smart Shape Tool . The Smart Shape palette appears. (If it doesn’t, choose Smart Shape Palette from the Window menu.) 2. Click the bracket shape you want. There are several types: some are dotted, some solid; some have an upward or downward “hook” at the right end. You can also create a custom line style with a hook using the Custom Line Tool. See Custom lines. 3. Position the cursor in the measure where you want the bracket to begin so that the cursor arrow points to the staff to which you’re attaching it. This is particularly important when you’re working in orchestral scores; if you accidentally attach a Smart Shape to the wrong staff, it won’t appear in the correct staff when the parts are extracted. 4. Double-click; on the second click, hold the button down and drag to the right until the bracket is the correct length.

To move, reshape, or delete a Smart Shape line If the line is already selected, it displays diamond editing handles; if so, skip to the last step. 1. Click the Smart Shape Tool . The Smart Shape palette appears. 2. Click the handle of the shape you want to modify. The shape displays diamond editing handles. 3. Drag the right or left editing handles to change the line’s length. Drag the square handle to move the line. Hint: It’s a good idea to press the shift key just before your double-click and hold it down while you drag; if you do so, Finale will constrain your dragging action to a perfectly horizontal plane, so that your line is perfectly level. You could also rightclick the handle of the line and choose Make Horizontal from the contextual menu after creating the line. 4. Press delete to remove the selected shape.

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Brackets: Notes This entry contains information on creating a bracket ([) used to indicate that several notes are to be played with the same hand (piano music) or by a divisi orchestral section (string music). For information on brackets that connect staves, see Brackets: Staves. For information on triplet (and other tuplet) brackets, see Tuplets.

A bracket that encloses a group of notes is created as an expression in the Shape Designer.

To create a note bracket To create a note bracket, use the Smart Shape Tool. 1. Click the Smart Shape Tool

.

2. Ctrl-click the Custom Line Tool . The Smart Line Designer dialog box appears. 3. Click Create. 4. Set the desired thickness (you might try 0.0215 inches). 5. In the End Point section, for Start and End, select Hook. 6. Enter the desired hook length (you might try 0.04167) inches. 7. Click OK and then Select. 8. Double-click and drag to create a Smart Shape bracket in the desired location. Hold down Shift, and then double-click and drag up or down to create a vertical bracket. The direction of the hooks depend on whether you drag up or down.

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Brackets: Staves You use the Staff Tool to place staff brackets (including “curly braces” on piano staves) into the document. Add brackets to staves by grouping the staves. Drag the top or the bottom handles of a bracket to stretch it, or to change its distance from the staves. To create nested brackets (one bracket within another), group each set of staves that you want the brackets to enclose. Staves can belong to more than one group. You can also create “floating” brackets, unattached to any staves and placed anywhere in the document, for certain modern pieces that require them. Note that Finale’s Setup Wizard automatically generates brackets based on your staff selection. Brackets are also pre-defined in Finale’s template files. After a system has been optimized, edits to groups and brackets only apply to that system. To edit groups and brackets on optimized systems en mass, use the Update Groups and Brackets plug-in.

To place a bracket on grouped staves Finale allows you to define only one bracket for each group you create. However, if you want to place more than one bracket on a group, there’s an easy way to do so. See “To create additional (nested) brackets, below.” 1. Click the Staff Tool . The Staff menu appears. 2. If you haven’t yet created the group, do so now. See Groups—To group staves. 3. Click a group handle, then choose Edit Group Attributes from the Staff menu. Or, double-click a group handle. (Or, choose Edit Group Attributes from the Staff menu without selecting a group.) The Group Attributes dialog box appears. To display the attributes of another group, click the arrow controls to select another Group ID number. 4. Click one of the bracket styles in the Group Attributes dialog box to select the style you want to use for the group. 5. Specify the position of the bracket in relation to the group. In the Distance from Left Edge of Staff text box, enter the distance, in measurement units, that Finale should place the bracket from the left edge of the staff. A negative number moves the bracket to the left. Enter numbers into the Vertical Adjust (Top of Bracket) and Vertical Adjust (Bottom of Bracket) text boxes for the distance to extend the upper and lower ends of the bracket in relation to the top of the top staff and the bottom of the bottom staff, respectively. To align the bracket’s ends evenly with the top and bottom lines of the group, enter a value of zero. A positive number for either option moves the bracket’s end upward. 6. Click OK to add the bracket and dismiss the dialog box. 74

To move or stretch a bracket 1. Click the Staff Tool . Handles appear on every group bracket in the document. 2. Drag the bottom handle up or down. Drag the top handle left, right, up, or down. When you drag the top handle horizontally, the entire bracket moves. When you drag either handle vertically, you can make it appear to enclose even non-grouped staves. 3. Select a bracket handle and press backspace to revert a bracket to its default length (so it encloses the staves of a group).

To correct bracket display In the course of creating a document, you may have added or dragged staves between existing staves. Such changes could have unexpected results, especially concerning the appearance of your brackets. If a bracket doesn’t appear to be drawn correctly, you can usually solve the problem with this technique. 1. Click the Staff Tool . The Staff menu appears. 2. Choose Sort Staves from the Staff menu to restore their appearance, based on the new staff order.

To delete a bracket from a group 1. Click the Staff Tool . 2. To delete a bracket on-screen, click a bracket handle, then press delete. 3. Or, click a group handle, then choose Edit Group Attributes from the Staff menu. (Or, double-click a group handle.) Or, choose Edit Group Attributes from the Staff menu without selecting a group. The Group Attributes dialog box appears. To display the attributes of another group, click the spin controls to select another Group ID number. 4. Select None from the Bracket palette, then click OK. Finale removes the bracket from the group.

To create additional (nested) brackets Finale allows you to define only one bracket for each group using the Group Attributes dialog box. However, you can still place more than one bracket on staves. Simply create additional groups for the same staves, choosing a different bracket style for each group. This has the advantage that each bracket is automatically sized to match its corresponding group.

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Create a new group that contains the staves that you want the bracket to enclose, then choose a bracket for the new group. See To place a bracket on grouped staves earlier in this section.

To modify brackets on a system-by-system basis You can avoid showing a bracket on a group containing a single staff, such as a solo line. If you don’t want a bracket to appear, make sure that Show Bracket If Group Only Contains One Staff is not selected in the Group Attributes dialog box. However, there may be situations where you need the bracket configuration to change from one staff system to another. If you optimize the system (remove any empty staves), you’ll find that you can use the Staff Tool in Page View to rearrange and re-bracket the staves on a system-by-system basis. For details on staff optimization, see Optimizing systems. 1. Choose Page View from the View menu. Two handles appear on staves that have been optimized. 2. Drag to adjust the bracket for the staff system. Or, double-click the group handle for that staff system that you want to change, change the bracket as needed, then click OK. (For instructions, see Groups—To group staves, and To place a bracket on grouped staves, above). Any changes you make will appear only in the single, optimized, staff system. After a system has been optimized, edits to groups and brackets only apply to that system. To edit groups and brackets on optimized systems en mass, use the Update Groups and Brackets plug-in.

To create “floating” brackets A “floating” bracket is unattached to any particular staff; it can appear anywhere on the page. Finale considers such a bracket purely graphic, you can use the Expression Tool to place it. Floating brackets can be especially useful when you need to enclose a group of lyric verses, as shown:

1. Click the Expression Tool . 2. Double-click where you would like to attach the bracket. The Expression Selection dialog box appears. 76

3. Click the Miscellaneous category on the left. You could choose any category you like, but this bracket is unlike most other figures you would add as an expression, so we will add it to the Miscellaneous category. 4. Click Create Misc. Expression, and then click the Shape radio button. 5. Click Create. You arrive at the Shape Designer dialog box. 6. Choose Bracket Style from the Shape Designer menu, and doubleclick the bracket style you want. 7. Click the Bracket Tool , and then click in the drawing area. A bracket appears. To adjust its height or width, click the Selection (arrow) Tool, click the bracket, and drag its bounding handles. 8. Click OK, OK, Assign to return to the score. You can stretch or move the bracket as needed.

To move, stretch, or delete a floating bracket 1. To move or delete the bracket, click the Expression tool. Click the note or measure to which the bracket is attached. Its handle appears. 2. Drag the handle to move the entire bracket. Click the handle and press delete to remove it. To stretch the bracket, double-click the handle, and drag one of the eight bounding handles that appear. To completely reshape the bracket, double-click it a second time, and drag its individual controlpoint handles.

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Breath marks In Finale, a breath mark, or luftpause ( ), is an Articulation; see Articulations. When you create a breath mark using the Articulation Designer dialog box, you can use the H: and V: positioning text boxes to place it automatically just to the right of the note it’s attached to.

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Cadenzas A cadenza—an unmeasured, free, often improvisatory solo passage—presents several notational challenges. First, the notes are often smaller than usual; see Cue notes for instructions. Second, there may be many more notes within a measure than the time signature would normally allow. There are different ways of creating a cadenza, but here are two of the most popular approaches.

See Also Time Signature Measure Tool Measure Attributes

To permit unlimited notes in one measure (Time Signature method) Using this method, you can enter as many notes as you need and modify them easily later. With this method, you can also create inner voices that line up with each other. 1. Click the Time Signature Tool , and double-click the cadenza measure. The Time Signature dialog box appears. 2. Click the top right scroll bar arrow to increase the number of beats in the measure until it equals the total number of beats in the cadenza. For example, a 54/4 measure. 3. Click OK. A time signature appears in the cadenza measure and the next measure. 4. Click the Measure Tool ; double-click the barline handle of the cadenza measure. The Measure Attributes dialog box appears. 5. From the Time Signature drop-down list, choose Always Hide. 6. Click OK (or press enter). Repeat for the measure after the cadenza. Alternatively, you can enter the notes as you would normally and hide the extra barlines. See To hide one barline.

To permit unlimited notes in one measure (Position Notes Evenly method) Using this method, you can make Finale space an unlimited number of notes evenly in a measure, regardless of the meter.

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1. Click the Measure Tool ; double-click the barline handle of the cadenza measure. The Measure Attributes dialog box appears. 2. Select Position Notes Evenly Across Measure. If you want to hide the ending barline (to continue the cadenza onto the next line), click the Invisible barline icon. 3. Click OK (or press enter). Enter the music into the modified measure with the Speedy Entry Tool, after making sure you’ve turned Jump to Next Measure off (in the Speedy menu). Use the slash (/) key to break or create beams within the cadenza. When you exit the measure, the There Are Too Many Beats alert box appears; simply press enter (Make sure that Leave the Measure Alone is selected).

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Cesuras In Finale, a cesura, or “railroad track” ( Articulations.

), is an Articulation; see

Tip: If you make a habit of attaching a cesura to the note that precedes it, you’ll always remember where to click in order to see its handle. When you create a cesura using the Articulation Designer dialog box, you can use the H: and V: positioning text boxes to place it automatically just to the right of the note it’s attached to.

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Channel Pressure Channel Pressure is a type of MIDI information, also called monophonic aftertouch, that describes how much pressure you apply to a key while it’s being held down. Finale lets you record, edit, and play back Channel Pressure information. (Channel Pressure data describes the overall pressure level for an entire MIDI channel at any moment. Contrast with Key Pressure data, which describes the pressure being applied to each individual key; some MIDI devices respond to this kind of data. Finale records and plays back Key Pressure data, but you can’t edit it.) When you record a performance with the Transcription Mode of HyperScribe, you can specify whether or not you want Finale to retain your Channel Pressure data so that you can later hear it applied to the playback of your transcription. For a full description of captured MIDI information, see Finale Tutorials.

To retain Channel Pressure data for score playback To record continuous data, see Record Continuous Data dialog box.

To edit Channel Pressure data 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool . 2. Select the region whose playback data you want to edit. Click to select one measure, shift-click to select additional measures, drag-enclosed to select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit menu. 3. Choose Continuous Data from the MIDI Tool menu. Click Channel Pressure; click OK. If you want to edit only one staff, double-click the highlighted region to enter the MIDI Tool split-window. Drag through the display area above the notes whose Channel Pressure you want to edit. 4. Edit the selected region by choosing the appropriate command from the MIDI Tool menu. Choose Set To to specify a uniform value for the Channel Pressure of all notes in the selected region. Choose Scale to create a gradual change in Channel Pressure values over the selected region. Choose Add to add a positive or negative amount to all notes in the selected region. Choose Percent Alter to change the Channel Pressure values in the selected region by a percentage of their original amounts. Choose Limit to specify a maximum or minimum Channel Pressure value for the notes in the selected region. (See also Set to dialog box; Scale 82

dialog box; Add dialog box; Percent Alteration dialog box; Limit dialog box.)

To copy or erase controller data See MIDI —To copy or erase captured (or edited) MIDI data.

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Character names Character names (opera, musical theater) are Text Expressions entered into your score as expressions. Once you’ve created these markings, you can save them into a Text Expression Library so that you can use them in other documents. For full instructions for adding text markings to your score, see Expressions. You may save time, when adding character names to your score, if you assign each name to a Metatool (a one-key shortcut); see Metatools.

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Choral music See also Hymns; Lyrics. There are no specific instructions for working with choral scores, only a few tips. Work from one of the Setup Wizard's choral Document Styles, a template (a blank, preformatted document—in your Templates folder), or one of your own design. This way, you’ll save yourself the trouble of reconstructing the system each time you create a new document with the same format. To enter choral music quickly, such as SATB (soprano, alto, tenor bass) parts: Use the Simple Entry, Speedy Entry, or HyperScribe Tool (see Simple Entry, Speedy Entry or Recording with HyperScribe) to create the music as a series of four-note chords on one staff. Then use Finale’s Explode Music command to strip the chordal passage into four separate one-line staves. See Exploding music for instructions. If the choir sings a section of homophonic music—where all voices sing the same rhythms and same words—use the Clone Lyric command in the Lyrics menu to copy lyrics from one line to another. This way, if you need to change a lyric, you only have to edit it once (in a single Edit Lyrics window) and the change will ripple through all vocal parts. For setting alignment and justification of syllables with word extensions throughout the document see Document Options-Lyrics. The tenor part is often notated an octave higher than it sounds. Use the Staff Attributes Tool to make the tenor staff a transposing part (see Transposing instruments) or use the Treble 8vb clef for that staff (see Clefs). Remember the Piano Reduction plug-in if you want to create a piano reduction. See Piano Reduction Plug-in.)

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Chord symbols Finale’s chord symbols are intelligent with respect to key; if you decide to change the key, the chord symbols are automatically transposed. Similarly, if you copy chord symbols to a passage in another key (or instrument transposition), they’ll be transposed when you paste them. Even Finale’s guitar fretboard diagrams, which can be created automatically, transpose according to the key. If you’re going to add chord symbols to your score, note that you can change chord suffix fonts either globally, by region, or one by one; see the appropriate sub-entries. See also Fonts and Document Options-Fonts for help in choosing fonts to meet your needs. Note that Finale offers two systems of chord labeling. The primary method operates according to the standard rules of chord theory and allows Finale to “recognize” almost any kind of chord it encounters—major, minor, augmented, diminished, suspended, sevenths, ninths, elevenths, and so on, even with alternate bass notes. Occasionally, however, you’ll want to create a chord that Finale doesn’t ordinarily recognize, such as C V/11, or you’ll want Finale to think of a certain chord in a different way. For example, where Finale displays Am7/C, you may prefer C6. For these situations, you can use Finale’s second system of creating chords: you can create a learned chord, a symbol that you’ve defined to represent a particular pattern of notes. Once you’ve defined a learned chord, Finale will correctly identify it in the future, regardless of the voicing or register, and automatically display the correct symbol. Instructions for creating and editing learned chords appear below. Note, however, that Finale will only recognize a learned chord if the root of the chord falls on the same scale degree as the one you originally taught it. For example, if you teach Finale to recognize a C6 in the key of C, it won’t recognize F6 or G6 in the key of C. It will, however, recognize an A6 in the key of A, because the A6 is built on the same scale degree in A as the C6 was in C. In other words, it’s sometimes helpful to define the same learned chord for several different scale degrees within a single key—such as C6, F6, and G6 in the key of C.

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See also: Chord Tool

To enter chord symbols automatically All three methods of adding chord symbols automatically depend on Finale’s intelligence in recognizing patterns of notes. Occasionally, you may encounter a dialog box telling you that Finale doesn’t recognize the chord you just played (or the chord it just analyzed). If you click the I’ll Do It button, Finale displays the Chord Definition dialog box; construct the chord as described in To define and enter a chord symbol manually. At that point, you will be building a learned chord; in other words, Finale will recognize the chord the next time. Read the introduction to this entry for details on learned chords. If you click Let Finale Do It instead, Finale will construct the correct suffix automatically, displaying the chord symbol on the screen and adding its suffix to its current library of chord suffixes. If you don’t care for Finale’s labeling of a chord (for example, if it calls a chord “Gm7” but you prefer “G–7”), you can edit the chord suffix (see To edit a chord suffix). If, however, you disagree with Finale’s analysis of a chord (for example, if it calls a chord Am7/C but you prefer C6), remove the chord symbol from the score. Then teach Finale how you’d like the chord to be recognized henceforth (as a learned chord), using the procedure described below in To teach Finale learned chords, and reenter the chord. 1. Click the Chord Tool . The Chord menu appears. 2. Ensure Manual Input is checked under the Chord menu. 3. If you want to add chord symbols to the score by playing them, one by one, on a MIDI keyboard, choose Allow MIDI Input from the Chord menu, and then click a beat in the score. The blinking cursor appears. Play a chord, in any register, on your synthesizer; Finale places the chord symbol into the score, aligned with the baseline (controlled by the four triangles at the left side of the screen). If you don’t play the chord in root position, Finale writes it as a chord-slash-bass note, as in “Am/E.” (You can use this same blinking cursor to type chords into the score. See To type-in chord symbols.) Press a single note within an octave above Middle C to advance the cursor to the next note/beat. Press a single note within an octave below Middle C to move to the previous note. Play a single note above/below middle C to advance forward/backward by full measures. Play middle C when an existing chord is highlighted to move the cursor up. 87

4. If you want Finale to analyze a chord notated in the score, choose One-Staff Analysis, Two-Staff Analysis, or All-Staff Analysis from the Chord menu (depending on which notes you want to analyze), and then click the chord. Finale immediately analyzes the chord you clicked, and places the chord symbol into the score. Click again on each note or beat for which you want a chord symbol to appear.

To type-in chord symbols 1. Click the Chord Tool . The Chord menu appears. 2. From the Chord menu, Choose Manual Input. 3. Click the note or beat on which you want the chord to appear. A cursor appears above the staff, aligned with the chord positioning triangles. 4. Type the chord that you want to appear in the score, such as “BbM7/C”. Type an underscore (shift-hyphen) instead of a slash if you want the alternate bass note (C in this example) placed under the root.

5. Alternatively, type a colon followed by the slot number of the suffix shown in the Chord Suffix Selection dialog box. Or, type a colon followed by zero. If you type a slot number, Finale displays the corresponding suffix from the Chord Suffix Selection dialog box. If you type a zero, the Chord Suffix Selection dialog box appears, where you can choose a suffix. See keystroke table for a list of keyboard shortcuts you can use to quickly enter chord symbols.

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Note: Regardless of the chord style selected in the Chord Style submenu, you must type letters (C, D, E and so on) for the chord root and alternate bass note. Finale will not accept Roman numerals (I, IV, V and so on) or scale degrees typed into the score. For example, when Roman is selected (a checkmark appears next to Roman in the Chord Style submenu), you’d type the letter “F” to display IV in the key of C Major. 6. Type uppercase letters unless you want the root and alternate bass note to use lowercase letters. For example, Roman numerals typically indicate quality (I for Major, ii for minor), so in the key of C Major, you’d type a lowercase “d” to display “ii” in the score (as opposed to “II” that appears if you type an uppercase “D”). Tip: Use the Caps Lock key when you know you want only uppercase chords.

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7. Press enter to accept the change. Or, press spacebar, or shift-right arrow to move to the next entry. Press tab to move to the next measure, or click the next beat on which you want a chord to appear. To move to the previous entry, press shift-spacebar or shift-left arrow. To move to the previous measure, press shift-tab. If Finale doesn’t recognize the suffix a dialog box appears in which you can choose to add the suffix to the chord suffix library. 8. If you want to enter or edit another alternate chord on the same note, press the up or down arrows. 9. Continue entering the chords in this manner. See Chord/Manual Input for tips, additional keyboard shortcuts, and more information regarding typing-in chord symbols.

To play-in chord symbols (MIDI data input) Instead of creating a chord symbol by typing numbers and clicking a chord suffix, you can play this data from your MIDI keyboard. 1. Click the Chord Tool . Check both Manual Input and Allow MIDI Input under the Chord menu. 2. Click the beat on which you want the chord to appear. A blinking cursor appears. 3. Play the chord on your MIDI keyboard. Finale inserts the chord played, taking into account the alternate bass, and moves the cursor to the next beat. 4. Play a note within the octave above/below middle C to move the cursor forward or backward a beat.

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5. Play a note higher/lower than an octave above/below middle C to move the cursor forward or backward full measures. Play middle C when an existing chord is highlighted to move the cursor up.

To edit chords directly in the score 1. 2. 3. 4.

Click the Chord Tool . The Chord menu appears. Choose Manual Input from the Chord menu. Double-click on the chord symbol you want to change. If more than one chord is assigned to the same note, press the up and down arrows to select the chord you want to edit. 5. Select the portion of the chord you want to change, and type the change. 6. Press enter to accept the change. Or, press spacebar, or shift-right arrow to move to the next entry. Press tab to move to the next measure, or click the next beat on which you want a chord to appear. To move to the previous entry, press shift-spacebar or shift-left arrow. To move to the previous measure, press shift-tab. If Finale doesn’t recognize the suffix a dialog box appears in which you can choose to add the suffix to the chord suffix library.

To define and enter a chord symbol manually 1. Click the Chord Tool . From the Chord menu, choose Manual Input. 2. Double-click the beat on which the chord symbol is to be attached. The Chord Definition dialog box appears. 3. Click on the Show Advanced button. The dialog box expands to show the Number Definition. 4. Enter the root scale tone number. If there’s a different bass note, click Alternate Bass and enter its scale tone in the Alternate Bass text box. For an F/G chord in the key of C, for example, the Root Scale Tone (F) is 4, the Alternate Bass is 5. 5. If you need to alter the scale degree chromatically, type a number into the Alteration boxes. This number, positive or negative, alters the scale tone by half steps. To create an A chord in the key of F, for example, the Root Scale Tone is 3 (the third note of the scale) and the Alteration is –1. Note the Alteration box is especially important if you want a chord symbol that’s out of the key and Simplify Spelling is turned on in the Chord menu. Suppose, for example, that you’re in the key of A, but you want an A flat chord symbol. You might assume that entering a scale degree of 1 (A) 91

and an Alteration of –1 would do the trick—but in fact, you’d get a G chord symbol. To solve the problem, enter 2 in the Root box, and –3 in the Alteration box. In effect, you get an A flat chord symbol by specifying a B triple-flat. 7. Click Select button next to Suffix. The Chord Suffix Selection box appears. If you have loaded or created a Chord Suffix Library, the suffixes appear here. 8. Double-click the desired suffix. If there are no suffixes in the palette, either click Create to create a new suffix, or load a chord-suffix library, as described inTo create or load a Chord Suffix Library. If you don’t want the chord symbol to play back, uncheck the appropriate Play box. 9. Click OK (or press enter).

To edit chords (Manual Input) 1. Click the Chord Tool . The Chord menu appears. 2. Choose Manual Input from the Chord menu. 3. Right-click the chord symbol you want to edit (or select the handle and press Enter) and choose Edit Chord Definition. The Chord Definition dialog box appears. 4. Make the necessary changes in the Chord Definition dialog box. To force the root or alternate bass to appear in lowercase, click Lowercase to select it. If you want the root or alternate bass to appear in uppercase, make sure that Lowercase is not selected. 5. Click OK to return to the document, where the changes now appear.

To edit a chord suffix When you edit a chord suffix, the changes you make affect every occurrence of this chord suffix in the score. 1. Click the Chord Tool . Choose Manual Input from the Chord menu. 2. Right-click the chord symbol you want to edit and choose Edit Chord Definition. The Chord Definition dialog box appears. 3. Click Edit Chord Suffix ID. The Chord Suffix Editor appears. In this window, you edit each character in the chord suffix individually, moving from one to the next with the Prev and Next buttons. 4. Change a character by editing the Symbol box. You can only type one letter at a time into this text box, unless you select Number, which lets you type a multidigit number into the box. Instead of typing a character into the 92

Symbol box, you can simply click Symbol, and you’ll see the complete palette of characters for the selected font. Note that you can prefix any chunk in the suffix box with a +, -, character: click Prefix With and select the appropriate button.

or

6. Change the type style of the current character by clicking Set Font. Remember, you must set the font for each character individually. Be careful to match this chord suffix font with a complementary chord root font (which you choose in Document Options-Fonts. From the Document menu, choose Document Options and select Fonts). You can also change the font for all chord symbols in a piece; see To change chord symbol fonts. 7. Adjust the position of a character by dragging its handle. To produce its handle, you must be editing this character (move from one to the next with the Prev and Next buttons). Alternatively, you can type coordinates into the H: (how far to the right?) and V: (how high up?) boxes. The units are whatever you’ve selected using the Measurement Units command (Edit menu). (The numbers you type, however, won’t affect the display until you click the Update box.) If you’re having trouble positioning a character because the square handle obscures it, de-select the Show Handles checkbox. The handles become invisible but are still draggable—just click where a handle used to be. 8. Define the voicing this suffix is to use for playback by clicking Set Play. The Suffix Keynumber Offsets box appears, presenting a series of text boxes into which you can type the numbers that represent the notes of the suffix, as measured in half steps from the root. A quick way to enter this data is to click Listen; Finale displays a message asking you to play the root of the chord, so it will have a point of reference from which to compute the keynumber offsets. Immediately after you do so, Finale tells you that it’s still listening; now play the suffix itself. Finale enters the appropriate numbers in the text boxes. See Suffix Keynumber Offsets dialog box. Remember that even though you just played a specific root and voicing, this suffix will remember the voicing no matter what its root—you define the playback voicing for your Fmaj7, Emaj7, and Cmaj7 chords all at once, for example.

To teach Finale “learned chords” (For a full description of learned chords, see Chord symbols. These instructions describe how to teach Finale several learned chords before you enter them with either of the automatic chord symbol entry methods described above. Of course, you can always create a learned chord while you’re entering chord symbols; when Finale displays its Unknown Chord Suffix“Finale cannot

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find a match” dialog box, click I’ll Do It. The chord you then construct in the Chord Suffix Editor dialog box is a learned chord.) If you plan to enter chords from your MIDI keyboard (or by letting Finale analyze existing chords in the score), you can save time by anticipating the learned chords you’ll need to teach Finale. For example, if your piece contains “V11” chords (such as F/G or Dm7/G), major sixth chords, or any chords with nonstandard names (C2, for example), use this method to teach them to Finale before you enter them. Once Finale has learned such chords, it will automatically display the proper symbol when it encounters them (via MIDI or by analyzing the notes in the score). 1. Click the Chord Tool , and choose Edit Learned Chords from the Chord menu. The Edit Learned Chords dialog box appears. Remember that Finale always associates a learned chord with a particular scale degree; therefore, if the key signature in the display isn’t the correct one for the music to which you’ll be adding chord symbols, click the Set Key button and specify the correct key, so that Finale will be able to recognize the new chord in the correct context. 2. Click Learn. Finale asks you to play the chord on your MIDI keyboard. 3. Play the chord. What counts is the bass note and the selection of pitches in the chord; the voicing and the octave register don’t matter. As soon as you play the chord, Finale displays the Chord Definition dialog box, where you can build the actual chord symbol you want to associate with the pattern of notes you just played. 4. Construct the chord symbol in the usual way. Click OK (or press enter). See To define and enter a chord symbol manually or To enter a chord symbol manually with MIDI data input, for instructions in the use of the Chord Definition dialog box. When you return to the Edit Learned Chords dialog box, you can once again click Learn to repeat the process, teaching Finale as many new chord symbols as you want. Note that Finale stores learned chords along with regular Chord Suffixes in a Chord Suffix Library (see To create or load a Chord Suffix Library). Therefore, you can load the learned chords you create in one document into another one without having to redefine them. 5. Click OK (or press enter). The next time you add chord symbols to your score using Finale’s automatic (MIDI or note-analysis) methods, Finale will recognize the chord you’ve just taught it, and it will display the chord symbol you’ve told Finale to use. (Finale will also recognize the learned chord in other keys—but only if it falls on the same scale degree. That is, if you teach Finale to recognize Csus2 in the key of C, it will also recognize Fsus2 in the key of F—but it won’t recognize Fsus2 in the key of C, unless you teach it that chord too.) 94

To edit or delete a learned chord 1. Click the Chord Tool , and choose Edit Learned Chords from the Chord menu. The Edit Learned Chords dialog box appears. 2. Click Find. Finale asks you to play the learned chord you want to edit. (If you prefer to locate the chord you want to edit by scrolling through the existing learned chords, click the Prev and Next buttons until it appears in the display.) 3. Play the chord. If Finale recognizes what you played as a learned chord that it already knows, the corresponding chord symbol appears in the display. (If Finale doesn’t recognize the chord you played, it will tell you so, and offer you the option of adding it to its existing bank of learned chords.) At this point you can edit the chord in one of several ways. To delete it, click Delete. To edit the chord symbol itself, click Edit to enter the Chord Definition dialog box. 4. When you’re finished editing, click OK (or press enter).

To move chord symbols up or down 1. Click the Chord Tool . 2. Click the staff containing the chord symbols. Four small arrows appear at the left edge of the screen. These arrows control the baseline for the chord symbols—the line against which the bottoms of the chord symbols align. (Make sure Position Chords is selected in the Chord menu.) 3. If you want to move more than one chord symbol, drag the positioning triangles up or down. Drag the first (leftmost) triangle up or down to move all the chords in the piece. Drag the second triangle to move the chords in this staff only, regardless of the position of the leftmost triangle. Drag the third triangle, in Page View, to move the chords in this staff in this system only. Dragging the rightmost triangle doesn’t move any existing chord symbols; instead, it sets the position for the next one you enter.

To transpose chord symbols Finale’s chord symbols are intelligent enough to transpose automatically when you change the key signature; a Cmaj7 in the key of C will become an Fmaj7 in the key of F. If you inadvertently enter chord symbols before setting the key signature, however, you can use the following method to transpose the chord symbols independently of the key and the existing music.

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1. Click the Selection Tool , and select the region containing the chord symbols that you want to transpose. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Change, then Chord Assignments. The Change Chord Assignments dialog box appears. 3. Click Transpose. The Transposition dialog box appears. 4. Specify the interval by which you want the chord symbols transposed, and click OK. Click OK again.

To erase chords from a region 1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. Choose Clear Selected Items from the Edit menu. The Clear Selected Items dialog box appears. 3. Click the None button to uncheck all, then check "Chords and Fretboards." 4. Click OK (or press enter) . Finale erases the chord symbols.

To copy chords from one region to another In this discussion, the source region is the music that currently contain the chords, and the target region is the music to which you want to copy them. 1. Click the Selection Tool . Choose Edit Filter from the Edit menu. The Edit Filter dialog box appears. 2. Select Chords (only). Click OK. 3. Select the source region. See Selecting music for some region-selecting shortcuts. 4. Drag the highlighted region so that it’s superimposed on the beginning of the target region. If the target passage is offscreen, scroll to it; then, while pressing ctrl and shift simultaneously, click it. The chords will automatically transpose if the source and target passages are in different keys.

To change the display or position of all chord symbols in a region See To prevent chord symbols from playing back and Change Chord Assignments.

To prevent chord symbols from playing back

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To prevent all chord symbols from playing back, from the Chord menu, uncheck Enable Chord Playback. However, you can also prevent chord playback individually, and for specified staves... When you create a chord symbol, the Play checkboxes in its Chord Definition window are initially selected—in other words, the chord will play back unless you specify otherwise. Unchecking the Play checkboxes for each chord symbol would be one way to prevent the chords from playing, but it’s a technique best used on a case-by-case basis. To prevent all chord symbols in a staff from playing back, use the following technique. 1. From the Window menu, choose Instrument List. The Instrument List appears. 2. Click on the arrow next to the name of the staff that has chords attached. The list expands to display the components of the staff, including Chords. 3. Click the square next to Chords in the M column. The chord symbols are now muted for this staff.

To program a chord symbol Metatool You can assign a complete chord symbol to each of the number keys and each of the letter key on your keyboard, for use as described below in To enter a chord using a Metatool. 1. Click the Chord Tool . While pressing shift, press a number or letter key. The Chord Definition dialog box appears. 2. Define the chord. See To define and enter a chord symbol manually and To enter a chord symbol manually with MIDI data input for full instructions on creating chord symbols. 3. Click OK (or press enter). When you return to the document, it will appear as though nothing has happened. In fact, you have prepared Finale to enter the chord you just described whenever you use the Metatool. See To enter a chord symbol using a metatool.

To enter a chord using a Metatool This example assumes that you have programmed a Chord Symbol Metatool (see above). 1. Click the Chord Tool . 2. While pressing the number or letter key corresponding to the desired Metatool, click a note, rest, or beat. The chord symbol appears. Using this method, you can rapidly click fully-formed chord symbols into your score. 97

To create or load a Chord Suffix Library Once you’ve created or edited chord suffixes (or taught Finale to recognize “learned chords”) in a document, you can save them in a separate library with its own title and icon on your hard disk. The next time you want to add chord symbols to a piece, you can load this library, thus saving yourself the time it would take to create or edit the chord symbols (or learned chords) again. 1. To make a Chord Suffix Library of the chord suffixes and learned chords in a piece, choose Save Library from the File menu. The Save Library dialog box appears. 2. Click Chord Suffixes, and then click OK (or press enter). You’re then asked to title the new library. 3. Type in a title and click OK (or press enter). The next time you want to add those chord symbols to a piece, simply load the library you just created (choose Load Library from the File menu) and enter chord symbols in the usual way.

To change chord symbol fonts This entry provides a quick way to change the font and size of the chord symbols and suffixes in your entire piece. 1. To change the font for the chord-symbol letter name, from The Document menu, choose Document Options and select Fonts. The Font Options appear. 2. Click Symbol. The Font dialog box appears. You’re about to choose a typeface for the root portion of all chord symbols in the piece—that is, the “C” portion of “Cmaj7.” 3. Make your type style selection; then click OK twice. 4. To change the font for chord-symbol suffixes, click the Chord Tool . You’re now going to be changing the font for the suffix—for example, the “maj7” portion of your chord symbols. 5. From the Chord menu, choose Change Chord Suffix Fonts. The Change Chord Suffix Fonts dialog box appears. 6. To change the entire library of chord suffixes at once, click the Set Font button in the lower half of the screen. The FontFont dialog box appears, letting you specify new font, size, and style characteristics for the suffixes. To change one aspect of the suffixes—such as the size—select the appropriate checkbox in the upper half of the Font dialog box. Click Set Font to specify which point size you want to replace (such as all 12-point elements). Then repeat the process in the lower half of the Font dialog

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box, this time clicking the lower Set Font button to specify a new point size. Similarly, you can, in effect, search-and-replace for one specific type style and replace it with another; Finale will leave suffixes in other type styles untouched. For example, in the upper half of the Font dialog box, you could click Selected Fonts, then click all three checkboxes, click Set Font and specify Times New RomanGeneva 12-point Plain. Repeat the process in the lower half of the FontFont dialog box, but this time choose, for example, Helvetica 10-point Italic; Finale would replace every occurrence of the former type style with the latter. Finally, for best results, be sure that the Fix Chord Suffix Spacing checkbox is selected, so that Finale automatically adjusts the individual characters in each chord suffix to compensate for the new font and size. 7. Select a type style, and then click OK. You return to the document, where Finale has changed the font for your chord suffixes. Finale is smart enough, however, not to change any musical symbols within the suffix, such as the in F7 9.

To left-justify chord symbols above the notes Generally, Finale centers each chord symbol above the note to which it’s attached. If you wish, you can specify that each chord symbol be left-justified, so that the first letter of the chord name falls above the note to which it’s attached.

To move chord symbols individually 1. Click the Chord Tool . Chord handles appear. 2. Drag the chord's handle to move the chord. Select it and press the arrow keys to “nudge” it for fine positioning. The chord's attachment indicator line extends to the attached beat.

Fretboards accompany chord symbols when dragged or nudged individually. Drag or nudge a fretboard handle to reposition the fretboard diagram relative to its chord symbol.

To define a chord symbol manually with MIDI input 99

1. Click the Chord Tool . Choose Manual Input from the Chord menu. 2. Double-click the beat on which the chord symbol is to be centered. The Chord Definition dialog box appears. 3. Click the Listen box at the top right side of the box. Play the root scale tone on your synthesizer. Finale automatically fills in the Root Scale Tone and Alteration text boxes for you. 4. Click the second Listen button. Play the bass note on your synthesizer. If the bass note is different from the root, Finale fills in the Alternate Bass text boxes. 5. Click the third Listen button. Play the rest of the chord on your synthesizer. Finale will only fill in the Suffix ID if it recognizes the suffix—in other words, if it matches a suffix definition in its Chord Suffix Library. (If no library has been loaded, or if Finale doesn’t find a match, nothing happens.) 6. Click OK (or press enter).

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Chords This entry discusses chords as several notes played together. For information on chord symbols, see Chord symbols. To edit chords, you can use the Simple Entry Tool or the Speedy Entry Tool. You use the Special Tools Tool if you want to rearrange the notes of a cluster chord.

To add notes to (or remove notes from) a chord 1. Click the Speedy Entry Tool , and click the measure in question. 2. Position the insertion bar on the existing note or chord. Position the crossbar on the desired pitch. You can position the cursors either by clicking or by using the arrow keys. 3. Press enter or double-click (to add a note where none exists), or press backspace or shift-delete (to remove the note from the chord).

To change the pitch of a chord 1. Click the Speedy Entry Tool , and click the measure in question. 2. To change the pitch of a single note within the chord, drag it up or down. 3. To change the pitch of the entire chord, double-click one of its notes; on the second click, hold the button down and drag the entire chord up or down.

To change the enharmonic spelling of a chord 1. Click the Speedy Entry Tool , and click the measure in question. 2. Position the insertion bar on the chord. You can position it either by clicking or by using the arrow keys. 3. Position the crossbar on the note (to change a single pitch) or the stem (to change the “spelling” of the entire chord). 4. Press the 9 key. Each time you press 9, the note or chord changes its enharmonic spelling.

To rearrange the noteheads of a cluster chord 1. Click the Special Tools Tool


2. Click the Notehead Position Tool notehead.

. A handle appears on every

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3. Drag the noteheads horizontally. If the handles are in your way, deselect Show Handles; the handles are now invisible (but the notes are still draggable). If you make a mistake, click the handle and press delete to restore the notehead to its default position.

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Clefs See also Courtesy clef changes. The clefs in Finale are intelligent: if you change a clef, the music that follows it is automatically renotated to reflect the change. Finale can use eighteen different kinds of clefs per piece, shown below (see To design a new clef, below), but you can re-define any of these symbols or their effects on the notated music.

To set the starting clef for a staff This method is suggested when you are also setting up other attributes of the staff, such as its instrument name and transposition. Keep in mind, though, that you can also use the Clef Tool (as described below) to perform the same function. 1. Click the Staff Tool , and then double-click the desired staff. The Staff Attributes dialog box appears. 2. Click the Select button near the words First Clef. The Clef Selection dialog box appears. 3. Double-click the clef you want. Click OK (or press enter).

To insert a clef change at the beginning of a measure You can also use this method to set the clef at the beginning of a staff. 1. Click the Clef Tool . Double-click the measure where you want the clef to change. The Change Clef dialog box appears. 2. Click to highlight the clef you want. 3. In the Measure__ Through __ text boxes, enter the measures you want to be affected by this clef change. When you enter the dialog box, both text boxes show the current measure number. If you want the clef to change all measures to the end of the piece, choose the second measure region button in the dialog box. 4. Click OK (or press enter).

To apply a clef change to a region of measures 1. Click the Clef Tool . 2. Highlight a region of measures. 3. Double-click the highlighted region. The Change Clef dialog box appears. 103

4. Choose the new clef and click OK. Also, after selecting a region, press the metatool key assigned to the clef you want apply to the region. The clef change applies to the highlighted region. See Metatools.

To insert a mid-measure clef change 1. Click the Clef Tool . 2. Highlight a measure region that begins where you would like to place the clef change and/or ends where you would like to change back to the original clef. If the selected region begin/ends at a barline, a midmeasure clef is not required and Finale adds the clef change to the left of the barline. See Selecting Music. 3. Double-click the highlighted region (or press Enter). The Change Clef dialog box appears. Notice the numbers in parentheses to the upper left of every clef.These are clef metatools. After highlighting a region, you can simply press one of these letters to apply the corresponding clef. See To use a clef metatool. 4. Choose the new clef and click OK. You return to the document with the clef—which now has a handle—at the beginning of the staff. Drag the clef’s handle right or left to position it as desired. The notes before and after it will be renotated automatically.

To change a clef you’ve inserted in mid-measure 1. Click the Clef Tool . 2. Double-click the handle; on the second click, hold the button down and drag left or right. As you drag the clef, its identity cycles through the eighteen standard clefs. Another way to edit the clef is to right-click its handle and choose Edit Clef Definition. You reenter the Mid-Measure Clef dialog box, where you change the clef itself, its size, or its position.

To change the default clef When you add a staff to the score, it initially appears with a treble clef. You can change this default clef, so that any new staff appears with another clef. 1. From the Document menu, choose Document Options, then select Clefs. The Clef options appear. 2. Under the heading Default Clef Change, click Select. The Clef Selection dialog box appears.

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3. Double-click the desired default clef. Click OK (or press enter). Now any new staff you create with the Staff Tool will appear with the default clef you specified.

To hide a clef 1. Click the Clef Tool . Double-click the measure where you want hide the clef. If you want to hide a mid-measure clef, right-click the midmeasure clef handle. The Change Clef dialog box (or the Mid-measure Clef dialog box) appears. 2. Select Never in the Show Clef section. 3. Click OK.

To design a new clef You’re not limited to using the traditional clefs in Finale; you can create your own clef, using any symbol, with any notational meaning. You can even create your own clef in the Shape Designer; see To design a shape clef. Each document you create can have eighteen clefs; in order to create your own, therefore, you’ll have to replace one of the eighteen default clefs. You can save your newly designed clef into a Clef library, so you can use the same clef in new documents. See Save Library dialog box. 1. From the Document menu, choose Document Options, select Clefs, then click the Clef Designer button. The Clef Designer dialog box appears. 2. Click on the clef whose characteristics you want to alter. 3. Next to Character, click Select. A palette of all available characters in the currently selected font appears. To change the font for this clef, click on Set Font and choose a different font. To change the font for all clefs, see Document Options-Fonts. If you don’t see a font character you want, see To design a shape clef. 4. Double-click the desired symbol. 5. Set the middle-C line for this clef by typing a number into the Middle C Position text box. A value of zero places middle C on the top line of the staff; this number indicates the number of lines or spaces that middle C is to be positioned away from this top line. For example, the treble clef, which places middle C one ledger line below the staff, has a Middle C Position value of –10, because one ledger line below the staff is ten lines and spaces down from the top line of the staff (whose number is zero). 6. Set the vertical positioning of the clef symbol by typing a number into the Clef Position text box. This value, measured in lines and spaces, determines where the new clef will sit on the staff. A value of zero places the baseline of the clef on the top line of the staff. Note that the baseline of a clef is based on its musical meaning, and isn’t quite the same as the 105

baseline for regular text. For example, the baseline of the treble clef isn’t the bottom of the character—it’s the “curl” that sits on the G line of the staff; the baseline of the bass clef is centered between the two dots (the F line), and so on. Thus the Clef Position for the treble clef is –6, six lines and spaces lower than the top line of the staff. 7. If you’re using a font other than Maestro, Petrucci, Engraver or Sonata, select Musical Baseline Offset and type a value into the text box. This number sets the distance, in lines and spaces, between the normal baseline for the clef (as defined in the previous step) and its vertical position when it occurs as a clef change in the middle of the score, and hence at a reduced size. Finale positions clefs automatically if the Maestro, Petrucci, Engraver or Sonata music font is selected as the default music font, but symbols from a font you design yourself might require this extra adjustment. 8. Click OK (or press enter). From now on in this document, any time you access the palette of clefs, you’ll see the new clef represented as one of the eighteen available. Any music that follows it will be notated according to the definition of middle C (and the “stem-flipper” value) you’ve created. If you want to use this clef in other documents, see Save Library dialog box.

To design a shape clef You’re not limited to a shape found in a font; you can combine font characters, draw free-hand or mix-and-match shapes. Each document you create can have eighteen clefs; in order to create your own, therefore, you’ll have to replace one of the eighteen default clefs. 1. From the Document menu, choose Document Options, select Clefs, then click the Clef Designer button. The Clef Designer dialog box appears. 2. Click on the clef whose characteristics you want to alter. 3. Set the middle-C line for this clef by typing a number into the Middle C Position text box. A value of zero places middle C on the top line of the staff; this number indicates the number of lines or spaces that middle C is to be positioned away from this top line. For example, the treble clef, which places middle C one ledger line below the staff, has a Middle C Position value of –10, because one ledger line below the staff is ten lines and spaces down from the top line of the staff (whose number is zero). 4. Set the vertical positioning of the clef symbol by typing a number into the Clef Position text box. This value, measured in lines and spaces, determines where the new clef will sit on the staff. A value of zero places the baseline of the clef on the top line of the staff. Note that the baseline of a clef is based on its musical meaning, and isn’t quite the same as the baseline for regular text. For example, the baseline of the treble clef isn’t the bottom of the character—it’s the “curl” that sits on the G line of the staff; the baseline of the bass clef is centered between the two dots (the F line), 106

5.

6.

7. 8.

and so on. Thus the Clef Position for the treble clef is –6, six lines and spaces lower than the top line of the staff. Select Musical Baseline Offset and type a value into the text box. This number sets the distance, in lines and spaces, between the normal baseline for the clef (as defined in the previous step) and its vertical position when it occurs as a clef change in the middle of the score, and hence at a reduced size. Click on Shape, then Select, then Create. The Shape Designer appears. Finale provides a template of the staff lines, to give you an idea of size and position when your clef appears in the score. A small origin circle marks where Finale will begin the clef horizontally and the Clef Position vertically. You’ll probably want to draw your shape close to the origin circle, unless you want extra space before this clef. If you want to create extra space after this clef, insert a blank character to the right of the clef. (For extra space before or after all clefs, see Document Options-Clefs.) To change the line of the origin circle, see the Clef Position earlier in this text. To insert a text character, click on the Shape Designer menu and choose Set Font. Select a font, then return to the Shape Designer. You can now click on the Text Tool, then click on the window to type a character in the selected font. For more details about using the Shape Designer, see See Shape Designer. Press enter twice. You return to the Clef Designer dialog box. Click OK twice. You return to the document. From now on in this document, any time you access the palette of clefs, you’ll see the new clef represented as one of the eighteen available. Any music that follows it will be notated according to the definition of middle C (and the “stem-flipper” value) you’ve created. If you want to use this clef in other documents, see Save Library dialog box.

To change the horizontal positioning of starting clefs 1. From the Document menu, choose Document Options, then select Clefs. The Clef options appear. 2. Enter new values in the Spacing text boxes. There are two text boxes next to the word Clef, both of which affect the horizontal placement of clefs throughout the piece. The Before text box determines how much space Finale will insert between the left barline and the clef itself. The After text box determines how much space will be between the clef and the key signature. The units are whatever you’ve selected using the Measurement Units command (Edit menu). (To change the global vertical positioning of clefs, see To design a new clef, above.) 3. Click OK (or press enter).

To globally change the position and size of inserted clefs

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When the clef for a staff changes in mid-score, it’s customary to print that inserted clef at a slightly reduced size. Depending on the symbol and font you’re using, you may also need to adjust the reduced clef’s horizontal position (distance from the barline) on the staff. The vertical position of such a clef is determined in the Clef Designer (see To design a new clef, above). Here’s how to modify the percentage reduction and position of an inserted clef. 1. From the Document menu, choose Document Options, then select Clefs. The Clef options appear. 2. Enter a new percentage value in the Default Clef Change/Percent text box. The number here is the reduction (or enlargement) you want applied to an inserted clef, relative to 100% (normal size). 3. To adjust the horizontal placement of an inserted clef, enter a new value in the Default Clef Change/Offset text box. This number determines the distance between the clef and the following barline or notes. (Again, the units are the currently-selected Measurement Units.) A negative number moves the clef farther to the left. 4. Click OK (or press enterr).

To specify the location of key-signature accidentals in a nonstandard clef If you create your own clef, you can specify which octave each accidental appears in as you cycle through the circle of fifths. For example, on which F sharp line or space should the first sharp appear (in the key of G)? To specify this parameter, see Accidental Octave Placement dialog box. See also, Middle C Position in the Clef Designer dialog box.

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Click and Countoff Use the settings in the Click and Countoff dialog box to define the metronome click played when you’re recording with HyperScribe or playing back using Playback Controls. Specify the number of measures, if any, you want counted off prior to recording. Set when you want to hear a metronome click, whether a MIDI note or a MIDI event will be played for the click, its exact sound, how hard the note should be “struck”, its duration, and whether Finale should wait for a start signal before starting countoff and recording. If you have selected Tap as your Beat Source Finale will ignore the settings in this dialog box. For more information about click and countoff settings, see Click and Countoff dialog box.

To set up countoff measures and the metronome click (for Playback and HyperScribe recording) 1. From the MIDI/Audio menu, choose Click and Countoff to display the Click and Countoff dialog box. 2. Choose an option from the Countoff drop-down list to set when Finale will provide a countoff of measures before starting to record or play back. Choose Never if you never want a countoff; choose Always if you always want a countoff when you’re playing back and recording; choose While Playing or While Recording if you want a countoff only while playing back or only while recording, respectively. Finale will always sound a click when playing countoff measures. 3. In the Measures text box, enter the number of measures that you want Finale to count off before recording or playing back music. Enter zero if you don’t want any countoff, 1 if you want one measure counted off, 2 to hear two measures, and so on. If you’re only playing back, Finale uses the time signature of the first measure that you’re playing back to determine the time signature of the countoff measure. If you’re recording, Finale uses the beat duration set in HyperScribe’s Quantization dialog box. 4. Choose an option from the Click drop-down list to determine when the metronome click will play. Choose Never if you never want a click; choose Always if you always want a click when you’re playing back and recording; choose While Playing or While Recording if you want a click only while playing back or only while recording, respectively. Regardless of this setting, Finale will always play a metronome click during countoff measures. 5. Choose MIDI Note or MIDI Data from the Source drop-down list, depending on whether you want a MIDI note or MIDI event as the clicks. You can specify different MIDI signals for the down beats and other beats. To have Finale automatically fill in the MIDI settings for you, click Listen, then play the MIDI note or activate the MIDI event; Finale will fill in 109

all the settings for you, except for Duration. If you prefer, type the MIDI information into the text boxes. For details, see Click and Countoff dialog box. 6. Click OK to return to the document. When you record, Finale will use the settings you just made.

To setup a click with a non-percussion playback device 1. From the MIDI/Audio menu, choose MIDI Thru. The MIDI Thru dialog box appears. 2. Click Smart and click OK. 3. From the MIDI/Audio menu, choose Device Setup > MIDI Setup. The MIDI Setup dialog box appears. 4. Click the Advanced button. The MIDI Setup dialog box expands. 5. In the first MIDI IN slot (above Hide Advanced Settings), select the driver for your MIDI IN device (usually with MPU or MIDI IN in its name.) 6. In the first MIDI OUT slot (above Hide Advanced Settings), select the driver for your MIDI OUT device. 7. For the second MIDI OUT slot (below Hide Advanced Settings), select the driver for your computer speakers (often with the word Synth in its name.) 8. Set the base channel to 17. Click OK. 9. Click the HyperScribe Tool . The HyperScribe menu appears. 10. From the HyperScribe menu, choose Beat Source, then Playback and/or Click. 11. Click on the Click and Countoff button. The Click and Countoff dialog box appears. See To setup countoff measures and the metronome click (for Playback and HyperScribe Recording) above for more details. 12. Enter 26 in the Note box for both Down Beats and Other Beats. Leave the other boxes in their default values.

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Closed symbols See Articulations.

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Coda See also D.S/D.S. al Coda. A coda is a musical tag, or extension, which usually follows the main body of the piece. The musician’s cue to jump to the coda is often marked by a marking like “To coda ,” and the coda itself often displays a notation like “ Coda.” You can place such markings into your score very easily if you’re preparing your score for printout only (without playback). With some additional steps, you can setup your coda markings to control the way Finale plays back your score. When Finale encounters the “To Coda” marking, it will direct the playback of sign. your score to the measure displaying the Note: To automatically create a separate coda system, use the Create Coda System plug-in.

To place the

sign, and a “to coda” sign in the score

1. Click the Repeat Tool . Double-click the measure in which you want the coda sign to appear. The Repeat Selection dialog box appears. If you’ve loaded a Text Repeat Library—or if the Finale Maestro Font Default file is in place—you should see the sign. 2. If you don’t see the marking, click Create; the Repeat Designer dialog box appears. While pressing alt and shift, type 0222. Click Set Font, and set the font to Maestro 24 regular. Press enter twice. 3. Double-click the sign. You arrive at the Text Repeat Assignment dialog box. If you are not placing a “working” coda sign in you piece, click OK, and your task is complete, otherwise, continue following the instructions. Note the Text Repeat ID number of the . This indicator appears at the top left of the dialog box, in the form “Text Repeat ID: 7” (or whatever number Finale has assigned to your coda sign). You’ll need to remember this number for a moment. 4. Click Never Jump (Mark). You’ve just defined this text repeat to be a mark—in other words, a marker to which Jumper text repeats (“To Coda,” in this example) will direct playback. 5. Click OK (or press enter). The coda sign appears in all staves. See Repeats –To move, hide, or delete a text repeat. Once you’ve created a coda symbol and designed it for playback, you must now place the “To 112

Coda” sign somewhere in the main body of music. Follow these steps, to create a functional text repeat that directs the playback of your score to the measure containing the coda sign. 6. Click the Repeat Tool . Double-click the last measure to be played before jumping to the coda. The Repeat Selection dialog box appears. If the “To coda” mark doesn’t appear in the window: Click Create and type “To Coda #.” (You create the number sign [#] by pressing shift and typing a 3.) Set the font and style by clicking the Set Font button. Now select Replace ‘#’ With: Text Repeat ID in Target. In other words, when your “To Coda #” indication appears in the score, you want the # sign to be replaced by the repeat mark itself—in this case, the sign (“To Coda ”). Click OK (or press enter). The “To Coda ” mark now appears in the list of Text Expressions See Repeat Designer dialog box for more information regarding text repeats. 7. Double-click the “To Coda #” text repeat. The Text Repeat Assignment dialog box appears. 8. Click Jump on Pass(es) and enter a number in the text box to designate on which repetition of this music the playback should jump to the coda sign. If this is a standard D.S. al Coda, in which the music up to the “To Coda” mark is played a total of two times, type 2 into the Jump on Passes text box. 9. In the Target section, click the drop-down menu and choose Text Repeat ID. Enter the Text Repeat ID number of the coda sign you created. This is the number you remembered when you placed the coda sign into the score. (If you are using a score set up with the Setup Wizard, or one of Finale’s templates, or the default file, enter 7). Because you’ve specified that the playback should jump to the coda sign itself (instead of to a measure number), you can change your mind about the location of the coda sign in the score. You can delete it and put it in another measure— even a measure that precedes the “To Coda ” marking—and Finale will still direct the playback to it correctly. 10. Click OK (or press enter). You return to the document, where the “To Coda ” mark appears in every staff.

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Common time Common time, also known as time, is a meter with four quarter-note beats per measure. It’s often symbolized by the common-time symbol: . For general information on time signatures, see Time signatures. For details on Finale’s automatic beaming patterns, see Beaming.

Tip: For large Time Signatures used for some scores, use the Engraver Time font.

To change the common-time display (

,

, or another symbol)

1. From the Document menu, choose Document Options and select Time Signatures. 2. Click Abbreviate Common Time to. If there’s a check in the checkbox, Finale will display the common-time symbol any time the meter is

. If not,

Finale will display . (You can also specify any other symbol you want Finale to use instead of the standard common-time symbol by clicking the Select button. You select a font for time signatures by choosing Fonts in the Document Options dialog box (under the Document menu) and changing Time from the Notation drop-down list menu. See Document OptionsFonts). 3. Click OK (or press enter).

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Composite time signatures Composite meters ( , for example) are not only valuable for creating unusual time signatures, but also for creating accurate beaming patterns. Finale uses the time signature to determine beaming patterns, you can create , and all music you enter will be automatically be a meter such as beamed in eighth-note groups of three, two, and two, for example. (Once you’ve created a custom “beaming signature” in this way, you can even select a time signature to appear in the score that’s different from the underlying beaming signature; see To create custom beaming patterns.)

To create a composite meter 1. Click the Time Signature Tool . A handle appears on each barline. 2. Double-click the measure in which you want the new meter to begin. The Time Signature dialog box appears. 3. Click Composite. The Composite Time Signature dialog box appears. The composite time signature you create here will affect the beaming of notes in your music. 4. Enter the series of numbers for the top half of the time signature in the first Beat Group: text box. If you want to create a time signature, for example, simply type 3+2+2 in the first text box of the beat groups: section. You can enter a decimal value, such as 3.5, as well. If you want to create a time signature type the 3 in the first text box and the 2 in the second text box. 5. Press Tab to jump to the lower box. Enter the lower number of the time signature in the Beat Duration: text box. Type the 8 for the lower half of the composite time signature (for the

example) in the first text

box. If you are creating a time signature, type a 4 in the first text box, and a 4 in the second text box to finish creating the time signature. Finale will only accept standard denominator values. For example, there’s no such thing as a “third note,” so you can’t enter a 3 into this text box; Finale will round off any such number to a legitimate value (1, 2, 4, 8, and so on). 6. Click OK (or press enter). You return to the main Time Signature dialog box. If you wish, you can click Options, and then select Use a Different Time Signature for Display. In this expanded version of the Time Signature dialog Finale displays a second composite button which will take you to an identical Composite Time Signature dialog box. With this dialog box you 115

have the opportunity to create a separate composite time signature for display purposes only (the composite time signature created in the upper section of the dialog will be used to decide how the music will be beamed). See Beaming and Time signatures for details. 7. Specify the range of measures to be affected by this meter change. Enter the measure numbers in the Measure __ Through __ text boxes (or Through End of Piece). 8. Click OK (or press enter).

To remove a composite meter 1. Click the Time Signature Tool ; then double-click the first measure in which the composite meter appears. The Time Signature dialog box appears. 2. Click the Composite button. The Composite Time Signature dialog box appears. 3. Click Clear, and click OK. You return to the main Time Signature dialog box, where you can specify a replacement time signature.

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Compound meters See Composite time signatures. Compound meters, sometimes called triple meters, are time signatures whose rhythmic pulses occur in threes, such as , , and so on. See Time signatures for general instructions. Note, however, that the way you define your triple meter is very important, because it also governs beaming in the region it affects. To beam eighth notes in groups of three, for example, the values of the notes in the Time Signature window for a 6/8 meter should be two dotted quarter notes, not six eighth notes; if it displayed six unbeamed eighth notes, you’d get no automatic beaming. In short: the lower buttons determine the rhythmic value of the pulse, including beaming groups; the upper buttons determine how many of that rhythmic value.

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Continuous data Continuous data is MIDI information that’s not related to individual notes. Usually the term refers to devices on your MIDI keyboard that modify the notes in some electronic way: volume and sustain pedals (and other MIDI controllers), pitch and modulation wheels, channel pressure (aftertouch), and breath controllers are some examples. You can record any continuous data when you use HyperScribe or the Transcription Mode of HyperScribe to transcribe your music; furthermore, using the MIDI Tool, you can graphically edit this data. In order to playback continuous data recorded with HyperScribe, you must first set Human Playback to None. To do this, from the MIDI/Audio menu, choose Human Playback > None. This entry describes the general recording, playback, and editing of standard controllers. For information on specific controllers, see their separate entries: Channel Pressure; Patches; Pedal markings; Pitch wheel; and Volume.

To specify which continuous data you want to record with HyperScribe Because continuous data consumes memory and disk space, you may opt not to record all types of this data when you use HyperScribe. You can specify which types of continuous data you want to record. 1. Before recording a HyperScribe Session, from the HyperScribe menu, choose Record Continuous Data. The Record Continuous Data dialog box appears. 2. Click Listen. Briefly play each controller or wheel you want to record in your upcoming performance. As you tap each pedal or wiggle each wheel, Finale records their continuous data numbers in the four text boxes. If you record four controllers or less, any continuous data types you don’t specify in this dialog box will not be recorded. If you record more than four controllers, Finale will record all continuous data during the Hyper Scribe session. See Record Continuous Data dialog box. 3. Click OK (or press enter). Proceed with your recording. See Recording with HyperScribe.

To specify which continuous data you want to record in Transcription Mode Because continuous data consumes memory and disk space, you may opt not to record all types of this data when you use the Transcription Mode.

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1. Before recording a performance with Transcription Mode, choose Input Filter from the Transcription menu. Finale displays the MIDI Input Filters dialog box. You can directly enter the controller numbers you want recorded, if you know them. It’s simpler, however, to specify the controllers by playing them. 2. Click Listen. Briefly play each controller or wheel you want to record in your upcoming performance. As you tap each pedal or wiggle each wheel, Finale records their continuous data numbers in the four text boxes. Be sure to also play a note or two, to tell Finale that it should record notes, as well. Any continuous data types you don’t specify in this dialog box won’t be recorded. 3. Click OK (or press enter). Proceed with your recording. 2.

To retain continuous data for score playback in Transcription Mode When you record a performance in Transcription Mode, Finale temporarily remembers the continuous data that you generated during the performance. Normally, however, Finale discards this information when it transcribes your performance into standard notation. If you’ll later want to hear and edit this data, however, make sure you follow these steps before transcribing: 1. Record a performance in Transcription Mode. See Transcribing a sequence. 2. Before saving or transcribing the performance, click Save Continuous Data. If Play Recorded Continuous Data is selected in the Playback/Record Options dialog box (see Playback), Finale will play back your transcribed performance applying the same controllers and wheels you did.

To edit continuous data If you’ve saved continuous data from a performance in Transcription mode, you can edit it directly even when the performance has been transcribed into standard notation. 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool . 2. Choose Continuous Data from the MIDI Tool menu. The View Continuous Data dialog box appears, and you can choose the MIDI data you want to edit. 3. Specify the continuous data you want to edit. If the continuous data type you want to edit is listed in the dialog box, select it from the drop-down menu (Sustain Pedal, Modulation Wheel, and so on). If not, click the Listen checkbox and play the controller. Finale enters the correct controller number in the text box automatically. 119

4. Click OK (or press enter). 5. Select the measures whose continuous data you want to edit. Click to select one measure, shift-click to select additional measures, drag-enclose to select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit menu. If you want to edit only a few measures on a single staff, select them, and then double-click the highlighted region to enter the MIDI Tool split-window. Drag through the display area above the notes whose continuous data you want to edit. 6. Edit the selected region by choosing the appropriate command from the MIDI Tool menu. Choose Set To to specify a uniform value for the controller or wheel setting for all notes in the selected region. Choose Scale to create a gradual change in the continuous data setting over the selected region. Choose Add to add a positive or negative amount to all the controller’s values in the selected region. Choose Percent Alter to change the values in the selected region by a percentage of their original amounts. Choose Limit to specify a maximum or minimum value for the continuous data in the selected region. (See also Set to dialog box; Scale dialog box; Add dialog box; Percent Alteration dialog box; or Limit dialog box.)

To copy or erase continuous data See MIDI —To copy or erase captured (or edited) MIDI data.

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Copying music Finale offers a great deal of control over copying, including options for filtering specific elements, methods for both inserting and pasting (replacing), and the ability to copy across documents. This section describes methods for copying music in Finale, and the choices you have when doing so. For the remainder of this section, “source” refers to the original selected music, and “target” refers to the destination for the copied material. Also, unless specified otherwise, "selection" refers to a region including full or partial measures less than a stack. Any tool that allows regional selection can be used to copy music, including the Selection Tool, Staff Tool, Measure Tool, and others. For more details, see Selecting Music. Whenever you copy music, you will need to choose whether you want to copy and paste or copy and insert. • Copying and pasting allows you to replace the music in the target region with the music from the source region. Pasting does not wipe out any measure settings, such as measure-width information unless a stack is pasted (and Measure Settings are selected in the Edit Filter dialog box). When pasting any region other than a stack, all note attached items and many measure attached items are replaced. • Copying and inserting allows you to introduce new beats or measures into the piece, pushing all existing music to the right. Inserting a selection nudges all subsequent music the number of beats of the inserted material on the target staves only. When inserting any region less than a stack, the inserted beats can overflow into the next measure requiring the music to be redistributed in all remaining measures of the piece. This is called Rebarring music, and Finale applies it automatically when inserting regions less than a stack. Since stacks are always full measures, all staves, inserting a stack does not rebar music, but pushes all measures to the right intact (increasing the length of the score the number of inserted measures). After selecting a region of music, use one of the following methods to copy and paste or copy and insert. • Copying and pasting using the clipboard. This method allows you to easily copy/cut and paste to target regions outside of the visible area, or paste the same material multiple times. See To copy and paste using the clipboard. • Copying and pasting by dragging. This method allows you to quickly copy and paste to target regions within the visible area, and also allows you to copy and paste to target regions outside of the visible area. See To copy and paste by dragging. 121

• Copying and pasting stacks. This method allows you to copy and paste any number of items in the Edit Filter dialog box including measure items like key signatures, barline styles, and measure widths. See To copy and paste stacks. • Copying and inserting using the clipboard. This method allows you to easily copy/cut and insert to target regions outside of the visible area, or insert the same material multiple times. See To copy and insert using the clipboard. • Copying and inserting by dragging. This method allows you to quickly copy and insert to target regions within the visible area. See To copy and insert by dragging. • Copying and inserting stacks. This method allows you to insert full measures, all staves, including any number of items in the Edit Filter dialog box. See To copy and insert stacks. Note: To move measures from one system to another or make other changes to the measure layout, see Measure layout.

To copy and paste using the clipboard Using the clipboard is another way to copy (or cut) and paste music. When you paste, existing music is overwritten. This is the method commonly used when copying to a target region outside of the visible area or across documents (see Copying across documents). To copy using the clipboard: 1. With the Selection Tool selected, highlight a region of measures. Or, highlight a region with any tool that allows regional selection. For details, see Selecting music. 2. Press Ctrl-C to copy or Ctrl-X to Cut. The music is loaded to the clipboard. If you chose to Cut the selection disappears. At this point, you can paste the copied material anywhere—either elsewhere in the same document, or into another document. If you want to paste to another document, open the document now, using the Open command in the File menu. You can’t, however, directly paste music into other programs such as word processing or graphics programs. For details on exporting music into another program, see Encapsulated PostScript (EPS) and Graphics Tool. 3. Specify the musical elements you would like to copy in the Edit Filter dialog box. See To specify what you want to copy. Or, to copy everything, ensure Edit Filter is unchecked under the Edit menu. (Tempo changes are the exception; they are not included when Use Filter is unchecked. See To copy tempo changes.) 122

4. Select a measure (or partial measure) that begins at the desired target and press Ctrl-V to paste. Finale replaces whatever was in the target measures, starting at the left-most edge of the selected region, with a copy of the music you originally selected (as shown here). Pasting does not introduce any new measures into the “target” document, but replaces whatever was there with the contents of the Clipboard. (However, measures will be added on paste as needed if there are fewer measures in the target than in the source.

Note: When clipboard-copying, Finale pastes the entire source content starting with the upper left target selection. To paste multiple copies of the source material, press Alt-Ctrl-V to open the Paste Multiple dialog box where you can repeat the source material any number of times in the score, horizontally or vertically.

To copy and paste by dragging 1. Specify the musical elements you would like to copy in the Edit Filter dialog box. See To specify what you want to copy. Or, to copy everything, ensure Use Filter is unchecked under the Edit menu. (Tempo changes are the exception; they are not included when Use Filter is unchecked. See To copy tempo changes.) 123

2. With the Selection Tool selected, highlight a region of measures. Or, highlight a region with any tool that allows regional selection. For details, see Selecting music. 3. Click and drag the source music so that it’s superimposed on the target measure(s). 4. When the black border surrounds the desired target region, release the mouse button to paste as shown below. Finale replaces whatever was in the target measures, starting at the position of the cursor, with a copy of the music you originally selected. In other words, if you drag to beat three of a certain measure, the pasted music will begin at beat three. If the measure is empty, the music will appear at the nearest beat following the cursor.

If the first target measure is not on-screen, instead of dragging, do the following: 1. With the source region selected, scroll until you see the desired target region. 2. While pressing ctrl, click the first target measure. The music appears in the target measure(s) with the same beat placement as the original (as shown below).

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Alternatively, you can hold down both ctrl and Shift as you click to open the Edit Filter dialog box which allows you to specify elements of the source region you want to include. Also, you can hold down Ctrl and Alt to open the Paste Multiple dialog box which allows you to past additional copies of the source material.

To copy and paste/insert stacks Full measure stacks can be copied using the clipboard or by dragging, replacing existing music or inserting between it. Here, a stack really refers to the measure settings including key signatures, measure widths, and barline styles. (See Edit Filter dialog box for details). Copy and paste/insert measure settings using the following criteria: The source region selection: • Must begin and end at a barline. • Must include either a stack or the same number of staves as the target or greater. (A single staff full measure selection is a stack selection). The target region selection: • Must begin at a barline. • Must consist of the same amount or fewer staves if the source is not a stack. (Fewer is possible with optimization or copying across documents. See Optimizing Systems. You can use Staff Sets to decrease the apparent number of staves in the target document to compensate for this. See Hiding Staves.) • Can be any number of staves if the source is a stack. To copy and paste/insert stacks, use the above definitions for "source" and "target" regions while following the directions under either To copy and paste using the clipboard, To copy and paste by dragging, To copy and insert using the clipboard, or To copy and insert by dragging. While drag-copying or draginserting, use the green border/insert cursor to confirm the target is a valid for transfer of measure settings. When drag-copying, Finale displays a green border around the destination stack region if the region is eligible for stack-pasting (left). When dragging over a region that does not start on a barline and/or include the top staff, Finale displays a black border around the destination region indicating it is not eligable for a stack paste (right). If you release the mouse button in a region not eligible for stack pasting (black border), the music pastes normally and does not include measure-specific data.

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Measure settings are copied if either the Source or Target region constitute a stack. The following examples illustrate these situations for drag-copying (the same applies for clipboard-copying and inserting):

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To copy and insert using the clipboard 1. Specify the musical elements you would like to copy in the Edit Filter dialog box. See To specify what you want to copy. Or, to copy everything, uncheck Use Filter under the Edit menu. (Tempo changes are the exception; they are not included when Use Filter is unchecked. See To copy tempo changes.) 2. With the Selection Tool selected, highlight a region of measures. Or, highlight a region with any tool that allows regional selection. For details, see Selecting music. 3. Press Ctrl-C. The music is loaded to the clipboard. 4. Select a measure (or partial measure) that begins at the desired target and press Ctrl-I to insert. You indicate where you want the copied material to appear by selecting the notes or measures just after it. So, if you want the copied music to appear between measures 3 and 4, click measure 4. Finale inserts a copy of the selected music, nudging all subsequent notes in the staff (or staves) to the right the duration of the inserted material (see Rebarring music). Note: Finale adds new measures to accommodate notes nudged beyond the final barline.

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To copy and insert by dragging 1. Specify the musical elements you would like to copy in the Edit Filter dialog box. See To specify what you want to copy. Or, to copy everything, uncheck Use Filter under the Edit menu. (Tempo changes are the exception; they are not included when Use Filter is unchecked. See To copy tempo changes.) 2. With the Selection Tool selected, highlight a region of measures. Or, highlight a region with any tool that allows regional selection. For details, see Selecting music. 3. While holding down the Alt key, click and drag the source music to position the vertical red line where you would like to insert. 4. Release the mouse button. Finale inserts a copy of the selected music starting at the position of the red insertion cursor, nudging subsequent notes in the staff (or staves) to the right the duration of the inserted material. Finale inserts a copy of the selected music just before the target region, nudging all subsequent notes in the staff (or staves) to the right the duration of the inserted material (see Rebarring music).

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To copy and insert stacks Full measure stacks can also be inserted using the clipboard or by dragging, shifting all subsequent measures to the right in all staves. Rebar music does not apply when inserting stacks because the subsequent music is nudged in full measure increments (so notes cannot be nudged across barlines). In order to copy and insert a measure stack, the source region must include a stack selection.

To copy a measure stack using the clipboard: 1. Select a measure stack. A measure stack must include all staves and begin and end at a barline. See Selecting music. 2. Press Ctrl-C. The stack is loaded to the clipboard. 3. Select a region beginning on a barline on the top staff and press Ctrl-I to insert.

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To copy a measure stack by dragging: 1. Select a measure stack. A measure stack must include all staves and begin and end at a barline. See Selecting music. 2. While holding down the Alt key, click and drag the source music to position the vertical insertion cursor at a barline on the top staff of the target region. The insertion cursor changes color to green indicating an eligible location to insert as shown in the figure below. 3. Release the mouse button. Finale inserts a copy of the selected music starting at the position of the green line, nudging subsequent measures in the staff (or staves) to the right the duration of the inserted material.

To specify what you want to copy Generally, Finale includes all notes, entry items and measure items when you copy. However, by using Finale's filter you can specify which items you would like to copy—such as chord symbols or articulations—with or without affecting the notes themselves. (To learn about selecting measure regions, see

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Selecting music). You can easily choose any number of entry and measure items by doing the following: 1. Click the Selection Tool . 2. From the Edit menu, choose Edit Filter. The Edit Filter dialog box appears. All measure and entry items appear in this dialog box. If you want to copy everything—music, lyrics, measure widths, expression marks, and all—no action is necessary (all items are selected by default). 3. Uncheck any item you do not want to copy and click OK. Now, when you copy, only selected items appear in the target region. Notice Use Filter is now checked under the Edit menu. Uncheck this command to disable the filter and include all items (other than Tempo changes) while copying - (see To copy tempo changes). 4. Technical note: Finale actually always includes all items whenever you copy. The Edit Filter dialog box actually filters certain items from appearing when inserting or pasting. Therefore you could copy music, and subsequently change your selection in the Edit Filter dialog box to specify what you would like to include in the target region. Note: Ctrl-Shift-click the target region to open the Edit Filter dialog box prior to pasting the selected music. IMPORTANT: The settings in the Edit Filter dialog box are program-wide. That means these settings apply to all documents, even after closing and restarting Finale. If you are unsure of previous settings be sure to review this dialog box prior to copying to ensure it is set up as desired.

To copy time signatures In order to copy time signature changes along with the music you must select the full stack of measures. Time signatures also must be checked in the Edit Filter dialog box. See To copy and paste stacks.

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If Time Signatures is not checked, and music is copied to a target region of a different time signature, Finale does not rebar the music. In other words, if the source contains full measures, the target measure(s) will either be unfilled or overfilled. In the example below, the first measure has been copied to measure 2 and measure 3.with Time Signature unchecked in the Edit Filter dialog box.

To delete extra notes in overfilled measures (such as measure 3), navigate to them using the arrow keys using Speedy Entry or Simple Entry. Then press the Delete key. To redistribute these extra notes into subsequent measures automatically, rebar music. To automatically fill empty portions of measures (such as beat 4 of measure 2 above) with rests, use the Fill with Rests utility (Utilities menu > Check Notation > Fill with Rests).

To Copy Tempo Changes Tempo changes include any tempo change added with Tempo Tap, the Tempo Tool, the MIDI Tool, or by importing a MIDI file that includes tempo data. Tempo change information is unique in that it is the only measure setting not included when copying without the Filter (Edit menu). To copy tempo data: 1. From the Edit menu, choose Edit Filter. The Edit Filter dialog box appears. 2. Ensure that the "Tempo changes" box is checked. 132

3. Click OK. 4. Click the Edit menu and ensure Use Filter is checked. Now, when you copy, tempo data (other than tempo data included with expressions) will not be transferred to the target region.

To copy across documents All entry and measure items can be copied and pasted or inserted across documents using the clipboard or by dragging. To view multiple documents simultaneously on your screen, from the Window menu, choose Tile Vertically/Horizontally.

To make a copy of a document These instructions assume that you’re running Finale. To duplicate a Finale document when you’re not in Finale, select the desired file using Explorer and choose Copy from the File menu. 1. Open the document. Choose Save As from the File menu. A dialog box appears, allowing you to name the copy. No two documents in the same folder may have exactly the same name. 2. Click Save. The copy of the document is left on the screen, and the original is automatically closed without saving any changes.

To copy multiple passages of music to another document (using Clip Files) Although you could use the clipboard to copy individual regions of music from one document to another (see To copy and paste using the clipboard), Finale’s Clip Files feature gives you, in effect, multiple Clipboards, each containing a different passage of music. By making Clip Files, you can copy many sections from a single document before pasting them, one by one, into a new document. These files are stored on your hard disk, where you can easily retrieve them for use in any document—a handy feature when you want to reuse motifs. All items can be transferred from one document to another using Clip Files (see Edit Filter dialog box). 1. Select the region you would like to copy. See Selecting music. 2. Specify the musical elements you would like to copy in the Edit Filter dialog box. See To specify what you want to copy. Or, to copy everything, ensure Edit Filter is unchecked under the Edit menu. 3. While pressing ctrl, choose Copy to Clip File from the Edit menu. When you ctrl-Copy in this way, you tell Finale to place the copied material into a file of its own, called a Clip File, instead of on the invisible Clipboard. A dialog box appears, asking you to name your Clipboard File.

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4. Name the Clip File, and click Save (or press enter). Repeat the process with as many other sections as you want: select the region, choose Copy while pressing ctrl, name and save the Clip File. 5. Choose Open from the File menu, and select the target document (if it’s not already open). 6. If you want to insert the copied music between two existing measures, click the measure just after the insertion point. While pressing ctrl, choose Insert from Clip File from the Edit menu. Once again, the ctrl key tells Finale you intend to access a Clip File. When you choose Insert, the Paste dialog box appears, displaying the names of the Clip Files you’ve created. Double-click the name of the desired Clip File. 7. If you want the copied music to replace (overwrite) the music in the target document, select the beginning of the target region. 8. While pressing ctrl, choose Paste from Clip File from the Edit menu. A list box appears, displaying the names of the Clip Files you’ve created. Double-click the name of the desired Clip File. If you want to Insert, instead of choosing Paste from Clip File, choose Insert from Clip File under the Edit menu.

To combine files with Score Merger Finale allows you to copy and paste or insert across documents just as you would copy within the same document. (See To copy and paste using the clipboard). You could use these methods to merge two or more documents manually. However, if you would like to combine two or more separate files, such as several movements of a piece into a single document, there are many additional considerations beyond the musical elements that can be copied including measure numbers, staff settings, Score Lists, pagination, and more. Finale includes a tool called Score Merger specifically designed to allow you to combine several files into one automatically. Note: Score Merger also allows you to merge files vertically. To combine several parts into a conductors score, see To merge part files into a score with Score Merger. 1. From the File menu, choose Score Merger. The Score Merger dialog box appears. See Score Merger dialog box. 2. Click Add Files. The "Select the files to merge" dialog box appears. Navigate to the files you would like to merge. 3. Select the files you would like to merge and click Open. Hold down Ctrl and click to select multiple files. The files appear in the Score Merger list box alphabetically. Select a file and use the Move Up and Move Down buttons if you need to change the order. 134

4. Ensure the Merge These Files Into One File radio button is selected. The subsequent check boxes allow you to append the merged files to the current open document, specify measure numbering, and customize how the staff merging is handled. If you check Edit Instrument Junction Between Files, you will be prompted to review and/or edit the way Score Merger deals with instrument staves individually. See Instrument Junction dialog box for details. 5. Click Merge. Finale prompts you to choose a location for the merged file. 6. Select a destination for the merged file and click Save. Score Merger processes the files based on your settings. If Edit Instrument Junction Between Files was checked, you are prompted with the instrument merging details for each file as it is merged. Make any desired changes and click Continue. When the merge is complete, the Score Merger Report appears with an overview of the results as shown below.

7. Click Close. The Score Merger Report closes and the merged document appears in the active window ready for your review. There are a few more details to bear in mind while merging files with Score Merger: • To insert the merged material at a selected region, the region must begin at beat one. • If the selection is at the beginning of a staff system, that system and the subsequent one will appear after the inserted files after the merge, starting

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on a new page. (Page text and graphics remain attached to the initial page of the inserted files). • If the selection in the middle of a staff system, the system will be be split up, one piece before the inserted files, and the other after. Each piece is locked automatically. • Since there can only be one definition for entries/text inserts in the File Info dialog box, Score Merger resolves conflicts by retaining all File Info from the first merged file. Text inserts such as Title, Composer, and Copyright that conflict with those in the first file are automatically converted to regular text blocks upon merge. For example, if the title of file 1 is "Movement 1” and the title of file 2 is “Movement 2,” "Movement 1" is used for the Title insert in the merged file, and "Movement 2" is automatically converted to a regular text block. (If an insert is the same text in all the merged files, Score Merger retains the insert without changing any to regular text.) Score Merger uses the first file in the merge as a "template" for the rest of the document. In other words, other document-specific settings are automatically set to the first file in the merger. See Document Settings and Program Settings.for a list of document-specific settings. • Expect to make some adjustments to the page layout and other properties after merging files using Score Merger. See Page layout.

To merge part files into a score with Score Merger In addition to merging files horizontally, Score Merger can also consolidate several part documents into a single document in order to generate a conductor's score. Score merger can automatically assign groups, MIDI channels, and deals with expressions and page layout. Note: In order to use Score Merger to combine part files into a score, Special Part Extraction must be disabled in the part files. See Document/Special Part Extraction. 1. From the File menu, choose Score Merger. The Score Merger dialog box appears. See Score Merger dialog box. 2. Click Add Files. The "Select the files to merge" dialog box appears. Navigate to the files you would like to merge. 3. Select the files you would like to merge and click Open. Hold down Ctrl and click to select multiple files. The files appear in the Score Merger list box alphabetically. Select a file and use the Move Up and Move Down buttons if you need to change the order. 4. Select the Merge These Parts Into One Score radio button. 5. Click Merge. Finale prompts you to choose a location for the merged file.

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6. Select a destination for the merged file and click Save. Score Merger processes the files based on your settings. When the merge is complete, the Score Merger Report appears with an overview of the results as shown below.

7.Click Close. The Score Merger Report closes and the merged document appears in the active window ready for your review.

To copy markings based on a rhythmic match 1. Click the Selection Tool . Or, highlight a region with any tool that allows regional selection. For details, see Selecting music. 2. Select a region. Click or drag-enclose any region of music to select it. 3. The selection must occur on a single staff, not spanning multiple staves. Only rhythms and markings in the current layer of the source region are used for the pattern matching and painting process. 4. From the Edit menu, choose SmartFind and Paint > Set SmartFind Source. A outline box appears around the selected region. If you selected the wrong region, choose Deselect SmartFind Source from the Edit menu, and try again. 5. Optional: select a target region to paint. If no region is selected, SmartFind will assume you wish to scan the entire document. You may include partial measures in your target region.

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6. From the Edit menu, choose SmartFind and Paint > Apply SmartFind and Paint. The SmartFind and Paint dialog box appears. See SmartFind and Paint dialog box. 7. Check the box for the markings you want to copy. If you’ve already entered some markings into your document, you may wish to check “Delete Target Markings Before Paint.” With this box checked, SmartFind will erase the markings before painting the new markings, so you get an exact duplicate. Note that checking this option will only erase markings checked to paint. For example, if all markings to paint were checked except articulations, SmartFind would erase markings in the target but leave articulations untouched. The checked marking types will be deleted regardless of whether the markings appear in the source region. 8. Click Find. SmartFind shows you the first match, if any. SmartFind will look for matches in all layers of the target region, regardless of the source layer. SmartFind will search the first measure of the top staff selected to the last measure of the top staff in the region, then continue through layers, then down through the rest of the staves. SmartFind will search for a match based on the rhythmic or note durations and therefore will consider tied notes. SmartFind will ignore grace notes, Voice 2 and mirrored notes. 9. Click Paint to apply the markings to the match, or Paint All to apply the markings to all matches, or click Find Next to skip this match. SmartFind copies the select markings from the source region onto the rhythmic match target region. Only the first note of a tied note will receive copied markings. 10. When you’re finished, click Cancel or Close. You return to the document.

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Copyright notices A copyright notice, often added to the bottom of the first (or every) page of a published score, is a text block in Finale; while pressing alt, type 0169 on the numeric keypad to create the copyright symbol itself (©), or use the Copyright Symbol text insert (Text menu > Inserts > Copyright Symbol). See Titles for instructions on creating text blocks incorporating Text Inserts. Note that a © symbol is provided for you on page 1 of the Setup Wizard.

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Counting measures If you are a Finale copyist, you might choose to bill clients by the frame. A frame is one measure of one staff. Finale's File Statistics dialog box tells you how many frames are in your piece; it also tells you how many frames actually have notes in them, so the client doesn't get billed for empty measures. It also tells you how many Pages, Staff Systems, and Measures are in your piece.

To count measures, frames, systems, or pages 1. From the File menu, choose File Info. The File Info dialog box appears. 2. Click Statistics. For an interpretation of this information, see File Statistics dialog box.

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Courtesy accidentals A courtesy accidental, also called a cautionary or reminder accidental, is one that, according to the rules of accidental occurrence, isn’t strictly necessary before a note. But there are times when the composer wants to remind the player that an accidental is (or is not) in effect for a particular note. For example, in a measure containing several E accidentals, the first E in the next measure often has a courtesy natural attached, even though the E is technically canceled in the new measure. See also Cautionary Accidentals Plug-in.

To create a courtesy accidental with Simple Entry 1. Click the Speedy Entry Tool . 2. Ctrl-click to select the desired note. Notes just entered are selected automatically. 3. Press P. Finale adds a parenthesized courtesy accidental. Press P again to remove the parenthases.

To create a courtesy accidental with Speedy Entry 1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. 2. Click the notehead for which you want the accidental displayed. You can also position the insertion bar and crossbar on the notehead using the arrow keys. 3. Press the asterisk (*) key. If there was no accidental on the note, a courtesy sharp, flat, or natural now appears. (If there was an accidental on the note, it’s now hidden. Press the asterisk key again to restore it.)

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Courtesy clef changes When a clef change occurs at the beginning of a new line, it’s customary to alert the musician by placing a smaller, “warning,” clef change at the very end of the previous line. You can, if you wish, instruct Finale not to display these courtesy clef changes.

To globally prevent courtesy clefs from displaying 1. From the Document menu, choose Document Options, then select Clefs. The Clef options appear. 2. Click “Display Courtesy Clef at End of Staff System” to de-select it. Finale will no longer display these warning clefs, unless you re-select this checkbox. 3. Click OK (or press enter).

To prevent courtesy clefs from displaying in a single measure. See also Change Clef dialog box. 1. Click the Measure Tool , and double-click the handle on the measure where the courtesy clef change occurs. The Measure Attributes dialog box appears. 2. Select Hide Cautionary Clefs, Key and Time Signatures. 3. Click OK.

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Courtesy key signatures Under usual circumstances, the key signature for a staff appears only at the beginning of each line, or at a key change. If you want, however, you can force the key signature to be displayed in any measure. You can also hide the courtesy key signature that appears at the end of a staff system (when the key changes at the beginning of the next line).

To force the display of the key signature in a measure 1. Click the Measure Tool , and then double-click barline handle of the measure in which you want the key signature to appear. The Measure Attributes dialog box appears. 2. From the Key Signature drop-down list menu, choose Always Show. Click OK (or press enter). You can also hide a key signature in a measure where it would normally appear by choosing Always Hide.

To hide the end-of-line courtesy key change (globally) When a key change occurs at the end of a line of music, it’s customary to display the new key signature at the very end of the system, as well as at the beginning of the following system. This end-of-the-line key signature is sometimes known as a cautionary, or courtesy, key signature. Some musicians prefer to omit this end-of-line warning and let the key change (on the next line) stand on its own. Then, too, sometimes one movement (or piece) ends and another begins on the same page; if the new movement begins in a different key, you wouldn’t necessarily want the new key signature to appear in the last measure of the preceding movement. In either case, take the following steps. 1. From the Document menu, choose Document Options and select Key Signatures. The Key Signature Options appear. 2. Click Display Courtesy Key Signature at End of Staff System, so that it’s no longer selected. Click OK (or press enter).

To hide the end-of-line courtesy key change (in one place) If you want Finale to suppress the end-of-line cautionary key change everywhere in the file you’re working on, see To hide the end-of-line courtesy key change (globally). In some cases, however, you may want to hide the key or time change only in one place; for the remainder of the piece, you do want Finale to provide this advance warning. These instructions show you a special method of hiding only one end-of-line key or time change.

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1. Click the Measure Tool , and double-click the barline handle of the blank measure. The Measure Attributes dialog box appears. 2. Click Hide Cautionary Clefs, Key and Time Signatures. 3. Click OK.

To alter the key signature of the courtesy key signature On rare occasions, such as a key change at the beginning of a Coda, you may need the courtesy key signature to be different from the key signature at the beginning of the next line. To create a custom courtesy key signature, follow these steps: 1. Click the Measure Tool . Select the first measure of the next line. 2. From the Measure menu, choose Insert. The How many measures dialog box appears. To select the default of 1 measure, click OK. 3. Click the Selection Tool ; then click the new measure. Press the Up arrow key to move it to the end of the previous line. 4. Click the Key Signature Tool ; then double-click the measure. The Key Signature dialog box appears. 5. Set the desired Key Signature for the courtesy key signature. For more details, see Key Signatures. Make sure the region is set to the current measure only and click OK. 6. Click the Staff Tool . The Staff menu appears. 7. Select the measure in all staves. See Selecting music for hints on selecting shortcuts. 8. Choose Apply Staff Style from the Staff menu. You can also select Apply Staff Style from the contextual menu by right-clicking in the staff. The Apply Staff Style dialog box appears. 9. Select Blank Notation: All Layers from the drop-down list menu and click OK. The default rest will disappear. 10. Click the Measure Tool . Double-click the measure. The Measure Attributes dialog box appears. 11. Next to Barline, choose Invisible. Check the Change Width checkbox and enter zero. Under Options, check Hide Cautionary Clefs, Key and Time Signatures. Click OK. The invisible dummy measure will have its own measure number. If you want your score to display measure numbers, you may want to use the Measure Tool to set up 2 different measure number regions. See Measure numbers for more information.

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Courtesy time signatures Under usual circumstances, the time signature appears only at the beginning of a piece or at a meter change. However, you can force the time signature to be displayed in any measure.

To force the display of the time signature in a measure 1. Click the Measure Tool , and then double-click barline handle of the measure in which you want the time signature to appear. The Measure Attributes dialog box appears. 2. From the Time Signature drop-down list, choose Always Show. Click OK.

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Crescendo/Decrescendo A crescendo may be notated either as a “hairpin” shape or as the word cresc. or crescendo. The hairpin can be created with either of two Finale tools, depending on your purpose. If your goal is to create a graphic crescendo marking, you can do so quickly and easily with the Crescendo Tool (on the Smart Shapes palette). A Smart Shape crescendo has three special advantages: first, it expands and contracts automatically to fit the layout of music it affects; second, it automatically breaks into two segments if it straddles a system line break. Lastly, Finale’s Human Playback automatically interprets hairpins. See Human Playback for details. You can also deactivate Human Playback and assign playback using the TGTools Smart Playback plug-in. See Smart Playback. If you want to affect the playback only, and you don’t need the marking in the score, you can create a smooth, effective volume increase using the MIDI Tool. (Of course, you could also combine the above techniques to create a graphic and playback crescendo.) You can also create a graphic crescendo that plays back (or the word cresc. that also affects playback), using the Expression Tool. An expression crescendo, for example, is the only one that can appear in more than one staff at once. See also SmartFind and Paint dialog box. In all cases, the process for creating crescendo or decrescendo markings is nearly identical.

To create a Smart Shape (graphic) crescendo or decrescendo marking 1. Click the Smart Shape Tool

. The Smart Shape palette appears.

2. Click the Crescendo Tool or Decrescendo Tool . 3. Position the cursor in the measure where you want the marking to begin so that the cursor arrow points to the staff to which you’re attaching it. This is particularly important when you’re working in orchestral scores; if you accidentally attach a Smart Shape to the wrong staff, it won’t appear in the correct staff when the parts are extracted. 4. Double-click; on the second click, hold the button down and drag to the right until the hairpin is the correct length. Human Playback, which is active by default, interprets hairpins automatically and performs them during playback. See Playback Settings dialog box for details. If you have disabled Human Playback and wish to add a playback effect to hairpin crescendos manually, see Smart Playback. 146

To move, reshape, or delete a Smart Shape crescendo If the hairpin is already selected, it displays handles; if so, skip to the last two steps. See also Align/Move Dynamics Plug-in. 1. Click the Smart Shape Tool . The Smart Shape palette appears. 2. Click the handle of the shape you want to modify. The shape displays handles:

3. Drag the appropriate handle to change the width, angle, or height of the hairpin. Note:Finale automatically constrains to horizontal dragging while creating or working with hairpins. To disable this feature, from the Smart Shape menu, choose Smart Shape Options, and then uncheck Make Horizontal. Then click OK. Drag either endpoint of the hairpin across the other to change a crescendo into a decrescendo and vise versa. 4. Press delete to remove the selected shape.

To align multiple Smart Shape hairpins You can also use the Align/Move Dynamics plug-in to align hairpins with dynamic expressions. See Align/Move Dynamics Plug-in. 1. Click the Smart Shape Tool . The Smart Shape palette appears. 2. Drag-select or shift-click the handles of the hairpins you want to align. 3. Right-click on the hairpin you want the hairpins to align to. Select Align Horizontal or Align Vertical from the contextual menu. If you chose Align Horizontal, the hairpins will move to line up along a horizontal line, based on the hairpin you clicked on. If you selected hairpins on more than one staff, the hairpins will move to the same distance from the staff. If you chose Align Vertical, the hairpins will reshape to line up the endpoints vertically.

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To change the default opening and thickness of Smart Shape hairpins Use this procedure to adjust the default opening for any additional hairpin shapes you place into the score. 1. From the Smart Shape menu, choose Smart Shape Options. The Smart Shape Options dialog box appears. 2. In the Crescendo Opening Width text box, enter a new width value. All of your crescendo or decrescendo symbols will have an opening of the size you specified, unless they have been manually edited. You can select the measurement unit in the Units drop-down menu. 3. Edit the Line Thickness text box, in the Crescendo/Decrescendo section of the Smart Shape Options dialog box. This number controls the thickness of the actual straight lines that compose the hairpin shape.

To create a playback crescendo or decrescendo with the MIDI Tool 1. From the Window menu, choose Advanced Tools Palette, and click the MIDI Tool . Select the region whose playback data you want to affect. Double-click the highlighted area. The MIDI Tool split-window appears. Drag through the graph region above the notes to select all of them, or shift-click (or drag-enclose) individual note handles if you want only certain notes to be affected. 2. Make sure Key Velocities is selected in the MIDI Tool menu; then choose Scale from the MIDI Tool menu. The Scale dialog box appears. 3. Specify the degree of crescendo or decrescendo by filling in the From and To text boxes. There are two buttons at the bottom of this text box: Absolute, and Percent of Original. If Absolute is checked, the numbers you enter are MIDI velocity values, which can be from 0 (silent) to 127 (very loud). If you choose Percent of Original, you type percentage values (for example, you might want to create a crescendo that increases from 100% to 150% of the current volume). This last option is useful for preserving the existing dynamic balance of the music while still achieving a smooth increase in volume. 4. Click OK (or press enter). You can also create a MIDI-based playback crescendo by increasing the MIDI Volume controller. See Volume and Continuous data. To automate this task for hairpin crescendos, see Smart Playback.

To create a Text Expression (such as “cresc.” or “decresc.”) You can use any text you want in a Text Expression: “crescendo,” “diminuendo,” and so on. 1. Click the Expression Tool

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2. Click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box appears. 3. Choose the Dynamics category. All the dynamic expressions appear in the preview window. 4. If the crescendo or decrescendo marking already appears in the list, double-click. You return to the document. The marking's positioning settings are those of the Dynamics category. To change them, see Category Designer dialog box. If you do not see the desired marking, continue: 5. Click Create. The Expression Designer dialog box appears. 6. Type "cresc." or "decresc.". Finale automatically applies the font, size, and style specified for the Dynamics category in the Category Designer dialog box. 7. If you do want the mark to playback, click the Playback tab (see Expression Designer-Playback). Note that Human Playback automatically recognizes and performs dynamic markings. Human Playback. 8. Click OK. 9. Click Assign to add the expression.

To move or delete a crescendo (Text or Shape Expression) See also Align/Move Dynamics Plug-in. 1. Click the Expression Tool . 2. Click the note or measure to which the expression was attached. Its handle appears. 3. Drag the handle to move the entire shape. Click the handle and press delete to remove it.

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Crossed hands There are several conventions for notating crossed-hands playing in keyboard music. See Cross-staff notes and Clefs). If you play a crossed-hands performance into the Transcription Mode of HyperScribe, Finale will attempt to track the positions of your hands as you play, even if the hands cross. See Split points.

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Cross-staff notes The following instructions explain how to create cross-staff notation manually with the Note Mover and Special Tools Tool. To create cross-staff notation automatically with a plug-in, see Cross Staff plug-in. See also Reverse stems. A cross-staff note is one that “belongs” to one staff, but that, for notational efficiency (for example, to eliminate the need for ledger lines) is written in another staff, often with a different clef—its stem is stretched from the original staff to the “target” staff. You encounter cross-staff notes most often in keyboard music. In Finale, you enter the music on the original (“source”) staff and use the Note Mover Tool to move selected notes to other staves.

To create cross-staff notation with the Cross-staff Plug-in. 1. Select the measure region including the notes you want to move to a different staff. See Selecting music. 2. Hold down the Alt key and press the down arrow key to move notes down a staff, or the up arrow key to move the notes up a staff. For additional control over cross-staff notes, use the NoteMover Tool (as described below). See also Cross-staff plug-in.

To create cross-staff notation manually 1. Enter the music in the usual way (all on one staff). 2. From the Window menu, choose Advanced Tools. Click the Note Mover Tool . The Note Mover menu appears. 3. From the Note Mover menu, choose Cross Staff. 4. Click the measure containing the notes in question. A handle appears on each note. 5. Select the notes to be moved. You can select a single note by clicking its handle, additional notes by shift-clicking their handles, and a group of notes by drag-enclosing them. When selected, the handles become highlighted.

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6. Drag any selected handle to the desired target staff. As you drag the single handle, all selected handles move simultaneously. You don’t need to drag the handles to any particular pitch on the new staff—simply release the mouse button when the cursor is directly on the target staff, and you’ll find that the notes have now moved to the new staff. Their beams and stems, however, still originate in the source staff.

If you have a relatively simple cross-staff notation, you’re done. If you need the beam in the middle, continue with the instructions below. 7. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


8. Click the Reverse Stem Tool . A handle appears above and below each note or chord. 9. Click the upper handle (for an upstem note), or the lower handle (for a downstem note). Finale responds by attaching the stem to the opposite side of the notehead. For notes you want above the beam, click on the upper handle. For notes you want below the beam, click on the lower handle. 152

10. Click the Beam Angle Tool . A handle appears at the beginning and the end of the beam. 11. Drag the left handle down to move it to the position you want. Drag the right handle up or down to change the beam angle. To restore the beam to its default angle and height, click the handle you used to change the position of the beam and press delete.

To restore cross-staff notes to their source staff 1. From the Window menu, choose Advanced Tools. Click the Note Mover Tool . The Note Mover menu appears. 2. Click the source measure. Don’t click the measure that now contains the notes; click the measure they came from. A handle then appears on each note. 3. Select the notes to be moved. You can select a single note by clicking its handle, additional notes by shift-clicking their handles, and a group of notes by drag-enclosing them. When selected, the handles become highlighted. 153

4. Press Delete. The selected notes are returned to their source staff.

To restore cross-staff notes to their source staff temporarily At times, you may find your score easier to edit if all cross-staff notes are displayed on their original or “source” staves. With the following technique, you can tell Finale to restore them in this way temporarily; when you’re ready to print the score, you can tell Finale to display them once again on the “target” staves to which you dragged them. 1. From the Document menu, choose Document Options then select Notes and Rests. The Rest options appear. 2. Select Display Cross-Staff Notes in Original Staff (so that an X appears). Click OK (or press enter). When you want the cross-staff notes to return to their target staves, de-select Display Cross-staff Notes in Original Staff. 3. Optional: uncheck Display Reverse Stemming in the Stems portion of the Document Options to return note to the “correct” side of their stems.

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Cue notes Cue notes are reduced-size notes in a score that a player under normal circumstances isn’t meant to play. Usually they indicate musical material being played by other instruments, and are used as an aid for keeping track of one’s place in the music, especially during long rests. Or they may appear in one player’s part for him or her to play in case the primary instrument or player isn’t available. To introduce cue notes using content from another staff automatically, see Add Cue Notes Plug-in.

. In addition to the method described here, you can reduce note sizes in several other ways—only the notehead, for example. See Note size for more information.

See Also Resize Staff System dialog box Selecting music Resize Tool

To create cue notes on a full-size staff 1. Enter the music at normal size. 2. Select the layer your cue notes are in from the Select Layer submenu View menu. 3. From the Document menu, choose Show Active Layer Only. 4. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. You can select as little as one note, or as much as an entire piece.

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5. From the Utilities menu, choose Change, then Note Size. The Resize Notes dialog box appears. 6. Indicate how small you want the cue notes to be by typing a number into the number box. This number is expressed as a percentage of normal-size notes, so “50%” would give you notes that are half size; numbers between 50 and 75 generally produce good results. 7. Click OK (or press enter). To restore the notes, repeat the process but set the notes’ size to 100%.

To create a cue staff You can also create an entire staff at a reduced size. 1. Enter the music at normal size. If you’re not in Page View, choose Page View from the View menu. 2. Click the Resize Tool , and click on the desired staff (not on a note or other element). The Resize Staff dialog box appears. 3. Enter the desired reduction value. For a cue staff, 60% to 75% of full size would be a typical reduction. 4. Specify the range of systems in which you want this staff reduced. You can also reduce an entire system. Follow these same instructions, but instead of clicking on a staff, click between two staves. You’ll be offered two extra options: Hold Margins (to ensure that the horizontal dimension of the system doesn’t get reduced) and Resize Vertical Space (to reduce the space below the system as well). For a further discussion of these options, see Resize Staff System dialog box. 5. Click OK (or press enter).

To restore a cue staff to full size 1. Follow the instructions above, but when the Resize Staff dialog box appears, type 100 (%). Specify the range of systems you want affected. 2. Click OK.

To prevent attached lyrics from shrinking When you shrink notes, Finale automatically shrinks anything attached to them proportionally—lyrics, articulations, and so on. Under some circumstances, you may not want these attached items to change size along with the notes. Note: For lyrics, a simpler alternative to the method below is to specify a Fixed Size when you select a type size; see To set the font for lyrics globally. 156

1. Enter the cue notes in Layer 2, 3, or 4. If you’ve already entered them in Layer 1, use the Move/Copy Layers command in the Edit menu to put them into another layer. If you’ve already attached the lyrics or other elements to the cue notes, remove them; you’ll be inserting them into a different layer. 2. Enter normal-sized “dummy” notes in Layer 1. It makes no difference what the pitches are; in a moment, they’ll be invisible. Make sure they match the rhythm of the cue notes. 3. Attach your lyrics or other markings to the dummy notes. 4. Click the Staff Tool . 5. From the Staff menu, choose Apply Staff Styles. 6. Select Blank Notation: Layer 1, and then click OK. The Blank Notation setting hides all notes in Layer 1, but preserves anything attached to them. In short, you now have cue notes in one layer (unaffected by the Blank Notation setting), and associated lyrics and markings at normal size in another layer—but they appear to be attached to the cue notes.

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Custom lines To create a custom line 1. Click the Smart Shape Tool


2. Ctrl-click the Custom Line Tool . The Smart Line Selection dialog box appears. 3. Click Create. The Smart Line Designer dialog box appears. 4. Select a Line Style from the Style drop-down list. This determines whether your Smart Shape will be a character, or a solid or dashed line. 5. If you’ve selected line, you can set the thickness, and the dash settings for a dashed line. If you’ve selected a character, such as in the case of a glissando, you can change the character, font, and set the vertical offset from a baseline. 6. Set the line adjustments for the start and end of the line, arrowheads, hooks, or related text. See Smart Line Designer dialog box for details. 7. Click OK.

To place a custom line 1. Click the Smart Shape Tool


2. Click the Custom Line Tool . 3. Double-click where you want the line to begin; on the second click, hold the button down and drag diagonally. Release the mouse when the line has the length and angle you want.

To change which custom line is assigned to the palette icon 1. Ctrl-click the Custom Line Tool . 2. Select the Smart Shape to be used when clicking the Custom Line Tool. You can also click edit to edit the currently select Smart Line, or click Create to define a new one. 3. Click OK.

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Cut time Cut time, also known as

or alla breve, is a meter with two half-note beats

per measure. It’s often symbolized by the cut-time symbol: . For general information on time signatures, see Time signatures. For details on Finale’s automatic beaming-pattern feature, see Beaming. Tip: For large Time Signatures used for some scores, use the Engraver Time font.

To change the cut-time display (

,

, or another symbol)

1. From the Document menu, choose Document Options and select Time Signatures. 2. Click Abbreviate Cut Time To. If there’s a check in the checkbox, Finale will display the cut-time symbol. If not, Finale will display . (You can also specify any other symbol you want by clicking the Select button.) 3. Click OK (or press enter).

To mix abbreviated and non-abbreviated cut and common time signatures TIP: Before you begin, remember to set the global settings for common and cut time in the Time Signatures portion of the Document Options dialog box (under the Document menu). 1. Click the Time Signature Tool . 2. Double-click on the first measure in which you want to change the appearance of the time signature. The Time Signature dialog box appears. 3. Choose the measures you want affected. By default, Finale selects the measure you clicked, or the area you drag-enclosed, so if that’s the range you want, you don’t need to enter anything. To specify a different range of measures, enter the numbers of the first and last measures making up the region. To change the measure you selected through the end of the piece, click Measure ___ Through End of Piece.

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4. Click Options. The Time Signature dialog box expands to show the display options. 5. Click Use a Different Time Signature for Display. (If it’s already selected, don’t click it again). Set the time signature if necessary. 6. Use the Abbreviate checkbox to specify whether to abbreviate the cut or common time signature for this time change. If you want to use the abbreviated symbol , simply click Abbreviate. On the other hand, if you want the time signature to appear as numbers , just deselect Abbreviate by unchecking the checkbox. 7. Click OK (or press enter). You return to the document, where the measure region you specified now shows the time signature in the format you chose.

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Cutaway scores A cutaway score is one in which staves can begin and end in mid-system, appearing and disappearing in the score as necessary.

It’s easy enough to create scores in Finale with full-width staves that are present in each system only when they contain notes; indeed, hiding staves that contain only rests is the sole purpose of Finale’s system optimization feature (see Optimizing systems). Such staves still occupy the full margin-to-margin width of the system, however. If you want a staff to begin or end halfway across the page (when the other staves in the system continue all the way to the page margins), you can hide the portion of each staff you don’t want to appear using Staff Styles. See also Masks.

To hide a portion of a staff 1. Click the Staff Tool , and select the measures that you want to hide. See Selecting music for more information on selection methods. 2. From the Staff menu, choose Apply Staff Styles. The Apply Staff Styles dialog box appears. 3. Select Hide Staff and click OK. All the staves in the selected region will be hidden. To clear the Staff Style, re-select the measures and choose Clear Staff Styles from the Staff menu. Alternatively, you can right-click the highlighted region and choose Hide Staff from the context menu.

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Dashed lines There are two ways to produce dashed (dotted) lines of any length in Finale: Smart Shapes and Shape Expressions. In general, you should use a Smart Shape. A Smart Shape has three advantages: First, it expands and contracts along with the measures it affects. Second, it will automatically break into separate segments if it straddles a system line break. Third, there are three dashed-line Smart Shapes—one with a hook on both ends, one with a hook on the right side, and one without hooks, plus you can define custom lines as well. You place Smart Shapes into one staff at a time; they may be horizontal or diagonal, and you can control the length of the dashes. If you want a dashed line to appear in many staves at once (such as a dashed barline), you can create one in the Shape Designer, where you can also specify the thickness of the line.

To draw a Smart Shape dashed line 1. Click the Smart Shape Tool . The Smart Shape Palette appears. 2. Click one of the dashed line tools. There are three predefined dashedline tools: one with an upward hook at the end, one downward, and one with no hook. To create a custom line see Custom lines. (There is also a dashed curve tool.) To change the lengths of the dashes and spaces, select Smart Shape Options from the Smart Shape menu, and change the numbers in the Dash Length and Dash Space text boxes. If you’re creating an or marking, you’ll notice that there are Smart Shape tools specifically for these indications; click the appropriate tool. See 8va/8vb for more information. 3. Position the cursor in the measure where you want the line to begin so that the cursor arrow points to the staff to which you’re attaching it. 4. Double-click where the Smart Shape should begin; on the second click, hold the button down and drag to the right. Your double-click marks the beginning of the line; as you drag, you increase the line’s length. Release the mouse button when you’ve positioned the end of the line about where you want it. Tip: To create a perfectly horizontal or vertical line, press shift before you double-click and keep it pressed while you drag. This constrains your dragging.

To move, reshape, or delete a Smart Shape dashed line 162

If the line is already selected, it displays diamond editing handles. If so, skip to step 3. 1. Click the Smart Shape Tool . The Smart Shape Palette appears. 2. Click the handle of the line you want to modify. The line displays diamond editing handles. 3. Drag the right or left diamond editing handles to move its endpoints. Drag the square handle to move it. Press delete to remove it.

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Date stamps If you create a time stamp or a date stamp, Finale will automatically print the current time or date on your document each time you print it. To add a time or date stamp, you use the Text Tool.

To create a time or date stamp 1. Click the Text Tool . 2. Double-click where you want the Date or Time stamp on the page. The text editing frame appears. 3. Select font, size and style from the Text menu. Skip this step if the default Text Block settings are the ones you want to use. See Document Options-Fonts. 4. Select Date or Time from the Inserts submenu of the Text menu. 5. Select Frame Attributes from the Text menu. The Frame Attributes dialog box appears. 6. Select Page. Choose Single Page from the drop-down list menu and type 1 in the first text box. (These should be the default settings). 7. Specify where you want this date stamp to appear, using the options in the Frame Attributes dialog box. Use the alignment and position dropdown lists menus and the Attach To options to place the date or time stamp. See Frame Attributes dialog box for more information. 8. Click OK to exit the Frame Attributes dialog box. The date stamp appears on the pages you specified, with the justification you selected. To move the date stamp, drag its handle; select the handle and press delete to remove it.

To change the date format for date stamping 1. From the Document menu, choose Document Options and select Text. At the bottom of these options, you see two options listed under the Date Format heading. You can choose the short format (10/14/07) or the long format (Friday, October 14, 2007). 2. Click the date format you prefer. Click Apply to save your settings.

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D.C. Da Capo, or D.C., means “to the head.” It directs the player to return to the beginning of the score. “D.C. al Coda” and “D.C. al fine” instruct the player to then play to the To Coda marking or to the end of the piece, respectively.

To place a “D.C” marking in the score If you follow all of these steps, you’ll create a functional text repeat that directs the playback of your score to the beginning of the piece. If the D.C. marking doesn’t need to affect playback, follow only the first four steps. 1. Click the Repeat Tool , and double-click the last measure to be played before returning to the beginning of the piece. The Repeat Selection dialog box appears. If the D.C. marking already appears in the window, skip the next two steps. 2. Click Create and type D.C. (or “D.C. al Coda,” or “D.C. al fine”). Set the type style by clicking Set Font. 3. Click OK (or press enter). The marking now appears in the list of Text Repeats. 4. Double-click the D.C. marking. The Text Repeat Assignment dialog box appears. If you don’t need your D.C. marking to be functional for playback, simply click OK (or press enter) to return to the document, where the D.C. marking appears. 5. Click Jump on Pass(es) and Enter a number in the Text Field. The number in the Jump On Passes text box designates on which repetition of this music the playback should jump to the beginning of the piece. That’s the number you enter into the Total Passes text box. If the playback should return to the first measure after playing the music only once (the usual situation), enter 1. 6. In the Target section, click the drop-down menu and choose Measure # (if it isn’t selected already). Then enter the measure number to which you want the playback to jump (usually measure 1). Tip: Check Allow individual edits per staff to allow the text repeat to be moved independently between staves. Under Show On, assign the text repeat to all, or certain staves. 7. Click OK (or press enter). You return to the document, where the D.C. marking appears in every staff. (To hide the marking in a certain staff, click the Staff Tool; then double-click on the desired staff’s handle. In the dialog 165

box that appears, uncheck Endings and Text Repeats. Or, use the “Show On” options)

To move or delete the “D.C.” marking • To move the marking, drag its handle. To remove it, click the handle and then press delete.

To create a functional “To Coda” marking and

sign

See Coda.

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Diminution Diminution refers to the process of halving a motif’s rhythmic values, so that each quarter note becomes an eighth note, and so on. In effect, the following process re-notates any passage so that it halves every note’s value.

To halve the rhythmic values in a passage 1. Click the Selection Tool and select the region of music you want to affect. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Change, then Note Durations. The Change Note Durations dialog box appears. 3. Choose 50% from the Change All Note Durations by drop-down list menu. If you want Finale to re-bar the selected measures so that there are twice as many notes per measure, make sure Rebar Measures is selected. See Change Note Durations dialog box for details on these options. 4. Click OK (or press enter). You can even double the values of the notes only in one layer (if Show Only Current Layer is selected in the Edit menu. Finally, note that this command does not affect empty measures. (A measure in which you’ve entered a “real” whole rest doesn’t count as empty in this context.) That is, it will double the values of all notes and rests you’ve entered, but it won’t create a second completely empty measure.

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Distances To automatically reformat the vertical positioning of staves, systems, and instrument groups to avoid collision of notes, articulations, smart shapes and other items, use the Vertical Collision Remover plug-in. Here are some techniques you can use to easily adjust distances and measurements of staves, systems and other score elements.

To change the distance between staff systems See Systems.

To change the page and system margins See Margins; Systems.

To change the distance between staves 1. Click the Staff Tool

.

2. Drag any staff up or down to move the staff vertically. You can drag more than one staff at a time if you choose several at once (by shift-clicking or by drag-enclosing their handles, so that they’re highlighted). If you have many staves, you can move all except one or two as follows: Choose Select All from the Edit menu to highlight all staves’ handles.Then shift-click the staves you don’t want to move; when any staff is selected, a shift-click “deselects” it. Then, as before, drag any selected staff to move all selected staves at once.

To make all staves equidistant After you’ve experimented with dragging staves up and down, you may want to restore them to even spacing. See Staves—To space existing staves evenly.

To change the distance between staff lines 1. Click the Staff Tool , and double-click the staff handle you want to modify. The Staff Attributes dialog box appears. Choose Other from the Staff drop-down list menu. 2. Select Custom from the Staff Setup dialog box. 3. In the Settings section, for Line Spacing, enter the space between each staff line. Finale will round the number you enter to an even number of EVPUs (or equivalent).

To change the distance between notes The distance between the notes in each measure is determined by your choice of Allotment Library (see Document Options-Music Spacing). You can also 168

drag individual notes horizontally in one staff (see Note positioning), and you can change the horizontal position of notes in all staves that fall on a certain beat (see Beat positions).

To change clef, key, and meter distances You can set various global distances in the Document Options dialog box. From the Document menu, choose Document Options, then choose Clefs, Keys or Time from the list on the left. You will see the options on the right. Now, set the value for Space Before _ , or Space After _ to change the distance between the clef, key or time signature and the barline. The units are whatever you’ve selected using the Measurement Units command. Any measurement up or to the right are positive numbers; measurements down or to the left are negative. For a more complete discussion of these options, see Document OptionsClefs, Key Signatures, or Time Signatures.

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Divisi See also Expressions.

A divisi indication is a normal Text Expression that you place in a part (such as a string part) to indicate that the section of players should split up—one group should read the top written notes and the rest should read the bottom written notes, for example. Use the Expression Tool to place the marking into the score. Tip: If you want to create a bracket or “split up” marking as shown above, simply create a second Text Expression that consists only of a “less-than” marking (shift-comma), like this: <, or a left bracket, like this: [ , so that you clearly indicate which notes are to be played by each group of players.

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Document Styles Finale allows you to reuse all document settings from any existing document by designating it as it as a Document Style. A Document Style is basically a model document whose settings can be duplicated while designing a new score in the Setup Wizard. When you designate a file as a Document Style, you are telling Finale you would like to use its articulations, expressions, fonts, Score Lists, staff styles, page layout and all other document options and libraries along side the instrumentation and other settings you specify in the Setup Wizard. For a list of all document-specific settings, see Document Settings and Program Settings.

To use Document Styles 1. From the File menu, choose New, then Document with Setup Wizard. The first page of the Setup Wizard appears. 2. If you would like to begin with a preset ensemble, select it in the left list box. Choose None to design the instrumentation from scratch when you advance to the next page. The next page of the Setup Wizard also allows you to edit the ensemble chosen here, as well as save new custom ensembles. 3. Choose the desired Document Style from the list box on the right. Note that an * (asterisk) appears next to the Document Style assigned to the ensemble you have selected. You can change an ensemble's default Document Style by selecting a different Document Style and clicking the "Always Use This Document Style with This Ensemble" button. The Document Styles listed here include all files that appear in the Finale/Document Styles folder on your hard drive. Finale already includes a variety of Document Styles to choose from. To create a customized Document Style, see "To create a Document Style" below. 4. Complete the Setup Wizard. The new document opens based on your settings.

To create a Document Style 1. Open a document that most closely matches the desired document settings. For example, you may use the Setup Wizard to begin with an existing Document Style or one provided with Finale. To begin with an empty document, choose File > New > Document Without Libraries. Save a file in the Finale/Document Styles folder to use it as a Document Style. The next time you open the Setup Wizard, the file will be listed as a document style.

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2. Load libraries and change any document-specific settings as desired. See Finale Libraries and Document Settings and Program Settings. 3. Save the file in the Finale/Document Syles folder. You can save as a regular .MUS file or .FTM. Next time you open the Document Setup Wizard, the file name of this document will appear in the list of Document Styles. Once opened, a description of each document style included with Finale can be found in the File Info dialog box. Here, you can reference the Document Style's libraries, text inserts, staff spacing, cover pages, and other distinctive settings. When you edit one of Finale's Document Styles you can log your changes here for future reference. If a file with music is used as a Document Style, the Setup Wizard strips out all of the musical information including staves and entries before generating the new document. Page-attached text and graphics, however, are retained as part of the Document Style.

See also: Setup Wizard

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Doits A doit is an effect often performed by brass instruments in which the player produces a kind of upward glissando after attacking the indicated note, producing the opposite of a “fall-off” effect. These are usually added as articulations. See Articulations. You can create the word “doit” as an expression (see Expressions,Slurs; for information on creating an adjustable line in the score, see Shape Designer), and the line itself as a second expression (in this case, a Shape Expression). For instructions on creating a custom shape, see Creating a shape.

Note, too, that you can purchase special music fonts for use with Finale, some of which contain a selection of useful jazz symbols, including doits, especially Finale’s Broadway Copyist Font. (The Broadway Copyist Font is included with Finale 2010.) See Fonts.

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Dotted notes See also Augmentation Dots and Simple Entry.

To dot a note 1. Click the Simple Entry Tool . Click the measure you want to edit. The editing frame appears. 2. Hold down Alt and click a note to select it. You can also press the right and left arrow keys to move forward or back through notes (see Simple Entry Tool). 3. Press the period (.) key. The note is now dotted. By pressing the period key again, you’ll add a second dot, and so on. You can add up to ten dots to a note. (If Finale tells you There Are Too Many Beats before you’re finished editing this measure, turn off Jump to Next Measure in the Speedy menu by choosing it.) See Also Speedy Entry

To remove a dot from a note 1. Click the Simple Entry Tool . Click the Eraser Tool in the Simple Entry palette. 2. Click the dot to remove it. There are many methods you can use to edit note durations - see Simple entry and Speedy entry for more details.

To change the position of all dots 1. From the Document menu, choose Document Options, then select Augmentation Dots. The Augmentation Dot options appear. 2. Enter a new value in the Space Between Dot and Note text box. This value determines how far away the dot will be from the note. The higher the number, the farther to the right the dot will be (and the more space there will be between dots when there is more than one). The units are whatever you’ve selected using the Measurement Units command (Edit menu). 3. Click OK (or press enter).

To change the position of a single dot 1. Click the Special Tools Tool 2. Click the Dot Tool

. The Special Tools Palette appears.

.

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3. Click the measure you want to edit. A handle appears on each dotted note. 4. Click on the handle of the dot you want to move and drag it to its new position. 5. Double-click the handle of the note whose dot positions you want to change. A dialog box appears, where you can enter positioning values for this dot. The units are whatever you’ve specified using the Measurement Units command (Edit menu). 6. Enter new values for the dot placement variables. The Horizontal and Vertical Offsets represent distances you want added to the horizontal and vertical coordinates of the dot, respectively, as measured from its default position. A higher Horizontal Offset value means farther to the right; a higher Vertical Offset value means upward. (A change of 6 points moves the dot one space [the distance between two staff lines].) The Inter-dot Spacing sets the distance between the dots of a note that has more than one dot.

To undo individual dot positioning 1. Click the Special Tools Tool

. The Special Tools Palette appears.

2. Click the Dot Tool . 3. Click the measure you want to edit. A handle appears on each dotted note. 4. Click the handle of the note whose dot you want to restore to its original position. 5. Press Delete.

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Double barlines See also Automatic Barlines.

To create a double barline 1. Click the Measure Tool ; then double-click the barline handle of the measure you want to end with a double bar. The Measure Attributes box appears. 2. Click the Double barline icon. Click OK. To restore the single barline, repeat the process, but click the leftmost (normal) barline icon.

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Double whole notes The double whole note, or breve ( or ) has a duration of eight beats. Either notehead may also be use to represent recitative on a single pitch. See Note values (durations) for information on creating double whole notes.

To substitute the

notehead for the

notehead globally

Follow these instructions if you want Finale to use the for the double whole note.

default

notehead

1. From the Document menu, choose Document Options and select Notes and Rests The Notes and Rests options appear. 2. From the Note Head Characters drop-down list menu, choose Double Whole; click Select. Finale displays the Symbol Selection dialog box containing every symbol in the Maestro music font. 3. Double-click the

notehead. You return to the dialog box.

4. Click OK.

To substitute the

notehead on a note-by-note basis

See Note shapes—To change the shape of a notehead.

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Downbeats You can control both aspects of Finale’s handling of downbeats: graphic and playback. For example, you might decide that one or all of the downbeats in your piece occur too close to the beginning of the measure. If you’re using Finale for playback, you can alter the velocity and durational values for some, or all, downbeats by using the MIDI Tool.

To move a single downbeat graphically See Beat positions—To move a beat

To move all downbeats graphically 1. From the Document menu, choose Document Options, then Select Notes and Rests. The Notes and Rests options appear. 2. Enter a new value in the Spacing Before Music field. The number you type here represents the distance between the measure header (clef, key, meter) and the first note or rest in the measure. By increasing the number, you can allow more space before every downbeat in the piece. 3. Click OK.

To alter the key velocity of downbeats 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool , and choose Key Velocities from the MIDI Tool menu. 2. Select the region to be affected. Drag-enclose to select measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit menu. 3. Choose Alter Feel from the MIDI Tool menu. The Alter Feel dialog box appears. 4. Enter the desired amount of key velocity alteration (a positive or negative number) in the Downbeats By text box. The range of MIDI key velocity is 0 to 127, so the number you enter here, when added to the existing velocity values of the notes, can’t exceed 127. (If you like, click Percent of Original, and type a percentage value into the Downbeats By text box.)

To alter the attack points of downbeats 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool , and choose Note Durations from the MIDI Tool menu. 2. Select the region you want to affect.

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3. Choose Alter Feel from the MIDI Tool menu. The Alter Feel dialog box appears. 4. Enter the desired amount of Start/Stop Time alteration (a positive or negative number) in the Downbeats By text box. The number you enter into the Downbeats By text box is the number of 1024ths of a quarter note by which Finale will shift the Start Time of each downbeat. In other words, Finale moves the audible location of each downbeat’s attack forward or backward in time, depending on the number you enter here.

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D.S., D.S. al Coda D.S., or Dal Segno, means “from the sign.” It directs the player to return to a spot earlier in the score that’s marked by the

symbol. If the marking says

D.S. al Coda, then the player is supposed to play from the to a “To Coda” marking, then jump to a coda section at the end of the music. See Coda. You can easily place D.S. markings into your score if you’re preparing your score for printout and not for playback; see To place a “D.S.” marking into the score, below. With some additional steps, you can even make your D.S. markings functional—that is, control the way Finale plays back your score.

When Finale reaches the D.S. marking during playback, it jumps back to the sign…

…and repeats the music up to the To Coda marking, whereupon it jumps to the coda.

To place a

marking into the score

1. Click the Repeat Tool . 2. Double-click the measure in which you want the % sign to appear. The Repeat Selection dialog box appears. If you’ve loaded a Text Repeat Library—or if the Maestro Font Default file is in place—you should see the sign. If you don’t see the marking: click Create; the Repeat Designer dialog box appears. Type a % symbol (shift-5); click Set Font to change the type style to Maestro 24-point. Click OK to return to the Repeat Selection dialog box. 3. Double-click the sign. The Text Repeat Assignment dialog box appears. If you don’t need to make the % marking control playback, click OK without changing any settings; you return to the document, where the marking is in place. Also see “ Repeats –To move, hide, or delete a text repeat.”

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If you want to define the

marking for playback, continue: Note the Text

Repeat ID of the marking. This indicator appears at the top left of the dialog box, in the form “Text Repeat ID: 9” (or whatever number Finale has assigned). You’ll need to remember this number for a moment. 4. Click Never Jump (Mark). You’ve just defined this text repeat to be a mark—in other words, a marker to which other text repeats (“D.S.,” in this example) will direct playback. 5. Click OK (or press enter). The sign appears in all staves. See “ Repeats –To move, hide, or delete a text repeat.” Click in the measure and drag the handle to reposition.

To place a “D.S.” marking into the score If you’ve created a symbol, you must now place the corresponding D.S. marking. Again, this marking may be purely graphic, or it may be a functional text repeat that actually directs playback of your score to the measure containing the

sign.

1. Click the Repeat Tool

. Double-click the last measure to be played

before jumping to the . The Repeat Selection dialog box appears. If you don’t see the D.S. marking in the window: Click Create and type “D.S.” (or D.S. al Fine, or D. S. al Coda). Click OK. The D.S. marking now appears in the list of Text Repeats. 2. Double-click the D.S. marking. The Text Repeat Assignment dialog box appears. If you don’t need to make the marking control playback, press enter one more time; you return to the document, where the marking is in place. Also see To move, hide, or delete a text repeat. If you want to define the D.S. marking for playback, continue: 3. Click Jump on Pass(es). Enter a number in the text box. This number designates on which repetition of the music the playback should jump to the sign. If this is a standard D.S., in which the music up to the D.S. marking is played once, type 1 into the Total Passes text box. 4. In the Target section, click the drop-down menu and choose Text repeat ID. Enter the Repeat number of the

sign you created. This is

the number you remembered when you placed the sign into the score (This is “9” by default). Because you’ve specified that the playback should jump to the

itself (instead of specifying a measure number), you can

change your mind about the location of the

sign in the score. You can 181

delete it and put it into another measure, and Finale will still direct the playback to it correctly. 5. Click OK (or press enter). You return to the document. See To move, hide, or delete a text repeat.

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Dynamics See also Crescendo/Decrescendo; Key velocity; Auto-Dynamic Placement Plug-in, Align/Move Dynamics Plug-in. Dynamics, along with other Text Expressions, are stored in a Text Expressions Library. Finale's Document Styles all include libraries with dynamic markings so if you begin with the Setup Wizard (or with a template), a list of dynamic markings will be available in the Expression Selection dialog box as soon as the document opens. Dynamics may be purely graphic or they may be defined for playback. (The predefined Text Expression dynamics provided with Finale have been defined for playback—but feel free to modify them, as described below.) If your synthesizer is velocity (touch) sensitive, you’ll hear Finale respond to these dynamic markings as the music plays back. If you want to create dynamics for playback only, and don’t need the actual markings to appear in the score, you can quickly edit key velocity over a selected region with the MIDI Tool; see Key velocity for instructions.

To design a dynamic marking If you started your document from the Document Setup Wizard, a template, or by going to the File menu and choosing New > Default Document, all of the most common dynamic markings are defined for you already. You only need to go through the following steps if you want to create your own dynamic marking, or if you simply want to learn the process. 1. Click the Expression Tool . Double-click any note or measure. The Expression Selection dialog box appears. 2. Choose the Dynamics category on the left and click Create. The Expression Designer appears. 3. Click the Font drop-down menu, and choose Music Font. 4. Type the letter that corresponds to the dynamic marking you want to create. A full list of the dynamic markings in the Maestro music font appears on the Quick Reference Card. For example, lower-case f is the marking, capital F is the marking, and so on (in the default music font, Maestro). The size and positioning characteristics are applied automatically as specified for Dynamics in the Category Designer dialog box. 5. Click OK and then Assign to enter the expression.

To insert a dynamic marking into the score 183

See also Auto-Dynamic Placement. 1. Click the Expression Tool . 2. Double-click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box appears. 3. Click the Dynamics category on the left. Finale displays the dynamic expressions in the preview window. Note the number or letter to the upper right of each expression. This is the expression's metatool assignment. You can hold down this keystroke and click the score to instantly add this expression. To change the metatool assignment, select the expression, hold down Shift, and type the desired metatool key. 4. Double-click the desired dynamic marking. Finale adds the marking to the score based on the positioning settings for dynamics specified in the Category Designer dialog box. 5. To enter a dynamic without entering the Expression Selection dialog box, hold down the metatool key and click the score. Remember, you can easily reference metatools in the Expression Selection dialog box. 6. Hold down a metatool key, click and drag over multiple staves to add the expression multiple times.

To move or delete a dynamic marking See also Align/Move Dynamics Plug-in. 1. Click the Expression Tool . 2. Drag the handle to move the marking; select it and press delete to remove it. Alternatively, right-click the expression and choose Delete.

To define a dynamic marking for playback The dynamics preloaded into the Maestro Font Default file (as well as those in the Text Expression Library) have already been defined for playback. You can use these steps, however, to alter such definitions (to make a forte louder, for example). 1. Click the Expression Tool . If the marking hasn’t yet been placed in the score and you simply want to edit its definition from within the Selection palette, double-click any measure or note; when the palette appears, click the marking in question, click Edit, and skip the next two steps. 2. Double-click the marking’s handle. The Expression Selection dialog box appears. 3. Click Create. The Expression Designer dialog box appears.

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4. Click the Playback tab. The playback options appear. 5. From the Type drop-down list menu, chooseKey Velocity. Enter a velocity value in the Set To Value box. The value you enter here is the MIDI key velocity value that Finale will apply to all the music, beginning at the point where it first encounters the dynamic marking and ending only when it encounters another marking. MIDI velocity is measured on a scale from 0 (silent) to 127 (very loud). If you’re editing a dynamic that came with Finale, you’ll notice that a velocity value has already been defined; feel free to change it. The changes you make apply throughout this document only, although you can store this document’s set of modified dynamic marks in a Text Expressions Library, ready for use in other documents, by choosing Save Library from the File menu. Then you can “borrow” the modified markings for use in other documents. 6. Click OK (or press enter).

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8va/8vb To create an

or

marking

1. Click the Smart Shape Tool


2. Click the or Tool. The marking usually goes beneath the music it affects. 3. Position the cursor in the measure where the marking is to begin so that the cursor arrow points to the staff to which you’re attaching it. 4. Double-click and drag to the right. Your double-click marks the side of the marking; as you drag, you increase the length of the dashed-line bracket. Release the mouse when you’ve positioned the right end where you want it. If you double-click below the staff the marking will be used markings instead (unless you have specified another symbol to use). affect playback. To specify that in this Finale document you want the under-bracket Tool to create an marking instead of the default marking, choose Smart Shape Options from the Smart Shape menu. The Smart Shape Options dialog box appears, in which you can choose either marking to appear at the beginning of the bracket.

To move or reshape an

or

marking

If the marking is already selected, it displays diamond editing handles. If not, click the Smart Shape Tool. Any Smart Shape created with this tool displays a handle; click the handle of the marking you want to modify. • Drag the right or left diamond editing handles to move the endpoints. Drag the square handle to move the marking. Press delete to remove bracket is long enough that it straddles one or more it. If the system (line) breaks, it will automatically break into two (or more) segments; the continuation portions will have an in parentheses. See Also: Smart Shape Options Smart Shape Tool

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Elapsed time If you need an accurate assessment of the real-time length of a section of music, the Selection Tool can help. The time displayed is based on the current tempo settings for the piece in the Playback Controls, including any tempo changes, ritards, and so on set up as playback effects on an expression.

To learn the real-time length of selected music 1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Check Notation, then Check Elapsed Time. Or, while pressing the 3 key, double-click the highlighted area. A dialog box appears, displaying (1) the amount of time that has passed from the beginning of the piece to the beginning of the selected region; (2) the time that has passed from the beginning of the piece to the end of the selected region; and (3) the total time of the selected region itself (all in thousandths of a second). 3. Click OK (or press enter).

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Elisions An elision is when two or more syllables are sung under the same note, such as in a folk song, chant or foreign language. Because Finale will advance to the next note if you enter a space, you’ll need to add an invisible syllable or hard space between the two real syllables. You can also use this method to place verse numbers with the first syllable. If you prefer a slur instead of a space between the syllables, see To create an elision slur between lyrics.

To create invisible syllables when typing lyrics 1. Click the Lyrics Tool . The Lyrics menu appears. 2. From the Lyrics menu, choose Edit Lyrics. The Edit Text window appears. If you prefer, choose Type into Score. Type the lyrics in the usual way, up to the elision. 3. Type the first syllable. Next type alt+0160.To type an alt character, hold down the alt key, and while holding it down, type 0160 on the calculator keypad on the side of your computer keyboard. Finale inserts a hard space. Continue by typing the next syllable, which will be attached to the syllable before it. Complete the remaining lyrics. 4. Click OK. When you enter these lyrics using the Control–Click Assignment method (see Lyrics), Finale distributes the syllables you just created to the corresponding notes of the melody, but treats the elision as a single syllable.

To create an elision slur between lyrics 1. Click the Lyrics Tool . The Lyrics menu appears. 2. From the Lyrics menu, choose Edit Lyrics. The Edit Text window appears. Type the lyrics in the usual way, up to the elision. 3. Type the first syllable. Without adding a space, type a capital I, then the second syllable. 4. Drag to select the I. From the Text menu, choose Font. Choose EngraverFontSet then click OK., choose Set Font, then choose EngraverFontSet. Complete the remaining lyrics. 5. Click OK. When you enter these lyrics using the Control–Click Assignment method (see Lyrics), Finale distributes the syllables you just created to the corresponding notes of the melody, but treats the elision as a single syllable. A slur will appear between the two syllables.

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Encapsulated PostScript (EPS) Encapsulated PostScript (EPS) is a computer graphics format. Because an EPS file contains the full PostScript description of its contents, it will print with the greatest resolution possible on a laser printer or other PostScript device, even if it’s pasted into another program. If you’re using Finale in conjunction with a graphics, page-layout, or word-processing program, use this technique to transfer music from Finale.

To create an EPS file Use the Export Pages or the Export Selection commands in the Graphics menu. See Graphics.

Special instructions for printing from Finale with imported EPS files 1. You must have a PostScript capable printer. Check your printer manual for details. 2. The printer driver must be set to Optimize for Portability. Exit Finale. Click Start, Settings, Printers. Right-click on your printer driver and select Properties. Select the PostScript tab and set the “PostScript output format” to “Optimize for Portability” ADSC. Click Apply, then OK. 3. The line “OwnPS=0” must be added to the Finale.ini file. Exit Finale. Open the Finale.ini file in the Finale 2010 folder with Notepad. In the [Settings] section, add the following line, without quotes, “OwnPS=0”. Save and exit Notepad.

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Enharmonics There are several ways to change a note to its enharmonic equivalent: note by note, chord by chord, or even globally. Note that if you change a note to its enharmonic equivalent in a linked part, the enharmonic spelling link is broken between the score and part for that note. See Enharmonics in linked parts.

To change a note to its enharmonic equivalent (Speedy Entry) 1.

Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. 2. Press the directional arrow keys until the insertion bar and crossbar are positioned squarely on the notehead you want to change. You can also click the notehead with the mouse. If the note you want to change is the only entry, the crossbar does not have to be directly on the notehead. 3. Press the 9 key. Pressing the 9 key flips a note to its enharmonic equivalent. If you press 9 again while the crossbar is positioned on the changed notehead, the note will flip back to its original identity. 4. Special feature: If you press option-9, you’ll also change all other notes on the same line or space in the measure. The crossbar does not have to be on a notehead to use this option.

To change a note to its enharmonic equivalent (Simple Entry) 1. Click the Simple Entry Tool . 2. Ctrl-click a note to select it. 3. Press the \ (Backslash) key. The note changes to its enharmonic equivalent.

To change a chord’s enharmonic spelling 1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. 2. Press the right arrow key until the cursor is positioned on the chord you want to change. Press the up and down arrow keys until the crossbar is not on a notehead. You can also click the chord with the mouse. 3. Press the 9 key several times. Each time you press 9, Finale cycles to the next possible enharmonic spelling of the chord. If the chord contains several notes with accidentals, there could be many different possibilities.

To change all occurrences of a note (search and replace) 190

You can change every occurrence of a note to its enharmonic equivalent— changing every G sharp to an A flat, for example. See Search and replace.

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Engraver slurs Engraver slurs avoid collisions with stems, beams, noteheads, “inside slur” articulations, and accidentals. Engraver slurs will make most of your slurs look perfect the first time, although nothing can completely replace an artistic judgement call from a human! Font annotation is critical to proper functioning of Engraver slurs. If you’re using a MakeMusic font, such as Maestro or Broadway Copyist, we’ve already provided font annotation files. If you’re using a third-party music font, you should create a font annotation file. See Font Annotation dialog box. Any manual edit to an Engraver slur will make it immune to Engraver slur settings. It will still be marked as an Engraver slur in the contextual menu, but will be frozen. When frozen, Engraver slurs will no longer reshape to changes in the notes. To revert the slur to behaving like an Engraver slur or unfreeze the slur, use the Remove Manual Adjustments command in the contextual menu or the Mass Edit Tool Utilities submenu. Because Engraver slurs depend heavily on the spacing of notes, they may appear slightly different between Page View and Scroll View. Many factors, such as locked measure systems, cause this difference. We recommend that you make final adjustments to Engraver slurs in Page View, as this is the view that will print.

To edit Engraver slurs See To move, reshape, or delete Smart Shape slurs.

To define Engraver slurs Engraver slurs can avoid collisions with stems, beams, noteheads, articulations, and accidentals. If you transpose the music, Engraver slurs will reshape to avoid collisions with the new layout. 1. Click the Smart Shape Tool . The Smart Shape menu appears. 2. Choose Smart Slur Options from the Smart Shape menu. The Smart Slur Options dialog box appears. 3. Check the Use Engraver Slurs box. The Engraver slur settings become active. 4. Make adjustments to the Engraver Slur settings, if desired. See Smart Slur Options dialog box for details. 5. Click OK (or press enter) when you’re ready to save the new settings. Or click Cancel if you want to discard changes.

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Any manual edit to an Engraver slur will make it immune to Engraver slur settings. It will still be marked as an Engraver slur in the contextual menu, but will be frozen. When frozen, Engraver slurs will no longer reshape to changes in the notes. Remove Manual Adjustments in the contextual menu or the Selection Tool Utilities will revert the slur to behaving like an Engraver slur or unfreeze the slur.

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Erasing You can erase any individual element of music from any specified region: lyrics, chord symbols, articulations, and so on, without removing any actual notes. If you want, you can also quickly erase all elements, including notes, from the desired region.

To erase everything from a selected region 1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. Press backspace (laptop users Fn-6) or select Clear All Items from the Edit menu. Finale erases all music, leaving empty measures behind. (If you want to remove the measures too, double-click until the full measure stack is selected and press the delete key. Pressing the Delete key without a full stack selection erases the music without deleting the measures themselves).

To erase a note, rest, or chord (Simple Entry) 1. Click the Simple Entry Tool

.

2. Click the Eraser Tool , then click the note, rest or chord. The entire note, rest, or chord disappears, and the music that follows it slides to the left to fill the space.

To erase a note from a chord 1. Click the Speedy Entry Tool . Click the measure in question. 2. Click the notehead you want to delete. You can also use the arrow keys to position the insertion bar and crossbar on the notehead. 3. Press backspace (laptop users Fn-6) or shift-delete. Alternative method: , click the Eraser icon Click the Simple Entry Tool directly on the notehead to be erased.

, and click

To erase selected elements from a selected region 1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. Choose Clear Selected Items from the Edit menu (or, right-click the region and choose Clear Items). The Clear Selected Items dialog box appears. See Clear Selected Items dialog box.

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3. Check the items you would like to clear. Uncheck Entries if you would like to clear individual entry items. 4. Click OK (or press enter) twice. Finale erases the selected items. (You can undo this action by immediately choosing Undo from the Edit menu.)

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Exploding music If you have notated a chordal or polyphonic passage, you can tell Finale to “explode” the passage onto individual monophonic staves. For example, you can write three trumpet parts on a single staff, notated as triads; when you’re finished, Finale can explode that one staff into three individual trumpet staves, each with a single-line part.

The Explode Music command can place the top note of each chord in the top exploded part, the second note in the second, and so on. You can specify the clefs for the resultant staves beforehand.

To explode music onto several staves 1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Explode Music. The Explode Music dialog box appears, asking for more information. 3. Enter the number of staves you want the music exploded onto in the Number of Splits box. You can create up to eight staves. 4. Decide your explode direction. You can select either Top Down or Bottom Up. 5. Select where extra notes should be placed. Extra notes can be placed in the Top Staff, Bottom Staff, Distributed to a number of staves, or discarded all together. 6. If you would like to have at most one note in every staff, select Only One Note per Staff. 7. Optional: Enter the desired clefs for the exploded staves, and click Use These Clefs. Finale numbers each clef as follows: Treble (0), Alto (1), Tenor (2), Bass (3), Percussion (4), Treble Ottava Bassa (5), Bass Ottava Bassa (6), and Baritone (F clef) (7).

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If you’re exploding a triadic passage onto staves for violin (treble), viola (alto), and cello (bass), for example, you’d type 013 as the first three digits in the Use These Clefs box. (If you just want all exploded staves to begin with the default clef—the treble clef, unless you’ve changed the default— leave the Use These Clefs box unchecked, and ignore the numbers.) 8. Select the staves you want to contain the exploded music. You can select either New staves or Existing staves. 9. Click OK. If you’ve selected a large amount of music, this process may take time. Be aware that Articulations and Expressions on the source staff also appear in the resultant staves.

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Expressions If you upgraded to Finale 2010 from Finale 2008 or earlier, see Finale 2009 Interface Changes to learn how expressions have changed. Expressions are markings that tell the performer how to interpret (or express) a musical passage. In Finale, expressions are generally symbols or text placed above or below the staff. Dynamics, tempo indications (Allegro), and performance practice markings (pizz.) are among the figures added as expressions. Because of their positioning characteristics, expressions are best suited for other types of markings as well, such as rehearsal marks. (Although shapes such as slurs and hairpins are also used to communicate the manner of expression, these are generally added as Smart Shapes, whose properties are specially designed for graphical editing. Markings that apply to a single note/beat are added as Articulations.) Because similar types of expressions usually share positioning and appearance characteristics, Finale separates the different types of expressions into independent categories. Categories permit, for example, all dynamics to automatically share the same font, size, and positioning settings. Furthermore, changes to a category apply to all expressions in that category, including those that have already been added to the score. Finale includes six categories already, each with unique font, positioning, and staff assignment settings. (Each category's settings can be changed at any time using the Category Designer dialog box). Expression Type Dynamics

Example

Tempo Marks Tempo Alterations Expressive Text Technique Text Rehearsal Marks

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Additional expression categories may be added in the Category Designer dialog box, and individual expressions may be moved from one category to another in the Expression Selection dialog box. Behind the scenes, the markings available in the Expression Selection dialog box are stored in libraries. All of Finale's expressions, articulations, and other markings are stored in libraries because different documents require different types of markings. For example, if you’re scoring a big band piece, you may want to create a library full of fall-off, bend, and “doit” markings—but you certainly won’t need those expressions when you write a string quartet. The File menu in Finale offers two commands: Load Library, for bringing expression marks into a document, and Save Library, for storing symbols you have created or modified in a separate library of their own, ready to be imported into future pieces. Note that Document Styles include libraries, and can be used to load a collection of libraries every time you begin a new document. A basic set of Expression markings is already included whenever you start a new default document, template, or document with the Setup Wizard. If the Expression Selection dialog box is empty when you’re attempting to place an expression in the score, you can remedy the situation by choosing Load Library from the File menu, locating the Libraries folder, and double-clicking the correct libraries (the Articulation Library for the Articulation Tool, Text Expression Library and Shape Expression Library for the Expression Tool). For information regarding specific markings (tempo indications, crescendos, and so on), see their individual entries. For information regarding the behavior of expressions in linked parts, see Expressions in linked parts. If you intend to make use of the Shape Expressions, it’s important that you assign each to a Metatool (see To create Expression Metatools for full instructions) before placing them in the score. Otherwise, you’ll find that the shapes aren’t individually reshapable; if you change one, they all change.

To create a shape See Shape Designer. See also Articulations; Crescendo/Decrescendo; Dynamics; Slurs.

To assign an expression to a staff These steps demonstrate how to assign a expression (dynamic, tempo marking, style markings, and performance practice indicator) to you score. (To add an auto-sequenced rehearsal mark, see To define and add custom rehearsal marks). 1. Click the Expression Tool

. 199

2. Double-click on, above, or below the note or measure to which you want to attach the marking. To add an expression to multiple adjacent staves, click and drag a box around those staves. The Expression Selection dialog box appears. 3. Choose the desired category from the list on the left (or choose Show All to display all of them). Each category represents font and positioning settings that apply to all included expressions (see Category Designer). For example, all dynamics in the score, as well as future dynamics added, will respect changes made to the Dynamics category unless the expression has been specifically excluded from category settings in the Expression Designer (by unchecking the Use Category Fonts/Use Category Positioning check boxes). Notice the number to the upper right of some expressions. This is the metatool assignment (see below). You can hold down this key and click to add the expression directly to the score. While viewing the Expression Selection dialog box, to assign a new metatool key to a selected expression, hold down shift and press the key.

4. Click Assign (or double-click the expression) to add it to the score. Any expression that is not a tempo mark, tempo alteration, or rehearsal mark (see Score List) can be assigned to any number of staves. Click the drop-down arrow next to the Assign button to choose a list of specific staves for assignment. Or click Assign to Specific Staves to define a new list. See Assign to Staves dialog box. See To assign an Expression to Multiple Staves (Assignment Lists). Finale assigns the expression according to positioning settings defined for the category in the Category Designer. An attachment indicator line displays the expression's attachment point. Click and drag the expression to change the expression's attachment point (to a different beat or measure). To position the expression relative to a different staff, drag the expression over the desired staff 200

The same category settings also apply to expressions added with metatools...

To add an expression to multiple staves (Score Lists) Some expressions always apply to the performance of the full score (every staff) including tempo marks, tempo alterations, and rehearsal marks. Whenever you add an expression in one of these categories, they appear on staves selected in its category's Score List. See Category Designer.

To assign an expression to multiple staves (Assignment Lists) Expressions that apply to single staves, including dynamics, technique text, and expressive text, can be added to multiple adjacent staves simultaneously using metatools (see To add an expression using metatools below). They can also be added to all staves, or a selection of specific staves using the Assign drop-down menu in the Expression Selection dialog box. Assignment Lists can be defined in the Assign to Staves dialog box. 1. Click the Expression Tool . 2. Double-click on, above, or below the note or measure to which you want to attach the marking. Or, double-click the handle of an existing expression. The Expression Selection dialog box appears. 3. Choose the Dynamics, Expressive Text, or Technique Text category from the list on the left. Assignment Lists are only available for categories not compatible with Score Lists._Ref-891099525 4. Click the drop-down list next to the Assign button and choose the desired Assignment List. Finale adds the expression to the staves specified in the list. If you originally double-clicked an existing expression, Finale replaces the existing expression(s) with the newly assigned ones. 5. To create a new list, click Assign to Staves to open the Assign to Staves dialog box where you can define a new Assignment List. You can also change the staff assignment of an existing expression by rightclicking the expression and choosing Assign to Staves. See Expression Tool contextual menus. Additional expression assignment keyboard shortcuts • Select an expression handle and press Ctrl-Up arrow or Ctrl-Down arrow to add the expression to the staff above or below (respectively). 201

• Select an expression handle and press Ctrl-Home or Ctrl-End to add the expression to all staves above or below (respectively). • Select an expression handle and press Ctrl-Alt-Enter to add the expression to all staves.

To add an expression using metatools To define metatools, see To create expression metatools. To add them, do the following: 1. Hold down a metatool key and click to quickly add the expression. 2. Hold down a metatool key, then click and drag over multiple staves to add several expressions at once. See Metatools - To use an expression metatool.

To move or delete an expression 1. Click the Expression Tool . 2. Drag the handle to move the marking. As you drag horizontally, the attachment indicator line jumps beats or measures to show the current attachment. 3. Hold down Alt and drag the handle to move the marking without changing the attachment point. 4. Select it and press delete to remove it. Once the handle is selected, you can also use the arrow keys to “nudge” the marking for fine positioning. Alternatively, right-click the expression and choose Delete. See also Align/Move Dynamics Plug-in and To adjust the vertical positioning of expressions

To create an expression 1. Click the Expression Tool . Double-click on, above, or below the note to which you want to attach the marking. The Expression Selection dialog box appears. 2. Choose the desired expression category from the list on the left. Finale will automatically apply the category's font, style, and size to the new expression. If you would like to change the font, size, or style, you can do so in the Category Designer dialog box. 3. Click the Create [expression category] button. The Expression Designer dialog box appears. 4. Choose the Text radio button and type the text to create a text expression. See Expression Designer. 5. Choose the Shape radio button and click Create to create a shape expression. Design the shape and click OK. See Shape Designer. 202

6. To assign a playback effect for the expression, click the Playback tab. See To define an expression for playback. 7. Category positioning is already defined. To change the positioning settings for the expression, click the Positioning tab. See To assign the default positioning for an expression. 8. If you are creating a rehearsal mark, and would like to use Finale's auto-sequencing rehearsal marks, check Auto Sequencing. See also To define and add custom rehearsal marks. 9. Click OK. The expression appears in the Expression Selection dialog box. 10. Click Assign to add it to the score. If the expression is not a tempo mark, tempo alteration, or rehearsal mark (see Score List) it can be assigned to any number of staves using assignment lists. Click the drop-down arrow next to the Assign button to choose a list of specific staves for assignment. Or click Assign to Specific Staves to define a new list. See Assign to Staves dialog box. 11. Double-click any expression's handle (or select an expression's handle and press enter) to open the Expression Selection dialog box where you can choose a different expression or edit the existing one. 12. Shift-double-click an expression's handle (or select an expression's handle and press shift-enter) to open the Expression Assignment dialog box where you can specify positioning changes, staff assignment, and playback options for the expression. Expressions that always apply to the full score, such as tempo marks and rehearsal marks, can be assigned to more than one staff using a Score List. You can apply a Score List to a category in the Category Designer. For more information, see Score List dialog box.

To erase Expressions from a region 1. Click the Selection Tool . 2. Select the desired region. See Selecting music for some region-selecting shortcuts. 3. From the Edit menu, choose Clear Items. The Clear Selected Items dialog box appears. 4. Check Expressions. There are two types of expressions listed. If you choose "Tempo Marks, Tempo Alterations & Rehearsal Marks" be sure the full measure stack is selected. 5. Click OK.

To copy expressions You can copy any musical element from one passage to another. In this discussion, the source measures are those that now contain the marking, and the target measures are those to which you want to copy them. 203

1. Click the Selection Tool . 2. From the Edit menu, choose Edit Filter. The Edit Filter dialog box appears. 3. Select Expressions and click OK. There are two Expression check boxes. If you choose Tempo Marks, Tempo Alterations, & Rehearsal Marks, the source region will need to be a full measure stack. 4. Select the source measures. See Selecting music for some selecting shortcuts. 5. Drag the first source measure so that it’s superimposed on the first target measure. If the first target measure is offscreen, scroll to it; then, while pressing ctrl, click it. Alternatively, you can use the clipboard to copy (Ctrl-C, then Ctrl-V, see Copying Music). Note: when you are done copying expressions, open the Edit Filter dialog box again and click "All" if you want Finale to copy everything as you continue to edit your score. The configuration of the Edit Filter dialog box remains until edited manually, even after closing and restarting Finale.

To move expressions assigned to score lists Three of Finale's default expression categories include score lists: Tempo Marks, Tempo Alterations, and Rehearsal Marks. Score Lists are Finale's way of hiding expressions on certain staves of the full score, although they apply to all staves (and usually appear in every part). See Category Designer dialog box for more information. In the score, they can be moved independently. • Drag the top Master Expression (the one assigned to the highest staff) to move all occurrences of the expression in the score. • Drag a subsequent expression (one assigned to a staff other than the top staff) to move only that expression occurrence. • Hold down ` (tilde) and drag the Master expression to move it independently.

To define an expression for playback The following instructions allow you to define an expression for playback manually. Note that Human Playback interprets expressions and performs them automatically based on the selected Human Playback Style. See Human Playback.

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1. Click the Expression Tool . If you haven’t yet placed the mark in the score, double-click any note or measure. When the Expression Selection dialog box appears, click the desired category, choose the desired expression, click Edit, then skip the next two instructions. 2. Click the Playback tab. The playback options appear. 3. From the Type drop-down list menu, choose the playback effect you want the marking to have. Many of these are self-explanatory: Tempo, Key Velocity, and so on. For a complete description of these items, see Expression Designer dialog box. 4. To set a specific value for this parameter, enter a number in the Set To Value box. The units for these items are usually what you’d expect. Tempo is quarter notes per minute. Key Velocity is MIDI velocity (0, silent; to 127, very loud). Transposition is in half steps (to transpose up an octave, type 12 in the Set To Value box). When you’ve entered a value into the Set To Value box, you’re finished defining the shape for playback. The rest of these steps deal with creating playback definitions that change over time— for example, MIDI pitch wheel data (for a pitch bend), Tempo (for a ritard), Key Velocity (for a crescendo), and so on. 5. If the playback parameter is to change over time, select Execute Shape, and then click the Select button. The Executable Shape Selection box appears. If the desired shape appears here, double-click it and skip to the instruction marked by the asterisk (*). 6. Click Create. In the next box, click Shape ID. In the next box, click Create. You’re now in the Shape Designer. For a more complete discussion of the Shape Designer, see Shape Designer. 7. Choose Rulers and Grid from the Shape Designer menu. A box appears, asking you to specify the background grid increments. 8. Click Eighth Notes, enter 1 in the text box, then click OK. From the Show submenu of the Shape Designer menu, choose Grid. You should now see a network of grid points; each horizontal gridpoint represents an eighth note’s duration. 9. Draw the Executable Shape. Again, see Shape Designer. You’re drawing, in fact, a graph whose contour Finale will follow as it plays back your music. A ritard (or a diminuendo, for that matter) looks like a straight line, or gentle curve, sloping down. A pitch bend looks like a scoop down or up. For details on these individual markings, see separate entries for Trills; Rallentando; Pitch wheel; and so on. As you draw, keep in mind that each imaginary vertical gridline represents an eighth note’s duration, and each horizontal gridline represents one change in value. If you’re creating a crescendo, the volume will increase an equal amount each time your shape crosses a horizontal gridline. If you’re creating a rallentando, the tempo will decrease each time your shape crosses a horizontal gridline. In a later step, you’ll learn how to determine the rhythmic value of these gridlines— specifying, for example, whether the volume increases every eighth note or 205

10.

11.

12.

13.

every sixteenth note. But for the moment, realize that the height of your shape (the number of horizontal gridlines it crosses) determines how many changes in value there will be. (The shape for a rallentando that crosses eight horizontal gridlines will create eight small tempo changes when the expression to which it’s assigned is played back.) Press enter twice. You arrive at the Executable Shape Designer box. The two most important elements here are the Time Scale and Level Scale boxes. Enter a new Time Scale, if necessary. When you created the shape, you determined how long the playback effect would last (by the number of vertical gridlines your shape crossed). The Time Scale ratio—formed by a combination of the two text boxes—is multiplied by the length of the shape you drew so that you can change the total duration affected by the shape. A 1:1 ratio means that each vertical gridline your shape crosses (in the Shape Designer) represents an eighth note duration. Suppose you’re defining the Executable Shape for a crescendo. If the shape you drew was only a quarter note long (two gridlines in the Shape Designer), the crescendo will last for exactly a quarter note—if you leave the Time Scale at 1:1. To make the crescendo last twice as long, change the Time Scale to 2:1. If you want it to last only a third as long, the Time Scale should be 1:3. The values you enter here determine the span of time affected by your shape. Enter a new Level Scale, if necessary. The Level Scale, like the Time Scale, is a ratio. Instead of determining how long the Executable Shape’s effect will last, the Level Scale determines how much change you’ll hear (in the MIDI parameter you’ve specified). When you designed your shape, each horizontal gridline crossed by your shape represented one change in MIDI value: a tempo change from 60 to 59 beats per minute, a MIDI key velocity change from 120 to 121, a transposition down one half step. By changing the Level Scale, you can multiply that number to create more dramatic changes in the playback effect. For a ritard, you might want to specify a Level Scale of 10:1, so that the tempo drops by 10 beats per minute for each horizontal gridline crossed by your shape. Click OK or Select or Assign in each dialog box until you return to the document. Listen to the effect of your Executable Shape. Can you even hear your ritard in playback? If not, increase the Level Scale ratio. Is your crescendo too brief? Then increase the Time Scale ratio. If you’re still puzzled, examine one of the predefined Text or Shape Expressions that use Executable Shapes: the crescendo hairpin, for example, or the rallentando expression.

To change the default positioning for an expression category 1. From the Document menu, choose Category Designer. The Category Designer dialog box appears. 2. Select the category and edit the positioning settings (see Category Designer dialog box). 206

3. Click OK. Existing and future expressions in the category reflect your updated positioning settings. See also To Create an Expression

To adjust the vertical positioning of expressions on a baseline You can adjust the vertical positioning of expressions along a baseline after they have been entered provided they have been set to Above Staff Baseline or Below Staff Baseline in the Vertical portion of the Positioning tab of the Text/Shape Expression Designer. See Expression Designer-Positioning. Then, do the following 1. Click the Expression Tool . 2. From the Expression menu, choose Adjust Above Staff Baseline or Adjust Below Staff Baseline depending on whether you want to move expressions above or below the staff, respectively. Positioning triangles appear to the left of the staff. 3. Drag the positioning triangles to adjust the vertical positioning of the expressions. These triangles are handles that control the baseline for the expressions (the invisible line against which the bottoms of the letters align). Dragging the leftmost triangle up or down moves the baseline for these expressions vertically, affecting the entire piece. The second triangle sets the baseline for expressions for this staff only. The third triangle, whose effect is only visible in Page View, sets the baseline for this staff in this system only. The rightmost triangle sets the baseline for the next expression you enter. For information regarding baselines in linked parts, see Baseline Positioning in linked parts.

To create Expression Metatools When you have many expression marks to place in your score, you can use a Metatool to bypass all the dialog boxes and button-clicks required in the expression-placing procedures described above. A Metatool is simply a keyboard equivalent for a certain expression marking; you use letter or number keys on your keyboard. Furthermore, Expression Metatools are extremely important if you want to place more than one of any particular Shape Expression into the score. If you don’t place them into the score using Metatools, you’ll find that the shapes aren’t individually reshapable; if you change one, they all change. 1. Click the Expression Tool . 2. Double-click a staff. The Expression Selection dialog box appears. Note the number or letter to the upper right of each expression slot. This is its metatool assignment. 207

3. Choose an expression, then hold down Shift and press a key to assign it to the marking. The new metatool assignment appears in the upper right corner of the slot. Repeat for any other metatools you wish to assign. 4. Click Cancel (or Select to add the selected expression). You can now hold down the metatool key and click to add the expression you just defined. Alternatively, you can also assign metatools in the traditional way... 1. While pressing shift, press any letter or number key. The key you press is the Metatool key to which you’re assigning the marking. When you do this, the selection box appears. If the marking isn’t present in the palette, you can create it in the usual way; see To create an expression. 2. Double-click the desired marking. Press enter as necessary to exit the dialog boxes. You return to the document, having successfully prepared the Metatool for use. You’re now ready to place the marking in the score select the proper tool). 3. While pressing the appropriate letter or number key, click where you want the marking to appear. Again, remember to use this Metatool technique all the time if you plan to place Shape Expressions into the score; doing so will ensure that each occurrence of a shape is individually reshapable, because each time you use a Metatool, it creates a copy of the original shape.

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Extracting parts Extracting parts into separate documents is no longer required to produce printed sheet music - you can print Linked Parts directly from the main project file. See Linked Parts and Print dialog box. When you extract parts, Finale creates a separate document for each selected part. The extracted part’s formatting and content is identical to the original Linked Part from the main project file. Finale generates a separate file using the Linked Part as the source.

To extract parts into individual documents 1. Save the full score document. 2. Choose Extract Parts from the File menu. The Extract Parts dialog box appears. 3. Specify the instruments you want to extract by checking the desired parts (and/or the score). 4. Enter a file name for the resultant documents. If you select the Generate Names From radio button Finale proposes the folder (same as the score file) then %f %p. The %f will be replaced by the file name and %p will be replaced by the part name of the linked part. If you want another combination of variables to construct your file name with, see Extract Parts dialog box for details. If you select the Prompt for Each Name radio button Finale will pause between each file to ask you to title the next one. 5. Click OK and choose your location to save your documents. Regardless of how file names are generated, it is wise not to give your extracted-part files the same name as an existing file in the same folder. 6. Click OK (or press enter). Finale will generate an individual Finale document for each part, according to your specifications.

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Fall-offs While a fall-off is musically not the same thing as a glissando, the technique Finale uses to produce an adjustable slanted line attached to a notehead is the same. See Glissandos. If you are using the Broadway Copyist or Jazz Font, you can select fall-off articulations in the Articulation Selection dialog box.

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Fermatas The fermata, or hold ( or ), is an Articulation. For complete instructions on creating, positioning, and moving articulations, see Articulations. If you’ve loaded an Articulation library into your file (or started your document with the Setup Wizard, a template, or new default document), you won’t have to create the symbol anew. 1.

To move or delete a fermata 1. Click the Articulation

Tool.

2. Drag the handle to move the fermata. Select it and press the arrow keys to “nudge” it for fine positioning; select it and press delete to remove it.

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Figured bass You can create figured bass symbols with the same Finale tools you’d use to create fingerings (see Fingering numbers). You might prefer, however, to create them as chord symbols, because chord suffixes in Finale also allow you to “stack” numbers on top of each other within a single suffix. See Chord Symbols. As you define each chord symbol, remember to de-select the Root Scale Tone checkbox in the Chord Definition dialog box, so that the letter name itself doesn’t appear in the chord symbol. You might also consider using the Shape Designer to create figured-bass numerals, since it allows you to combine text elements in any relationship. Place these shapes into the score as expressions. That is, create the suffix (maj7, for example) without the root letter name (C, for example). Or use this chord-suffix method only for the inversion numerals, and use the Lyrics Tool to place the roman numerals; this combination of tools gives you a great deal of control over the positioning of these two independent elements (roman numerals and inversion numbers). See Lyrics. See also the Figured Bass Library in the Chord Suffixes Library folder for a starting point. If you’re handy with a font-making program, you could even create your own figured-bass font, whose characters you could place in your score as Articulations or expressions. See also the Alternative music fonts for some professional figured bass fonts.

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Final barline See also Automatic Barlines.

To create a final barline 1. Click the Measure Tool ; double-click the barline handle of the measure you want to end with a final barline. The Measure Attributes dialog box appears. 2. Click the Final barline icon. Click OK.

To turn off the automatic final barline at the end of the document 1. From the Document menu, choose Document Options, then select Barlines. 2. Uncheck Final Barline at End of Piece. 3. Click OK.

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Fingering numbers Numbers that are added to a part to indicate fingerings are Articulations; see Articulations for full instructions. A note or chord can have as many Articulations as you want. The Maestro Font Default file already contains fingering articulations. You can also find fingering articulations in the Articulation libraries. See for more information. One of the easiest ways to put fingerings into a score is with the use of Metatools. The fingering numbers in the Maestro Font Default file have metatools assigned to numbers 1 through 5; you’ll be able to quickly and accurately place one number after another. See Metatools.

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First and second endings You can easily create a repeat with first and second endings that will playback correctly (as shown below).

To create a repeat with first and second endings 1. Click the Repeat Tool ; then click the first ending measure to highlight it. If the first ending is longer than one measure, click the first measure of the first ending and the hold down Shift and click the last measure of the first ending so all measures you want to include in the first ending are highlighted. 2. Right-Click the region you just highlighted and choose Create First and Second Ending. The first ending, backward repeat barline, and second ending appear in the score. At this point during playback (upon reaching the backward repeat bar) Finale will go back to the closest forward repeat it finds, so we’ll add that next. 3. Right-Click the first measure of the repeated section and choose Create Forward Repeat. You could also double-click the measure, and double-click the forward repeat bar graphic. This section is automatically configured to playback correctly. Also, if any measures are inserted or removed from within the repeated section, Finale makes the appropriate adjustments so playback continues to jump to the correct measures as indicated by the repeat markings. For more advanced repeat indication, such as nested repeats, to configure playback you may need to specify the target and number of passes for backward repeat bars manually. See Backward Repeat Bar Assignment dialog box and Create Ending dialog box. Note: You can add the forward repeat before creating the first and second endings. The order for the last two steps isn’t crucial.

To adjust the brackets on a repeat ending 215

1. Click the Repeat Tool . Three handles appear on the bracket. (A single handle appears on each repeat bar.) 2. To stretch a bracket, drag its upper handles vertically or horizontally. To delete a repeat, click any handle and press delete. You can’t stretch a bracket further than the length of one system.

To change the default bracket height for repeats (and set the number font) 1. From the Document menu, choose Document Options and select Fonts. The Fonts options appear. 2. To change the font for the numbers that appear in a repeat bracket (for example, the “2.” in a second ending bracket), in the Text dropdown menu, choose Ending repeat, and then click Set Font. See Document Options-Fonts for more details. 3. To change the height of any brackets in your score, choose the Repeats category, then click the Repeat Endings button. Change the Height of Bracket number. The units are whatever you’ve selected in the Document menu for Measurement Units. See Document Options-Repeats.

To move, hide, or delete a text repeat 1. Click the Repeat Tool . Handles appear on all repeat markings. 2. Drag its handle to move a text repeat; select it and press delete to remove it. Note that in terms of its playback functions, the marking is still associated with the measure in which you originally placed it, even if you drag it to a different measure. Repeat markings initially appear in all staves. To assign an ending or text repeat to specific staves of your score, use the Staff List options available in the Create/Edit Ending dialog box and Backward Repeat Bar Assignment dialog box. Also see Staff List dialog box.

To change a backward repeat’s playback definition 1. Click the Repeat Tool ; a handle appears on the barline. 2. Double-click any handle. The Backward Repeat Bar Assignment (playback definition) dialog box reappears. Make the desired changes, and then click OK (or press enter). (See To place a repeat in your score, for the playback options you can specify.)

To hide the ending brackets and text repeats for a specified staff If your score includes a piano part (for example), you normally won’t want ending brackets (such as a first ending bracket) to appear above both the treble and bass staves. Similarly, you would probably want a Text Repeat

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(such as “To Coda”) only to appear above the treble staff, not above both. If you want to remove these items from just one staff: 1. Click the Staff Tool , and double-click the staff for which you want to hide the brackets or Text Repeats. The Staff Attributes dialog box appears. 2. In the Items to Display section, uncheck Endings and Text Repeats. Click OK. (If you want to assign the text repeat to a number of staves in your score use Staff Lists in theCreate/Edit Ending dialog box and Backward Repeat Bar Assignment dialog box).

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Flags See also Beaming; Document Options-Stems. You have considerable control over the flags on single eighth notes (and smaller values) in Finale. The typical use for these parameters is to adapt a music font to Finale other than Finale’s Maestro font or Adobe’s Sonata font. Because different fonts use different spacing and positioning schemes for their music characters, you may need to adjust some of these variables in order to accommodate a different music font.

To change the character assignment for a flag 1. From the Document menu, choose Document Options and select Flags. The Flag options appear. 2. From the Flag Characters drop-down list menu, choose the flag element whose character you want to change, then click Select. See the figure for reference. Maestro flag characters contain either one or two flags (as shown below).

When you click Select, the Symbol Selection dialog box appears containing every available character in the font. (To change the font, from the Document menu, choose Set Default Music Font, choose a new font and click OK.) 3. Double-click the replacement character. Whichever character you select will now appear at every occurrence of a flag in this document. 4. Click OK.

To use Straight Flags 1. From the Document menu, choose Document Options and select Fonts. 2. Choose Flags from the Notation drop-down list. 3. Click Set Font, and choose Maestro Percussion. 4. Switch to the Flags category. 5. Click the Straight Flags radio button to select it.

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6. Choose Straight Upstem Flag from the Music Charactersdrop-down list, then click Select to display the Symbol Selection dialog box. Type the key combination for the character, or scroll through the dialog box and click the character you want to use. Click Select to choose the Straight Upstem Flag character. Choose the characters according to the tables below, then click select. 7. Choose Straight Downstem Flag from the Music Characters dropdown list, then click Select to display the Symbol Selection dialog box. Type the key combination for the character, or scroll through the dialog box and click the character you want to use. Click Select to choose the Straight Downstem Flag character. Choose the characters according to the tables below, then click select. If you’re using Horizontal Straight Flags, use the flag character on R (slot number 114) in the Maestro Percussion font for both the straight upstem and downstem flag. For Angled Straight Flags, use the flag character S (slot number 115) for the straight upstem flag, and shift-S (slot number 83) for the straight downstem flag. Use the Flag Positioning drop-down menu in the Flags category of the Document Options dialog box (under the Document menu) to adjust the horizontal or vertical placement of the flags as needed. Refer to the following tables to determine which characters to select for the angled or horizontal style of straight flags.

Angled Straight Flag

Slot number

Key Cap

Straight Upstem Flag

115

S

Straight Downstem Flag

83

shiftS

Horizontal Straight Flag

Slot number

Key Cap

Straight Upstem Flag

114

R

Straight Downstem Flag

114

R

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To adjust the placement of Horizontal and Angled Straight Flags 1. From the Document menu, choose Document Options and select Flags. 2. Choose Straight Upstem Flag from the drop-down list menu and change V to 12 EVPUs. (For angled straight flags, set V to 24 EVPUs.) 3. Choose Straight Downstem Flag from the drop-down list menu and change V to zero. (For angled straight flags, set V to -24 EVPUs.) 4. Click OK twice.

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Flutter-tongue The notation for flutter tonguing (flute and other instruments) varies. You can place the f.t. notation into the score as an expression (see Expressions). Use a wavy line to indicate its duration; see Trills.

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Font Annotation Font Annotation allows you to fine-tune the height and width of each font character, allowing Finale to better handle the selection area for font characters and collision avoidance in Engraver slurs. We’ve provided annotation files for each of the fonts provided by MakeMusic. If you use an alternative music font, you should create your own font annotation file for a smoother integration with Finale.

To annotate a font 1. Open any file. 2. From the Edit menu, choose Program Options, and select Edit. Click the Font Annotation button. The Font Annotation dialog box appears. 3. Click New. Select the desired font and click OK. You return to the Font Annotation dialog box with a character displayed in the selected font. 4. Under Character, click Select. Scroll up and find the first non-empty character in the font. Double-click on it. You return to the Font Annotation dialog box with the selected character in the selected font. 5. Drag each side of the red bounding rectangle until the lines frame the character as closely as possible. Use the View text box to increase or decrease the size of the character. Use the Hand Grabber Tool (right-click and drag in the character window) to move your view of the character. No part of the character should appear outside the bounding rectangle. 6. Click Save. The Save As dialog box appears. 7. Save the file in the Font Annotation folder in your Finale folder. Finale will automatically load all font annotation (FAN files found in the Font Annotation folder when you start Finale. 8. Select the next character in the font. Use the arrow buttons or click Select under Character and double-click on the next character. 9. Repeat until all characters in the font are annotated. 10. Click Save, then OK twice. You return to the document. In order to see the effects of the changes you’ve just made, you would need to quit and restart Finale.

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Fonts Most items you see in Finale are created with font characters. In addition to items created with text, musical symbols (such as noteheads, clefs, and expressions) are font characters as well. Finale is unique among music notation programs in that it allows the user to specify the font used for music characters. This means you can choose from different note heads, different treble clefs, or whatever you'd like, to make your music look exactly the way you want it to. Furthermore, within lyrics, text blocks, chord symbols, and the Shape Designer you are able to mix fonts freely: you could, for example, combine text characters with musical symbols, or have selected lyrics italicized.

PostScript and TrueType All fonts included with Finale come with a Type 1 PostScript font (with a corresponding screen font) and a True Type font. A PostScript font does not appear on screen and will only print to PostScript printers, where it provides superior printed output. PostScript fonts have accompanying screen fonts which allow the user to have an idea what the font will look like in printout. These screen fonts don’t resize smoothly on the computer’s screen, meaning that a 24 point font will look okay at 100 percent, but jagged at other point sizes, page reductions or view percentages. TrueType fonts allow you to print to non-postscript printers as well as resize smoothly in both printout and on screen. TrueType fonts do not work, however, in the creation of EPS (Encapsulated PostScript) files. A full installation of Finale installs both the PostScript and TrueType fonts in your system.

Where are the fonts installed? The Finale Installer automatically installs the Maestro, Maestro Wide, Maestro Percussion, Petrucci, Tamburo, Broadway Copyist, Jazz, and Engraver Fonts TrueTypes directly into your Fonts folder located in your Windows folderLibrary/Fonts folder. The PostScript fonts are installed in a folder called PS fonts, located on your root directory (usually c:\). If, when you open Finale, large text symbols like & and Ï appear instead of clefs and notes, Windows is unable to locate the Maestro font. You can restore your music fonts by doing the following: 1. Close Finale. 2. Go to www.finalemusic.com/store/search.aspx and type "Font Pack" in the Download Name text box. 3. Follow the on-screen instructions to download and install the font pack for your operating system. 4. Restart Finale.

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To globally change a musical element’s font With this technique you can change the font for a single element of the music, such as the clefs or the notes themselves. If you want to change all elements of the music to a different font, see “To change music fonts ,” below. 1. From the Document menu, choose Document Options and select Fonts. The Fonts options appear, with buttons and drop-down lists for various elements of the file. The Select Font button refers to the font used for the notes, rests, accidentals, and other musical symbols; if you use this button to substitute a music font of your own design, you’ll need to make some adjustments to music character in the Document Options dialog box. (Finale makes the necessary adjustments automatically if you specify Maestro, Petrucci, Engraver, Jazz, Broadway Copyist, or Sonata as your default music font.) See Document Options-Fonts. 2. From the list on the left, choose the type of music character you want to change. Accidentals, Alternate Notation, Augmentation Dots, Flags, Chords, Key Signatures or Notes and Rests are all possible options.Then click the drop down list to choose the specific music character. Click the Set Font button and the Font dialog box appears. Choose the font name, type, and point size, you’ll see the sample text change in the display below. You can choose any combination of style elements: bold, italic, and so on. 3. Click Apply to save your settings.

To change music fonts If you choose not to use one of Finale’s default fonts, Maestro or Broadway Copyist, you can substitute any other music font. 1. From the Document menu, choose Set Default Music Font. The Font dialog box appears. 2. Choose the new font and style; click OK twice. Depending on the music font you’ve selected, you may have to fine-tune the positions of individual elements, such as the eighth-note flags. For details, see Document optionsFlags. To change positioning of other individual elements, select their corresponding category in the Document Options dialog box. If you want to change other elements to another font, such as JazzText or JazzCord, continue with the instructions below. 3. From the Document menu, choose Data Check, then Font Utilities. The Font Utilities dialog box appears. 4. Select the text font you want to change by clicking the top Set Font button. Select the text font you want by clicking the bottom Set Font button. For example, select Times New Roman mixed sizes and styles for 224

the Search For font and Jazz Text mixed sizes and styles for the Replace font. 5. To change chords, from The Document menu, choose Document Options and select Fonts. The Font options appear. 6. From the drop-down lists next to Chord, choose Symbol. Click Set Font and choose JazzCord or the desired chord font. 7. Click OK (or press enter) twice. 8. Click the Chord Tool . The Chord menu appears. 9. From the Chord menu, choose Change Chord Suffix Fonts. 10. To change the entire library of chord suffixes at once, click the Set Font button in the lower half of the screen. The Font dialog box appears, letting you specify new font, size, and style characteristics for the suffixes. For best results, be sure that the Fix Chord Suffix Spacing checkbox is selected, so that Finale automatically adjusts the individual characters in each chord suffix to compensate for the new font and size. 11. Select a type style, and then click OK. You return to the document, where Finale has changed the font for your chord suffixes. Finale is smart enough, however, not to change any musical symbols within the suffix, such as the f in F7f9.

To change every occurrence of one font to another You can use Finale’s Data Check submenu to change every occurrence of one font and size to another, no matter where they occur—in symbol libraries, in text, in chord symbols, and so on. See also Change Fonts plug-in. 1. From the Document menu, choose Data Check, then Font Utilities. In the dialog box that appears, you can instruct Finale to search for a specific font and replace it with another. 2. Specify the font to be replaced and the font to replace it with, and click OK.

To change every occurrence of a font to a different size With this technique, you can scale every occurrence of a certain font that’s used in your document to a larger or smaller font size, no matter what size was used in each occurrence. For example, you could tell Finale to scale every occurrence of New York 24-point down to 12-point. In so doing, Finale would also scale New York 36-point down to 18-point, and New York 10-point down to 5-point. 1. From the Document menu, choose Data Check, then Font Utilities. In the dialog box that appears, you can instruct Finale to search for a specific 225

font, style and size and then replace it with the same font of a different size. All occurrences of this font will change in size proportionally. 2. Specify the font, style and size you want changed and Click OK (or press enter). 3. Specify the percentage you want the specified font to be scaled to. If you want text included as part of a shape expression scaled, make sure “Scale Fonts in Shapes” is checked. 4. Click OK.

To change the music font of noteheads on a staff by staff basis To use Tamburo, Maestro Perc, or Jazz Perc for your percussion notation, assign it as the notehead font in each staff or as the document’s default notehead font. Then, take advantage of Finale’s built-in percussion libraries or create one of your own, so that notes you enter on a percussion staff automatically assign themselves to appropriate lines or spaces with the correct noteheads. For details, see Percussion. 1. 2. 3. 4. 5.

Click the Staff Tool . Double-click the staff. The Staff Attributes dialog box appears. Click the Notehead Font checkbox if it is not already selected. Click Select and choose the new font. Click OK twice. Your new font is now being used for noteheads while other elements such as flags and clefs are taken from the default music font(s).

To eliminate dimmed font names from a document’s font lists Finale stores a font list with each document you create. The list contains the fonts that were available to Finale when the document was created. If you notice that some font names are dimmed in the font selection boxes of a certain document, it’s because those fonts were present when the document was created (or previously edited) but are no longer installed. This procedure removes dimmed font names from a document’s font selection boxes. 226

From the Data Check submenu of the Document menu, choose Check Document Fonts Against System Fonts.

Transporting files across platforms Starting with Finale 2002a, files can be transferred across platforms while maintaining correct higher ASCII text characters, such as è, ö, and hard spaces (commonly used in lyrics). Finale is configured to do this by default, by having “Automatically Convert Text In Files From Other Operating Systems” selected in the Open section of the Program Options dialog box. It is essential that the MacSymbolFonts.txt file be placed in the application folder, for both Windows and Macintosh users (note that in spite of its title, this is a required file for Windows). This user-editable text file contains the names of all the Macintosh fonts that are symbol fonts and therefore do not need to be converted (as opposed to text fonts which will be converted). For more details, see the appendix entry Configuring MacSymbolFonts.txt.

Engraver Font: The Alternate Notehead Sets The following characters are available in the Engraver Font Set and Engraver Font Extras Only.

“Let Ring” Noteheads These are noteheads with the let ring symbol. By having the let ring symbol directly attached to the notehead, consistency of the symbol placement is achieved. These noteheads can be accessed through the Special Tools Tool (change notehead). First enter the notes with any of the Finale note entry methods, then with Special Tools Tool change the notehead. Engraver Font Set and Engraver Font Extras

Only

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Also included are the two “let ring” symbols for input with the articulation tool. Alt0105

Alt0073

“Double-stopped unison” Noteheads Engraver Font Set and Engraver Font Extras

Only

sh-Q

sh-H

X

228

“Trill to” Noteheads Set One: Full Size These noteheads are to make consistent the process of setting up “trill to” notes when they are to be outside of the staff. First enter the notes with any of the Finale note entry methods, then with Special Tools Tool change the notehead, shorten the stem and move it to the desired horizontal position. Engraver Font Set and Engraver Font Extras

Only

Set Two: 75% Reduction These noteheads are already reduced to 75% and can be used as “trill to” notes for use within the staff. Enter with the Articulation Tool.

Indeterminate and Determinate “Tone-cluster” Noteheads These noteheads allow for a quick and consistent way to input tone-clusters. After inputting notes, use the Special Tools Tool to change the noteheads. Engraver Font Set and Engraver Font Extras Only. 229

Indeterminate

Determinate

Dynamics Type away! Make whatever dynamic possible. (Engraver Font Set and Engraver Font Extras Only)

ex. There are two sets of parenthesis for use. The and markings need more space than the other symbols, so use the shift-[ and shift-] both before and after any dynamic with an

and before any marking with a

.

Articulations Engraver Font Set

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Engraver Font Extras

Engraver Text Fonts Tempos

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Harp Pedaling

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Fretboard diagrams Creating guitar-fretboard chord diagrams is easy in Finale; they’re intelligent, too, because they transpose automatically when the music is transposed.

To create or show fretboard diagrams globally 1. Click the Chord Tool . The Chord menu appears. 2. From the Chord menu, choose Show Fretboards. If you have already added chord symbols to your piece, the guitar diagrams now appear. Individual chords with Show Fretboards unchecked in the Chord Definition box will not have fretboards. See Chord symbols for instructions. If you haven’t yet added chord symbols, add them as described in Chord symbols; as you add each chord, its fretboard diagram will also appear.

To show and hide fretboards for a region Fretboards must be set to display globally to allow regional fretboards. See To create or show fretboard diagrams globally above. See Change Chord Assignments dialog box under the Utilities menu.

To show and hide fretboards on individual chords (Manual Input) To show fretboards on all chords, choose Show Fretboards from the Chord menu. When selected, fretboards will appear on all chords in the score, except for those chords where you specifically hide the fretboard. 1. Click the Chord Tool . The Chord menu appears. 2. From the Chord menu, choose Manual Input. 3. Click on the note containing the chord you want to edit. 233

4. Double-click the handle of the chord. The Chord Definition dialog box appears. 5. Under Show, uncheck Fretboard. Click OK. You return to the document, where the fretboard no longer appears for that chord. (If you later decide you want the fretboard to appear, check the Show Fretboard box.)

To remove all fretboard diagrams 1. Click the Chord Tool . The Chord menu appears. 2. From the Chord menu, choose Show Fretboards. The diagrams disappear, and there should no longer be a checkmark next to Show Fretboards in the Chord menu.

To move the fretboard diagrams up or down 1. Click the Chord Tool . The Chord menu appears, and four small triangles appear at the left edge of the screen. These control the baseline of the chords (against which the bottom edges of the symbols line up). 2. From the Chord menu, choose Position Fretboards. You’ve just told Finale that the triangles should adjust the baseline for the diagrams instead of the textual chord symbols. 3. Drag the triangle handles up or down. Drag the leftmost triangle to set the baseline for the entire piece. As you drag it, the other three triangles move with it. Drag the second triangle up or down to set the baseline for this staff, all the way through the piece. As you drag it, the two triangles to its right move with it. Drag the third triangle up or down to set the baseline for this staff, this system only. As you drag it, the rightmost triangle moves with it. Use this third triangle only in Page View (so you can see the system you’re affecting). Dragging the rightmost triangle doesn’t move any existing fretboards; instead, it sets the position for the next one you enter.

To move the fretboard diagrams individually 1. Click the Chord Tool . Handles appear on all chord symbols and fretboards. 2. Click the fretboard handle and drag (or press arrow keys to nudge) the fretboard diagram. The fretboard moves relative to the chord symbol. Click the chord symbol's handle and drag to move both the chord symbol and fretboard uniformly. See To move and delete chord symbols.

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Fugues There are several Finale features you may find useful when creating a fugue. First of all, remember that you can create intelligent copies of any motif, so that when you edit or renotate the initial statement, all other occurrences change simultaneously; see Mirroring. If you need many individual musical lines on a single staff, remember that you can have up to eight independent voices per staff (four layers, with two voices in each layer). For a more complete discussion of inner voices, see Multiple voices. Also keep in mind that you can superimpose two or more staves; just use the Staff Tool to drag one staff until its staff lines are superimposed perfectly on top of another’s. In both cases, you can adjust the positions of individual noteheads and avoid overlapping notes by fine-tuning measures with the Special Tools Tool; see Note positioning.

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Garritan Personal Orchestra Finale Edition Included with Finale is an integrated collection of instrument sounds from Garritan Personal Orchestra (also known as GPO). These instruments are professionally recorded sound samples designed to offer the highest quality playback. Here is a description of Garritan Personal Orchestra from its creator Gary Garritan: “Orchestras are wonderful but not very practical to bring to your sessions. The next best thing is to record each note of every instrument in an orchestra and play them back on a keyboard. Personal Orchestra is just that. It is a complete collection of actual high-quality recordings (or samples) of nearly every note, of each musical instrument, in an entire orchestra. When Personal Orchestra is loaded, and you play a note on your keyboard, a high-quality recording or sample of that note as played by an orchestral instrument is reproduced. What you hear sounds remarkably like the real thing, because it is an actual recording of an instrument. Personal Orchestra gives you an entire orchestra at your fingertips.” See Garritan Personal Orchestra and Human Playback Tutorial for detailed guidance on using GPO for Finale and the full version of GPO along side Finale. Finale includes a sample version of the GPO collection of orchestral sounds, which you can use independently, or along side Finale's SmartMusic SoftSynth SoundFont instrument sounds. When starting a new file, you can easily choose to use GPO sounds in the Document Setup Wizard.

See Also: Garritan Personal Orchestra and Human Playback Tutorial

To use Garritan Instruments in new scores: 1. From the File menu, choose New > Document with Setup Wizard. Or, in the Launch Window, select Setup Wizard. Page 1 of the Document Setup Wizard appears. 2. Choose a Document Style and Ensemble if you'd like and click Next. If you choose one of the ensembles marked "Garritan," Finale will load the Garritan instruments on the next page automatically. (See also Document styles.) Page 2 appears.

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3. From the Instrument Set drop-downmenu, choose Garritan Instruments for Finale 2010. The available Garritan instruments appear in the subsequent lists. (If you chose a Garritan ensemble on the previous page, the instruments added to the right column are indeed the Garritan sounds regardless of the state of the Instrument Set drop-down menu). 4. Select the desired category from the left options in the column. Double-click the instrument you would like to add. Your selections appear in the right column. Use the up and down arrows on the right to adjust the score order manually. (Or, choose a preset order from the Score Order drop-down menu.) 5. Click Next. 6. Enter a Title, Composer, Copyright, and other information and click Next. The final page appears. 7. Make any additional settings and click Finish to complete the wizard. Your new document opens. The instrument staves that appear are automatically configured for playback using Garritan sounds. For detailed information on setting up Garritan sounds, see Garritan Instrument Setup. While notating into staves set for GPO playback, be sure all entries are within the range of the selected instrument. Notes outside of an instrument’s range will not playback. For a list of instrument ranges, see GPO Finale Edition Instrument Details. Some instruments contain “Keyswitches” which are notes outside the range of the instrument that trigger a patch change from, for example, arco to Pizzicato. For a list of Keyswitches, see GPO Finale Edition Instrument Details. See also To add Keyswitches as Expressions. Note that if Human Playback is enabled, it will recognize, for example, “arco” and “pizz,” and add keyswitches automatically. See the GPO & HP Tutorial Supplement for additional information. Note your GPO setup is not compatible cross-platform. If a file that is setup to use Finale GPO is opened cross-platform (from Mac to Windows or vise versa), the GPO sounds will need to be manually loaded. See below for details.

To load a Garritan Instrument into the Aria Player for Finale

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When you choose from the list of Garritan Instruments for Finale in the Document Setup Wizard, Finale loads all instruments into the Aria Player automatically when the new document opens. On the other hand, when you use the Staff Tool to add staves (Staff menu > New Staves or Staff menu > New Staves (with Setup Wizard)), the added staves will not automatically load into the Aria Player. After adding a Garritan staff to an existing document (or to load a Garritan sound for any staff not created using one of the GPO choices in Finale 2010’s Document Setup Wizard) the following steps are required to prepare for playback. 1. From the Window menu, choose Instrument List. The Instrument List appears. If you want to assign a new instrument (one not yet used) to a staff, you must first assign the staff a unique channel in the Instrument List. Even if you are using an instrument sound already used in the document, it is recommended to assign the staff a unique channel (especially if the staff is in the same range as another staff with the same channel). (A pitch on one staff is not distinguished from the same pitch on another staff if the staves share a channel. On/off messages apply to all notes of the same pitch which can disrupt playback). 2. In the row of the desired staff, click the drop-down menu under the Instrument column. Scroll to the top of this list and choose New Instrument. The Instrument Definition dialog box appears. 3. Enter the desired instrument name in the top text box. You might enter the name of the GPO instrument you would like to use here. 4. After Channel, enter a channel number not used by any other staff. Use the Instrument List as a reference. If you are assigning all new staves manually, number the channels consecutively from the top down (e.g. 116). 5. Click OK. The Instrument Definition dialog box closes. Repeat steps 2 through 5 for any other staves. Leave the Instrument List open. 6. From the MIDI/Audio menu, choose Instrument Setup > Instruments. The VST Instruments Setup dialog box appears. 7. Click the drop-down menu for the range including the channels you want to assign and choose Instruments for Finale 2010 (if it’s not chosen already).Then click the Edit button to the right. The Aria player appears. Any instrument already defined (for this bank of channels)appears within the interface. 8. Click the top slot (channel 01) and choose the desired instrument. The instrument appears in the slot. If you clicked the Edit button next to Finale Channel “1-16” in the VST Instruments Setup dialog box, the sixteen slots in the Aria Player are equivalent to Finale channels 1-16 (as shown in the instrument list). If you clicked the Edit button next to Finale Channel “17-32” in the VST 238

Instruments Setup dialog box, the sixteen slots in the Aria Player are equivalent to Finale channels 17-32 (as shown in the instrument list). 9. When you have finished loading instruments close the Aria Player. Playback the document to audition the results. Note that each instrument occupies a different amount of RAM. For example, the Garritan “Flute Pla1” sound uses only 1.17 MB of RAM whereas the Steinway Piano uses 10.55 MB. If you are experiencing choppy playback or missing instruments, VST instruments may have exhausted your computer resources. If this is the case, try loading the “Plr#” instruments instead of the “Solo” instruments to conserve RAM. Note also: When you save a file configured to playback using the Aria Player, the absolute path to the folder containing the sounds is stored with the file. If this file is opened on a computer whose sounds are stored in a different location (or if the names of folders or drives are different) an“Auto Load” message will appear which will allow you to search for the folder.

Choosing the Appropriate Garritan Sound (Player vs. Solo Instruments) The Player (Plr) designation in a Garritan instrument name indicates it has been designed exclusively for use in an ensemble setting. These player instruments are derived from the corresponding solo instrument and constructed so that none of the three numbered Player instruments have any samples in common with one another. Each Player instrument has been mapped starting with a different note (e.g. C, C#, D) and using every third sample in the mapping. This allows all three instruments to be applied to unison ensemble lines without having common samples for any given pitch. For their designed function these instruments containing "stretched" samples work well together despite the samples sometimes sounding less than ideal if played by themselves.

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Only the "Solo" instrument is intended to be used in a solo context. Also, the "Solo" instrument should never be used along side any of the "Plr" instruments if a unison is to be encountered in the writing. Again, this is because the "Plr" instruments all have samples in common with the "Solo" instrument from which they are derived and this can cause phasing problems.

To add Keyswitches as Expressions While using Garritan instruments for playback, you can add a keyswitch at any point to change the instrument sound, for example, from arco to Pizzicato. A Keyswitch is simply a regular note outside the range of the instrument that triggers this change. For a list of Keyswitch mappings, see Garritan Finale Edition Instrument Details. If Human Playback is enabled, text (such as “arco,” “pizz,” etc.) is interpreted and keyswitches are added automatically. If you are not using HP, choose from a list of keyswitch expressions available by default in the Expression Selection dialog box to add these effects. You can also assign a Keyswitch to an expression manually by defining the expression to send a MIDI Note On message at the pitch of a Keyswitch. By doing this, you can invoke a Keyswitch by simply adding the expression defined accordingly (a “Pizz” text expression would change the playback to a pizzicato sound). Remember, Keyswitches are a feature of GPO, and will not apply to other playback devices. 1. Click the Expression Tool , and Double-Click the document. The Expression Selection dialog box appears. 2. Click Create. Or, you could also select an existing Expression you would like to define to a Keyswitch and click Edit. 3. Type the desired text. Set the font, size, style, make it hidden, or apply other text attributes. 4. Click the Playback Tab. The playback options appear. 5. From the Type menu, choose Dump. The Playback Data Dump dialog box appears. 6. For Number of Units, type 3. We will be sending 3 pieces of Data. 7. For the top Data box, type 144. This is the message for Note On. 8. For the second Data box, type the MIDI Note number for the Keyswitch. For example, Arco = 0, Pizz = 5 in Finale GPO). For a complete list, see GPO Finale Edition Instrument Details. 9. In the third data box, type 127. Since the note is below the instrument’s range, it will not sound. 10. Click OK, OK, Assign to add the Expression. The performance style will change upon reaching this point during playback.

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General MIDI Part of the reason General MIDI was established, was to provide a standardized listing of sounds or patches. This standard was developed so that when you play the same MIDI file on different MIDI setups, you'll hear roughly the same result. Many, though not all, MIDI instruments support General MIDI.

General MIDI Patch Set Groupings General MIDI Patch Numbers & Names General MIDI Percussion MIDI Map Table

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Glissandos A glissando, or gliss, is represented in the score by a diagonal straight or wavy line.

To create a glissando 1. Click the Smart Shape Tool Palette appears.

. The Smart Shape

2. Click the Glissando Tool . Move the cursor until the end points to the starting note. 3. Double-click where you want the glissando to begin; on the second click, hold the button down and drag diagonally. Release the mouse when the glissando has the length and angle you want. If the Smart Line Selection dialog box appears, you may need to create a glissando. Glissandos are predefined in your default file. See Custom Lines for directions. To create a glissando between two consecutive notes, just double-click the mouse on the first note. Finale places the glissando on the adjacent notes.

To move, reshape, or delete a Smart Shape glissando 1. Click the Smart Shape Tool . The Smart Shape Palette appears. 2. Click the Glissando’s handle. The shape displays diamond editing handles. 3. Drag the left or right diamond editing handles to adjust the length and angle of the glissando. Drag the square handle to move the entire glissando. 4. Press delete to remove the selected glissando.

To define Glissando Placement settings 1. Click the Smart Shape Tool . The Smart Shape menu appears. 2. Choose Smart Shape Placement from the Smart Shape menu. The Smart Shape Placement dialog box appears. 3. Choose Glissando from the Smart Shape type drop down list menu in the dialog box. 4. Drag the glissando end point vertically and horizontally until the glissando attaches to the notes the way you want it to attach to notes 242

in the score. Instead of using the mouse, you can enter values into the text boxes using the measurement unit you’ve selected. 5. Drag the other end-point of the glissando to adjust it. 6. Click Reset at any time to return the glissando to Finale’s built-in settings. 7. Click OK (or press enter) when you’re ready to save the new settings. Or click Cancel to discard any changes you made to the settings. Note: All glissandos that you create from now on will use the Slur Placement settings. The settings also apply to glissando end points that haven't been manually adjusted in all existing glissandos.

To change which glissando is assigned to the palette icon 1. Click the Smart Shape Tool . 2. From the Smart Shape menu, choose Smart Shape Options. The Smart Shape Options dialog box appears. You could also simple Ctrl-click the Glissando Tool. 3. Select Glissando from the Smart Line Style drop-down listmenu. 4. Click Select next to the Smart Line Style drop-down list menu. The Smart Line Selection dialog box appears. 5. Select the Smart Shape to be used when clicking the Glissando Tool. You can also type the number of the Smart Shape into the text box next to the Select button in the Smart Shape Options dialog box to change the selection. 6. Click OK.

To create a playback glissando The best way to create a glissando effect, at least for keyboard sounds, is to actually write out a run and define the notes as grace notes; see Grace notes. To automate the task, use the plug-in Smart Playback Note Human Playback automatically interprets and performs glissandos.

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Grace notes To create a grace note (Simple Entry) by clicking-in with the mouse 1. Click both the Grace Note Tool and the duration of the desired grace note in the Simple Entry Palette. 2. Click to enter the grace note where desired. Alternatively, double-click the Grace Note Tool (so no other tools in the Simple Entry Palette are selected) and click an existing note to change it to a grace note. by typing-in with the Simple Entry Caret 1. Enter as a normal note. See Using your computer keyboard to enter music. 2. Press Alt-G to change the note you just entered to a grace note. Note: You can also choose the Grace Note Tool (Ctrl-g) and then enter the note as you would normally. After entering the grace note(s), press Ctrlg again to de-select the Grace Note Tool.

To create a grace note (Speedy Entry) 1. Enter the grace notes as “normal” notes. 2. Click the Speedy Entry Tool and click the measure in question. The editing frame appears. 3. Using the arrow keys, position the cursor on the note you want to change to a grace note, and press the semicolon (;) or the G key. The note becomes a grace note. On playback, the grace note will play just ahead of the beat—even if there are many grace notes together, forming a run. To change a grace note to a normal note, repeat the above procedure.

To create a grace note (Simple Entry) 1. Click the Simple Entry Tool , and Ctrl-click the note you would like to hide. Or, simply make sure the note you would like to change to a grace note is selected (notes are automatically selected immediately after entry).

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2. Press Alt-G key. The note changes to a grace note. Press Alt-G again to add a slash to the grace note, and again to change it back to a regular note.

To beam grace notes 1. Click the Speedy Entry Tool

and click the measure. Or, click the

Simple Entry Tool . 2. Position the cursor on (Speedy), or select (Simple) the second note of any pair you want beamed together, and press the slash (/). Repeat this process for any additional grace notes you want to include in this beam group. (In Simple Entry Ctrl-click to select a note.)

To change the size of grace notes 1. From the Document menu, choose Document Options, then select Grace Notes. The Grace Note options appear. 2. Enter a new reduction value in the Grace Note Size text box. The size of regular notes is 100%; the default reduction percentage for grace notes is 60%.

To add or remove the slashes from grace notes globally You can eliminate slashes from grace notes by doing the following. See also Slash Flagged Grace Notes Plug-in, Slash Flagged Grace Notes (Remove) Plug-in. 1. From the Document menu, choose Document Options, then select Grace Notes. The Grace Note Options appear. 2. Deselect Always Slash Flagged Grace Notes. When the checkbox is deselected, slashes do not appear; otherwise, slashes appear on every flagged grace note. 3. Click OK (or press enter).

To add or remove the slashes from individual grace notes This method will only slash flagged grace notes. See also Slash Flagged Grace Notes Plug-in, Slash Flagged Grace Notes (Remove) Plug-in 1. From the Document menu, choose Document Options, then select Grace Notes . The Grace Note option appear. 2. Deselect Always Slash Flagged Grace Notes if it is selected. When the checkbox is deselected, slashes do not appear. 3. Click OK (or press enter). 4. Click the Speedy Entry Tool a and click the measure in question. The editing frame appears. 245

5. Position the cursor over the flagged grace note requiring a slash and press ` (accent). This will place a slash on the grace note.

To add a slash to beamed grace notes Normally, Finale adds slashes only to flagged (unbeamed) grace notes. It’s possible, however, to add slashes to beamed grace notes. 1. Click the Expression Tool ; then click the grace note. The Expression Selection dialog box appears. 2. Choose the Miscellaneous category and click Create Misc. Expression. The Expression Designer dialog box appears. 3. Click Shape, then Create. You are now in the Shape Designer. The following instructions give measurements in points (1/72 inch). If you’ve been working in different units, choose Rulers and Grid from the Shape Designer menu and select Points. Also choose “.5 pt” from the Line Thickness submenu of the Shape Designer menu. Because you’re making a very small shape, choose 400% from the View drop-down list menu to magnify your work area. 4. Click the origin (the small white circle); drag upward and to the right, until the H: and V: text boxes both say 6. 5. Click OK and Select until you return to the document. You can now adjust the slash by dragging its handle.

To eliminate grace notes from a transcription When you’re using HyperScribe to notate real-time performances, you may find grace notes in the transcription. The problem is one of quantization— Finale is transcribing too precisely. Fortunately, there’s a simple solution. 1. From the MIDI/Audio menu, choose Quantization Settings. The Quantization Settings dialog box appears. 2. If you’re importing a MIDI file, in the Import MIDI File Options dialog box, which appears after you have chosen your MIDI file to open, click Quant Settings. The Quantization Setting dialog box appears. If you’ve told Finale not to display the Import MIDI File Options dialog box during a File Open, you can select Quantization Settings from the MIDI/Audio menu. 3. Click More Settings. The More Quantization Settings dialog box appears. 4. Select either Remove Grace Notes or Convert to Real Notes. See More Quantization Settings dialog box for details. 5. Click OK twice.

To create a graphic only “slashed” grace note In addition to the “intelligent” grace notes described above, you can also add a single, stem-up, “slashed” grace note symbol as an Articulation. In the Maestro 246

symbol palette (accessed from the Articulation dialog box), the slashed grace note is #201. The grace note symbol without the slash is #59, and the stemdown grace note is #58. See Articulations for instructions on creating, moving, and deleting articulations.

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Grand Pause Use the Expression Tool to place the G.P. marking in all staves. If you plan to extract parts or to optimize staves, you must make sure that the Grand Pause measure doesn’t get grouped into a single multimeasure rest in the extracted parts.

To create a G.P. marking 1. Click the Expression Tool , and double-click above or below the G.P. measure. The Expression Selection dialog box appears. 2. Choose the Tempo Alterations category. 3. Click Create. The Expression Designer dialog box appears. 4. Type G.P. To change the type style (italic, for example), from the Text menu, choose Font. 5. Click OK or Select or Assign in each dialog box until you return to the document.

To move or delete the G.P. marking 1. Click the Expression Tool . 2. Drag the handle to move the marking. Select it and press the arrow keys to “nudge” it for fine positioning; select it and press delete to remove it.

To force a break in a multimeasure rest This step is important if you want the G.P. always to appear as an independent single measure in the extracted parts. 1. Click the Measure Tool , and select the G.P. measure and the measure before it. 2. Select Edit Measure Attributes from the Measure menu. Or, you can double-click in the measure. The Measure Attributes dialog box appears. 3. Select Break a multimeasure rest and click OK (or press enter). When you create multi-measure rests, the G.P. marking will appear in a single independent measure.

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Graphics With the Graphics Tool you can place the following graphic formats into any Finale document: • EPS • TIFF • JPEG • PNG • BMP • GIF • WMF The following graphics formats can be exported from Finale: • EPS • TIFF • JPEG • PNG Graphics placed in Scroll View and Page View are assigned differently. Finale always assigns a graphic to a measure if you are in Scroll View when the graphic is placed. To place a page-assigned graphic, you must be in Page View. Both page- and measure-assigned graphics can be edited and repositioned in Page View. However, page-assigned graphics do not appear in Scroll View. For information regarding the relationship between graphics in the score and linked parts, see Page-attached graphics and in linked parts and Measureattached graphics in linked parts. When exporting graphics, Finale exports entire pages of music, or a selected region of music. To export a selected area of a page, you must be in Page View.

See Also: Graphics menu Graphics Tool

To export a selected region of music as a graphic 249

1. From the Window menu, choose Advanced Tools. Click the Graphics 2.

3. 4.

5.

Tool . The Graphics menu appears. Double-click and drag to enclose the area you want to export as a graphic. It's a bit touchy. If it doesn't work the first time, try it again keeping the mouse as still as possible before dragging. The selection will stick if done properly. Choose Export Selection from the Graphics menu. The Export Selection dialog box appears. Choose a graphics format from the Type drop-down list to tell Finale whether to create an EPS, JPEG, PNG, or TIFF file. If you select EPS or TIFF, the PostScript Options or TIFF Resolution settings will be available, respectively. For details about these settings, see Export Selection and Export Pages dialog boxes. Select Generate Names From and enter the file’s title in the text box, followed by a number sign (#), to have Finale name each new graphics file automatically. Optional: Click Save In to specify the folder that Finale should save the graphics file into. Finale uses the title and replaces the number sign by a sequential number to create a unique title for each file. Select Prompt For Each Name if you want Finale to ask you for a title each time a file is created. Note: Unless you specifically enter a file extension as part of the file name, Finale will automatically save graphics files using their standard extensions: TIF for TIFF files and EPS for Encapsulated PostScript files (or the extensions specified in the [EXTENSIONS] section of the Finale.INI file).

8. Click OK (or press enter). Finale saves the graphic.

To export full pages of music as graphics (Page View) 1. Choose Page View from the View menu. 2. From the Window menu, choose Advanced Tools. Click the Graphics Tool . The Graphics menu appears. 3. Choose Export Pages from the Graphics menu. The Export Pages dialog box appears. 4. Choose a graphics format from the Type drop-down list to tell Finale whether to create an EPS, JPEG, PNG, or TIFF file. If you select EPS or TIFF, the PostScript Options or TIFF Resolution settings will be available,

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respectively. For details about these settings, see Export Selection and Export Pages dialog boxes. 5. Use the Pages setting to export all pages or a range of pages of your score to graphics files. Select All to export every page of your score to a graphics file. Select From to export a range of pages, then enter the page numbers in the two text boxes. 6. To have Finale name each new graphics file automatically, select Generate Names From and enter the file’s title in the text box, followed by a number sign (#). Optional: Click Save In to specify the folder that you want Finale to save the graphics files into. Finale uses the title and replaces the number sign by a sequential number to create a unique title for each file. Select Prompt For Each Name if you want Finale to ask you for a title each time a file is created. Note: Unless you specifically enter a file extension as part of the file name, Finale will automatically save graphics files using their standard extensions: TIF for TIFF files and EPS for Encapsulated PostScript files (or the extensions specified in the [EXTENSIONS] section of the Finale.INI file). 7. Click OK (or press enter). The standard Save As dialog box appears. Click Save to save the graphics files.

To place graphics into the score 1. From the Window menu, choose Advanced Tools. Click the Graphics 2.

3.

4.

5.

Tool . The Graphics menu appears. Choose Place Graphic from the Graphics menu, or double-click on the document window where you want the graphic to appear. The Place Graphic dialog box appears, listing the available graphic formats in a dropdown list BMP, GIF, EPS, JPEG, PNG, WMF, or TIFF files. Choose one of the formats in the drop-down list to display only the files of the selected type in the current folder. Choose TIFF file (*.TIF), or Encapsulated PostScript Listing (*.EPS), or choose All Files (*.*) to display all files. From the scrolling list, select the graphics file you want to place, then click OK. A special cursor appears, indicating that a graphic is ready to be placed. Click on the measure (in Scroll View) that you want the graphic assigned to, or click on the screen where you want the graphic placed (in Page View). Finale assigns the graphic to the nearest measure in Scroll 251

View. In Page View, Finale assigns the graphic to the page you clicked. The graphic appears at the position you clicked. When a graphic is selected, eight bounding rectangle handles appear.

To place graphics into the Shape Designer 1. To place a graphic into the Shape Designer for use as an expression, click the Expression Tool , then double-click the score. Choose the Miscellaneous category and then click Create Misc. Expression. Click Shape, then Create. The Shape Designer dialog box appears. 2. Click the Graphics Tool in the Shape Designer dialog box. 3. Click in the Shape Designer display area. The Place Graphic dialog box appears, listing the available graphic formats in a drop-down list; BMP, GIF, EPS, JPEG, PNG, WMF, or TIFF files. 4. Choose one of the formats in the drop-down list to display only the files of the selected type in the current folder. Choose TIFF file (*.TIF), or Encapsulated PostScript Listing (*.EPS), or choose All Files (*.*) to display all files. 5. From the scrolling list, select the graphics file you want to place, then click OK. The graphic appears at the position you clicked in the Shape Designer display area. When a graphic is selected, eight bounding rectangle handles appear. Use the graphic as you would any shape created in the Shape Designer.

To assign a graphic to one or more pages 1. Choose Page View from the View menu if it isn’t already selected. 2. From the Window menu, choose Advanced Tools. Click the Graphics 3.

4. 5.

6.

Tool . The Graphics menu appears. Click to select a graphic, then choose Attributes from the Graphics menu. Or, double-click a graphic. The Graphic Attributes dialog box appears. Click to select Attach to: Page, if it isn’t already selected. Choose an item from the Page drop-down list menu to have Finale show the graphic on a single page, all pages, left-facing (evennumbered) pages or right-facing (odd-numbered) pages. Choose Single Page to show the graphic on one page; choose All Pages to show it on every page; or choose Left Pages or Right Pages to show it on leftfacing (even-numbered) or right-facing (odd-numbered) pages. Set the page range. Enter the numbers of the pages where the graphic will appear (for example, choose Left Pages and 6 Through 10 to show the graphic on every left page between pp. 6–10). To show the graphic on one page, choose Single Page from the Page drop-down list menu and enter 252

the page number in the first page text box. To display the graphic on the first indicated page through the end of the piece, enter your first page number in the first text box and enter zero in the second text box, or leave the text box blank. For example, to show the graphic on every page, starting at page 6, you’d select All Pages and enter 6 Through 0, or enter 6 and leave Through blank. 7. Use the other settings in the Graphic Attributes dialog box to adjust the graphic’s position in the score, then click OK.

To assign a graphic to a measure Occasionally you may want to change a page-based assigned graphic to a measure-assigned graphic so it moves with the measure instead of remaining at a fixed position on the page. To assign a graphic to a measure when first placing it into the score, place the graphic in Scroll View. (See “To place graphics into the score” for details.) 1. From the Window menu, choose Advanced Tools. Click the Graphics Tool . The Graphics menu appears. 2. Click to select the graphic, then choose Attributes from the Graphics menu. Or, double-click the graphic you’re adjusting. The Graphic Attributes dialog box appears. 3. Click to select Attach to: Measure, if it isn’t already selected. In the Measure text box, enter the number of the measure you want the graphic assigned to. 4. From the Staff drop-down list, choose the name of a staff you want associated with the measure-assigned graphic. Finale will align and position the graphic in relation to this staff. Note: Finale will only display the graphic on the page the measure appears on when you’re in Page View. If your measure layout changes, the graphic will move with the measure. 5. Use the H: and V: settings in the Graphic Attributes dialog box to adjust the graphic’s position in the score, then click OK.

To scale a placed graphic proportionally 1. From the Window menu, choose Advanced Tools. Click the Graphics Tool . The Graphics menu appears. 2. Click the graphic to select it. Or, drag-enclose the entire graphic to select it. When selected, eight bounding handles appear on the graphic. 253

3. Drag a handle to resize the graphic horizontally or vertically.

4. To retain the aspect ratio while resizing, hold down shift and drag one of the corner handles. 5. To adjust the exact scaling of a graphic or to reset it to 100% of its original size, select the graphic, then choose Attributes from the Graphics menu. Or, double-click the graphic. The Graphics Attributes dialog box appears. 6. Enter a value into the Scale: H: and V: text boxes, as a percentage. Enter 100 in each box to draw the graphic at 100% of its original size, 50 to draw it at half its original size (50%), and so on. 7. Click OK to confirm your settings.

To position placed graphics on-screen 1. From the Window menu, choose Advanced Tools. Click the Graphics Tool . The Graphics menu appears. 2. Click to select a graphic. Or, drag-enclose one or more graphics. (You must drag-enclose an entire graphic to select it.) 3. Drag a selected graphic to the new position. All the selected graphics will move as you drag.

To position page-assigned graphics (Graphics menu) 1. Choose Page View from the View menu, if it isn’t already selected. 2. From the Window menu, choose Advanced Tools. Click the Graphics Tool . The Graphics menu appears. 3. Click to select a page-assigned graphic. 4. Position the graphic from the page edge or page margin using the Alignment submenu. Choose Position from Page Edge or Position from Page Margin from the Alignment submenu of the Graphics menu to align 254

the graphic from the edge of the page or from the page margin, respectively. 5. Position the graphic horizontally using the Alignment submenu. Choose Left to place the graphic on the left edge or margin of the page; choose Center Horizontally to center it between the left and right edges or margins; or choose Right to align it with the right edge or margin. 6. Position the graphic vertically using the Alignment submenu. Choose Top to place the graphic on the top edge or margin of the page; choose Center Vertically to center it between the top and bottom edges or margins; and choose Bottom to align it on the bottom edge or margin. Note: When you change a graphic’s horizontal or vertical alignment using the Alignment submenu, Finale repositions the graphic on the page, and resets its H: or V: positioning settings to zero, respectively, in the Graphic Attributes dialog box.

To position page-assigned graphics (Graphic Attributes dialog box) 1. From the Window menu, choose Advanced Tools. Click the Graphics Tool . The Graphics menu appears. 2. Click to select a page-assigned graphic, then choose Attributes from the Graphics menu. Or, double-click a page-assigned graphic. 3. Use the Alignment and Positioning group box to position the graphic horizontally. Choose Left from the Horizontal drop-down list to place the graphic on the left edge or margin of the page; choose Center to center it between the left and right edges or margins; or choose Right to align it on the right edge or margin. 4. Use the Alignment and Positioning group box to position the graphic vertically. Choose Top (Header) from the Vertical drop-down list to place the graphic on the top edge or margin of the page; choose Center to center it between the top and bottom edges or margins; or choose Bottom (Footer) to align it with the bottom edge or margin. Note: When you change a graphic’s horizontal or vertical alignment using the drop-down list, Finale repositions the graphic on the page, and resets the H: or V: settings, respectively, to zero. 5. Use the Position from drop-down list to position the graphic from the page margin or the page edge. Choose Page Margin from the Position 255

from drop-down list to have Finale calculate the graphic’s position starting from the page margin. Choose Page Edge to have Finale measure the graphic’s position starting from the edge of the page. 6. Set the positioning distance. Enter values into the H: and V: text boxes in the Alignment and Positioning group box for the distance to position the graphic horizontally and vertically on the page, based on the other settings in the Alignment and Positioning group box. 7. Click OK to confirm your settings.

To position measure-assigned graphics (Graphic Attributes dialog box) 1. From the Window menu, choose Advanced Tools. Click the Graphics Tool . The Graphics menu appears. 2. Click to select a measure-assigned graphic, then choose Attributes from the Graphics menu. Or, double-click a measure-assigned graphic. 3. Set the positioning distance. Enter a value in the H: text box in the Alignment and Positioning group box for the distance to position the graphic horizontally from the upper-left of the staff associated with the measure. Enter a value in the V: text box for the distance to position the graphic vertically from the upper-left of the staff. 4. Click OK to confirm your settings. Note: The Horizontal, Vertical, and Position from options in the Alignment and Positioning group box are not available when Attach to: Measure is selected, because a graphic assigned to a measure will only appear on the page containing that measure.

To position page-assigned graphics on left- and right-facing pages (Graphic Attributes dialog box) If you’re using running headers or footers in your score, you might want to position a graphic in the header or footer near the “outside” edges or margins (the left or right edges, respectively) of each left (even-numbered) or right (odd-numbered) page, as opposed to positioning the graphic in the same place on every page. This is easily done using special positioning settings for rightfacing (odd-numbered) pages in the Graphic Attributes dialog box. 1. Choose Page View from the View menu. 2. From the Window menu, choose Advanced Tools. Click the Graphics Tool

. The Graphics menu appears.

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3. Click to select a page-assigned graphic, then choose Attributes from the Graphics menu. Or, double-click a page-assigned graphic. 4. Use the Alignment and Positioning settings to position the graphic on every left-facing (even-numbered) page in the selected page range. See To position page-assigned graphics (Graphic Attributes dialog box). 5. Select Use Right Page Positioning to place the graphic differently on right-facing (odd-numbered) pages. 6. Position the graphic horizontally on right-facing pages. Choose Left from the Right Page Alignment and Positioning: Horizontal drop-down list to place the graphic on the left edge or margin of the right-facing page; choose Center to center it between the left and right edges or margins; or choose Right to align it on the right edge or margin. (Finale resets the Right Page Alignment and Positioning: H: setting to zero so the left, right, or center of the graphic is aligned horizontally with the page edge or margin.) 7. Set the positioning distance. Enter values into the H: and V: text boxes in the Right Page Alignment and Positioning group box for the distance to position the graphic horizontally and vertically on right-facing pages, based on the Right Page Alignment and Positioning: Horizontal setting, and the Vertical and Position from selections in the Alignment and Positioning group box. 8. Click OK to confirm your settings.

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Grids and guides You can use grids and guides to accurately align and position expressions, text, or any item in your document. The grid represents horizontal and vertical lines which appear at regular intervals on the page, just like graph paper. Set apart at any distance you like, they make a great reference for aligning items relative to each other or from the page edge. Guides are reference lines, horizontal or vertical, that can be set anywhere on the page. Unlike gridlines, guides can be positioned at will, and are particularly useful for fine positioning of items to be aligned between lines of the grid. You can also tell Finale to automatically snap certain items to the closest grid intersection or to a guide line.

See Also: View menu

To show the grid 1. From the View menu, choose Page View. 2. From the View menu, choose Grid/Guide > Show Grid. 3. The grid appears on the page. To set the distance between gridlines, see Document Options-Grids and Guides.

To create a guide 1. From the View menu, choose Page View. 2. From the View menu, choose Grid/Guide > Show Guides. Notice rulers appear above and to the left of the page. 3. Right-click the ruler and choose New Guide. The New Vertical/Horizontal Guide dialog box appears, which displays the guide location. 4. Click OK. The guide line appears. To move the line, click the arrow at the top or left end of the line.

To snap to grids and guides 1. In Page View, from the View menu, choose Grid/Guide > Show Grid or Show Guides. 2. From the Document menu, choose Document Options, and then select Grids and Guides. 3. Check Snap To Grid or Snap To Guide. 258

4. Choose Items to Snap To Grid or Items to Snap To Guide. The Items to Snap To Grid or Items to Snap To Guides dialog box appears. See Items To Snap To Grid and Items To Snap To Guide dialog boxes. 5. Check the items you want to snap to grids and/or guides. 6. Click OK. Selected items now snap to the nearest grid intersection and to nearby guide lines. To see how close you can move an item to a guide line without snapping to the guide, Right-click the guide arrow and choose Show Gravity Zone.

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Group names You can specify two names for every group in a document. For example if you’ve defined a group for a piano part, you can enter a full name (such as Piano), which appears in the first system of the document, and a second name (often abbreviated, such as Pno.), which appears on all subsequent systems.

To create or edit a group name 1. Click the Staff Tool . The Staff menu appears. 2. If you haven’t yet created the group you’re naming, do so now. For details, see Groups-To group staves. 3. Ctrl-click a group handle. The Edit Text window appears. Note: You can also access the Edit Text window by clicking the Edit buttons for full or abbreviated group names in the Group Attributes dialog box. For more information, see Group Attributes dialog box. 4. Type a new group name in the window or make changes to an existing group name. Change fonts and styles using the Text Tool; see Edit Text window for details. 5. Click OK to confirm the name and dismiss the dialog box. Note: You can also access the Edit Text window by clicking the Edit buttons for full or abbreviated group names in the Group Attributes dialog box. For more information, see Group Attributes dialog box.

To position group names (globally) These instructions show you how to set the default position for all full and abbreviated group names. You can override these positions on a group-bygroup and system-by-system basis, however; see To reposition group names (individually). 1. Click the Staff Tool . The Staff menu appears. 2. Choose Full Group Names or Abbreviated Group Names from the Set Default Name Positions submenu of the Staff menu. The Position Full Group Name--Default or Position Abbreviated Group Name--Default dialog box appears, depending on your menu selection. 260

3. Specify the alignment of the group name by choosing Left, Right, or Center from the Alignment drop-down list. Finale automatically selects the matching setting (Left, Right or Center) from the Justification drop-down list. 4. Optional: Specify the justification for multi-line names by choosing Left, Right, Center, or Forced Full from the Justification drop-down list. You may need to change the justification for multi-line names. Note: choosing Full justification will currently have the same effect as choosing Left justification, since each line is treated as the end of a paragraph. 5. Drag the name in the display area to adjust its position, or enter values, in measurement units, into the H: and V: text boxes to adjust the position of the name. The H: value determines the horizontal distance between the beginning of the group name and the left edge of the staff. By default, Finale vertically centers group names between the first and last staff in the group. A horizontal line between the staves indicates the center of the group of staves. The V: value determines the vertical distance of the group name from the center point. 6. Click OK when you have entered the position settings. 7. Tip: If your changes don’t appear to take effect, display the Group Attributes dialog box and make sure that the Position checkbox is not selected. Or, select the group handles and press backspace.

To reposition group names (individually) 1. Click the Staff Tool . The Staff menu appears. 2. Drag a group handle to reposition the full or abbreviated group name on-screen. 3. To specify the exact positioning of a group name, click a group handle, then choose Full Group Name or Abbreviated Group Name from the Position Names submenu of the Staff menu. (Or, ctrlo-shiftclick a group handle.) The Position Full Group Name or the Position Abbreviated Group Name dialog box appears. 4. Specify the alignment of the group name by choosing Left, Right, or Center from the Alignment drop-down list. Finale automatically selects the matching setting (Left, Right or Center) from the Justification drop-down list. 5. Optional: Specify the justification for multi-line names by choosing Left, Right, Center, or Forced Full from the Justification drop-down list. You may need to change the justification for multi-line names. 261

Note: choosing Full justification will currently have the same effect as choosing Left justification, since each line is treated as the end of a paragraph. 6. Drag the name in the display area to adjust its position, or enter values, in measurement units, into the H: and V: text boxes to adjust the position of the group name. The H: value determines the horizontal distance between the beginning of the group name and the left edge of the staff. By default, Finale vertically centers group names between the first and last staff in the group. A horizontal line between the staves indicates the center of the group of staves. The V: value determines the vertical distance of the group name from the center point. 7. Click OK when you have entered the position settings. Tip: To revert the position of the full or abbreviated group name to its default position, select the group handle and press backspace. (Or, make sure that Position is not selected in the Group Attributes dialog box.) Note: You can also position an individual group name from the Group Attributes dialog box. Click a group handle, then choose Edit Group Attributes from the Staff menu, or double-click a group handle. The Group Attributes dialog box appears. Click the Position button for the full or abbreviated group name to display the appropriate Position dialog box. For information about the Position settings in the Group Attributes dialog box, see Group Attributes dialog box.

To set the initial font for group names 1. From the Document menu, choose Document Options and select Fonts to set the initial font for new names that you create. The Fonts options appear, listing various elements for which you can set the font. 2. Choose Group Names (Full) from the Text drop-down list. 3. Click the Set Font button next to the Text drop-down list. The Font dialog box appears. 262

4. Set the initial font, size, and style to use when creating full group names. Click OK twice to confirm the changes. 5. Repeat this process for abbreviated group names—choose Group Names (Abbreviated) from the Text drop-down list. 6. Click OK to confirm your changes.

To change the font for group names (globally) See Change Fonts Plug-in and Global Staff Attributes.

To hide a group name (full score) 1. Click the Staff Tool . The Staff menu appears. 2. Click a group handle, then choose Edit Group Attributes from the Staff menu. (Or, double-click a group handle.) To display the attributes of another group, use the arrow controls to change the Group ID number. 3. Deselect the Show Group Name checkbox, then click OK. Finale remembers the group name, but hides it until you select the Show Group Name checkbox again. This setting controls whether the group names you enter will appear on your printed score. Default names enclosed in square brackets only display on-screen; they never appear on your printed score. 4. Click OK to confirm your changes.

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Staff groups Every staff in Finale can be assigned to one or more groups. Grouped staves have several important characteristics. First, you can control how barlines are drawn for the staves in a group (see Barlines). Second, you can add a bracket to grouped staves (see Brackets: Staves). Third, when you’re extracting parts, the Extract Parts command gives you the option of extracting groups as well as staves, making it possible for pairs of staves (piano, for example) to be extracted together, along with a solo part. Groups in linked parts are completely independent, although new linked parts can inherit the groups as they exist in the Manage Parts dialog box. See Groups in linked parts.

To group staves 1. Click the Staff Tool . The Staff menu appears. 2. Select all the staves you want included in the group, then choose Add Group and Bracket from the Staff menu. The Group Attributes dialog box appears. 3. Select a staff from the Staff and Through drop-down lists to set the starting and ending staves for the group. All staves in between will also be part of the group. 4. Use the settings in the Group Attributes dialog box to set the group name, bracket, and barline for the new group. For more information, see Barlines, Brackets: Staves, and Group Attributes dialog box. 5. Click OK to confirm your changes. Note: You can also group and ungroup staves in optimized systems in Page View if you need to change the definition of a group on a systemby-system basis. For information on optimizing, see Optimizing systems.

To remove a group 1. Click the Staff Tool . The Staff menu appears. 2. Click a group handle to select the group. 3. Choose Remove Group from the Staff menu, or press delete. Finale removes the group definition for the staves in the selected group.

To change the attributes of a group 1. Click the Staff Tool

. The Staff menu appears. 264

2. Click a group handle, then choose Edit Group Attributes from the Staff menu. You may also double-click a group handle or choose Edit Group Attributes from the Staff menu without selecting a group. The Group Attributes dialog box appears. To display the attributes of another group, click the arrow controls to select another Group ID number. 3. Use the Group Attributes dialog box to change and reposition the group name, add and reposition the bracket, and choose a barline style for the group barline. For details, see Group Attributes dialog box. 4. Click OK to confirm your settings.

To add staves to a group 1. Click the Staff Tool . The Staff menu appears. 2. Click a group handle, then choose Edit Group Attributes from the Staff menu. You may also double-click a group handle or choose Edit Group Attributes from the Staff menu without selecting a group. The Group Attributes dialog box appears. To display the attributes of another group, click the arrow controls to select another Group ID number. 3. Add staves to a group by choosing different staff names from the Staff and Through drop-down lists. All staves in between will also be part of the group. For details, see Group Attributes dialog box. 4. Click OK to confirm your settings.

To remove staves from a group To exclude a currently grouped staff from its group, you’ll need to change the staves that are included in the group. 1. Click the Staff Tool . The Staff menu appears. 2. Click a group handle, then choose Edit Group Attributes from the Staff menu. You may also double-click a group handle or choose Edit Group Attributes from the Staff menu without selecting a group. The Group Attributes dialog box appears. To display the attributes of another group, click the arrow controls to select another Group ID number. 3. Adjust which staves are included in a group by choosing different staff names from the Staff and Through drop-down lists. All staves in between will also be part of the group. For details, see Group Attributes dialog box. 4. Click OK to confirm your settings.

To configure a multiple-staff part to optimize like a single staff 1. Click the Staff Tool

. The Staff menu appears.

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2. Click a group handle, then choose Edit Group Attributes from the Staff menu. 3. Click the drop-down next to Group Optimization and choose Only Remove if All Staves Empty. 4. Click OK. Now, when you optimize your score, Finale will only remove the staves in the group you selected if all staves in the group are empty. For more information on optimization, see Optimizing systems. Note: After a system has been optimized, edits to groups and brackets only apply to that system. To edit groups and brackets on optimized systems en mass, use the Update Groups and Brackets plug-in.

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Guitar bends To create guitar bends: 1. Click the Smart Shape Tool in the Main Tool palette. The Smart Shape Palette and Smart Shape menu appear. 2. Click on the Guitar Bend Tool in the Smart Shape palette. 3. Double-click the first of two fret numbers. Finale extends the bend or release, with the appropriate bend text, over the next fret number. By default the second fret number will be hidden. By default, the second fret number of a release will be parenthesized. To indicate a 1/4 bend, Optiondouble-click any note. To change the font, size or style of the guitar bend text or to hide it entirely see the Guitar Bend Options dialog box. See Also Tablature

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Guitar markings Enter the following guitar markings with the Smart Shape Tool. To enter a Guitar Bend, TAB Slide, Trill (vibrato), or Bend Hat, first click the corresponding tool in the Smart Shape Palette. The remaining markings are available in the Smart Line Selection dialog box. For information on how to enter these markings, see To enter hammer-ons, pull-offs and other guitarspecific markings. For information on how to program your own metatools for all of these markings, see Smart Shape Tool.

Marking

Description

Predefine d Metatool

Bend Arrows

B

TAB Slide

X

Vibrato

E

Bend Hat

6

Hammer-on

H

268

Hammer-on for use above a slur or tie

2

Pull-off

P

Pull-off for use above a slur or tie

3

Bend

U

Bend for use above a slur or tie

4

Release

R

Release for use above a slur or tie

5

Artificial Harmonic (A.H./A.H)

A

Artificial Harmonic/A.H .

--

269

Natural Harmonic (N.H/N.H.)

N

Natural Harmonic/N.H .

--

Pick Harmonic (P.H./P.H.)

--

Pick Harmonic/P.H .

--

Palm Mute (P.M./P.M.)

M

Palm Mute/P.M.

--

Let Ring

--

Hold Bend

--

270

Up Pick

--

Down pick

--

See also: Guitar notation

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Guitar notation Guitar parts are often more complex than other parts, because they often combine regular notation with slashes, or hash marks, representing chordal rhythms. There are three ways to accomplish this combination, depending on the kind of part you want to create. If there’s a passage where you want to indicate ad lib comping, you can let Finale fill in the measures automatically with either stemless, evenly-spaced slashes, or beamed, stemmed rhythmic slashes. See Slashes. If the part calls for a combination of notes and pitchless slashes, you can enter the melodic parts in one Finale layer, and add the slashes in another. See To combine notes with pitchless slashes on one staff. If there are only a few slashes that must fall on specific pitches, you can notate the entire part in one layer, temporarily notating the slashes as standard noteheads. Once that’s done, you can change the appropriate noteheads to slashes with the Special Tools Tool. See“To create pitched slashes (note-bynote method).

See also Slashes Tablature

To enter hammer-ons, pull-offs and other guitar-specific markings 1. Click the Smart Shape Tool

in the Main Tool palette.

2. Click the Slur Tool . 3. Double click the first fret number. A slur will extend from the first fret number to the second. 4. Hold down the Option key and click the Custom Shape Tool . You should now see the Smart Line Selection dialog box. 5. Double-click the “H” to select a Hammer-On, or the ”P” for a Pull-Off. You will see many other guitar markings here as well including a bend (B), release (R), palm mute (P.M.), a let ring marking and others. You can find a complete list in the Appendix under Guitar Markings. 6. Click the Select button. 7. Double-click the first fret number and drag to the second. You will see the H or P appear above the fret number. You will see two handles below

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the hammer-on or pull-off indicating the endpoints of an invisible line. Click and drag either of these to position the H or P accordingly. You can use predefined metatools to quickly enter these items, and even program your own. See Metatools and To Program a Smart Shape metatool for details. You can also enter several guitar markings as articulations. See Articulations.

To combine notes with rhythmic notation slashes on one staff 1. Choose Layer 2 from layer buttons in the lower-left corner of the screen, and click the Speedy Entry Tool . You’re going to notate the parts that are to display normal noteheads. See Speedy Entry for instructions in using the Speedy Entry Tool. 2. Click a measure, and enter the notes. For each beat where you’ll want a slash, enter any pitch; we’ll convert them to slashes next so what counts are the rhythms. 3. Click the Staff Tool , and select the notes that will contain slashes. See Selecting music for more information. 4. From the Staff menu, choose Define Staff Styles. The Staff Styles dialog box appears. 5. For Available Styles, choose Rhythmic Notation. 6. Click the Select button next to Alternate Notation. The Alternate Notation dialog box appears. 7. Make sure Rhythmic Notation is selected, for Apply to, choose Layer 2, then check all the boxes in the Other Layers section. 8. Click OK twice to return to the score. See Staff styles for more information. 9. Now, choose Layer 1 and enter the regular notation as required.

To create pitched slashes (note-by-note method) 1. Create the part on a single staff. For each note that’s going to be a slash, enter a normal note. 2. Click the Special Tools Tool to contain slashes.

, and click the first measure you want

3. Click the Note Shape Tool . Double-click the handle of the first notehead you want to be a slash. Finale displays a palette containing every symbol in the Maestro music font.

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4. Double-click the slash. You actually have a choice of two slashes; the smaller one (slot #33) usually looks best. (The larger one is slot #243.) You return to the document, where the note now has a slash instead of a notehead. 5. Repeat the process with the other slashed notes. If the stems don’t connect with the notehead correctly, this can be adjusted for each character you use as a notehead. See Stem Connection Editor dialog box for details.

To use a MIDI guitar for entry There are two components necessary for entry with a MIDI guitar, the MIDI guitar itself, and a guitar to MIDI interface. The guitar to MIDI interface translates pitches from the guitar into MIDI signals to be sent to the computer. Consult the instruction manual that came with your guitar to MIDI interface to insure it is connected properly to the computer. Then in Finale, go to the MIDI setup dialog box (under the MIDI/Audio menu) and choose the appropriate MIDI IN driver. For more information on MIDI setup in the Finale Tutorials. There might be a slight delay from the time the string is plucked to the time the MIDI information reaches Finale. To compensate for this, you may need to adjust the MIDI Latency setting: 1. From the MIDI/Audio menu, choose MIDI Setup. 2. In the MIDI Latency text box, enter “25” ms. This is just a first guess. Getting this value to match the precise delay may require some trial and error. You may need up to 150ms to compensate for the delay. The ideal amount of latency will depend on your hardware configuration. 3. Coordinate MIDI channels for your guitar strings. From the MIDI/Audio menu, choose Tablature MIDI Channels. The MIDI Channels for Tablature dialog box appears. The MIDI data for each string on a MIDI guitar reaches Finale on its own MIDI channel. In order to properly organize this information, you need to tell Finale the MIDI channel assigned to each string. In this dialog box, enter the channel for each string as defined on your guitar to MIDI interface. Consult your interface’s instruction manual for information on assigning strings to MIDI channels, or viewing the currently selected MIDI channel for each string. See Tablature MIDI Channels dialog box. Once you have hooked up the MIDI guitar and set the latency and string MIDI channels, follow instructions for Recording with HyperScribe on either a notation or tablature staff. You can also use a MIDI guitar for entry while using the Simple or Speedy Entry Tools. The principals for using HyperScribe for entry with a MIDI guitar are the same as entry with a MIDI keyboard.

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Harmonics String harmonics are often notated as a diamond or small circle above the notes they affect. In Finale, you either create the harmonic symbol as an Articulation (below left), or change a notehead on the same stem (below right).

For instructions on creating, moving, and deleting articulations, see ArticulationsDocument Options-Notes and Rests . For instructions on changing a notehead to a diamond shape. See also Easy Harmonics Plug-in.

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Harp pedal diagrams You can create a pedal diagram easily, using the Shape Designer. See also Harp Pedaling in the Finale Engraver Font.

You’ll save time, however, if you simply load the Harp Pedal Library provided with your Finale package. 1. Choose Load Library from the File menu. The Load Library dialog box appears. 2. Navigate to your Libraries folder, and double-click the Harp Pedal Library. This library contains two shapes: the empty cross-shaped “skeleton;” and a single, vertical, pedal line. 3. Select the Expression Tool and double-click anywhere on the score. The Expression Selection dialog box appears. 4. Choose the Miscellaneous category. Notice the two new shapes harp pedal diagrams. 5. Click Cancel to return to the document. It’s important to place each harp-pedal shape into the score using Metatools. See To create Expression Metatools. Otherwise, you won’t be able to adjust the pedals independently on each diagram. Finally, you place the diagram into the score in two steps. First, use the Expression Tool to place the Metatool empty cross-shaped “skeleton” into the score. Now add the other Expression—the one that represents the pedal. Once these pedal shapes are placed into the score, again using Metatools, you can drag their handles up or down to adjust the positions of the various pedals.

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Headless notes You can create notes without heads on either a note-by-note or global basis (for plainchant notation or recitative, for example).

To remove the head of a single note 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


2. Click the Note Shape Tool . A handle appears on each notehead. 3. Double-click the desired notehead’s handle. The Symbol Selection dialog box appears, displaying every character in the music font. (Some of the squares in the palette are blank.) 4. Double-click any blank square. To restore the notehead, click its handle to select it. Press delete.

To remove all noteheads 1. From the Document menu, choose Document Options, then select Notes and Rests. The Notes and Rests options appear. 2. From the Notehead Characters drop-down list menu, choose Quarter/Eighth, and then click Select. The Symbol Selection dialog box appears, displaying every character in the music font. 3. Double-click any blank square. Repeat with the Half, Whole, and Double Whole notehead types, if they appear in your piece. 4. Click OK. To restore the noteheads, repeat the process. Instead of doubleclicking a blank square, however, double-click the appropriate notehead shape in the palette.

To remove all noteheads in a region 1. Click the Selection Tool , and select a region. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Change, then Noteheads. The Change Noteheads dialog box appears. 3. Select All Noteheads in the Find section of the dialog box. 4. Select Selected Notehead in the Change to section of the dialog box. 5. Click Select next to Selected Notehead. The FontFont dialog box appears. 6. Double-click on Slot 32. You return to the Change Noteheads dialog box.

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7. Click OK. The noteheads are replaced with blank characters. To restore the noteheads, repeat the process. Instead of selecting Selected Notehead, select Regular Noteheads and Click OK.

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Hiding key signatures It’s standard practice to display the key signature at the beginning of each system. You can, however, tell Finale not to display the key signature in a particular measure (in which the key signature would normally appear).

To hide the key signature in a measure 1. Click the Measure Tool , and double-click the barline handle of the measure in which you want to hide the key signature. In general, this is the first measure on a line. Be sure to perform these steps just before printing, to ensure that the measures with hidden key signatures don’t move from their positions at the beginning of lines. 2. From the Key Signature drop-down list menu, choose Always Hide. You can also force a key signature to appear in a measure where it would not normally appear by choosing Always Show (see Courtesy key signatures). 3. Click OK (or press enter). Note that you can also choose to display the key signature on the first staff system only in Document Options-Key Signatures.

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Hiding notes and rests A hidden note or rest in Finale may still takes up horizontal space, but it doesn’t play back or print out. Hiding a rest is an excellent way to provide a placeholder in order for a second voice to enter in the middle of a measure. Hiding a note or rest will not hide lyrics and chords assigned to the entry. It will hide other items attached to a note or rest such as articulations or expressions. See Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in. See also Document Options-Music Spacing for spacing hidden notes.

To hide a note or rest (Simple Entry) 1. Click the Simple Entry Tool , and Ctrl-click the note you would like to hide. Or, simply make sure the note you would like to hide is selected (notes are automatically selected immediately after entry). 2. Press the letter H key. To show the note or rest again, press H again.

To hide a note or rest (Speedy Entry) 1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. 2. Click the desired note or rest. The pitch crossbar doesn’t have to be on the notehead. 3. Press the letter O or H key. To show the note or rest again, press O or H again.

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Hiding staves If you’re interested in hiding staves to print a full score (so that empty staves are omitted from each system), see Optimizing systems. If you’re interested in hiding staves temporarily, use the Hide Staves checkbox in the Staff Attributes dialog box. Do not delete the staves—a method of hiding staves that was used in versions earlier than 3.7. Delete staves only if you want to permanently remove them from the score.

To play back only selected staves See To play back selected staves.

To hide staves for editing (Scroll View) By hiding staves using Staff Sets you can view a selected number of staves on your screen for convenient editing. For example, in a full concert band score, if you would like to view your flute part and the percussion staves on-screen at once, you could assign these staves to a Staff Set to view them while hiding all the other staves. ote also that when you change the position of a staff in a staff set, it changes positions for all staff sets. 1. Click the Staff Tool . Shift-click the staves you don’t want to hide. You can also select staves by drag-enclosing their handles or by choosing Select All from the Edit menu. In any case, the selected staves’ handles become highlighted. 2. While pressing ctrl, choose Program Staff Set from the View menu; from the submenu, choose one of the Staff Sets (1 through 8). You’re programming a Staff Set that, when selected, will hide the non-selected staves. 3. To view the new configuration of staves, choose the Staff Set you programmed from the submenu of the Select Staff Set command (in the View menu). Finale prints all staves, however, no matter which ones are visible in Scroll View; to omit staves in printing, see To hide staves for printing.

To hide staves for ossia measures or special playback Use this method to hide staves that contain source music for ossia measures. Or, hide other staves that you don’t want printed; for example, staves containing notes for playback only, such as written-out trills, turns, or doubled parts. 1. Click the Staff Tool

. The Staff menu appears.

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2. Select a staff, then choose Edit Staff Attributes from the Staff menu. (Or, double-click a staff, a staff handle, or a staff name.) Or, choose Edit Staff Attributes from the Staff menu without selecting a staff. The Staff Attributes dialog box appears. To display the attributes of another staff, choose a staff from the Staff Attributes for drop-down list menu. (Or, use the arrow controls to select a staff from the Staff Attributes for drop-down list menu.) 3. Select Hide Staff in the Options section in the Staff Attributes dialog box, then click OK. Any staff that you hide using this method will still appear in any Staff Lists but “(hidden)” will appear after the staff’s name in the list.

To hide staves for printing If your purpose is to hide empty staves when printing a full score, see Optimizing systems. To hide staves containing music, which you may want to do if a staff contains alternate versions of music, or music only used for playback: 1. Click the Staff Tool . The Staff menu appears. 2. Select a staff handle, then choose Edit Staff Attributes from the Staff menu. (Or, double-click a staff handle, or a staff name. Or, choose Edit Staff Attributes from the Staff menu without selecting a staff.) The Staff Attributes dialog box appears. To display the attributes of another staff, choose a staff from the Staff Attributes for drop-down list menu. (Or, use the arrow controls to select a staff from the Staff Attributes for drop-down list menu.) 3. Select Hide Staff in the Options section in the Staff Attributes dialog box, then click OK. When this option is selected, Finale displays “hidden” after the name of the staff in the Staff Attributes for drop-down list menu in the Staff Attributes dialog box. 4. Format and print your piece as usual.

To show hidden staves If you’ve hidden a staff using the Hide Staves option in the Staff Attributes dialog box, Finale displays “(hidden)” after the name of the staff in the Staff Attributes for drop-down list menu in the Staff Attributes dialog box. 1. Click the Staff Tool . The Staff menu appears. 2. Click the handle on a hidden staff, then choose Edit Staff Attributes from the Staff menu. If you can’t find staff handles in your score, or if you’re not sure which staves are hidden, choose Edit Staff Attributes from the Staff menu without selecting a staff. The Staff Attributes dialog box appears. Choose the hidden staff from the Staff Attributes for drop-down list 282

menu, which provides a complete list of all staves in the score. (Or, use the arrow controls to select the hidden staff from the Staff Attributes for dropdown list menu.) 3. Click to deselect Hide Staff in the Staff Attributes dialog box. The staff will reappear when you return to the document. 4. Use the arrow controls to choose another hidden staff and deselect Hide Staff to display the staff in the score. 5. Repeat the process for every hidden staff you want displayed again, then click OK when you’re done.

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Hiding time signatures It’s standard practice to display the time signature at the beginning of each system. You can, however, tell Finale not to display the time signature in a particular measure (in which the time signature would normally appear). To hide all time signatures for a staff see Staff Attributes dialog box.

To hide the time signature in a measure 1. Click the Measure Tool ; double-click the barline handle of the measure in which you want to hide the time signature. The Measure Attributes dialog box appears. 2. From the Time Signature drop-down list menu, choose Always Hide. You can also force a time signature to appear in a measure where it would not normally appear by choosing Always Show (see Courtesy time signatures). 3. Click OK (or press enter).

To hide automatic courtesy time signatures When a time change appears at the beginning of a system, a courtesy time signature appears automatically at the end of the previous system. To remove the courtesy time signature that appears automatically at the end of the previous system: 1. From the Document menu, choose Document Options, and then select Time Signatures. 2. Uncheck Display Courtesy Time Signature at End of Staff System. 3. Click OK.

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Human Playback Finale’s Human Playback feature, (developed by Robert Piéchaud), is a comprehensive utility designed to interpret virtually every aspect of your score including articulations, expressions, hairpins, and other markings, and generate playback that simulates a live human performance. Human Playback will even ‘read’ text expressions you add manually, such as "Faster", "calando", or even "zurückhaltend". (For a complete list of words Human Playback understands see Human Playback Dictionary). By default, when you playback the score, Human Playback temporarily discards all existing MIDI data in favor of its own (then restores it when playback is stopped). However, you can instruct Human Playback to incorporate MIDI data you have added manually in its interpretation by adjusting settings in the Human Playback Preferences dialog box. In addition to elements of the score itself, Human Playback bases its interpretation on one of several available styles including classical, baroque, and jazz. When you start a new Finale document, Human Playback is on by default and set to the "Standard" playback style. Simply add some of the markings just mentioned and playback the score to hear Human Playback at work. To customize Human Playback’s interpretation, do the following: 1. From the Window menu, choose Playback Controls (if the Playback Controls are not already visible). The Playback Controls appear. 2. Click the Playback Settings button. The Playback Settings dialog box appears Controls expands, offering additional controls. 3. For Human Playback Style, select the style of the piece you are notating. For example, the Jazz style adds a swing feel to the piece. The Baroque style performs articulations according to standard baroque performance standards. Or, choose Custom to view the Human Playback Custom Style dialog box where you can create your own style. 4. Click OK to apply these settings Minimize the Playback Controls if desired. 5. Click the play button to review Human Playback’s interpretation. The score is processed, and performs the score based on Human Playback’s interpretation. During this process, MIDI data is applied to the score temporarily, and then removed when playback stops. If you want to make additional global settings for Human Playback, in the Playback Settings dialog box, click HP Preferences to open the Human Playback Preferences dialog box where you can adjust program-wide settings. Here, you can instruct HP to use MIDI data you have already defined in the score (with the MIDI Tool, Expression Tool etc.), adjust reverb settings, and

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make further adjustments to the way Human Playback interprets your score. See Human Playback Preferences dialog box. You can also apply Human Playback to a region of your score using the Apply Human Playback plug-in. When you do this, instead of only temporarily adding the MIDI data, Human Playback adds it to a selected region of measures. (Then you can apply different setting to another region of measures, or even edit the MIDI data with the MIDI Tool). To use the Apply Human Playback plugin, set human Playback to None in the Playback Settings dialog box, then highlight a region of your score with the Selection Tool and from the Plug-ins menu, choose Playback > Apply Human Playback. See Apply Human Playback plug-in.

See Also: Human Playback Preferences dialog box Human Playback Dictionary

GPO and Human Playback Human Playback includes enhanced capabilities when used with Finale’s integrated Garritan Personal Orchestra sounds (or the full version of Garritan Personal Orchestra). One of these is the ability to apply patch changes automatically using keyswitch triggers. Several GPO instruments include multiple sounds, for example, pizzicato and arco for strings. These alternate sounds are called ”Keyswitches.” HP interprets expression or Smart Shape text added to the score (such as “pizz”) and changes the instrument sound during playback accordingly. See GPO Keyswitch Triggers for Human Playback for details. Additionally, Instrument Techniques can be applied to an instrument sound and/or modified to take full advantage of GPO and other sound sample libraries. See GPO & HP Tutorial for information on how to get the most out of these tools.

Instrument Techniques and Effects Instrument Techniques allow Human Playback to take advantage of a given sound library, from basic GM to high-end samples like Garritan or EWQL. They can be actual techniques, such as pizzicato or fluttertongue, but more generally, they can be used however required to make the most of the sound library at hand. Earlier versions of Finale (2006 and earlier) included a limited support for Instrument Techniques, focused on GPO (Finale and Full editions) and GM (SoftSynth), but were not customizable. In particular, there was no way to mix different sample libraries so that Human Playback could interpret the whole thing smoothly.The Technique & Effects window looks like this:

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Every item in the list represents a particular technique or effect. The technique list pictured above is the default set, featuring about 30 items including full support for SoftSynth, Garritan Instruments for Finale, Garritan Personal Orchestra (full), Garritan Jazz & Big Band, Marching Band, Stradivari Violin, and Gofriller Cello. For details, see Human Playback Preferences-Instrument Techniques and Effects.

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Hymns There are several conventions common to hymns which Finale can accommodate. For example, hymns are often notated on two staves (which may be Soprano/Alto and Tenor/Bass and double as an organ part), with lyrics in between. Use Layer 1/Layer 2 on each staff to create parts whose stems are automatically flipped the right way (see Multiple voices). Often, too, a hymn contains several verses, with a single repeated refrain. Assuming that the lyrics lie between the two staves, you need to adjust the space between the two staves so that there’s enough room for multiple verses, yet leave less space between staves where there are only the single-line refrain lyrics. The solution is to optimize the systems. In general, optimizing is used to suppress the printing of blank staves within a system. However, optimizing has another important effect: it allows each staff within a system to be independently movable in Page View. Another characteristic of published hymns is that the first syllables of all verses are aligned with each other, flush left. (Lyrics under normal circumstances are centered under the notehead.) To create this alignment, see Document Options-Lyrics.

To create variable-distance systems For best results, perform this operation last, just before you print. See Optimizing systems for more information. 1. Click the Page Layout Tool . 2. From the Edit menu, select the systems or choose Select All. 3. From the Page Layout menu, choose Systems, then Allow Individual Staff Spacing. 4. Click the Staff Tool move it.

; then drag the lower handle of any staff to

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Hyphens A hyphen (or a space), when typed into the Edit Lyrics window for lyrics, indicates the end of a lyric syllable. When Finale distributes lyrics automatically into the score (see Lyrics), it looks for a hyphen or space as its cue to advance to the next melody note. The default hyphens are called Smart Hyphens because they automatically extend over system breaks and use the hyphen character from the font selected for lyrics in Document Options-Fonts. You can edit the default space between hyphens, and adjust the default positioning in the hyphens section of Document Options-Lyrics.

Note: Old documents (those created in Finale version 2003 or earlier) that contain lyrics retain all word extension positioning information when converted to Finale 2010 format. However due to possible conflicts with existing hyphens, Smart Hyphens are not active in converted documents by default. Hyphens in documents converted from earlier Finale versions do not extend over system breaks automatically and always use a dashed line instead of the lyric font’s hyphen character. If you want to activate Smart Hyphens in an Finale Document created in Finale 2003 or earlier, from the Document menu, choose Document Options, select Lyrics, and then check Use Smart Hyphens. Then click OK to confirm your settings. This setting applies to new hyphens and existing hyphens already added to the score.

To prevent a hyphen from ending a syllable In certain situations (melismatic passages, for example), you may not want Finale to assume that a hyphen is the end of a syllable. 1. If you’re not already in the Edit Lyrics window, click the Lyrics Tool and from the Lyrics menu, choose Edit Lyrics. The Edit Lyrics window appears. 289

2. To create a hyphenated word, all of which will be assigned to a single note, type 0173 on the numeric keypad while pressing the alt key in place of the normal hyphen. When these lyrics are Click-Assigned into the score, the alt+0173 hyphen-hyphen will not separate the word into syllables.

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Recording with HyperScribe Finale allows two types of recording with HyperScribe; A real-time MIDI transcription recorded using an external MIDI device such as a MIDI keyboard, or an audio track recorded using a microphone attached to your computer. When you’re recording a real-time MIDI performance using HyperScribe, you can provide the click yourself by tapping a note on your MIDI keyboard, a foot pedal, and so on (if Tap is selected in the Beat Source submenu). Or, another computer or MIDI device can provide a time code that Finale will sync to (if External MIDI Sync is selected in the Beat Source submenu). If you prefer, however, you can have Finale provide a metronome click, which can be triggered by playing a certain MIDI note (if Playback and/or Click is selected in the Beat Source submenu). When you're recording an audio track, the live performance must be in realtime and match the desired playback tempo. For details, see To record an audio track. Note: If you are using Kontakt for Finale with GPO as your playback device, to get a metronome click, you will need to load a percussion instrument and select the patch manually. See To use a metronome click with VST.

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Imploding music To implode music onto a single staff 1. Click the Selection Tool and select a region. To implode music, you’ll usually want to select several staves by shift-clicking them. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Implode Music. The Implode Music dialog box appears, asking whether the resultant reduction should appear on a new staff (at the bottom of the score) or on the top selected staff (in which case its current contents will be replaced). 3. Select either New Staves Added to Bottom of Score or Top Staff of Selection. If you’ve selected a large amount of music, this process may take time. 4. Click OK.

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Importing You can import files from MIDIScan and SmartScore into Finale, as well as MusicXML files. You can import various elements into your Finale documents from other programs.

To import a MIDI file See MIDI files.

To Import MusicXML files See MusicXML.

To import graphics See Graphics.

To import text Finale won’t retain the tabs or character formatting if you import text from another word processor, but the text itself will transfer. 1. In your word processor, select the text. Choose Copy from the Edit menu. In almost every word processor, you can press ctrl-C (for Copy) instead of choosing Copy from a menu. 2. Open your Finale document. There are two places the text might go: into your lyrics or into a text block. 3. To paste the text as lyrics, click the Lyrics Tool . Choose Edit Lyrics from the Lyrics menu, and press ctrl-V (for Paste). The lyrics currently on the Clipboard appear in the Edit Lyrics window. You can paste text the same way when you’re creating text blocks (see Text blocks).

To open files from earlier versions of Finale or other MakeMusic products From the File menu (or the Launch Window), choose Open. Navigate to the file. Double-click on the file. Finale opens and converts the older version’s document with a different name than the original file, keeping the older document as a backup. If you want to save the file using the same name, choose Save As from the File menu. For conversion issues, see below:

From Finale 2004 or earlier: • The option “Stop on Total Passes” has been removed from the Backward Repeat Bar Assignment dialog box. During playback of files created in 2004 or earlier, backward repeat bars with this setting would stop after the 293

specified number of passes instead of jumping to the target measure. When opening an older Finale file with this setting, in the Backward Repeat Bar Assignment dialog box for these repeat bars, the Target drop-down menu is set to “Measure #” and “-1” is specified in the text box. Playback after converting to Finale 2007 format or later is not changed. From Finale 2003 or earlier: • Expressions convert to the Finale paradigm established in version 2004. For Expressions, the positioning settings are applied to the Positioning tab of the Expression Designer. From Finale 2002 or earlier: • Tablature staves from documents created in Finale 2002 or earlier will continue to use the old paradigm of a one line staff for each TAB line. In addition, if you are using a document converted from Finale 2002 or earlier, tablature staves with alternate tuning that are added to the document with the Setup Wizard will revert to the Standard Guitar instrument. For information on working with staves in Finale 2003, see Tablature. From Finale 2001 or earlier: • Slurs will not be converted automatically to the new Engraver Slurs. See Smart Shape Tool. From Finale 98 or earlier: • If you used Alternate Notation in a converted file, the appropriate Staff Style will be created. If you wish to use the pre-defined Staff Styles that came with your default file, such as transpositions and 1-line staves, you will need to load the Staff Styles library. See Staff styles. From Finale 3.7 or earlier: • If you use bitmapped fonts, converted files may display text items at a different point size than the original file. Finale 2002’s display of bitmapped fonts is limited to the actual point sizes installed in your system. We highly recommend the use of TrueType or PostScript fonts, which can be scaled to virtually any point size. • Staff Names and Titles are considered text blocks in later versions. As a result, staff names and titles in files created in earlier versions of Finale will be converted to text blocks. When converting text blocks, Finale will convert the text so it's unique for each text block. However, if the same shape is used, Finale will not 294

duplicate the shape. Note that in Finale 2002, both the text and the shapes (Standard Frame or Custom Frame) are unique for each text block that you create. The fonts selected in the Fonts portion of the Document Options dialog box for Text Blocks, Staff Names and Group Names will be used when the text block, or staff or group name is first created. Changing the font in Document Options-Fonts will no longer change the font used for all staff names in your document; nor will it change the first font used for text blocks in your document. To change a font, you must change the font in the document for text blocks created with the Text Tool, or in the Edit Text window for staff and group names created using the Staff Attributes dialog box. • The conversion routines go through great lengths to ensure that the position of text remains the same in converted files. This has the following implications for Text Blocks, Titles and Staff Names. Text blocks are positioned differently starting with Finale 3.7. If you display the Frame Attributes dialog box, for a text block created in an older version of Finale, Position from Edge of Frame will be deselected. (This option is selected for text created with the new Text Tool.) If you select this option for a converted text block, you will most likely need to adjust its position on the page. Since titles are considered text blocks, Finale calculates the position of the title from the top of the name, using the specified font. Earlier versions (before 3.7) calculated the position from the baseline of the font. When converting files, Finale adjusts the values for the positioning of the titles to maintain their previous page positioning. Since staff names are considered text blocks, Finale calculates the position of the name from the top of the name, using the font selected at the beginning of the name. Earlier versions (before 3.7) calculated the position from the baseline of the font. When converting files, Finale recalculates the values for the default positioning of the staff names based on the font and point size selected in the Fonts portion of the Document Options dialog box. If alternate fonts or point sizes have been set for staff names, individual positioning for those staff name will be selected in the Staff Attributes dialog box. This automatic calculation of positioning values, and the selection of individual positioning for names using the non-default font and point size, will maintain the correct position of staff names in your converted files. From Finale 3.5 or earlier:

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• Finale offers better support of stem to notehead connections--its ability to sense the width of the notehead, particularly for upstem notes, is enhanced. However, this enhancement may change existing stem connection settings slightly in newly-converted documents. In general, these changes should provide subtle improvements, but you should doublecheck the on-screen and printed appearance if you have concerns. • Due to the improved stem to notehead connections, Finale may change the appearance of on-screen and printed “blank” noteheads (e.g., noteheads set to Petrucci's space character). If you have documents that use the space character (slot number 32 in the Symbol Selection dialog box) as a notehead, you should create a new stem connection setting for this notehead in the converted document by following the steps outlined below. To fix "blank" notehead connections 1. From the Document menu, choose Document Options and select Stems. Make sure that Use Stem Connections is selected. 2. Click the Stem Connections button. 3. Click Create to display the Stem Connection Editor to create a new setting. 4. Click Select to display the Symbol Selection dialog box. Select slot number 32 (the space character created by pressing the spacebar), then click Select. 5. Enter a value of 24 EVPUs in the Upstem V: text box by typing "24 e" -- this automatically enters a value of 24 EVPUs regardless of the Measurement Units setting currently in use. 6. Click OK, then click Done, then OK. Your blank noteheads should now display properly. • Finale may display certain unusual chords differently than earlier versions did. This depends on the setting of the Chord menu command, Simplify Spelling. Using this command, you can more easily specify some chord spellings in any key, such as a B sharp chord in C major. Formerly, Finale would “simplify” this spelling to C (a change made in response to customer requests very early in Finale's history). Now, Finale offers you the choice of simplifying or not simplifying these spellings. To ensure that your chords appear as they did in earlier versions, choose Simplify Spelling from the Chord menu, if necessary, so that a checkmark appears next to the command. For more information, see Simply Spelling in the Chord menu. • Finale has another small change that may affect your document, both onscreen and in printout. Finale now displays chords and lyrics on notes hidden with Speedy Entry Tool's O key; chords and lyrics attached to notes you've hidden in earlier versions' documents will now appear. If you do not want them to appear, delete these elements from the hidden notes. 296

From Finale 3.0 or earlier: • Time Signature Libraries have been replaced by the Composite Time Signature dialog box. • Output Route Libraries have been replaced with Instrument Libraries. From Finale 2.2 or earlier: • Shapes created in Finale 2.2 or earlier will appear in the new version but cannot be edited. If editing is required, replace the old shape with one you’ve created in the new Shape Designer.

To transport files across platforms You don’t have to save a Finale file in a special format to open the file crossplatform; simply save it in the regular Finale file format. Starting with Finale 2002a, files can be transferred across platforms while maintaining correct higher ASCII text characters and hard spaces (commonly used in lyrics). Finale is configured to do this by default, by having “Automatically Convert Text In Files From Other Operating Systems” selected in the Open section of the Program Options dialog box (see Program OptionsOpen). Alternately, this conversion can be done after the file is open by going to the Document menu > Data Check > Font Utilities. Choose the Advanced tab and then check Convert Text for Windows and click OK.

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Indenting systems To indent a system: 1. Click the Page Layout Tool . A dashed line borders every staff system on the page. A handle appears on the upper left and lower right of each system. 2. To adjust the left system margin, click and drag the upper left handle to the right. To define a specific position for a system margin using values, select the upper left handle, and then, from the Page Layout menu, choose Systems > Edit Margins. Use text boxes here to specify the placement of the selected margin. For details, see Edit System Margins dialog box. See Also: Page layout

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Working with the Instrument List To assign staves to MIDI channels and instruments 1. From the Window menu, choose Instrument List. The Instrument List window appears. Down the side of the screen you see the names of the staves in your document. At the right side of the screen, you can see the Instrument each staff is assigned to (and the MIDI channel that Instrument uses). 2. To change the MIDI channel for a staff, click in the Chan column across from its name, and type a new channel number. Keep in mind that you’re now changing this Instrument’s channel; if any other staves share the same Instrument, their MIDI channel numbers will change, too. 3. To change the MIDI channel for a staff independently, click the Instrument column drop-down menu across from its name, and select New Instrument. Name your new instrument and assign it to a unique channel. See Instrument Definition dialog box. (Note that if you use an existing instrument name, when you return to the Instrument List, all other staves set to that channel will also update to use that instrument.) You can also change the channel for an individual Layer of a staff. To do so, click the triangle to the left of the staff name; Finale displays new rows of information that correspond to the staff’s Layers. Change any Layer’s Instrument assignment, using the Instrument drop-down list across from its name, or just edit its Channel. If you want the Layers to have different MIDI channels, remember to assign them to different Instruments first. 3. Click the staff name’s upward-pointing arrow to “collapse” (hide) the list of layers. If you plan to re-use a typical patch/channel configuration, consider defining it, and naming it, as an Instrument. To do so, choose New Instrument from the Instrument drop-down list across from any staff name. Enter the patch and channel numbers, and click OK. Then, the next time you want to re-create a particular channel and patch configuration for a particular staff, your new Instrument's name will appear in the drop-down list for quick access.

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Internet Finale Reader provides a free, reliable, and easy way to view and playback Finale documents downloaded from the Internet. To open a Finale (MUS) file available at Finale Showcase, or another online resource, viewers now need to simply download the file to their local machine and then open it in Finale Reader. Finale Reader is available for download free of charge at http://finalemusic.com/Reader/. To post sheet music on a web site for viewing and/or printing using a web browser, we recommend generating a PDF from Finale. See Adobe PDF documents. Use Finale’s Export to Audio File feature to create a MP3 file if you want to distribute playback data of a Finale document over the Internet. See Audio Files.

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Key signatures See also Nonstandard key signatures.

To change the key 1. Click the Key Signature Tool , and double-click the measure where the key will change. The Key Signature dialog box appears. 2. Click the up and down scroll-bar arrows until the desired new key signature appears. Scroll up for sharp keys, and down for flat keys. If you want to select or create a nonstandard key signature (based on a quartertone or other nontraditional scale), choose Nonstandard from the dropdown list menu. See Nonstandard key signatures. 3. Using the Measure ___ Through ___ (or Through End of Piece or To Next Key Change) text boxes, specify the range of measures you want to be affected by the key signature. 4. Specify the transposition effect. The three choices are: Transpose Notes, in which any existing music will be transposed to the new key; Hold Notes to Original Pitches, which holds each note at its original absolute pitch, adjusting accidentals where necessary; or Hold Notes to Same Staff Lines (Modally), in which each existing note remains on its original line or space, but no new accidentals appear. If you select Transpose Notes, choose either Up or Down from the dropdown list menu to specify the direction in which you want to transpose the music. If the measure range you’ve specified contains keys whose relationships you want to preserve, click Transpose All Keys Proportionally. Subsequent key changes will be preserved, but will be affected by the same interval as the key change you’re now creating. 5. Click OK (or press enter).

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Key velocity Key velocity, also called note velocity, is the MIDI data that describes how hard a key was struck. A note’s key velocity usually determines its volume, although velocity can be programmed to affect other playback elements, depending on your MIDI keyboard. Finale can record the key velocity for every single note you play using the HyperScribe Tool. See also Auto-Dynamic Placement Plugin. There are two ways to affect the key velocity of notes in your score. The quickest method uses the MIDI Tool to directly edit note (key) velocities. The other method involves placing into the score standard musical markings that have been defined for playback (an accent, a forte mark, and so on).

To copy or erase key velocity data See MIDI —To copy or erase captured (or edited) MIDI data.

To affect the key velocity of a single note (Articulations) or Expressions See Articulations; Crescendo/Decrescendo; Dynamics.

To edit key velocity with the MIDI Tool 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool . Choose Key Velocities from the MIDI Tool menu, if it’s not already selected. 2. Select the region whose playback data you want to affect. Click to select one measure, shift-click to select additional measures, drag-enclose to select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit menu. 3. If the selected region is only on one staff, double-click the highlighted area. You enter the MIDI Tool split-window. At the bottom of the window you see the music on the staff you selected. Above each note is a thin vertical line; in essence, these lines are a bar graph of the key velocities of the displayed notes. Click the up, down, left, and right arrow buttons to move through the score. While in the MIDI Tool split-window, you have note-by-note editing powers for the displayed notes. To select the notes whose velocities you want to edit, drag through the graph area of the window, highlighting it; the handles of all displayed notes are selected. You can also click an individual note’s handle, or shift-click additional handles, or drag-enclose groups of handles—or even shift–drag-enclose additional groups.

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4. Choose the appropriate command from the MIDI Tool menu.Set To gives all selected notes a velocity value you specify. Scale creates a smooth gradation from one value to another (ideal for crescendo effects). Add alters every selected note’s velocity by a value you specify. Percent Alter alters a note’s velocity by a percentage of its current value. Limit lets you specify a maximum and minimum velocity value for the selected notes. Alter Feel gives you selective control over downbeats, offbeats, and backbeats, letting you alter each by an absolute or percentage of current value (ideal for “boosting the backbeat”—in other words, making the backbeats louder). Randomize changes the selected notes’ velocities by a random amount, to the degree you specify (ideal for giving a more human “feel” to the piece). 5. If you have the MIDI Tool split-window open, and want to hear the effects of your work along the way, choose Play from the MIDI Tool menu. It’s important to understand that you’re editing the performance data of the selected music. Performance data is a set of velocity (and Start and Stop Time) playback information that Finale associates with each note in the score. At any point, you can hear your music played strictly as it appears in the score, or you can hear it played using the captured MIDI data (from the Document menu, choose Playback/Record Options). If the music you’re editing was from a performance in HyperScribe, and selected Retain Key Velocities in the Quantization Settings dialog box (or if you clicked Save Key Velocities before transcribing in Transcription More), in the MIDI Tool you’d see (and be able to edit) the actual key velocities of the notes as you originally played them. 6. When you’re finished, close the MIDI Tool split-window. In order to hear the changes you made, choose Playback Controls from the Window menu. Click the expand arrow, and then Playback/Record Options. Make sure Play Recorded Key Velocities is selected. If it is, you’ll hear the score played back using the performance data—in other words, you’ll hear the effects of your velocity editing whenever you play back your score.

To record key velocity information For complete information on recording with the HyperScribe Tool, see Transcribing a sequence and Recording with HyperScribe. 1. From the MIDI/Audio menu, choose Quantization Settings and then click More Settings. Ensure Retain Key Velocities is checked. 2. From the Document menu, choose Playback/Record Options. The Playback/Record Options dialog box appears. 3. Make sure Play Recorded Key Velocities is selected and click OK. When Play Recorded Key Velocities is selected, Finale uses the original key velocity information it recorded when you created the performance— 303

even if you edit the durations of notes in the score. You can edit the captured velocity information visually by using the MIDI Tool (see To edit key velocity with the MIDI Tool, above).

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Landscape and Portrait orientation Under normal circumstances, Finale prints your pages in portrait orientation— with the page taller than it is wide. For some scores, however, you may want the page turned sideways, in landscape orientation. For instructions on printing in landscape orientation, see Printing. If you would like to specify a different page orientation for the score than the parts, two print sessions are required. On Windows, Finale cannot use the orientation setting in the Page Format for Score and Page Format for Parts dialog box instead of the one specified in the Print dialog box. While printing both the score and parts, you may want to use a different orientation for the score than the parts. To do so, you must perform two print jobs, one for the score and one for the parts.To change the orientation, see Page Setup.

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Lead sheets See also Chord symbols; Lyrics; Measures per line; Titles. In general, lead sheets are no different than any other format. There are one or two Finale features of which you should be aware, however.

To omit the left barline from each system In many lead sheets, there is no barline at the left end of the line. 1. From the Document menu, choose Document Options and select Barlines. The barline Options appear. 2. Click Display on Single staves (or Display on Multiple Staves) to deselect it. Click Apply to save your settings.

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Ledger lines Ledger lines appear automatically in Finale whenever you enter a note that requires them. In addition, any tool that performs a staff- or measure-related function automatically draws ledger lines as you move the cursor, letting you know which staff you’re attached to. See also Ledger Lines (Hide) Plug-in, Ledger Lines (Show) Plug-in.

To change the thickness or length of ledger lines 1. From the Document menu, choose Document Options and select Lines and Curves The Lines and Curves options appear. 2. Enter a new thickness value in the Ledger Lines text box. The units are whatever you’ve selected using the Measurement Units command (Edit menu). Or, to change the ledger lines’ length, enter new values in the Left Half and Right Half text boxes. For extra flexibility, you can control the length of each side of the ledger line independently. 3. Click OK (or press enter).

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Left barlines To create a double left barline 1. From the Document menu, choose Document Options, then select Barlines. The Barlines options appear. 2. Under Left barlines, check Display on Single Staves and Display on Multiple Staves, as appropriate. Click OK. For more information, see Document Options-Barlines. 3. Click the Measure Tool ; then double-click the measure you want to begin with a double barline. The Measure Attributes box appears. 4. In the Left Barline row, click the Double barline icon. Click OK. You return to your score, where Finale has drawn a double barline along the beginning of the system.

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Legal-size paper When you lay out your score for legal-size (8.5 by 14-inch) paper, there are two settings you have to make. First, choose Legal from the Page Setup dialog box (see Printing,Page size and Page layout ). Second, make sure you’ve created a Finale score with the appropriate dimensions (see).

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Limiting MIDI data You can use the MIDI Tool to limit certain MIDI data for selected regions. In particular, you can limit the note velocities, Start and Stop Times, pitch wheel values, Channel Pressure values, and other MIDI continuous data to within a certain range. For example, if you specified a maximum velocity of 90 for a given region, any note whose velocity value is between 91 and 127 would be clipped down to 90. For a more complete description of the Limit function. For specific information on limiting MIDI controller and wheel data, see Continuous data.

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Linked Parts Important note: Prior to printing Linked Parts, always view them to update multimeasure rests. Doing this ensures there are no missing or extra measures in the printout. Press CtrlAlt-. (period) several times - until all the parts have been viewed. A Linked Part is simply a representation of one or more score staves arranged in a part layout that walks in-step with notation and other changes you make to the score. Although their basic purpose is to eliminate the need to make redundant changes to the score and part separately, their integrated nature offers many other time and labor-saving advantages: • Parts are conveniently accessible within a single project file under the Document menu (or by pressing key commands). • You can open up more than one window of your document (for example, with each document window displaying a different part) by choosing New Window from the Window menu. • Parts are customizable. A part can contain any combination of staves or groups from the score. Parts can be created at any time; while setting up your score or after the score is complete. • Page Layout changes in one part, such as system margin positioning and page reduction, can be applied to other parts. See Page layout in linked parts. • Changes to the music spacing can be applied to multiple parts. See Music Spacing in linked parts. • A single voice in a multi-voice staff can be isolated for printing (while the linked relationship remains intact). See Part Voicing. • Linked parts can be extracted into separate documents. See Extracting parts. • Page Layout changes in one part, such as system margin positioning and page reduction, can be applied to other parts. See Page layout in linked parts. • A single voice in a multi-voice staff can be isolated for printing (while the linked relationship remains intact). See Part Voicing. • Linked parts can be printed en masse from the main project file. See Print dialog box. 311

• Linked parts were designed to be as intuitive as possible while offering the greatest degree of flexibility. For example general page text, such as the title, composer and copyright appears on each part automatically - although you can reposition any of these elements on each part independently if desired. The following general principles apply for all scores containing linked parts: • Changes to pitches and rhythms in the part or score always apply to the other respectively . • Changes to the definition of markings (e.g. changing expressions from to respectively.

) in the part or score always apply to the other

• A change to the positioning or shape of any marking in the score also applies to that marking in the part respectively (unless the link has been broken). • Manually repositioning or altering the shape of a marking (dragging or nudging and expression/articulation, or altering a smart shape,C:\Documents and Settings\markjohnson.CODA\My Documents\My Projects\Finale\Content\Finale\Linked_Parts.htm - FNH_2etc.) in a part ‘breaks’ the positioning relationship between that part and its corresponding score marking. The change does not apply to the score. That marking is now orange in the part indicating it has been broken. It is also orange in the score indicating it has been broken in at least one part. This applies to all “intelligently linked” items (see Linking Details for Linked Parts). • Any broken link can be relinked. • Changing a marking’s show/hide setting in a part breaks only its show/hide link with the score. Changing an item’s positioning link state does not change its show/hide link state - they are autonomous. • Removing manual positioning does not relink a marking. In fact, it removing manual positioning can break the positioning link for an item when done in a part. • Page layout changes to a part do not apply to any other part unless applied to other parts deliberately. See Page layout in linked parts. • As noted above, the notation between a score staff and its corresponding part staff is always linked. In contrast, the page formatting and measure layout is independent and (by default) based on Finale’s automatic settings. (Although page layout changes to one part can be applied to others. See Page layout in linked parts). Expressions, text, repeat markings, smart shapes, and several other elements (or properties of elements) are said to be “intelligently linked,” meaning the link can be broken if desired. For these items, edits to positioning in a part apply to that part only and not the score. Furthermore, future positioning changes to the corresponding score element will not apply to the part. There are many 312

different types of markings that can be broken, and many ways to edit them. Some markings are unique in their relationship between the score and part. (For example, slurs should always connect the same notes, but their shape may differ between the part and the score.) If any property of a marking is broken, it changes color (to orange) to indicate it is no longer (entirely) linked. • Additionally, by repositioning an item such as an expression in the part, you have broken only the positioning link - any further edits to the positioning of this expression in the score will not affect that expression in the part. The show/hide setting remains linked. At this point, if you were to hide this expression in the score, it would also be hidden in the part, even though the positioning link has been broken. (After an item has been broken it can be relinked to the score - see Relinking part items to the score.) This paradigm is the standard for every linked part item that can be broken unless specified otherwise in this chapter. To find out if an element is permanently linked, independent, or intelligently linked, see the Linking Details for Linked Parts chart in the Appendix.

Special mouse clicks and keyboard shortcuts Linked Parts context menus. Every element whose link can be broken includes a context menu command. The command available depends on whether you are viewing the score or part and the status of the link. To illustrate, we’ll use an expression. Right-click an expression in the score and choose Unlink In All Parts to break the link for this expression in all parts; choose Relink In All Parts to restore the link for all parts. Right-click an expression in a part and choose Relink To Score to completely restore the link (show/hide and positioning). • Hold down the Ctrl key to override Finale’s default linking behavior for that item. This key reverses Finale’s linking behavior. For example, using the override key and editing an expression in a part will preserve the linked state and apply the edits to the score and other parts using that staff. Using the override key when editing an expression in the score will break the linked state for the object to all parts and apply the edits to the score only. • When any linkable item is selected, press Ctrl-Alt-Shift-H to Hide/Show the item. • To relink an item that has been broken, select it in the part and press Ctrl-Alt-Shift-L. • To break the positioning link of an item between the part and score, select it and press Ctrl-Alt-Shift-U. • Press Ctrl-Alt-> to move to the next part and Ctrl-Alt-< to move to the previos part.

Contextual menus

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Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be displayed where you can select various items. menu item

What it does

Show

Toggles show/hide setting

Relink

Restore the link to its corresponding score item

Unlink in All Parts (parts only)

Break the link between the score and this item in all parts

Relink in All Parts (score only)

Restore the link between the score and this item in all parts

To create linked parts You can easily create linked parts while setting up new documents (or even adding new staves) using the Setup Wizard. Simply check Generate Parts on page 2 of the Setup Wizard while setting up your document (or adding new staves using the New Staves (with Setup Wizard) command under the Staff menu). When the score appears, Finale automatically creates a part for each instrument. Additionally, parts can be generated from existing score staves at any time. In fact, you could choose to generate parts after the score is complete or after opening a file created in an old version of Finale. To create new linked parts in an existing score: 1. From the Document menu, choose Manage Parts. The Manage Parts dialog box appears. 2. Click Generate Parts. Finale populates the list with one part for each instrument. Finale names the part based on the staff name. If a grand staff is in the score, or any multiple-staff instrument, Finale adds a single part and names it based on the group name. Although Finale generated a single part for each instrument, you can click Edit Part Definition to manually assign any combination of staves (or groups). See Manage Parts dialog box. 3. Click OK. Finale generates a part for each instrument. To view a part, from the Document menu, choose Edit Part, and select the part (or use the keystrokes listed in this submenu). 4. If you are working with a score created in Finale 2006 or earlier, you may want to: 314

Add part names. See Part Names in Linked Parts. Define articulations to automatically flip to the other side of the staff when appropriate automatically. See Articulations in linked parts. Set multimeasure rests to update automatically. See Multimeasure Rests in linked parts. Load the Document Options Library to reset document options to the Finale 2010 defaults. This will also update your Page Format for Parts settings. Navigating Linked Parts The following techniques allow easy navigation and are recommended while working with a document containing linked parts. • Use the keyboard shortcuts to quickly navigate between the score and any part:Ctrl--. (period) to move forward, Ctrl-Alt-, (comma) to move backward, and Ctrl-Alt-/ (slash) to move to the score or the last viewed part. See also Document menu. • Use of Ctrl-Page up and Ctrl-Page Down to quickly turn pages. • Note the name of the part you are currently viewing is listed in the title bar of the document window. The name of the current part also appears after the document name in the Window menu. • You can open up more than one window of your document (for example, with each document window displaying a different part) by choosing New Window from the Window menu. To hide an item in the score (and leave it showing in parts) Use the override key and a context menu to do this easily. These steps apply to all “intelligently linked” items. See Linking Details for Linked Parts. 1. From the Document menu, choose Edit Score to navigate to the score. 2. Hold down Ctrl, and right-click the item and uncheck Show. The item is now set to show in the parts but not the score.

To show an item in the Score (and hide it in all Parts) Use the override key and a context menu to do this easily. These steps apply to all “intelligently linked” items. See Linking Details for Linked Parts. 1. From the Document menu, choose Edit Score to navigate to the score. 2. Right-click the item and uncheck Show. (This hides the item everywhere.) 3. Hold down Ctrl, and right-click the item and recheck Show. The item is now set to show in the score but not the parts. To show an item in one part only (and hide it in other parts and the score) 315

Use the override key and context menus to do this easily. These steps apply to all “intelligently linked” items. See Linking Details for Linked Parts. 1. From the Document menu, choose Edit Part and choose the desired part. 2. Hold down Ctrl, and right-click the item and check Show. The item is now hidden everywhere. 3. Release the Ctrl key, right-click the item and check Show. The item is now set to show in this part only. To reposition an item in the score without moving it in parts Use the override key to do this easily. These steps apply to all “intelligently linked” items. See Linking Details for Linked Parts. 1. From the Document menu, choose Edit Score to navigate to the score. 2. Hold down Ctrl and drag or nudge the item. The item moves in the score, but not in the part(s). The link is now broken for this item (in all parts containing it). To reposition an item in all parts while viewing a part Use the override key to do this easily. These steps apply to all “intelligently linked” items. See Linking Details for Linked Parts. 1. From the Document menu, choose Edit Part and choose the desired part. 2. Hold down Ctrl and drag or nudge the item. Corresponding items in the score and other parts whose link is intact move respectively. Now, the item is probably out of position in the score. To move it into the correct position: 3. From the Document menu, choose Edit Score to navigate to the score. 4. Hold down Ctrl and drag or nudge the item. The item moves in the score, but not in the part(s). The link is now broken for this item (in all parts containing it). Expressions in linked parts Expressions follow the paradigm described at the beginning of this section (see Linked Parts). When an expression is added to either the score or part, it appears in both. Similarly, when an expression is deleted from either the score or part, it is removed from both. The following properties of expressions are permanently shared between the score and parts: • Settings from the Expression Designer dialog box • On Playback, Affect: setting in the Expression Assignment dialog box 316

• Begin Playback At setting in the Expression Assignment dialog box The following table lists properties of note expressions that are broken if changed in a part: Property changed

Link type broken

Repositioning (nudge, drag, or H: V: values)

Positioning

Remove Manual Adjustments

Positioning

Hide/Show setting

Hide/Show

Note: Removing Manual Positioning in a part (e.g. selecting an expression handle and pressing Backspace) does not relink a broken expression. In fact, doing so in a part breaks the positioning link. Repositioning expressions in linked parts When you first add an expression, positioning changes to that expression in the score apply to all parts containing that expression. If an expression is repositioned in a part, the change does not affect other instances of that expression in the score or other parts, and future positioning changes to that expression in the score do not apply to that part. However, if an expression is repositioned in a part containing multiple instances of that expression, all instances of that expression in the part are broken (and all instances of that expression in the part continue to move uniformly). Broken expressions in parts can be relinked to the score at any time (see Relinking part items to the score). The “Allow individual edits per staff” setting in the Expression Assignment dialog box allows you to reposition, hide, or show an instance of an expression without applying these changes to other instances of that expression. • Checking this box for an expression in a part breaks the positioning and show/hide link for all instances of that expression in the part - each instance of that expression in the part can be edited independently. All other linked instances of that expression in other parts continue to move in uniform with

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edits made to that expression in the score. (All expressions in the score turn orange indicating this expression has been broken in at least one part). • Broken instances of an expression in a part containing multiple staves can be edited uniformly or independently depending on this setting. However, note that changing the state of this check box always breaks the link for all instances of the expression in the part. Show/hide setting for expressions in linked parts The show/hide linking behavior for expressions follows the same rules as repositioning. See Repositioning expressions above.

Articulations in linked parts When an articulation is added to a note in a score or part, it appears in both. When an articulation is deleted from either the score or a part, it is removed from both. The following properties of articulations are permanently shared between the score and parts: • All settings in the Articulation Designer dialog box. • All values in the Handle Positioning dialog box. The following table lists properties of articulations that are broken if changed in a part: Property changed

Link type broken

Repositioning (nudge, drag, or H: V: values) including repositioning of second handle using “Copy the Main Symbol)

Positioning

Remove Manual Positioning (Backspace key)

Positioning

Hide/Show setting

Hide/Show

Note: Removing Manual Positioning in a part (e.g. selecting an articulation handle and pressing Backspace) does not relink the articulation. In fact,

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doing so in a part breaks the positioning link. If your score was created in Finale 2006 or earlier, articulations will not automatically flip across the staff when appropriate when working with part voicing (see Part Voicing). To define an articulation’s definition so that it is optimized for use with linked parts: 1. Choose the Articulation Tool . 2. Double-click the handle on the articulation you would like to change. The Articulation Designer dialog box appears where you can edit the definition for (all occurrences of) this articulation. See Articulation Designer dialog box. 3. Click the Position drop-down menu and choose Auto Note/Stem Side. 4. Click OK. Now, this articulation will flip to the other side of the staff when appropriate. For example, if a second voice or layer is added or removed while isolating voices in a part.

Measure-attached text in linked parts When a measure-attached text block is added to either the score or part, it appears in both. Similarly, when a measure-attached text block is deleted from either the score or part, it is removed from both. The following properties of measure-attached text blocks are permanently shared between the score and parts: • The following settings in the Font dialog box: Font Name, Style, and Size. • The following settings from the Text menu: Baseline Shift, Superscript, Tracking, Standard Frame, Custom Frame, Justification, Alignment, Line Spacing, Word Wrap, and Edit Page Offset • The following settings in the Frame Attributes dialog box: "Attach to" Assignment (measure attached, single page, multiple pages.), "Position from" (Page Margin or Page Edge), Position from edge of frame, Use right page positioning, Alignment and Positioning for right pages settings. The following table lists properties of measure-attached text blocks that are broken if changed in a part: Property changed

Link type broken


Positioning

319

Hide/Show setting

Hide/Show

Page-attached text in linked parts When a page-attached text block is added to either the score or part, it appears in both on corresponding pages. When a multiple-page-attached text block is deleted from either the score or part, it is removed from both. When a page-attached text block is added to a score or part, Finale adds it to the corresponding page of the score or linked part based on page number, and also takes into account title pages. The following properties of page-attached text blocks are permanently shared between the score and parts: • The following settings in the Font dialog box: Font Name, Style, and Size. • The following settings from the Text menu: Baseline Shift, Superscript, Tracking, Standard Frame, Custom Frame, Justification, Alignment, Line Spacing, Word Wrap • The following settings in the Frame Attributes dialog box: "Attach to" Assignment (measure attached, single page, multiple pages.), "Position from" (Page Margin or Page Edge), Position from edge of frame, Use right page positioning, Alignment and Positioning for right pages settings. The following table lists properties of page-attached text blocks that are broken if changed in a part: Property changed

Link type broken


Positioning

Edit page offset

Positioning

Hide/Show setting

Hide/Show

Page-attached text blocks behave differently depending on whether they are attached to a single page or multiple pages. (See Frame Attributes dialog box.) Single-page-attached text blocks When a page-attached text block is added to a single page, Finale adds it to the corresponding page of the score or part based on page number, and also takes into account title pages. Since the page number of the score will 320

generally be far different than the page number of the part, single pageattached text blocks should only be used for title pages, or the first page of music. To attach text to a measure that adjusts according to layout changes, use measure-attached text blocks or measure-attached expressions (see To assign a text block to a measure and To create an expression). In order to properly account for title pages that may differ in number between the score and parts, Finale manages the placement of single-page-attached text blocks as follows: • If there are no blank pages, or if the same number of blank pages appear in the score and all parts, placing a text block on a particular page number in the score will also place it on that page number of the part and vise versa. • When there is a different number of title pages between the score and parts, Finale will ignore title pages when a text block is added to pages that contain music. For example, if the score contains 2 blank pages and there are no blank pages in the parts, placing a page-attached text block on page 3 in the score (first page of music) will also place the text block on the first page of music in the parts. • When adding single page-attached text blocks to title pages, the first title page is used as a reference point. For example, if the score contains 2 blank title pages and the parts contain 1 blank title page, a text block added to the first title page in the score will also place it on the first title page of the part (see image below). A linked page-attached text block only appears if there is a corresponding page for the text block in the respective score or part. Add a text block to the 2nd title page of the score and it will not appear in the part.

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When a page-attached text block is deleted from either the score or part, it is removed from both. Multiple-page-attached text blocks When a multiple-page-attached text block is added to either the score or part, it appears in both on corresponding pages. When a multiple-page-attached text block is deleted from either the score or part, it is removed from both. Page-attached graphics and in linked parts When a page-attached graphic is added to the score or part, it appears in both. The graphic is placed on the corresponding page number(s). (If there are blank title pages in the score or parts, Finale bases the graphic placement on the page number starting with the first page containing music.) When a pageattached graphic is deleted from either the score or part, it is removed from both. The following properties of page-attached graphics are permanently shared between the score and parts: • The following settings in the Graphic Attributes dialog box: "Attach To" assignment, Horizontal and Vertical Alignment and Positioning, Position From Page Edge/Page Margin, Use right page positioning, Right Page Horizontal Alignment, Horizontal and Vertical scaling, Fixed percent. 322

The following table lists properties of page-attached graphics that are broken if changed in a part: Property changed

Link type broken


Positioning

Hide/Show setting

Hide/Show

Single page-attached graphics When a page-attached graphic is added to a single page, Finale adds it to the corresponding page of the score or part based on page number, and also takes into account title pages. Since the page number of the score will generally be far different than the page number of the part, single pageattached graphics should only be used for title pages, or the first page of music. To attach text to a measure that adjusts according to layout changes, use measure-attached graphics or measure-attached expressions (see Graphics). In order to properly account for title pages that may differ in number between the score and parts, Finale manages the placement of single-page-attached graphics as follows: • If there are no blank pages, or if the same number of blank pages appear in the score and all parts, placing a graphic on a particular page number in the score will also place it on that page number of the part and vise versa. • When there is a different number of title pages between the score and parts, Finale will ignore title pages when a graphic is added to pages that contain music. For example, if the score contains 2 blank pages and there are no blank pages in the parts, placing a page-attached graphic on page 3 in the score (first page of music) will also place the graphic on the first page of music in the parts. • When adding single page-attached graphics to title pages, the first title page is used as a reference point. (The treatment of single page-attached graphics is identical to single page-attached text in this regard.) For example, if the score contains 2 blank title pages and the parts contain 1 blank title page, a graphic added to the first title page in the score will also place it on the first title page of the part (see image below). A linked pageattached graphic only appears if there is a corresponding page for the graphic in the respective score or part. Add a graphic to the 2nd title page of the score and it will not appear in the part.

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When a page-attached graphic is deleted from either the score or part, it is removed from both. Multiple page-attached graphics When a multiple-page-attached graphic is added to either the score or part, it appears in both on corresponding pages. When a multiple-page-attached graphic is deleted from either the score or part, it is removed from both.

Measure-attached graphics in linked parts When a measure-attached graphic is added to either the score or part, it appears in both. When a measure-attached graphic is deleted from either the score or part, it is removed from both. The following properties of measure-attached graphics are permanently shared between the score and parts: • The following settings in the Graphic Attributes dialog box: "Attach To" assignment, Horizontal and Vertical Alignment and Positioning, Position From Page Edge/Page Margin, Use right page positioning, and Right Page Horizontal Alignment. The following table lists properties of measure attached (and pageattached) graphics that are broken if changed in a part: 324

Property changed

Link type broken


Positioning

Hide/Show setting

Hide/Show

Note: Fixed percent and horizontal and vertical scaling are independent between the part and score. Tuplets in linked parts When a tuplet is added to either the score or part, it appears in both. When a tuplet is deleted from either the score or part, it is removed from both. The following properties of tuplets are permanently shared between the score and parts: • The following settings in the Tuplet Definition dialog box: "__in the space of__," Placement, Appearance, Always Flat, Avoid Staff, Bracket Full Duration, Center Number Using Duration The following table lists properties of tuplets that are broken if changed in a part: Property changed

Link type broken


Positioning

Bracket direction (Over/Under/Flip)

Direction

Editing the slope or hook length of a tuplet bracket

Positioning

Hide/Show setting

Hide/Show

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You can use the F key to flip a tuplet to the other side of the staff. If you do so in the score, the tuplet also flips in all parts containing that tuplet (if it hasn’t been broken). Flipping the tuplet in a part breaks the link and does not apply to the score or other parts. You can reverse the linking behavior while flipping tuplets using the Ctrl key. For example, select a tuplet in a part, hold down the Ctrl key and press F to flip the tuplet in both the score and part, retaining the link. Select a tuplet in the score, hold down the Ctrl key and press F to flip the tuplet in the score only, breaking the link to the part/all parts that contain that staff. Smart Shapes in linked parts Smart shapes, such as slurs and hairpins behave differently than other types of linked items because their shape may require individual editing, but generally not their start and end point. The following describes how Finale handles Smart Shapes in linked parts. The following general smart shape settings are permanently shared between the score and parts: • Settings from the Slur Contour dialog box. • Settings from the Smart Shape Placement dialog box. • Settings from the Smart Shape Options dialog box. • Settings from the Smart Slur Options dialog box. • Settings from the Guitar Bend Options dialog box. • Settings from the Smart Line Designer dialog box. Note and Notehead-attached Smart Shapes Note and Notehead-attached smart shapes including slurs, dashed curves, glissandi, bend hats, tab slides and others are treated identically. When a note or notehead-attached smart shape is added to either the score or part, it appears in both. When it is deleted from either the score or part, it is removed from both. The direction (above/below staff) is automatic (for slurs and dashed curves depending on the pitches on the staff), and may differ in the score than the part without user intervention. The following properties of note and notehead-attached smart shapes are permanently shared between the score and parts: • Avoid Accidental status (slurs and dashed curves) • Start and end note assignments (although changing the note assignment in a part does break the positioning link The following table lists properties of note and notehead-attached smart shapes that are broken if changed in a part:

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Property changed

Link type broken

Engraver Slur setting (On/Off/Automatic)

Positioning

Slur direction (Over/Under/Flip)

Direction

Position of primary and secondary handles

Positioning

Show/Hide setting

Show/Hide

Any time the contour of a slur is manually repositioned, its Engraver Slur qualities are disabled (see Engraver slurs), and repositioning a slur in a linked part is no exception. Therefore, when the contour of a slur is manually repositioned in a part, the link is broken as well as the slurs’ ability to automatically adjust to avoid notes, articulations, and so forth. Subsequent editing of notes in the score may cause collisions with slurs that have been edited in parts. If a slur is flipped in a part, the arc and endpoint positioning links are also broken. Edits to the endpoint positioning and arc in the score will no longer apply to the flipped slur in the part. You can use the F key to flip a slur to the other side of the staff. If you do so in the score, the slur also flips in all parts containing that slur (if it hasn’t been broken). Flipping the tuplet in a part breaks the link and does not apply to the score or other parts. You can reverse the linking behavior while flipping slurs using the Ctrl key. For example, select a slur in a part, hold down the Ctrl key and press F to flip the slur in both the score and part, retaining the link. Select a slur in the score, hold down the Ctrl key and press F to flip the slur in the score only, breaking the link to the part/all parts that contain that staff. Note: If you choose to Remove Manual Slur Adjustments in a part (e.g. select a slur handle and press Backspace), the positioning is restored and the Engraver Slur status is reactivated, but not the link to the score. To relink the slur to the score, right-click the slur in the part and 327

choose Relink to Score (or choose Relink In All Parts for the slur in the score). Measure-attached smart shapes Smart shapes that are usually measure-attached include hairpins, ottavas, trill extensions, lines and brackets. Any change to the vertical positioning or contour of a measure-attached smart shape in a part breaks its positioning link. Horizontal stretching in a part does not break its link to the score. The following properties of measure-attached smart shapes are shared between the score and parts: • Horizontal Positioning (and stretching) • Make Horizontal Over System Break setting • Maintain Angle Over System Break setting • Make Horizontal (check box) The following table lists properties of trills, trill extensions, and ottavas that are broken if changed in a part: Property changed

Link type broken

Vertical positioning

Positioning

Hairpin width (opening)

Positioning

Show/Hide setting

Show/Hide

Repeats in linked parts When a repeat is added to either the score or part, it appears in both. When a repeat is deleted from either the score or part, it is removed from both. The following general repeat settings are permanently shared between the score and parts: • The following settings in the Backwards Repeat Bar Assignment dialog box: Repeat Action, Target section, Show On section (including Staff Lists). • The following settings in the Create Ending dialog box: Ending Number(s), Alternate Text in Ending, Target section, Skip Ending if Ignoring Repeats, Show On (including Staff Lists) • All settings in the Repeat Designer dialog box. 328

• The following items in the Text Repeat Assignment dialog box: Action section, Target section, Show On section (including Staff Lists) • All settings in Document Options-Repeats._Ref-1485234332 The following table lists properties of text repeats and ending brackets that are broken if changed in a part: Property changed

Link type broken

Repositioning (nudge, drag, or H: V: values) Includes Text Repeats and ending bracket front hook, back hook, inset for start of bracket and inset for end of bracket

Positioning

Show/Hide setting

Show/Hide

Repositioning text repeats Text repeats are similar to expressions in that a single text repeat can be assigned to multiple staves (see Repeats (barlines and text indications)), which has some implications for linked parts. When you first add a text repeat (Fine, To Coda, D.S. al Coda, etc), positioning changes to that item in the score apply to all parts. If a text repeat or bracket is repositioned in a part, the change does not affect other instances in the score or other parts, and future positioning changes to that text repeat in the score do not apply to that part. However, if a text repeat is repositioned in a part containing multiple instances of that text repeat, all instances in the part are broken (and all instances of that text repeat in the part continue to move uniformly). Broken text repeats in parts can be relinked to the score at any time (see Relinking part items to the score). The “Allow individual edits per staff” setting in the Text Repeat Assignment dialog box, Backward Repeat Bar Assignment dialog box, and Create Ending dialog box allows you to reposition, hide, or show an instance of a repeat marking without applying the same changes to other instances of that repeat marking on other instrument staves. • If Allow Individual Edits per Staff is checked for a repeat marking in the score, every instance of that repeat marking in the score can be edited 329

independently - linked instances of that repeat marking in parts continue to respond to score changes accordingly. • Checking this box for a repeat marking in a part breaks the positioning and show/hide link for all instances of that repeat marking in the part - each instance of that repeat marking in the part can be edited independently. All other linked instances of that expression in other parts continue to move in uniform with edits made to that repeat marking in the score. (All repeat marking in the score turn orange indicating this repeat marking has been broken in at least one part). • Broken instances of a repeat marking in a part containing multiple staves can be edited uniformly or independently depending on this setting. However, note that changing the state of this check box always breaks the link for all instances of the repeat marking in the part. Repositioning ending brackets In general, ending bracket positioning is identical to repositioning of text repeats. Most positioning changes to an ending bracket in the score apply to the corresponding part, and positioning changes in the part breaks the positioning link. However, if the ending bracket is extended across the right barline in the score, the positioning link is automatically broken for that ending bracket in all parts. To extend an ending bracket across the right barline for all parts, each will need to be edited individually. (Note that this is the only type of score edit that automatically breaks the link to its part. Show/hide setting for text repeats and ending brackets The show/hide linking behavior for text repeats and ending brackets follows the same rules as repositioning and depends on the Allow Individual Edits per Staff setting. See Repositioning expressions above. Staff Attributes in linked parts When the Staff Attributes dialog box is opened in a part, only staves within the part are accessible. All of the settings are permanently shared between the score and parts with the exception of the Staff Name/Abbr. Staff Name positioning. If the Staff Name/Abbr. Staff Name is repositioned in the part, the link is broken - the change does not apply to the score or any other part. Future changes to the Staff Name/Abbr. Staff Name in the score for that staff do not apply to the part unless the Staff Name/Abbr. Staff Name is relinked (see Relinking part items to the score). (Staff Name in Parts is unchecked by default. Check this option in the Staff Attributes dialog box to show staff names in the score and parts.) Groups in linked parts Groups are independent between the score and parts. Edits to a group in the score do not apply to the part and vise versa. They can have different names, brackets, and other attributes. (See Groups). When creating parts, the only

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groups that can be inherited by a part are the groups that appear in the Manage Parts dialog box. Staff Styles in linked parts When a staff style is added to the score, it appears in both the score and corresponding parts. When a staff style is added to a part, it appears in that part only. When a staff style is deleted from the score, it is also deleted from the corresponding part. Deleting a staff style in a part does not delete staff styles in the score or any other part. When a part is created from a staff that contains staff styles, all staff styles on the staff are copied to the part. • Staff Style definitions are permanently shared. • Staff Styles added to the Score are copied to corresponding Parts. • Any conflicts with other staff Styles will be resolved individually per Part. • When deleting a Staff Style in the Score, Finale searches all parts for an identical Staff Style assignment (with the same style and measure range), and if one exists, Finale deletes it from the parts. • To apply Staff Styles to the Score only, you must first assign the Staff Style to the Score and then delete it in corresponding parts. • When a new part is created, all Staff Styles on corresponding staves in the score will be copied to the new part. • Staff Styles applied to a part will not be applied to the score or other parts. • Staff Styles deleted in a part will not delete Staff Styles in the score or other parts. • Select a region of measures in a part and choose "Set Staff Styles to Score" to match the presence or absence of particular Staff Styles to the Score. Staff styles can be used to create two representations of the same part. You can create a new part containing a copy of, for example, the bass clef baritone staff and apply a staff style that displays it in B flat treble clef. For steps, see To display a staff differently in one part than another. Chords, fretboards, and lyrics in linked parts When a chord symbol is added to either the score or part, it appears in both. When a chord symbol is deleted from either the score or part, it is removed from both. Changes to the chord or fretboard definition in the score or part apply to both. The following table lists properties of chords and fretboards that are broken if changed in a part: Property changed

Link type 331

broken Repositioning (nudge, drag, or H: V: values) Includes chord symbol and fretboard.

Positioning

Show/Hide setting

Show/Hide

Chords, Fretboards and Lyrics are new additions to the Staff Attributes dialog box and Staff Styles dialog box (See Staff styles). These are particularly useful as Staff Styles. Hiding Cho rds/Fr etboards:

If you would like to display chord symbols in linked parts, but don't want the chord symbols to appear on this staff in the score, create a Staff Styles (Staff styles) that hides chords and fretboards and apply it to the Score. (Remember that assigning a Staff Style to the score also assigns it to corresponding staves in parts, so you will need to remember to delete this Staff Style in parts.) Hiding L yr ics

If you would like to use the vocal lines to create string parts, create a Staff Style (Staff styles) that hides lyrics and apply it to the parts whose lyrics you'd like to hide. Lead sheets in linked parts If you have a Lead Sheet, or a melody line and chord symbols, for example, that you would like to transpose for several instruments, use linked parts: Let's say that you have a single staff melody line with chord symbols for a C transposing instrument such as Flute. 1. From the Document menu, choose Manage Parts. 2. Click New Part. 3. In the far right pane in this dialog, Add the melody line staff to this new part. 4. Click Edit Part Name and name the new part. Click OK, OK. 5. View the new part you just created. 6. Select the Staff Tool. Select All (Ctrl-A). 7. Right- click the staff and select one of the available instrument transpositions such as "Clarinet in Bb." See that the notes and chord symbols transpose accordingly. If the transposition you're looking for doesn't appear here, you can define your own Staff Style. 8. Repeat this process for additional parts.

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Clefs in linked parts Clefs are permanently linked, but staves in parts can display a different clef with a Staff Style. (It may be necessary to force a clef in a Part and not the Score or vice versa when doing cue notes.) To add a Staff Style to a part to display a different clef: 1. 2. 3. 4. 5.

Select the Staff Tool . From the Staff menu, choose Define Staff Styles. Click New and type a name for the Style (for example "Treble Clef."). Click the Select button to the right of Transposition. Leave Transposition set to "None." Check "Set to clef" and select the desired clef. 6. Click OK, OK. 7. Highlight the measures in the score or the part whose clef you want to change independently, right-click and choose the Staff Style you just created from the context menu. (Remember that if you want this Staff Style to apply to the score only, you need to delete it from the parts.) Staff Lists in linked parts • If you're using Linked Parts, it is recommended to use Staff Lists to assign Repeat Endings and Repeat Text instead of unchecking "Repeat Endings and Text Repeats" in Staff Attributes. • Most often, the "Top Staff" radio button will be sufficient. This will place the Repeat Ending or Text Repeat on the top staff in the Score and in the top Staff of all Linked Parts. • If you need the Repeat ending to appear in some, but not all staves in the Score. Or, if you need them to appear in some but not all staves in each Part, then use a Staff List. Measure Numbers in linked parts The visual appearance and frequency of measure numbers for both the score and parts is controlled by the Measure Number dialog box. Here, you can choose to display measure numbers identically between the score and parts, or define one collection of settings for your score and another for all linked parts. The following table lists properties of measure numbers that are broken if changed in a part: Property changed

Link type broken

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Positioning

Hide/Show setting

Hide/Show

Whether a measure number is shown or hidden for a measure is first determined by settings for that measure number’s region in the Measure Number dialog box. Then, you can edit the show/hide setting for individual measure numbers within the region using contextual menus (see below). Using the Show/Hide commands in a Part will not affect the Score or other Parts. If the measure number is defined to show according to the Measure Number Region in the Measure Numbers dialog box: • Right-click a measure number and choose Always Show Number to force-show the number. This measure number will continue to show even if it is later defined to not show in the Measure Number dialog box. • Right-click a measure number and choose Always Hide Number to force-hide the number. Since this measure number is defined to show it will not disappear; it will be shaded on the screen and will not appear in the printout. • Right-click a measure number and choose Show/Hide According to Region to restore the measure number to the state defined for its region in the Measure Numbers dialog box. This command is only be available if the number has been force-shown or force-hidden. If the measure number is defined to not show according to the Measure Number Region in the Measure Numbers dialog box: • Select a region of measures and choosing the Measure menu > Show Measure Numbers to force-show the measure numbers. • If a measure number that is defined to not show in the Measure Numbers dialog box has been forced-shown, Right-click and choose Show/Hide According to Region from the context menu to make the measure number and its handle disappear. Page-attached Ossia measures in linked parts Page-attached Ossia measures behave much like page-attached text. When a page-attached ossia measure is added to a single page, Finale adds it to the corresponding page of the score or part based on page number, and also takes into account title pages. Since the page number of the score will generally be far different than the page number of the part, page-attached ossia measures should only be used for the first page of music (if at all in 334

documents containing linked parts). To attach an ossia measure to a measure that will adjust according to layout changes, use measure-attached Ossias. See Ossia. The following table lists properties of page-attached ossia measures that are broken if changed in a part: Property changed

Link type broken

Repositioning/Page Assignment for Ossia Measure

Positioning

Hide/Show setting

Hide/Show

Measure Attributes in linked parts Every setting in the Measure Attributes dialog box is permanently linked between the score and parts except the following settings which are never linked: • Position Notes drop-down menu • Measure width checkboxes and values Again, all other items are linked including the "Begin a New Staff System" setting which should be used for measures that will begin a new system for both the score and all parts. Use the Fit Measures dialog box or manual editing (see To move a measure to the previous (or next) system) to move measures in the score or part independently. Page layout in linked parts Since parts often bear many similarities to each other with regards to layout Finale allows you to apply page layout changes to any number of parts (or the score). System spacing, system margins, page size, page margins, page reduction and the addition/removal of blank pages can be applied to multiple parts at once. By default, changes to the system or page layout only apply to the part you are viewing. Also, Update Page Format settings apply to the appropriate Page Format for Score or Page Format for parts dialog box. To apply page layout settings to multiple parts . 1. Choose the Page Layout Tool 2. From the Page Layout menu, choose the desired option. The following dialog boxes allow you to apply page layout changes to multiple parts: Page Size, Insert Blank Pages, Delete Blank Pages, Resize Page, Resize 335

Staff System, Edit System Margins, Edit Page Margins, Fit Measures, and Space Systems Evenly. (Note that Respace Staves under the Staff menu also allows you to apply staff spacing to multiple parts). 3. Make changes to the dialog boxes as desired. If you want to edit the system or page margins graphically, do so in one part by dragging systems and/or margins as desired. You can then apply these changes to other parts using the Edit System Margins dialog box or Edit Page Margins dialog box. 4. When the values and regions are set, click the drop-down menu and choose Selected Parts/Score. Or, in the Edit System Margins or Edit Page Margins dialog box click Apply to Parts/Score. The Select Parts/Score dialog box appears where you can choose the parts you would like to apply your changes to. See Select Parts/Score dialog box. Music Spacing in lin ked parts

If Automatic Music Spacing is turned on (Program Options-Edit), Finale applies automatic changes to the measure width and layout to both the score and part when you edit either. (As you enter notes, Finale’s automatic adjustments are applied to both the score and linked part). Manual changes made to music spacing, measure width, or system composition with the Measure Tool or Selection Tool apply to the part/score you are currently editing only. You can apply music spacing to regions of measures for a single part or several parts at once. To apply music spacing to a region of measures in more than one part: Choose the Selection Tool. Select a region of measures. From the Utilities menu, choose Music Spacing > Apply Music Spacing to Selected parts/Score. The Apply Music Spacing dialog box appears. Choose the parts you want to apply music spacing changes to. From the radio buttons at the bottom, choose the type of music spacing you would like to apply. Click OK. The music spacing type is applied to the region of measures you selected in the selected parts. When Automatic Music Spacing is on, your settings in Document OptionsMusic Spacing apply to all parts and the score. If Automatic Music Spacing is off, changes to the layout only apply to the part or score you are currently editing.

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Note: All all manual changes to the horizontal placement of individual entries made within the Speedy Frame or with the Note Position Tool apply to both the score and linked part. Multimeasure Rests in linked parts When parts are created while setting up the score in, for example, the Setup Wizard, multimeasure rests are not created automatically. (If they were at this point, each part would be a single multimeasure rest.) When a linked part is created from an existing staff in the score (in the Manage Parts dialog box), Finale groups the silent measures together into a multimeasure rest, or block rest, as shown below (if Create Multimeasure Rests is checked in the Part Creation Preferences dialog box).

To create multimeasure rests for the selected parts/score (all measures): • Choose the Measure Tool

.

• From the Measure menu, choose Multimeasure Rests, then Create for Parts/Score. Finale automatically breaks up block rests at key or time changes, repeat barlines or text repeats, any “real” whole rest (a whole rest you entered, not the default whole rest that appears in any measures left empty), or any measure you’ve explicitly designated to break such a multimeasure rest. See the Break a Multimeasure Rest option, in the Measure Attributes dialog box for more information. Multimeasure rests do not appear in Scroll or Studio View. In fact, there is no visual cue that indicates where multimeasure rests appear in any view but Page View. If a note is added, in Scroll or Studio View, to a measure that is part of a multimeasure rest, Finale automatically breaks the multimeasure rest - each measure with notes displays in full in Page View (if Update Automatically is checked in Document Options-Multimeasure Rests, which is the default setting). Update Automatically is not checked in files converted from Finale 2006 or earlier. With the Update Automatically setting checked, multimeasure rests only become smaller, not larger. (In other words, Finale never assumes you want to create or increase the duration of a multimeasure rest). You have the choice of automatically updating multimeasure rests to parts using the Measure menu as described above, or applying them manually. To create a multimeasure rest manually, see To create a multimeasure rest. 337

Baseline Positioning in linked parts Lyrics, chords, and expressions can all be adjusted vertically using positioning triangles. These positioning triangles are used to adjust the “baseline” which is the imaginary horizontal line to which these elements are attached (above or below the staff). Whether you are positioning chords, lyrics, or expressions there are four positioning triangles, each responsible for a specific range; score, staff, system, or next entry (for an example, see To adjust the vertical positioning of expressions, To set the baseline (vertical position) for lyrics graphically and Position Chords/Position Fretboards under the Chord menu. Adjusting baselines in the score: • Moving the leftmost baseline triangle (all staves/all systems) in the Score effects all Parts. • Moving the 2nd baseline triangle (entire staff) in the Score applies to all parts that contain that staff. • Moving the 3rd baseline triangle (single system) has no effect on parts, only the score. • Moving the 4th baseline triangle has no effect in any part. Adjusting baselines in a part: • Moving any baseline triangle in a part has no effect in the score or other parts. • Moving any baseline triangle in a part breaks the link to the score for that particular baseline triangle in that part. • Moving a baseline triangle in the score also moves that baseline in all parts (if the link for that triangle is still intact). Broken triangles in parts maintain their relative positioning - moving the leftmost triangle adjusts the baseline for the full score, and broken staff (second triangle) baselines will maintain their relative positioning in parts. Baseline context menus • Right-click a baseline triangle to display a context menu where you can relink or unlink the positioning of that triangle. • Right-click a positioning triangle in the score and choose Unlink In All Parts to break the link for this positioning triangle in all parts. Future changes to this positioning triangle in the score will not apply to any part. • Right-click a positioning triangle in the score and choose Relink in All Parts to restore the link for this positioning triangle in all parts. IMPORTANT NOTE: There is no visual cue that flags unlinked baselines in parts. There is also no 338

visual cue in the score that indicates a baseline has been broken in one or more parts. Enharmonics in linked parts Enharmonic spelling is one of the few notation elements whose link can be broken between the score and parts. Due to instrument transposition, it is entirely possible a different harmonic spelling will be required in the part than in the full score, and to accommodate this, enharmonics share the standard linking behavior described under Linked Parts. Change a note to its enharmonic equivalent in the score and the change applies to the corresponding part; change a note to its enharmonic equivalent in a part, and the score remains unchanged - the link has been broken. The notehead changes color to orange (in both the part and score) indicating the enharmonic spelling has been broken. In no other way can a note/accidental be broken, so if a note is orange its enharmonic spelling has been broken in one or more parts. Once broken, future edits to the enharmonic spelling of this note in the score do not apply to the corresponding part unless the enharmonic spelling is relinked. Time Signatures in linked parts It is not uncommon for the appearance of a time signature to differ between the score and parts. For example, a single large time signature may be used for several score staves. And of course, a single time signature is required for each part. To accommodate this, Finale allows separate document settings for time signatures - one set for the score and one set for parts in Document Options - Time Signatures. You can use Staff Styles to apply a different instrument transposition, clef, or other staff attribute to a part. See To display a staff differently in one part than another. Relinking part items to the score Any part item that has been broken can be “relinked” to the score. When you relink, all attributes of that item (positioning, show/hide setting, etc.) are reset to match the corresponding score item, and future changes the score item will apply its corresponding part item. To relink: • In a part, right-click a previously broken item and choose Relink To Score. The item is relinked to the score in that part only. • In the score, right-click the item and choose Relink in All Parts. The item is relinked to the score in all parts. Future changes to this item will apply to the corresponding part. Part Names in Linked Parts There is a special text insert designed specifically for use as the part name in linked parts. This text insert already exists in most new files, however, if you 339

are opening a file created in Finale 2006 or earlier do the following to add part names to all of your parts: 1. If you haven’t added parts to your score, do so now. See To create linked parts. See that parts are named as desired in the Manage Parts dialog box (where the part names are derived from). 2. From the Document menu, choose Edit Part and choose any part. 3. Click the Text Tool . 4. Double-click where you would like to add the part name. An empty text block appears with a blinking cursor. 5. From the Text menu, choose Inserts, then Part/Score Name. The part name appears on all parts as well as the score. To edit the font, size, or style of the part name click a part name handle, from the Text menu choose Edit Text, make the desired changes and click OK. Changes apply to the part name in all parts. Now, you may want to hide the part name on the score. 6. If you’d like to hide the part name insert on the score, from the Document menu, choose Edit Score. 7. Right-click the part name (“Score” by default) and choose show to uncheck it. “Score” (or whatever this insert is named in the File Info dialog box) fades a bit indicating it is hidden and will not appear in the printout. Printing linked p art s

Finale allows you to specify any combination of the score and/or parts for printing in the Print dialog box. (When Print is chosen from the File menu, this dialog box automatically appears prior to displaying the Print dialog box.) In the score/parts list box, you can also specify the number of copies for each item selected. When multiple items are checked, upon printing, Finale automatically collates, batch printing each selection as if it were its own print job. To print parts directly from the score Finale is designed to allow you to easily print any number of parts from the main project document. To do so: 1. Choose Print from the File menu. The Print dialog box appears. The score and all parts are listed in the Parts/Score window. 2. Check the parts (and/or score) you would like to print. Note that if you would like to print a different orientation for your score than the parts in the same print session (as specified in Finale’s Page Format for Score and Page Format for Parts dialog boxes), ensure Use Finale’s Page Orientation Instead of the Printer’s Page Orientation is checked in Program Options Save and Print_Ref-896283032. Two print sessions will be required (one for each part/score in landscape and one for each part/score in portrait). 3. Click OK. Finale proceeds to print the score/parts, one by one. 340

Tacet parts A page containing only the title, composer, and page text, and a note to “tacet” or “tacit” informs the player to rest for that entire movement/act of a musical/etc. Creating such a page in Finale is easy using linked parts. To create a tacet part: 1. Open the document and from the Document menu, choose Manage Parts. The Manage Parts dialog box appears. 2. Click New Part. A part appears in the list above. To name the part, click Edit Part Definition and then Edit Part name. Click OK to return to the Manage Parts dialog box. The middle column should be empty indicating no staves are selected. 3. Click OK. 4. From the Document menu, choose Edit Part, and then select the part you just created. Only the title, composer, and any other page text blocs appear on the part. 5. Choose the Text Tool. 6. Click the page and type “Tacet” (or “Tacit”) where desired. Use the text menu and other features of the Text Tool to edit the page-attached text block. Use context menus to hide the text block in other parts/score accordingly. See also Text Tool.

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Lyrics There are two ways to create lyrics within Finale. You can type the lyrics directly into the score, so that you know at all times where you are in the music—a feature called Type Into Score. Or you may prefer the faster Click Assignment method— where you type the lyrics in Finale’s text processor (called the Edit Lyrics window), and then paste them into the score all at once. The Click Assignment method also offers you the option of pasting your lyrics in from another program, such as a word processor; see Importing. Finale defines a syllable as any letters separated by a space or a hyphen. When you put the lyrics into the score, Finale places the syllable in your score by the settings in the Lyrics Options dialog box, centers the hyphen between notes, and moves any syllable correspondingly if its notehead moves. Lyrics are often written in distinct sections—verse and chorus, for example. For that reason, Finale provides three different lyric types—Verse, Chorus, and Section. These types are identical in every respect—you can write the verse of a song and define it as a Chorus, if you want to—except that you can set the default font and positioning for each type differently. You could specify, for example, that all Verses are to be set in boldface type, but that all Choruses are set in italic type. (You can have as many as 512 of each lyric type. You can also change the font and style within any lyric.)

To type lyrics directly into the score 1. Click the Lyrics Tool . The Lyric menu appears. If you want to specify a lyric type (Verse, Chorus, or Section), from the Lyric menu, choose Specify Current Lyric. If you don’t specify a type, your first lyrics will be a Verse. 2. If you’re returning from other lyric editing, choose Type Into Score from the Lyric menu. 3. Indicate the staff and the note to which you want to begin adding lyrics by clicking near the staff at the position of the first melody note. A set of four positioning triangles appears at the left edge of the screen. The triangles control the baseline of the lyrics (against which the bottom edges of the words line up). For a full discussion, see To set the baseline (vertical position) for lyrics graphically, below. The blinking cursor—the

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insertion point—jumps to a position beneath the first note, in the staff you clicked. 4. Type the lyrics. Each time you type a space or a hyphen, Finale automatically moves the insertion point in preparation for entering the next syllable. As you type, Finale automatically scrolls the music so you always know where you are. If you make a mistake, just backspace over it by pressing backspace. (If you backspace to the previous syllable, Finale highlights the whole syllable so that you can replace it all at once with anything you type.) To change a word you’ve already typed, click in the staff so that the syllable is highlighted, and then type its replacement. If you encounter a melismatic passage, where one syllable is sustained through several melody notes, press the space bar for each note of the melisma; the cursor will skip ahead to the next note and a word extension will appear for the duration of the melisma. As you type, Finale stores each syllable in its built-in text processor, the Edit Lyrics window. It’s important to understand that the Edit Lyrics window and the lyrics in the score are dynamically linked. If you change a syllable in the Edit Lyrics window, every occurrence of the syllable is automatically changed in the score—and vice versa.

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Important: When you enter lyrics using this method, pay special attention when entering additional lyric lines, one beneath another. To add a new lyric line, be sure to change Verses before typing in each new line; to do so, from the Lyric menu, choose Specify Current Lyric. Otherwise, Finale will believe that all the lyrics, even successive lines, are all part of the same “verse,” and unexpected results may occur. 344

Tip: if you want a quick MIDI audio check of the notes you’re attaching lyrics to, hold down ctrloption and the space bar and drag the cursor across the staff. Finale will play any note the cursor touches, no matter which direction you drag.

To prepare lyrics in a separate window This is the first step to adding lyrics to the score using the Click Assignment method. 1. Click the Lyrics Tool . The Lyrics menu appears. 2. From the Lyrics menu, choose Edit Lyrics. The Edit Lyrics window appears. 3. Type the lyrics, including hyphens within polysyllabic words. If you’ve copied lyrics from another program (such as a word processor), press ctrl-V (for Paste). If you make a mistake, backspace over it with the backspace key. If you’re anticipating a melisma (one syllable held over several notes), type alt+0160 and a regular space for each extra note through which the syllable is held. (Word extensions will be placed in the score where appropriate). You can cut (by pressing ctrl-X), copy (by pressing ctrl-C), or paste (by pressing ctrl-V) any selected text; select text by dragging through it. To view another Verse (or Chorus, or Section), select it from the drop-down lists menus. 4. When you’re finished, click OK.

To place lyrics into the score (click assignment) 1. Click the Lyrics Tool . The Lyrics menu appears. 2. From the Lyrics menu, choose Click Assignment . A box appears, containing the lyrics you created in the Edit Lyrics window. The bottom scroll bar scrolls through the syllables, left to right. The top scroll bar scrolls through the Verses, if there are more than one. 3. If you want to place one syllable at a time, click the first melody note. You must click on the staff at the position of the note—not necessarily on the note itself. When you click, the first syllable displayed in the Click Assignment window disappears from the window and appears in the score, aligned with the note you clicked. Note: you must have the layer in which the notes are placed active for lyrics to be attached. Also, if you want to 345

attach lyrics to notes in Voice two, hold down the shift key, then click on the note. 4. If you want to assign all the lyrics at once, click the first melody note while pressing ctrl. This technique, called Control–Click-Assigning, tells Finale to assign each of the syllables, one after another, to consecutive melody notes, automatically skipping rests, tied notes, and notes in different layers and voices. If any syllables are assigned to the wrong notes, see To correct misaligned lyrics. You have to repeat this process for each Verse, Chorus, or Section. If you have a second verse, for example, simply scroll back to its beginning spot, advance the upper scroll bar to Verse 2, and control–click-assign again.

To edit lyrics already in the score The method described below is useful for making small changes to lyrics you’ve already placed in the score—correcting a misspelling, for example. If the editing you need to do is more extensive, it may be easier just to do it directly in the Edit Lyrics window. After specifying the lyric type and number (by choosing Specify Current Lyric from the Lyrics menu), choose Edit Lyrics from the Lyrics menu. Any changes you make in the Edit Lyrics window automatically affect the lyrics in the score.

Note: If you have placed the same syllable on more than one note in your score, all instances of the syllable will be changed. 1. Click the Lyrics Tool . The Lyrics menu appears. 2. If you’re returning from other lyric editing, from the Lyrics menu, choose Type Into Score. Click on the staff at the position of the syllable you want to edit. The syllable is highlighted. 3. Type the new syllable. Anything you type replaces the highlighted syllable. 4. Press the Space bar to advance to the next syllable. Press backspace to backspace over what you’ve just typed. To select any syllable, click within the staff lines; the syllable becomes highlighted, so that you can replace it with whatever you now type.

To correct misaligned lyrics You may discover that your lyrics don’t “scan” after Control–Click-Assigning (that is, they don’t correspond correctly to the melodic notes). You may have entered too many syllables, failed to remember a melisma, or skipped a word. 346

Using the following technique, you can shift all syllables by one note to the right from a selected point. 1. Click the Lyrics Tool , and from the Lyrics menu, choose Shift Lyrics. The Shift Syllable dialog box appears,e l tn i gyouspecfiythedriecto i nandrangeoftheylrci shfityour’eabouto produce. 2. From the drop-down list menu, choose the appropriate direction (Left or Right). These directions tell you which way Finale will shift lyrics relative to the melody. 3. Click the appropriate range option. If you click Shift Syllables by One Note, to the End of the Lyric, Finale will shift every syllable from the one you click to the last one in the piece. If you click Shift Syllables by One Note, to the Next Open Note, the effect of your syllable-shifting will “ripple through” the score only as far as the first note that doesn’t have a syllable attached to it. Subsequent syllables will remain where they are. The Rotate syllables option is only useful if you’ve created a set of lyrics with more syllables than there are notes to attach them to. Click this option on those rare occasions when you want to replace the syllable on each note with the syllable to its right or left—but without changing which notes have lyrics (see the figure below).

If you select Rotate Syllables (and To The Right), you can click the first note of a melody (the first middle C, top) to shift the syllable assignments by one syllable to the left (bottom). 4. Click OK (or press enter). You return to the document. 5. If you specified a Right shift, click the note above the first syllable you want to move. The syllable at which you clicked, and subsequent syllables, shift to the right by one melody note, automatically skipping notes, rests, and tied notes. (You should click in the staff at the position of the note—not on the note itself.) 6. If you specified a Left shift, click in the staff above the note just before the first syllable you want to move. The syllable on the following note, and subsequent syllables, shift to the left by one melody note, automatically skipping notes, rests, and tied notes. 347

To correct overlapping lyrics You’ll often discover that some of your lyric syllables overlap—or have more space than they need. You can use the Music Spacing command (which you normally use for respacing the notes in your music) to correct lyric collisions. See Document Options-Music Spacing for more information. 1. From the Document menu, choose Document Options and select Music Spacing. The Music Spacing options appear. 2. Verify Lyrics is selected under Avoid Collision items. 3. Click OK. 4. Click the Selection Tool . 5. Select the music you want to respace. In general, you’ll want to choose Select All from the Edit menu, so that all staves are highlighted. (If you select only the lyric staff, for example, you could get unexpected spacing in other staves, because the Music Spacing command sets the measure widths for all staves according to the spacing of the selected region.) 6. From the Music Spacing submenu of the Utilities menu, choose either Apply Beat Spacing or Apply Note Spacing . For a description of the differences between the two options, see Document Options-Music Spacing. they work equally well in correcting lyric overlaps. This process takes time. When the Selection Tool cursor disappears, however, you’ll find that your music has been carefully respaced, with no lyric collisions.

To set the font for lyrics globally This will set the default font for lyrics you are about to enter. It will not change the font for lyrics already entered in the score. See also Change Fonts Plug-in. 1. From the Document menu, choose Document Options and select Fonts. The Font options appear. See Document Options-Fonts for more details. 2. From the drop-down list menu for lyrics, select the lyric type you want to change (Verse, Chorus, or Section). 3. Click Set Font. The FontFont dialog box appears. 4. Select the type style you want for your lyrics. Under normal circumstances, Finale scales the type size of lyrics proportionally with the piece; if you reduce the music to half size (using the Resize Tool), the lyrics also shrink to half size. If you’d prefer to specify a fixed size for the lyrics, so the text won’t vary with the size of the notes, select the Fixed Size checkbox.

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5. Click OK (or press enter) twice. Use this method to set the primary font for your lyrics. If there are occasional variations within this primary font, see To change fonts within a lyric.

To change fonts within a lyric To set the primary font for a lyric, see To set the font for lyrics globally. Use the following method for exceptions to the primary font. 1. Click the Lyrics Tool . The Lyric menu appears. If you want to specify a particular lyric type or number, from the Lyrics menu, choose Specify Current Lyric. 2. From the Lyrics menu, Choose Edit Lyrics. The text editor appears. If you have several lyric sections of the same type, use the drop-down lists menus to select the ones you want to change. 3. Select the text whose font you want to change by dragging through it (so that it’s highlighted). 4. From the Text menu, select the desired font and click OK. 5. Click OK (or press enter) to confirm your settings.

To prevent changing the type size for lyrics attached to cue notes See To set the font for lyrics globally. See also To prevent attached lyrics and chord symbols from shrinking.

To prevent changing the type size for lyrics attached to cue notes See To set the font for lyrics globally. See also To prevent attached lyrics from shrinking.

To set the baseline (vertical position) for lyrics numerically You can set the height of the lyric line with respect to its staff either before or after you’ve placed your lyrics in the score. You can also set the baseline (on which the bases of the letters align) independently for each staff in each system—and for each set of lyrics of each type. Finally, you can drag any syllable anywhere you want (see To move or delete a syllable). (For information regarding lyric baselines in linked parts, see Baseline Positioning in linked parts.) 1. Click the Lyrics Tool . The Lyrics menu appears. 2. From the Lyrics menu, choose Adjust Baselines. The Adjust Baselines dialog box appears. 3. Specify the lyric type and number for which you want to set the baselines. Also specify the staff and system number, if desired. You specify a staff and system number by clicking the Prev. and Next buttons beside the Staff and Staff System boxes. If you just want to move the 349

baseline for the entire piece at once, you don’t need to adjust the staff or system controls; just click in the Piece text box. 4. Enter the distance you want the baseline to be from the center line of the staff in the appropriate box or boxes. The center line of the staff is the zero position. The units are whatever you’ve selected using the Measurement Units command (Edit menu). For example, to set the baseline half an inch below the center line, you’d type –.5 (inches) in the Piece box. It’s a negative number because you’re moving the line down. If there were very low melody notes and you felt that the baseline in the third system needed to be a quarter inch lower still, you’d set the Staff System counter to 3 (by clicking the Next button twice), and you’d enter –.25 in the Staff System: 3 box. (If you ever want to restore all baselines to their original positions, click Set Piece Offsets to Default Font.) 5. Click OK (or press enter).

To set the baseline (vertical position) for lyrics graphically 1. Click the Lyrics Tool . The Lyrics menu appears. From the Lyrics menu, choose Specify Current Lyric to specify the lyric type and number, if you want. 2. From the Lyrics menu, choose Click Assignment or Type Into Score. Move the Click Assignment box out of the way, if necessary. At the left edge of the screen is a row of four small triangles pointing to the right. They control the baseline for the lyrics. If necessary, click the staff whose lyrics need adjustment. 3. Drag the leftmost triangle up or down to set the baseline for the entire piece (for the selected lyric type and number). As you drag it, the other three triangles move with it. 4. Drag the second triangle up or down to set the baseline for the selected staff only, all the way through the piece (for the selected lyric). As you drag this triangle, the two triangles to its right move with it. 5. Drag the third triangle up or down to set the baseline for this staff, this system only (for the selected lyric). As you drag this triangle, the rightmost triangle moves with it. Use this third triangle only in Page View (so you can see the system you’re affecting). 6. Drag the rightmost triangle up or down to set the baseline for the next syllable, before it’s entered. This option is useful when you’re entering lyrics with the Type Into Score feature or by Click Assigning one syllable at a time. For information regarding lyric baselines in linked parts, see Baseline Positioning in linked parts. 350

To move or delete a syllable 1. Click the Lyrics Tool . The Lyrics menu appears. 2. From the Lyrics menu, Choose Adjust Syllables. 3. Click on the staff at the position of the syllable you want to move. Don’t click the syllable. Just click within the staff lines in line with the syllable you want to move or delete; its handle appears. 4. Drag the handle to reposition the syllable. Select it and press the arrow keys to “nudge” it for fine positioning; select it and press delete to remove the syllable. Note that this method of deleting a syllable doesn’t pull the following syllables one note to the left; it allows you simply to remove a selected syllable, leaving all other syllables where they are. To delete a syllable where you want the remaining syllables to slide over to compensate, see To correct misaligned lyrics. 5. To restore a syllable to its original position, click its handle and press backspace.

To erase lyrics 1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. From the Edit menu, choose Choose Items to Clear. The Clear Selected Items dialog box appears. 3. Under Entry Items, click None to deselect all items, then select Lyrics. 4. Click OK.

To copy lyrics 1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. From the Edit menu, choose Edit Filter. The Edit Filter dialog box appears. 3. Check Lyrics (only). Click OK. 4. Drag the first selected measure so that it’s superimposed on the first target measure. If the first target measure isn’t on the screen, scroll to it, and then ctrl–shift-click it. In either case, the lyrics are copied from the source selection to the target music. Note that Finale will only place lyrics in the target region on notes that fall on the same beats as they did in the source region.

To clone lyrics 1. Click the Lyrics Tool

. The Lyrics menu appears.

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2. Choose Clone Lyric from the Lyrics menu. 3. Select the region whose lyrics you want to copy. You use the Lyrics Tool to select a musical region just as you would with the Selection Tool: select one measure by clicking, additional measures by shift-clicking, a screenful by drag-enclosing, or an entire staff by clicking to the left of it. 4. Drag the first selected measure so that it’s superimposed on the first target measure. If the first target measure isn’t on the screen, scroll to it, and then ctrl–shift-click it. In either case, the lyrics are copied from the source selection to the target music. Note that Finale will only place lyrics in the target region on notes that fall on the same beats as they did in the source region.

To change alignment and justification of syllables for individual notes 1. Click the Lyrics Tool . The Lyrics menu appears. 2. From the Lyrics menu, choose Adjust Syllables. 3. Click on the staff at the position of the syllables in question. Don’t click the syllable; click in the staff lines. The syllables’ handles appear. 4. Select the handle above the syllables. 5. Choose from the Alignment submenu to change the position of the syllables relative to the notehead. See Lyrics menu–Alignment for more details. 6. Choose from the Justification submenu to change the position of the syllables relative to each other. See Lyrics menu–Alignment for more details.

To set alignment and justification of syllables globally 1. From the Lyrics menu, choose Lyric Options. The Lyric Options appear. 2. If you would like specific alignment and justification settings for word extensions, select the Syllables with Word Extensions checkbox and set the alignment and justification settings. For example, you could set the alignment and justification both to Left. 3. If you would like specific alignment and justification settings for the first syllable in your score, select the First Syllable in Lyric checkbox and set the alignment and justification settings. For example, you could set the justification to Left and leave the alignment (relative to the note) to Center. 4. If you would like specific alignment and justification settings for the first syllable of every system, select the Syllables at Start of System checkbox and set the alignment and justification settings. For example, you could set the justification to Left and leave the alignment

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(relative to the note) to Center or set both the alignment and justification to Left. 5. Select the alignment and justification settings for the remainder of the syllables in your score using Others. The order of the alignment and justification items in the dialog box also indicate order of precedence. For example, if you have a syllable which is the first syllable in the system, but also has a word extension, the Syllables with Word Extensions settings will be used instead of the Syllables at Start of System (assuming you have both these items checked). 6. Click OK.

To draw “word extension” underlines When a syllable’s note is tied over to another note or sustained through several notes (as in a melisma), a common practice is to draw an underline following the syllable to indicate its extension.

As you enter lyrics, word extensions are defined automatically where appropriate. While using Type Into Score, they do not appear immediately, only after switching out of Type Into Score mode, or changing tools. These underlines are called Smart Word Extensions because they expand and contract along with the music as you enter additional lyrics and modify the page layout. They can also automatically extend over a system breaks. You can edit the default visual appearance of Smart Word Extensions, such as the baseline and offset from the left or right syllable, in the Word Extensions dialog box. Changes made in this dialog box apply to existing word extensions, as well new ones added to the score. A Smart Word Extension underline will extend to the next syllable of the same lyric type and number regardless of the baseline difference of the individual syllables. A word extension underline will extend to any syllable of a different type (verse, section, or chorus) provided it lies on the exact same vertical baseline as the previous syllable. Word extensions do not terminate at the startpoint of the next syllable if it is of the same type, but a different number (verse 1, verse 2) regardless of the next syllable’s baseline position.

Note: Old documents (those created in Finale version 2003 or earlier) that contain lyrics retain all word extension positioning information when 353

converted to Finale 2010 format. However due to possible conflicts with existing word extensions, Smart Word Extensions are not active in converted documents by default. If you want to activate Smart Word Extensions in an older Finale Document, from the Document menu, choose Document Options, select Lyrics, and then click Word Extensions. Check Use Smart Word Extensions. Then click OK twice to confirm your settings. Old word extensions disappear and are replaced with Smart Word extensions. (Uncheck this option to revert back to the old word extensions that existed in a document prior to turning Smart Word Extensions on). After word extensions appear in the score, each can be edited manually. To edit word extensions individually: 1. Click the Lyrics Tool . The Lyrics menu appears. 2. From the Lyrics menu, choose Edit Word Extensions. 3. Click near the syllable to be extended. A handle appears at the end of the syllable. 4. Drag the syllable’s handle to the right. As you drag, you create an underline. To remove the underline, click its handle and press delete. To clear manual positioning, press Backspace.

To add “word extensions” on specific syllables only 1. 2. 3. 4. 5. 6.

From the Lyrics menu, choose Lyric options. Choose Word Extensions. The Word Extensions dialog box appears. Uncheck Create Automatically When Notes Follow Without Lyrics. Make sure Use Smart Word Extensions is checked. Click OK twice to confirm your settings. Add an underscore (_) after a syllable to define a word extension either while using Type Into Score, or while entering into the Edit Lyrics dialog box. Note: If Smart Word Extensions if turned Off in the Word Extensions 354

dialog box, underscore characters will not convert to word extensions.

To adjust the position of “word extension” underlines 1. From the Document menu, choose Document Options, and then select Lyrics. The Lyric Options appear. 2. Click Word Extensions. The Word Extensions dialog box appears. 3. In the Lyric Alignment section, enter new values into the Vertical Offset from Baseline and Horizontal Offset from Syllable text boxes. The Vertical Offset from Baseline is the distance between the underline and the baseline (against which the bottoms of the lyric syllables align). The Horizontal Offset from Syllable is the distance between the end of the syllable and the beginning of the underline. The units are whatever you’ve selected using the Measurement Units command (Edit menu). See Word Extensions dialog box. 4. Click OK (or press enter).

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Macros Macros, or keyboard equivalents for mouse, menu, and dialog box actions, can dramatically increase your efficiency in working with Finale. One kind of macro is already built into Finale—Metatools. These macros are always programmed to the number keys and the letter keys on your computer keyboard. By using a macro to place an expression marking into the score, for example, you can bypass three dialog boxes and several mouse clicks. See the individual tool for instructions for programming Metatools. You can also get external macro programs to do some of your work for you. Any one of them can perform almost any of the multistep instructions in this document with a single keystroke. Not only do you save time, but you don’t have to wander through all those dialog boxes—the macro takes care of the navigation.

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Major seconds (in different voices and layers) When notes in two Finale layers fall on the same beat but are a major second apart, Finale usually automatically offsets some of them to avoid overlapping the noteheads. However, if you’ve turned off Automatic Music Spacing, Finale won’t adjust these for you until you take the following steps.

To fix overlapping noteheads in different layers 1. Click the Selection Tool , and select the measures you want to edit. See Selecting music for more information. 2. From the Document menu, choose Document Options and select Music Spacing. The Music Spacing options appear. 3. Make sure that the Seconds checkbox is selected. You can also verify that other options you want included in spacing considerations are selected. See Document Options-Music Spacing for more information. 4. Click Apply and then OK. 5. Choose Apply Note Spacing from the Music Spacing submenu of the Utilities menu. Your music will be spaced to avoid collisions between seconds in different layers. See Document Options-Music Spacing for more information on different types of music spacing.

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Manuscript paper If you wish to print blank manuscript paper, without default rests, see the instructions below. 1. From the File menu, choose New, then Document with Setup Wizard. Leave Title, Composer and Copyright fields blank. 2. Select the desired instrumentation, then Time and Key Signature, and default font. When you finish the Wizard, the score appears. 3. Click on the Text Tool. Click on the Title, Composer and Copyright text blocks and press Delete. 4. Click on the Staff Tool. Double-click on a staff. The Staff Attributes dialog box appears. 5. Uncheck Display Rests in Empty Measures. If you have more than one staff, use the Staff Attributes For drop-down menu to switch to the next staff. Continue unchecking Display Rests for all staves. 6. Click OK. 7. If desired, fine-tune the layout with the Page Layout Tool. Add additional measures with the Measure Tool. 8. From the File menu, choose Print. Finale prints your manuscript paper.

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Margins There are two kinds of margins in Finale: page margins and system margins. Both can be set either from a menu or with the Page Layout Tool. For information on system margins, see Systems.

To change page margins 1. Click the Page Layout Tool . 2. First set the range of the pages to affect in the Page Margins submenu of the Page Layout menu. 3. Drag the handles at the edge of the page margins. You can also enter values directly into the number boxes of the Edit Page Margins dialog box. See Edit Page Margins dialog box for more information. 4. From the Edit menu, choose Update Layout. This command recalculates the layout of measures, based on the new margins.

To change default page margins numerically Note: The changes you’ll be making with these instructions establish the page margins for pages yet to be created. To apply them to existing pages, see the final two steps. 1. From the Document menu, choose Page Format, then Score. The Page Format for Score dialog box appears. 2. Enter new values in the Page Margins boxes. These numbers are the distances from the edge of the page; thus if the page size changes, the margins remain at the same distance from the page edge. These measurements are always positive and measure the absolute distance from the edge of the page. 3. Click OK (or press enter). The changes you’ve made will affect only new pages added to the piece by Finale, unless you perform one of the following additional steps. 4. To apply the new margin settings to one existing page, click the Page Layout Tool ; and go to the page you want to change; Click on the Page Layout menu and choose Redefine Pages, then Current Page. 5. To apply the new margins to all existing pages, click on the Page Layout menu, choose Redefine Pages, then Redefine All Pages.

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Masks To mask a portion of a staff, you’ll create a solid white rectangle as a Shape Expression. By placing this rectangle over part of a staff, you can make the staff appear to end in mid-system. It’s much easier to hide entire portions of the staff using staff styles. See Staff styles. When placing Shape Expression masks, you must be careful to attach the shape to the appropriate note, as it affects how the staff and notes are covered. If you want to cover the staff lines, as well as all the notes on a staff, you must select a note after the region to be hidden. If you select a note before the region to be hidden, the staff lines will be covered, but notes and expressions will “show through” your shape. If you need to place more than one of these special shapes into your score, you must do so by using Expression Metatools. If you don’t, you’ll be resizing all occurrences of the shape any time you resize or reshape any one of them. For full instructions, see Expressions—To create Expression Metatools.

To mask a portion of a staff 1. Click the Expression Tool , and click a note or a measure in the staff you want to mask. Click a note at the appropriate end of the staff. The Expression Selection dialog box appears. 2. Click Shape. Proceeding through the dialog boxes, click as follows: Create; Select; Create. You arrive in the Shape Designer. You’re about to draw a mask that’s the height of a standard staff and two inches wide. The following instructions give measurements in points (1/72 inch). If you’ve been working in different units, choose Rulers and Grid from the Shape Designer menu and select Points. 3. Click the Rectangle Tool . Note the origin, the small white circle. 4. Click the origin; without releasing the mouse, drag up and to the right, until the number in the “H:” box is 144 and the “V:” box is 28. You’ve just drawn a rectangle. 5. Click the Selection Tool , and select the rectangle. From the Shape Designer menu, choose Fill, and then White. The inside of the rectangle turns white, but the outline is still black. 6. From the Line Thickness submenu of the Shape Designer menu, choose None. The black line goes away. 7. Click OK or Select in each dialog box until you return to the document. The shape appears in the score as a whited-out rectangle.

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The technique: if you want to cover up everything, attach the expression to a subsequent note. In the following illustration, you can see the difference.

At left, the Expression was attached to the first eighth note, as indicated by the arrow. As a result, the shape only covers up the staff lines. If the shape is attached to a following note (right), the mask covers everything. If your shape is an expression, however, the white rectangle will always cover everything, including the notes.

To move, reshape, or delete a Shape Expression mask 1. Click the Expression Tool . 2. Drag the handle to move the entire shape. Click the handle and press delete to remove it. To stretch the shape, double-click a handle; its bounding handles appear, which you can drag to make the rectangle larger or smaller.

To mask a portion of the score using the Graphics Tool You can also create a white mask using the Graphics Tool. While the procedure is much easier with the Graphics Tool, one potential downside is that it involves the creating of a graphic file, separate from Finale, which you must remember to include should you transport your Finale file to print elsewhere. Also, the Graphics Tool method works like an expression in that it will always cover anything you place it on top of. 1. Select the Graphics Tool and then, from the View menu, choose Page View. 2. In a blank area of the page, double-click and drag the mouse down and to the right, creating a square or rectangle approximately the size of the area you wish to mask. Since you’re going to paste this box on top of unwanted items in your file, be advised that anything that appears within the lines of the box will appear in your score. So, if you inadvertently drew the box on top of something, try it again. 3. From the Graphics menu, choose Export Selection. 4. Click OK. 5. Type in the name you would like to call your file in the dialog box that appears and click Save. 361

6. From the Graphics menu, choose Place Graphic. 7. Select the file you just created and click Open. Note that the cursor changes to a box with and X inside. 8. Place the cursor in the upper left hand corner of where you’d like the white mask to appear, and then click the mouse. Note that the white mask now has eight handles on it. If you need to fine tune its position, you can do so by dragging these handles. Keep in mind that in addition to pasting in blank material you can use this same procedure to copy and paste musical examples–incipits for example. See Graphics Tool for more information.

To move, reshape or delete a Graphics Tool mask 1. Select the Graphics Tool and from the View menu, select Page View. 2. Click on the mask. If you wish to move the entire mask, click on it and drag while keeping the mouse button pressed; to reshape the mask simply drag the handles accordingly. Press backspace to delete the mask.

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Measure layout For information regarding the relative widths of the measures in a particular system, see To adjust measure widths in a system. You can easily control the page layout of measures in Finale through the use of measure groups. A measure group is a set of measures fastened to each other; even if the arrangement of other measures changes, those in a group will remain together in the same system. This kind of control over measure layout is especially useful when you’re finetuning a piece’s layout—avoiding an awkward page turn, forcing a key change to fall at the beginning of a system, and so on. Note that the measures you rearrange in the following instructions become locked into the arrangement you specify; they won’t be affected by future measure-rearranging commands like Update Layout or even Begin a New Staff System (see To create a system break, below). To lock measures into place, select the systems you wish to affect and pressL. These locked measures will not be affected by updating the layout (unless Remove System Locks is selected in Program Options-Edit) or rearranging the measures in other systems. To remove measure groups from the piece choose Update Layout from the Edit menu or highlight the systems or region with the Selection Tool and press U. If Maintain System Locks is selected in Program Options-Edit select Update Layout while pressing shift.

To specify a number of measures per system See Measures per line.

To split a measure across a line break See To split a measure across a system break.

To move a measure to the previous (or next) system Before you perform this or any significant page layout action, be sure to choose Update Layout (ctrl-U) from the Edit menu. (If you’re in Page View, be sure to choose Update Layout while you’re viewing the first page, since Update Layout only affects the region from the current page to the end of the piece.) 1. If you’re not in Page View, choose Page View from the View menu. 2. Click the Selection Tool , and click the measure to be moved. If you want to move more than one measure to the next system—the last two on a line, for example—click the first measure of the group to be moved. If you want to move more than one measure to the previous system, click the last measure of the group to be moved. 363

3. Press the up arrow key or down arrow key. If you press up arrow, the selected measure (and any that precede it in the system) move to the previous system. If you press down arrow, the measure or measures move to the next system or are consolidated if you are editing the last 2 systems. In either case, Finale then automatically adjusts the layout, just as though you’d chosen Update Layout from the Edit menu. What you’ve just done is to create a measure group, Finale’s system of locking measures within a system. Be aware, however, that once a measure has been manipulated in this way, the measures in its new system are locked into this arrangement, and won’t be affected by future measure-rearranging commands. To remove measure groups from the piece highlight the systems with the Selection Tool and press U or choose Update Layout from the Edit menu while pressing shift.

To force selected measures into one system Where the up/down-arrow trick works well to push a single measure into a different system, sometimes it’s useful to say: “I want these three measures, and only these, in one system.” 1. If you’re not in Page View, choose Page View from the View menu. 2. Click the Selection Tool , and select the measures you want to group. To select the first measure of the group, click it; then shift-click the last measure of the group. You may also drag-enclose the measures you want; in any case, they should now be highlighted. 3. Choose Fit Measures from the Utilities menu. A dialog box appears. 4. Click Lock Selected Measures Into One System. Click OK. Finale places the selected measures into a system by themselves, then does an automatic Update Layout.

To remove measure groups through the end of the piece This process will undo the procedures above, restoring all measures to “floating” status—in other words, their system affiliation may change as the page layout changes.

Choose Update Layout from the Edit menu. If Maintain System Locks is selected in Program Options-Edit, press shift while selecting Update Layout, or deselect this option. Shift–Update Layout works exactly like the normal Update Layout command in one respect: it only affects the pages of your piece from the page you’re viewing to the last page. If you’ve carefully created measure groups on the first page, for example, you won’t disturb them if you perform a shift–Update Layout command while viewing page 2. See Program Options-Edit. 364

To remove measure groups for individual systems This process will undo the procedures above, restoring all selected systems to “floating” status—in other words, their system affiliation may change as the page layout changes. • Select the systems to remove measure groupings and U. This will unlock all the locked systems in the selected region.

To create a system break You can command a specified measure to begin a new system, no matter what the measure layout may be in other systems. 1. Click the Measure Tool ; double-click the barline handle of the measure you want to begin a new system. The Measure Attributes dialog box appears. 2. Select Begin a New Staff System. Click OK (or press enter). 3. Choose Update Layout from the Edit menu. The specified measure now begins a new system. It will always begin a new system, no matter how the page layout changes.

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Measure numbers Measure numbers are defined as measure number regions in the Measure Number dialog box. Each measure number region can be defined to display measure numbers in one (or more) of three ways: • At the beginning of each staff system (Show Measure Numbers at Start of Staff System) • At a specific measure interval (Show Every _ Measures Beginning with Measure _) • As a measure range for multimeasure rests (Show on Multimeasure Rests) Each of these options are available for each region in the Measure Number dialog box. Each can be set to its own font and positioning settings, and are designed to automatically resolve any conflicts that can occur. For example, if a measure number is defined to appear on every fifth measure (Show Every _ Measures Beginning with Measure _), and the fifth measure happens to start a new staff system (and Show Measure Numbers at Start of Staff System is also checked), Finale will defer to the "Start of Staff System" option and use its font and positioning settings (which allow it to be positioned differently—to the left of the staff). Furthermore, if this is a linked part, a multimeasure rest happens to begin on the fifth measure, and Show on Multimeasure Rests is checked, Finale will display the font, positioning, and bracket settings for measure numbers on multimeasure rests. In this way, all three of the above cases can be selected and defined in the Measure Numbers dialog box, and Finale will apply them properly to the score. Measure number settings can only conflict with each other if an enclosure is defined for either "Show Measure Numbers at Start of Staff System" or "Show Every _ Measures Beginning with Measure _," "Show On Multimeasure Rests" is checked, and the number is defined to appear on a measure beginning a mutimeasure rest. In this case, Finale displays both the enclosed measure number and the multimeasure rest number/number range. To hide one or the other, right-click the measure number's handle and choose Always Hide Number. Note that in addition to the options for a single region, you can also create different regions of measure numbers in your piece, each with its own font, positioning, and numbering scheme. If you want measure numbers to occur only at specific places in the score to serve as rehearsal letters or numbers, see Rehearsal letters. For information regarding measure numbers in scores with linked parts, see Measure Numbers in linked parts. 366

To create measure numbers 1. Click the Measure Tool and select Edit Regions from the Measure Numbers submenu of the Measure menu. The Measure Number dialog box appears. If there is no measure number region click Add. 2. Enter the Measures to include for this region. The Include Measure and Through text boxes are the actual measures in the piece; they have nothing to do with what you’re going to call them. For example, if the piece begins with a pickup measure, you’ll probably want what is actually measure 2 to be numbered as measure 1; if so, type 2 into the first text box. If you simply want to number every measure sequentially (a single region), type 1 into the first text box and 1000 (or any number larger than your actual measure count) in the second text box. If you want to define a region to number only part of the piece, the End Measure is the last measure to be numbered. 3. Enter the number you want to start your region numbering with in the First Measure in Region text box. If you want to use letters, type in a number corresponding to its place in the alphabet. 4. Select the style of measure numbers (numeric, alphabetic, etc.) from the Style drop-down list menu. 5. Click Set Font to choose a font and style for this region. Click OK (or press enter). 6. Click Position. The Position Measure Number dialog box appears, displaying a symbolic measure number. 7. Drag anywhere in the graphic box to position the measure number relative to the measure. Click OK (or press enter). You return to the Measure Number dialog box, where you can make various other settings. 8. Specify the incidence of the numbers. If you click Show Measure Number at Start of Each System, a measure number will only appear at the beginning of a new system. If you click Show every __ Measures beginning with __, you can specify how often a number appears and where it should start from. Multiple of 1 would number every measure in the region. 9. If you want each measure number to be prefixed, enter the Prefix number or letter. If you entered the letter A in the Prefix text box for a region with numbered measures, for example, you’d create a sequence of measures labeled A15, A16, A17, and so on. On the other hand, if you entered the number 21 in the Prefix text box for a region with lettered measures, you’d create a sequence of measures labeled 21a, 21b, 21c, and so on. 10. If you want an enclosure around each measure number, select an enclosure from the drop-down list menu. If you don’t see one you like, click Edit Enclosure and the Enclosure Designer dialog box appears. See Enclosure Designer dialog box.

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If you want every measure number in the region to be enclosed, select Show Enclosure on Every Number. If you click Show Enclosure on Selected Numbers, no measure numbers will be enclosed when you first return to the document; to add the enclosure you specified to a particular measure number, simply double-click the number’s handle and click Use Enclosure. 11. If you want a range of measure numbers on multimeasure rests select Show Measure Number Ranges on Multimeasure Rests. If you want the range to always appear, also select Always Show on Multimeasure Rests. If you want a bracket around the range, enter the bracket in the Left and Right boxes. 12. If you don’t want the measure numbers to begin with 1, enter a number in the First Measure in Region text box. See Measure Number dialog box for more information. 13. To set up the parameters for another region, click Add. To remove a region, click Delete. 14. Click OK (or press enter). The numbers appear in every measure in every staff. Each number has a handle.

To remove measure numbers from a single staff 1. Click the Staff Tool , and double-click the staff whose numbers you want to “turn off.” The Staff Attributes dialog box appears. 2. In the Items to Display section, click Measure Numbers to de-select it. Click OK (or press enter). Note that “Always Show on Top/Bottom Staff” in the Measure Number dialog box will override this setting. See Measure Number dialog box. Note: You can also remove measure numbers with the Selection Tool. Click a measure number handle and press Delete (or right-click and choose Delete).

To remove measure numbers from a single staff 1. Click the Staff Tool , and double-click the staff whose numbers you want to “turn off.” The Staff Attributes dialog box appears. 2. In the Items to Display section, click Measure Numbers to de-select it. Click OK (or press enter). Note that “Always Show on Top/Bottom Staff” in the Measure Number dialog box will override this setting. See Measure Number dialog box.

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Note: You can also remove measure numbers with the Selection Tool. Click a measure number handle and press Delete (or right-click and choose Delete).

To add a measure number to an existing region 1. Click the Measure Tool . 2. Ctrl-click a measure which is part of a region, but is not currently displaying a number. To add a measure number to the entire system, ctrlshift-click. To remove a forced measure number, click its handle and press delete.

To reshape or remove a measure number’s enclosure The Measure Number dialog box offers two ways of creating enclosures around measure numbers. If you select an Enclosure and then click Every Number, Finale places an enclosure around every number in the region. If you select an Enclosure and then click Selected Numbers in the Measure Number dialog box, you add enclosures to one number at a time in the score, by double-clicking its handle and then clicking OK. You can both resize and remove an individual enclosure of this type. 1. Click the Measure Tool . Double-click the handle of an enclosed measure number. The Enclosure Designer dialog box appears, letting you reshape the enclosure and reposition the number within it. 2. If you want to remove the enclosure, select None for the enclosure shape and click OK. You return to the document (provided that the enclosure isn’t an Every Number type). 3. If you want to modify the enclosure, drag the top and side handles to change its height and width. Drag the number’s handle to reposition the number within the enclosure. Change the line thickness, if desired. The line thickness is measured in the current measurement units. 4. Click OK.

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Measure repeat signs The measure repeat symbol ( ), often used in rhythm parts, indicates that the measure in which it appears is to be a repetition of the previous measure. See also Number Repeated Measures Plug-in to place a number over each repeated measure.

To create a measure repeat sign 1. Click the Staff Tool s and select the measures you want to contain measure repeat signs. See Selecting music for some region-selecting shortcuts. 2. From the Staff menu, choose Apply Staff Style. The Apply Staff Style dialog box appears. 3. Select either One-Bar Repeat(s) or Two-Bar Repeat(s). Or, right-click and choose from the list of styles. Or, press O for a one bar repeat and T for a two bar repeat. 4. Click OK. Finale hides all the music in all layers, and replaces it with these measure repeat marks. To restore the music, select the measures again, choose Clear Staff Styles from the Staff menu (or press the Backspace key (laptop users Fn6)). You can edit the properties of the staff styles; see Staff styles for more detail. If you need additional control over these symbols—if you don’t want the symbol centered in the measure, for example—you can also insert a measure repeat symbol as an expression. See Expressions.

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Measures To arrange measures on the page See Measure layout.

To add blank measures at the end of the document 1. Double-click the Measure Tool . Or, to add more measures at once, from the Edit menu, choose Add Measures. 2. Enter the desired number of measures. Click OK (or press enter).

To insert blank measures within a document 1. Choose any tool that allows regional selection. See Selecting music. 2. Select the measure after the point of insertion. Even if there is more than one staff, click a single measure. Finale will add a blank measure in every staff. 3. From the Edit menu, choose Insert Measure Stack or, if the Selection Tool or Measure Tool is selected, you can right-click the measure and choose Insert Measure Stack. A dialog box appears, asking how many measures you want to insert. 4. Enter the desired number of measures. Click OK (or press enter).

To erase or remove measures 1. Choose any tool that allows regional selection. See Selecting music. 2. Double-click a measure to select the full measure stack. Highlighting should extend between the staves (or above and below the staff if there is only a single staff). 3. Press the Delete key, or, from the Edit menu, choose Delete Measure Stack. This removes the selected measures from every staff. The result: your score contains fewer measures.

To delete a measure from a single staff When you remove a measure from the score as described above, Finale removes the measure in question from every staff in the score. Using the following technique, however, you can remove a measure from a single staff (in effect) by sliding the subsequent measures one measure to the left. 1. Click the Selection Tool , and click the next measure after the measure you want to delete. 2. Hold down Shift and press the End key to select all measures to the right of the one you selected. Alternatively, you could choose Select 371

Region from the Edit menu, delete the number in the Through Measure text box, and click OK. (Leaving this text box blank indicates the end of the piece.) 3. Drag the first selected measure to the left, so that it’s superimposed on the measure you want to delete. Finale asks you how many times you want the selected music copied. The default value, once, is what you want. 4. Click OK (or press enter). Finale moves the music you selected one measure to the left, in effect eliminating the measure you wanted to remove. There may now be an extra measure at the end of the staff; just erase or remove it (see To erase or remove measures).

To change one measure’s width 1. Click the Measure Tool . A handle appears on each barline. 2. Click the top handle and drag the right barline of the measure in question to the right or left. You can also click inside the measure itself and drag to the right or left.

To adjust measure widths in a system It’s useful to remember that you can adjust the relative widths of the measures in any particular system. 1. Go to Page View, if you’re not already there. You change views by choosing Page View from the View menu. 2. Choose Update Layout from the Utilities menu. 3. Click the Measure Tool . A handle appears on every barline. 4. Drag the handle of any measure to the right or left. As you make one measure wider, the one to its right becomes narrower. (You can adjust all measures in a system except the last one with this method.)

To change the widths of many measures 1. Click the Selection Tool . 2. Select the measures to be resized. You only need to select the region in one staff; the measure widths will be changed in all staves. See Selecting music for some region-selecting shortcuts. 3. From the Edit menu choose Edit Measure Attributes. The Measure Attributes dialog box appears, letting you specify a fixed width for all selected measures or to add or subtract a certain amount from all selected measures. The units are whatever you’ve selected using the Measurement Units command in the Edit menu. 4. If you want to set the selected measures to a uniform width, enter a value into the Width text box. If you want to add or subtract the same 372

amount of width in all the selected measures, enter a positive number (to widen) or negative number (to narrow) in the other text box. 5. Click OK (or press enter). Be sure to choose Update Layout from the Utilities menu (or press ctrl-U) before printing or viewing in Page View.

To specify minimum or maximum measure widths Using this method, you can tell Finale not to make any measure wider or narrower than a certain width. 1. From the Document menu, choose Document Options and select Music Spacing. The Music Spacing options appear. 2. In the Minimum Measure Width text box, enter the minimum measure width you want to allow in the selected region. The units are whatever you’ve selected using the Measurement Units command (Edit menu). Enter a Maximum Measure Width too, if you want. 3. Click OK (or press enter). When you use the Music Spacing command, Finale will check all the measures you’ve selected, to make sure they’re within the width range you specified. If any measures are narrower than the minimum, Finale sets them to that minimum width (and shortens any that are longer than the maximum width).

To split a measure across a system break There may be times when you want a very long measure (such as a cadenza measure) to break in half if it straddles a system break. The point at which the measure can be split into two, and the latter half moved to the next system is called the horizontal split point. The following instructions result in a measure that may break at the end of a system, but only if Finale thinks it’s necessary. (You can, however, force the measure to break, as described in the note below.) 1. Click the Measure Tool , and double-click the barline handle of the measure you want to split. The Measure Attributes dialog box appears. 2. Select Allow Horizontal Split Points. Click OK (or press enter). When you dismiss the dialog box, a new handle appears at the bottom of the measure’s right barline. 3. Click the handle at the bottom of the barline. A special “split-point rectangle” appears above the measure. 4. Double-click in the split-point rectangle. A handle appears. Drag it horizontally to tell Finale precisely where it may break the measure (if necessary). Double-click in as many places as you want to provide additional permissible split points. To remove a split point handle, click it and press delete.

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5. Choose Update Layout from the Edit menu. You won’t see the effects of your split point until you choose Update Layout. Note: If you want to force the measure to split, after you have added a split point, click the Selection Tool, click the portion of the measure you want to move, and press the up or down arrow, as described in To move a measure to the previous (or next) system. (If you’ve specified more than one split point, Finale breaks the measure at the first designated split point, regardless of whether you press up or down.)

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Measures per line Finale can automatically lay out a certain number of measures per system for you—either within a certain region, or for the entire piece.

To specify a number of measures per line (within a region) 1. Choose Page View from the View menu, if you’re not already there. 2. Click the Selection Tool , and select the range of measures for which you want to specify the number of measures per line. See Selecting music for some region-selecting shortcuts. If you want the same number of bars per line for the entire piece, choose Select All from the Edit menu. 3. Choose Fit Measures from the Utilities menu. The Fit Measures dialog box appears. 4. Enter the number of measures per system for this document. 5. Click OK (or press enter). This technique creates measure groups, which don’t float from one system to another as the page layout changes. See Measure layout for more information on measure groups.

To remove measure groups from the current page to the end This process will undo the procedure above, restoring all measures to “floating” status—in other words, their system affiliation may change as the page layout changes. While pressing shift, choose Update Layout from the Edit menu.

To remove measure groups from a selected region 1. Click the Selection Tool , and select the system for which you want to remove measure groups. 2. Press Command-U to unlock the system. This will allow the measures to reflow during Fit Measures operations. See Selection Tool for more information.

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Melismas See also Slurs; Vocal music—To beam according to lyric syllables. A melisma is a series of notes sung on the same lyric syllable. When Finale assigns lyric syllables to a melody, it has no way of knowing which melody notes are melismatic. Therefore, when you’re creating lyrics (if you plan to have Finale assign them to notes automatically), you can anticipate the melismatic passages by creating an invisible syllable for each note of the melisma.

To create invisible syllables when typing lyrics 1. Click the Lyrics Tool . The Lyrics menu appears. 2. From the Lyrics menu, choose Edit Lyrics. The Edit Text window appears. Type the lyrics in the usual way, up to the melisma. 3. Type the syllable to be sustained, followed by the usual space or hyphen. For each subsequent note of the melisma, type alt+0160, space. Finale considers each alt-0160 (press alt while typing 0160) a syllable. Therefore, you need to separate it as you would any syllable—with a space or a hyphen. Thus you type an alt-0160 followed by a regular space (or a hyphen) for each subsequent note of the melisma. Complete the remaining lyrics. 4. Click OK. When you enter these lyrics using the Ctrl–Click Assignment method (see Lyrics), Finale distributes the invisible melismatic syllables you just created to the corresponding notes of the melody. Note that you can add slurs to melismas automatically using the Auto Slur Melismas plug-in.

To shift lyrics to the right or left If you failed to anticipate the melisma (by typing alt-0160 characters, as described above) when entering the lyrics in the Edit Lyrics window, you can adjust misaligned lyrics by using the Shift Lyrics command. For full instructions, see Lyrics—To correct misaligned lyrics.

Note: To anayze the score and slur melismas appropriately, use the Auto Slur Melismas plug-in.

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Metatools Macros, or keyboard equivalents for mouse, menu, and dialog box actions, can dramatically increase your efficiency in working with Finale. One kind of macro is already built into Finale: Metatools. These macros are always programmed to the number keys and the letter keys on your computer keyboard. By using a metatool to place an expression marking into the score, for example, you can bypass three dialog boxes and several mouse clicks. See the individual tool for instructions for programming Metatools. Tools with Metatools

Articulation Tool

Selection Tool

Expression Tool

Key Signature Tool

Tuplet Tool

Smart Shape Tool

Time Signature Tool

Staff Tool

Clef Tool

Repeat Tool

Chord Tool

To program an Articulation Metatool Click the Articulation Tool . Press shift and a letter or number key. Finale displays the Articulation Selection dialog box; double-click the marking you want to correspond to the letter or number you pressed.

To use an Articulation Metatool Click the Articulation Tool . While pressing the number or letter key to which the desired marking was programmed, click on, above, or below a note or rest. If you have notes in both Voice 1 and Voice 2, click above the staff for Voice 1 or below the staff for Voice 2 to place the articulation. The marking appears at the place you clicked. You can also press a metatool key and drag-enclose the desired notes to apply the articulation to those notes. 377

To program an Expression Metatool 1. Click the Expression Tool . 2. Press shift and a letter or number key. Finale displays the Expression Selection dialog box. 3. Double-click the Expression you want to correspond to the letter or number you pressed. Additionally, you can assign any number of metatools from within the Expression Selection dialog box: 1. Enter the Expression Selection dialog box. There are several ways to enter this dialog box. See Expression Selection dialog box. 2. Select an expression. 3. Hold down Shift and type the desired metatool key. If an expression is already assigned to the key you pressed, it will be reassigned. You can assign as many metatools as you like in each Expression Selection session.

To use an Expression Metatool 1. Click the Expression Tool . 2. While pressing the letter or number key corresponding to the Metatool you programmed, click on, above, or below a note or rest. If you have notes in both Voice 1 and Voice 2, click above the staff for Voice 1 or below for Voice 2 to place the articulation. The expression appears at the place you clicked. To change an existing expression to a different one: 1. Select the expression’s handle. 2. Double-press the desired metatool key. The expression changes to the definition assigned to the metatool key you used. (A “double-press” simply means pressing the keystroke twice in rapid succession). To apply an expression to several staves at once, hold down a metatool key, then click and drag over several staves. When you release the mouse button the expression will appear on all staves in the region. Each of these expressions is a separate occurrence (and not assigned using a Score List). For information regarding Finale 2010's new expression design, see Finale 2010 Interface Changes under Measure Expressions and Score Lists.

Important note: If you use a Metatool to place a Shape Expression into the 378

score, you create a duplicate of that shape. This gives you an important advantage when you’re placing several of the same Shape Expression into a score, because it means that you can reshape or resize each copy individually. If you didn’t use a Metatool to place Shape Expressions into the score—and placed them instead by selecting them from the selection box directly—you would reshape every occurrence of a shape when you adjusted any one of them.

To program a Tuplet Metatool Click the Tuplet Tool . Press shift and a number key or a letter key. Finale displays the Tuplet Definition dialog box; create the tuplet you want to correspond to the number or letter key you pressed. Click OK.

To use a Tuplet Metatool Click the Tuplet Tool . While pressing the number or letter corresponding to the Metatool you programmed, click a note (or, if the note is in Voice 2, click below the staff). Finale automatically transforms the note you clicked and subsequent notes into the tuplet grouping you predefined, complete with a bracket or slur (if you specified one) with the positioning you specified.

To program a Time Signature Metatool Click the Time Signature Tool . Press shift and a number key or a letter key. Finale displays the Time Signature dialog box; create the time signature you want to correspond to the number or letter you pressed. Click OK (or press enter).

To use a Time Signature Metatool There are two ways to use a Time Signature

metatool.

1. Click the Time Signature Tool. Select a region of music. While pressing the number or letter corresponding to the Metatool you programmed, click a measure. Finale changes the meter over the region you have selected. 2. In Simple Entry, with the Simple Entry Caret active, or a note selected, hold down Ctrl and Shift and type T. Then type the metatool key to apply the new time signature. See also Simple Entry.

To use a Clef Metatool 379

There are two ways to use a clef metatool. 1. Click the Clef Tool Clef you desire.

. While pressing the number corresponding to the

• Click before the first note of a piece to change the first clef displayed. • Click before the first note of a measure to change the first clef for that measure and the remainder of the piece. • Click between notes in a measure to set a mid-measure clef for the remainder of the measure and the remainder of the piece. 2. In Simple Entry, with the Simple Entry Caret active, or a note selected, hold down Ctrl and Shift and type C. Then type the metatool key to apply the new clef. The clef change will appear. See also Simple Entry.

To program a Chord Metatool Click the Chord Tool . Press shift and a letter or number key. Finale displays the Chord Definition dialog box; create the chord symbol you want to correspond to the letter or number you pressed (see Chord Definition dialog box). Click OK.

To use a Chord Metatool Click the Chord Tool . While pressing the letter or number key corresponding to the Metatool you programmed, click a note or rest. The chord symbol appears immediately, transposed according to the key signature if necessary.

To program a Selection Tool Transposition Metatool Click the Selection Tool. Press Ctrl-Shift and a number key (6-9). Finale displays the Transposition dialog box; set the transposition you want to program. Click OK.

To use a Selection Tool Metatool To use a Selection Tool Metatool, select the measures you want to affect. Then, press the appropriate number key on your computer keyboard. the Selection Tool Metatools are defined as follows: Note: Selection Tool Metatools are program-specific, not documentspecific like other metatools. You can hold down Ctrl and press 3, 4, 5, and 6-9 to invoke these metatools with any 380

tool that allows regional selection. (Ctrl-1, 2, and 3 are used to change the view percentage.)

Metato ol

Predefined effects

1

Implode Music (displays the Implode Music dialog box)

I

Drag-Implode Music for multiple staves (displays the Implode Music dialog box)

2

Explode Music (displays the Explode Music dialog box)

E

Drag-Explode Music for multiple staves (displays the Explode Music dialog box)

3

Show elapsed time based on current tempo (displays the Elapsed Time“Time at the Beginning of...” dialog box)

4

Respace notes, lyrics, and accidentals (Apply Note Spacing command) using the settings in Document Options-Music Spacing

5

Respace notes, lyrics, and accidentals (Apply Beat Spacing command) using the settings in Document Options-Music Spacing

6-9

Transpose (press Ctrl-Shift 6-9 to program)

To program a Key Signature Metatool Click the Key Signature Tool. Press shift and a number key or a letter. Finale displays the Key Signature dialog box; choose the key signature you want to correspond to the number or letter you pressed. Click OK (or press enter).

To use a Key Signature Metatool 381

There are two ways to use a Key Signature metatool. Click the Key Signature Tool. Select a region. While pressing the number or letter corresponding to the Metatool you programmed, click a measure. Finale changes the key signature over the range or measures you selected. In Simple Entry, with the Simple Entry Caret active, or a note selected, hold down Ctrl and Shift and type K. Then type the metatool key to apply the new key signature. See also Simple Entry.

To use a Smart Shape Metatool To use a Smart Shape Metatool, hold down the appropriate key on your computer keyboard. With the key down, double-click and drag to create the desired shape. For slurs, glissandi, bends and slides, double-click and drag from note to note.

To program a Staff Style Metatool Click the Staff Tool. Press shift and a number key or a letter. Finale displays the Apply Staff Style dialog box; choose the staff style you want to correspond to the number or letter you pressed. Click OK (or press enter).

To use a Staff Style Metatool Click the Staff Tool. Select a region. While pressing the number or letter corresponding to the Metatool you programmed, click a measure. Finale applies the staff style over the range or measures you selected.

To program a Repeat Metatool Click the Repeat Tool . Press shift and a letter or number key. Finale displays the Repeat Selection dialog box; double-click the repeat barline or the text repeat you want to correspond to the letter or number you pressed (or, if the text repeat you want doesn’t appear in the list, click Create and design it at this point). Click OK.

To use a Repeat Metatool Click the Repeat Tool . While pressing the letter or number key corresponding to the Metatool you programmed, click a measure. If the Metatool was programmed to insert a repeat barline, Finale displays the Backward Repeat Bar Assignment dialog box, where you can specify the playback effects of the barline (unless it was the purely graphic Forward Repeat barline). If the Metatool was programmed to insert a text repeat, Finale displays the Repeat Assignment dialog box, where you can specify the playback effects of the text repeat.

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Metronome markings Because a metronome marking generally appears in all parts, it’s best to create it as an expression, which allows you to specify in which staves it will appear. Metronome markings added as expressions can also be defined to affect the playback tempo. See also Engraver Font.

To create a metronome marking (such as

)

1. Click the Expression Tool . 2. Double-click above the measure to which you want to attach the marking. The Expression Selection dialog box appears. 3. Click the Tempo Marks category. 4. Click Create. The Expression Designer dialog box appears. 5. Type any desired text (e.g. Allegro, Largo, etc). If you don’t need text prior to the metronome marking, skip this step. 6. From the Text menu, choose Font. Set the font to Maestro 24 point, and click OK. Of course, you can choose a larger or smaller point size if you want the tempo marking to appear larger or smaller. 7. Create the metronome marking by typing the appropriate numbers on the numeric keypad (with num lock on), while pressing the alt key. Keystrokes

Resultant marking:

Lower-case x, then alt+0200, then alt–characters

Lower-case e, then alt+0200, then alt–characters

Lower-case q, then alt+0200, then alt–characters

Lower-case q, then lower-case k, then alt+0200,

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then alt–characters Lower-case h, then alt+0200, then alt–characters

Lower-case w, then alt+0200, then alt–characters In the Maestro music font, the x, e, q, h, and w characters correspond to the , , , , and symbols, respectively; a lower-case k produces the dot; alt–0200 creates the equal sign; and the small numbers are produced using alt characters according to the table below.

Keystroke

Resultant marking:

Keystroke

alt+0193

alt+0164

alt+0170

alt+0166

alt+0163

alt+0165

alt+0162

alt+0187

alt+0176

alt+0188

Resultant marking:

You can use multiple fonts in the same expression. Simply highlight the text you want to change, and then, from the Text menu, choose Font to edit the font, size or style. 6. To edit the baseline, or vertical positioning of text, highlight the text you want to adjust, and then from the Text menu, choose Baseline 384

Shift. The measurement units here correspond to the units selected under the Edit menu. 7. Click OK or Select in each dialog box until you return to the document.

To move or delete the marking 1. Click the Expression Tool . 2. Drag the handle to move the marking; select it and press delete to remove it.

To define the metronome marking for playback 1. Click the Expression Tool . If you haven’t yet placed the marking in the score, double-click any measure. When the palette appears, click the metronome marking, click Edit, then skip to step 4. 2. Double-click the handle. The Expression Selection dialog box appears. 3. Click Create or choose an existing expression and click Edit. The Expression Designer dialog box appears. 4. Click the Playback tab to display the playback options. From the Type drop-down list menu, choose Tempo. In the Set to Value box, enter the metronome setting. For example, if your tempo is q =60 beats per minute, type 60 in the Set to Value box. (You can change the rhythmic unit by choosing it from the Tempo drop-down list menu; you could, for example, specifyh =60just as easily.) 5. Click OK, OK, Assign. Note: To easily record, or ‘conduct,’ a unique tempo change for any region, use TempoTap.

To create complex metronome markings The usual method of creating metronome markings (above) is quick and easy, but it can’t handle sophisticated tempo indications like these:

In these cases, you can use Finale’s Shape Designer to create metronome indications as complex as you wish.

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We’ve provided a swing indication as a Shape Expression in your default library. You can use this indication, duplicate and edit it, or create your own using the Shape Designer. 1. Click the Expression Tool . 2. Double-click a note or measure. The Expression Selection dialog box appears. 3. Click the Shape radio button. Notice the swing indication in the list. 4. Select the swing indication and click Duplicate, then Edit. The Shape Expression Designer dialog box appears. If you would like to create a metronome marking from scratch, click Create, Select, Create and skip to step 6. 5. Click Edit. The Shape Designer dialog box appears. 6. Use the tools in the Shape Designer to design your metronome marking. See Shape Designer for additional information. You can use the Maestro Times font to place musical characters and numbers on the same baseline. 7. Click OK. You return to the Shape Expression Designer dialog box. 8. Click the Playback tab. Assign the playback effect here. For Type, choose Swing to specify a swing feel, or Tempo to specify a tempo (beats per minute). For Effect, choose Set to Value and enter the swing value, or the number of beats per minute (respectively). See Expression Designer Playback dialog box for more information. 9. Click OK then Assign to return to the score. The shape expression appears.

To hide the scratch staff 1. Choose the Staff Tool . 2. Double-click a measure in the scratch staff. The Staff Attributes dialog box appears. 3. Check Hide Staff and click OK.

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MicNotator For best results with MicNotator, follow these basic guidelines: The purpose of MicNotator is to allow users to input notes via a wind instrument instead of a MIDI keyboard. This version of MicNotator is not designed for use with a vocalist (i.e., does not accommodate wide vibrato, glissandi, etc.). When using MicNotator, keep in mind that the desired result is to notate and print the music as you want it, not to record your performance. So think of it more like a typewriter and less like a tape recorder.

Setting up MicNotator 1. Plug the microphone into your computer. Make sure it is plugged into the Mic In port, not Line In. If you’re using a Mac that does not have a Mic port, you may need a USB to microphone adapter, such as the iMic from Griffin Technology. 2. From the MIDI/Audio menu, choose Audio Setup. Or, click the MicNotator icon on the MIDI/Audio menu Toolbar. The Audio Setup Dialog box appears. 3. Place a checkmark on Enable MicNotator. 4. Under Mic Level, use the slider to control the microphone input level. THE MIC LEVEL IS VERY IMPORTANT TO SUCCESSFUL NOTE ENTRY WITH MIC NOTATOR. For best results, use the small clip-on microphone available from MakeMusic Customer Service at 1.800.843.2066. To set the mic level, follow these steps: 5. Place the microphone as follows: Instrument

Placement

Flute, Piccolo

left side of shirt collar

Bassoon, Oboe, English Horn

shirt above the stomach

Clarinet, Soprano Sax

shirt above the stomach

Alto and Bass Clarinet

music stand

Alto, Tenor and

neck strap

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Baritone Sax All brass

outside of bell

6. Play your instrument and watch the level lights. 7. Move the slider next to the level light up or down to obtain the correct input level. The lights should be green most of the time; red is too high, blue is too low. Occasional red readings are acceptable. To ensure accurate pitch detection, follow the guidelines for mic placement and mic level above.

Using MicNotator with Speedy Entry Before you begin, make sure you’ve set up the MicNotator for your instrument. See Setting Up MicNotator. You’ll need to use the Hands-Free MIDI method (unless you can play one-handed). For more details, see Speedy Entry. 1. Click the Speedy Entry Tool , and click a measure. The editing frame appears. 2. Press caps lock; then press the number key on the computer keyboard corresponding to the value you want to enter. In other words, you’re now telling Finale what the note values are going to be before you specify the pitches. The number you press appears in the lower-left corner of the editing frame. 3. Play the notes on your instrument. Each note you play appears in the document; if Jump to Next Measure is checked in the Speedy menu, the editing frame advances automatically as soon as you fill each measure. It’s safe to outplay Finale, too; it will remember up to 500 notes (and continue to notate them as fast as your computer allows).

Using MicNotator with Simple Entry Make sure you’ve set up the MicNotator for your instrument. See Setting Up MicNotator. You’ll be using the Simple Entry Caret to do this. For more details, see Simple Entry. 1. Click the Simple Entry Tool . 2. From the Simple menu, choose Use MIDI Device for Input. 3. From the Simple menu, choose Simple Entry Options, and ensure Use Simple Entry Caret is checked. Then click OK. The Simple Entry Caret appears. 388

4. Click or use the arrow keys to place the caret where you would like to start entering notes. 5. Choose the duration of the note you want to enter (by clicking a duration icon or pressing its corresponding keystroke). See KeycutsSimple Entry Tool for details. 6. Play the notes on your instrument. Each note you play appears in the document of the duration selected. Use keystrokes to quickly change durations between notes. It’s safe to outplay Finale, too; it will remember up to 500 notes (and continue to notate them as fast as your computer allows). To record notes without help from the computer keyboard to specify duration, use the HyperScribe entry method (see below).

Using MicNotator with HyperScribe Before you begin, make sure you’ve set up the MicNotator for your instrument. See Setting Up MicNotator. For more details about HyperScribe, see Recording with HyperScribe. MicNotator will notate what you play, so your performance should reflect the desired printed results, rather than the desired sound. For instance, if you play eighth notes in a staccato style, they may come out as sixteenth notes rather than eighth notes. So you should play the full duration of all notes. Also, you will experience better results if you input notes at a slow tempo. Follow the basic guidelines for quantization that you would use with MIDI input. As a general rule, you should quantize to the smallest duration that you will play (i.e., if your smallest duration is an eighth, quantize to the eighth note rather than the sixteenth). The No Tuplets quantization setting produces the best results. Even if you have triplets in your performance, you will have better results using the No Tuplets setting and then editing the triplet measures (using the speedy note tool). If you encounter small rhythmic errors when entering sixteenth note passages, click on the More Settings in the Quantization Settings dialog box and change the Very Short Notes value from 20 EDUs to 0 EDUs. 1. From the MIDI/Audio menu, choose Quantization Settings. The Quantization Settings dialog box appears. 2. Click on the More Settings button. The More Quantization Settings dialog box appears. 3. Under Very Short Notes, click in the Remove Notes Smaller text box and enter 20. 4. Choose Remove Grace Notes. 5. Under Options, ensure Include Voice Two and Allow Dotted Rests are unchecked.

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6. Click OK. You return to the Quantization Settings dialog box. Adjust the settings, then click OK. See Quantization Settings dialog box for more information. 7. Click the HyperScribe Tool . The HyperScribe menu appears. 8. From the HyperScribe menu, choose Beat Source, then Playback and/or Click. The Playback and/or Click dialog box appears. (See Playback and/or Click dialog box) If you’d rather provide the tap or tempo yourself, see Tap Source dialog box. 9. Click the note duration you would like to use for your beat. Type in the number of EDUs for any duration that is not available from the palette. 10. If you know what tempo you want to record at, enter the tempo into the Tempo text box. If you prefer to have Finale calculate the tempo for you, click Listen, then tap your mouse in the dialog box at the desired tempo. Finale will enter the tempo you play. 11. Choose a start signal from the Start Signal for Recording drop-down list. Finale will delay starting the countoff measures and recording until it receives a start signal. Choose None (Record Immediately) if you don’t want to use a signal to start recording—Finale will immediately start recording (after playing the countoff if one was specified); choose Any MIDI Data for Finale to start recording upon receiving any MIDI signal that’s played; choose Current Metronome Sound to use the same MIDI signal as the metronome click; choose Standard Sustain Pedal or Nonstandard Sustain Pedal to signal the start by depressing the foot pedal; choose Other to define an alternate MIDI signal as the start signal in the MIDI Event dialog box (see MIDI Event dialog box). 12. Deselect Play Staves While Recording or make sure MicNotator is set to a unique input channel. See Audio Setup dialog box. 13. Click on Click and Countoff to set up your click and countoff options. For details, see Click and Countoff dialog box. 14. Click OK. You return to the document. 15. From the HyperScribe menu, choose Record into One Staff. MicNotator only supports single pitch instruments. 16. To start recording, click the measure in which you want Finale to begin recording. Signal Finale to start (if you selected a start signal). Click a measure. Or, choose Playback Controls from the Window menu, if it isn’t already selected. Change the measure if necessary, then click Record in the Playback Controls. Note: If you click a measure to start recording, Finale will start recording into the measure you clicked, not the measure displayed in the Playback Controls. 390

17. When you’re finished, if you are providing the beat, give one extra tap. The extra tap is required to fill out the beat, for the benefit of Finale’s quantization feature. 18. Click anywhere on the screen to stop recording. If the quantization or split point settings weren’t quite right, change them; then click the first measure and try the performance again. HyperScribe will overwrite whatever music is already on the staff. Note you can also adjust Finale’s MIDI In Latency setting for improved recognition. If notes tend to appear behind the beat during a recording session, do the following. 19. From the MIDI/Audio menu, choose MIDI Setup, and then click the Advanced button. 20. For MIDI In Latency, enter “50” and click OK. Try recording. You may need to experiment with different values until you find the amount of MIDI latency that works best.

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MIDI MIDI, or Musical Instrument Digital Interface, is the computer language that computers and MIDI instruments use to speak to each other. If you need help setting up your MIDI system, consult Setting Up Your MIDI System in the Finale Tutorials. If you’re interested in some of the technical aspects of MIDI, see the More on MIDI. Dozens of Finale features make use of MIDI. If you’re interested in affecting MIDI playback through the use of graphic expression marks, see Expressions (or see the entry for the individual marking). If you want to edit a specific MIDI data type, see the entries Key velocity; Start and Stop Times; Patches; Continuous data; and Pitch wheel. If you’re interested in step-time MIDI input, see Speedy Entry or Simple Entry.For information on recording and transcribing real-time MIDI performances, see Recording with HyperScribe and Transcribing a sequence. To create or transcribe a standard MIDI file for exchanging with sequencer programs, see To export a MIDI file. To assign the staves in a piece to MIDI playback channels, see MIDI Terminology –MIDI channels. For information on sending patch changes, see Patches. To synchronize Finale’s MIDI input or output to that of an external sequencer or another computer, see MIDI Sync. You have a wide range of MIDI driver choices and can send and receive MIDI on more than one instrument per port. Furthermore, supports up to 64 channels.

To copy or erase captured (or edited) MIDI data Once you’ve either captured MIDI data or edited MIDI data in the score (using the MIDI Tool), you can either copy this MIDI data to other parts of the score or erase it completely from a selected region. For example, if you’re creating a piano piece in which the sustain pedal should be pressed at the beginning of each measure and released at the end, you only have to create this pattern of MIDI controller data once using the MIDI Tool. Thereafter, you can simply copy the “pedaling” data from that one measure to any other measures in the score. When you “erase” MIDI data, you’re erasing variations from the default value of the particular MIDI data you’re editing. For example, if you erase Key Velocity data from a region, you’re effectively restoring the default velocity value (such as 64) to every note in the region. (You set this default velocity value in the Base Key Velocity box [choose Playback Controls from the Windows menu, click the speaker icon].) Similarly, if you erase Note Duration (Start/Stop Time) data from a region, you’re erasing the difference between the notated attacks and releases of the notes and the actual attack and release points (as 392

recorded in HyperScribe or edited with the MIDI Tool). In short, you’re restoring the playback of the selected region to a straightforward, “perfect” rhythmic feel. 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool 2.

3.

4. 5.

6.

. The MIDI Tool menu appears. From the MIDI Tool menu, select the MIDI data type you want to erase or copy. Choose Key Velocities, Note Durations, or Continuous Data; if you choose Continuous Data, a dialog box appears so that you can specify which kind of MIDI continuous data you want to edit. Click the appropriate button (Sustain Pedal, Modulation Wheel, and so on), or enter the continuous data number in the text box. Click OK. Select the region whose playback data you want to affect. Click to select one measure, shift-click to select additional measures, drag-enclose to select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit menu. To erase the selected MIDI data type from the selected region, press Backspace, or use the Selection Tool to clear Continuous Data. To copy the selected MIDI data type to another region, drag the selected region so that it’s superimposed on the first target measure. If the first target measure is not on-screen, scroll until you see it. Then, while pressing ctrloption and shift simultaneously, click the first target measure. The Copy MIDI Data dialog box appears (unless the first target measure is directly above or below the first source measure). Type the number of times you want the material (horizontally) copied. Click OK (or press enter).

To send an All Notes Off message On rare occasions, you may encounter a situation called MIDI lock, in which your synthesizer is “stuck” on a certain note or chord. From the MIDI/Audio menu, choose All Notes Off. Finale sends an “all notes off” message to every note of every channel. You should find that, after a moment, the situation is corrected.

To correct erratic MIDI playback If you’re working with a very “notey” score, you may at times find that your computer gets overwhelmed by the amount of MIDI data it’s asked to play. For suggestions, see To correct erratic MIDI playback.

To specify the MIDI device In order to specify a MIDI device (sound card or MIDI interface), you must first ensure it is properly installed on your computer. For details, consult your MIDI Device manual.

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1. Choose MIDI Setup from the MIDI/Audio menu. The MIDI Setup dialog box appears. 2. Specify the MIDI IN Device (from which you want Finale to receive MIDI input). While Finale can play back up to eight devices, it only records from one device at a time, and will not address the MIDI channels on all eight cards discretely. 3. For MIDI OUT or playback, specify the devices from the drop-down list. If you have more than one MIDI card installed, specify which one you want to carry MIDI channels 1 through 16 by entering the number in the Base Channel field. 4. Click OK (or press enter).

To change a MIDI channel in mid-staff To change a staff’s MIDI channel within a piece, you create an expression that’s been defined for playback as a MIDI channel number. 1. Click the Expression Tool . 2. Click on, above, or below the note to which you want to attach the channel-change expression. The Expression Selection dialog box appears. 3. Click Create. The Expression Designer dialog box appears. 4. Type the text for your Text Expression. You might want to call an expression that switches playback to channel 2 “To channel 2,” for example. To change the font, highlight the text, then from the Text menu, choose Font. If you want this marking to be invisible, don’t type anything at all. 5. Click the Playback tab. The playback options appear. 6. From the Type drop-down list menu, choose Channel. Enter the channel number in the Set To Value box. Click OK or Select in each dialog box until you return to the document.

To move or delete the channel-change expression 1. Click the Expression Tool , and click the note to which the expression was attached. Its handle appears. 2. Drag the handle to reposition the expression; select it and press delete to remove it.

To assign a staff to more than one MIDI channel Finale normally allows you to route each staff to a single MIDI channel. For some effects, however, you may want the staff’s contents transmitted on more than one channel—for example, if you want to mix the sounds from two different patches. To create this arrangement, you have to create an 394

expression (which can be invisible, if you like) defined for playback. This marking’s playback definition involves the creation of a MIDI data dump. 1. Click the Expression Tool ; click on, above, or below the note at which the music should begin playing over additional MIDI channels. The Expression Selection dialog box appears. 2. Click Create. The Expression Designer dialog box appears. 3. Enter the text (if any) for your data dump expression. To change the font, highlight the text, then from the Text menu, choose Font. (You can leave the text box blank, if you wish.) 4. Click the Playback tab. The playback options appear. 5. From the Type drop-down list menu, choose Dump. The Playback Data Dump dialog box appears. 6. In the Number of Units text box, enter 2 or 3 (depending on whether you want the staff’s playback routed to a total of 2 or 3 additional MIDI channels). A staff can play over up to three MIDI channels, including the primary MIDI channel you’ve established for the staff. 7. In the first Data box, enter $FF. This code, including the dollar sign, is a special notation that tells your MIDI Instrument to prepare to receive additional MIDI channel information. 8. In the next Data text boxes, enter one or two numbers, corresponding to the MIDI channels you want the staff’s playback routed to minus one. In other words, if you want the staff to play over channels 5 and 6 (in addition to its primary MIDI channel), enter 4 in the second Data box and 5 in the third. (Also be sure to delete the default “$00” value from each text box before entering your MIDI channel numbers.) When Finale plays your score and reaches the expression you’re creating, it will reroute the playback to the MIDI channels you’ve just specified. 9. Click OK or Select or Assign in each dialog box until you return to the document. You return to the document. Technical note: Here are some other codes you may find useful if you plan to make extensive use of the Data Dump feature. If, at some point in the staff, you want to change only one of the additional two MIDI channels you’ve specified, create another expression. Define this expression, too, to have a Data Dump Playback Definition; however, in the Data text box that originally displayed the MIDI channel that you don’t want to change 395

at this point, enter the code $FE. Example: Your first Data Dump expression added channels 5 and 6 to the staff’s playback; its Data boxes displayed $FF, 4, and 5. You want the additional channels now to be 5 and 12, so you create a new Data Dump expression; its Data boxes should display $FF, $FE, and 11. Finally, you can “turn off” any additional MIDI channels you’ve specified with a Data Dump expression by entering $FF in the appropriate Data box. Example: Your first Data Dump expression added channels 5 and 6 to the staff’s playback; its Data boxes displayed $FF, 4, and 5. You now want channel 5 to drop out, so you create a new Data Dump expression; its Data boxes should display $FF, $FF, and $FE (because $FE, remember, is the “don’t change this channel” command).

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MIDI files Finale both imports and exports standard MIDI files. A MIDI file has a format that can be understood by music programs from different companies, including most sequencer programs—even on other operating systems. If you prefer to compose by improvising in your favorite sequencer, you could save your piece as a standard MIDI file and let Finale notate it for you. When you save a MIDI file, Finale saves the instrument name (from the Instrument List) as the track name. When you open a MIDI file, Finale uses the track name as the staff name (which appears in the Staff Attributes dialog box).

To import a MIDI file To create the MIDI file, follow your sequencer’s instructions. There’s no need to quantize the sequence; however, you’ll probably find Finale’s quantization powers to be more effective than your sequencer’s. 1. Choose Open from the File menu. The Open dialog box appears. The file types are listed in the drop-down list at the bottom of the window. 2. Click MIDI File. The names of any available MIDI files appear in the list box. 3. Double-click the desired document name. The Import MIDI File Options dialog box appears, listing various transcription options. 4. Specify the way in which you want the MIDI file extracted onto Finale staves. If you click Tracks Become Staves, each sequencer track becomes a Finale staff. If you click Channels Become Staves, the contents of each MIDI channel (regardless of their track assignments) become a Finale staff. In either case, Finale will choose a clef for each resultant staff based on the range of notes in the track. (If it discovers that the notes in a track have a very wide range, it will automatically notate its contents on two staves. See Import MIDI File Options dialog box for details.) For even greater control over the track and channel extraction, click Set Track-to-Staff List; the Track/Channel Mapping to Staves dialog box appears, in which you can specify extremely sophisticated track and channel splitting. 5. Click Quant Settings. The Quantization Settings dialog box appears. 6. Click the icon representing your smallest note value. 7. Choose your quantization type. See Quantization Settings dialog box for more details. 8. Click More Settings. The More Quantization Settings dialog box appears. 9. Select the quantization settings you desire. You can select options for grace notes and voice 2, as well as retain key velocities and note durations. See More Quantization Settings dialog box for details. 397

10. Choose Key and Time Signature options. Most MIDI files contain key and time signature information already, so you usually won’t have to change the default selection (Use the File’s). 11. If you’ll want to hear the sequence played back with its original tempo fluctuations and continuous data (controllers and wheels) data, make sure Tempo Changes and Continuous Data are selected. These options capture some of the MIDI performance data from your sequence. 12. Click OK (or press enter). Finale transcribes the MIDI File into standard notation. If you discover that your settings weren’t quite right, you can close the new Finale document and try again—the original MIDI file is unaffected by Finale’s transcription efforts. Or, for smaller sectional changes, use the Retranscribe function under the MIDI/Audio menu. For more information about the elements of the Import MIDI File Options dialog box, see Import MIDI File Options dialog box and Retranscription.

To export a MIDI file 1. Prepare your Finale file. Keep in mind that any playback data will be retained in the MIDI file. This includes tempo changes (for those sequencers that support a tempo, or conductor, track), dynamics, pitch wheel data, MIDI channel assignments, in addition to Human Playback settings configured in the Playback Settings dialog box. To export a specific region, in the Playback Settings dialog box, check Observe Playback Region when saving to MIDI or audio file, and the specify the region you would like to export in the options above. Be sure to specify other important playback options in the Playback/Record Options dialog box (choose Playback Controls from the Window menu; click the expand arrow; click Playback/Record Options). Remember that you are exporting a MIDI file, text and layout will not be retained in this format. 2. Make sure that you have assigned Instruments correctly (one for each resultant sequencer track). When Finale creates a MIDI sequencer file, it places the music you’ve assigned to each Instrument in the Instrument List dialog box in a separate sequencer track. Therefore, make sure the Instrument configuration is set up the same way you want the resultant tracks set up. See MIDI channels for further instructions. 3. Choose Save As from the File menu. The Save As dialog box appears. 4. From the List Files of Type: drop down list choose MIDI File, and enter a title in the text box. Note, too, that you don’t have to click anything if you add the suffix “.MID” (including the period) at the end of the title, as in “Overture.MID”; if you do this, Finale automatically saves your document as a MIDI file. 5. Click Save (or press enter). Finale now asks which type of MIDI file you want to create: Format 1 (multiple tracks), Format 0 (a single, multichannel 398

track), or just a tempo map. Format 1 is by far the most common format. Also, choose whether you want to save any bookmarks you created in Finale as sequencer marks in your MIDI file. 6. Select a MIDI file format by clicking the appropriate button.

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MIDI Sync MIDI Sync signals, often referred to as Song Pointer data, consist of a stream of MIDI data that allows two sequencers or computers to perfectly synchronize their playback or recording (providing both are equipped to interpret this data). Finale can both transmit and receive MIDI Sync data; in other words, you can either use Finale to drive external sequencers so that they all play back together, or you can record new music in Finale (or listen to a playback of a Finale document) along with the tempo track of a sequencer that’s sending MIDI Sync data. (Finale supports MIDI clock signals as well as SMPTE MIDI Time Code. See SMPTE and MIDI Time Code.)

To transmit MIDI Sync data while playing back a Finale document Finale sends MIDI Sync (Song Pointer data) when you’re playing back music in the Transcription window, or when you’re using the Playback Controls. Send MIDI Sync must be selected in the MIDI Setup dialog box. Follow these instructions if you want Finale to be the “master” device and an external sequencer to be the “slave” (in other words, Finale is providing the synchronization signal). 1. Choose Send MIDI Sync from the MIDI/Audio menu.From now on, Finale will transmit MIDI Sync (Song Pointer data) any time it plays back your document. If you have connected your computer to an external sequencer (or another computer) configured to interpret this kind of MIDI message, it will wait in “pause” mode until Finale begins to play, at which point the two will play in synchronization.

To receive MIDI Sync data while playing back a Finale document Follow these instructions if you want Finale to be the “slave” device and an external sequencer to be the “master” (in other words, the external sequencer is providing the synchronization signal). 1. From the Window menu, choose Playback Controls if they are not already visible. 2. Click the speaker icon to show the Playback Settings dialog box. Make sure Scrolling Playabck is unchecked and click OK. 3. From the Document menu, choose Sync and Video Options. The Sync and Video Options dialog box appears. 4. Select MIDI Sync, and then click OK. Finale now waits for a MIDI Sync signal from the external sequencer. Once the external sequencer begins to play, Finale will automatically “sync up” to it, playing precisely together with it, even if you jump forward or backward in the external sequence.

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5. Click Play. Finale will wait for the MIDI Sync data from the other MIDI device before playing the music.

To transmit MIDI Sync data while recording in the Transcription Mode You can transmit MIDI Sync signals during either recording or playing back in the Transcription Tool. You might want to set up this configuration if, for example, you want to record a new track with a drum machine as accompaniment. Using this technique, Finale will “drive” the drum machine as you record new music in the Transcription window. Finale supports MIDI clock signals as well as SMPTE and MIDI Time Code. 1. Click the HyperScribe Tool select Transcription Mode and click a measure. The measure you click will be the first measure of the resultant transcription. You enter the Transcription window. 2. Choose Click Output from the Time Tag menu. The Click Output Type dialog box appears. 3. Click Send MIDI Sync. Click OK (or press enter). 4. Enter Time Tags in the usual way. You can record Time Tags either by tapping a key or pedal, or by telling Finale to enter them automatically (using the Set To text box). You can find full instructions for the first method of entering Time Tags under Transcribing a sequence, and for the second method under Metronome markings. 5. Under the words Time Tag, click Play. Proceed with your playback or recording as usual. Finale will transmit MIDI Sync (song pointer data) instead of providing an audible click. If you have connected the computer to an external sequencer (or another computer) that has been configured to interpret this kind of MIDI message, it will wait in “pause” mode until Finale begins play, at which point the two will play in synchronization.

To use the MIDI Sync signal to provide the “tap” in HyperScribe Normally, when you’re transcribing music in HyperScribe, you tap a key or pedal to provide Finale with a tempo reference. If you’re using HyperScribe to transcribe music being played by an external sequencer, however, the sequencer can provide the tempo reference by itself by transmitting MIDI Sync signals. Finale supports MIDI clock signals but does not recieve SMPTE, MIDI Time Code, or MIDI Machine Control. 1. Click the HyperScribe Tool . The HyperScribe menu appears. 2. From the Beat Source submenu of the HyperScribe menu, choose External MIDI Sync. Proceed with the usual HyperScribe preparations, concluding by clicking the first measure in which you want the transcription to appear. Finale will wait in pause mode until it receives the MIDI Sync 401

signal, at which point it will automatically “sync up” to it, transcribing the music as it goes. No tapping is needed.

To transmit Song Pointer data during playback 1. Choose MIDI Setup from the MIDI/Audio menu. The MIDI Setup dialog box appears. 2. Select Send MIDI Sync. Click OK (or press enter). You may also choose Click Output from the Time Tag menu, and select Send MIDI Sync; Finale will now transmit this information instead of an audible click.

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Minor keys Finale defaults to a major key system, where the scale that begins on C has no sharps or flats. In such a key system, C is considered by Finale to be scale degree zero of the scale with no sharps or flats (C major). You can, however, tell Finale that you’re working in a minor key, where the scale that begins on C has three flats (for example), and in the scale with no sharps or flats (A minor), C is not the root. If you follow the instructions below, you’ll notice two significant changes in Finale’s behavior. First, when you create chord symbols, their descriptions in the Chord Definition dialog box will be accurate (the root of an A minor chord in a scale with no sharps or flats will be labeled 1, not 6). Second, if you’re transcribing music using HyperScribe or the Transcription Mode, you’ll discover that accidentals are transcribed with greater accuracy. In A minor, for example, the note between G and A will be notated as a G (instead of an A , as it would be called in C major).

To establish a minor key system 1. Click the Key Signature Tool ; then double-click the measure where the minor key is to begin. The Key Signatures dialog box appears. 2. From the drop-down list menu next to the scroll bar, choose Minor Key. 3. Use the scroll bars at the top of the window to set the minor key signature you want. If you want to select A minor, leave the default key signature (no sharps or flats). 4. Specify the range of measures you want to be affected by the key change. 5. Specify the transposition effect. The three choices are: Transpose Notes, in which any existing music will be transposed to the new key; Hold Notes to Original Pitches, Chromatically, which holds each note at its original absolute pitch, maintaining the original spelling of the note, (for example, a G in the key of E will remain a G in the key of E ), or Enharmonically, in which the spelling of the accidentals is adjusted where necessary (for example a G becomes an A in the key of E ); Hold Notes to Same Staff Lines (Modally), in which each existing note remains on its original line or space, but no new accidentals appear. If you select Transpose Notes, choose either Up or Down from the drop-down list menu to specify the direction in which you want the music transposed. 6. Click OK (or press enter).

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Mirroring To create a mirror (intelligent copy) You can only make mirrors in measures that are currently empty. 1. Click the Mirror Tool , and from the Mirror menu, choose Dragging Mirrors Measures. 2. Select the music that will serve as the source of the copies. 3. Drag the selection so that it’s superimposed on the first target measure. Remember, the target measures must be empty. If the first target measure is offscreen, scroll to it; then, while pressing ctrl and shift simultaneously, click it. In either case, the Mirror Attributes dialog box appears. 4. If you want the mirror to be transposed in relation to the source measure, click Transposition, specify the interval, and click OK. For example, if you’re doubling a violin line in the cellos, you’d probably want to transpose the mirror (the cello copy) down an octave or two. In this case, you’d choose Down, Diatonically, and Octave from the drop-down lists menus. 5. Specify any elements of the source music that you don’t want to appear in the copy. To do so, click Don’t Draw, and then click the elements you don’t want to appear (Lyrics, Chords, or Beam Extensions, for example). 6. Click OK (or press enter).

To identify mirrored measures in the score • From the Window menu, choose Advanced Tools. Click the Mirror Tool . A mirror icon appears on any measure that’s a mirror of a “normal” measure.

To convert mirrored measures into “normal” measures 1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Check Notation, then Convert Mirrors. A dialog box appears, asking you to confirm your decision. 3. Click Yes.

To create a composite mirror

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Using the Mirror Tool, you can create a measure that contains intelligent copies of individual notes from several normal measures. The resulting patchwork measure is called a composite mirror.

Note: Composite mirroring combines notes from different measures into a single measure. If you want to create a mirror consisting of selected notes from a single measure, copy the entire measure (see To create a mirror, above), and see To rebeam or edit an existing mirror, below, for instructions on choosing selective elements of it. 1. From the Window menu, choose Advanced Tools. Click the Mirror

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Tool ; then double-click an empty measure (the target measure). The Tilting Mirror dialog box appears, so called because it can be made to “reflect” the contents of any other measure in the score. At the moment, the Tilting Mirror dialog box is blank. Click the up, down, left, or right arrow buttons to maneuver your “window” on the score to the measure whose notes you want to mirror. Click the up arrow to move up a staff, the right arrow to move to the next measure, and so on. As you proceed, you’ll see the contents of each measure you view, adjusted for the target measure’s clef. (If you move your “view” to another mirrored measure, it appears blank in this window.) When you’re viewing a measure whose notes you want to mirror, drag the “cut bar” handles inward to enclose the desired notes. The “cut bars” are the dotted lines at each end of the window, whose handles you drag to move them. Click Next. Finale keeps track of the notes you just selected and restores the cut bars to the ends of the window, ready for another set of notes. Repeat the last three steps, as necessary. Use the arrows to locate the measure, the cut bars to identify the notes, and click Next to add the selected notes to the target measure. To remove one of the elements of your composite mirror, click the Prev (or Next) button until the notes appear in the window; then click Delete. If you want to insert a new selection between two existing ones, click the Prev or Next buttons until you’re viewing the selection after the insertion point; then click Insert. Use the directional arrows and cut bars as usual. Click OK. The Mirror Attributes dialog box appears. Specify a transposition, and specify musical items to ignore (Don’t Draw), as needed.

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7. Click OK (or press enter). The composite measure appears in the score with a mirror icon. If any of your measure-fragment selections were blank, any selections after the blank selection are ignored.

To rebeam or edit an existing mirror 1. From the Window menu, choose Advanced Tools. Click the Mirror Tool , and shift-double-click the mirrored measure. The Mirror Attributes window appears. 2. If you want to rebeam the notes in the measure, click Rebeam, and specify a rebeaming option. Rebeam to Time Signature beams the notes in the usual way, correcting any peculiar beaming that arose from the use of composite mirroring. If you click Rebeam to Beam Chart, a window appears with a handle on each eighth (or smaller value) note in the measure. In this window, you break the beam to a note (from the previous note) by clicking its handle. Any notes whose handles you haven’t selected will be beamed when you return to the document. (To beam all notes together, select the first handle in the measure.) Click OK when you’re finished. 3. If you want the mirror to display only selected notes (instead of all notes) from the source measure, click Selective Mirror ID. A picture of the complete composite mirror appears, with a handle on every note. Click the handles of the notes you want to include in this sub-selection of your composite mirror, known as a selective mirror. Any handles you don’t select will be omitted from the final display of the measure (or turned into rests). You can use a selective mirror to select the melody notes within a triadic passage, for example. Click OK when you’re finished selecting handles. 4. Specify a transposition, if desired. Click OK.

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Mordents A mordent is a form of ornament, akin to a turn (or gruppetto), denoted by the symbol (e.g. ) placed over a note. For complete instructions on creating and manipulating articulation markings, see Articulations. You can’t define the Articulation mordent for playback. You can, however, create a mordent marking as an expression and define it for playback.

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Multimeasure rests

You can create a multimeasure rest (or sometimes referred to as a block rest) many different ways with Finale. One way is by generating parts or turning on Special Part Extraction. This will create multimeasure rests in your entire score, and all the rests will look the same. See Multimeasure Rests in linked parts and To temporarily view a part using Special Part Extraction. You can also use the Measure Tool to quickly create multimeasure rests in a selected region or for the entire piece. You can change the appearance of a single multimeasure rest without affecting the appearance of the other rests in the score. Also, you can choose to use shapes and/or symbols for multimeasure rests in the same piece, and control when Finale should display the number which indicates how many measures are in the rest.

Note: You must be in Page View to use the Break, Create, or Edit multimeasure rest commands.

To set up the appearance of multimeasure rests Use the Multimeasure Rest command in the Multimeasure Rest section of the Document Options to set up the default appearance of most of the rests in your score. 1. From the Document menu, choose Document Options and select Multimeasure Rest. 2. Specify how you want the multimeasure rests to appear when you use Extract Parts (in the File menu), when you turn on Special Part Extraction (in the Document menu) for one or more staves, or when you choose Create (in the Measure menu’s Multimeasure Rests submenu. For details about the settings in this set of options, see Document Options-Multimeasure Rests. 3. Optional: If you want to use a Shape to notate multimeasure rests, make sure that Start Numbering at ___ Measures is set to two measures. Finale will display a number on all multimeasure rests in your score. If you prefer that no number appears—as when using the new 408

symbolic rest style, for example—enter the number of measures to be included in a multimeasure rest before Finale will display the number. 4. Click OK when your settings are complete. Finale uses these settings when you create multimeasure rests in the score. If you need to change the settings for a single multimeasure rest, use the Edit command in the Multimeasure Rests submenu (in the Measure menu).

To display symbols for multimeasure rests

1. From the Document menu, choose Document Options and select Multimeasure Rests. 2. Select Use Symbols for Less Than ___ Measures. Finale’s default number of measures for using rest symbols (instead of shapes) is nine. Symbols are usually used for rests containing up to eight measures, and shapes are used for rests containing nine or more measures. 3. Optional: If you want to use symbols for multimeasure rests containing fewer or more measures than the default of nine measures, enter the number of measures in the Use Symbols for Less Than ___ Measures text box. 4. Click OK when your settings are complete. Finale uses these settings when you create multimeasure rests in the score. If you need to change the settings for a single multimeasure rest, use the Edit command in the Multimeasure Rests submenu (in the Measure menu).

To create a multimeasure rest When you create parts using Finale’s Linked Parts and Special Part Extraction commands, Finale groups all empty measures into multimeasure rests. If you would rather control which measures get combined into multimeasure rests, you can select the measures that you want to combine into a multimeasure rest in your score. 1. Choose the Selection Tool . 2. Select the region that contains the measures you want to display as a multi-measure rest. You can also select your whole score. (You must be in Page View to do this.)

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3. From the Edit menu, chose Multimeasure Rests > Create. Finale creates multimeasure rests in the selected region, using the same rules as when you use Special Part Extraction to create rests—breaking them at key and time signatures, or when you’ve selected Break a Multimeasure Rest in the Measure Attributes dialog box for the measure. In order for measures to be grouped, they must contain default whole rests. If a whole rest was entered in a measure, that measure will not be included in a multimeasure rest until you erase the whole rest (using the Simple Entry or Speedy Entry tools, or the Edit menu's Clear commands). 4. Choose Update Layout from the Utilities menu to ensure that Finale is displaying the current layout of the score.

To break a multimeasure rest When you create parts, Finale groups all empty measures into multimeasure rests. You can now break one or more multimeasure rests into separate measures. For example, you might prefer that measures are written out if less than four consecutive measures are empty, or you might want to break a single multimeasure rest into two or more rests. 1. Choose the Selection Tool . 2. Select the multimeasure rest to break. To break more than one multimeasure rest, select a region that contains the rests. (Remember that you must be in Page View to do this.) 3. From the Edit menu, chose Multimeasure Rests > Break, or right-click on the multimeasure rest and choose Multimeasure Rests > Remove. Finale breaks the multimeasure rests in the selected region into separate measures of rests. 4. Choose Update Layout from the Utilities menu to ensure that Finale is displaying the current layout of the score.

To edit the appearance of a multimeasure rest When you edit a multimeasure rest using the Measure menu, you’ll change the appearance of the selected rest only. (If more than one multimeasure rest is selected, Finale changes only the first rest in the region.)

Note: If you find that you’re using the Edit command frequently to change rests, consider changing the global settings in the Document menu. See To set up the appearance of multimeasure rests.

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1. Choose the Selection Tool . 2. Select the multimeasure rest you want to change. (You must be in Page View to do this.) 3. From the Edit menu, choose Multimeasure Rests > Edit. 4. Specify the settings that you want Finale to use for this multimeasure rest. 5. Click OK to return to the document, where Finale displays your new settings. 6. Choose Update Layout from the Utilities menu to ensure that Finale is displaying the current layout of the score.

To display a measure number range for a multimeasure rest 1. Click the Measure Tool . 2. From the Measure menu, choose Edit Measure Number Regions. 3. Click Show Measure Number Ranges on Multimeasure Rests. Additionally you can click Always Show on Multimeasure Rests force ranges no matter what the other settings. 4. If your measure number is not displayed, choose Show Number from the Measure Numbers submenu of the Measure menu. The current multimeasure rest is not designated to show in the current measure number region, show it must be forced on.

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Multiple key signatures You can create a score in which each staff has a different key signature. Note that the presence of multiple simultaneous key signatures isn’t the same thing as establishing staves for transposing instruments (trumpet and clarinet, for example), in which various staves are notated in different keys but, in fact, all sound in the same key. To find out how to handle transposing instruments—for which Finale correctly changes the key signature automatically—see Transposing instruments.

To create multiple simultaneous key signatures 1. Click the Staff Tool , and double-click the first staff whose key you want to make independent. The Staff Attributes dialog box for the selected staff appears. 2. Under the Independent Elements heading, select Key Signature. You have to click this checkbox for each staff that will be in an independent key. If you have several staves to prepare this way, don’t exit the Staff Attributes dialog box; choose the next staff from the drop-down list menu at the top of the dialog box. 3. Click OK (or press enter). You return to the document. If you now click the Key Signature Tool, a handle appears on every measure that you’ve “enabled” to have an independent key signature. To change the key signature for an “independent key signature” staff, click the Key Signature Tool, and then double-click a measure of the staff. The dialog box appears so that you can set the key in the usual way.

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Multiple passes and endings You can define as many passes for an ending as you wish. As you define multiple passes for an ending, Finale defines playback for you automatically.

To create multiple passes for a repeat ending 1. Click the Repeat Tool ; and highlight the measure(s) you want to place the ending above. 2. Right-click the highlighted region and select Create Ending. Or, from the Repeat menu, choose Create Ending. The Create Ending dialog box appears. 3. For Ending Numbers, enter the passes you want to include for this ending, separated by commas. If you want to add several consecutive passes, use a hyphen (for the image above, for example, you would enter “1-4”). 4. If you want playback to skip over these measures after the final pass and resume at the next ending, for Target, choose Next Ending. You can also specify a different target using the options in this drop-down menu. 5. If you want a backward repeat bar to appear at the end of this region (as shown above), ensure Create Backward Repeat Bar is checked. The backward repeat bar is defined to jump to the nearest forward repeat. To edit the target for a backward repeat bar, double-click its handle to open the Backward Repeat Bar Assignment dialog box. Now, if you want to specify the staves in which you want this ending to appear, select or create a staff list in the Create/Edit Ending dialog box and Backward Repeat Bar Assignment dialog box. 6. Click OK. The ending appears in the score. Now, to create a final ending, do the following: 7. Right-click the measure following the ending you just created and choose Create Ending. Or, highlight the measure following the ending you just created, then from the Repeat menu, choose Create Ending. 8. Enter the desired number(s) after Ending Number(s). Separate with commas or a hyphen as described earlier. 413

9. For Target, click the drop-down menu and select Never Skip Ending. 10. Uncheck “Create Backward Repeat Bar”. 11. Click OK. Now, after the final pass of the ending defined earlier, playback will skip to this ending.

To create multiple endings You can easily create three or more endings by manually defining repeat endings.

1. Click the Repeat Tool ; and highlight the measure(s) in which you want to place the first ending. 2. Right-click the highlighted region and select Create Ending. Or, from the Repeat menu, choose Create Ending. The Create Ending dialog box appears. 3. For Ending Numbers, enter the number(s) you want to appear in this ending. These numbers also indicate on which passes this ending is played. 4. If you want a backward repeat bar to appear at the end of this region (as shown above), ensure Create Backward Repeat Bar is checked. 5. Now, to assign these endings to certain staves, select or create a staff list. For more information, see Staff List dialog box. 6. Click OK. The ending appears in the score. 7. Right-click the measure following the ending you just created and choose Create Ending. (Or, if the ending is more than one measure long, highlight the region of measures, Right-click the region and choose Create Ending.) The Ending Number is already defined for you. Change this number or add additional numbers if necessary (separated multiple numbers with commas or a hyphen to indicate a range of numbers). 8. If you want a backward repeat bar to appear at the end of this region (as shown above), ensure Create Backward Repeat Bar is checked. 9. Repeat steps 6, 7, and 8 for any number of additional endings you wish to create. 10. When defining the final ending, for Target, click the drop-down menu and select Never Skip Ending. Then, uncheck “Create Backward Repeat Bar”. 414

11. Click OK. The backward repeat bar for each ending is defined to jump to the nearest forward repeat. To edit the target for a backward repeat bar, double-click its handle to open the Backward Repeat Bar Assignment dialog box.

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Multiple time signatures With the following technique, you can create a score in which each staff has a different time signature. The staves won’t play back in different meters, but the music in all staves will be spaced (and beamed) correctly.

To create multiple time signatures 1. Click the Staff Tool , and double click the first staff whose time signature you want to make independent. The Staff Attributes dialog box for the selected staff appears. 2. Under the heading Independent Elements, select Time Signature. You have to click this checkbox for each staff that will be in an independent time. If you have several staves to prepare this way, don’t exit the Staff Attributes dialog box; choose the next staff from the drop-down list at the top of the dialog box. 3. Click OK (or press enter). You return to the document. If you now click the Time Signature Tool, a handle appears on every staff you’ve “enabled” to have an independent time signature. To change the time signature for an “independent time signature” staff, click the Time Signature Tool, and then click a measure of it. The Time Signature dialog box appears, so that you can set the time in the usual way.

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Multiple voices You can have up to eight independent musical lines per staff. Finale offers three methods for working with inner voices: the Layer mechanism, the Voice 1/Voice 2 mechanism, and superimposing staves. You’ll probably find it easiest and quickest to work with the Layer system, which treats each staff as four transparent layers, if you’re entering music in step time (Simple Entry or Speedy Entry tools). HyperScribe automatically transcribes inner voices with the Voice 1/Voice 2 feature. The Voice 1/Voice 2 and four-Layer mechanisms are both capable of generating flexible stems-up/stems-down notation, and the two mechanisms can be combined (giving you a total of eight independent voices). If you have even more complex inner-voice relationships, you can use the superimposedstaves technique (see below) as well.

To enter multiple voices using layers Each staff in Finale has four transparent layers of music. Each layer can play back over a different MIDI channel and synthesizer patch, and each can have its own dynamics. You can view one layer at a time, or all simultaneously. When you’re placing expression marks, you can tell which layer is receiving the mark by the indicator in the lower-left corner of the screen, which identifies the current layer by number. (You can switch from one layer to the other by clicking the layer buttons.) Finally, each layer may be taught to flip its stems up or down automatically, to help distinguish the multiple voices. 1. From the Document menu, choose Document Options, then select Layers. The Layer options appear, letting you specify the characteristics of each layer. In general, you’ll want the stems of Layer 1 to flip up, but only when Layer 2 is present, and the stems of Layer 2 to flip down, but only when Layer 1 is present…and so on. Furthermore, you’ll probably want ties to flip the “wrong way”—in other words, if there are notes in Layer 2, you’ll want ties in Layer 1 to flip upward, even though the Layer 1 stems are upward. Therefore, you’ll probably want to select options as follows. For Layer 1, choose Up from the Freeze Stems drop-down list menu; select Freeze Ties in the Same Direction as Stems; and select Apply Settings Only if Notes are in Other Layers. For Layer 2, choose Down from the Freeze Stems drop-down list menu; select Freeze Ties in the Same Direction as 417

Stems; and select Apply Settings Only if Notes are in Other Layers. The settings for Layers 3 and 4 are up to you, since their stem and tie directions probably depend on the piece you’re notating. In addition, you may wish to specify that the placement of rests in one layer is such that they don’t “get in the way” of notes in another. You tell Finale how far out of the way you want these rests to appear by entering numbers into the Adjust Floating Rests By text box. This text box measures the distance, in lines and spaces, from the center line of the staff. In the usual situation, you’d enter a positive number for Layer 1 (such as 6), and a negative number for Layer 2 (such as -6). If you choose not to use the Adjust Floating Rests option, don’t worry— you can always drag rests vertically later. 2. Specify stem direction, tie direction, and rest placement for each layer. 3. Click OK (or press enter). If you like, choose Show Active Layer Only from the View menu. When this option is selected, only the current layer (as indicated by the drop-down list menu in the lower-left corner of the window) is visible; the other layers are hidden. You can switch to another layer by clicking the Layer push buttons menu. 4. Choose the layer you want to edit first, using the Layer push buttons menu in the lower left corner of the screen. 5. Click the Speedy Entry Tool a, and click a measure in which you want to enter music. The editing frame appears. Enter the music for the first layer in the usual way (see Speedy Entry). 6. Press shift-’ (apostrophe) The editing frame flips to the next layer, and the first layer is dimmed. (Shift-’ cycles you through the four layers– from Layer 1 to Layer 4.) You can now enter and edit music in this layer. 7. To flip an individual stem, position the cursor on it and press the L key. Press L again to make it flip back. 8. If you need to adjust colliding noteheads, use Music Spacing. See Document Options-Music Spacing for more information. 9. To drag a rest, position the cursor on it and press the asterisk (*); then drag it up or down. If you want the rest to snap back to its default position, position the cursor on it and press the asterisk (*) key again. 10. To hide a note or rest, position the cursor on it and press the letter O key. Press O again to restore the entry. Use this feature to hide a Layer 2 half rest, for example, to give the appearance of a second voice entering on the third beat. See also Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in. 11. Press zero (0) to exit the editing frame. When you use the Selection Tool to copy music, you’ll copy whichever layer or layers are showing. To copy Layer 1 only, for example, choose Show Active Layer Only from the View 418

menu, and choose Layer 1 from the layer push buttons (lower-left corner of screen); copy in the usual way (see Copying music).

To move music from one layer to another 1. Click the Selection Tool , and select a region of music. See Selecting music for some region-selecting shortcuts, but note that, for this procedure, you must select a region of complete measures. 2. From the Edit menu, choose Move/Copy Layers. The Move/Copy Layers dialog box appears. 3. Specify how you want the layers’ contents moved. For example, to move the contents of Layer 2 into Layer 3, select Move Contents of Layer 2 into and choose Layer 3 from the drop-down list menu. Be careful how you use the elements of this dialog box. If you set it up incorrectly, you could lose music—for example, if you direct Finale to place the contents of one layer into a layer that already contains music. (Finale will warn you.) 4. Click OK (or press enter).

To enter multiple voices using V1/V2 You can also have two independent voices within each layer, called Voice 1 and Voice 2 (or V1/V2, as they’re called in the Speedy Entry editing frame). 1. Click the Speedy Entry Tool and click a measure in which you want to enter music. Unlike the layer mechanism, in which it doesn’t matter which musical line you notate first, you must enter Voice 1 first when working with the V1/V2 mechanism. In general, it’s best to enter the longer note values first. 2. Enter the notes of the first voice (Voice 1). “First” doesn’t necessarily mean upper. V1 and V2 may have their stems up or down at any point. 3. Press the arrow keys to move the insertion point to the Voice 1 note at which the first Voice 2 note is to appear. A Voice 2 musical line may materialize at any point in the measure, as long as it’s been “launched” from an existing Voice 1 note. Indeed, you can have several “launches” within a measure (although you can’t beam together Voice 2 notes that have been launched from different Voice 1 notes). 4. To enter Voice 2, press the apostrophe (') key. The indicator now reads V2. The insertion bar is offset slightly from the Voice 1 note to remind you that you’re now editing a second voice. 5. Enter the notes of the second voice (Voice 2). You may notice that the note stems don’t always flip in the proper directions.

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6. To correct note stem directions, switch to the correct voice by pressing the apostrophe key. Move the cursor to the note in question by pressing the arrow keys. Press the L key to freeze the stem in the opposite direction. When a stem is “frozen” up or down, it’s no longer free to change directions if it gets transposed. To restore a stem to its “floating” status, position the insertion bar on the note and press ctrl-L. You can move rests up or down, too. If the rest is in Voice 1 or 2, you can simply drag it. If you later want the rest to snap back to its default position, position the cursor on it and press the asterisk (*) key.

To enter additional voices by superimposing staves If your music requires more than the eight voices available through the use of layers and V1/V2, you can superimpose two or more staves on top of one another to accommodate the extra voices. Those who prefer to use layers might use this method whenever more than four independent voices are required in a staff. 1. Enter notes into one staff with the first four layers, and use the V1/V2 method to add an additional voice on each layer if desired. 2. Choose the Staff Tool and create a new staff with the same properties, such as transposition and clef, as the existing staff. You might use the New Staves (with Setup Wizard) option (under the Staff menu) to do this, or configure the staff manually in the Staff Attributes dialog box. See Staff Tool for more details. 3. Enter the remaining voices in the new staff using layers and the V1/V2 method. 4. Click the handle on the new staff and drag, or use the arrow keys to nudge it on top of the original staff. Use the Zoom Tool to zoom in and insure the new staff is positioned directly over the original staff. By superimposing two staves, you have twice the number of possible voices.

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Music spacing Music spacing is automatically applied when you enter music into Finale. However, if you decide to turn off Automatic Music Spacing, the spacing is linear; in other words, a whole note gets exactly the same horizontal space as four quarter notes. Furthermore, this newly-entered music may contain collisions between lyric syllables, overlapping chord symbols, and crowded 32nd notes. One of Finale’s most important features—and one not found in any other notation program—is its many customizable music spacing options. Finale can apply a sophisticated system of width allotments to each note of your document or scale all note durations proportionally. This feature is modeled on traditional professional music typesetting, where the engraver would consult a table of width measurements for each note value. The result is nonlinear spacing, where notes of different duration occupy only as much space as they need. Music Spacing Options have the added benefit of neatly adding additional space to each measure, as necessary, to accommodate lyrics, chord symbols, and “notey” passages. In Finale, the width tables used to space the music are stored in Music Spacing Libraries. Spacing tables are width measurements, one per rhythmic value. For example, in the library called Loose Spacing, a quarter note is given 1/3 inch of width and an eighth note is given 1/4 inch. By spacing your music with the aid of a Music Spacing Library, you can create extremely professionallooking scores, which are neither wider nor narrower than they need to be. See Finale Libraries for more Music Spacing Libraries. You apply a music spacing to your music using the Music Spacing command or you can use the default Automatic Music Spacing option that applies music spacing as you enter notes or edit your music. This example is spaced with Beat Spacing. Each beat is spaced nonlinearly first, then spaced within the beat linearly.

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This example is spaced with Note Spacing. Each note is spaced nonlinearly. This example is spaced with Time Signature Spacing. Each note is spaced linearly.

You can edit Finale’s Music Spacing libraries so that they distribute width differently, and you can also create your own Music Spacing Libraries. Aside from the tables, you can use a scaling factor to smoothly set the relationship between the different note durations in you document. The picture below illustrates this difference between Time Signature Spacing (or a scaling factor of 2.0) and a Fibonacci scaling factor of 1.618.

Scaling factor of 2.0

Scaling Factor of 1.618 Fibonacci spacing For information regarding the relationship between music spacing the score and linked parts, see Music Spacing in linked parts.

To turn off Automatic Music Spacing • From the Edit menu, choose Program Options, then Edit. Uncheck Automatic Music Spacing. When the checkmark is not shown, Automatic Music Spacing is not enabled. Check the box to turn it back on.

To load an Music Spacing library into an open document 422

1. From the File menu, choose Load Library. The Open dialog box appears, letting you navigate through the folders on your disk. Find and open the Libraries folder. 2. Double-click the name of the desired Music Spacing Library.

To reapply music spacing over a region 1. Click the Selection Tool . 2. Select the music you want to respace. In general, you’ll want to select all the staves in a system. If you select only one staff, for example, you could get unexpected results, because the respacing command sets the measure widths for all staves according to the spacing of the selected region. Thus, if you select and respace measure 1 in the flute staff, which contains only a whole note, the running eighth notes in another staff’s measure 1 will be compressed and overlapping. 3. From the Music Spacing submenu of the Utilities menu, choose either Apply Beat Spacing or Apply Note Spacing. If you use Beat Spacing, Finale calculates where each beat should be positioned in the measure; any notes within the beat are spaced linearly (where an eighth note gets half as much space as a quarter note, and so on). If you use Note Spacing, Finale uses the table of values to determine the exact position of each note or rest in a measure. Thus, the Note Spacing command provides more exact spacing than does the Beat Spacing command. Either command takes time. But when done processing, you’ll find that your music has been carefully respaced according to the Music Spacing Library’s specifications. Note: For a more complete discussion of Finale’s spacing feature, see Document Options-Music Spacing. The final step is extremely important: 4. Choose Update Layout from the Options menu. The Music Spacing commands are responsible for laying out the notes within each measure. In doing so, Finale adjusts the widths of the selected measures, and they may no longer fit neatly into one line of music across the page. The Update Layout command is responsible for laying out the measures across the page; it justifies the measures with the page margins. If you don’t choose Update Layout after respacing your music, you may find measures at the ends of systems in Page View that seem much too wide or too narrow. (Choosing Update Layout will solve the problem immediately.)

Note: When Finale spaces the notes of your document, it widens the selected measures as necessary to make room for lyrics, if any. If you choose Music Spacing in the Document Options dialog box, you’ll 423

discover that there are other elements you can take into consideration when spacing measures: chord symbols, and accidentals, for example. Select the appropriate checkboxes, and click OK.

To edit an existing Music Spacing library Finale’s music spacing libraries were constructed by listing rhythmic values— from 64th note to double whole note—and assigning each a horizontal space measurement. Depending on your own tastes, you may sometimes want to alter the music spacing libraries. 1. Load an existing Music Spacing Library as described above. 2. From the Document menu, choose Document Options and select Music Spacing. The Music Spacing options appear. 3. Click Spacing Widths, select Use spacing widths table, then click Widths. The Widths dialog box appears, displaying a durational value (measured in EDUs, 1024 per quarter note) in the top box and its allotted horizontal width in the bottom box. (The units of the lower box are whatever you’ve selected using the Measurement Units command in the Edit menu.) Click Duration to see the closest notated equivalent of the EDU value. If you click the Prev and Next buttons, you can step through the various rhythmic values to see what horizontal space each has been assigned. (To help you with the math, remember that 512 EDUs is an eighth note.) Or click Duration and click the durational value whose allotment you want to change. 4. Click Prev or Next until you locate the rhythmic value whose width you want to alter. Enter its new value in the bottom text box. In the quintuplet example, you’d actually want to create a new rhythm/width pair, and insert it into the existing library. 5. To create a new rhythm/width pair, enter the rhythm value (in EDUs) in the top box, and its width allotment in the bottom box; then click Insert. When you do this, it will appear that you’ve typed over an existing duration/allotment pairing. But in fact, when you click Insert, you merely add your new pair to the library. 6. Similarly, you can remove the displayed duration/allotment pairing by clicking Delete. Note the other options in this box, by the way—by selecting the appropriate checkboxes, you can specify which musical elements you want Finale to consider when calculating new measure widths: Notes and 424

Accidentals, Articulations, Chords, Lyrics, Note-attached Expressions, Clefs, Unisons and Seconds. See Document Options-Music Spacing for details. 7. When you’re finished, click OK. Use the Music Spacing command (Utilities menu) to apply the new allotments to your document.

To restore a region to proportional spacing 1. Click the Selection Tool , and select the region you want to restore. 2. From the Utilities menu, choose Music Spacing, then Apply Time Signature Spacing. Finale restores the music to proportional spacing, where a whole note is allotted the same width as four quarter notes. Adjust the widths of the measures, if you wish (see Measures).

To create a new Music Spacing library from scratch 1. Load one of the existing libraries. You’ll save time by simply modifying the allotment values of an existing library. 2. From the Document menu, choose Document Options and select Music Spacing. The Music Options appear. 3. Click Spacing Widths, then click Widths. 4. Type over the existing allotment value for each duration value. Insert new duration values as needed, following the steps in “ To edit an existing Music Spacing Library,” above. 5. When you’re finished, click OK. Use the Music Spacing command (Utilities menu) to apply the new allotments to your document.

To save your edited or newly created Music Spacing library 1. Choose Save Library from the File menu. The Save Library dialog box appears. 2. Click Music Spacing; then click OK. You’re then asked to title the new library. 3. Type in a new title and click Save (or press enter). The next time you need your customized spacing, load the modified library (choose Load Library from the File menu) and use one of the Music Spacing commands.

To specify minimum or maximum measure widths If, after using Finale’s music spacing feature, you feel that the measures in your piece that contain whole rests (or whole notes) are too narrow or wide,

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you can adjust them all at once. For instructions, see To specify minimum or maximum measure widths.

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Mutes Mute indications for brass or stringed instruments (such as Straight mute, con sord., Open, and so on) are usually placed an expressions in the appropriate staves in your score. See Expressions for instructions. If you want to create an open or closed symbol (

or

), see Articulations.

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Neutral key A piece in neutral key displays no key signature. Instead, individual notes display accidentals as needed. As far as Finale is concerned, you can create neutral key simply by setting your piece in the key of C. Any note then, not in the C diatonic scale will have its own accidental. A problem arises when you have a transposing instrument, such as a trumpet—Finale will automatically place the trumpet part in D (the usual correct trumpet transposition for a piece in C), instead of in neutral key. The solution, then, is to avoid using Finale’s automatic part transposing feature for neutral key pieces.

To create a neutral-key transposing instrument part The idea is to enter the music at “concert pitch” (as though the instrument was not a transposing instrument at all), then correct the key and transposition just before printing. 1. Enter the part in concert pitch. In this case, don’t use the Staff Tool to create an automatic staff transposition. 2. Click the Selection Tool ; then click to the left of the staff. The entire staff is highlighted. 3. Choose Transpose from the Utilities menu. The Transposition dialog box appears. 4. Specify the interval needed to transpose the notes to their “written” pitches. In other words, if you’re working on a trumpet part, you’d specify Up a Second Diatonically as the transposition interval. 5. Click OK (or press enter).

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Nonstandard key signatures Most music is written with one of the standard key signatures. This traditional system is based on a scale of twelve half-steps and a harmonic scheme where a new accidental is added to the key signature with every advance around the circle of fifths. In certain advanced and twentieth-century music schemes, however, these traditional key signature practices don’t apply. A piece may be based on the quarter-tone scale, for example, in which there are four chromatic steps from C to D. See To create a quarter-tone Scale or key signature for instructions. In Finale, you can create your own key signatures in any format, based on scales with any number of steps from one note to the next. Using the five dialog boxes accessed by the Nonstandard Key Signature dialog box, you can create up to 128 linear or nonlinear key signatures that are available at any time within the document.

To create nonstandard key signatures Because this aspect of Finale is among its most technical, you’ll find only a summary of the steps for creating a nonstandard key signature in this entry. In some of the steps, you’ll be directed to a corresponding (more detailed) discussion. Steps for a sample key signature of B , E and F have been provided where appropriate. 1. Click the Key Signature Tool , and double-click the measure in which the key will change. The Key Signature dialog box appears. 2. Choose Nonstandard from the drop-down list menu next to the scroll bar. The Nonstandard Key Signature dialog box appears. In the center of this dialog box you’ll find a pair of buttons with which you tell Finale which kind of nonstandard key signature you want to create: Linear or Nonlinear. 3. Click Linear Key Format or Nonlinear Key Signature. Click Next or Prev to find an open Key Format. Click Next twice to advance to a key signature you can edit. The first two are the Major and minor formats (that cannot be changed). (See Nonstandard Key Signature dialog box.) A linear key format is one whose scale is composed of a repeating sequence of diatonic and chromatic steps. The standard diatonic major scale, for example, is a linear key format—in Finale, it’s called Linear Key Format 0. (Linear Key Format 1, which you can choose by clicking the Next button, is the standard minor scale format; a key signature with no sharps or flats that’s been set to this key format considers A, not C, to be the first note of the scale. Because these two formats have been predefined, you’ll find that only the ClefOrd and Attribute icons [two of the five icons whose associated dialog boxes define the key format] are 429

operational. Once you’ve selected Key Format 2 or higher, all five icons are active.) The keys of a linear key format, however, need not proceed around the circle of fifths. You could create a system that proceeds around a circle of sixths, for example. As long as the scale in each of the key format’s related “keys” is formed by the same sequence of whole and half steps, and as long as the upper and lower halves of the scale are formed by the same sequences of whole and half steps (such as the tetrachords in a standard diatonic scale), the system of keys is considered a linear key format. A nonlinear key signature is one for which there’s no “circle of fifths”; in fact, there’s no circle of anything. Whereas a linear key format is a system of related keys and key signatures, a nonlinear key signature is a key signature unto itself, unrelated to any other key signature. It can contain one sharp and one flat, for example, on any notes of the scale, and there need not be any logic to their positions. 4. Specify the number of diatonic and chromatic steps you want in the scale by clicking the KeyMap icon. The Key Step Map dialog box appears, in which you specify how many steps you want in an octave, and which steps are “diatonic” and which “chromatic.” It also determines the playback of your key signature. Choose the total steps in your signature. Using the buttons under Total Steps, set the key map so that the scale notes are white and accidentals are black. In our sample key signature of B , E and F , the Total Steps would be 12 and the key map as follows: Note

White/Black

C (scale tone)

white

black C /D (accidental) D (scale tone)

white

white D /E (scale tone)

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E (accidental)

black

F (accidental)

black

white F /G (scale tone) G (scale tone)

white

black G /A (accidental) A (scale tone)

white

white A /B (scale tone) B (accidental)

black

See Key Step Map dialog box for details. 5. Specify the order in which accidentals appear in each sequential key signature by clicking the AOrdAmt icon. Click this icon to display the Accidental Order and Amount dialog box, in which you specify the new accidental you want to appear with each progression (if any) to a new key, and on what line or space it should appear. The Unit number is the order in which the accidentals appear in the staff display of the key signature. For example, in E major, B =Unit 1, E =Unit 2 and A =Unit3. The Step Level is the distance from middle C. For example, B=Step Level 6. The Amount is how far, in half steps, to alter that pitch. For example, flat=Amount -1, sharp=Amount +1, and unaltered=Amount 0. The Next and Previous

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buttons select the Unit. For Units that are not sharped or flatted, enter zero for the Amount. In our sample key signature of B , E and F : Unit

Step Level

Amount

6

-1

2

-1

3

1

4: C

0

0

4: D

1

0

4: G

4

0

4: A

5

0

1: B

2: E

3: F

See Accidental Order and Amount dialog box for more information. 6. Specify the tone center (root) of each key by clicking the ToneCnt icon. The Tone Center(s) dialog box appears, in which you specify the relationship of each new “key” (tone center) to the appearance of a new accidental. See Tone Center(s) dialog box for a more complete discussion. 7. Specify the octave in which each of the accidentals appears (on the staff) by clicking the ClefOrd icon. The Accidental Octave Placement dialog box appears, in which you can specify the octave in which you want each accidental to appear according to each clef. Click the Next and Previous buttons to select the accidental to edit. In our sample key signature of B , E and F : Unit

Octave

Unit

Octave

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0 1: B

-2 1: B

1 2: E

-1 2: E

1 3: F

-1 3: F

Clef 0 (treble) Clef 3 (bass) See Accidental Octave Placement dialog box for details. 7. Choose the font and character to be used in place of the normal sharps and flats (if you want) by clicking the Attribute icon. The Special Key Signatures dialog box appears, in which you can specify a number of miscellaneous attributes for the key format you’re creating. For example, you can specify nonstandard symbols to be used instead of the normal sharps and flats in the key signature. See Special Key Signature Attributes dialog box. 8. Click OK (or press enter). You return to the Key Signature dialog box. 9. Specify the transposition effect and measure range. See Key signatures for an explanation of these options. 10. Click OK.

To create a quarter-tone scale or key signature After following these instructions, Finale will display quarter symbols where appropriate as accidentals and in the key signature. It will not affect the playback. 1. Click the Key Signature Tool . 2. Double-click on a measure. The Key Signature dialog box appears. 3. Choose Nonstandard from the drop-down list menu next to the scroll bar. The Nonstandard Key Signature dialog box appears. 4. Make sure Linear Key Format is select, then click the Next button until Linear Key Format 2 is listed. The first two Key Formats have been predefined for major and minor scales. When you select an open Key Format, the five icons will all become active.

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5. Click the Attribute button. The Special Key Signature Attributes box appears. From this dialog box, we will specify a different font and symbols for the quarter-tone sharps and flats. 6. Click the Symbol font button. Finale displays the Font dialog box, from which you can choose the new font. Choose Maestro Percussion or any font with the desired symbols. 7. Click OK. You return to the Special Key Signature Attributes box. 8. Click the Symbol List ID button. The Symbol List dialog box appears. This is where you tell Finale what symbols to use for your quarter-tone accidentals. To view your choices, Maestro Font Character Sets and look under Maestro Percussion Character Set The table below lists a common set of quarter-tone symbols which apply to the Maestro Percussion font. Obviously, you can substitute any symbol you like. Note that the characters will appear in the system font regardless of the actual font you’ve chosen. For example, if you’re using the Maestro Percussion font to create an symbol, you’ll see a capital L in this box. Characters will appear in the proper font when you return to the document. Alter Amount

Character to enter

3

l (lowercase l)

2

m (lowercase m)

1

L (Shift-L)

0

n (lowercase n)

-1

j (lowercase j)

-2

b (lowercase b)

Character in Maestro Percussion font

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-3

J (Shift-J)

9. Enter the Alter Amount and Character, then click Insert. Finale adds the information to its database. Repeat for each character. 10. Click OK twice. You return to the Non-Standard Key Signature box. 11. Click the up and down scroll-bar arrows until the desired new key signature appears. Scroll up for sharp keys, and down for flat keys. Note that quarter tone symbols will appear in the key signature. 12. Click OK (or press enter). You return to the Key Signature dialog box. 13. Specify the transposition effect and measure range. See Key signatures for an explanation of these options. 14. Click OK. You return to the document window. When you enter music with accidentals, quarter symbols will appear where appropriate. For example, a C with one plus added will display a C-quarter tone sharp.

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Note positioning The positions of notes in Finale are determined by a number of factors. Their default horizontal positions are linear, according to the time signature—a whole note gets exactly as much room as four quarter notes. When you have Automatic Music Spacing selected or use the Music Spacing command, notes are positioned according to the Allotment Library you’ve loaded (the default file already has one)—a table of width measurements for notes of various rhythmic values. For a full discussion, see Document OptionsMusic Spacing. You can also position notes manually. To move a note and have all other notes that fall on the same beat (in other staves) remain aligned with it—in other words, to move the position of the beat itself—see Beat positions.

To move a note 1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. 2. Drag the note to the left or right. If you want the note you’re dragging to move only horizontally, press shift as you drag (so that you won’t accidentally drag it up or down to a new pitch). 3. Drag the note up or down to change its pitch. You need to click squarely on the notehead before dragging. If you want the note you’re dragging to move only vertically, press shift as you drag (so that you won’t accidentally drag it to the left or right).

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Note shapes A notehead can be any shape in Finale, including X, diamond, square, circle, slash—you can even create invisible noteheads. You can globally define noteheads to be a particular shape on the basis of rhythmic value, position on the staff, or both. You can also change individual noteheads to any shape.

To change the shape of a notehead 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


2. Click the Note Shape Tool . A handle appears on each notehead. 3. Double-click the handle of the notehead you want to change. The Symbol Selection dialog box appears, displaying every character in the music font. 4. Double-click the desired replacement notehead shape. To restore the notehead to its original shape, click its handle and press delete.

To copy individual notehead changes to other measures If you require a more global note shape configuration that can’t be addressed by changing all notes of a specified pitch and duration to a specified shape (see To change all notehead shapes of a specified duration and pitch), you can create the changes manually and then paste only the note shape information onto other measures. 1. Change the notehead shapes manually in the first measure or measures. See To change the shape of a notehead. 2. Click the Selection Tool , and select the modified measure or measures. See Selecting music for some region-selecting shortcuts. 3. From the Edit menu, choose Edit Filter. A dialog box appears, listing elements of the music that you can copy individually. 4. Click Notehead, Accidental and Tablature String Alterations. Click OK. 5. Drag the first highlighted measure so that it’s superimposed on the first target measure. If the target measure isn’t visible on the screen, scroll until it’s visible, then ctrl–shift-click it. Unless the target measures are directly above or below the source measures, the “How many times?” box appears.

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6. Enter the number of times you want the notehead shape information copied. Click OK (or press enter). To restore the noteheads to their original shapes, select the region using the Selection Tool. Choose Clear Items from the Edit menu. Proceeding through the dialog boxes, click as follows: Only Selected Items; Entries; Notehead, Accidental and Tablature String Alterations. Click OK (or press enter) twice.

To change all notehead shapes of a specified duration and pitch This technique is especially useful for Shape Note Music, where the shape of a note indicates its pitch, and for drum parts, where you might want all notes on the spaces of the staff to have X noteheads (cymbals and hi-hat), but all notes on lines of the staff to have normal noteheads (tom-toms and bass drum).

You can assign a different notehead shape to each step of the scale. 1. Click the Staff Tool ; then double-click the staff in question. The Staff Attributes dialog box appears for the staff you clicked. You grant permission for changeable note shapes one staff at a time. 2. Under the heading Independent Elements, select Notehead font; then click Select. The FontFont dialog box appears. 3. Select the font, and size of the Notehead you want to use, then click OK. For Shape Note music or percussion noteheads, use Maestro Percussion or JazzPerc. 4. Select Note Shapes from the Notation Style drop-down menu, 5. Click on the Select button next to the Notation Style drop-down menu, The Note Shapes options appear. 6. From the drop-down menu, choose the first notehead shape you want to change. The four basic note shapes in Finale are the quarter notehead (also used by eighth, sixteenth, and smaller note values), the half notehead , the whole notehead , and the double whole note . For each note of the scale, you can specify an alternate notehead shape (X, diamond, and so on) for each of these four basic shapes. For example, you could specify that every half note occurring on the third scale degree will appear as an X notehead. See Shape Note music for a chart of note shapes and scale degrees. 7. Specify the scale degree for which you want to modify the selected notehead. Enter the scale degree into the “scale degree” text box, or click the up and down arrows until the scale degree number is the one you want. 8. Click Select. The Symbol Selection dialog box appears, displaying every character in the music font. 438

9. Double-click the symbol you want to serve as the alternate notehead shape. You can continue this way, using the arrow buttons to move through the scale degrees, and clicking Select to choose a new notehead shape. 10. Click OK twice. You return to the document, where the noteheads of the type and scale degree you specified have automatically changed to the alternate note shapes you selected. If you anticipate creating other scores with the same configuration, save this piece on your disk as a template (a blank document without any notes in it), so that you won’t have to repeat the process the next time you need to create alternate note shapes.

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Note size You can change the size of the music in your documents in a number of ways, both globally and locally. For specific instructions regarding cue notes, see Cue notes. For information on reducing or enlarging the entire score or part at once (for printing purposes), see Reducing/Enlarging. See also Resize Noteheads Plug-in.

To reduce or enlarge the notes (but retain staff size) Using this technique, you can create large-note music for beginning readers, or reduce all the notes slightly (with respect to the staff) for a sparser, finer look. 1. From the Document menu, choose Document Options and select Fonts. The Select Default Fonts dialog box appears. 2. From the Notation drop-down menu, choose Noteheads. 3. Next to the Notation drop-down menu, click Set Font. The Font dialog box appears. 4. Enter a new value in the Point Size text box. The standard size for Finale’s music font (Maestro) is 24 point. 5. Click OK. If you chose a size that’s not a multiple of 12, the notes may have slightly jagged edges if you print on a non-PostScript printer (unless you use Adobe Type Manager or the TrueType Maestro font; both are described under Fonts). On a PostScript printer, however, the notes will be crisp and smooth. If you discover that the stems of stems-up notes no longer attach correctly to the newly-sized noteheads, you can adjust their horizontal positions using the Stem Connections dialog box. For full instructions, see Stems— To change the position of the stem relative to its notehead.

To reduce or enlarge selected notes (or noteheads) These instructions show you how to resize one notehead or one beamed group of notes. If you want to create cue notes (by resizing a longer region of notes), however, see Cue notes. See also See also Resize Noteheads Plug-in. 1. Enter the music at normal size. 2. Click the Resize Tool . 3. To change the size of a notehead, click it. To change the size of the entire entry group—the note or chord, stem, flag, lyric, articulations, and any notes beamed to it—click the stem (of the first note in the group). The Resize dialog box appears.

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4. Enter the desired reduction or enlargement value. The number you enter here is a percentage of the full-size notes, so 200 (%) would result in a double-size note. 5. Click OK (or press enter). The note (or entry group) is now resized. To restore the notes to normal size, repeat the process, but change the number to 100% in the Resize dialog box and click OK.

To restore a region of modified notes to their original size 1. Click the Selection Tool . 2. Select the measures containing the resized notes. 3. Choose Clear Items from the Edit menu. Proceeding through the dialog boxes, click as follows: Only Selected Items; Entries. A dialog box appears, listing various elements you can erase. 4. Click Notehead, Accidental and Tablature String Alterations. Click OK (or press enter) twice.

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Noteheads For information on changing the shapes of noteheads (to X’s, diamonds, slashes, and so on), see Note shapes. To use colored noteheads, see Document Options-Notes and Rests.

To move individual noteheads Occasionally, you may need to drag the individual noteheads horizontally—for example, to “restack” the notes of a cluster chord. 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


2. Click the Notehead Position Tool . A handle appears on each notehead. 3. Drag any handle left or right to move the notehead. To restore a notehead to its original position, click its handle; then press delete.

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Note values (durations) You can enter notes of any rhythmic value (quarter note, eighth note, and so on) into the score with or without MIDI keyboard input. You can also change any existing note’s value (or region of notes) without having to re-enter them. For instructions on adding and deleting notes, see Simple Entry and Speedy Entry.

To change the note values in a selected region 1. Click the Selection Tool and select the region of music you want to change. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Change, then Note Durations. The Change Note Durations dialog box appears. 3. Specify how you want to affect the notes in the selected region. If you want to affect every note equally, choose a percentage from the drop-down list menu—200% to double each note’s value, 50% to make each note half its original value, and so on. Alternatively, you can change the durations of only a specific note value; click its existing value in the From palette, and the value you want it changed to in the To palette. If you want Finale to re-bar the selected measures so that the proper number of beats appears in each measure, make sure Rebar Measures is selected. See Change Note Durations dialog box for details on these options. 4. Click OK (or press enter). You can even double the values of the notes in one layer only (if Show Active Layer Only is selected in the View menu). Finally, note that this command does not affect empty measures. (A measure in which you’ve entered a “real” whole rest doesn’t count as empty in this context.) That is, it will double the values of all notes and rests you’ve entered, but it won’t create a second completely empty measure.

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Optimizing systems In published full scores, it’s customary to omit from a system any staves consisting entirely of rests, which results in a more compact and readable score. This is sometimes called "French scoring." In Finale, this process of suppressing the printing of empty staves within each system is called optimizing systems. When you optimize a completely empty staff system, Finale will still display the top staff, even though it’s blank. Optimizing systems in Finale has another important benefit: it permits staves to be independently movable in Page View. Under normal circumstances, you can only move, respace, or rearrange staves in Scroll View, using the Staff Tool. If you have optimized a system, however, you’ll find that the Staff Tool works in Page View, too, letting you vary the positioning and spacing of staves as they’ll appear on the printed page. You can even regroup and rebracket them. If you just want to respace one system, use the To create variabledistance systems command.

To optimize all (or specified) systems 1. Click the Page Layout Tool . 2. From the Page Layout menu, choose Optimize Staff Systems. A dialog box appears, letting you specify the range of systems to be optimized. If you only want to optimize some of the systems, enter their numbers in the boxes. You could also drag-select the systems to optimize before entering the Optimize Staff Systems dialog box, and Finale will display your selected systems. To optimize the entire score, click on Whole Document. 3. Check Optimize Staff Systems and any additional features below. See Staff System Optimization dialog box for details. 4. Click OK (or press enter). When Finale’s done, look at the staves in Page View. You’ll see that every staff remaining in each system has music on it, because the empty staves have been hidden. 5. Update the layout using Update Layout in the Edit menu. Finale has locked in the optimized staff configuration. If you return to Scroll View and add some music to a staff in a system that no longer appears in Page View (because it’s been optimized), the staff won’t reappear. If you want to edit, reformat, enlarge, or reduce your music, remove optimization before you do it, and reapply optimization when you’re finished. For this reason, it’s best to optimize just before printing, after the piece has been formatted, proofread, and given its final layout.

To remove staff optimization from all (or specified) systems 1. Click the Page Layout Tool

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2. From the Page Layout menu, choose Optimize Staff Systems. A dialog box appears, letting you specify the range of systems from which you want to remove optimization. If you only want to remove optimization from some of the systems, enter their numbers in the text boxes. You could also dragselect the systems before entering the Optimize Staff Systems dialog box, and Finale will display your selected systems. If you click on Whole Document, Finale will remove optimization from all systems. 3. Click Remove Staff System Optimization. Click OK.

To optimize staff by staff If you only want to remove some blank staves from a system, you can use this method, in which Finale will ask you to confirm the removal of each staff. 1. Click the Page Layout Tool . 2. From the Page Layout menu, choose Optimize Staff Systems. The Staff System Optimization dialog box appears. 3. Select how you want this system Optimized; whether you want empty staves removed, if you want to be asked before a staff is removed, and if you want to keep at least one staff. See Staff System Optimization dialog box. 4. Click OK (or press enter) to continue. If you selected Ask Before Removing Staves, the Remove Staff dialog box appears asking whether you want each empty staff removed. 5. Click Yes or No. If you click Yes, the staff will be removed. If you click No, the staff will be optimized, but will remain in the score.

To remove staves from a single system Similar to the method above (see To optimize staff by staff), this method allows you to specify what staff to remove, instead of asking about all staves. Keep in mind that this powerful method will remove the staff from the system regardless of whether it contains music. 1. Click the Page Layout Tool . 2. From the Page Layout menu, choose Optimize Staff Systems. A dialog box appears, letting you specify the range of systems to be optimized. If you only want to optimize some of the systems, enter their numbers in the boxes. If you click on Whole Document, Finale will optimize all staves. (Finale optimizes to the end if the Through box is blank or 0.) 3. Click on Optimize but uncheck Remove Empty Staves. You’ll be removing the staves individually later. 4. Click OK (or press enter).

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5. Click the Staff Tool . Two handles will appear on each staff. 6. Click the bottom handle on a staff. Shift-click to select additional staves. 7. Press Delete to remove the selected staff or staves, in that system only, while repositioning the remaining staves. Press shift-Delete to remove the selected staff or staves without repositioning the remaining staves.

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Ossia An ossia passage is an alternative phrase, often placed in a reduced-size measure above the primary measure in the score. (Ossia means “or else.”) An ossia measure often provides an explication of a trill, proposes a cadenza, or suggests an easier alternative to the real measure. In Finale, such an annotative measure can be created with the Ossia Tool. There are two kinds of ossia measures. A measure-assigned ossia measure remains attached to its measure in the score, even if that measure’s position in the score changes. A page-assigned ossia measure, which you create in Page View, remains fixed to a given spot on the page, regardless of any repositioning of the music around it. Measure-attached ossia measures are recommended in documents with Linked Parts. If you are adding page-attached ossia measures to a document containing Linked Parts, see Page-attached Ossia measures in linked parts.

To create a floating (ossia) measure A floating measure must be based on a “real” measure. For most purposes, then, you’ll need to create a “scratch staff” on which to notate the actual contents of the ossia measure. You then choose “hide staff” in the Staff Attributes dialog box (see Hiding staves for full instructions). 1. From the View menu, choose Page View. 2. Click the Staff Tool , from the Staff menu, choose New Staves and click OK. A new staff appears at the bottom. This will be your scratch staff. 3. In the scratch staff, enter the music you want to appear in the floating measure. 4. From the Window menu, choose Advanced Tools. 5. Click the Ossia Tool . 6. Double-click the spot on the page (in Page View) or double-click the measure to which you want to attach the floating measure (do not double-click a measure on your scratch staff). The Ossia Measure Designer dialog box appears. 7. Select whether you want a measure or page-attached ossia. 8. Enter the number of the Source Staff and Source Measure. The Source Staff is the scratch staff, and the Source Measure is the measure in which you entered the music. (If you don’t know a staff’s number, click the Staff Tool and select the staff’s handle. Select Staff Usage from the Staff menu. The Staff Number appears in the resultant dialog box.) If you want to specify a clef other than the default treble clef, click the Clef Select button;

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to set a key or time signature, click Key Signature or Time Signature. You can change the ending barline, too, by clicking one of the barline types. 9. Specify the reduction value by entering a number in the Scale To box. Generally, 50% to 85% (of full size) looks good. If there are elements of the scratch staff you don’t want to include in the floating measure, deselect the appropriate boxes in the Items to Display section. You can also specify various positioning aspects of the floating measure, such as the Top or Left Margin; for full descriptions of these elements, see Ossia Measure Designer dialog box. 10. Click OK (or press enter). The (Page or Measure Assignment) box appears. If you wish, specify horizontal and vertical coordinates for the measure (in the currently-selected measurement units). If you’re entering a page-attached ossia, you can also specify the barline-to-barline width of the floating measure. 11. Click OK (or press enter). You return to the document, where the floating measure is in place. If you’re in Page View, you can drag the measure’s handle immediately to position the measure. In Scroll View, you have to click the “real” measure to which you attached it; a handle appears, allowing you to drag the measure into position.

To hide the scratch staff 1. Select the Staff Tool . 2. Double-click a measure in the scratch staff. The Staff Attributes dialog box appears. 3. Check Hide Staff (under Options). 4. Click OK. The ossia measure will remain in the score.

To move, edit, or delete a floating measure To edit the musical contents of the floating measure, simply edit the measure on the “scratch staff” from which it was created. 1. From the View menu, choose Page View. 2. From the Window menu, choose Advanced Tools. 3. Click the Ossia Tool . A handle appears on the floating measure. 4. Double-click the handle to change the Ossia Measure Designer settings (clef, percentage reduction, and so on). Shift-double-click the handle to change the Assignment variables (H and V position and measure width). 5. Drag the handle to move the floating measure. Click the handle, and then press delete to remove it.

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Page layout Many instructions for setting the page layout for your documents appear under their own entries. See, for example, Document Options-Music Spacing; Distances; Margins; Page size; Measure layout; and To change the widths of many measures. For instructions on arranging measures within the score (setting the number of measures per line, for example, or moving a measure to another system), see Measure layout. For details on printing large scores that require taping several laser printed pages together into composite pages, see Tiling pages for printing. The initial layout of any document’s pages is determined by the settings in the Page Format for Score dialog box (from the Document menu, choose Page Format, and then Score). In this dialog box, you can specify dozens of page layout measurements (see Distances). Changes you make to the page layout in the Page Format for Score dialog box, however, don’t immediately affect existing pages—only pages yet to be created. If you want the changes applied to existing pages as well, choose Redefine Pages > All Pages from the Page Layout menu (which appears only when the Page Layout Tool is selected). An easier way to make formatting changes, however, is to use the Page Layout Tool. See To change the page layout, below. A common use of Finale’s page layout tools is to specify how much music should fit on a page—how many measures per line, for example, or how many systems on a page. It’s important to realize that there are four elements affecting the amount of music on a page. First, look at the distance between staves in each system; if you decrease the total height of the system (by clicking the Staff Tool and dragging the staves closer to each other), more systems fit on the page. Second, you can adjust the distance between systems. If you’re trying to fit another system onto a page, the simplest solution is to slightly decrease the space between all systems, so that the cumulative effect is to create just enough room for another system on each page (see To change the distance between systems, below). You can also specify the number of systems on a page by using the Space Systems Evenly command (see To specify a number of systems on each page). The third factor affecting the amount of music that fits on the page is the amount of reduction you’ve applied to the music on a page—you may find that a reduction of even a percentage point or two is just enough to fit another measure per line, or another system per page (see Reducing/Enlarging). Finally, don’t forget that you control the “tightness” of the spacing of the music itself, with the Music Spacing command in conjunction with a Spacing Width Library (see Document Options-Music Spacing). The tighter the music, the more measures will fit on a line, and hence the more music will fit on the page.

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See Also: Main Tool Palette Page Layout menu

To change the distance between systems 1. Click the Page Layout Tool . Dotted-line margins appear around each system. 2. From the Page Layout menu, choose Systems, then Edit Margins. The Edit System Margins dialog box appears. 3. In the Change section, click Select All. In other words, you want the change you’re about to make to affect every system in the piece. Make sure Distance Between Systems is checked and uncheck all other boxes. We don’t want to make all of the margins the same, just the distance between systems. 4. In the Distance Between Systems text box, enter a new value. This value is measured in whatever your Measurement Units are set to. See the Document menu for details. If you prefer, you can click within any system and drag instead of typing numbers. 5. Click Apply. If you like what you see, click Close. You’ve just changed the amount of space between every system in the piece. In so doing, you may also have changed the number of systems able to fit on a page. (The bottom text box governs the amount of extra space below each system.) Finale initially won’t let you enter negative values, so that a system overlaps the system above it. If you really want to create this cluttered effect, turn off Avoid Margin Collisions by choosing it from the Page Layout menu, so that a check mark no longer appears.

To specify a number of systems per page 1. Click the Page Layout Tool . Dotted-line margins appear around each system. 2. From the Page Layout menu, choose Space Systems Evenly. The Space Systems Evenly dialog box appears. 3. In the Space System Evenly on section, specify the desired pages, or choose All Pages to include the entire document. For more information, see Space Systems Evenly dialog box. 4. Select Place_Systems on Each Page, and in the text box, enter the number of systems you want to place on the selected pages. 5. Click OK. Pages in the specified region will appear with the number of systems you entered. If the number of systems on the pages specified does 450

not change, you will need to edit the system margins or reduction so the number of systems you choose will fit on the page. See To change the page layout and To reduce or enlarge a system. For information on resizing pages, see Reducing/Enlarging.

To change the page margins See To change the page layout, below, or see Margins for a more detailed discussion. Note: If you’re printing on a PostScript printer and you find that brackets and staff names are being “chopped off” in your printouts, you may not need to change the page margins at all. Instead, choose Printer Setup from the File menu, click Options, and then select the Paper tab and click Unprintable Area. If you make this setting, most laser printers can print 1/8 inch closer to every page edge.

To set the page size See To change the page layout, below, or see Margins for a more detailed discussion.

To change the page layout 1. Click the Page Layout Tool . 2. Move to the page you want to change. If you want to change the page layout of all pages at once, it doesn’t matter which page you’re on. If you’re unsure about your changes, and you don’t want your changes to affect your settings in the Page Format for Score dialog box, make sure to first deselect Update Page Format in the Page Layout menu. Remember, you can always choose Undo from the Edit menu to restore your piece to its previous state. 3. If you want to change the Page Size, choose Page Size from the Page Layout menu. 4. In the Page Size dialog box, choose the page size from the drop-down list or enter values using the currently selected measurement units. 5. Choose Landscape or Portrait. Tip: This setting affects how Finale lays out the page. Printing settings are set in the Page Setup dialog box under the File menu. 451

6. Select the range of pages you want to affect. Page 1 is a Right page. 7. Click OK. 8. If you want to change the page margins, first set the range of the pages to affect in the Page Margins submenu of the Page Layout menu. 9. Drag the handles at the edge of the page margins. You can also enter values directly into the number boxes of the Edit Page Margins dialog box. See Edit Page Margins dialog box for more information. 10. If you want to reposition or respace a staff system on the page, drag from the middle of the system. Note that while Avoid Margin Collisions is checked the Page Layout menu, Finale won’t let you drag one system on top of another one. Ctrl-drag to prevent other systems from moving. 11. If you want to respace the staff systems evenly across the page, choose Space Systems Evenly from the Page Layout menu. See Space Systems Evenly dialog box. 12. If you want to insert a page break, select a system handle, then choose Insert Page Break from the Page Layout menu. 13. If you want to indent or resize a system, drag a handle. Each system appears bounded by a dotted line. To indent a system, drag its upper-left handle. Instead of dragging, you can enter values directly into the number boxes. See Edit System Margins dialog box for more information. When you’re viewing Staff Systems, you’ll notice a boldface number to the right of each system. The numbers on the systems (the first system is number 1) help you identify each system, so you’ll be aware if the system layout has shifted. 14. To edit another page use the arrows at the bottom of the document window to move the next or previous page. 15. From the Edit menu, choose Update Layout.

To change the default page layout (Page Format for Score dialog box) See Distances; Margins.

Note: The changes you’ll be making in these instructions establish the page layout for pages yet to be created. To apply them to existing pages, see the final two steps below. 1. From the Document menu, choose Page Format, then Score. The Page Format for Score dialog box appears.

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2. Enter new values in the text boxes. The units are whatever you’ve selected in the Measurement Units in the drop-down list. The Page Size numbers specify the default page dimensions. The Page Margin numbers are the distances from the edge of the page; thus, if the page size changes, the margins remain the same distance from the page edge. In these text boxes, all numbers are positive and measure an absolute change from the page edge. The System Margin numbers define the placement and shape of the individual systems. The Right and Left margins are the distances from the edge of the system to the right and left page margins, respectively (both are usually zero); the Top margin is the distance between the top staff of each system and any extra space for ledger lines or other symbols which normally appear above the staff; and the Bottom margin measures the distance between the bottom staff of one system and any extra space for ledger lines or other symbols which normally appear below the staff. The last measurement is Distance Between Systems. See Page Format for Score and Page Format for Parts dialog boxes. 3. Click OK (or press enter). The changes you’ve made will affect only new pages added to the piece by Finale, unless you perform one of the following additional steps. 4. To apply the new page layout to one existing page, click the Page Layout Tool ; go to the page you want to edit; Select Current Page from the Redefine Pages submenu of the Page Layout menu. 5. To apply the new page layout to all existing pages, choose Redefine All Pages from the Redefine Pages submenu of the Page Layout menu, and click OK.

To apply a different page layout to selected pages The fact that there are two places to make page layout changes—the Page Layout Tool and the Page Format for Score dialog box—gives you some extra flexibility. Suppose you need to format a score with right and left facing pages that are formatted differently, and have different margin requirements. Using this system, you can apply a secondary page layout to specified pages (just the odd-numbered pages, for example). 1. Create the primary page layout in the usual way. Either enter numbers into the Page Format for Score dialog box (Document Options in the Document menu) and then choose Redefine All Pages from the Page Layout menu, or see To change the page layout, above. 2. From the Document menu, choose Page Format, then Score. The Page Format for Score dialog box appears. 3. Enter the numbers that define the secondary page layout. For help in interpreting the various measurement boxes in this dialog box, see To change the default page layout (Page Format for Score dialog box), above. 4. Click OK (or press enter). 453

5. Click the Page Layout Tool . 6. Go to the first of the pages you want to change. From the Redefine Pages submenu Select Left Pages, Right Pages, Selected Pages, to give a second Layout to certain pages. 7. As always, choose Update Layout from the Edit menu.

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Page numbers To add a page number, use the Text Tool in Page View.

To add a page number 1. Click the Text Tool . 2. From the View menu, select Page View. 3. Double-click where you want the page number to appear. The text editing frame appears. 4. From the Text menu, select font, size and style. Skip this step if the default Text Block settings are the ones you want to use. See Document Options-Fonts. 5. From the Text menu, choose Inserts, then Page Number. 6. From the Text menu, choose Frame Attributes. The Frame Attributes dialog box appears. 7. Click on Page, then choose All Pages from the drop-down list. 8. Select the alignment and positioning options from the alignment and positioning drop-down lists. See Frame Attributes dialog box for details. To use the left and right facing pages feature see Text blocks–To position page-assigned text blocks on left- and right-facing pages. 9. Click OK (or press enter) to return to the document.

To change the page number offset 1. Click the Text Tool . 2. Select Page View from the View menu. 3. Double-click the handle of the text block containing the page number. The text editing frame appears. 4. Select the page number Text Insert so that the number is highlighted. 5. Select Edit Page Offset from the Text menu. The Page Offset dialog box appears. 6. Type in the number to add to the current page number. If you are on page one and want the page numbers to start at 10, type 9. 7. Click OK. You return to the document, and the page numbers are updated to reflect the new offset.

To move or delete a page number 1. Click the Text Tool

. A handle appears on the page number.

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2. Drag the number’s handle to move it. Select the handle and press delete to remove it.

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Page size There are two places in Finale where you can set the page size: the Page Format for Score dialog box, Document menu > Page Format > Score, or the Page Layout Tool. A page in Finale can be as huge or as tiny as you can imagine—but some printers are limited in the sizes of paper they can handle.

Note: If you plan to print on any size paper larger than 8.5 by 14 inches, see Printing for special instructions. For other instructions on mixing and matching page size layouts, and a more complete discussion of page layout, see Page layout.

To set the page size for all pages 1. Click the Page Layout Tool . 2. From the Page Layout menu, choose Page Size. 3. In the Page Size dialog box, choose the page size from the drop-down list or enter values using the currently selected measurement units. 4. Choose Landscape or Portrait. This setting affects how Finale lays out the page. Printing settings are set in the Page Setup dialog box under the File menu. 5. In the Change area, click All Pages. 6. Click OK.

To change the page size (Document menu) See Page layout—To change the default page layout.

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Page turns A number of tools are at your disposal for adjusting the layout of your music to avoid awkward page turns. In Finale, this is often a two-step process—first, you arrange the measures (usually with a goal of placing rest measures at the end of a system). Second, you may have to move some systems from one page to another, so that the nearest rest measures fall at the bottom of a page. To move individual measures from line to line, see Measure layout. To move systems from page to page, see below. To seek and reconfigure your score to avoid awkward page turns automatically, try the Smart Page Turns plug-in. See Smart Page Turns.

To push a system onto the next page 1. Click the Page Layout Tool . 2. Go to the page you want to change. 3. Select the handle for the system you want to appear on the next page. 4. From the Page Layout menu, choose Insert Page Break. Finale places the system at the top of the next page and displays a non-printing Page Break icon

.

To fit an additional system onto one page 1. Click the Page Layout Tool . 2. Go to the page to which you want to add a system. Each system has a pair of handles (at diagonally opposite corners). In order to “pull” a system from the following page, you’re going to reduce the space beneath each system on this page. 3. Drag the lower–right handle of the first system slightly upward. If this step didn't solve the problem, drag the second system’s lower-right handle slightly upward, too (preferably by the same amount—watch the number boxes in Edit System Margins dialog box if you wish; they show how much you’re dragging each system – See Edit System Margins dialog box). Move the handles until the system is pulled up. If, despite all your efforts, it looks like the next system simply won’t fit without overlapping the existing systems, you’ll have to resort to one of the global system-fitting options (see Page layout—To change the distance between systems, or reduce the music (Reducing/Enlarging). 4. From the Edit menu, choose Update Layout. 458

Page View

Page View is one of three Finale views of your music (the others are Scroll View and Studio View). See View menu. In Page View, you see your music exactly as it will be printed: laid out in systems, displaying page-attached as well as measure-attached text blocks and graphics, and stretching the measures as needed so that each line of music is flush with the margins. Page View has a few features of its own, accessible from the View menu. • Choose View > Zoom > Fit In Window to reduce the view just enough to fit one page onto the screen at once. •

Choose View > Zoom > Fit Width to reduce the view just enough to fit the full width of one page on your screen.

• Choose View > Show > Non-Continuous to display a single page. • Choose View > Show > Continuous-Horizontal to display pages in a continuous horizontal band. • Choose View > Show > Continuous-Vertical to display pages in a vertical column. • Choose View > Show > Rows/Tiled (old Multiple Pages) to display horizontally for as many pages as the current view allows. Additional pages will appear in a subsequent row. Any visible page can be edited, and markings can be dragged or extended from one page to another at will. Page View also offers a feature called Show PostScript Preview (View > Show > PostScript Preview). When you choose this command, Finale “prints” the 459

actual PostScript instructions onto your screen, just as it would to a laser printer. See Show PostScript Preview. In general, Page View is slightly slower than Scroll View. Each time the screen redraws, for example, Finale not only has to draw more music, but must also perform many more calculations (to lay out the page, for example).

Special Mouse Clicks and Keyboard Shortcuts • Press the right-button and drag to move the score (temporarily engage the Hand Grabber Tool). • Press PageUp to move up a full screen (equivalent to clicking the vertical scroll bar track). • Press PageDown to move down a full screen (equivalent to clicking the vertical scroll bar track). • Press Ctrl-PageUp to move to the previous page (equivalent to clicking the page controls). • Press Ctrl-PageDown to move to the next page (equivalent to clicking the page controls). • Press Alt-PageUp to advance one increment up vertically (equivalent to clicking the vertical scroll bar arrows). •

Press Alt-PageDown to advance one increment down vertically (equivalent to clicking the vertical scroll bar arrows).

• Press Home to move left one screen (equivalent to clicking in the horizontal scroll bar track). • Press End to move right one screen (equivalent to clicking in the horizontal scroll bar track). • Press Ctrl-Home to move to the beginning of the score (or page if viewing a looseleaf style). • Press Ctrl-End to move to the end of the score (or page if viewing a looseleaf style). • Press Shift-Home to move to the top/left of the leftmost viewable page (for large zooms). • Press Shift-End to move to the bottom/right of the rightmost viewable page (for large zooms). • Press Alt-Home to advance one increment right horizontally (equivalent to clicking the left/right scrollbar arrow). •

Press Alt-End to advance one increment left horizontally (equivalent to clicking the left/right scrollbar arrow).

See Also 460

Zoom Keyboard Shortcuts View menu

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Parentheses You can place parentheses around an accidental with a single keystroke (see below). You can also place parentheses manually around a note or a musical passage by placing them in the score as Articulations. (You could even define parentheses to be expressions, if need be; see Expressions.) See also Accidentals (Simple Entry).

To place parentheses around an accidental 1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. 2. Use the directional arrows to position the insertion bar on the notehead whose accidental you want to enclose in parentheses. You can also click the mouse on the desired notehead. 3. Press the P key. Parentheses enclose the accidental. To remove the parentheses, press P again.

To place parentheses around a note or rest You may sometimes want to enclose musical passages longer than a single note. To do so, you can insert individual parentheses as Articulations, attaching the opening parenthesis to the first note of the passage, and the closing parenthesis to the final note. Depending on the size of the note or chord you’re enclosing, you may want to enlarge both parentheses by clicking Set Font and entering a higher point size. For complete instructions on creating and manipulating articulation markings, see Articulations.

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Part Voicing Occasionally, more than one voice appears in the same score staff (e.g. “Flutes 1 & 2” or a divisi section). If this is the case, you may want to print separate parts, for example, one for “Flute 1” and another for “Flute 2.” Finale can help you hide notes to isolate a single voice in preparation for printing the part. There are nuances to part voicing which make it impossible for Finale to guess entirely which notes you want to include. In multi-part staves, markings like a2 signify both instrumentalists should perform a monophonic section in unison. Finale cannot interpret these markings to decide which notes belong to the voice and which should be removed like the Process Extracted Parts plug-in can. However, with the help of Staff Styles, parts can be modified so that only a single voice is showing while the link to the score is retained. (The Process Extracted Part plug-in requires the part to be extracted into another autonomous document). When specifying part voicing, bear in mind note attached items attached to one layer cannot be copied automatically to another layer. Also, the following data is removed from voiced parts: • Manual adjustments to rests • Stem alterations • Beam alterations • Manual positioning of notes (including "automatic" collision avoidance due to notes in layers that are 2nds apart, for example.) Note the Simple Entry, Speedy Entry, HyperScribe and Note Mover tools are disabled for the part once voicing is applied. You can, however, edit notation of these parts by working with the notation of corresponding staves in the score. To generate a single-voice part from a multi-voice score staff: 1. From the Document menu, choose Manage Parts. The Manage Parts dialog box appears. We will now create a new part definition and add the multi-part staff to this new part (a staff can be added to more than one part). To this new part we will apply voicing settings that will isolate one of the voices.

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2. Click New Part, then Edit Part Name. Type the name of the part and click OK. The new part appears in the left list and is automatically selected. 3. Select the multi-voice instrument staff from the list on the right and click Add to Part to add it to the part. The staff moves to the center column. 4. Click to select the staff you just added to the middle column. 5. Click the Edit Voicing button to open the Voicing for Staff in Part dialog box. Here, you will first eliminate the majority of extra notes by specifying the layer or chord position in which most notes in the voice currently appear. The method you will use depends on how the voices are delegated in the part. For example, if Flute 1 uses layer 1 all of the time, select the All Notes in Layer _ radio button and from the drop-down menu and choose Layer 1 to display layer 1 notes only. However, in many cases, a single layer will be used to indicate two or more players should play in unison. For example, let’s say there is a tutti section in the middle of this part, where layer 1 is used for both Flutes 1 & 2. 6. Click Selected Notes from One or More Layers. 7. Choose the option that most closely describes the vertical position of this voice. For example, if your part is filled with two-note divisi sections, and this is the Violin 2 part, choose Bottom Note. If there are more than two voices, choose Selected Note(s) to indicate the note within chords of a triad or greater to display. Note: As you add or remove notes while isolating voices, articulations may remain on the incorrect side of the staff. To set articulations to automatically flip to the appropriate side of the staff as notes/layers are added/removed, set them to Auto Note/Stem Side under the Position drop-down menu of the Articulation Designer dialog box. (You may have to remove manual positioning to see the effects of this setting (select the articulations(s) and press Backspace).) 8. When you have configured this dialog box to represent the majority of notes in the layer you would like to display, click OK. For more

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information, see Voicing for Staff in Part dialog box. You return to the Manage Parts dialog box. 9. Click OK. It is likely that there are some measures in the part containing extra notes. You can use a Staff Style to hide these sections. 10. Choose the Staff Tool . If you would like to hide notes from partial measures, from the Edit menu, ensure Select Partial Measures is checked. 11. Highlight the sections containing extra notes. Right-click the highlighted area and choose Blank Notation with Rests. The staff style replaces notes in that layer with rests (see below). This staff style does not hide measure attached items such as hairpins, smart shapes, or expressions, but will hide note attached items such as slurs. For more about Staff Styles, see Staff styles.

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Patches In the world of MIDI music, there doesn’t seem to be a consensus as to how to refer to the different sounds available from any MIDI device. Different manufacturers may refer to a specific violin sound (for example) on their MIDI device as a sound, patch, part, voice, or program. This can be very confusing when all you want to do is change the trumpet sound to the saxophone sound. In the interest of consistency throughout Finale and its documentation, we’ll refer to a specific sound as a Patch. This term comes from the early days of the synthesizer, when you changed the sound of your synthesizer by switching the configuration of the various “patch” cords or cables. A patch could be as simple as a basic MIDI program change message, but it might also include bank change information, which may be required on certain MIDI devices to access all available patches. Finale both records and plays back the MIDI data that allows a MIDI instrument to change patches (that is, programs or sound settings and optional bank change information) during playback. You can even edit this data directly using the MIDI Tool. Using Finale’s Instrument List, you can create sets of your favorite channel/patch combinations and select them, by name, from the Instrument drop-down list. Finale begins numbering its patches at 1, but not every MIDI instrument begins the numbering of its programs at 1 (some begin numbering at 0). Therefore, if you find that the numbers you enter in the following examples change your MIDI instrument to a program number that’s one off, remember to change the numbers accordingly by adding 1. (If your MIDI instrument isn’t responding to the program changes, make sure that program changes have been “enabled,” for those synthesizers having such a control.) The easiest way to set up patches is to select the instrument you want from the General MIDI drop-down list. This will automatically setup the Bank Select and Program Change for that instrument. If you prefer to setup specific Bank Select and Program Change information using the text boxes, the direction below provide more information.

To copy or erase patch change data created with the MIDI Tool See MIDI —To copy or erase captured (or edited) MIDI data.

To establish the initial program settings for each staff 1. From the Window menu, choose Instrument List. The Instrument List window appears. 2. In the Instrument column, select the name of the instrument you want to assign to each staff. If the instrument you want does not appear in the Instrument column, choose New Instrument. Here you can type a name for 466

your instrument, assign a channel number (that is not yet being used), and choose a general MIDI sound from the General MIDI drop-down menu. If you are using an external MIDI device, you can indicate the bank and program changes by choosing an option from the Patch drop-down menu and then entering the appropriate bank numbers. If you want to assign a program to a certain layer of a staff, click the upward arrow next to a staff name; the list expands to show you individual layer assignments. The Instrument List gives you a great deal of power over MIDI channels and patch assignments. See Playback and MIDI channels for details. 3. From the bottom on the Instrument List window, ensure Send Patches Before Play is checked.

To set up a patch change on playback These instructions tell you how to create an expression marking that produces a patch change during playback (such as “To strings”). If you don’t need a visual indication to appear in the score, you may find it faster to use the MIDI Tool to create patch changes (see To set up patch changes using the MIDI Tool, below). 1. Click the Expression Tool . 2. Click on, above, or below the note at which you want the patch to change. The Expression Selection dialog box appears. If you’ve previously created the patch change marking, double-click it. The expression appears in the score, where you can adjust its position (see below). 3. Click Create. The Expression Designer dialog box appears. 4. Type a patch change indication (“To Clarinet,” for example). You can label the patch change any way you like, or you can leave the text box empty (if you want no graphic marking at all). 5. Click the Playback tab. The playback options appear. 6. From the Type drop-down list, choose Patch. 7. The Patch drop-down list appears, choose the type of patch change needed, select the appropriate Bank and Program changes. 8. Click OK or Select or Assign in each dialog box until you return to the document. Depending on your playback settings, you may need to begin playback at a measure prior to the patch change for it to take effect. To avoid this problem you can set Finale to “chase” the patch changes up to the point where you’re beginning playback. That is, Finale will quickly scan the piece all the way from the first measure, noting (and transmitting to your MIDI keyboard) any patch changes along the way, so that playback always begins using the current patch. See “To ‘chase’ patch changes before playback,” below. Chase only supports playback in non-scrolling mode.

To “chase” patch changes before playback 467

1. Choose Playback Controls from the Window menu. The Playback Controls appear. 2. Click the speaker icon. The Playback Settings dialog box appear. 3. From the Dynamics and Markings drop-down list, choose Chase from First Measure Measure 1, then click OK. When you click a measure in the middle of a piece to begin playback, Finale will take a moment to scan your piece and “chase” any patch change markings that occur earlier in the piece up to the measure you clicked. In this way, Finale can keep track of any patch changes it encounters along the way, so that playback always begins with the correct current patch.

To set up patch changes using the MIDI Tool 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool . The MIDI Tool menu appears. 2. Double-click the measure in which you want the patch to change. The MIDI Tool split-window appears. 3. Drag through a small horizontal “slice” at the beginning of the graph area, as shown. Keep in mind that the actual patch change will occur at the beginning of the region you select. It really doesn’t matter, therefore, how much of the window you highlight; the patch change will be inserted at the far left edge of your highlighted region.

5. From the MIDI/Audio menu, Choose Set To. The Set To dialog box appears. 6. Enter the appropriate Bank and Program numbers you want the staff’s playback to switch to. Click OK (or press enter). You return to the MIDI Tool split-window. Part of the graph area is now black. That’s because you’ve just inserted a patch change that’s in effect from the point you selected to the end of the piece. Repeat the entire process at other points 468

in the score where you want the patch to change (for example, if you want the patch to change back to the original patch). To remove patch changes you’ve created in this way, reselect the same region in the MIDI Tool windows and press backspace, or use the Selection Tool to clear Continuous Data.

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Pedal markings A pedal marking involves two separate symbols—one where the pedal is to be depressed ( ), and another where it’s to be released ( you wish, also use a dotted-line bracket.

). You can, if

There are two ways to create pedaling indications in Finale. The easiest method is to place them in the score as Smart Shapes using the Custom Line Tool. If you only want to add pedaling to the playback of your piece (via MIDI), you may prefer to use the MIDI Tool. No graphic pedal markings appear in the score, but you’ll hear the pedaling on playback. Human Playback must be set to None to hear sustain indications added with the MIDI Tool. See Playback Settings dialog box for Details.

To create (pedal down) and Shape method)

(pedal up) markings (Smart

Smart Shape pedal markings will playback if Human Playback is on in the Playback Settings dialog box. 1. Click the Smart Shape Tool


2. Click the Custom Line Tool . 3. From the Smart Shape menu, choose Smart Shape Options. The Smart Shape Options dialog box appears. 4. From the Smart Line Style drop-down list, choose Custom Line. 5. Click Select next to Smart Line Style. The Smart Line Selection dialog box appears. If this file was created from a default file or template, you should see a Pedal and * line already created. If so, click Select and OK and skip to step 13. Otherwise, continue and create the Smart Line from scratch. 6. In the Smart Line Selection box, click Create. The Smart Line Designer dialog box appears. 7. From the Line Style drop-down list, choose Character. Near Character, click Select and double-click on the blank character in slot 32. Check the Horizontal box to freeze the shape in a horizontal line. 8. In the Text area, click on the Edit button next to Left Start. The Edit Text dialog box appears. 9. From the Text menu, choose Font. Set the font to Maestro and the size to 24. Click OK. 470

10. While pressing alt, type 0161 on the numeric keypad. In the Maestro music font, alt–0161 is the

marking.

11. Click OK. Repeat the steps for the Right End, only type shift-8 for the . 12. Click OK, Select and OK until you return to your score. For more information, see Custom lines. 13. Double-click where you want the line to begin; on the second click, hold the button down and drag horizontally. Release the mouse when the line has the length you want.

To draw a pedal on/off diagram (Smart Shape method) Sometimes pedaling is indicated in a score like this:

The Smart Shape method is easy and the line will expand and contract with the measures. The Keep in mind, you can add a pedal playback effects with the MIDI Tool. See To create playback pedaling using the MIDI Tool. 1. Click the Smart Shape Tool


2. Click the Custom Line Tool . 3. From the Smart Shape menu, choose Smart Shape Options. The Smart Shape Options dialog box appears. 4. From the Smart Line Style drop-down list, choose Custom Line. 5. Click Select next to Smart Line Style. The Smart Line Selection dialog box appears. If this file was created from a default file or template, you should see several pedal on/off lines already created. (You may need to scroll down to see them.) If so, click Select and OK and skip to step 10. Otherwise, continue and create the Smart Line from scratch. 6. In the Smart Line Selection box, click Create. The Smart Line Designer dialog box appears. 7. Check the Horizontal box to freeze the shape in a horizontal line. 8. For the End Point Style, choose a hook and enter a vertical distance for either the beginning or the end of the line. You can also choose a Custom Arrowhead for the pedal point. For more information, see Custom lines. 9. Click OK, Select and OK until you return to your score.

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10. Double-click where you want the line to begin; on the second click, hold the button down and drag diagonally. Release the mouse when the line has the length you want.

To create playback pedaling using the MIDI Tool If you don’t need pedal markings to appear in your score, but want to add the use of the sustain pedal to the playback of your score, you may find the following method faster than the Expression method. Human Playback must be set to None to hear sustain indications added with the MIDI Tool. See Playback Settings dialog box for Details. 1. Click the MIDI Tool . The MIDI Tool menu appears. 2. Double-click the measure in which you want the pedal to be “pressed.” The MIDI Tool split-window opens. 3. From the MIDI Tool menu, choose Edit Continuous Data. The View Continuous Data dialog box appears, in which you can select a controller whose data you want to edit. 4. Click OK (since Sustain Pedal is already selected). You return to the MIDI Tool split-window, where the display has changed. On the left side you see a scale of controller values—in this case, sustain pedal values— from 0 (pedal up) to 127 (pedal down). The sustain pedal is called a noncontinuous controller, because its value can’t change smoothly over time (like pitch wheel data can). You’ve either pressed the pedal (value 127) or released it (value 0). Unless you’ve already created pedaling using the MIDI Tool (or by capturing a Transcription Mode performance that included use of the sustain pedal), the window is empty. Pedaling will appear in this window in bar graph form. In the example below, the pedal was depressed just after the second beat of measure 1, and released just after the fourth beat:

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Controller information is independent of the actual notes being played—you can press the pedal even during a measure of rests, if you want. Therefore, you specify where you want to insert a “pedal down” message (or another noncontinuous controller, or a patch change) by dragging through a sliver of the graph area. 5. Drag through a small horizontal “slice” at the beginning of the graph area, as shown. Keep in mind that the actual pedal usage will occur at the beginning of the region you select (indicated by the arrow in the figure below). It really doesn’t matter, therefore, how much of the window you highlight; the pedaling message will be inserted at the far left edge of your highlighted region.

6. Choose Set To from the MIDI Tool menu. The Set To dialog box appears. Remember that to create the “pedal down” message, you need to set the pedal’s MIDI value to 127. 7. Type 127. Click OK. You return to the MIDI window. Suddenly the entire graph area is black. That’s because you’ve just inserted a “pedal down”

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message without any corresponding “pedal up” message. Therefore, your synthesizer will think that the pedal is being pressed during the entire piece. 8. Drag through a small region of the graph area at the point where you want the pedal released. If the pedal release point isn’t in the same measure, click the right arrow button to scroll the music display. Remember that the “pedal up” message will fall at the beginning of your selected region. 9. Choose Set To from the MIDI Tool menu. Click OK. You don’t have to enter a number, because the default value is already zero. When you return to the window, click anywhere except in the graph area to remove the selection highlighting. 10. Click the MIDI Tool to close the MIDI Tool split-window. Once you’ve created one complete usage of the pedal, as you’ve just done, you don’t have to create it again in other measures that should contain a similar pedaling pattern. You can simply copy the pedaling from measure 1 into other measures. See To copy or erase captured (or edited) MIDI data.

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Percussion Whether you are creating music for drum set, orchestral percussion, or a drum line, Finale allows you to easily create, notate, and playback percussion parts. Staves configured for percussion entry can be added with the Document Setup Wizard or the Staff Setup Wizard (Staff menu). These staves automatically ignore key signatures and transpositions, and are configured for intuitive entry whether you are using a mouse, computer keyboard, or MIDI keyboard for entry. See Percussion note entry. Finale’s percussion notation offers a great deal of flexibility and control through the use of percussion layouts. A percussion layout is a list of defined percussion instruments available for use in a staff. This definition includes staff position, notehead style, and note type (snare drum, cymbols, etc.). The same percussion layout can be used for multiple staves and can be edited in the Percussion Layout Designer dialog box. See also To edit percussion layouts. If you are using an external MIDI device for entry (like a MIDI keyboard), Finale can be setup to input and playback using any percussion patch. See To setup an external MIDI device for percussion input & playback. To ensure your percussion notation is configured properly for your playback instrument, select the appropriate Percussion MIDI Map in the Instrument List. See Configuring Percussion Playback for details. Orange percussion notes indicate notes that are not assigned to a percussion layout in the Percussion Layout Designer dialog box. This may occur, for example, if you have opened a file that includes notes that were not used (not "highlighted") in the previous Finale version's Percussion Map Designer. These notes will look and playback correctly, but do not conform to Finale 2010's new Percussion Layout paradigm. To assign these notes, you can create the desired Note Type in the Percussion Layout Designer dialog box, then drag or nudge the orange notes into place with the Simple Entry Tool or Speedy Entry Tool. Note that if your original percussion map was not one of the General MIDI maps, the wrong note types may have been assigned as your file was converted to the Finale 2010 format. You can reconvert Note Types to the Finale 2010 standard using the Change Note Types dialog box.

Percussion note entry All notes available for entry on a staff are defined in the Percussion Layout Designer dialog box. If you began using the Setup Wizard, these notes will be setup for you. To setup or edit these notes, see To edit percussion layouts. To use an external MIDI device for percussion input, see To setup an external MIDI device for percussion input & playback. 475

To enter percussion with Simple Entry, see Entering Percussion.

To enter percussion with Simple Entry 1. Click the Simple Entry Tool . 2. Use the mouse or caret to enter notes as you would regularly. See Simple Entry. All instruments available in the staff's percussion layout will be available for entry. See Percussion Layout Designer dialog box. If your percussion layout includes more than one instrument on a single staff position (e.g. snare and side stick both on the fourth pace), you will be able to scroll between them by dragging up or down with the mouse or using the up and down arrow keys. Refer to the visual cue that displays the note you are about to enter.

To enter percussion with Speedy Entry 1. Click the Speedy Entry Tool . 2. Enter notes as you would regularly. See Speedy Entry. All instruments available in the staff's percussion layout will be available for entry. See Percussion Layout Designer dialog box. If your percussion layout includes more than one instrument on a single staff position (e.g. snare and side stick both on the fourth pace), you will be able to scroll between them by dragging up or down with the mouse or using the up and down arrow keys. Refer to the visual cue that displays the note you are about to enter.

To enter percussion with HyperScribe 1. From the MIDI/Audio menu, choose Device Setup > MID Setup. The MIDI Setup dialog box appears. 2. Ensure the desired MIDI Input device is chosen under the Input Device column, and click OK. 3. From the MIDI/Audio menu, choose Device Setup > Percussion Input Maps. The Percussion Input Maps dialog box appears. 4. Choose a percussion MIDI map for input. If you are using one of Finale's included sound banks for playback, choose Match Input Map to Output Map. If you do not see the desired percussion MIDI map, you can define one specifically for use with your external MIDI device. See To setup an external MIDI device for percussion input & playback. 5. Click OK to return to the score.

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6. If you are using your external MIDI device as a controller only (and do not wish to use its sounds), from the MIDI/Audio menu, choose Device Setup and ensure MIDI Thru is checked so Finale performs the percussion sounds designated for the staff in the Instrument List during entry. 7. Click the HyperScribe Tool . 8. Enter the music as you would normally. See Recording with HyperScribe.

To setup playback for a percussion staff Every MIDI note in a non-pitched percussion sound library represents a different percussion instrument. Different percussion sound libraries map instruments to MIDI notes differently. Therefore, if you change your playback device (e.g. from SoftSynth, a General MIDI percussion bank, to a Garritan percussion set), your score's percussion staves may playback using incorrect instruments. See Configuring Percussion Playback for more information. After you change your playback device, do the following to configure percussion playback. 1. From the Window menu, choose Instrument List. The Instrument List appears. 2. Under the Perc. Map column, for each channel assigned to nonpitched percussion, select the map designed for your playback device. If you are using VST for playback, consult the VST Instruments dialog box (referring to the instrument assignment in the Aria Player (or your player)) to identify the percussion sound set. If the playback device you are using is not available under the Percussion MIDI Map column, skip to step 4. 3. Playback the score. Your percussion staves play back correctly. If not, you can re-assign MIDI notes to percussion instruments manually... 4. From the MIDI/Audio menu, choose Device Setup > Edit Percussion MIDI Maps. The Percussion MIDI Map Editor dialog box appears. Here, you can specify a MIDI note for each percussion instrument. 5. Click the Map drop-down menu and choose a map to edit. Rename it as desired. This should be a map you a unlikely to use in the future. 6. Assign the appropriate MIDI note to each percussion instrument. See Percussion MIDI Map Editor dialog box. To identify the MIDI Note for each instrument of your sound bank, consult the device's documentation. 7. Repeat steps 1-3, choosing the map you edited from the Instrument List.

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To setup an external MIDI device for percussion input & playback You can input and playback percussion using an external MIDI device's percussion sounds, such as a percussion patch on a MIDI keyboard. To do so, configure a percussion MIDI map to correspond with your external MIDI device's MIDI note to instrument mapping for the desired percussion patch. Once you have done this, you can easily choose the percussion MIDI map whenever you wish to use the those sounds for either input or playback. (To setup an external MIDI device with Finale, see Setting up your MIDI system.) 1. Close Finale and navigate to the "Finale 2010/Finale MIDI Devices" folder on your hard drive. First, you need to make a copy of one of Finale's included percussion MIDI maps. (Alternatively, you could simply overwrite one of the existing percussion MIDI maps you do not intend to use. If you would like to do this instead, skip to step 3.) 2. Make a copy of the file General MIDI.xml and save it to this folder. Give it a name that corresponds to the external MIDI device and percussion sound you would like to use. 3. Launch Finale. Then, from the MIDI/Audio menu, choose Device Setup > Edit Percussion MIDI Maps. The Percussion MIDI Map Editor dialog box appears. 4. Click the Map drop-down menu, select the map you named, and choose "General MIDI." Or, choose the map you would like to overwrite. 5. In the Name text box, enter a name that corresponds to the percussion sound you would like to use. 6. In the Note Type list, double-click the number to the right of Bass Drum so a text box opens and highlight the number. Now, you will tell Finale which MIDI note on your external MIDI device corresponds to the bass drum sound. 7. Play the bass drum note on your external MIDI device. Notice the number changes to the MIDI note performed. 8. If you do not see the desired instrument in the list, click the Select a Note Type to Add drop-down menu and choose the new note type, then click the Add Note Type button to add it to the list. Then, select its number and play the corresponding percussion sound on your eternal MIDI device. 9. Repeat steps 6-8 for every percussion instrument you would like to use, then click OK. Now, you need to assign the percussion MIDI map to your selected MIDI input device. 10. From the MIDI/Audio menu, choose Device Setup > Percussion Input Maps. The Percussion Input Maps dialog box appears. 478

11. Click the drop-down menu of the bank of Finale channels that your device is configured to use for input, and choose the percussion MIDI map you just defined. The bank of Finale channels configured for MIDI input is listed under MIDI In in the MIDI Setup dialog box. 12. Click OK to return to the score. You are now ready to enter percussion using your external MIDI device using any of Finale's entry methods. See Percussion note entry. 13. To use this these percussion sounds for playback, simply select the percussion MIDI map you have defined under the Perc. MIDI Map column on the Instrument List for the desired percussion staves.

To load a percussion library We’ve provided a library that contains percussion layouts with note definitions already configured for you. You can either use the percussion layouts as they are, or edit them for use with percussion staves in your document. 1. Choose Load Library from the File menu. 2. Locate and select the percussion library that you want to open. The percussion notation library included with Finale is named Percussion Layouts.LIB. It is located in the Libraries folder in your Finale folder. 3. Click OK Finale loads the library into the current document, then returns you to the music. The percussion layouts contained in the library will appear in the Percussion Layout Selection dialog box. The most recently loaded libraries appear at the bottom of the list box.

To save a percussion library 1. 2. 3. 4.

Choose Save Library from the File menu. Click Percussion Layouts. Click OK. Enter a file name for the percussion library, then locate and open the folder where you want to save your library. 5. Click OK. Finale saves the all the percussion layouts in your document to the percussion library, then returns you to the music.

To create a percussion staff manually 1. 2. 3. 4.

Click the Staff Tool . Click to the left of the staff. The every measure of the staff is selected. From the Staff menu, choose Apply Staff Style. Select Percussion (1 line or 5 line) and click OK. Any notes that appeared in the staff will be remapped. Any notes that you enter, with or without MIDI, will also use the percussion layout. If more in-depth information about percussion staves, see To edit percussion layouts. 479

To edit percussion layouts Percussion layouts are sets of percussion instruments used in a staff along with their staff position and notehead style. To edit these layouts, and therefore the appearance of percussion notation on a staff, do the following: 1. Click the Staff Tool . 2. Double-click the staff. The Staff Attributes dialog box appears. 3. Next to Notation style, make sure Percussion is selected, then click the adjacent Select button. The Percussion Layout Selection dialog box appears. 4. Choose the desired Percussion Layout and click Edit. The Percussion Layout Designer dialog box appears. 5. Choose a note type from the list on the left and then use the options on the right to edit the note's staff position, note type, and notehead. Click the + button to the lower right of the list box to add a new percussion instrument. See Percussion Layout Designer dialog box for complete information. 6. Click OK, Select, and OK to return to the score. Now, when you choose the Simple Entry Tool or Speedy Entry Tool, these notes will be available for entry. See Percussion note entry. If Finale displays your percussion notes with the wrong noteheads and you’re sure the percussion layout is set up properly, confirm the Notehead Font settings in the Staff Attributes dialog box. (Make sure that the correct notehead font is in use for the staff, and that the Notehead Font checkbox is selected.)

To create a percussion staff with a customized percussion layout 1. Click the Staff Tool . 2. Double-click a staff. The Staff Attributes dialog box appears. 3. Near the clef display, click Select. Double-click on one of the percussion staves. 4. Choose one of the three pre-defined staves from the Staff drop-down list. Choose from Standard 5-line, 1-line with Full Barline, 1-line with Short Barline. Or, if you’re setting up a custom staff, choose Other to display the Staff Setup dialog box. After you create a custom staff, click OK to return to the Staff Attributes dialog box. For details about setting up a custom staff, refer to Staff Setup dialog box. 5. Under Independent Elements, click Notehead Font if it’s not already selected. The checkbox becomes selected. 6. Click Select (to the right of Notehead Font). 7. Choose Maestro Percussion (or JazzPerc) 24 point as the font for percussion noteheads on this staff, then click OK. Or, choose an 480

alternate font that contains all the notehead characters that you want to use for percussion. Tip: If you want to use the same notehead font for all staves, it’s quicker to set the notehead font in Document Options-Fonts, rather than to set the notehead font individually for each staff. 8. Choose Percussion from the Notation Style drop-down list if it’s not already selected. (To change a staff back to standard notation, choose Standard from the Notation Style drop-down list.) 9. Click Select (to the right of the Notation Style drop-down list). 10. Click Create if you want to create a completely new percussion layout containing note definitions for a percussion staff. Most likely you’ll want to edit an existing layout that appears in the list box. If so, click the percussion layout, then click Edit. In either case, the Percussion Layout Designer dialog box appears. 11. Select the note you want to edit from the list on the left. Or, click the + button in the lower right to add a new note. 12. For Note Type, click the drop-down list and choose the desired Note Type. Each Note Type represents a percussion instrument. 13. Enter a Staff Position, counted in steps from middle C, for your percussion notehead. You can click and drag the handle to choose the staff position. 14. Click the Select button next to Closed/Half/Whole/Double-Whole Notehead. Finale opens the Symbol selection dialog box in the Notehead font. For Closed Notehead, select the notehead you want to appear on quarter notes or smaller notes. Do the same for half, whole or double whole notes. 15. Continue selecting and editing notes in the list box until you've made all the changes that you want. Tip: Occasionally you may wish to notate more than one percussion instrument on the same line or space on the staff. This is easy to do in the Percussion Layout Designer dialog box. Simply select different notes from the list box, then drag them so they share the same Staff Position.

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14. Click Done. Finale returns you to the Percussion Layout Selection dialog box. 15. Click Select and OK. Any notes that appeared in the staff will be remapped. For percussion MIDI playback, see To setup playback for a percussion staff.

To adjust stem connections on noteheads In order for Finale to properly attach stems to the alternate notehead shapes you use in percussion notation (such as X noteheads), you must turn on Stem Connections in the Stems section of the Document Options dialog box (under the Document menu). Stem connection settings tell Finale precisely how to attach stems to the edges of noteheads. 1. From the Document menu, choose Document Options, and select Stems. Then click the Stem Connections button. The initial settings in the dialog box are for the Maestro font’s X notehead character. 2. Click the notehead that you want to edit. Click Edit. 3. Select a new symbol for the notehead. Click Set Font to choose a font other than the Default Music Font, then click OK. For example, choose Tamburo, or any other font that contains noteheads. Click Select to choose a notehead character from the font you specified or the Default Music Font, then click Select. 4. Enter new H: and V: values for the Upstem and Downstem values. 5. Click Use Stem Connections. The dialog box is dismissed. Finale will now use these settings when it draws a stem on any of the noteheads you defined in the Stem Connections dialog box. Tip: To turn off stem connections in a document, uncheck Use Stem Connections in the Stems section of the Document Options dialog box. Refer to Stem Connection Editor dialog box for more details about setting stem connections.

To create slashes-with-cues drum notation In most jazz scores, the drum kit part is not written out in full. Instead, the part usually contains slash marks (indicating that the drummer should play time), with important ensemble figures cued above the staff.

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Use the following steps to combine this slashes-with-cues drum notation with invisible notes used only for playback purposes, so that the drum part appears correctly in the score and also plays back correctly. (Note that these instructions assume you intend to reserve Layer 4 for cue notes.) 1. Enter the playback notes. You can enter these notes manually, or (if you are using one of the GM Drum Kits) using the Drum Groove plug-in to automatically generate a drum part. You can use Layers 1, 2, and 3 for the playback notes - we will use Layer 4 for the cues. Note: If you use the Drum Groove plug-in, be sure to check the instrument list afterwards to ensure that it has not modified the Channel assignment for your Drum Kit staff. The Drum Groove plugin also creates a hidden expression - "HP off" - that disables Human Playback. You may want to delete this expression. Instead of turning Human Playback off completely, tell Human Playback to incorporate all User MIDI Data by choosing the appropriate settings in the MIDI Data pane of the Human Playback Preferences dialog box. 2. Once the playback notes have been entered, select the Staff Tool, then from the Staff menu choose Define Staff Styles. 3. In the Staff Styles dialog box, click New. We are going to create a new staff style that displays slashes in the drum staff but also shows notes in layer 4 that we will use for cue notes. 4. Name the Staff Style so you can identify it later. "01a. Slash Notation: show notes" or something similar. 5. Click the Select button to the right of Alternate Notation. 6. In the Alternate Notation dialog box, ensure the following options are selected: Slash Notation, Show Items Attached to Notes, Show Notes in Other Layers, and Show Items Attached to Notes in Other Layers. 7. Click OK twice to save your new Staff Style. 8. Apply this newly created Staff Style to every measure in your drum part where you want slashes to appear. 9. From the Document menu, choose Document Options and select layers. 10. Click the “Settings For” drop-down and choose Layer 4. Then configure the remaining options as follows: 483

11. Switch to Layer 4 and enter the cue notes in the Drum Set staff. Typically, these cue notes appear as regular noteheads on a single line or space above the staff, and match the rhythms of important ensemble figures (see the example at the beginning of this section).

To import a MIDI file with a standard percussion track To create the MIDI file, follow your sequencer’s instructions. There’s no need to quantize the sequence; however, you’ll probably find Finale’s quantization powers to be more effective than your sequencer’s. Note: Finale uses the Maestro Default File as a template when importing MIDI files. If you don’t see all of your percussion layouts, try loading the percussion layout library into the Maestro Default File. 1. Choose Open from the File menu. The Open dialog box appears. The file types are listed in the drop-down list at the bottom of the window. 2. Click MIDI File. The names of any available MIDI files appear in the list box. 3. Double-click the desired document name. The Import MIDI File Options dialog box appears, listing various transcription options. The Track/Channel Mapping to Staves dialog box allows you to specify some extremely sophisticated track and channel splitting, as well as clefs, distances between staves, split points and multiple percussion maps. See Track/Channel Mapping to Staves dialog box. Finale will choose a clef for each resultant staff based on the range of notes in the track. (If it discovers that the notes in a track have a very wide range, it will automatically notate 484

4.

5.

6. 7. 8. 9. 10.

11.

12.

13.

its contents on two staves. See Import MIDI File Options dialog box for details.) For most files, the default Tracks become Staves option will work fine. In the Create Percussion Staves area, click on the Select button near Percussion Layout. The Percussion Layout Selection dialog box appears. For most percussion staves, you’ll want to choose the General MIDI Entry and Playback. If you’re using a specific instrument, you may wish to select the percussion layout with your instrument’s name, such as Triangle. Click OK. You return to the Import MIDI File Options dialog box. In the Create Percussion Staves area, you can also select a different clef or playback channel for the percussion staves in the file. These settings will affect all percussion staves; for individual settings for more than one percussion staff, see Track/Channel Mapping to Staves dialog box. Click Quant Settings. The Quantization Settings dialog box appears. Click the icon representing your smallest note value. Choose your quantization type. See Quantization Settings dialog box for more details. Click More Settings. The More Quantization Settings dialog box appears. Select the quantization settings you desire. You can select options for grace notes and voice 2, as well as retain key velocities and note durations. See More Quantization Settings dialog box for details. Choose Key and Time Signature options. Most MIDI files contain key and time signature information already, so you usually won’t have to change the default selection (Use the File’s). If you’ll want to hear the sequence played back with its original tempo fluctuations and continuous data (controllers and wheels) data, make sure Tempo Changes and Continuous Data are selected. These options capture some of the MIDI performance data from your sequence. Click OK (or press enter). Finale transcribes the MIDI File into standard notation. If you discover that your settings weren’t quite right, you can close the new Finale document and try again—the original MIDI file is unaffected by Finale’s transcription efforts. Or, for smaller sectional changes, use the Retranscribe function in the MIDI Tool. For more information about the elements of the Import MIDI File Options dialog box, see Import MIDI File Options dialog box and Retranscription.

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Percussion tones Here’s a list of the percussion tones available for patch 1 and patch 9 on channel 10. Some of these tones are not available on patch 9. They are indicated by the note “patch 1 only”. Be sure to use only the percussion tones listed below. If you choose a tone that is not available in the QuickTime Musical Instruments file, you will not hear any sound at all.

Note Number

Percussion Tone

Note Number

Percussion Tone

35

Kick Drum 2

61

Low Bongo

36

Kick Drum 1

62

Mute High Conga

37

Side Stick

63

Open High Conga

38

Snare Drum 1

65

High Timbale

39

Hand Clap

71

Short Hi Whistle (patch 1 only)

40

Snare Drum 2

73

Short Guiro (patch 1 only)

41

Lo Tom 2

74

Long Guiro (patch 1 only)

42

Closed Hi-Hat

76

High Wood Block (patch 1 only)

44

Pedal Hi-Hat

78

Mute Cuica (patch 1 only)

46

Open Hi-Hat

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Open Cuica (patch 1 only)

54

Tambourine (patch 1 only)

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Mute Triangle (patch 1 only)

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56

Cowbell

60

High Bongo

81

Open Triangle (patch 1 only)

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Piano reductions See Piano Reduction Plug-in.

To create a piano reduction for the entire piece 1. From the Plug-ins menu, choose Scoring and Arranging, then Piano Reduction. The Piano Reduction dialog box appears. 2. Select the staves to be included in the piano reduction and the split point. 3. Click OK.

To create a piano reduction over a region See also Imploding music. Using Finale’s Implode Music feature, you can condense the musical material from several staves onto a single staff—or, in the case of a piano reduction, onto two staves. If the source staves contain several independent rhythms, Finale will do its best to sort them out, but you may still have to do some cleaning up afterward. Implode Music works best when the source staves have only one or two independent rhythmic patterns. 1. Click the Selection Tool . 2. Select the region to be imploded onto the treble-clef staff of the piano reduction. You can select a region of on-screen measures by shift-clicking or drag-enclosing, or entire staves by shift-clicking to the left of each. 3. From the Utilities menu, choose Implode Music. The Implode Music dialog box appears, asking whether the resultant reduction should appear on a new staff (at the bottom of the score) or whether the music should be imploded onto the top existing staff (in which case the current contents of that staff will be replaced). For more information see Implode Music dialog box. 4. Click OK. If you’ve selected a large amount of music to be imploded, this process may take time. Note that any existing articulations and expressions in the source staves will appear in the resultant staff. 5. Repeat the procedure for the bass-clef staff of the piano reduction. Don’t forget to change the clef of the bass staff (see Clefs). If the resultant part is a rehearsal piano part that you want to appear at a smaller size, see Reducing/Enlarging.

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Pickup measures To create a pickup measure at the beginning of a piece The following method, in effect, places an “invisible rest” at the beginning of the first measure of your piece. Follow these steps to convert the first measure into a pickup measure. If you wish to add a pickup measure before the first measure of your piece, first insert a measure with the Measure Tool. See Measure menu. Any notes you enter will be pushed to the right of this invisible rest. Finale will also automatically skip over your pickup measure when displaying measure numbers. There is another method which some users prefer to create both pickup measures at the beginning of a piece and pickup measures within a piece. See To create a pickup measure within a piece (below). 1. From the Document menu, choose Pickup Measure. The Pickup Measure dialog box appears containing rhythmic values. 2. Click the rhythmic value corresponding to the sum of the pickup note or notes. If the duration of the pickup notes is equivalent to a dotted note, click the dotted note. 3. Click OK (or press enter), and enter the pickup notes. Finale will still play back the entire measure—including the invisible rest before the pickup measure. If you’ve entered the notes before creating the pickup measure, you may need to reapply music spacing.

To create a pickup measure within a piece 1. Enter the pickup notes first. For the moment, notate them at the beginning of the measure. 2. Choose the Selection Tool . 3. Click the pickup measure. Then, from the plug-ins menu, choose Measures > Split Measures. The Split Measures dialog box appears. 4. For Split Measure After _ Beat, enter the number of beats in the pickup measure. You can leave Move Second Part of Split Measure To Next System checked as this setting is irrelevant here. 5. Click OK. The measure is now split in two. 6. Double-click the second half of the measure (to select the full measure stack). Then, from the Edit menu, choose Delete Measure Stack. 7. Choose the Measure Tool . 8. Double-click the pickup measure to open the Measure Attributes dialog box. 489

9. In the Barline column, select the Normal icon and click OK. Now, you can use the beat chart to adjust the spacing. To do so, click the lower handle on the barline to the right of the pickup measure. Then drag the beat handle accordingly. To restore the measure to a normal (non-pickup) measure, click the Time Signature Tool, double-click the measure, uncheck "Use a Different Time Signature for Display" and then adjust the number of beats to match the time signature. See Time Signatures.

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Pitch wheel As you move the pitch wheel up or down (on MIDI keyboards so equipped), the pitch of the entire keyboard shifts up or down by an amount you program on the MIDI keyboard itself. Finale records and plays back pitch bends (the smoothly graduated, continuous shift of pitch that occurs when you use the pitch wheel). You can also edit pitch bends that you’ve recorded, and you can even insert expressions whose playback definitions involve the use of the pitch wheel. When you record a performance (with Record Continuous Data turned on) in HyperScribe (or in Transcription Mode), Finale automatically records all your pitch wheel data. You may or may not want this information retained so that you can later hear it applied to the playback of your transcription. For a full description of captured MIDI information, see Chapter 6: Playback in the Finale Tutorials.

To copy or erase pitch wheel data See MIDI —To copy or erase captured (or edited) MIDI data.

To edit pitch wheel data 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool . 2. From the MIDI Tool menu, choose Continuous Data. The View Continuous Data dialog box appears, from which you can choose the MIDI data you want to edit. 3. Click Pitch Wheel, and click OK. 4. Select the measures you want to affect. Click to select one measure, shift-click to select additional measures, drag-enclose to select several onscreen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit menu to select the entire document. If the region you want to edit is on only one staff and fits on the screen, double-click the highlighted region to enter the MIDI Tool split-window. Drag through the display area above the notes whose pitch wheel data you want to edit. 5. *Edit the selected region by choosing the appropriate command from the MIDI Tool menu. In the following discussion, it’s useful to remember that when the pitch wheel is at rest, its value is 0; when it’s as far down as it can go, its value is -8192; and when it’s at the top of its range of movement, its value is 8191.

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Choose Set To to specify a uniform value for the pitch wheel level. Choose Scale to create a gradual change in pitch wheel values over the selected region. Choose Add to add a positive or negative amount to the pitch wheel level throughout the selected region. Choose Percent Alter to change the pitch wheel values in the selected region by a percentage of their original amounts. Choose Limit to specify a maximum or minimum pitch wheel value for the notes in the selected region. (See also Set to dialog box; Scale dialog box; Add dialog box; Percent Alteration dialog box; or Limit dialog box.) For the most part, you’ll use the Scale, Limit, or Set To commands. For example, to create a smooth pitch bend that rises for two beats and then falls for two beats, you’d proceed as follows: Drag through the graph display region of the MIDI Tool split-window, so that two beats are highlighted. Choose Scale from the MIDI Tool menu; in the text boxes, enter 0 (the pitch wheel’s “at rest” value) and 8191 (the pitch wheel’s highest position). In the third text box (Increments), enter 640 (for example); the smaller this number, the smoother the pitch bend will be, but the more data Finale will need to generate and store, and hence the larger your document will be. Click OK. Next, drag through the second two beats and choose Scale again from the MIDI Tool menu. This time enter 8191 in the first text box and 0 in the second (to bring the pitch wheel back to its normal-pitch position); enter a value in the Increments box and click OK. You’ll see the effects of the pitch bend you just programmed in the graph area of the MIDI Tool split-window—and you’ll hear it when you choose Play from the MIDI Tool menu. If you create a pitch bend that isn’t quite calculated correctly, you may discover that, during playback, the pitch of your MIDI keyboard never fully returns to normal. That’s because the pitch wheel, via MIDI, gets “stuck” partway out of its at-rest position. If this happens, drag through part of the graph area of the MIDI Tool split-window (at the place where you want the pitch wheel to be returned to its at-rest position), choose Set To from the MIDI Tool menu, enter 0, and click OK. You can also remove pitch bend data from regions of your score by following the instructions above but, instead of following the last instruction, pressing backspace or use the Selection Tool to clear Continuous Data.

To create a pitch bend (as an expression) The following instructions show you how to create an expression that produces a smooth pitch bend over the course of one whole note—from the pitch wheel’s at-rest position to its top position and back down again. It’s impossible to predict the precise musical effect this will have on your MIDI keyboard, because the pitch wheels on different MIDI keyboards have different intervallic ranges; on some, you can specify this range (usually up to an octave or so up or down). 492

If you want to learn the process of creating a pitch wheel expression, by all means follow this example. You may prefer, however, simply to load the pitch wheel library that’s in your Libraries folder, because this library already contains the expression you’re about to create with the exception that it only lasts a quarter note instead of a whole note. Choose Load Library from the File menu. Locate the Pitch Bend Library (in the Libraries folder), and double-click it. Then place it into your score as described below. 1. Click the Expression Tool . Click on, above, or below the note to which you want to attach the marking. The Expression Selection dialog box appears. If the pitch bend expression marking already appears in the list (because you’ve loaded the Pitch Bend Library, for example), doubleclick it and click OK; you return to the document. 2. Click Create. The Expression Designer dialog box appears. Type “Pitch bend” (or whatever text you want to appear in the score, if any, at the location of the pitch bend). To change the font, highlight the text, and then from the Text menu, choose Font. 3. Click the Playback tab. The playback options appear. 4. From the Type drop-down list, choose Pitchwheel. Click Execute Shape, then the Executable Shape Select button. Proceeding through the dialog boxes, click Create, Shape ID. You’re now in the Shape Designer. 5. From the Shape Designer menu, choose Rulers and Grid and select Eighth Notes. Type 4 in the Grid Marks Every ___ 8th notes text box. Click OK. From the ShapeDesigner menu, choose Show, and then grid (if you wish). 6. Choose 25% from the View drop-down list. When you use the Shape Designer to create a pitch bend, the range of pitch wheel values is from 8192 (pitch wheel at the bottom of its range) to 8191 (pitch wheel at the top of its range). The pitch wheel’s value when it’s “at rest” is 0. Because these values are so large, you’ve just reduced the Shape Designer display so that you’ll be able to see the entire shape in the window at once. (You should also click the Hand Grabber tool and drag so that the small white circle (origin) is closer to the lower-left of the drawing area.) You’re about to design an Executable Shape—a shape whose contour governs the effects of the pitch bend. For more on Executable Shapes, see To define an expression for playback. 7. Click the Multiline Tool . To use the Multiline tool, you drag to create the first line segment, click at each subsequent corner, and then doubleclick to complete the shape. To make your shape match the dimensions of the one pictured here, observe the H: and V: numbers as you move the cursor, and place your mouse clicks according to the table below. (Of 493

course, you can always drag individual points into position, using the Selection Tool, after you’ve drawn the shape.) 8. Draw the shape as shown:

You should have a tall, upside-down V. This Shape Expression first bends the pitch wheel up, and then back down to its original position. 9. Click OK to exit the Shape Designer. 10. In the Level Scale boxes, enter 128:1. Remember that a pitch wheel’s actual “maximum” value is 8191. By multiplying the height of the shape you drew by 128, you’re telling Finale to make the pitch bend 128 times more pronounced; if you didn’t, you probably wouldn’t even be able to perceive the pitch bend. The shape you drew was 32 eighth notes (4 measures) long. The reason for this is to create a smoother sounding pitch bend. 11. Change the Time Scale. Enter a 1:4 Time Scale ratio to make the pitch bend last only 1/4 as long (a whole note); enter 2:1 to make it last twice as long, and so on. The shape in the pitch bend library has a Time Scale ratio of 1:16 to last only a quarter note. 494

12. Click OK and Assign to return to the score. Listen to the pitch bend in playback and see how it works. If you want it to be less pronounced, decrease the Level Scale (or change the maximum pitch bend interval on your MIDI keyboard). If it lasts too long, decrease the Time Scale. If you entered text for the pitch bend expression, drag this handle to move the expression; click it and press delete to remove it.

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Pizzicato The pizzicato marking (pizz.) is an expression; for complete instructions on creating and manipulating expressions, see Expressions. If you want to define the pizzicato marking for playback, you have several options. If your synthesizer has a pizzicato sound (or patch), you could define the pizz. marking as a patch change (see Patches). (If you use this method, you’ll also have to create a second expression (like arco)—which can be invisible, if you prefer—to restore the playback to its original patch.) You might also consider placing the pizzicato notes in a separate layer, then using the Instrument List to specify a special patch for that layer. A simpler method might be to create such a patch change using the MIDI Tool. Again, see Patches. If you simply want to hear selected notes play back with a staccato sound, see Staccato marks. See Keyswitches for information of triggering a pizzicato keyswitch with HP.

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Playback Finale can play your score in one of three ways: as recorded during a Hyperscribe or Transcription Mode session, using Finale’s built-in Human Playback technology, or literally based soley on the notes, rhythms, and dynamics exactly as they appear in the score - and any MIDI data added deliberately with the MIDI or Expression Tool. When you record music using Transcription Mode, HyperScribe, or when you import a MIDI sequencer file, Finale captures the expressive data including key velocity data (how hard you struck the keys), MIDI continuous data information (the pitch wheel, and other controllers and wheels), and tempo fluctuations. If you “capture” this data before transcribing the performance into notated form, Finale will retain it even after the performance has been turned into notation, and can play it back—nuance for nuance—at any time. However, if a score was not recorded from a live performance, you can still listen to Finale’s interpretation which was designed to replicate a live human performance. This feature is called “Human Playback.” Human Playback, which applies to playback by default, generates a MIDI performance far more sophisticated than a straight MIDI performance. This method of playback is designed to read the MIDI data from a score, interpret additional markings, and replicate a human performance during playback. Finale intelligently interprets markings such as tempo indications (i.e. “accel.” or “rall.”), hairpins, tremolo markings, harmonics, and more. You may notice other subtle changes as well, like a slight ritardando at the end of a piece, or an increased volume applied to a solo staff. Since an accurate performance of notated music heavily depends on the style, Finale offers several style choices, including Romantic, Classical and Jazz, to more accurately interpret the score. See Playback Settings dialog box.

IMPORTANT! To playback a piece using recorded MIDI data, or if you want to include any adjustments to playback added with the MIDI Tool or Expression Tool, first set Human Playback to None. Human playback overrides all other MIDI information. See To specify playback parameters. The Human Playback Preferences dialog box allows you to have HP on, but select what types of data you want HP to ignore or incorporate. You can also enable or disable human 497

playback by region by adding expressions defined for Human Playback On and Human Playback Off in the playback tab of the Expression Designer dialog box . When Finale plays back without Human Playback enabled, it responds to any custom musical markings you’ve placed in the score, such as staccato or accent marks, dynamics, and MIDI patch and channel indications. Human Playback interprets default markings automatically, so no further intervention is needed. For details on creating your own playback-intelligent symbols, see Articulations, Expressions. If you plan to transcribe your real-time performances or use Finale as a notation-based “sequencer,” then it’s important to understand the distinction between a playback of the score and a playback using the captured MIDI data. A number of Finale functions apply to one or the other kind of playback only; the MIDI Tool is a good example. Many of its options are specifically intended for the editing of the captured MIDI data, just as you would edit the raw MIDI data of a performance in a sequencing program. Finally, remember that the notated score and the captured MIDI data aren’t completely independent. Suppose you transcribe a performance with the Transcription Mode and capture the MIDI data. When you play the piece using the captured MIDI data (with Human Playback set to None), you’ll hear it played with your original “feel”—volume, tempo, pedaling, and so on. Yet you can edit the transcription by changing notes, transposing, adding dynamics or other playback expressions—and you’ll hear the edited music play back with the captured MIDI data still intact. For instructions on capturing performance data, see Transcribing a sequence and To import a MIDI file.

To play back a score 1. While pressing the Space bar, click the measure at which you want to begin playback. See the table below for various options in starting playback.It doesn’t matter which tool is currently selected. The behavior of the playback is governed by the settings in the Playback/Record Options dialog box (see To specify playback parameters below). Command

Keyboard Shortcut

Begin/Pause playing (Playback Controls open)

Spacebar

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Begin playing from the current measure

Spacebar–click in staff

Begin playing from current measure in the current staff only

Shift-spacebar–click in staff

Begin playing from current measure in the global staff list

Spacebar–click in between staves

Begin playing from measure one in the global staff list

Spacebar–click to the left of a staff system

Begin playing from measure one in the current staff only

Spacebar-click to the left of a staff

“Scrub” onscreen music - all staves

Ctrl-spacebar (and drag across music)

“Scrub” onscreen music - current staff only

Ctrl-Shift-spacebar (and drag across music)

2. Click on the screen to stop the playback. Finale may take a moment to respond. Note: If you notice Finale missing notes or instruments during playback, Garritan Personal Orchestra may be exhausting your computer’s resources. You can disable GPO at any time by unchecking Play Finale through VST under the MIDI/Audio menu. To use Finale’s internal SmartMusic SoftSynth, from the MIDI/Audio menu, choose Device Setup > MIDI Setup, select a SmartMusic SoftSynth from the MIDI Out drop-down menu and click OK.

To use Playback Controls Playback Controls reside on a movable/dockable window. They give you several additional controls over the way your score plays back—for example, they contain Play, Stop, Rewind, and Fast Forward buttons. They also let you listen to any portion of the score, even if you’re viewing a different section on the screen.

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1. From the Window menu, choose Playback Controls. Playback Controls appears.

2. Adjust the Measure control, if necessary. This text box shows the first measure to be played. To change this number, either type in a new one, click the up or down arrows, or click one of the large buttons on Playback Controls. (To edit the counter, the Current Counter Setting option must be checked in the Playback Settings dialog box). The

button (Rewind to

Beginning) enters 1 in the Measure text box. The and buttons quickly decrease or increase the number in the Measure text box, and the button (Fast Forward to End) puts the last measure’s number in the text box. 3. Click Play. The music plays. To Stop, click Stop; to pause, press the space bar again (or click Pause); when you’re ready to go on, click Pause again. If, while you’re listening, you catch something you’d like to hear again, button for a few seconds; Finale will suspend playback, the click the Measure text box number will decrease (as the program “rewinds”). Release the

button, and playback will begin again (with the number in

the Measure text box). Similarly, you can click the , (Rewind to Beginning), and (Forward to End) buttons at any time during playback. 4. For additional playback options, click the Playback Settings button The Playback Settings dialog box opens. Using Always start at and Stop at, specify what range of measures you want Finale to play; the default settings tell Finale to play from Measure 1 displayed on the screen through the end of the piece. By changing these numbers, you can even tell Finale to play measures that aren’t on the 500

screen. Or, by entering a small range and repeatedly clicking the Play button, you could, in effect, “loop” through a certain segment. The Tempo control sets the playback tempo unless you’ve created tempo changes by recording them, by placing Expression marks, or by using the Tempo Tool. The Base Key Velocity, on a scale from 0 (silent) to 127 (very loud), establishes the overall key velocity setting, from which all dynamics are measured. In other words, you can make the piece generally softer by decreasing this number, but individual dynamics within the piece will still have an effect. For a discussion of Playback Controls, see Playback Controls. To make real-time adjustments to volume, panning, and other playback attributes, see To use real-time mixer controls (below).

To use real-time mixer controls Volume, panning, the instrument sound, and other playback attributes can be adjusted as you listen to Finale’s performance using Finale’s mixer controls. Mixer controls are available in three places; the Mixer window, the Staff Controls (in Studio View), and the Instrument List. Adjustments made to any of these controls applies to them all. All mixer changes are supplemental to all playback data currently specified in the score (HP, MIDI Tool data, etc.). For example, an increase in volume applied with the mixer does not affect the contour of volume within the score, only the master or staff volume as a conventional mixer would affect the master volume or volume of individual tracks. 1. From the Window menu, choose Mixer. The Mixer controls appear including master and staff controls. You can also view the set of staff controls, called the Staff Controls, to the left of your score in Studio View. To do so, from the View menu, choose Studio View. The same controls (with the added capability of individual control for layers and chord symbols) are also available in the Instrument List Window (Window menu > Instrument List). 2. Start playback using any of the methods described under To use Playback Controls. Mixer controls apply to playback regardless of the measure or type of playback you initiate. 3. Click and drag the sliders or wheels to customize output. See Mixer for an illustration of the controls. Note that the configuration of the mixer controls is saved when you save the Finale document. Also, changes to a control for one staff apply to all staves set to the same channel. If you want to assign a staff a unique channel you can do so by defining a “New Instrument” in the Instrument List. (To do so, in the Instrument List choose View by Instruments and click New Instrument. Choose the same instrument sound (patch) for your new instrument and assign it a different channel).

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To play back selected staves 1. From the Window menu, choose Instrument List. The Instrument List appears. 2. Click the Mute button for each staff you want to silence, or click the Solo button to silence all other staves). In other words, if your score has 40 staves, and you just want to hear the piano part, it’s much quicker to click Solo for the two piano staves than to mute the other 38 staves. But if you want to hear everything but the piano, click in the Play button for the piano staves. If both Mute and Solo are selected for the same staff, Mute overrides Solo.

To send an All Notes Off message On rare occasions, you may encounter a situation called MIDI lock, in which your synthesizer is “stuck” on a certain note or chord. From the MIDI/Audio menu, choose All Notes Off. Finale sends an “all notes off” message to every note of every channel. You should find that, after a moment, the situation is corrected.

To correct erratic MIDI playback If you experience erratic playback with SoftSynth defined as your output device in MIDI Setup, and are using a machine with a dual processors or hyper threading capability, set Finale to run on a single CPU. To do this, press CtrlAlt-Delete and then select Task Manager. Choose the Processes tab, right click “Finale.exe” and choose Set Affinity. Then, ensure only one CPU is selected. Click OK, close out of the Task Manager, and the erratic playback problem should be resolved. If your score has many chords, consider using the 502

MIDI Tool’s Randomize command to offset the notes’ attacks (Start Times) slightly from each other—not enough to hear, but enough so that your MIDI system doesn’t have to handle many notes being struck precisely together. See MIDI Tool menu. If you notice Finale missing notes or instruments during playback, Garritan Personal Orchestra may be exhausting your computer’s resources. You can disable GPO at any time by unchecking Play Finale through VST under the MIDI/Audio menu. To use Finale’s internal SmartMusic SoftSynth, from the MIDI/Audio menu, choose Device Setup > MIDI Setup, select a SmartMusic SoftSynth from the MIDI Out drop-down menu and click OK.

To specify playback parameters To adjust Finale’s playback interpretation of a score, you can adjust the Human Playback settings located in the Playback Settings dialog box. Human Playback overrides all performance data, MIDI Tool data, and other playback information deliberately added to the score (with the exception of MIDI data set to “Incorporate” in the Human Playback Preferences dialog box). Therefore, if you would like to listen to a performance as it was recorded, or if you would like to playback performance details added to the score with the MIDI or Expression Tool, set Human Playback to None. To do this: 1. From the Window menu, choose Playback Controls. Playback Controls appears. 2. Click the Playback Settings button. The Playback Settings dialog box appears, offering additional controls. 3. Click the drop-down for Human Playback Style and choose None. 4. Close out to the Playback Settings. When you play back your score with Human Playback disabled, Finale checks the Playback/Record Options to find out certain playback parameters, as described here. 5. From the Document menu, choose Playback/Record Options. The Playback/Record Options dialog box appears. 6. Select the playback parameters you prefer from the Playback/Record Options dialog box. Choose Chase from First Measure(from the Dynamics and Markings drop-down list) if you want Finale to quickly scan your piece and “chase” any expression markings that occurred earlier in the piece up to the point you clicked. These might include tempo, dynamics, patch changes, and so on; select this option if you’re starting playback in the middle of the piece and want these playback variables to be current (and transmitted to your synthesizer) as of the starting point you clicked. If you choose Reset instead, Finale will ignore any changes that have occurred prior to this point in the score, and will begin playing based on the markings available in the measure you clicked. Choose Use Current Settings if you’ve interrupted playback at a certain spot, and now want to continue using the expression settings in effect when you stopped 503

playback. Click Ignore Repeats if you want Finale to play through repeat barlines (and text repeats) as though they didn’t exist. Select Reset Repeats if you want such repeats to be “set to zero” each time you begin playback again. If you don’t specify Reset Repeats, Finale will remember how many times each repeat has been “activated.” If you’re proofreading a score by playing one section at a time, you will want Finale to “remember its place” each time you stop, so you probably won’t want to select this option. Next, specify any captured MIDI data you want to incorporate into the playback. Captured MIDI data is captured from a real-time performance in the Transcription Mode, created with the MIDI Tool, or imported in a standard MIDI file from another sequencer. Select Play Recorded Key Velocities and Play Recorded Note Durations if you want the playback to incorporate the key velocity (volume) information and Start and Stop Time data (tiny anticipations or delays of the beat such as rolled chords and swing) from the original performance. Select Play Recorded Continuous Data if you want the playback to use the pedaling, pitch wheel, and other MIDI continuous datainformation from the original performance. Click Send Patches Before Play from the Instrument List windowif you want Finale to send initial patch settings to your synthesizers before beginning the playback. The initial patch settings are determined by the Instrument List (see Patches). 7. Click OK (or press enter).

To make the music scroll during playback If you want, you can tell Finale to scroll the music, so you can follow the score as you’re listening to the playback. 1. From the Window menu, choose Playback Controls. Playback Controls appears. 2. Click the Playback Settings button. The Playback Settings dialog box appears, offering additional controls. 3. Check Scrolling playback. You may now play the music in the normal way.

To “audio spot-check” music No particular tool has to be selected. • While pressing ctrl and the Space bar, drag the cursor across your score. As the cursor strikes each note, you hear it played on your MIDI keyboard. You can drag in any direction, and at any speed, and from one staff to another. You might use this trick for checking chord voicings, scanning small sections for wrong notes, or just for fun.

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Landscape and Portrait orientation Under normal circumstances, Finale prints your pages in portrait orientation— with the page taller than it is wide. For some scores, however, you may want the page turned sideways, in landscape orientation. For instructions on printing in landscape orientation, see Printing. If you would like to specify a different page orientation for the score than the parts, two print sessions are required. On Windows, Finale cannot use the orientation setting in the Page Format for Score and Page Format for Parts dialog box instead of the one specified in the Print dialog box. While printing both the score and parts, you may want to use a different orientation for the score than the parts. To do so, you must perform two print jobs, one for the score and one for the parts.To change the orientation, see Page Setup.

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PostScript See also Encapsulated PostScript (EPS); Fonts and Compile PostScript Listing dialog box. PostScript is the page-description language that computers and some printers use when they “speak” to each other. Finale’s printouts look best when generated by a PostScript printer. In Page View, you can choose the Show PostScript Preview command (in the View menu). When you choose this command, Finale “prints” the actual PostScript instructions onto your screen—the same instructions that it would send to a PostScript printer. Except for the fact that the screen resolution is much coarser than that of a PostScript printer, the Show PostScript Preview command provides the most accurate possible preview of how your music will look when it’s printed. When you click the mouse, the display returns to normal.

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Printing To print a score Portrait orientation is the usual setup—the page is taller than it is wide; Landscape orientation is “sideways.” Letter size is 8.5 by 11 inches; Legal size is 8.5 by14 inches. 1. Choose Page Setup from the File menu. The Page Setup dialog box appears. Click Letter or Legal to specify the paper size. Specify the orientation by clicking Portrait or Landscape. 2. Make sure your page layout matches the paper size and orientation you’ve just specified. See Page size for instructions. 3. Click OK (or press enter). If you’re in Page View, go to page 1. 4. Choose Update Layout from the Edit menu. By choosing Update Layout, you’re reformatting the music so that no measures are unnecessarily wide or narrow. 5. Choose Print from the File menu. The Print dialog box appears letting you specify the range of pages to print. If you only want the first page to print, type 1 in both the From and To boxes. 6. Click OK (or press enter). The printer should begin to print in a few moments. 7. To cancel printing, press esc or click Cancel. Because the computer sends data to the printer faster than the printer can process it, there will be a momentary pause before the computer and printer stop printing.

To print large scores by taping smaller pages together See Tiling pages for printing.

To print linked parts See Printing linked parts.

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Punch in/Punch out To to perform a punch in and out Punch in and punch out are sequencing and recording terms. They refer to the act of rerecording, in a second pass, only a portion of a performance you’ve already recorded, allowing you to rerecord only a flawed part of a performance that was otherwise perfect, for example. You can punch in and out in Finale’s Transcription window. By clicking the Keyboard Play radio button and the Time Tag Record radio button, you can also rerecord Time Tags for a certain passage. For further instructions on the use of the Transcription Mode, see Transcribing a sequence. You can tell Finale to play a “countoff” measure or so of music before switching to “record” mode, if you want. • Record your performance in the usual way. Again, see Transcribing a sequence for complete instructions. • Specify the region you want to rerecord. To tell Finale what region you want to rerecord, you need to enter the exact starting and stopping times in the In and Out counters (in the lower-right corner of the screen). These indicators specify the starting and ending points of the selected region, expressed in the Hours:Minutes:Seconds:Thousandths of a second format. To edit these numbers directly, click the word In or Out, and type new values. You may find it easier to select a region by simply dragging through a section of the display area. These counters change automatically to reflect your selection. You can also set either indicator by clicking—click the word In or Out, and then click in the display area. Note: To locate the places where you want to punch in and out, drag through the keyboard display area of the Transcription window, so that a portion of it is highlighted. Under the word Keyboard, click Play; click Start to listen to the highlighted music. Repeat the process until you’ve located the exact places in the music where you want to punch in and out. • Under the word Keyboard, click Punch In/Out. 508

• Choose Punch In Preroll from the Transcription menu. You’ll probably want Finale to play a few seconds of the music just before the spot you want to rerecord, so you can hear the desired spot in context and in tempo. The dialog box that now appears allows you to specify how many seconds of the existing music you want Finale to play before switching into record mode (at which point you’ll begin to play the new music). • Enter the number of seconds of preroll you want. Click OK (or press enter). You’re now ready to begin. • Click Start. Finale plays the music preceding the punch-in point for the number of seconds you specified, and then begins recording your new performance. When Finale reaches the point you specified as the punchout point, it stops recording.

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Quantization Guide Yur success at creating notation with the HyperScribe Tool depends largely on o the settings you make in the Quantization Settings dialog box. The more simple the assortment of rhythmic values in your piece, the better Finale will transcribe them; but Finale can handle even rhythmically complex pieces if you’ve made the proper settings. These settings include your beat source (called Time Tags in the Transcription window), the smallest note you will input, and your quantization type settings. For a complete discussion of the beat source and quantization options, see Quantization Settings dialog box, Recording with HyperScribe and Transcribing a sequence). The following table is designed to help you make the correct quantization settings before you begin. Consult this table if you find that (1) Finale is quantizing (rounding off) smaller values—such as sixteenth notes—into chord clusters with larger values, such as eighth notes, or (2) Finale isn’t quantizing enough—in other words, you’re finding that eighth notes are being notated as sixteenth notes separated by sixteenth rests, for example, or (3) Finale isn’t correctly notating triplets or other tuplets. Consult the Beat (Tap), Rhythm and Time columns of this table to find the assortment of rhythmic values and Time Signatures that correctly characterizes the rhythmic values of the piece you’re trying to notate.The Smallest Note Value and Type of Quantization columns show you what settings to use in the Quantization Settings dialog box to notate the described rhythm. (To specify a Beat Duration—that is, the rhythmic value of your tap—in HyperScribe, choose Tap from the HyperScribe menu and click a note value in the Tap Source dialog box. In the Transcription window, choose the corresponding value from the “First Tag is” submenu of the Time Tag menu before you record Time Tags.)

Beat (Tap)

Rhythm

Time

Smallest Note

Type of Quantization

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Space Notes Evenly

Space Notes Evenly

Space Notes Evenly

Space Notes Evenly

Mix Rhythms

511

Mix Rhythms

Mix Rhythms

Space Notes Evenly

Mix Rhythms

512

Space Notes Evenly

Mix Rhythms

Space Notes Evenly

32nd note

Space Notes Evenly

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Mix Rhythms

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Rallentando In Finale a rallentando can be a playback effect, a graphic marking in the score, or both. The Rall. marking itself can appear in one staff or several specified staves.

Note: Finale’s Human Playback feature recognizes text such as “rall.” and applies tempo adjustments accordingly during playback. See Playback Settings dialog box for details. To use manually defined rallentando markings for playback, set Human Playback to None.

To place the Rall. marking into a score 1. Click the Expression Tool . 2. Double-click where you would like to add the marking. The Expression Selection dialog box appears. 3. Choose the Tempo Alterations category from the list on the left. If the marking already appears in the list, click it and skip to the step 6. 4. Click Create. The Expression Designer dialog box appears. 5. Type “Rall.” or “Rallentando.” Highlight the text, then from the Text menu, choose Font to change the type style (to italic type, for example). 6. Click OK or Select or Assign in each dialog box until you return to the document.

To move or delete a Rall. marking 1. Click the Expression Tool . 2. Drag the handle to move the marking. Select it and press the arrow keys to “nudge” it for fine positioning. Select it and press delete to remove it.

To define a Rall. marking for playback The instructions below describe how to assign a tempo change to an expression that can be added to the score at any time. To easily record, or ‘conduct,’ a unique tempo change for any region, use TempoTap.

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1. Click the Expression Tool . If you haven’t yet placed the marking in the score, double-click any note. When the Expression Selection dialog box appears, click the desired symbol, click Edit, and then skip ahead to step 4. 2. Ctrl-double-click the handle. The Expression Selection dialog box appears. 3. Click Edit. The Expression Designer dialog box appears. 4. Click the Playback tab to display the playback options. From the Type drop-down list, choose Tempo; select Execute Shape, and click the Execute Shape Select button. Proceeding through the dialog boxes, click as follows: Create; Shape ID; Create. You’re now in the Shape Designer. 5. From the Shape Designer menu, choose Rulers and Grid. The Rulers and Grid dialog box appears. 6. Click Eighth Notes, type 1, and click OK. From the Show submenu of the Shape Designer menu, choose Grid. The grid appears; each imaginary vertical gridline represents an eighth note’s duration; each horizontal line represents a tempo change of one beat per minute. 7. Click the Line Tool . You’re about to draw a graph of the rallentando’s effect on playback. To use the Line Tool, you drag it across the drawing area. To make your shape match the one pictured here, observe the H: and V: numbers as you move the cursor, and stop when the H: number is 4 and the V: number is –5. 8. Draw a line, as shown:

You should have a line that slopes downward from the small white circle (the origin). In this example, its width (the H: measurement) is 4, meaning four eighth notes’ duration; this rallentando will last for a half note. The line’s height, 5, represents the number of beats per minute the tempo will be slowed by this rallentando—at the moment, that’s not much of a tempo change. You’ll have a chance to adjust both of these effects. 8. Click OK then Select to return to the Executable Shape Designer dialog box. 516

9. In the Level Scale boxes, enter 8:1. You probably wouldn’t even be able to perceive a rallentando that only slowed down by five beats per minute. By changing the Level Scale, you’re multiplying the degree of rallentando. If you enter 8:1, the tempo will change by 40 beats per minute—a much more satisfying rallentando. Note that, at this point, you could also specify a different Time Scale, which would determine how long the executable shape will last. When you designed the shape, it crossed four gridlines (each representing an eighth note duration, for a total of one half note). Change the Time Scale to multiply that rate of rallentando; a Time Scale of 1:2 would create a rallentando lasting half as long (a quarter note), and 3:1 would create a rallentando that lasts three times as long. 10. Click OK or Select or Assign in each dialog box until you return to the document. Listen to the rallentando in playback and see how it works. If it doesn’t slow down enough, increase the Level Scale. If it lasts too long, decrease the Time Scale. (The effect of the rallentando will vary according to the current tempo.)

To return to the original tempo after a rallentando (a tempo) 1. Click the Expression Tool . 2. Double-click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box appears. 3. Choose the Tempo Alterations category from the list on the left. 4. Click Create Tempo Alteration. The Expression Designer dialog box appears. 5. Type “a tempo.” Highlight the text, then from the Text menu, choose Font to change the type style (to italic type, for example). 6. Click the Playback tab to display the playback options. From the Type drop-down list, choose Tempo. 7. Choose the note duration that is your time signature’s beat duration. If you are in 2/4, 3/4, or 4/4 time, choose the quarter note. If you are in 2/2 or 3/2 time, choose half note. If you are in 3/8, 6/8 or 9/8 time, choose the eighth note or dotted quarter note.

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8. Select Set to Value and enter the tempo you want it to playback. 9. Click OK and then Assign to add the marking to the score.

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Recording with HyperScribe Finale allows two types of recording with HyperScribe; A real-time MIDI transcription recorded using an external MIDI device such as a MIDI keyboard, or an audio track recorded using a microphone attached to your computer. When you’re recording a real-time MIDI performance using HyperScribe, you can provide the click yourself by tapping a note on your MIDI keyboard, a foot pedal, and so on (if Tap is selected in the Beat Source submenu). Or, another computer or MIDI device can provide a time code that Finale will sync to (if External MIDI Sync is selected in the Beat Source submenu). If you prefer, however, you can have Finale provide a metronome click, which can be triggered by playing a certain MIDI note (if Playback and/or Click is selected in the Beat Source submenu). When you're recording an audio track, the live performance must be in realtime and match the desired playback tempo. For details, see To record an audio track. Note: If you are using Kontakt for Finale with GPO as your playback device, to get a metronome click, you will need to load a percussion instrument and select the patch manually. See To use a metronome click with VST.

To record into one or two staves 1. From the MIDI/Audio menu, choose Quantization Settings. Adjust the settings, then click OK. See Quantization Settings dialog box for more information. 2. Click the HyperScribe Tool . The HyperScribe menu appears. 3. From the HyperScribe menu, choose Beat Source, then Playback and/or Click. The Playback and/or Click dialog box appears. (See Playback and/or Click dialog box) 4. Click the note duration you would like to use for your beat. Type in the number of EDUs for any duration that is not available from the palette. 5. If you know what tempo you want to record at, click Use This Tempo and enter the tempo into the Tempo text box. If you prefer to have Finale calculate the tempo for you, click Listen, then tap any key on your MIDI instrument in the desired tempo. Finale will enter the tempo you play. You can select Use Playback Tempo to respect all playback indicators (Playback Controls, Expressions, etc.) while you record. 6. Choose a start signal from the Start Signal for Recording drop-down list. Finale will delay starting the countoff measures and recording until it receives a start signal. Choose None (Record Immediately) if you don’t want to use a signal to start recording—Finale will immediately start recording (after playing the countoff if one was specified); choose Any MIDI 519

7. 8. 9. 10. 11.

12.

13.

14.

Data for Finale to start recording upon receiving any MIDI signal that’s played; choose Current Metronome Sound to use the same MIDI signal as the metronome click; choose Standard Sustain Pedal or Nonstandard Sustain Pedal to signal the start by depressing the foot pedal; choose Other to define an alternate MIDI signal as the start signal in the MIDI Event dialog box (see MIDI Event dialog box). Select Play Staves While Recording if you want all the staves set up in the instrument list to play back while Finale provides a click. Click on Click and Countoff to set up your click and countoff options. For details, see Click and Countoff. Click OK. Choose Record into One Staff or Split into Two Staves from the Record Mode submenu of the HyperScribe menu. If you choose Split into Two Staves, the Fixed Split Point dialog box appears. Enter the note that will serve as the split point for the staves. Or click Listen, and play the note on your MIDI keyboard. Click OK. See Fixed Split Point dialog box for more information. Choose HyperScribe Options from the HyperScribe menu and change the Receive On information if you’re sending information on an alternate channel. Change other settings as needed, then click OK. See HyperScribe Options dialog box for more information. From the HyperScribe menu, choose Record Continuous Data. Then click Listen and play the continuous data you want to record during your HyperScribe session (or make your selections from the dropdown). Then click Done and OK to dismiss the dialog box. See Record Continuous Data dialog box for more details. To start recording, click the measure in which you want Finale to begin recording. Signal Finale to start (if you selected a start signal). Click a measure. Or, choose Playback Controls from the Window menu, if it isn’t already selected. If you have selected split into two staves, click on the upper staff in which you want recording to begin. Change the measure if necessary, then click Record in the Playback Controls. If there are repeats in the region you are recording, Finale will jump back to the beginning of repeated sections (as it would during playback). While recording, the second pass of a repeated section will overwrite the first pass. Note: If you click a measure to start recording, Finale will start recording into the measure you clicked, not the measure displayed in the Playback Controls.

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15. When you’re finished, (if you are providing the beat), give one extra tap. The extra tap is required to fill out the beat, for the benefit of Finale’s quantization feature. Note: If you stop in the middle of a measure, Finale automatically fills the rest of the measure with rests. If you’re HyperScribing over an existing passage and accidentally play partway into an existing measure that you wanted to preserve, ctrl-click to end the recording; Finale won’t transcribe the new notes you’ve played in the half-completed measure. 16. Click anywhere on the screen to stop recording and exit the HyperScribe dialog box (if it is displayed). If the quantization or split point settings weren’t quite right, change them; then click the first measure and try the performance again. HyperScribe will overwrite whatever music is already on the staff. If you can’t seem to find a split point that works to separate the music into the proper staves, use the Note Mover to correct any split point errors (see To correct split point errors).

To use multitrack recording (HyperScribe) When you’re using multitrack recording, remember to specify the recording options in the Instrument List window, otherwise Finale won’t know which staves to record into, or which channels to receive from. As with other HyperScribe record modes, you can have Finale wait for a click (Tap or External MIDI Sync is selected in the Beat Source submenu). If you prefer, however, you can have Finale provide a metronome click, which can be triggered by playing a certain MIDI note (if Playback and/or Click is selected in the Beat Source submenu). 1. Choose Quantization Settings from the MIDI menu. Adjust the settings, then click OK. See Quantization Settings dialog box for more information. 2. Click the HyperScribe Tool . The HyperScribe menu appears. The first decision you have to make is whether or not you want Finale to provide a click. 3. From the Beat Source submenu of the HyperScribe menu, choose Playback and/or Click. The Playback and/or Click dialog box appears. (See Playback and/or Click dialog box) 4. Click the note duration you would like to use for your beat from the Beat Equals palette. Type in the number of EDUs for any duration that is not available from the palette. 521

5. If you know what tempo you want to record at, enter the tempo into the Tempo text box. If you prefer to have Finale calculate the tempo for you, click Listen (the Listen to Tempo dialog box will appear), then tap any key on your MIDI keyboard in the desired tempo. Finale will enter the tempo you tapped. See Listen to Tempo dialog box. 6. Select Play Staves While Recording if you want all the set up staves in the instrument list to play back while Finale provides a click. 7. Choose a start signal from the Start Signal for Recording drop-down list. Finale will delay starting the countoff measures and recording until it receives a start signal. Choose None (Record Immediately) if you don’t want to use a signal to start recording—Finale will immediately start recording (after playing the countoff, if one was specified); choose Any MIDI Data for Finale to start recording upon receiving any MIDI signal that’s played; choose Current Metronome Sound to use the same MIDI signal for the metronome click; choose Standard Sustain Pedal or Nonstandard Sustain Pedal to signal the start by depressing the foot pedal; choose Other to define an alternate MIDI signal as the start signal in the MIDI Event dialog box (see MIDI Event dialog box). 8. Click on Click and Countoff to set up your click and countoff options. For details, see Click and Countoff. 9. Choose Multitrack Record from the Record Mode submenu of the HyperScribe menu. 10. Choose Instrument List from the Window menu, if it isn’t already selected. Click the appropriate P (Play) or S (Solo) columns to determine which staves will play back as you record. (For more information, see Instrument List window.) 11. Click in a staff’s R (Record) column to specify that music will be recorded into the staff (a black triangle appears in the column). To record into different layers of a staff, expand the staff list by clicking on the control arrow next to the staff name, then click in the Record column for each layer you want to record into. Click again to remove a triangle from a staff or layer previously selected for recording. 12. Enter the channel number that will be recorded for each staff or layer in the RChan column. To specify different channels for the layers of a staff, expand the staff list by clicking on the control arrow next to the staff name, then enter the channel numbers into the RChan columns for those layers. Finale displays the word Mixed next to the Staff name in the RChan column, indicating that Finale will be recording into one or more layers of the staff, from more than one channel. 13. Close the Instrument List. Clicking on the minimize icon in the upper right corner. 14. Choose Playback Controls from the Window menu, if it isn’t already selected. See Playback Settings dialog box.

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15. In the Measure text box, enter a new measure number to indicate where to start you transcribing. 16. When you’re ready to start recording, signal Finale to start (if a start signal was selected). Click the Record button in the Playback Controls. Or, click a measure in your score where you want recording to begin. Finale will use the settings in the Instrument List to determine which channels to receive from or which staves to record into, then begin countoff and recording. Note: If you click a measure to start recording, Finale will start recording into the measure you clicked, not the measure displayed in the Playback Controls. 17. When you’re finished, (if you are providing the beat), give one extra tap. The extra tap is required to fill out the beat, for the benefit of Finale’s quantization feature. Note: If you stop in the middle of a measure, Finale automatically fills the rest of the measure with rests. If you’re HyperScribing over an existing passage and accidentally play partway into an existing measure that you wanted to preserve, ctrl-click to end the recording; Finale won’t transcribe the new notes you’ve played in the half-completed measure. 17. Click anywhere on the screen to stop recording and exit the HyperScribe dialog box (if it is displayed). If the quantization or split point settings weren’t quite right, change them; then click the first measure and try the performance again. HyperScribe will overwrite whatever music is already on the staff. If you can’t seem to find a split point that works to separate the music into the proper staves, use the Note Mover to correct any split point errors (see To correct split point errors).

To use a metronome click with VST MIDI instruments and VST instruments cannot playback simultaneously. Therefore, if a VST product (like Kontakt for Finale with GPO) is chosen as your playback device in MIDI Setup, extra steps are required to sound a metronome click during your HyperScribe Sessions: 1. From the MIDI/Audio menu, choose Instrument Setup > VST Instruments. The VST Instruments dialog box appears. 523

2. Click the 1-16 drop-down menu and choose Instruments for Finale 2010 (if it’s not chosen already). Then click the Edit button to the right. The Aria Player for Finale appears. 3. For channel 10, load the Basic Orch Percussion sound. If all eight slots are full, replace one of the instruments with the Basic Orch Percussion sound and reassign the replaced instrument on a different set of channels. 4. Close the player and click Close to dismiss the dialog box. Setting the channel to 10 ensures the metronome click will play normally if MIDI is set as the playback device. 5. From the MIDI/Audio menu, choose Click and Countoff. The Click and Countoff dialog box appears. 6. Change the Note fields for both Down Beats and Other Beats to 56. This will produce a side drum hit when using the Aria Player for Finale and a cowbell when using MIDI. Note that you could use a different VST product instead of the Aria Player for Finale, although the sound and patch number for the click sound would be different than the one used for these steps.

To record an audio track 1. From the View menu, choose Studio View. Audio tracks are only visible in Studio View. 2. From the Document menu, choose Playback/Record Options. Ensure "Chase from First Measure" is selected under the Dynamics and Markings drop-down menu. Click OK. 3. From the MIDI/Audio menu, choose Audio Track, then Add Audio Track. An audio track appears above your instrument staves, and below the TempoTap staff. 4. Choose the HyperScribe Tool . At this point the steps are basically the same as recording a HyperScribe session. 5. From the HyperScribe menu, choose Beat Source, then Playback and/or Click. Click the drop-down menu to the right of Start Signal for Recording and choose None (Record Immediately). This setting tells Finale to begin recording using the number of countoff measures specified in the Click and Countoff dialog box. 6. Click the first measure, listen to two bars of metronome clicks, then begin recording into the microphone. 7. When you are done, click the score to stop the recording. The audio you just recorded is visible in the audio track. Click Play in the Playback Controls to listen to your document. Click on the audio track again to record 524

over the original recording. If there is a delay in the transmission from the microphone to your computer, you can adjust the audio latency to resolve the difference in all future recordings. See To Correct Audio Recording Latency Finale allows a single audio track in any document. For more advanced options, such as editing the reverb of the audio file or recording multiple voices; use audio editing software, save as aWave, and import the audio file into a Finale document's audio track. See Audio.

To Correct Audio Recording Latency If during playback you notice your audio recordings are offset from the accompanying score, it is likely the audio signal from your microphone is not being transmitted to your computer instantly. This short delay is called latency. Finale's recording settings allow you to compensate for latency. This is a program setting and will generally only need to be set once (unless future hardware changes alter the degree of latency). 1. From the File menu, choose New > Defaut Document. A new single-staff document appears in Studio View. We'll use this scratch document to determine the degree of latency. 2. Click the Simple Entry Tool . Then press Enter to place a note on the first beat of the document. This is our reference point. Any note or chord is fine, as long as it rests on the first beat of the document. 3. From the MIDI/Audio menu, choose Audio Track, then Add Audio Track. An audio track appears above the regular staff, and below the TempoTap staff. 4. Choose the HyperScribe Tool . 5. From the HyperScribe menu, choose Beat Source, then Playback and/or Click. Click the drop-down menu to the right of Start Signal for Recording and choose None (Record Immediately). This setting tells Finale to begin recording using the number of countoff measures specified in the Click and Countoff dialog box. 6. Click the first measure, listen to two bars of metronome clicks, then record a marker (i.e. vocal note or percussive sound). 7. Click the score to stop the recording. The audio you just recorded is visible in the audio track. 8. Click Play in the Playback Controls to listen to your document. If the audio marker you recorded and the note(s) you entered do not play simultaneously, you will need to adjust the latency. 9. From the MIDI/Audio menu, choose Device Setup > Audio Setup. The Audio Setup dialog box appears. 525

10. After Recording Latency, enter "50" milliseconds. This is a common degree of latency and a good place to start, although the exact amount of time varies by machine. 11. Click OK. Repeat steps 6 and 7. If the recorded marker still sounds after beat one of the notated music, you will need to enter a greater duration for Latency in the Audio Setup dialog box. Repeat steps 8 and 9, entering a greater value (i.e. 65). If the recorded marker sounds before the notated music, use a lesser duration of latency (i.e. 35). Experiment with the Latency value until the recorded marker and notated music play simultaneously.

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Rebarring music Finale’s rebarring feature is extremely powerful: almost instantly, it redistributes the notes of your score so that each measure contains the right number of beats. You can renotate a waltz as a two-step, or vice versa. In the Time Signature dialog box, there is a checkbox called Rebar Music. As long as this checkbox is selected, Finale will rebar your music automatically whenever you change the time signature. There are only two circumstances, therefore, when you might need to invoke the Rebar Music command manually—when the checkbox is de-selected, or when you insert (or delete) a note from a measure, and you want Finale to make the following notes flow into (or out of) that measure to take up the slack. Whether you use the Rebar Music checkbox, or manual rebarring feature, Finale is smart enough to split or combine notes as needed, rebeam the notes, and stop rebarring at points you designate (such as key or time changes); the program will also create measures as necessary. If Finale reaches one of these stopping points but doesn’t have enough notes leftover to fill an entire measure, it will fill this final measure with the appropriate number of rests. When you rebar partly-filled measures, Finale does not “pad” the measures with rests. For example, if you’re in 4/4 time, and you enter two quarter notes (and no rests) in each of two measures, when you rebar the music, you’ll end up with one measure containing 4 quarter notes. To maintain the positions of the rests, you must actually enter the rests, or you can “pad” the measures with rests using the Fill With Rests command located in the Check Notation submenu of the Utilities menu.

To rebar existing music manually 1. Click the Selection Tool , and select the region you want rebarred. 2. Select how you want your music rebarred using the Rebar Options dialog box. (See Rebar Options dialog box.) 3. From the Utilities menu, choose Rebar > Rebar Options. Finale redistributes the notes, so that each selected measure contains the correct number of beats, but respecting your settings in the Rebar Options dialog box.

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Redraw In order to speed up your work with Finale, you may want to limit the number of times Finale redraws the screen picture—a process that requires the computer to do time-consuming calculations, particularly with large scores.

To move the screen picture diagonally Occasionally, you need to move both scroll bars—for example, if you want to move diagonally across the page—which means that Finale must redraw the screen at least twice. In those situations, adjust the screen picture using the Hand Grabber Tool instead of the scroll bars; this tool lets you drag the display in any direction without redrawing until you let go. Finally, as a shortcut, remember that you can switch to the Hand Grabber— regardless of which tool is highlighted on the palette—by pressing the rightbutton while dragging.

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Reducing/Enlarging You can enlarge or reduce almost any element of your music: a notehead, an entire note, a staff, a system, or a page. The limits of the Resize Tool are 10% to 1000%.

To reduce or enlarge individual notes See Note size and Cue notes.

To reduce or enlarge fretboards See Document Options-Chords and Change Chord Assignments dialog box.

To reduce or enlarge a staff or system You must be in Page View to reduce or enlarge a staff or system. 1. Click the Resize Tool . 2. Click on a staff (to resize the staff), or between any two staves in a system (to resize the system).Right-click to choose the element you would like to resize from a context menu. The Resize Staff (or Staff System) dialog box appears, asking you how you want to resize the staff or system. If you’re reducing or enlarging a system, you see two important options. Click Hold Margins if you intend to reduce the music itself but not the system margins, thus increasing the number of measures that fit on the line. Click Resize Vertical Space if, in reducing a system, you want less space between this system and the next, proportional to the reduction. If you’re reducing or enlarging a system, you’ll also want to look at the Staff Sizing. This section can be very useful for calculating the combined scaling of staff and system. This can help avoid the necessity of resizing the page and scaling text blocks. Tip: the absolute staff height is 96 EVPUs or .3333 inches or .8467 cm. 3. Enter the desired reduction or enlargement percentage. Specify the range of systems you want to affect. Click OK. If you reduced or enlarged a system with Hold Margins selected, the measure widths will appear to be uneven. 4. Choose Update Layout from the Edit menu. To restore a staff or system to its original size, click on the staff or system with the Resize Tool. When the dialog box appears, enter 100 (%) and click OK. 529

To reduce or enlarge all the music on a page (or the entire piece) Use this technique for reducing or enlarging the printed size of the music itself, including text and expressions (without changing the actual page size). You must be in Page View to reduce or enlarge a page. 1. Click the Resize Tool . 2. Click the upper-left corner of the first page you want to resize. Or, right-click and choose Resize Page. The Resize Page dialog box appears. 3. Enter the reduction or enlargement percentage. Click Hold Margins, too, unless you want the entire printed page to shrink (or grow) proportionally. (See Resize Staff System dialog box for details.) 4. Specify the pages you want to resize. 5. Click OK. As always, whenever you perform an operation that changes the measure widths, you should update the measure layout. 6. Choose Update Layout from the Edit menu.

To reduce or enlarge fretboards See Document Options-Chords and Change Chord Assignments dialog box.

To prevent certain items from shrinking When you shrink notes, Finale automatically shrinks anything attached to them proportionally—lyrics, chord symbols, articulations and expressions, and so on. Under some circumstances, you may not want these attached items to change size along with the notes.

Note: For lyrics, a simpler alternative to the method below is to specify a Fixed Size when you select a type size. Note: For chords, a simpler alternative to the method below is to specify a Fixed Size in Document Options-Fonts. 1. Open the selection dialog box that contains the entry you would like to remain a Fixed Size. For example, for an Articulation, choose the Articulation Tool and double-click a note to open the Articulation Selection dialog box. 2. Select the item in the list that you wish to remain a Fixed Size and choose Edit. 530

3. Choose Set Font. 4. Select Fixed Size. This will prevent your item from shrinking when you use the Resize Tool.

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Rehearsal marks Rehearsal marks (letters or numbers) are added as expressions using the Rehearsal Marks category of the Expression Selection dialog box. Using Finale's Auto-Sequencing feature, all rehearsal marks can be added with the same expression, and each will appear consecutively in the score (A, B, C...1, 2, 3...etc.). See To add rehearsal marks. Rehearsal marks added this way also update to accommodate deleted, added, or reordered rehearsal letters automatically. Additionally, rehearsal marks are defined to display on the top staff of the score and on every part (See Score List dialog box for more details).

To add rehearsal marks 1. Click the Expression Tool . 2. Hold down the m key and click a measure. Finale adds the rehearsal mark in the correct sequence (A, B, C, etc.). Alternatively, double-click a measure to open the Expression Selection dialog box where you can choose the desired rehearsal mark expression. Finale's default auto-sequenced rehearsal mark expression looks like this:

If the document you are using was created in a version of Finale prior to Finale 2010, the m metatool key will not be assigned to rehearsal marks, and your existing expressions will not be setup for auto-sequencing. You will need to define a new rehearsal mark expression to benefit from this feature. See To define and add a custom rehearsal mark in order to create automatically sequenced rehearsal marks. Note: To easily add a rehearsal mark to your score while in Simple Entry, press the X key with a note selected and then press the m key. See Simple Entry Tool.

To define and add custom rehearsal marks 1. Click the Expression Tool . 2. Double-click on or above the measure at which the rehearsal mark is to appear. The Expression Selection dialog box appears. 3. Choose the Rehearsal Marks category.

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4. To create a new rehearsal mark definition, click Create Rehearsal Mark. Or, select Finale's autosequenced rehearsal mark and click Duplicate, then Edit to leave Finale's original rehearsal mark expression intact. 5. Check Use Auto-Sequencing Style. 6. Choose the desired letter/number style from the adjacent drop-down menu. 7. Check Hide Measure Numbers if you want to hide measure numbers in favor of rehearsal marks where added. 8. If you wish, choose a shape for an enclosure and then click Edit. The Enclosure Designer dialog box appears. Choose the shape you prefer from the list of geometric enclosures. Drag the top handle to make the enclosure taller or shorter, the right-side handle to make the whole enclosure bigger or smaller, and the middle handle to position the enclosure around the letter. You can also change the line thickness, which is measured in the measurement unit chosen (see Measurement Units). (You can also use a different shape enclosure here by selecting it from the Shape drop-down menu. Note: Enclosed rehearsal numbers may not look the same when printed by a PostScript printer as they appear on the screen. You may need to experiment to find the correct adjustment; in the meantime, remember that the Show PostScript Preview command (in the View menu, only in Page View) will help you preview the printed output before you commit the score to paper. 7. Click OK to exit the Enclosure dialog box. You return to the Expression Selection dialog box. 8. Press Shift-m if you want to assign the m metatool key to rehearsal marks (as they are defined in Finale's templates and default document). Of course, you can assign any expression to any metatool key. See To create expression metatools. 9. If you want to display the rehearsal mark in specific staves, click the Edit Categories button to open the Category Designer dialog box. 10. Here, you can use the Score List options to select or define the desired Score List. See Score List dialog box for more information. 11. Click OK and then Assign to add the rehearsal mark. See To add rehearsal marks.

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Choose the same expression for all other rehearsal marks in your score and Finale will sequence them for you automatically (and even update after you insert, delete, or reorder them).

To move or delete a rehearsal mark 1. Click the Expression Tool . 2. Drag the handle, or select the handle and use the arrow keys to nudge, to move the mark; select it and press delete to remove it.

To restart rehearsal mark numbering Occasionally it is necessary to restart rehearsal mark numbering, for example, when multiple movements exist in a single document whose rehearsal marks start over with each movement. Or, multiple movements contained in separate documents may require rehearsal marks to continue through all movements. To restart rehearsal mark numbering: 1. Click the Expression Tool . 2. Right-click the rehearsal mark's handle and choose Edit Rehearsal Mark Sequence. The Rehearsal Mark Sequence dialog box appears. This must be a rehearsal mark set to use Auto Sequencing. See To add rehearsal marks. 3. Choose the Restart Sequence radio button and type (or use the spinner arrows to select) the desired number or letter in the adjacent text box. 4. Click OK. Finale re-sequences rehearsal marks in the document based on your settings.

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Repeats (barlines and text indications) Repeat barlines in Finale can be either purely graphic, or fully functional for playback. For standard repeat configurations, such as repeats with first and second endings, and even repeats with several endings, Finale defines playback for you automatically. For more advanced repeats, such as a D.S. al Coda, you can create text repeats and define them for any playback configuration. See Coda; D.S. al Coda; and D.C.. For information regarding repeats in scores with linked parts, see Repeats in linked parts.

To place a basic repeat in your score If you want to create a backwards repeat bar that will return to the beginning of the score, do the following. • Click the Repeat Tool and right-click the measure prior to the desired repeat barline and choose Create Backward Repeat Bar. Or, click to select the measure and from the Repeat menu, choose Create Backward Repeat bar. If a forward repeat bar does not appear earlier in the score, Finale automatically jumps to the first measure upon reaching this repeat barline during playback. If you want to define a forward and backward repeat barline at the same time, do the following: 1. Click the Repeat Tool . 2. Highlight the measures you would like to enclose within repeat barlines. (If the section is too large to see at once, click the first measure, and then hold down Shift and click the last measure of the desired region). 3. Right-click the highlighted region and select Create Simple Repeat. Or, from the Repeat menu, choose Create Simple Repeat. A forward and backward repeat barline appear on the first and last measure of the region respectively. Also, this section will repeat accordingly during playback. There are several other options for creating repeat barlines. You could also right-click the fist measure of a section you would like to repeat and choose Create Forward Repeat and then right-click the last measure of the desired repeated section and choose Create Backward Repeat. Of course, instead of using the contextual menus (right-click), you can also click to select a measure

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and choose the desired option from the Repeat menu. This applies for all contextual measure selections described in this chapter.

To delete a repeat barline 1. Click the Repeat Tool ; then click the handle on the repeat barline (or any repeat indication) you want to remove. 2. Press the Delete key (or, right-click a repeat handle and choose Delete). The repeat barline, ending, or text repeat (depending on what you clicked) disappears.

To break a repeat barline that connects staves When you create a repeat barline, it’s ordinarily drawn as a solid line across the space between any grouped staves (those connected by a bracket, for example). If you prefer, you can instruct Finale not to draw the barline continuously through the space between staves. 1. Click the Staff Tool , and double-click the staff that’s just below the space where you want to omit the barline. The Staff Attributes dialog box appears. 2. Select Break Repeat Barlines Between Staves. Click OK.

To place a text repeat in your score Text repeats are used to define any repeat indication that appears as text, including Fine, To Coda, D.S. al Coda, etc. Like repeat barlines, text repeats can display graphically without affecting playback, or they can be used to direct playback to the appropriate measure. 1. Click the Repeat Tool ; then double-click the measure you want to contain the repeat. The Repeat Selection dialog box appears. 2. Select the text repeat you want to use from the list on the left. If the text you want to use does not appear in this list, click Create to define a new text repeat. Or, select a text repeat and click Edit to change one. See Repeat Designer dialog box for more information regarding creating and editing text repeats. 3. Click Select. The Text Repeat Assignment dialog box appears which offers several options for defining the appearance and playback definition. See Text Repeat Assignment dialog box. 4. Click OK. The text repeat appears in the score. For information on setting up common repeat configurations, see Coda, D.S. al Coda, and D.C.

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Rests (Simple Entry) You can edit, create, and move rests by using either the Simple Entry or Speedy Entry tools. If you do most of your editing with the Speedy Entry Tool, see Rests (Speedy Entry). You can change any existing note into a rest, or change the duration of any rest. See also Multimeasure Rest dialog box, Simple Entry, and Whole rests.

To move a rest vertically 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. Ctrl-click and drag the rest. You can also use the up and down arrow keys. 3. After entering a rest with the caret, hold down Alt and press the up and down arrow keys to move the rest vertically.

To add a rest 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. Click the icon representing the desired rest’s duration on the Simple Entry Rest Palette. Or, hold down Ctrl and type the number of desired rest’s duration. Then click the place where you want the rest to appear. The rest appears at the horizontal position of your click; its vertical position is always the center staff line, unless you’re working in layers and have specified a rest position offset. (See Multiple voices for a more complete discussion of setting rest position offsets.) See also “To move a rest vertically,” above. 3. With the caret active, type 0 to enter a rest of the duration chosen in the Simple Entry Palette..

To change a rest’s duration 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. Click the icon on the Rest Palette representing the desired new duration. 3. Click the rest. It changes to the new duration. 4. After entering a rest with the caret, hold down Alt and type a duration (1-8).

To change a rest to a note 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. Ctrl-click the rest or enter a rest with the caret. The rest is selected. 537

3. Type R. The rest turns into a note on the middle staff line.

To change a note to a rest 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. Ctrl-click a note or enter a note with the caret. The note is selected. 3. Type R. The note turns into a rest.

To hide a rest (Simple Entry) 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. Ctrl-click a note or enter a note with the caret. The note is selected. 3. Type H. The rest changes to a lighter shade indicating it is hidden. It will not appear on the printed page.

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Rests (Speedy Entry) You can edit, create, and move rests by using either the Simple Entry or Speedy Entry tools. If you do most of your editing with the Simple Entry Tool, see Rests (Simple Entry). You can change any existing note into a rest, or change the duration of any rest. See also Multimeasure Rest dialog box, Speedy Entry, and Whole rests.

To move a rest vertically or horizontally 1. Click the Speedy Entry Tool ; click the measure in question. The editing frame appears. If you have created two voices using the Voice 1/Voice 2 mechanism (the inner-voice mechanism used by the HyperScribe Tool), you can move any rest in Voice 2 by dragging it up or down. 2. Click the rest. You can also use the arrow keys to position the insertion bar. If you’ve created a separate voice in each layer, make sure you’re in the layer containing the rest. If not, press shift-’ (apostrophe) to switch layers. 3. To move the rest horizontally, simply drag it. Press shift to prevent it from moving vertically. 4. Drag the rest up or down. When it’s where you want it, press zero (0) to exit the editing frame. If you want to make sure you don’t inadvertently drag the rest horizontally, press shift as you drag. Note that if you’re using the Layer mechanism, you can move all rests in one layer (or all) a specified distance up or down from their default centerline position (see Multiple voices for a more complete discussion).

To add a rest 1. Click the Speedy Entry Tool a; click the target measure. The editing frame appears. 2. Press a number key (for non-MIDI, press control, shift and a number key). A rest appears of the duration corresponding to the number key you pressed, as shown below. Press this key

To produce this rest

Press this key

To produce this rest

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1

5

2

6

3

7

4

8

(If a note appears instead of a rest, even though you’re using MIDI, it’s because Use MIDI device isn’t selected in the Speedy menu. Use the arrow keys to position the insertion bar on the notehead and press backspace (or press shift-delete); this turns it into a rest.) If you want to insert a rest between existing notes, use the Insert mode. Press Insert to turn the Insert mode on or off.

To change a rest’s duration 1. Click the Speedy Entry Tool ; click the target measure. The editing frame appears. 2. Click the rest. You can also use the arrow keys to position the cursor. 3. Press the number key corresponding to the desired new duration. (See the table of number key/rest value equivalents in To add a rest.) The rest changes to the specified duration.

To change a rest to a note 1. Click the Speedy Entry Tool ; click the target measure. The editing frame appears. 2. Click the rest. You can also use the arrow keys to position the insertion bar. 3. Press enter. The rest becomes a note of the same duration.

To change a single note to a rest 1. Click the Speedy Entry Tool ; click the target measure. The editing frame appears. 2. Click the note. You can also use the arrow keys to move the cursor. 3. Press backspace (or press shift-delete). The note becomes a rest of the same duration. 540

Note: To change a chord to a rest, place the cursor on the stem of the chord.

To hide a rest (Speedy E 1. Click the Speedy Entry Tool ; click the target measure. The editing frame appears. 2. Click the note. You can also use the arrow keys to move the cursor. 3. Press H. The rest changes to a lighter shade indicating it is hidden. It will not appear on the printed page.

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Retranscription To retranscribe a region 1. Choose Quantization Settings from the MIDI/Audio menu. The Quantization Settings dialog box appears. 2. Change the quantization settings as needed in the Quantization Settings dialog box. Click the note that you want to be the smallest note value and the type of quantization you require. Choose whether you want grace notes and an inner voice notated in the selected region by clicking More Settings. The More Quantization Settings dialog box appears. Change your settings and Click OK. See Quantization Settings dialog box and More Quantization Settings dialog box for more information. 3. Click OK to return to the document. 4. Click the Selection Tool . 5. Select the region you want to renotate. 6. Choose Retranscribe from the MIDI/Audio menu. Finale retranscribes the region according to the new settings. All MIDI information is maintained, but if any markings appeared on the original notes, they are removed.

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Reverse stems A reverse stem is one that’s drawn on the wrong side of its notehead; it’s encountered most frequently in conjunction with cross-staff notes, like this:

Using the Special Tools Tool, you can create a reverse stem on any note or chord.

To create a reverse stem 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


2. Click the Reverse Stem Tool . A handle appears above and below each note or chord. 3. Click the upper handle (for an upstem note), or the lower handle (for a downstem note). Finale responds by attaching the stem to the opposite side of the notehead. Bear in mind that you should decide which handle to click (upper or lower) based on the stem’s direction.

To temporarily display reverse-stemmed notes with normal stems Once you’ve created reverse stemming, you may find your score easier to edit if stems are drawn on the correct sides of their noteheads; if so, follow the procedure below. 1. From the Document menu, choose Document Options, then select Stems. The Stem options appear. 2. Click Display Reverse Stemming to de-select it. When this option is off, Finale draws every stem on the original side of its notehead. 3. Click OK (or press enter). At any time, you can restore all affected stems to reverse-stem status by turning Display Reverse Stemming on again. (You might want to turn off Display Cross-staff Notes in Original Staff at the same time you deselect Display Reverse Stemming, so that all notes are temporarily drawn without their unusual beaming configurations.)

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Rolled chords The rolled-chord marking (a vertical wavy line) uses a special Articulation feature called Copy the Main Symbol Vertically, letting you drag the wavy line to make it as long or as short as you want it to be. If you’ve loaded an Articulation library into your file (or started with the Setup Wizard, a template, or new Default Document), you don’t have to create the marking anew. It is already defined in slot 31 of the Articulation Designer. To define one yourself, follow these steps.

To create the rolled chord marking 1. Click the Articulation Tool . 2. Click the bottom note of the chord. The Articulation Selection dialog box appears. If the rolled chord marking appears in the palette, double-click it; the marking appears in the score. If not: 3. Click Create. The Articulation Designer appears. 4. Click Main. The Symbol Selection dialog box appears.

5. Double-click the symbol (#103). If you have trouble finding it, scroll to slot 103 and click the symbol. Click OK. 6. Select Copy the Main Symbol. This command lets you to stretch the marking as long as necessary. Make sure Vertically is selected in the dropdown list menu. 7. Press enter twice. The marking appears in the score, superimposed on the chord. See To adjust, move, or delete the rolled chord marking.

To adjust, move, or delete the rolled chord marking 1. Click the Articulation Tool . 2. Drag the top handle horizontally to move the entire marking. Drag the bottom handle up or down to shorten or lengthen the marking. 3. Click either handle and press delete to remove the marking.

To define a rolled chord marking for playback Human Playback interprets and performs roll articulations during playback automatically. See Human Playback. To hear manual changes to the MIDI playback definition of rolled chords (such as those described in this section), you must first set Human Playback to None in the Playback Settings dialog box.

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Note: Playback is defined to roll the chord from bottom to top (as defined in the following steps) by default if you started a document with the Setup Wizard, template, or new default document. 1. Click the Articulation Tool . If you haven’t yet placed the marking in the score, click the chord to be rolled. When the Articulation Selection dialog box appears, click the rolled chord marking and click Edit, and then skip to step 4. 2. Click the rolled chord. A square handle appears at the top and bottom of the marking. 3. Double-click a handle. The Articulation Designer dialog box appears. 4. From the Playback Effect drop-down list, choose Change Attack. Enter 0 as the Top Note Value, and –256 as the Bottom Note Value. The Top Note Value and Bottom Note Value define how the chord is rolled. The units are 1024ths of a quarter note; thus, a negative Bottom Note Value tells Finale to strike the bottom note slightly before the beat during playback. The attacks of any chord notes between the top and bottom notes are scaled proportionally between the Top Note Value and Bottom Note Value, producing a true rolled chord sound. (You may also wish to select Values Are Percentages, which lets you enter percentages into these text boxes; 100% would equal the value of whatever note the marking is attached to.) If you want the chord rolled from top to bottom, enter the negative number as the Top Note Value, and zero as the Bottom Note Value. (If you enter zero as the Bottom Note Value and a positive Top Note Value, the upper chord notes will be struck late—in other words, the chord roll will begin on the beat.) 5. Press enter twice to exit the dialog boxes.

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Running headers A running header is a piece of text appearing at the top of every page of a score—a title, date, or copyright notice, for example. (A running footer appears at the bottom of every page.) You can create any such text with the Text Tool. You can even specify a running header to appear on the right or left pages only, so that you can have different running headers on each of two facing pages. See Titles–To position page-assigned text blocks on left- and rightfacing pages for full instructions on creating headers and footers. Also see Text blocks.

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Scanning All you need is a scanner properly set up with your computer to take advantage of Finale’s scanning capabilities. Scan, import, and translate a piece of sheet music directly from Finale (see To scan and import sheet music), or import an existing TIFF graphic you have already scanned and translate the file to a Standard Finale File using the SmartScore Lite dialog box. See To Import Scanned TIFF Files. Note that the SmartScore Lite feature in Finale, like most music scanning products, doesn’t recognize articulation marks, hairpins, double or repeat barlines, or text. It will do 3 accidental types, 3 clefs, 16 staves per page, smallest note value is a 32nd note, and a maximum of 1 augmentation dot. With SmartScore Lite, you can open several scanned files at once. Because scanning is not a perfect science, you will need to clean up any file after conversion. For complicated music, you will usually find it easier to simply re-enter the music via one of Finale's traditional note entry methods: Simple Entry, Speedy Entry, or HyperScribe. Remember that to take advantage of any of Finale's scanning capabilities, you will need to have a properly installed scanner (contact the manufacturer of your scanner if you have questions).

Choosing the best scanner for SmartScore Musitek, the makers of SmartScore, offer the following advice for choosing the best scanner for SmartScore Lite: • Newer Canon or Epson USB scanners. • Scanners that have been tested with Win XP and SmartScore • Newer Hewlett-Packard and Canon USB scanners with WIA drivers. • Newer Microtek USB scanners with TWAIN. Musitek recommends avoiding the following scanners: • "All-In-One" scanners without WIA drivers. • Older scanners that are not fully TWAIN-compliant.

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Most modern scanners will work fine with SmartScore. "All-in-one" printer/copier/scanner models are becoming popular. Sadly, many have lessthan-perfect software and optics. We recommend dedicated flatbed scanners as a rule. Issues with All-In-One scanners and some workarounds Most all-in-one printer/scanners will work in SmartScore provided you choose the right settings. • Use SmartScore's scanning interface (File menu > Scanning: SmartScore Lite > Scan and Import). • Turn OFF Auto-Resolution. Most all-in-one scanners do not have variable-resolution scanning. This means discrete resolution values must be selected: e.g. 300dpi, 600dpi and 1200dpi. One more reason why dedicated flat-bed scanners are preferred. • Scan at 300 dpi and save pages in GREY as "uncompressed" TIFF files. Note: Even if you choose "Black & White", most all-in-one scanners will actually scan in color and then "dither" the image, making the image unusable. Remember to scan in "Greyscale" (not Color or Black & White). It is always recommended to scan using SmartScore's scanning interface with the benefits of auto-resolution, deskew and multiple-page TIFF functions. Also, newer Epson and Cannon scanners work well with SmartScore's scanning interface under Windows XP and MacOS X platforms.

To scan and import sheet music The following steps describe how to use Finale to scan and open a single or multiple page document. To acquire sheet music from your scanner: 1. Place a page of sheet music on your scanner. To get the best results, start with a clean, high-quality original (not a photocopy) that does not have frayed edges or crooked staves. Lay the music squarely on the bed of your scanner. Do not use scores with more than 16 staves. 2. In Finale, select the File menu, go to SmartScore Scanning Lite, and choose Scan and Import. (Or, in the Launch Window, click Scanning). Finale opens the SmartScore Lite 5 dialog box and automatically displays a preview of the sheet music in your scanner. If you do not see a preview, click the Preview button.

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3. Adjust settings as desired and click Scan. For more information regarding the settings in the SmartScore Lite dialog box, see SmartScore Lite 5 dialog box. 4. Scan one page. Finale asks you if you have more pages to scan. If you do, click Yes and repeat the last two steps. When you have scanned all pages, click No. A message appears noting that your files have been saved to a temporary folder. 5. Click OK. The SmartScore Lite dialog box appears. 6. Click Add Files to List. The Open dialog appears where you can choose the files you have just scanned. If you scanned multiple pages, click the first file in the list, and then hold down Shift and click the last file to select all pages. 7. Click Open. Your files appear in the file list. Click a filename to display a preview of that page in the preview window on the right. 8. Click Begin Recognition. The Instrument Name Assignments dialog box appears, which allows you to configure instrument transpositions, staff names, and the MIDI instruments. It is important to apply this information to ensure your staves are transposed properly. See Instrument Name Assignments dialog box. 9. Click OK. Finale transcribes the scanned file(s) and displays the music in a single Finale file. (If you encounter problems, such as a "Recognition Failed" error, see Using you scanner's software to scan sheet music for Finale import below). 10. Save the file with a new name. 11. Make any desired edits. Because scanning is not a perfect science, you will need to proofread the music and correct for missing notes, ties or dots. 12. Convert slurs to ties, where needed. SmartScore will attempt to convert ties based on context (Are the two slurred notes the same pitch?) but may occasionally guess incorrectly and insert a slur. Although slurs and ties are graphically the same; slurs and ties are different musically. Remove the incorrect slurs with the Smart Shape Tools. See To move, reshape, or delete Smart Shape slurs. Add the ties with the Simple or Speedy Entry Tools. See Simple Entry or Speedy Entry. 13. In files with more than one staff, fix the key signatures, if needed. All staves will be set to Independent Key Signatures, which causes the Key Signature Tool to change the key individually for each staff. You can remove the Independent Key Signatures in the Staff Attributes dialog box. Make sure you set the proper transposition for any transposing staves if you decide to use this fix.

Using your scanner's software to scan sheet music for Finale import

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It is preferrable to scan from SmartScore's own scanning interface for several reasons: Auto-resolution, auto-deskew, multi-page/single image file creation, greyscale thresholding, etc. If you are using SmartScore's scanning interface and your scanner does not operate or you get a "Recognition Failed" message, you can bypass SmartScore's scanning interface: 1. In SmartScore Lite, chooseSelect Scanner and choose your scanner. 2. Scan in grayscale or black and white at a resolution of 300 to 400 dpi. 3. Save each page as separate uncompressed TIFF files. Now, follow the steps under To Import Scanned TIFF Files below to import and translate the scanned documents. Failing that, open the scanning module associated with your scanner. Scan and save each page as individual TIFF file according to points 2. and 3. above. Or consider the following:

Third-party scanning software (ScanVue) If it not possible to scan from inside SmartScore, a reasonable alternative is to use 3rd-party scanning software such as ScanVue which supports more than 500 scanners and enables scanning in SmartScore's scanning interface.

To import scanned TIFF files If you would like to Import Files you have already scanned and saved as uncompressed TIFF files: 1. From the File menu, choose SmartScore Scanning Lite, and then Import Existing TIFF File. 2. In the SmartScore Lite dialog box, click Add Files to List to add files, and then Begin Recognition to translate and open the files in Finale. See SmartScore Lite dialog box for details. (To scan, import, and translate using Finale's included scanning utility, see To scan and import sheet music.) Because scanners and scanning software varies widely, we cannot provide specific instructions for how to configure the above settings for every scanner. When in doubt, see your scanner documentation for details or contact the scanner manufacturer on how to prepare a file with the requirements stated above. (Note that some scanning software can be stubborn in its attempts to make decisions for you and result in a scanned file that does not meet the above requirements). After you have scanned the file do not open the image file in PhotoShop or PhotoDeluxe, as this will introduce lightening and other negative factors. Some

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versions of PhotoDeluxe will also save the file as a uniquely PhotoDeluxe TIFF that SmartScore Lite (and MIDIScan Import) cannot recognize.

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Scroll View How to get there Choose Scroll View from the View menu.

What it does Scroll View is one of three Finale views of your music (the others are Page View and Studio View). In Scroll View, you see your music as one long staff system. Scroll View can be easier to use when you enter music. When you want to see how the page will look when it is printed, switch to Page View.

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Search and replace Note: To search and replace text, see Text Search and Replace dialog box. You can search for a pitch, a specific pitch-and-rhythm combination, or even an entire motif anywhere in a score and modify every occurrence in one of several ways. For example, you can flip every occurrence of a G to its enharmonic equivalent (F ), or change two of the notes in a recurrent theme.

To change occurrences of a note or motif (search and replace) 1. From the Window menu, choose Advanced Tools. Click the Note . Click the measure containing the first occurrence of Mover Tool the note you want to change. A handle appears on each notehead. 2. Select the notes to be changed. Select one note by clicking, additional notes by shift-clicking, a group of notes by drag-enclosing, and additional groups of notes by shift–drag-enclosing. Note that you can select nonadjacent notes, as long as they’re in the same measure. 3. Choose Search and Replace from the Note Mover menu. The Search and Replace dialog box appears, letting you further specify criteria for the search-and-replace process. If you want Finale to look for the selected notes only in their original octave, select In Selected Octave Only. If you want to search for the selected notes in any octave, select In All Octaves. Furthermore, you can confine the search-and-replace process to notes with the same rhythmic values by checking Match Duration.c With all of these options, Finale considers the selected notes’ scale degrees. For example, if you’re searching for a C in the key of C, Finale won’t consider C in the key of F a match. Instead, it will consider F a match in the key of F. 4. Click OK. The Alteration for Slot dialog box appears, asking what sort of transposition you want to apply. You can specify a different transposition for each of the selected notes; in effect, you have the option of completely rewriting a selected motif. 5. Click Transpose to specify a transposition option for the first selected note (or click Enharmonic to flip the note to its enharmonic equivalent). If you click Transpose, a dialog box appears, in which you can specify the precise transposition that you want to apply to the note. Make your selections from the drop-down list, and then click OK.

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Note: If you’ve selected several notes, all of which are to receive the same transposition, click Set All. The transposition you just specified will be assigned to all selected notes. Skip to step 7. 6. If more than one note was selected, click Next. The number in “Slot (#),” advances. (A “slot” is a selected note; Finale numbers them from bottom to top within a chord, and from left to right in the measure.) Set the transposition option for this note in the same way. Continue through the selected notes (“slots”), clicking Prev or Next as necessary, and setting the transposition option for each. 7. Click OK (or press enter). A new menu, Search, appears. Its commands are Find, which finds the next occurrence of notes matching your criteria; Replace, which modifies the currently selected notes according to your transposition specifications; Replace then Find, which modifies the current notes and then finds the next occurrence; and Replace All, which reads through your piece, measure by measure, in every staff, changing all notes that meet your search criteria. 8. Choose a command from the Search menu. The Replace All command may take Finale some time to complete. 9. Choose Quit Search from the Search menu.

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Selecting music Selecting regions of measures is required whenever you want to copy music from one place to another or apply changes to a region of music using one of Finale's many editing functions. Although the Selection Tool is the primary tool for selecting and editing music, regional copying and editing can be performed at any time as long as one of the following tools is selected: • Selection Tool • Staff Tool • Measure Tool • Key Signature Tool • Time Signature Tool • MIDI Tool • Clef Tool • Repeat Tool • Mirror Tool Note: In addition to selecting and editing regions of measures, the Selection Tool can also be used to select individual musical elements for moving or editing. For details, see Selection Tool. Finale includes two distinct types of regional selection: • Regions including full or partial measures, but not full measures in all staves. This is the most common type of selection. Edits to these regions are generally focused on editing the entries and items attached to entries or measures without changing the measure-specific information itself (e.g. key signatures, barline styles, etc.). These are regions edited within the existing measure structure. For example, copy and insert a region including partial measures (or full measures in some but not all staves) to push subsequent music to the right the number of inserted beats. See Copying music. Here are some examples of this type of selection: 555

or

or

• Full measures in all staves, or "Stacks." A stack selection is indicated by highlighting between staves. Edits to these regions can also include entries and items attached to entries or measures, but can also include measurespecific information (e.g. key signatures, barline styles, etc.). See Edit Filter dialog box. Additionally, stacks can be treated as autonomous units. For example, copy and insert a stack to push all subsequent measures to the right. See Copying music. Here is an example of a stack selection:

A one measure stack is one measure as played by all the instruments in the staff—in other words, a one-measure vertical slice of a score. (Generally, the term measure in the Finale manual refers to one measure of one staff.) A stack can include any number of full measures. A full measure selection in a system with a single staff is also a stack selection indicated by highlighting above and below the staff (see below).

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Most of Finale's editing commands work with partial measure selections. However, if you try to use a full-measure–only command after selecting only part of a measure, Finale will let you know; you’ll have the choice of canceling the command, or applying the command to all measures that are even partly selected. See Also Selection Tool Edit menu

To select a region of measures Mouse click or keyboard command

What it does

Click a measure

Selects the full measure

Click and drag diagonally across any measure region (partial or whole measures)

Selects the measure region When you select a partial measure, Finale highlights an area from the left edge of the first selected note to the right edge of the space after the last selected note, to help reinforce the fact that you’re actually selecting a stretch of musical time.

Shift-click and drag diagonally across any part of a measure

Selects full measures only

Shift-click before or after a selected region

Extends the selection to wherever you click

Hold down Shift and press the left or right arrow keys

Expands or contracts the selected region in entry-byentry increments ...measure-by-measure increments if the measures are empty. Specify you want to adjust the beginning or end of the selected region by pressing the left or right arrow key first respectively.

With the Selection Tool selected, double-click any partial measure selection

Expands the selection to include full measures.

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Or, Alt-click any partial measure selection with any tool that permits regional selection (The selection can include any number of measures starting and/or ending with a partial measure) With the Selection Tool selected, double-click a full measure Or Alt-click any full measure selection with any tool that permits regional selection

Expands selection to include the full stack.

Click to the left of the staff

Selects an entire staff

Shift-click to the left of a staff

Extends the selection from any other staves you've selected

From the Edit menu, choose Select All or press ctrl-A

Selects the entire document

Hold down Ctrl-Shift and press the left or right arrow keys

Expand or contract the selected region by full measures

Hold down Shift and press the up or down arrow keys

Expands or contract the selected region vertically (staff-by-staff)

Hold down the shift key and press End, Home, PageUp, and PageDown

Select all measures right, left, above, or below a selection

To select a large region without scrolling 1. From the Edit menu, choose Select Region. The Select Region dialog box appears. 2. Enter the staff, measure, and beat with which you want to begin and end the selection. For example, you can select the Flute staff, measure 4 beat 2, through the Bass staff, measure 10 beat 1. See Select Region dialog box for more information. The important thing to remember is that this feature lets you select music without having to scroll to it (and wait for the screen to redraw). You can even select music that’s not on the screen. 3. Click OK (or press enter).

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Shape Designer You can create your own shapes and symbols in Finale using the built-in Shape Designer. You’ll find this built-in graphics program as easy to use as any standard drawing program. In fact, the Shape Designer is even better, because shapes you create in it can be musically intelligent! They can stretch along with the score, affect playback, or appear in every staff at once. You might create, for example, a harp pedaling diagram, or a custom barline. You can also design rectangles to use as text enclosures when you’re creating Text Blocks, block rests to serve as multimeasure rests in extracted parts, and special shapes for use as custom stems. Font changes are saved and read with Shape Libraries. As a result, fonts embedded in shapes created with special characters in the Shape Designer will maintain their appearance when imported into another file To create a shape for use as a marking in the score, you access the Shape Designer from the Expression Tool (see Expressions). (Various other tools access the Shape Designer, too, as described at the end of To enter the Shape Designer.

To enter the Shape Designer 1. Click the Expression Tool . 2. Double-click where you would like to attach the marking. The Expression Selection dialog box appears. 3. Choose the desired category on the left and then click the "Create..." button at the bottom of this dialog box. The Expression Designer dialog box appears. 4. Click the Shape radio button, then click Edit or Create to enter the Shape Designer. Alternatively, click Select, choose a shape, and click Edit to edit an existing shape in the Shape Designer. (There are various other ways to enter the Shape Designer. See Shape Designer dialog box.)

To create a shape 1. Enter the Shape Designer. See To enter the Shape Designer. You arrive at a graphics window with a number of drawing tools along the top edge of the screen, a menu at the top, and coordinate boxes at the right. See Shape Designer dialog box for details. If the shape is to be very large or very small, you can “zoom in” (or out) by using the View drop-down listpopup menu. Using the Shape Designer menu, you can tell Finale to display rulers or a grid to help you draw precisely-sized objects. 559

2. Click the tool you want to draw with; then drag the mouse in the main drawing area. The kind of line you draw is determined by the tool you click. For example, to draw a line, you click the Line Tool and drag in the drawing area. When you release the mouse, the line is a distinct object whose length, thickness, and angle you can easily change at any time. See Shape Designer dialog box for details. 3. Use the selection tool and click on the shape. Change the way the shape looks by dragging a position of a handle (or control point). Or, use the selection tool, click on the shape (so the control points appear) then click and drag the shape (but don’t grab any of the control points) to reposition it relative to the origin. By editing the numbers in the H: and V: boxes you can also change the shape’s position relative to the origin. H: means the point’s Horizontal position, relative to the origin (the small white circle); V: means its Vertical position. The units of measurement are whatever you select using the Rulers and Grid command in the Shape Designer menu. The origin is the small handle that appears in the center of the drawing area. It anchors your shape, acts as the zero point for the rulers and positioning coordinates, and indicates where your shape’s handle will appear once you’ve placed it into the score. When you drag one of the eight bounding handles of a multiline object or polygon shape, you resize the object. To view the individual control points that define a multiline, polygon, or bracket shape, double-click the object. To edit a curve or slur, click once to see the three draggable shaping handles; double-click one of these handles to see the four control handles for even more control. (Use the arrow keys to nudge a selected handle by one EVPU [1/288th inch].) 4. Combine elements of your drawing, if you wish, by selecting them and choosing Group from the Shape Designer menu. To select several objects, click the Selection Tool. Then either shift-click the objects you want, or drag-enclose them. Or, if you want to select all the objects, choose Select All from the Edit menu. Once grouped, the objects are locked in relation to each other, and may be moved or resized as a unit. You can create nested groups, too, by combining groups together using the same method. To ungroup, select a group and choose Ungroup from the menu. 5. Create layered effects using the Send to Back and Bring to Front commands. See Shape Designer menu for more information. 6. To specify the shading for an enclosed object, click the object and select the fill amount from the Fill submenu (in the Shape Designer menu). You can specify Black, White, or any degree of gray.

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7. Press enter twice. If you’re creating an Expression mark (as opposed to an Executable playback shape), you arrive at the Shape Expression Designer. If you select Allow Horizontal Stretching, Finale will permit the shape to stretch out along with the music if the measures are widened. For example, you wouldn’t want to Allow Horizontal Stretching for a fixedshape symbol such as a harp pedaling diagram—but you would for slurs, crescendo hairpins, or glissando lines. 8. Click OK or Select in each dialog box until you return to the document. Once the shape is in the score, you can adjust its position by dragging its handle. To stretch it, double-click the shape’s handle; its eight bounding handles appear. To completely reshape the graphic, double-click a second time. Its control-point handles appear, which you can then drag exactly as you would in the Shape Designer.

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Shape Note music In some hymnal music, each note of the scale has its own notehead, regardless of key. In Tamburo, noteheads for these “shape notes” are found on the number keys 1 through 9. To set up the staff for Note Shapes, click on the Staff Tool and double click the staff to open the Staff Attributes dialog box. For Notation Style, click the drop-downpopup menu and select Note Shapes. See Note Shapes dialog box for more information. You can also use the Shape Note Hymnal template. See Templates. Each number corresponds to the appropriate scale tone—the tonic shape note is found on 1, the second shape note on 2, and so on. Since some shape note conventions differ, we offer two choices for the fourth scale degree, one shape on 4 and the other on 9.

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Simple Entry Using the Simple Entry method, you can enter notes quickly and accurately with a mouse, computer keyboard, or with a MIDI keyboard. While using any of these methods, keyboard shortcuts are available to select tools from the Simple Entry Palette previous to each entry, as well as keystrokes you can use to edit the note you just entered, or any note in the score. These keystrokes also offer the capability to efficiently enter articulations and clef, key signature, and time signature changes. See Simple Entry Tool for a list of these keystrokes. You can also customize these keystrokes to your own preference in the Edit Keyboard Shortcuts dialog box. Note: Finale provides several methods for entering music quickly and accurately, one note or chord at a time. Another option, Speedy Entry, can be also be used to quickly enter notes with or without a MIDI keyboard. See Speedy Entry. For a hands-on Simple Entry tutorial, see EntryExercise.MUS.

Using a mouse to enter music 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. (If they don’t, you’ve probably hidden the palette by double-clicking its controlmenu box. Choose Simple Entry Palette and Simple Entry Rests Palette from the Window menu.) See Simple Entry Palette for more information on moving and resizing the palette. 2. Click the desired note (rhythmic value) icon in the palette. Click additional tools as needed, such as Sharp, Flat, Grace, Tuplet, Dot or Tie. Click the staff. A note appears at the pitch you clicked. To build a chord, click another pitch above or below the first note. If you want to enter a tuplet (a triplet, quintuplet, etc.), click the Tuplet Tool on the Simple Entry Palette and the duration of the tuplet (an eighth note tuplet or a half note tuplet, regardless of the duration of the first note). In any of these instructions, you can press one of the shortcut keys on your keyboard to switch tools instead of clicking an icon (for example, press a number on the numeric keypad 1-8 to select a duration tool - 64th through double-whole note). Consult your Quick Reference Guide (or Simple Entry Tool) for a complete list of Simple Entry keyboard shortcuts. • To change the rhythmic value of a note, click the icon representing the new value; then click the note. • To change the rhythmic value of a rest, select the desired rhythmicvalue icon on the Rests palette, and then click the rest. 563

• To change a note to a rest, Ctrl-click the note to select it. Type R. The note turns into a rest. • To delete a note, click the Eraser ; then click the note. The note disappears. If you click on a notehead that’s part of a chord, only that note disappears. If you click a rest, it disappears. • To move a note vertically, click and drag the note up or down. To move a rest, Ctrl-click the rest to select it, then drag it up or down. If you want to move a whole chord up or down, Ctrl-click the chord, then press Ctrl-A. • To hide a note or rest, Ctrl-click the note to select it then press the letter H key. Press the H key again to display the note or rest again. See also Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in. • To flip a stem, Ctrl-click the note to select it then press the L key. This process freezes the stem up or down, so that it’s no longer free to flip if, for example, it gets transposed. To restore the note to its “flippable” status, press shift-L. • To make a note sharp, flat or natural, click the Sharp Tool

, Flat

Tool , or Natural Tool ; then click the note. A sharp, flat or natural appears next to the note, if needed by the key signature. • To raise or lower a note by a half step, double-click the Half Step Up or Half Step Down icon; then click the note. The note is raised or lowered a half step. If appropriate for the key signature, an accidental will appear or change. • To remove any accidentals from a note, click the Eraser Tool click the accidental.

; then

• To hide a courtesy accidental, Ctrl-click the note to select it then press Ctrl-Shift--(hyphen). If no accidental is displayed, Ctrl-Shift-(hyphen) forces a courtesy accidental to appear; for parentheses, press the P key. • To tie a note to the next one, double-click the Tie icon ; then click the notehead. To tie every note of a chord, click its stem. Click the notehead (for a single note) or the stem (for a chord) to remove the tie. • To flip a tie, press Ctrl-F. • To dot a note, double-click the Dot icon ; then click the note. Click again to add another dot (you can add up to ten dots). To remove the dots, click the Eraser Tool

; then click the dot. All of the dots are removed.

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• To change a note to a grace note, double- click the Grace Note icon , then click the note. Click the note again to restore it to full size. Press Alt-G when the grace note is selected to toggle between grace note and full size. If “Always Slash Flagged Grace Notes” in unchecked in Document Options-Grace Notes, press Alt-G to cycle between full size, grace note unslashed, and grace note slashed. • To create or break a beam, Ctrl-click the note to select it then press the / key. If the notes were flagged separately, they’re now beamed. If they were beamed, the beam is broken (and the notes are individually flagged, if they’re not beamed to any other notes). Use Shift-/ to restore the beaming to the defaults found in the Document Options-Beams. • To flatten a beam, Ctrl-click the note to select it then press Alt-/. If the beam was angled, it will now be flattened. If the beam was already flattened, the beam will now return to the default angle. See Flat Beams Plug-in, Flat Beams (Remove) Plug-in. • To enter a tuplet, click the Simple Tuplet Tool and the desired rhythmic duration icon, then click the staff. For more complicated tuplets, shift-click the staff to display the Simple Entry Tuplet Definition dialog box.

Using your computer keyboard to enter music (Simple Entry) All of the functionality that exists for entering notes with a mouse, and more, is available using your computer keyboard, and the Simple Entry Caret. The Simple entry Caret works much like the cursor in a word processing program. While using your computer keyboard with Simple Entry, the Caret allows you to specify pitches, rhythms, and other entry items before entering.

You can also use modifier keystrokes to edit the note you just entered. In this section, you’ll first learn how to specify the next note to be entered using the Simple Entry Caret, and then how to modify the previously entered note. The following instructions describe entry for standard notation staves. For information regarding entry into a tablature staff, see To enter directly into a tablature staff (Simple Entry).

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1. Click the Simple Entry Tool . The Simple Entry Palettes appear. (If they don’t, you’ve probably hidden the palette by double-clicking its controlmenu box. Choose Simple Entry Palette and Simple Entry Rests Palette from the Window menu.) See Simple Entry Palette for more information on moving and resizing the palette. Though the Simple Entry Palettes do not need to be visible to enter notation with the Simple Entry Caret, it’s a good idea to display them at first until you have become familiar with the corresponding keyboard shortcuts and modifiers. 2. From the Simple menu, choose Simple Options, and then ensure Use Simple Entry Caret is checked. Then click OK. When this option is checked, a vertical line appears. The caret also displays a note of the duration selected in the Simple Entry Palette, as shown in the above image. Accidentals, ties, dots, and tuplets can also be indicated on the caret before entering the note. If you do not see the caret, select one of the duration tools in the Simple Entry Palette. 3. To choose the desired rhythmic duration for the next entry, click a duration tool in the Simple Entry Palette, or type the corresponding keystroke in the numeric keypad (1-8). The caret displays the chosen rhythmic duration. See the numeric keyboard diagram above (under Using a mouse to enter music), or refer to the diagram on your Quick Reference Guide. Note that if you are using a notebook computer, as an alternative, you can hold down Ctrl-Alt-Shift and press a number on the QWERTY keyboard. Note: The QWERTY keyboard is the letter keys and the numbers above them. The Numeric Keypad is the set of number keys on the right side of a standard desktop keyboard. 4. To specify the pitch before entering, you can use the up and down arrows on the computer keyboard until the caret displays the desired pitch. The note moves up and down in the staff diatonically. You can move the caret up an octave by pressing Shift-up arrow, or down an octave by pressing Shift-down arrow. 5. Select a tool, or a combination of tools, in the Simple Entry Palette to specify additional properties of the next note to be entered. For example, to specify a dot and a sharp, click the Dot icon

, and the Sharp

, or press the corresponding keystrokes for these tools to select icon them. The tools selected in the Simple Entry Palette tell Finale what to add to the next note when entered. The mouse cursor displays this information as well. 6. Press the Enter key to enter the note. The note appears on the staff and the caret moves to the right. The note you just entered is selected 566

7. 8. 9.

10.

11.

automatically, so you can use modifier keystrokes to edit it (explained below). Notice the tools chosen in the Simple Palette are still selected, and will apply to the next note if you were to hit the Enter key again. To select a single tool (like any of the duration tools), and deselect all others, doubleclick the icon on the palette, or double-press the corresponding keyboard shortcut. For example, press the 5 key on the numeric keypad twice if you want to choose only the Quarter Note 5 Tool for the next entry. Press 0 (or Tab) to enter a rest of the chosen duration. Hold down the Ctrl key and press a duration keystroke to specify a rest of that duration for the next entry. Type the letter name of a pitch, A through G, to enter it. The pitch appears in the staff of the chosen duration, along with any other items selected in the Simple Entry Palette. The caret moves to the right. To add additional notes above the previous entry, type the interval (1 through 8 or Ctrl-Shift 9) on your QWERTY keyboard. For example, to add a third to the note you just entered, type 3. To enter a fifth, type 5. The interval entered is automatically selected, so, to enter a triad, you would type 3 for the first third, and then 3 again for the second. To enter an interval lower than the note you just entered, hold down the Shift key and type the interval (2-9). Also, you can hold down the Shift key and type the letter name of a note to add it to the note you just entered. To add a note a fifth or more higher than the note you just entered, hold down the Shift key and press the up arrow, and then type the note letter. To add a note a fifth or more lower than the note you just entered, hold down the Shift key and press the down arrow, and then type the note letter. Note that the caret position changes, and will apply to the next note entered as well. Use Shift-up/down arrow to move it to the desired octave in preparation for the next entry. Note: The following shortcuts also apply to any selected note. (After entering a note, it is selected automatically.)

12. After entering a note or rest, hold down Alt and press a number (1-8) to change the duration of the note or rest you just entered (64th through double-whole note). 13. After entering a note, you can use additional modifier keystrokes to add a dot, tie, accidental, to the note you just entered. Or, even change it to a grace note, flip the stem or break/add beams. To see a list of modifier keystrokes, from the Simple menu, choose Simple Edit Commands, and then Modify Entry. 14. After entering a note, to move it up or down in the staff, hold down the Alt key and press the up and down arrows. Hold down Alt and Shift 567

15.

16. 17.

18.

19. 20.

and press the up or down arrow key to move the note up or down an octave. After entering a note, use the up and down arrows to adjust the caret pitch. Then, hold down Ctrl and press Enter to add a note to the previous entry. After entering a note, press 9 to change it to the first note of a tuplet. Hold down Shift and click the score to open the Simple Entry Tuplet definition dialog box where you can specify more complicated tuplets. See Simple Entry Tuplet Definition dialog box. To move the selection forward or back a note, press the right and left arrow keys. To move selection forward or back a measure, hold down Ctrl and press the right or left arrow key respectively. To activate the caret on an existing selected entry, press Enter. To move selection up or down in a chord or to the staff above or below, hold down Ctrl and press the up or down arrow key.

21. To change the pitch of existing notes, choose the Repitch Tool . Then, activate the caret and type the new note letters (or play pitches on a MIDI keyboard) to alter the pitch without changing rhythmic values. 22. With the caret active, press * (asterisk) and then an Articulation metatool key to add an articulation. Or, click the Select button to choose the desired articulation from a list. Instead of *, press x to trigger the same options for Expression entry. Press Alt-c for clef, Alt-t for time signature, or Alt-k for key signature. See Keycuts-Simple Entry for more details.

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Slashes There are two kinds of slashes, or hash marks, used to indicate improvised chording or comping. If you want to indicate ad lib comping, but you don’t require a specific rhythm, you can let Finale fill the measures with stemless slashes, spaced according to the time signature (four slashes in a measure, for example, at right in the figure below). If you want to indicate a specific rhythm of comping, Finale can turn the noteheads of any passage into slashes, still beamed and stemmed (at left in the figure below).

You can also create a passage of mixed normal notation and slash notation, and you can also turn any individual notehead into a slash. See Guitar Notation.

To create ‘comping’ slashes 1. Click the Staff Tool , and select the measures in which you want slashes to appear. See Selecting music for some region-selecting shortcuts. 2. From the Staff menu, choose Apply Staff Styles. The Apply Staff Styles dialog box appears. Alternatively, right-click the highlighted area to display the context menu. 3. Select Rhythmic or Slash Notation and click OK. Slash Notation hides all the music and replaces it with evenly-spaced hash marks. The number of hash marks is determined by the bottom number of the time signature. Rhythmic Notation turns the music into beamed and stemmed slashes, all on the middle line of the staff. See Staff styles for more information. 4. Click OK (or press return). Any music that was in the selected region is now hidden; to restore it, choose the measures again, choose Clear Staff Styles from the Staff menu.

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Slurs There are two ways to create a slur in Finale. The quick, easy way is to use a Smart Shape. A Smart Shape slur expands and contracts with the music and automatically breaks in two if it straddles a line break. A bend (with regard to Finale behavior) is just a special case of a slur.

Note: Slurs and phrase markings technically serve different musical purposes. However, you use the same Finale techniques to create both. In this discussion, the term slur refers to both kinds of markings. If there are times that you don’t want to create a note-attached slur, choose Attach to Measures from the Smart Shape menu to create measure-based slurs.

Tip: if you want all note-attached slurs or bends to be over or under, choose the slur direction without any slurs or bends selected. This menu action sets the default direction. See also Engraver Slurs.

To create a note-attached slur 1. Click the Smart Shape Tool in the Main Tool palette. The Smart Shape Palette and Smart Shape menu appear. 2. Click on the Slur Tool in the Smart Shape palette, then position the cursor on the slur’s beginning note. Make sure that a checkmark appears next to Attach to Notes in the Smart Shape menu. 3. Double-click the mouse, holding the mouse button down on the second click. The note will be highlighted and a small slur line will appear. Continuing to hold down the button, drag the slur to the right until you reach

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the note marking the end of the attachment. When Finale highlights that note, let go of the mouse button. The new note-attached slur appears. To create a slur spanning two consecutive notes, just double-click the mouse on the first note. Finale places the slur on the adjacent notes.

To move, reshape, or delete Smart Shape slurs 1. Click the Smart Shape Tool . The Smart Shape Palette and the Smart Shape menu appear. A small handle appears on all existing Smart Shapes in the score. 2. Click the handle of the slur you want to modify. You can also use the Tab key to select the desired slur, then hit Enter to modify the slur. The slur displays several diamond handles and a polygon connecting the handles.

3. To move the slur or change its arc or its end points, drag the appropriate handle. You can modify the slur in a few additional ways if you press shift while dragging: shift-drag an outer curve diamond handle to limit the direction you reshape the slur to one direction. Shift-click an outer curve diamond handle or Bezier control handle and drag it to the right or left to reshape the slur and change the “sharpness” of the slur’s inset; dragging away from the center of the slur makes the slur “fatter”, and dragging inward makes the slur more “pointed.” Shift-click a Bezier control handle and drag it up or down to reshape the arc of the curve. Note: Constrained dragging is temporarily disabled while slurs are edited. If you would like to use 571

constrained dragging press the shift key while you are moving the slur. See Program Options-Edit for more information on the Constrain Dragging option. 5. To remove the slur from the score, press delete.

To change a note-attached slur’s direction 1. Select the slur whose direction you want to change (for instructions on selecting slurs, refer to To move, reshape, or delete a note-attached slur). 2. From the Smart Shape menu, choose Direction, then select the direction (Automatic, Over, Under) that you want Finale to place this slur. Or, you can use the keyboard shortcut ctrl-F to flip the slur.

To define Slur Contour (height and shape) settings for noteattached slurs 1. Click the Smart Shape Tool . The Smart Shape menu appears. 2. Choose Slur Contour from the Smart Shape menu. The Slur Contour dialog box appears. 3. Choose the desired Slur length—short, medium, or long or extra long. A slur appears in the Active display area beside a small square handle (the control point handle). The Staff display area shows the slur in proportion to other elements in your score. 4. Drag the control point handle vertically or horizontally to change the slur’s height and inset, respectively. If you prefer, you can enter values into the Height and Inset text boxes. The height is displayed in the measurement unit you’ve selected. The inset is a percentage of the slur length. Click Reset at any time to return the slur to Finale’s built-in settings. 5. Click OK (or press enter) when you’re ready to save the new settings. Or click Cancel to discard any changes you made to the settings.

To define Slur Placement settings for note-attached slurs 1. Click the Smart Shape Tool . The Smart Shape menu appears. 2. From the Smart Shape menu, choose Smart Shape Placement. The Smart Shape Placement dialog box appears. 3. Choose Slur from the Smart Shape type drop down list in the dialog box. 4. Select a slur from the list box. The slur appears in the Active display area.

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5. Drag the slur end point vertically and horizontally until the slur attaches to the notes the way you want it to attach to similar types of notes in the score. Instead of using the mouse, you can enter values into the text boxes using the measurement unit you’ve selected. 6. Drag the other end-point of the slur to adjust it. 7. Click Reset at any time to return the slur to Finale’s built-in settings. 8. Click OK (or press enter) when you’re ready to save the new settings. Or click Cancel to discard any changes you made to the settings. Note: All slurs of this type that you create from now on (in this document) will use the Slur Placement settings. The settings also apply to slur end points that haven’t been manually adjusted in all similar existing slurs.

To define Slur System Break settings 1. Click the Smart Shape Tool . The Smart Shape menu appears. 2. Choose Smart Slur Options from the Smart Shape menu. The Smart Slur Options dialog box appears. 3. Enter a number into the Avoid Staff Lines by at Least text box to specify the desired distance between the slur and the outside staff line closest to the slur. 4. Enter a value into the System Start Adjustment and the System End Adjustment text boxes, specifying where the slur should start and end in each of the staff systems spanned by the slur. 5. Click OK (or press enter) when you’re ready to save the new settings. Or click Reset at any time if you want to restore the original built-in settings. Note: All slurs created from now on will use these settings for each system break. These settings also apply to end points of existing slurs (from one staff to the next), if the end point hasn’t been manually adjusted.

To define Slur Thickness 1. Click the Smart Shape Tool . The Smart Shape menu appears. 2. From the Smart Shape menu, choose Smart Slur Options. The Smart Slur Options dialog box appears. 3. Enter a number (in a measurement unit you’ve selected) into the Slur Thickness text boxes to specify the desired line thickness and shape 573

of all slurs. Each slur is composed of two curves, an inner curve and an outer curve. These settings determine the relationship between the curves how fat the slur is, how fast it tapers and whether one side is thicker than the other (for a “hand drawn” look). The V setting determines the general thickness of the slur. Equal values give a balanced slur; unequal values make it thicker on one end than the other. The H settings can make the slur taper more or less quickly: a positive value on the left (mirrored by the opposite value on the right) will make it appear to taper more quickly, a negative value less quickly. 1. Enter a number (in a measurement unit you’ve selected) into the Slur Tip Width text box to specify the desired thickness of the tip of a slur. 2. Click OK (or press enter) when you’re ready to save the new settings. Or click Reset at any time if you want to restore the original built-in settings. Click Cancel to discard any changes you made to the settings. Note: All slurs you create from now on will use these settings. Also remember that all slurs already in the score will change to reflect these settings.

To copy Smart Shape slurs Using the following technique, you can copy Smart Shape slurs from one place in the music to another, or from one staff to another. See also SmartFind and Paint dialog box. 1. Click the Selection Tool . 2. From the Edit menu, choose then Copy Items. The Edit Filter dialog box appears. 3. Click Smart Shapes (Attached to Notes). Click OK (or press enter). 4. Select the region containing the Smart Shapes you want to copy. See Selecting music for some region-selecting shortcuts. 5. Drag the first source measure so that it’s superimposed on the first target measure. If the first target measure is not on-screen, scroll until you see it. Then, while pressing ctrl and shift simultaneously, click the first target measure. In either case, the Copy Measures” dialog box appears (unless you’re copying to the same measure on a different staff). 6. Type the number of times you want the Smart Shapes copied (horizontally). Click OK (or press enter).

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SmartMusic® SmartMusic is an interactive, computer-based practice tool for musicians. Challenging exercises, instant feedback tools, and more than 30,000 accompaniments make SmartMusic an essential part of your practice sessions. A SmartMusic subscription provides free access to the world's largest accompaniment library. Hundreds of new ensemble titles are being added every year, each with pre-authored assignments for every part. You can also create custom assignments from skill-building exercises, method books, jazz improvisation studies, musicals, or from a vast library of solo accompaniments. For more information about SmartMusic, or to acquire a SmartMusic subscription, visit www.smartmusic.com.

Creating SmartMusic Accompaniments Finale allows you to create your own assessment files to be graded for accuracy with SmartMusic’s Assessment feature. Finale also allows you to create solos with accompaniment, exercises, and warm-ups. You can save any Finale Notation File or MIDI file as a SmartMusic Public Accompaniment (.SMP file) and even include the solo notation file to be displayed in the SmartMusic interface during the performance. Finale is capable of creating several different types of SmartMusic files. It is important to decide which type of SmartMusic file you would like to create. Your options are: • Solo assessment file without accompaniment: Solo notation files can be saved for use with SmartMusic’s assessment feature. This is the most straightforward type of assessment file, and does not include accompaniment. In order to grade the solo performance, all assessment files include the solo notation file for display in SmartMusic. See To create a solo assessment file without accompaniment. • Solo assessment file with accompaniment: This is the same as a solo assessment file (described above) with the addition of an accompaniment file. Although SmartMusic will play the accompaniment during the assessment, Intelligent Accompaniment is not available for any assessment file. See To create a solo assessment file with accompaniment. • Ensemble: The purpose of the ensemble file is to give the instrumentalist a canvas of parts that can be turned on or off individually. For example, a trombone player might mute the piano and drums in a big band chart in order to better hear how his part fits with the other horns. Intelligent 575

Accompaniment is not available for use with ensemble files, and notation cannot be included. To create a SmartMusic ensemble file, see To create a new SmartMusic ensemble file. • Solo with accompaniment: This is the format of the classic SmartMusic accompaniment file. It includes a solo line and any number of accompaniment staves. Intelligent accompaniment follows the soloist during the SmartMusic performance and the solo notation can be included for display in the SmartMusic interface. To create a Solo with Accompaniment, see To create a new SmartMusic Solo with Accompaniment. • Solo assessment file generated from a Finale exercise: This is the same as a solo assessment file (described above), but generated from Finale’s Exercise Wizard. See To create a solo assessment file from a Finale exercise.

To create a solo assessment file without accompaniment 1. Enter/edit the notation for the solo staff. There should be only one staff in the document. Some notation elements are not compatible with SmartMusic. In order to ensure compatibility, you can consult the SmartMusic Compatibility Guidelines. However, if there are any compatibility issues, Finale will check the file automatically and list conflicts as part of every SmartMusic Export procedure. 2. Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the performance. They can also be used to display useful information to the soloist in the SmartMusic interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see SmartMusic Performance Markers. 3. From the File menu, choose Export to SmartMusic. The Export SmartMusic Accompaniment - Select File Type dialog box appears. 4. ChooseSolo and click Next. The Select Solo Staff dialog box appears. The instrument staff from the document already appears in the Solo Staff drop-down menu. 5. Click the drop-down menu for Corresponding Instrument (or closest match) in SmartMusic and choose the instrument that most closely resembles that of the solo part. SmartMusic uses advanced pitch recognition technology to follow the solo performance. Since each instrument produces its own signature wave form, SmartMusic must know what type of instrument it will be following in order to ensure the most accurate response. 6. Click Next. The File Information dialog box appears. 7. Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this dialog box with information from the File Info dialog box. After you click Finish, Finale checks the file for compatibility with 576

SmartMusic. If there are any notation elements that SmartMusic does not accommodate, you will see the SmartMusic File Compatibility dialog box. If not, you will see the Save SmartMusic Export File As dialog box (and can skip the next step). Changes to the title, composer, and copyright made here do not apply to the Finale file in any way. This information is stored for the SmartMusic Accompaniment separately. 8. Click each conflict to view a description on the right side of this dialog box. Click Edit to restore focus to the document where you can resolve these conflicts on the fly. Then click Check Again to confirm they have been resolved. See SmartMusic File Compatibility dialog box. When you have resolved the conflicts, click Done to return to the score. Then, from the File menu, choose Export to SmartMusic to complete the saving process. Finale allows you to save the SmartMusic Accompaniment without resolving all conflicts. Review the SmartMusic Compatibility Guidelines or the description on the right side of this dialog box for details regarding the effects of each conflict. 9. Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You can now open SmartMusic and open the ensemble accompaniment file you've just saved.

To create a solo assessment file with accompaniment If you want to take advantage of SmartMusic’s assessment feature (which is capable of evaluating a live performance for accuracy) and wish to include accompaniment during SmartMusic’s assessment, do the following. 1. Enter/edit the notation for the solo and accompaniment staves. Some notation elements are not compatible with SmartMusic. In order to ensure compatibility, you can consult the SmartMusic Compatibility Guidelines. However, if there are any compatibility issues, Finale will check the file automatically and list conflicts as part of every SmartMusic Export procedure. 2. Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the performance. They 577

can also be used to display useful information to the soloist in the SmartMusic interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see SmartMusic Performance Markers. 3. When you are ready to save the accompaniment, from the File menu, choose Export to SmartMusic. The Export SmartMusic Accompaniment Select File Type dialog box appears. 4. Choose Assessment, and click Next. The Select Staves page appears. This page displays all of the parts in the document. 5. Check all the parts you wish to assess. Then, ensure the appropriate corresponding instrument is selected for each part in the drop-down menu below. Choose as many parts as you like. You can select which one you would like to assess in SmartMusic later.

Use the drop-down menu to make sure the Finale Part is assigned to the appropriate SmartMusic instrument. Finale draws information for SmartMusic Accompaniments from the linked part definition. To change the properties of a part, such as the name or staff assignment, click the Manage Parts button. See Manage Parts dialog box. 6. Click Next. The Select Accompaniment Staves page appears. 7. Check all parts you wish to include in the accompaniment. SmartMusic will mute the solo staff automatically during the performance. 8. Click Next. The File Information Page appears. 9. Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this dialog box with information from the File Info dialog box. After you click Finish, Finale checks the file for compatibility with 578

SmartMusic. If there are any notation elements that SmartMusic does not accommodate, you will see the SmartMusic File Compatibility dialog box. If not, you will see the Save SmartMusic Export File As dialog box (and can skip the next step). Changes to the title, composer, and copyright made here do not apply to the Finale file in any way. This information is stored for the SmartMusic Accompaniment separately. 10. Click each conflict to view a description on the right side of this dialog box. Click Edit to restore focus to the document where you can resolve these conflicts on the fly. Then click Check Again to confirm they have been resolved. See SmartMusic File Compatibility dialog box. When you have resolved all conflicts, click Done to return to the score. Then, from the File menu, choose Export to SmartMusic to complete the saving process. Finale allows you to save the SmartMusic Accompaniment without resolving all conflicts. Review the SmartMusic Compatibility Guidelines or the description on the right side of this dialog box for details regarding the effects of each conflict. 11. Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You can now open SmartMusic and open the assessable .SMP accompaniment file you've just saved.

To create a new SmartMusic ensemble file The steps in this section explain how to create an ensemble file for use with SmartMusic. Ensemble files are not capable of utilizing SmartMusic’s Intelligent Accompaniment feature. However, you will be able to mute instruments from playback during the SmartMusic Performance. For example, a trombone player might mute the piano and drums in a big band chart in order to better hear how his part fits with the other horns. (Note that you can also save a single-staff exercise as an assessable SmartMusic accompaniment. To create an exercise, see Exercise Wizard.) 1. Enter/edit the notation for the ensemble staves. 2. Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the performance. They 579

can also be used to display useful information to the soloist in the SmartMusic interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see SmartMusic Performance Markers. 3. From the File menu, choose Export to SmartMusic. The Select File Type page appears. 4. Choose Ensemble and click Next. The Select Accompaniment Staves dialog box appears. 5. Check all the staves you wish to include in the accompaniment. This is the music you will be playing along with in SmartMusic, and the parts you will be able to turn on and off in SmartMusic.

6. Click Next. The File Information dialog box appears. 7. Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this dialog box with information from the File Info dialog box. 8. Changes to the title, composer, and copyright made here do not apply to the Finale file in any way. This information is stored for the SmartMusic Accompaniment separately. 9. Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You can now open SmartMusic and open the ensemble accompaniment file you've just saved.

To create a new SmartMusic solo with accompaniment

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The steps in this section explain how to create a SmartMusic solo with accompaniment capable of taking advantage of SmartMusic’s Intelligent Accompaniment feature. Alternative steps are required if you would like to create a solo with accompaniment that can be assessed and graded for accuracy by SmartMusic (see To create a solo assessment file with accompaniment). To create a standard SmartMusic solo with accompaniment, do the following: 1. Enter/edit the notation for the solo and accompaniment staves. Some notation elements are not compatible with SmartMusic. In order to ensure compatibility, you can consult the SmartMusic Compatibility Guidelines. However, if there are any compatibility issues, Finale will check the file automatically and list conflicts as part of every SmartMusic Export procedure. 2. Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the performance. They can also be used to display useful information to the soloist in the SmartMusic interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see SmartMusic Performance Markers. 3. When you are ready to save the accompaniment, from the File menu, choose Export to SmartMusic. The Export SmartMusic Accompaniment Select File Type dialog box appears. 4. Choose Solo. If you want to display the solo notation on-screen in SmartMusic, check Display Solo Notation.

5. Click Next. The Select Solo Staff page appears. 581

6. Click the drop-down menu under Solo Part and choose the instrument that will be performing this solo. Finale uses information from the linked part to generate the solo. Only single-staff parts can be used as solo parts. To change the properties of a part, click the Manage Parts button. See Manage Parts dialog box. 7. Click the drop-down menu for Corresponding Instrument (or closest match) in SmartMusic and choose the instrument that most closely resembles that of the solo part. SmartMusic uses advanced pitch recognition technology to follow the solo performance. Since each instrument produces its own signature wave form, SmartMusic must know what type of instrument it will be following in order to ensure the most accurate response.

8. Click Next. The Select Accompaniment Staves dialog box appears. 9. Check all the staves you wish to include in the accompaniment. This is the music you will be playing along with in SmartMusic.

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10. Click next. The File Information page appears. 11. Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this dialog box with information from the File Info dialog box. After you click Finish, Finale checks the file for compatibility with SmartMusic. If there are any notation elements that SmartMusic does not accommodate, you will see the SmartMusic File Compatibility dialog box. If not, you will see the Save SmartMusic Export File As dialog box (and can skip the next step). Changes to the title, composer, and copyright made here do not apply to the Finale file in any way. This information is stored for the SmartMusic Accompaniment separately. 12. Click each conflict to view a description on the right side of this dialog box. Click Edit to restore focus to the document where you can resolve these conflicts on the fly. Then click Check Again to confirm they have been resolved. See SmartMusic File Compatibility dialog box. When you have resolved all conflicts, click Done to return to the score. Then, from the File menu, choose Export to SmartMusic to complete the saving process. Finale allows you to save the SmartMusic Accompaniment without resolving all conflicts. Review the SmartMusic Compatibility Guideline or the description on the right side of this dialog box for details regarding the effects of each conflict.

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13. Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You can now open SmartMusic and open the .SMP accompaniment file you've just saved.

To create a solo assessment file from a Finale exercise Use the Exercise Wizard to create a single-staff exercise. Then, follow the instructions under To create a solo assessment file without accompaniment to create the assessable Smartmusic Accompaniment.

To prepare a file for SmartMusic A SmartMusic accompaniment file is essentially an enhanced MIDI file. Some of the tips below can help you prepare the best possible MIDI playback (in Finale or SmartMusic) as you notate the score. Other tips address the unique issues of the SmartMusic enhancements and limitations.

Tips for SmartMusic files • Double-check the playback of the file. To hear how the music will sound in SmartMusic, playback the file using Finale’s SmartMusic SoundFont playback. • Check the Instrument List to make sure none of the tracks are muted. See Instrument List. • Remove extra or empty measures at the end of the file. • Tempos should remain within a range of 20-240 beats per minute for best following. • Ritards and accelerandos applied to the file will help the SmartMusic following create a smoother tempo change. • Keep tempo changes conservative to allow the musician to create their own interpretation and provide a smoother following of tempo nuances for the Intelligent Accompanist. • No Controllers except Volume (#7), Sustain (#64), Room Select (#12), Reverb (#91) and Pitch Bend are allowed. See Continuous data. • Finale and SmartMusic understand transposing instruments and will adjust accordingly. If you wish to double-check the sounding or concert pitch, use Display in Concert Pitch in the Document menu. • If you intend to use Intelligent Accompaniment, you must have at least 2 staves when saving a SmartMusic Public file from Finale: one staff for the solo or melody line and one staff for the accompaniment. General tips for MIDI Files

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• You may want to record all tracks by performing them into Finale using HyperScribe or a sequencer and avoid step-entering notes. Performing tracks adds human variation to velocities, durations and note placement which creates a more natural sounding accompaniment. To achieve a similar effect, enable Human Playback (available in the Playback Settings dialog box). • If you’re importing a MIDI file into Finale, make sure you save it as MIDI Type 1 (tracks become staves), so that all of the channels or tracks are separate. • When importing a MIDI file, preserve as much of the MIDI information as possible by checking Include Tempo Changes and Continuous Data. See also To import a MIDI file. • Check your Playback/Record Options. Make sure the four Play Recorded checkboxes are checked. If you enable Human Playback, set up the HP Preferences to incorporate all of the User MIDI Data. See Playback/Record Options dialog box. • Check the tempo playback. Many things can affect the tempo in Finale. Start with the base tempo in the expanded. See Playback Settings dialog box, Expression Designer dialog box and Tempo Tool.

Assigning Instruments for SmartMusic Accompaniments To assign playback instruments (that will playback using SoundFonts), SmartMusic looks to the instrument assigned to each staff. It is particularly important to review the instrument assigned to each staff if you are generating a SmartMusic Accompaniment from an existing Finale file, and if the file was setup for playback with a MIDI device other than Finale’s SmartMusic SoftSynth. Remember, Finale playback with SmartMusic Softsynth chosen as the MIDI Out device in the MIDI Setup dialog box will match playback of the .SMP accompaniment file when performed by SmartMusic. 1. From the Window menu, choose Instrument List. 2. Under the Instrument column, click the drop-down menu for a staff and choose New Instrument (at the top of the list). The Instrument Definition dialog box appears. Note the channels that are currently defined. 3. In the Instrument Name text box, enter an instrument name. This is the name that will appear in SmartMusic. 4. Ensure the channel is set to one not used by any other staff. 5. Click OK. You return to the Instrument List. 6. Assign a new instrument for each of the remaining staves. Make sure to choose New Instrument from the drop-down menu for each staff to enter each part name and set a unique channel for each.

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When you have finished assigning instruments, be sure to play the file to review your changes before saving.

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SmartMusic Compatibility Guidelines Some aspects of notation that can be created in Finale are not fully compatible with SmartMusic. Some of these detract from assessment accuracy, others cause problems with navigation in SmartMusic, others are not supported by SmartMusic altogether. Use the following guidelines to ensure your document is properly prepared for SmartMusic before exporting the file as a SmartMusic Accompaniment (File > Export to SmartMusic). If your file does not meet these guidelines, you will be prompted with the SmartMusic Accompaniment File Compatibility dialog box, which scans your file, lists all of the conflicts, and allows you to resolve them prior to saving the SmartMusic Accompaniment. Here is a list of all the possible ways a Finale document will not be compatible with smartMusic: Conflict

Compatibility Information

Simultaneous notes in different layers

For optimal assessment results, SmartMusic prefers to see a single melodic line on one staff. Assessment scores of 100% may not be possible when multiple simultaneous notes occur.

Inconsistent pages

For optimal scrolling results in SmartMusic, use one page size for all pages and one set of values for all page margins.

Inconsistent system margins

For optimal scrolling results in SmartMusic, use one set of system margin values for systems 2 thru the end. Ideally, setting up all margins in the "Page Format for Score" dialog box and applying a 'Redefine All Pages' to your Finale file will ensure best scrolling results.

Hidden clefs

All clefs, even hidden ones, will be displayed in SmartMusic.

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Nonstandard keys

SmartMusic does not support nonstandard key signatures

Ossias/Mirrored Measures

SmartMusic does not support Ossias or Mirrored measures.

Staff Usage: Distance From Top

For optimal scrolling results during playback in SmartMuisc, set the 'Distance from Top' value to 0 in the Staff Usage dialog box.

Page Format for Score: System Margins, Top

The top system margin should equal the top value in systems 2-end.

Hide Key Signature Staff Attribute

SmartMusic will still display the key signature. To successfully hide a key signature in SmartMusic, create a Staff Style that has Key Signatures unchecked in the Staff Style Attributes dialog box.

Chromatic Transposition

Staves with a Chromatic Transposition must also have Independent Key Signatures selected.

Independent Time Signatures

SmartMusic does not support Independent Time Signatures

See Also: SmartMusic

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SmartMusic Performance Markers You can use SmartMusic performance markers to specify effects that are found in standard accompaniments such as rehearsal letters, pauses for fermatas, cadenzas, cesuras, and repeats. You can also use markers to adjust the level of Intelligent Accompaniment during the course of the performance. You can add all of these markers using the Add SmartMusic Markers dialog box under the Document menu (as described in this section). After doing so, the markers appear in the score as expressions defined for playback as the appropriate SmartMusic marker type. Since SmartMusic markers always appear in a Finale score as (hidden) expressions, they can also be added manually with the Expression Tool. Although the Add SmartMusic Markers dialog box is the recommended method, some users prefer the extra control offered when entering them manually. When you apply SmartMusic markers this way, you create expressions that contain special SmartMusic playback data that SmartMusic can recognize while performing the accompaniment. If you decide to add SmartMusic Markers manually, follow the same instructions for placement of each marker outlined in this section. (We recommend always trying the Add SmartMusic Markers dialog box first while creating performance markers. It’s faster and easier.) SmartMusic markers are added to the beat or measure you want the effect to occur, depending on the marker type. See To add SmartMusic performance markers for details. Here is a basic description of all performance markers. • Add an Intelligent Accompaniment marker to a beat to specify a change in the Intelligent Accompaniment level. • Add a Rehearsal Mark to the beginning of a measure to indicate a rehearsal mark. This rehearsal mark will display in the SmartMusic interface during the performance. • Add an Opt. Octave Up 1 or Opt. Octave Down 1 to specify the first beat of an optional octave section (where the soloist has the option to play up or down an octave). Add an End Opt. Octave marker to the beat following the optional octave section to specify the end of the optional octave. • Add a Reset Tempo marker to a beat to specify a return to the tempo specified in the document. This marker eliminates tempo changes that have been applied as SmartMusic’s Intelligent Accompaniment feature responded to tempo adjustments made by the soloist. • Add a pause marker (Wait for Note On, Wait for End of Note, or Wait for Foot Pedal) to the beat you want to pause the accompaniment. Then, add a Resume marker on the beat the accompaniment is to resume (upon hearing the note, the cutoff of a note, or a foot pedal message). 589

• Add a Repeat marker to indicate each pass of a repeated section, or the ending of a repeated section. (All repeat markers can also be generated automatically based on existing repeats in the score by using the Add SmartMusic Markers dialog box.) • Add a Repeat End marker to indicate the end of a repeated section. (All repeat markers can also be generated automatically based on existing repeats in the score by using the Add SmartMusic Markers dialog box.) • Add a Repeat DS marker to indicate a D.S. repeat, both the first pass of the Segno, and then the actual D.S. section. (All repeat markers can also be generated automatically based on existing repeats in the score by using the Add SmartMusic Markers dialog box.) • Add a Repeat DC marker to indicate a D.C. repeat, both at the beginning of the piece, and then the actual D.C. section. (Note that all repeat markers can be generated automatically based on existing repeats in the score by using the Add SmartMusic Markers dialog box.) • Add a Small Breath Mark marker to indicate a short pause sufficient for a short breath. • Add a Large Breath Mark marker to indicate a pause sufficient for a large breath. • Add a Breath Mark End marker to indicate the end of a breath mark. • Add a Reset Measure Counter marker to reset the SmartMusic measure counter. • The Use Description Text marker is available for additional marker possibilities that may be added to SmartMusic in the future. By choosing this option, you instruct SmartMusic to read the values entered into the Description text box of the Expression Designer, and incorporate them into the performance accordingly (like rehearsal marks and repeat markers). Note that several markers are sometimes added for you automatically while using the Add SmartMusic Markers utility. For example, Reset Tempo is always added at the point the accompaniment is to resume after a Wait for Note marker has been added. (It is assumed the performer will resume at the tempo specified in the score).

To add SmartMusic performance markers 1. From the Document menu, choose Add SmartMusic Markers. The Add SmartMusic Markers dialog box appears.

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2. Choose the type of marker you would like to add from the list on the left. 3. Click Add. A dialog box appears relating to the type of marker you have chosen. 4. Specify the assignment and other settings for the marker and click OK. For a description of the options in each dialog box, see Add SmartMusic Markers dialog box. Although the following instructions apply to all SmartMusic markers, if you intend to add them as Expressions, you will first want to review the section To add SmartMusic Performance Markers as expressions (below). Furthermore, additional steps are required to properly define pauses and repeats with Expressions. See To define and add pause markers manually with the Expression Tool and To Add Repeat Markers Manually as Expressions for details.

To add SmartMusic performance markers as expressions The following steps are general and are required anytime you want to add a SmartMusic Performance Marker as an expression. Remember to always try using the Add SmartMusic Marker utility (under the Edit menu) prior to creating expressions manually with Expressions. 1. Choose the Expression Tool . 2. On the solo staff (or the top staff of an ensemble score), double-click where you would like to place the marker. If you wish to create a noteattached expression, be sure to click directly above or below an existing note in the solo staff. The Expression Selection dialog box appears. Some expressions, such as the default rehearsal letters are already assigned as SmartMusic rehearsal marks. For this example, we’ll create a new one. Note that if you are creating a rehearsal mark, the expression should be aligned with the beginning of the measure. 3. Click Create. The Expression Designer dialog box appears. 4. Type the marker’s name (if desired). You might want to enter text that describes the marker you are about to define (e.g. Intelligent Accompaniment=50, Wait for Note On, Repeat, etc.) though you could leave this box empty if you do not care to display any text in the score. If you do not enter any text here, skip the next step. 5. Highlight the text, and then from the Text menu, choose Style > Hidden (ctrlCommand+shift+H). Now, the expression is defined to appear in light gray in the score, and will not print. 591

6. Click the Playback tab. 7. From the Type drop-down menu, choose SmartMusic Marker. The SMS Marker drop-down menu appears. 8. From the SMS Marker drop-down menu, choose the desired SmartMusic Marker. For a general description of each marker, see SMS Marker. in the Expressions chapter. 9. If you are creating a rehearsal mark or repeat marker, click the Text tab and enter the rehearsal text (A, B, etc.) or repeat values in the Description field. See Repeat markers for SmartMusic accompaniments for more information on specifying different types of repeats. 10. Click OK. You return to the Expression Selection. 11. Click Assign. 12. Shift-double-click the expression to open the Expression Assignment dialog box. Under Begin Playback at, choose the desired option. You can choose Beginning of Measure (e.g. for rehearsal marks), or Position in Measure. 13. Click OK to return to the document. The marker will now apply to the accompaniment’s performance in SmartMusic.

To add pause markers for a SmartMusic Accompaniment Pause markers are used to tell SmartMusic to wait for a note or cue from the soloist to resume the accompaniment. Many musical elements including fermatas, cesuras, cadenzas, and sometimes ritardandos and rallentandos require a pause marker for the soloist to accurately perform the musical passage (or have freedom to interpret the music as desired). You can add a pause marker easily by placing it on the note you wish the accompaniment to resume using the Add SmartMusic Markers dialog box. 1. From the Document menu, choose Add SmartMusic Markers. 2. Choose the type of pause marker you would like to add from the list on the left. The type of pause depends on the cue the performer will use to resume accompaniment. In other words, SmartMusic will “wait for”: A note (Wait for Note On) - Choose this option to instruct SmartMusic to wait for a specific note performed by the soloist as a cue to resume the accompaniment. This type of pause marker is appropriate for a ritardando or rallentando (see To add pause markers for ritardandos or rallentandos), rests or held notes in the accompaniment, (see To pause for accompaniment rests or held notes), and fermatas within a piece (see To add pause markers for fermatas). A Wait for Note marker is generally only required on the note you want the accompaniment to resume. The release of the note (Wait for End of Note) - Choose this option to instruct SmartMusic to hold notes in the accompaniment until the current 592

note is released, for example, a fermata on the last note of a piece. See step three under To add pause markers for fermatas. A foot pedal message (Wait for Foot Pedal) - Choose this option to instruct SmartMusic to resume the accompaniment upon receiving a foot pedal message from the soloist. This type of pause marker is recommended for cadenzas (see To add pause markers for cadenzas), but could also be used for fermatas, rests/held notes in the accompaniment, or even rallentandos. A Wait for Foot Pedal marker is only required at the location you want the accompaniment to resume. 3. Click Add. The Wait for Note, Wait for End of Note, or Wait for Foot Pedal dialog box appears depending on your selection. 4. Specify the location of the marker using the provided fields. Here, you can either choose an existing rehearsal marker, a repeat marker, or you can specify a bar and beat. Remember, the pause marker should be added to the point at which the accompaniment should resume. 5. Click OK. You return to the Add SmartMusic Markers dialog box. You can add additional markers without returning to the score. 6. When you have finished adding the desired markers, click Done. You will notice hidden text above the solo staff that indicates the markers you’ve added. These are actually hidden text expressions that Finale generated for you based on your settings in the Add SmartMusic Markers dialog box. The Add SmartMusic Markers dialog box is basically a tool that allows you to automatically generate these expressions without having to define them manually. If you wish, you can manually define these SmartMusic Markers using the Expression Tool as we’ll explain next.

To define and add pause markers manually with the Expression Tool If you add SmartMusic Markers manually with the Expression Tool (instead of the Add SmartMusic Markers utility), at least two markers are required to properly define a pause; a marker that indicates the point at which the accompaniment should pause (Wait for Note, Wait for End of Note, or Wait for Foot Pedal) and a marker that indicates the point at which the accompaniment should resume (Resume). A third marker, Reset Tempo, should be added at the same point as each Resume marker to tell SmartMusic to resume at the tempo defined in the document (eliminating any tempo changes added by SmartMusic’s Intelligent Accompaniment feature). If you have used the Add SmartMusic Marker dialog box, you may have noticed Finale automatically places the ‘Wait for...’ expression on the note prior to the point defined in the Add SmartMusic Markers dialog box. Actually, the ‘Wait for...’ need only precede the ‘Resume’ by a tiny increment because there is almost never a

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need to pause the accompaniment at a musically significant point prior to the resume point (as the accompaniment would be resting or holding anyway). As shown in the Add SmartMusic Markers dialog box, there are three ways SmartMusic can be ‘cued’ to resume an accompaniment; upon hearing a pitch (Wait for Note On), upon hearing the cutoff of a pitch (Wait for End of Note), or upon receiving a foot pedal message (Wait for Foot Pedal). The cue SmartMusic ‘waits for’ depends on the marker used to indicate the point at which the accompaniment should pause. The same marker, Resume, is always used to indicate the point at which the accompaniment should resume. Like any expression defined for playback, SmartMusic Marker expressions apply to the note they are attached to or the horizontal placement within the measure. Specific placement recommendations are explained below under To add pause markers for ritardandos or rallentandos, To pause for accompaniment rests or held notes, and To add pause markers for fermatas.

To add pause markers for ritardandos or rallentandos To specify this effect with the Add SmartMusic Marker utility, simply place a Wait for Note marker on the note you want the accompaniment to resume. The Resume and Reset Tempo marker is added for you automatically. See Wait for Note dialog box. To assign the necessary markers manually with Expressions, add a Wait for Note On marker at the end of a passage, and then a Resume and Reset Tempo marker on the note the accompaniment is to resume. When the soloist plays the pitch assigned to the Resume marker, the accompaniment resumes. This is particularly useful if an a tempo marking follows the ritardando or rallentando. Tip: Since the accompaniment will be expected to slow for the performer, it might be a good idea to increase the IA level for the ritardando region. The Wait for Note marker is only required imediately prior to the return to a steady tempo. To add a pause marker for ritardandos or rallentandos manually using expressions: 1. Add a Wait for Note On marker just beyond the last note of the passage. 2. Then add a Resume marker and Reset Tempo marker on the first note following the passage. During the performance, SmartMusic will wait for the pitch following the ritardando (the F in the solo line of the figure below) before continuing the accompaniment. If the soloist rests on the beat following the passage, add a Foot Pedal marker instead.

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To pause for accompaniment rests or held notes To specify this effect with the Add SmartMusic Marker plug-in, place the Wait for Note marker on the note you want the accompaniment to resume. The Resume and Reset Tempo marker is added for you automatically. See Wait for Note dialog box. A Wait for Note pause marker can also be used when there is a break or held note in the accompaniment to ensure SmartMusic resumes playback along with the performer (for a rubato or expressive section of the piece for example). Again, the entrance of the accompaniment resumes upon hearing the designated note in the solo line. To add a pause for accompaniment rests manually with expressions: 1. Enter a ‘Wait for Note On’ marker expression at a point during the rest or held note in the accompaniment. 2. Enter a ‘Resume’ marker expression at the point the accompaniment is to resume. During the performance, when the accompaniment reaches the Wait for Note On marker, SmartMusic begins listening for the pitch under the Resume marker, and does not continue with the accompaniment until that pitch is performed (or the spacebar is struck. Therefore, if the same pitch appears prior to the Resume pitch, enter the Wait for Note marker after the duplicate pitch, or use a Foot Pedal marker instead. 3. Enter a ‘Reset Tempo’ marker expression at the same point as the ‘Resume’ marker. The Reset Tempo marker erases any tempo adjustments SmartMusic acquired from the soloist prior to reaching the Wait for Note On marker. Entering this marker ensures the accompaniment will resume at the tempo specified in the document. Pause for rests in accompaniment

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Pause for held note(s) in accompaniment

In SmartMusic, during the performance of the above examples, the performer will see a message “Waiting for Pitch _” until the designated pitch is performed (and the accompaniment resumes). Note that the same procedure can be used to pause the accompaniment for cadenzas if the “Resume” note is not performed during the cadenza passage. Simply place the Wait for Note On marker at a point (preferably towards the beginning) of the cadenza. For more information on adding pause markers for cadenzas, see To add markers for cadenzas. 596

To add pause markers for fermatas Pause markers can be added to accommodate fermatas in much the same way they are added for rests or held notes in the accompaniment (described above). The type of pause marker used depends on whether the soloist or accompaniment resumes playback. To specify this effect with the Add SmartMusic Marker plug-in, place the Wait for Note or Wait for Foot Pedal marker on the note you want the accompaniment to resume. The Resume and Reset Tempo marker is added for you automatically. See Wait for Note dialog box. To add a pause marker for a fermata manually with expressions: 1. If both the soloist and accompaniment resume playback simultaneously, add a Wait for Note On marker over the held note. Then add a Resume marker and Reset Tempo marker over the note following the fermata. SmartMusic will sustain the pitches under the fermata until it hears the Resume pitch (in this case F) performed by the soloist. SmartMusic indicates to the performer that it is “Waiting for your note _”.

2. If there is a rest under the fermata in the solo staff, and the accompaniment resumes on its own, add a Wait for Foot Pedal marker over the held note. Then add a Resume marker and Reset Tempo marker over the first note (of the accompaniment) following the fermata. During the performance, SmartMusic will indicate that it is waiting for a foot pedal message from the soloist to resume the accompaniment.

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3. If a fermata appears at the end of the piece, add a Wait for End of Note marker over the held note. Then add a Resume marker and Reset Tempo marker to the right of the fermata. During the performance, SmartMusic will release the held note along with the soloist.

To add pause markers for cadenzas Cadenzas are unaccompanied passages performed by the soloist. You can use a Foot Pedal marker inserted during the cadenza, and then a Resume marker after the cadenza to ensure the accompaniment resumes in coordination with the soloist (upon receiving a foot pedal message). To specify this effect with the Add SmartMusic Marker plug-in, place the Wait for Foot Pedal marker on the note you want the accompaniment to resume. The Resume and Reset Tempo marker is added for you automatically. See Wait for Foot Pedal dialog box. To add a pause marker for a cadenza manually with expressions: 598

1. Add a Wait for Foot Pedal marker near the beginning of the cadenza. 2. Add a Resume marker and Reset Tempo marker over the first beat following the cadenza. It is best to place the Wait for Foot Pedal early in the cadenza to ensure the soloist does not ‘catch up’ to the accompaniment (which continues in tempo until reaching the ‘Wait for’ marker, or any of the pause markers). In this cadenza, note that the pitch C appears after the Wait for Foot Pedal marking, which is also the pitch of the Resume note immediately after the cadenza. If there was not a C in the cadenza, a Wait for Note On marker could be added instead of Wait for Foot Pedal so pressing the foot pedal would not be necessary during the performance. See To pause for accompaniment rests or held notes.

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Repeat markers for SmartMusic accompaniments In SmartMusic, the number and iteration of each repeated section is displayed on the main interface window during the SmartMusic performance as shown below:

You can add markers in Finale to indicate these repeated sections for display during the performance, including repeats with multiple endings, as well as DS and DC repeats.

To Add Repeat Markers Automatically In most cases, the following steps are not necessary to incorporate repeats into your SmartMusic accompaniment. However, you can preview the automatically generated repeat markers prior to saving your file by following these steps. 1. Add repeat barlines and text indications as described in the Repeat Tool chapter. Add any type of repeat you like, first and second endings, D.S. al Coda, etc. 2. From the Document menu, choose Add SmartMusic Markers. The Add SmartMusic Markers dialog box appears. 3. From the List on the left, choose Repeats. 4. Click Create/Update Repeat Markers. The score is scanned for all repeat indications. The list of repeat markers appears in the main window. 5. Click Done. All repeat markers have been added to your score automatically based on the repeat barlines and markings. If you want more control over SmartMusic Repeat Markers, or want to edit the ones created for you automatically, you can also add/edit them manually with the Expression Tool as described below.

To Add Repeat Markers Manually as Expressions Repeat markers can be added to the Finale score as expressions like the other SmartMusic markers. Unlike other markers, these require additional 600

parameters to specify the number of the repeat (i.e. the first, second, third, etc. repeated section in the score), the iteration of te repeat and the measure number. For general information on adding SmartMusic markers, see To add SmartMusic Performance Markers. If repeats are already defined in a score for playback, you can easily convert the file to a through composed format by exporting it as a MIDI file, and then importing the generated MIDI file back into Finale. Repeated sections are then written out sequentially. Since all playback data is saved with MIDI files, information relevant to SmartMusic accompaniment creation is not lost in this conversion. See MIDI files for details. If you do this, ensure the solo staff is assigned to a different channel than the accompaniment staff(ves) in the Instrument List window. Here is a list of the types of repeat markers, where to add them, and how they are defined for different types of repeated sections. To use pre-defined repeat marker expressions, load the SMS Markers library.From the File menu, choose Load Library, and then double-click “SMS Markers”. An expression defined as a Repeat marker is required to mark the beginning of each iteration (or pass) of a repeated section of music. Additional numbers are then added to the Description text box in the Expression Designer to indicate the following: r,t,m r = Repeat number (starting with 1 on the first repeat pair and increasing by 1 for each successive pair). t = Time through the repeat. 1 for first iteration, 2 for second, etc. m = Measure number of the repeat in the original score. This number should be the same for each iteration of a repeat (even though the measure number in the through composed Finale document may differ). Example:

This Repeat marks the location in the Finale document of the third repeated section, beginning at the second iteration. This appears at the beginning of measure 12 in the original Finale score. An expression containing this SmartMusic marker would appear at a later measure in the modified (through composed) Finale document. If there are multiple endings in a repeated section (first ending, second ending etc.), an expression defined as a Repeat Ending marker is required to mark the beginning of each ending. For these markers, the following parameters are then added to the Description text box in the Expression Designer to indicate the following: 601

r,m r = Repeat number. m = Measure number of the ending in the original score. Example:

This Repeat Ending marks the location in the Finale document of an ending for the first repeat. This appears at the beginning of measure 3 in the original Finale score. (The ending number is not required). If there is a Dal Segno repeat in the original score, an expression defined as a Repeat DS marker is required to mark the first pass of the Segno (sign), the actual D.S. section, and the end of the D.S. section. For these markers, the following parameters are then added to the Description text box in the Expression Designer to indicate the following: d,f,m d = Dal Segno number (starting with 1 for the first D.S. and increasing sequentially for each D.S section. f = Flag to denote whether this marks the location of the Segno (sign) going by the first time (f=1), the actual beginning of the D.S. section (f=2), or the end of the D.S. section (f=E) m = Measure number of the location in the original score. Example:

This Repeat DS marks the location in the Finale document of the ‘actual beginning’ of the first DS section. This appears at the beginning of measure 3 in the original Finale score. If there is a D.C. repeat in the original score, an expression defined as a Repeat DC marker is required to mark the beginning of the score, the ‘actual beginning’ of the D.C. section, and the end of the D.C. section. For these markers, the following parameters are then added to the Description text box in the Expression Designer to indicate the following: d,f,m d = D.C. number.

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f = Flag to denote whether this marks the location of the beginning D.C. (f=1), the actual beginning of the D.C. section (f=2), or the end of the D.C. section (f=E) m = Measure number of the location in the original score. Example:

This Repeat D.C. marks the location in the Finale document of the ‘actual beginning’ of the first DS section. This appears at the beginning of measure 3 in the original Finale score. On the first beat following the last iteration, an expression defined as a Repeat End marker is required to mark the completion of the repeated section and establish the measure to continue from in SmartMusic. The following entries are required in the Description section of the Expression Designer for a Repeat End marker to indicate the following: r,E,m r = Repeat number (starting with 1 on the first repeat pair and increasing by 1 for each successive pair). This should be the same “r” value used for each of the prior iterations. m = Number of the measure, in the original score, following the repeated section. Example:

This Repeat End marks the location in the Finale document of the ending of the fourth repeated section. This appears at the first beat of measure 16 in the original Finale document. This marker would appear at the first beat following the last iteration of the fourth repeat in the modified (through composed) Finale document.

To add markers for repeats without endings as expressions 1. Open the Finale document. If it already contains repeat bars, text repeats, or other repeat indications that apply to playback, remove them. If the music is through composed already, skip to step 3. Tip: To remove all repeats in a document at once, select the Selection Tool. From the Edit menu, choose Select All (or press Ctrl-A). Then, from the Edit menu, choose 603

Clear Items. Select Only Selected Items, choose Measures, check Repeats, and then click OK back to the score. 2. Copy and insert music to reproduce the flow of the original playback. See Copying music for details.

3. Choose the Expression Tool . 4. On the solo staff (or the top staff of an ensemble score), double-click the first note of the first iteration of the repeat. If there is not a note on the first beat of the section in the top/solo staff, double-click the measure. The Expression Selection dialog box appears. 5. Click Create. The Expression Designer dialog box appears. 6. Type “Repeat 1” (optional). This text will appear in the score as a reminder, though you could leave this box empty if you do not care to display any text in the score. If you do not enter any text here, skip the next step. 7. Highlight the text, and then from the Text menu, choose Style > Hidden. Now, the expression is defined to appear in light gray in the score, and will not print. 8. Click the Playback tab. 9. From the Type drop-down menu, choose SmartMusic Marker. The SMS Marker drop-down menu appears. 10. From the SMS Marker drop-down menu, choose Repeat Start. 11. Choose the Text tab in the upper left. 12. In the Description text box, separated by commas, type the values for r, t, and m. For example, if this is the first repeat pair in the score, first time through, starting on the first measure, you would enter the following:

3. Click OK. You return to the Expression Selection dialog box. 4. Click Select. The Expression Assignment dialog box appears. 604

5. If you are assigning the marker as an Expression, in the Expression Assignment dialog box, under Begin Playback at, choose Beginning of Measure. 6. Click OK. The expression appears above the score. Now, we’ll add another expression to indicate the beginning of the second iteration of the repeat. 7. On the solo staff (or the top staff of an ensemble score), double-click the first note of the second iteration of the repeat. If there is not a note on the first beat of the section in the top/solo staff, double-click the measure. The Expression Selection dialog box appears. 8. Click the expression you created for the first iteration and then click Duplicate. Since we just need to make a few changes to this expression, it is easiest to duplicate the one we’ve already made. The duplicate expression in highlighted automatically. 9. Click Edit. The Expression Designer dialog box appears. Here, in the main text editor, you can change the text if desired to indicate this is the second pass. For example, you might type “Repeat 1 pass 2.” 10. In the Description text box, separated by commas, type the values for r, t, and m. For example, if this is the first repeat in the score, second time through, starting on the third measure*, you would enter the following:

Note*: The measure number (third entry in the description field) for the first and second iteration should always be the same, even though the measure number in the Finale score will be different (since the piece is through composed). This instructs SmartMusic’s measure counter to return to the first measure of the repeated section. To adjust Finale’s measure numbering to correspond to the repeated sections, you might want to adjust the measure number regions for your own reference. This can be particularly useful if there are many repeated sections. See Measure numbers. 21. Click OK. You return to the Expression Selection dialog box. 22. Click Assign. The expression appears above the score. A repeat marker should now appear at the beginning of each iteration.

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. The image above shows a repeated section of music duplicated for compatibility with SmartMusic. A repeat marker expression appears on the first beat of each iteration. The numbers in parentheses show the values for r, t, and m (as if this example begins on measure 1). 25. On the solo staff (or the top staff of an ensemble score), double-click the first note following the final iteration of the repeat. If there is not a note on the first beat of the section in the top/solo staff, double-click the measure. The Expression Selection dialog box appears. 26. Type “Repeat End 1” (optional). This text will appear in the score as a reminder, though you could leave this box empty if you do not care to display any text in the score. If you do not enter any text here, skip the next two steps. 27. Highlight the text, and then from the Text menu, choose Effects > Hidden. Now, the expression is defined to appear in light gray in the score, and will not print. 28. Click the Playback tab. 29. From the Type drop-down menu, choose SmartMusic Marker. The SMS Marker drop-down menu appears. 30. From the SMS Marker drop-down menu, choose Repeat End. 31. Choose the Text tab in the upper left. 32. In the Description text box, separated by commas, type the values for r, and m (as described above under Repeat markers for SmartMusic accompaniments). For example, if this is the end of the first repeat, that continues on measure 3 of the original Finale score, you would enter the following:

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33. Click OK. You return to the Expression Selection dialog box. 34. Click Assign. The expression appears above the score. You have completed defining a basic repeat for transfer to SmartMusic. Now, follow the instructions under SmartMusic to create the accompaniment SMP file. To create markers for repeats containing multiple endings, see To add markers for Ending repeats. To create markers for DS or DC repeats, see To add markers for D.S. and D.C. repeats.

To add markers for repeats with endings as expressions The same basic procedure for creating basic repeats also applies to the creation of repeats with a first and second ending, only an additional Repeat Ending marker is required to mark the first beat of each ending. You can define as many endings as you like. Ending repeats do not appear in the Repeat window of the SmartMusic interface, but are required to accurately display the appropriate measure number in SmartMusic’s measure counter. 1. Open the Finale document. If the document is already through composed without repeat markings, skip the next two steps. 2. If the repeats are marked in the score, copy music from the opening repeat through the measure prior to the first ending. Insert this music before the first measure of each ending (as shown below).See Copying music for details. 3. Remove the repeat bars and endings. The repeated section should now be through composed (to playback as if the repeats were still there). Tip: To remove all repeats in a document at once, select the Selection Tool. From the Edit menu, choose Select All (or press Ctrl-A). Then, from the Edit menu, choose Clear Items. Select Only Selected Items, choose Measures, check Repeats, and then click OK back to the score.

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4. If it already contains repeat bars, text repeats, or other repeat indications that apply to playback, remove them. 5. Choose the Expression Tool y and add an expression defined as a Repeat marker on the first beat of each iteration. Add the Repeat End marker on the beat following the final ending. See To add markers for repeats without endings for instructions. 6. On the solo staff (or the top staff of an ensemble score), double-click the first note of an ending (start by clicking the first ending). If there is not a note on the first beat of the ending in the top/solo staff, double-click the measure. The Expression Selection dialog box appears. 7. Type any desired text in the text editor window (e.g. “First Ending”) (optional). This text will appear in the score as a reminder, though you could leave this box empty if you do not care to display any text in the score. If this was the second ending, you might type “Second Ending.” If you do not enter any text here, skip the next two steps. 8. Highlight the text, and then from the Text menu, choose Effects >> Hidden. Now, the expression is defined to appear in light gray in the score, and will not print. 9. Click the Playback tab. 10. From the Type drop-down menu, choose SmartMusic Marker. The SMS Marker drop-down menu appears. 11. From the SMS Marker drop-down menu, choose Repeat Ending. 12. Choose the Text tab in the upper left. 13. In the Description text box, separated by commas, type the values for r, and m (as described under Repeat markers for SmartMusic accompaniments). For example, if this is the first ending of the first repeat, that starts on measure 3 of the original Finale score, you would enter the following:

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For the second ending of the repeat, add the number of measures in the first ending to establish the m value for the second ending. For this example, if the first ending defined above were one measure long, you would type the following for the second ending. (This should be consistent with the original Finale document)

14. Click OK. You return to the Expression Selection dialog box. 15. Click Assign. The expression appears above the score. 16. Double-click the first note of the second ending, and then follow the last 12 steps for the second, third, or any additional endings.

A repeat with a first and second ending properly defined for export as a SmartMusic accompaniment. The repeat and ending expressions are defined as Repeat markers and the final expression in the last measure is defined as a Repeat End marker. The values in parentheses are those that would appear in the Description text box of the Expression Designer. Now, follow the instructions under SmartMusic to create the accompaniment SMP file.

To add markers for D.S. and D.C. repeats as expressions 1. Open the Finale document. 2. Copy and insert music to reproduce the flow of the original playback. In the image below, the D.S. section, up to the fine, is inserted after the last measure. For a D.C., music from the beginning up to the fine marking would be inserted after the last measure. If there are sections enclosed in repeat bars, duplicate them first. See Copying music for details.

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3. If the score contains repeat bars, text repeats, or other repeat indications that apply to playback, remove them. 4. Choose the Expression Tool y and add Repeat markers for any repeat bars or endings. Add Repeat End markers at the conclusion of each repeat. See To add markers for repeats without endings and To add markers for repeats with endings for instructions. 5. Add an expression defined as a Repeat DS marker on the first beat of the Segno (first time through). Or, add a Repeat DC marker at the beginning of the score. In the Description text box of the Expression Designer, enter the appropriate d, f and m values (as described for Repeat DS and Repeat DC under Repeat markers for SmartMusic accompaniments). For example, if this is the first D.S., first pass, that starts on measure 3 of the original Finale score, you would enter the following:

If a Repeat DC or Repeat DS marker is required at the same point as a normal Repeat marker (that begins a repeat), place the Repeat DC/DS marker just to the left of the Repeat. To offset a marker by less than a beat, position the expression in the score accordingly, and then, in the Expression Assignment dialog box, for Begin Playback at, choose Position in Measure. 6. Add an expression defined as a Repeat DS marker on the first beat of the actual Segno (that appears in the measure after the D.S. marking). Or, for a D.C., add a Repeat DC marker on the first beat of the second iteration of the music (that was copied earlier). In the Description text box of the Expression Designer, enter the appropriate d, f and m values. For example, if this is the first D.S., second pass, that starts on measure 3 of the original Finale score, you would enter the following: 610

7. Add an expression defined as a Repeat DS marker on the first beat of the measure following the Segno section. Or, for a D.C., add a Repeat DC marker after the last beat of the music. In the Description text box of the Expression Designer, enter the appropriate d, f and m values. For example, if this is the end of the first D.S., that ends on measure 5 of the original Finale score, you would enter the following:

If the last measure of the Segno section is the last measure of the score, enter an expression just to the right of the last beat of the measure. If a Repeat DS/DC end is required at the same point as a Repeat End marker, place the Repeat DS/DC marker just to the right of the Repeat End. The image below shows an example of a D.S. repeat with the appropriate SmartMusic Performance Markers. The values in parentheses are those that should appear in the Description text box of the Expression designer.

Repeated sections are marked on the D.S. or D.C. even if the repeats are not played (for sections marked “repeat first time only” for example). In these cases, the Repeat marker should be set to “0” for the t (time) value in the Description text box of the Expression designer to signify that this is the only time through. The following chart shows an example of a D.C. al Fine. The top portion shows an outline of the original file. The bottom portion shows the through composed sequence and the correct positioning of repeat marker expressions for the D.C. al Fine.

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SMPTE and MIDI Time Code SMPTE stands for the Society of Motion Picture Television Engineers (see www.smpte.org). This group has defined cooperating standards called SMPTE timecode which is used to synchronize film, video, or audio material. Finale supports the MIDI Time Code (abbreviated MTC), which is the MIDI representation of SMPTE. For Finale’s purposes, MTC is primarily used to synchronize Finale playback with the integrated Movie Window as well as external movie players and editors. While MIDI Sync synchronizes via relative time (24 clock messages per quarter note), MTC synchronizes via absolute time (sending “Quarter Frame” messages based on a SMPTE frame rate of, for example, 30 frames per second). Finale supports the sending of MTC, which means other devices capable of recieving MTC can sync with Finale. The device to which MTC will be sent, and whether or not to send MTC, can be set in the MIDI Setup dialog box. Whether or not to send MTC can be specified by checking or unchecking Send MTC under the MIDI/Audio menu. Additional MTC settings can be configured in the Sync and Video Options dialog box under the Document menu.

To synchronize an external MTC device with Finale 1. Open Finale as well as the other MTC-compatable device. Some examples of products that can be set to recieve MTC are Cubase, Pro Tools, and SoundForge. 2. In Finale, from the MIDI/Audio menu, choose Device Setup > MIDI Setup. 3. For MIDI Out, choose a driver that supports MTC. If your existing MIDI driver does not support MTC, try using MIDI Yoke which can be found at www.midiox.com/myoke.htm. 4. Click OK. Then go to your other MTC-compatible device, and set it to receive MTC using the same driver you selected in Finale’s MIDI Setup dialog box. The location and wording of these settings varies depending on the product. Consult the product’s documentation for details. 5. In Finale, click Play. When you play, pause, stop, rewind, or fast forward using Finale’s Playback Controls, the device receiving MTC responds accordingly.

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Snapping to grids and guides Snap to Grid and Snap to Guide is only available in Page View.

To turn on snapping of grids and guides • From the View menu, choose Grid/Guide > Snap to Grid or Snap to Guide. Choose the item again to deselect it and turn it off.

To turn on display of grids and guides • From the View menu, choose Grid/Guide > Show Grid or Show Guides. Choose Hide Grid or Hide Guides turn it off.

To snap items to a grid or guide 1. Choose Page View from the View menu. 2. Make sure that Snap to Grid or Snap to Guide is selected under View the menu > Grid/Guides. See To set up a grid and To set up guides for information on creating and setting up guides and grids. 3. Select a tool (such as the Expression Tool) that is enabled in the Items to Snap to Grid or Items to Snap to Guide dialog box. 4. Select a handle and move the item. The item will snap to the nearest grid point or guide line when you release the mouse button. Items will snap to a guide line only if they are moved to within the guides gravity zone. This is set up in the Grid/Guide Options dialog box. To temporarily override the Snap function, press ctrl while dragging the item. Guides override the grid if both are being used and the item is dragged within the gravity zone of the guide.

To set up a grid 1. Choose Grid/Guide Options from the View menu. The Grid/Guide Options dialog box appears. See Document Options-Grids and Guides. 2. Enter the density of the grid in the Grid Line Every text box. You can select the specific units. 3. Enter the amount of the grid you would like to show in the Display One in text box. For example, entering a 1 would display every grid line. Entering a 2 would display every other grid line. 4. Select the style of the grid lines from the Grid Line Style drop-down list. 5. Click Grid Color to set up the color of the grid. 6. Click on Items to Snap to Grid to select which items are affected by the Snap to Grid function. See Items To Snap To Grid and Items To Snap To Guide dialog boxes for more details. 614

7. Click Show Grid and Snap to Grid. This will ensure that the grid is displayed and in effect. 8. Click OK.

To set up guides 1. From the View menu, choose Grid/Guide > Grid/Guide Options. The Grid/Guide Options dialog box appears. 2. Enter the size of the gravity zone around the guide in the Gravity Zone Size text box. You can select the specific units. The gravity zone is the space around the guide that will “capture” any item dragged into it and snap it to the guide. 3. Select the style of the grid lines from the Guide Line Style drop-down list. 4. Click Guides Color to set up the color of the grid. 5. Click on Items to Snap to Guide to select which items are affected by the Snap to Guide function. See Items To Snap To Grid and Items To Snap To Guide dialog boxes for more details. 6. Click Show Guide and Snap to Guide. This will ensure that the guides are displayed and in effect. 7. Click OK. 8. Make sure Show Rulers and Page View are selected in the View menu. 9. Double-click in the ruler to create a guide. Click on the guide in the ruler and drag to move the guide. Click on the guide in the ruler and press delete to delete guide. Ctrl-click to select multiple guides.

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SoundFonts SoundFonts are basically a collection of audio samples that have been transformed by a SoundFont editor into MIDI instruments. SoundFonts can be used by MIDI programs such as Finale for playback.

Note: A SoundFont-compatible sound card is required to use any SoundFont for playback. A general MIDI SoundFont “synthgms.sf2” is included with Finale. To use this SoundFont for playback in Finale, from the MIDI/Audio menu, choose MIDI Setup. Then, for the MIDI Out device, choose SmartMusic SoftSynth 1. If you expand the MIDI Setup dialog box, a separate incarnation of the SmartMusic SoftSynth can be loaded into the subsequent seven MIDI Out slots, for a total of 128 unique channels possible. Regardless of the device chosen in the VST Instruments dialog box, the SoundFont chosen in the SoftSynth Settings dialog box is used for all Audio files (.WAV or .MP3) and SmartMusic Accompaniment files (.SMP) saved from Finale. (Marching percussion sounds are also included with this SoundFont. See Marching Percussion MIDI Map Table.) To use a different General MIDI SoundFont, from the MIDI/Audio menu, choose MIDI Setup, click SoftSynth Settings, and then click Select to open a different SoundFont. You can load Finale’s SoundFont “synthgms.sf2” into your sound card’s SoundFont manager for use with other MIDI playback programs. The procedure for doing so depends on the sound card you are using and the accompanying software. Consult your sound card’s documentation for specific instructions for loading a new SoundFont. To use Finale’s Sound Font with QuickTime, copy the file “synthgms.sf2,” located in the Finale\Component Files folder, to the following location: Mac HD\Library\Audio\Sounds\Banks.

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Speedy Entry With the Speedy Entry Tool, you can enter music in step-time very efficiently, using the synthesizer to specify the pitch of each note and the computer keyboard to specify the duration.

To enter music in step time using MIDI • Click the Speedy Entry Tool . Check to make sure Use MIDI Device for Input is selected in the Speedy menu. • Click the first measure into which you want to enter music. The Speedy Entry editing frame appears. •

To enter a note or chord, hold down the desired key (or keys) on the synthesizer and press a number key on the computer keypad corresponding to the desired rhythmic value. If you press a number key without holding down any synthesizer keys, a rest of the specified value appears. If you want to insert a note, chord, or rest before the insertion bar, press shift as you press the number key. Press the period key to dot the note (you can add up to ten dots by repeating this action). If the next few notes you want to enter are part of a tuplet (a triplet, quintuplet, etc.), press ctrl-number, where 3 means triplet, 5 means quintuplet, and so on. Finale places a small “3” (or whatever number you pressed) in the upper right corner of the editing frame; the next notes you enter will automatically be grouped into a tuplet. (If you want to create an uncommon tuplet—such as 11 in the space of 2—press ctrl-1. The Tuplet Definition dialog box appears, in which you can specify exactly what kind of tuplet you’re about to create.)

• To change the rhythmic value of a note or rest, position the insertion bar on it and press the number key corresponding to the desired value. The following diagram shows which keys correspond to which note values.

Speedy Entry Keyboard Commands

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Move the insertion bar either by pressing the right or left arrow keys or by clicking the desired note. If Finale presents the There Are Too Many Beats In This Measure dialog box when you change a note’s value, press enter to eliminate the dialog box. If you choose Jump to Next Measure from the Speedy menu, so that a check mark no longer appears, this dialog box will only appear when you exit the editing frame of a measure with too many beats. • To add a note to a chord, position the crossbar at the desired pitch, and press enter. You can also double-click where you want the new note to appear. • To remove a note, chord or rest, position the insertion bar on it and press delete. To remove a single note from a chord, position both the insertion bar and the pitch crossbar) on the notehead and press backspace or shift-delete. • To change a rest to a note, position the insertion bar on it, position the crossbar at the desired pitch, and press enter. This method can 619

also be used to add a note to an existing chord. You can change a single note (not a chord) to a rest by pressing backspace. • To change a note to a different note or chord without changing the duration, position the crossbar on the note, hold down the desired note or chord on the MIDI keyboard, and press enter. • To move a note or rest horizontally, drag it to the left or right. Press the shift key as you drag to prevent you from accidentally dragging the note or rest up or down. • To move a rest vertically, drag it up or down. • To move a note vertically, drag it up or down. Press the shift key as you drag to prevent you from accidentally dragging the note or rest horizontally. If you want to move a whole chord up or down, double-click it; on the second click, keep the mouse button pressed and drag up or down. • To hide a note or rest, position the insertion bar on it and press the letter O or H key. Press the O key again to display the note or rest again. See also Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in. • To flip a stem, press the L key. This process freezes the stem up or down, so that it’s no longer free to flip if, for example, it gets transposed. To restore the note to its “flippable” status, press ctrl-L. • To raise a note by half steps, position both the insertion bar and the crossbar on it and press the plus (+) key. The minus (–) key lowers the note by half steps; both keys only apply accidentals to an existing note, and won’t actually move the note higher or lower on the staff. You can add up to seven sharps or flats to a note. Press ctrl-plus or minus, to apply the accidental through the rest of the measure. Use S to add a sharp, F for a flat and N for a natural. • To change a note to its enharmonic equivalent, position both the insertion bar and the crossbar on it and press the 9 key. With the insertion bar on a note, press ctrl-9, to change the spelling of a note through the rest of the measure. If the pitch crossbar isn’t squarely on a notehead, Finale changes the “spelling” of all notes in the chord each time you press 9. • To hide an accidental, position both the insertion bar and the crossbar on it and press the asterisk (*) key. If no accidental is displayed, the asterisk key forces a courtesy accidental to appear; for parentheses, press the P key. If you’ve hidden an accidental, press the asterisk key again to display it again. • To create or break a beam, position the insertion bar on the second note of the pair and press the slash (/) or B key. If the notes were flagged separately, they’re now beamed; if they were beamed, the beam is broken (and the notes are individually flagged, if they’re not beamed to any other notes). Use Shift-B to restore the beaming to the defaults found in Document Options-Beams. 620

• To flatten a beam, position the insertion bar in the beam group and press the backslash (\) or M key. If the beam was already flattened in Speedy Entry the beam will now return to the default angle. See Flat Beams Plug-in, Flat Beams (Remove) Plug-in. • To tie notes, position the insertion bar on the first note and press = or T. To tie the previous notes, press ctrl-= or ctrl-T. • To add a dot to a note, position the insertion bar on the note and press . (period). • To switch layers (from Layer 1 to Layer 2, for example), press shift-’ (apostrophe). To switch voices (from Voice 1 to Voice 2, for example), press the apostrophe key alone. For a more complete discussion of multiple voice mechanisms, see Multiple voices. • To advance to the next measure, press the right bracket (]) key. Pressing the left bracket ([) key moves the editing frame to the previous measure. Press shift-down arrow to move down a staff, or shift-up arrow to move up a staff.

To enter many notes of the same value (hands-free MIDI method) 1. Click the Speedy Entry Tool , and click a measure. The editing frame appears. 2. Press caps lock; then press the number key on the computer keyboard corresponding to the value you want to enter. In other words, you’re now telling Finale what the note values are going to be before you specify the pitches. Use ctrl-number to enter a series of tuplets. 3. The number you press appears in the lower-left corner of the editing frame. The tuplet number, if any, appears in the top-right corner of the editing frame. 4. Play the notes on your MIDI keyboard. Each note you play appears in the score; if Jump to Next Measure is checked in the Speedy menu, the editing frame advances automatically as soon as you fill each measure. It’s safe to outplay Finale, too; it will remember up to 500 notes (and continue to notate them as fast as your computer allows). To enter rests, play a three-note cluster, in other words, three notes each a half-step apart.

To enter music in step time without MIDI You can also use the Speedy Entry Tool to enter music in step-time without using a MIDI device. Use the number keys on your keypad to specify the durations of notes, just as you normally do. But to specify the pitches, you can use the arrow keys or the alphabet keys to move the pitch crossbar instead of using the MIDI device. With practice, this method of “typing in the music” can become extremely quick and precise.

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1. Click the Speedy Entry Tool . The Speedy menu appears. 2. Make sure no checkmark appears beside Use MIDI Device for Input in the Speedy menu. Otherwise, choose the command to make the checkmark disappear. 3. Click the first measure in which notes are to appear. The editing frame appears. 4. Use the arrow keys to place the cursor on the desired pitch. Press a number key (corresponding to a rhythmic value) to create a note. Hold down Control, shift and a number key to create a rest. You can also use the method below to specify the pitch. 5. Hit the Caps Lock key, then press a letter key on your computer keyboard to specify a pitch. Press a number key (corresponding to a rhythmic value) to create a note. Hold down Control, shift and a number key to create a rest. The alphabet keys on your keyboard have been assigned pitch values in three octaves, as shown:

If you want to access a lower register, press the letter I key, which shifts the entire alpha-key pitch mapping down an octave. Press the comma (,) key to shift the entire keyboard up an octave. In either case, you can restore the alphabet keys to their original octave by pressing the K key. To help you remember, think of it this way: press a key (I, K, or comma) to designate the row of letter keys you want to contain middle C. For a diagram showing the assignment of rhythmic values to the number keys, see To enter music in step time using MIDI, above.

To insert a note or a rest in a measure 1. Click the Speedy Entry Tool . The Speedy menu appears. 2. Position the cursor on the entry before which you want the note inserted. 3. From the Speedy menu, choose Insert Notes or Rests. Press the number (using the keyboard, not the number pad) representing the 622

note duration you are inserting. If you are holding down a key on your MIDI device, you will insert a note. Otherwise, you will insert a rest. For non-MIDI, press a number to insert a note, or ctrl-shift and a number to insert a rest. See Also: Speedy Edit Commands Submenu Speedy menu Speedy Tool

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Split points To specify a point at which a measure may split across a system (line) break, see To split a measure across a system break. You’ll need to specify a different kind of split point when you use Finale’s realtime transcription tool to transcribe a two-handed keyboard performance. Since the computer can’t “see” your hands, you must tell it how it should split your performance onto the two staves. To adjust the split point based on a defined ‘hand width’ for regions of your score, or the entire document, use the Smart Split Point plug-in.

To specify a fixed split point To enter HyperScribe, click the HyperScribe Tool. The HyperScribe menu appears. To enter the Transcription window, click the Transcription Mode, then click the measure where the transcription is to begin. See Recording with HyperScribe or Transcribing a sequence. 1. From the Record Mode submenu of the HyperScribe menu choose Split into Two Staves or from the Split Point submenu of the Transcription menu choose Fixed. The Fixed Split Point dialog box appears, letting you enter a number. The number refers to a specific note on your MIDI keyboard; middle C is key number 60. 2. Click Listen. Finale displays a message, telling you that it’s listening. 3. Play the MIDI note you want to designate as the split point for your transcription. If your MIDI equipment is set up properly, the number in the Split MIDI Note text box changes. (You can also type a number directly into the text box.) When Finale transcribes your performance, all notes below the note indicated will be put on the lower staff; all notes above, including the specified note, will be on the top staff. 4. Click OK (or press enter). If your piece has no clear split point, you may find it easiest to record the right-hand part an octave higher than written. After Finale transcribes the piece, it’s a simple matter to transpose that staff to the proper register (see Transposing: by interval).

To specify a movable split point (Transcription Mode only) If the piece you intend to transcribe doesn’t have any one split point—in other words, if the ranges of notes played by your right and left hands during the piece aren’t completely distinct—you can use Finale’s Moving split point feature. Finale will split a two-handed performance onto the correct staves (usually treble and bass clef) by tracking the positions of your hands as they move up and down the keyboard. As long as there’s a discernible gap between your two hands at any given moment, Finale can adjust the split point on a note-by-note basis automatically. 624

1. From the Split Point submenu (of the Transcription menu), choose Moving. A dialog box appears. 2. Click Listen, and play a one-hand-width interval on the synthesizer keyboard. Don’t necessarily play the widest interval you can reach. Instead, play the largest interval you played with one hand in the piece; strike the two notes comprising your hand width more or less simultaneously. The number in the Hand Width text box, measured in half steps, changes to reflect the interval you played. (Instead of clicking Listen, you can also enter a number directly into the Hand Width text box.) 3. Click OK. If Finale still makes a few errors in the resultant transcription— for example, if your hands were, at some point, too close together for Finale to track them—see To correct split point errors.

To correct split point errors Occasionally, because there is no clear split point, or because your hands cross, a HyperScribe or Transcription Mode transcription will contain left-hand notes in the treble-clef staff, or right-hand notes in the bass-clef staff. Using the Note Mover Tool, you can quickly restore the notes to the proper staves. See Note Mover Tool. 1. Click the Note Mover Tool . The Note Mover menu appears. 2. Choose Delete After Merge from the Note Mover menu. In other words, you’ll delete the incorrectly split note from its current staff, and merge it with the correct staff. 3. Click the measure containing the incorrectly split notes. A handle appears on each notehead. 4. Select the notes to be moved. Select one note by clicking its handle, several adjacent notes by drag-enclosing them, or additional notes by shiftclicking (or shift–drag-enclosing them). The handles you select are highlighted. 5. Drag any highlighted handle onto the target staff. Don’t drag it to any particular line or space; just drag it anywhere onto the correct staff. The notes are automatically transferred to the correct lines or spaces of the new staff. Note: If you are not pleased with the results check your quantization settings in Quantization Setting dialog box in the MIDI/Audio menu. Also the More Quantization Settings dialog box. See Quantization Settings dialog box and More Quantization Settings dialog box.

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Music spacing Music spacing is automatically applied when you enter music into Finale. However, if you decide to turn off Automatic Music Spacing, the spacing is linear; in other words, a whole note gets exactly the same horizontal space as four quarter notes. Furthermore, this newly-entered music may contain collisions between lyric syllables, overlapping chord symbols, and crowded 32nd notes. One of Finale’s most important features—and one not found in any other notation program—is its many customizable music spacing options. Finale can apply a sophisticated system of width allotments to each note of your document or scale all note durations proportionally. This feature is modeled on traditional professional music typesetting, where the engraver would consult a table of width measurements for each note value. The result is nonlinear spacing, where notes of different duration occupy only as much space as they need. Music Spacing Options have the added benefit of neatly adding additional space to each measure, as necessary, to accommodate lyrics, chord symbols, and “notey” passages. In Finale, the width tables used to space the music are stored in Music Spacing Libraries. Spacing tables are width measurements, one per rhythmic value. For example, in the library called Loose Spacing, a quarter note is given 1/3 inch of width and an eighth note is given 1/4 inch. By spacing your music with the aid of a Music Spacing Library, you can create extremely professionallooking scores, which are neither wider nor narrower than they need to be. See Finale Libraries for more Music Spacing Libraries. You apply a music spacing to your music using the Music Spacing command or you can use the default Automatic Music Spacing option that applies music spacing as you enter notes or edit your music. This example is spaced with Beat Spacing. Each beat is spaced nonlinearly first, then spaced within the beat linearly.

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This example is spaced with Note Spacing. Each note is spaced nonlinearly. This example is spaced with Time Signature Spacing. Each note is spaced linearly.

You can edit Finale’s Music Spacing libraries so that they distribute width differently, and you can also create your own Music Spacing Libraries. Aside from the tables, you can use a scaling factor to smoothly set the relationship between the different note durations in you document. The picture below illustrates this difference between Time Signature Spacing (or a scaling factor of 2.0) and a Fibonacci scaling factor of 1.618.

Scaling factor of 2.0

Scaling Factor of 1.618 Fibonacci spacing For information regarding the relationship between music spacing the score and linked parts, see Music Spacing in linked parts.

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Staccato marks The staccato mark (.) is an Articulation. For complete instructions on creating and manipulating articulation markings, see Articulations. Human Playback interprets and performs staccato marks during playback automatically. See Human Playback. Note: To hear changes to the playback definition of articulations, you must first set Human Playback to None in the Playback Settings dialog box.

To define a staccato mark for playback 1. Click the Articulation Tool . If you haven’t yet placed the mark in the score, click any note. When the Articulation Selection dialog box appears, click the desired symbol and click Edit, and then skip to step 3. 2. Double-click the handle. The Articulation Designer dialog box appears. 3. From the Playback drop-down list, choose Change Duration. Select Values Are Percentages. Enter 50 as the Top Note Value; leave the Bottom Note Value blank. You’re telling Finale that a note affected by this mark should last only 50% as long as it normally would. You can use any percentage you like instead of 50%—just be sure Values Are Percentages is selected. 4. Press enter to exit the dialog boxes.

To create staccato playback with the MIDI Tool If you want to create a staccato playback effect but you don’t need an actual staccato mark on each of the affected notes, you can use the MIDI Tool to achieve the same effect by altering the Start and Stop Times of the notes. 1. Click the MIDI Tool , and select the region to be affected. Click to select one measure, shift-click to select additional measures, drag-enclose to select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit menu. 2. If you want to edit only particular notes on a single staff, double-click the highlighted area to enter the MIDI Tool split-window. Select the specific notes whose durations you want to edit. Once in the MIDI Tool split-window, you can select entire regions of notes by dragging through the “graph” area of the window. You can also choose specific notes to edit by selecting their handles (in the notation display at the bottom of the window). Select one handle by clicking, additional handles by shift-clicking, a group 628

3. 4.

5.

6.

of handles by drag-enclosing, and additional groups by shift–dragenclosing. From the MIDI Tool menu, choose Edit Note Durations. If you’re in the MIDI Tool window, you can click the Note Duration icon instead. Choose Percent Alter from the MIDI Tool menu. The Percent Alteration dialog box appears, letting you specify how much shorter you want each note to be. Enter 50 (or any other percentage). You’re telling Finale how much to shorten each note relative to its notated full value (50% of full value, for example). Click OK. Close the MIDI split-window if it’s open by clicking the MIDI Tool. To restore the affected notes to their full values, select the affected measures and press backspace or use the Selection Tool to erase Performance Data.

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Staff groups Every staff in Finale can be assigned to one or more groups. Grouped staves have several important characteristics. First, you can control how barlines are drawn for the staves in a group (see Barlines). Second, you can add a bracket to grouped staves (see Brackets: Staves). Third, when you’re extracting parts, the Extract Parts command gives you the option of extracting groups as well as staves, making it possible for pairs of staves (piano, for example) to be extracted together, along with a solo part. Groups in linked parts are completely independent, although new linked parts can inherit the groups as they exist in the Manage Parts dialog box. See Groups in linked parts.

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Staff handles When you click the Staff Tool , staff handles appear on the left side of each staff. Refer to the following topics for information regarding editing staves using these handles.

Staff Tool: Staff handles in Page View When you click the Staff Tool in Page View, Finale automatically displays one or two handles on each staff. Drag the top staff handle (or single handle, if only one appears) to adjust the staff's global position: Finale adjusts the spacing for every staff system in the piece. If Special Part Extraction is off (unchecked in the Document menu), Finale adjusts the position of the staff in Scroll View as well. If Special Part Extraction is on (checked in the Document menu), Finale only adjusts the position of the staff in Page View, leaving the positioning of the staves in Scroll view untouched. If you've optimized a staff system, two handles appear on each staff in the optimized staff system. Drag the bottom handle to adjust the position of the staff in the current staff system only.

Selecting staves You can select more than one handle at once by holding the shift key and clicking the handles. You can also drag-select any visible handles in Page View, selecting either all the top or all the bottom handles as desired. In staff systems displaying more than one handle, you will notice that drag-selecting around several staves tends to select the top handles only. If you position the mouse carefully so that your selection includes just the bottom handle, you can drag-select around as many bottom handles as you wish.

Dragging staves If you're not sure which staff systems will be affected by dragging the handles, select a handle, then select Staff Usage from the Staff menu to display the Staff Usage List dialog box. If you selected the top handle, Finale displays “Global” or “Special Part” at the top of the Staff Usage List dialog box. Any changes you make when “Global” appears will affect all the staff systems in Page View, and the placement of the staves in Scroll View as well. If “Special Part” appears, the changes will affect each staff system in Page View, but will not change the placement of the staves in Scroll View. A second handle appears below the main handle if a staff system has been optimized. Select the bottom handle, then select Staff Usage from the Staff menu to display the Staff Usage List dialog box. “Staff System (and the current system number)” appears at the top of the dialog box. Any changes you make will affect this staff system only.

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You can remove group assignments on staves by selecting the group name handle then pressing the delete key. To check on the status of a staff and its grouping, ctrl-click its handle to display the Group Attributes dialog box. A staff can belong to more than one group. If you want to change the group attributes of a group, double-click on the group handle. Do not create a group on a global basis after the staves have been optimized because the group will not appear. First remove the optimization, then add the group. You can add or edit groups on a system by system basis.

Grouping and bracketing optimized staves If you have optimized a staff system and wish to add a staff group to that system only, highlight the lower staff handles to be included in the group. Then ctrl-click on a handle or choose Add Group and Bracket from the Staff menu. Notice, in the Group Attributes dialog box that appears, that the Staff List will be Staff System __ instead of Staff List:Global. If you have first added a group to several systems and then optimized those staff systems and wish to edit the staff grouping of one system, double-click on the group handle, or highlight the handle and choose Edit Group Attributes from the Staff menu. Notice, in the Group Attributes dialog box that appears, that the Staff List will be Staff System __ instead of Staff List:Global. Changes you make in this dialog box will affect the staff group of this staff system only.

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Staff lines A staff can have as many as 100 staff lines, or you can create a staff with no lines. You can also set the thickness of staff lines. If you’re interested in making the staff lines closer together or farther apart, use the Resize Tool to change the overall size of the music, as described in To reduce or enlarge all the music on a page (or the entire piece). Once that’s done, make the notes themselves smaller (or larger) relative to the staff by choosing Fonts in the Document Options dialog box (under the Document menu), clicking the Music button, and specifying a slightly smaller (or larger) point size for the music font in which they’re displayed.

To specify the number of lines for a staff 1. Click the Staff Tool , and double-click the staff handle you want to modify. The Staff Attributes dialog box appears. Choose Other from the Staff drop-down list. 2. Select Custom from the Staff Setup dialog box. 3. Select the number and position of the staff lines in the Staff Setup window. Click the handles to hide or show staff lines. 4. If you want to specify just the number of staff lines, select Staff Lines and type the number of lines into the Staff Lines text box. See Staff Setup dialog box for more details. 5. Click OK (or press enter) twice.

To set the staff line thickness 1. From the Document menu, choose Document Options and select Lines and Curves. The Line and Curve options appear. The units are whatever you’ve selected using the Measurement Units command (Edit menu). 2. Enter a new value in the Staff Lines text box. Click OK (or press enter).

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Staff names You can actually specify two names for every staff in a document: a full name (such as Trumpet 1 in B ), which appears in the first system of the document, and a second name (often abbreviated, such as Tpt. 1), which appears on all subsequent systems.

To create or edit a staff name Finale always displays handles on each staff name you enter. If you don’t enter a staff name, but want all staff name handles to appear, make sure that Show Default Staff Names is selected (a checkmark appears next to the command) in the Staff menu. If Show Default Staff Names is not selected, no staff name handles will appear for unnamed staves. When the command is selected, Finale displays handles on all staff names including a staff’s default, nonprinting name, which is enclosed in square brackets. 1. Click the Staff Tool . The Staff menu appears. 2. Ctrl-click a full or abbreviated staff name handle. The Edit Text window appears. Note: You can also access the Edit Text window by clicking the Edit buttons for full or abbreviated staff names in the Staff Attributes dialog box. For more information, see Staff Attributes dialog box. 3. Type a new staff name in the window, or make changes to an existing staff name. Change fonts and styles using Finale’s text editing; see Text and Edit Text window for details. 4. Click OK to confirm the name.

To reposition staff names (globally) These instructions show you how to set the default position for all full and abbreviated staff names, except for those names that have been positioned individually. You can override the default positions on a staff-by-staff basis. See To reposition staff names (individually). 1. Click the Staff Tool . The Staff menu appears. 2. Choose Full Staff Names or Abbreviated Staff Names from the Set Default Name Positions submenu of the Staff menu. The Position Full 634

Staff Name--Default or Position Abbreviated Staff Name--Default dialog box appears, depending on your menu selection. 3. Specify the alignment of the staff name by choosing Left, Right, or Center from the Alignment drop-down list. Finale automatically selects the matching setting (Left, Right or Center) from the Justification drop-down list. 4. Optional: Specify the justification for multi-line names by choosing Left, Right, Center, or Forced Full from the Justification drop-down list. You may need to change the justification for multi-line names. Note: choosing Full justification will currently have the same effect as choosing Left justification, since each line is treated as the end of a paragraph. 5. Drag the name in the display area to adjust its position, or enter new positioning numbers into the H: and V: text boxes, then click OK. In the currently-selected measurement units, the H: value determines the horizontal distance between the beginning of the staff name and the left edge of the staff. The V: value determines the vertical distance between the top of the staff name and the top line of the staff. Tip: If your changes don’t appear to take effect, display the Staff Attributes dialog box and make sure that the Position checkbox is not selected. Or, select the staff name handles and press backspace.

To reposition staff names (individually) The instructions in To reposition staff names (globally). show you how to set the position for all staff names at once. You also have control over the position of each individual staff name. Tip: You can create a group for an instrument that uses two staves, then Finale will automatically center the group name between the two staves. For details, see Groups—To group staves. 1. Click the Staff Tool . The Staff menu appears. 2. Drag the handle of a full or abbreviated staff name to reposition the staff name on-screen. 635

3. To specify the exact positioning of a staff name, click the staff name handle, then choose Full Staff Name or Abbreviated Staff Name from the Position Names submenu of the Staff menu. (Or, ctrl-shift-click the staff name handle.) Finale displays the Position Full Staff Name or the Position Abbreviated Staff Name dialog box. 4. Specify the alignment of the staff name by choosing Left, Right, or Center from the Alignment drop-down list. Finale automatically selects the matching setting (Left, Right or Center) from the Justification drop-down list. 5. Optional: Specify the justification for multi-line names by choosing Left, Right, Center, or Forced Full from the Justification drop-down list. You may need to change the justification for multi-line names. Note: Choosing Full justification will currently have the same effect as choosing Left justification, since each line is treated as the end of a paragraph. 6. Drag the name in the display area to adjust its position, or enter new positioning numbers into the H: and V: text boxes. The H: value determines the horizontal distance between the beginning of the staff name and the left edge of the staff. The V: value determines the vertical distance between the top of the staff name and the top line of the staff. 7. Click OK when you have entered the position settings. Tip: To revert the position of the full or abbreviated staff name to its default position, select the staff name handle and press backspace. (Or, make sure that Position is not selected in the Staff Attributes dialog box.) Note: You can also position an individual staff name from the Staff Attributes dialog box. Click the Position button for the full or abbreviated staff name to display the appropriate Position dialog box. For information about the Position settings in the Staff Attributes dialog box, see Staff Attributes dialog box.

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1. From the Document menu, choose Document Options and select Fonts to set the initial font for new names that you create. The Fonts options appear, listing various elements for which you can set the default font. 2. Choose Staff Names (Full) from the Text drop-down list. 3. Click the Set Font button next to the Text drop-down list. The FontFont dialog box appears. 4. Set the initial font, size, and style to use when creating full staff names. Click OK to confirm the changes. 5. Repeat this process for abbreviated staff names—Choose Staff Names (Abbreviated) from the Text drop-down list. 6. Click OK to confirm your changes.

To hide a staff name (full score) 1. Click the Staff Tool . The Staff menu appears. 2. Select a staff, then choose Edit Staff Attributes from the Staff menu. (Or, double-click a staff, a staff handle, or a staff name.) Or, choose Edit Staff Attributes from the Staff menu without selecting a staff. The Staff Attributes dialog box appears. To display the attributes of another staff, choose the staff from the Staff Attributes for drop-down list. (Or, use the arrow controls to select another staff.) 3. In the Items to Display section, click Staff Name in Score to deselect it, then click OK. Finale remembers the staff name, but hides it until you click the Staff Name in Score checkbox again. This setting controls whether the staff names you enter will appear on your printed score. Default names enclosed in square brackets only display on-screen; they never appear on your printed score. 4. Click OK to confirm your changes.

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Staff size Any staff within any system can be larger or smaller than the other staves. For specific information on creating a cue staff, see Cue notes. For information on staff line alterations (such as how many, their thickness, and their distance apart), see Staff lines.

To reduce or enlarge a staff You must be in Page View to reduce or enlarge a staff. 1. Click the Resize Tool . 2. Click on the staff you want to resize or right-click on the staff and select Resize Staff from the contextual menu. The Resize Staff dialog box appears. 3. Enter the desired reduction or enlargement percentage. Specify the region of systems you want to resize, and click OK. To restore the staff to normal size, click the Resize Tool, and then click on the staff. When the dialog box appears, type 100 (%).

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Staff styles Staff styles are named sets of staff attributes that can be applied to a region. Everywhere the same staff style is applied, the same staff attributes apply. If a staff style is changed, it changes everywhere in the document the staff style is applied. Staff styles can be used to create transpositions, change the number of staff lines, or the notation style for the selection region. A number of staff styles have already been created for you in the default file. For information regarding staff styles in scores with linked parts, see Linked parts.

Note: While most staff styles can be layered on top of each other (i.e. 1-bar repeat and a saxophone transposition), some styles conflict (i.e. 1-bar repeat and blank notation). Finale will alert you to this conflict when you apply or copy a staff style. It will not, however, warn you if you create conflicting styles by editing a layered style. See Also: Staff Tool

To create a staff style 1. Click the Staff Tool . The Staff menu appears. 2. Choose Define Staff Styles from the Staff menu. The Staff Styles dialog box appears. 3. Click New and type in the style name in the Style Name text box. 4. Select the items you wish to include in your staff style. See Staff Styles dialog box for details. Remember that a checkbox can be selected, unselected or grayed out which means to leave it as it is. Tip: choose Copyable to allow the staff style to be copied with the Selection Tool. 5. Click OK. You are now ready to apply the staff style you created.

To edit a staff style 639

1. Click the Staff Tool . The Staff menu appears. 2. Choose Define Staff Styles from the Staff menu. The Staff Styles dialog box appears. 3. Select the staff style you wish to change from the Available Styles drop-down list. 4. Make any changes you require in the Staff Styles dialog box. 5. Click OK. Any changes you have made will be applied to the everywhere that style is used.

To apply a staff style 1. Click the Staff Tool . The Staff menu appears. 2. Select the region you want to affect. See Selecting music for hints on selecting shortcuts. 3. While pressing the number or letter corresponding to the Metatool, (for example, S for Slash Notation) click a measure. Finale applies the staff style over the range or measures you selected. See the Staff Style library in the Appendix for a listing of metatool assignments in the default file. If you don’t know the metatool, use the steps below. 4. Choose Apply Staff Styles from the Staff menu. You can also select Apply Staff Styles from the contextual menu by right-clicking in the staff. The Apply Staff Style dialog box appears. 5. Select the staff style you wish to apply from the 6. Click OK.

To clear staff styles from a measure region To remove the full duration of a staff style or multiple staff styles, see To clear a staff style. 1. Click the Staff Tool . The Staff menu appears. 2. Under the Staff menu, ensure Show Staff Styles is checked. All Staff Styles are indicated by horizontal bars above the music. 3. Select the region you want to affect. See Selecting Music. 4. Choose Clear Staff Styles from the Staff menu. You can also select Clear Staff Styles from the contextual menu by right-clicking in the staff. The staff styles will be removed from the selected region.

To clear a staff style To remove all staff styles from a specific region of measures, see To clear a staff styles from a measure region. To delete a staff style definition from the Staff Styles dialog box, see To delete a staff style. 640

1. Click the Staff Tool . The Staff menu appears. 2. Under the Staff menu, ensure Show Staff Styles is checked. All Staff Styles are indicated by horizontal bars above the affected regions of a staff. 3. Click the horizontal staff style bar you would like to clear. The staff style bar changes color to red indicating it is selected. Hold down Shift and click additional staff style bars to add to the selection. 4. Press the Delete key. Alternatively, right-click a selected staff style bar and choose Clear Selected Staff Styles. The selected staff style is removed.

To delete a staff style These instructions demonstrate how to delete a staff style definition. To remove all staff styles from a specific region of measures, see To clear a staff style from a measure region. To remove the full duration of a staff style or multiple staff styles, see To clear a staff style. 1. Click the Staff Tool . The Staff menu appears. 2. Choose Define Staff Styles from the Staff menu. The Staff Styles dialog box appears. 3. Select the staff style you wish to delete from the Available Styles drop-down list. 4. Click Delete. 5. Click OK. The staff style will be deleted from the list and the document.

To create a staff style metatool 1. Click the Staff Tool . The Staff menu appears. 2. Press shift and a number key or a letter. Finale displays the Apply Staff Style dialog box. 3. Select the staff style you wish to assign from the drop-down list. 4. Click OK.

To apply a staff style metatool 1. Click the Staff Tool . The Staff menu appears. 2. Select the region you want to affect. See Selecting music for hints on selecting shortcuts. 3. Press the number or letter corresponding to the Metatool you programmed. Finale applies the staff style over the range or measures you selected. See Finale Libraries in the Appendix for a listing of Staff Style metatool assignments in the default file. 641

To load a staff style library 1. From the File menu, choose Load Library. 2. Navigate to the folder containing the desired library. The default libraries are found in the Libraries folder in the Finale folder. 3. Select the library and choose Open.

To save a staff style library 1. Create only the staff styles you want to move. Delete redundant staff style if needed. 2. From the File menu, choose Save Library. The Save Library dialog box appears. 3. Click Staff Styles and click OK. 4. Name the library and click Save. The library is now available to load into other files.

To display a staff differently in one part than another A common case would be using the same score staff for both bass clef baritone and treble clef baritone parts. In these steps you will create a new part and apply a staff style to show it in a different clef and with a different transposition. 1. From the Document menu, choose Manage Parts. The Manage Parts dialog box appears. If the score does not yet contain parts, click Generate Parts to create them based on the existing score staves. 2. Click New Part. The dialog box expands and a new part appears in the list above. 3. Click Edit Part Name to open the Edit Text dialog box. Enter the name of the part and click OK. 4. Click the staff you want to use for the part in the right column. Then click Add to Part to add it to the middle column. 5. Click OK. You have just added a part containing the same score staff as another part. Now, you can use a staff style to apply a different transposition, clef, or other notation style to this part. Notation (and other) changes to this staff in the score will apply to this part as well as the original part. 6. From the Document menu, choose Edit Part, and then the part you just created. 7. Choose the Staff Tool. 8. From the Edit menu choose Select All (or press Ctrl-A) to select all measures in the part. 9. From the Staff menu, choose Apply Staff Style. If the style you need is here, choose it and click OK and you’re done - the part is now displayed in 642

the new style. If the style is not in the list, click Define. The Staff Styles dialog box appears. Move ahead to step 10. 10. Click New. Replace “(New Staff Style)” with a new name. Then, make the desired changes. For example, to create a B flat baritone part, click the Select button next to the clef, choose the treble clef, and click OK. Then, click the Select button next to transposition and from the Key Signature drop-down menu, choose Bb treble clef. Click OK. For more details, see Staff styles. 11. Click OK to return to the Apply Staff Styles dialog box. The style you just created is highlighted. 12. Click OK. The part is now displayed in the staff style you just defined.

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Start and Stop Times See also Swing. Start Times and Stop Times, which you can edit directly with the MIDI Tool, essentially refer to the attack and release of a note. They don’t refer to the notated durations of the notes; instead, they relate those notated values to the captured MIDI data. Captured MIDI data is the MIDI information generated by your original performance in HyperScribe, before it’s quantized and transcribed into notation. The terms Start Time and Stop Time refer specifically to the difference between the quantized duration of a note (that is, its starting and ending points when given its full notated value) and your actual attack and release of the note in your performance. In the figure below, the indicated Start Time is a positive number (because the note was played slightly after the beat), and the Stop Time is a negative number (because the note was released slightly before the next beat):

The Start Time is the difference between the actual (performed) attack point and the notated, quantized attack point. The Stop Time is the difference between the actual (performed) release point and the notated, quantized release point. These differences can be either positive or negative; Stop Time (a), above, is a negative number—because the note was released early—but Stop Time (b) is positive. Start and Stop Times are measured in very small rhythmic increments called EDUs (ENIGMA Durational Units), of which there are 1024 per quarter note. (A full table of EDU equivalents appears in the Equivalents section of the Appendix, see Equivalents.) If you hold down each note you play for precisely its notated value, with 1024th-beat accuracy, the Start and Stop Times will both be zero, with no difference between the quantized and the actual attack point of the note. Of course, no human can play that precisely. 644

For a more complete discussion of Start and Stop Times and the MIDI Tool, see Chapter 6: Playback in the Finale Tutorials.

To edit the start and stop times of selected notes 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool , and select the region whose playback data you want to edit. Click to select one measure, shift-click to select additional measures, dragenclose to select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit menu. 2. If the region you wish to edit is on one staff, double-click the highlighted area to enter the MIDI Tool split-window. Select the specific notes whose Start and Stop Times you want to edit. Once you’re in the MIDI Tool split-window, you can select entire regions of notes by dragging through the “graph” area of the window. You can also select specific notes to edit by selecting their handles (in the notation display at the bottom of the window). Select one handle by clicking, additional handles by shift-clicking, a group of handles by drag-enclosing, and additional groups by shift–drag-enclosing. 3. From the MIDI Tool menu, choose Note Durations. If you’re in the MIDI Tool window, you can click the Note Durations icon (second from the top) instead. Once you’ve selected the notes to be affected, you can apply one of the MIDI Tool’s menu commands: 4. Choose the desired command from the MIDI Tool menu. Each command brings up a dialog box in which you can specify how the selected notes are to be altered. Set To allows you to give every note in the selected region the same Start or Stop Time. In this way, you can shorten or delay all notes by the same amount. Scale gradually shortens (or lengthens) the Start or Stop Times of the selected notes from one value to another. Add alters every selected note’s Start or Stop Time by a positive or negative value you specify. Percent Alter increases or decreases the selected notes’ durations by a percentage of their current values—ideal for creating a staccato effect for the selected music. Limit lets you set a maximum and minimum Start Time and Stop Time value for the selected notes, in effect pulling the beginning and ending of each note closer to the beat. You can think of the Limit command as a form of quantizing. The Alter Feel command changes the Start and Stop Times of Downbeats, Other Beats, and Backbeats. (Backbeats are defined as the half beats [in a duple meter] or the second and third offbeats [in a triple meter]. For some interesting uses of the Alter Feel command, see Swing.) Finally, Randomize alters the selected notes’ durations by a random amount, giving the music a less quantized, more human feeling. You might enter an EDU value of 1/16 (or less) of the predominant rhythmic values in the music; to subtly soften the rhythmic precision of an eighth

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note (512 EDUs) passage, for example, you might type 32 into the Start and Stop Times boxes. 5. Enter the desired degree of Start or Stop Time modification, and click OK. 6. Close the MIDI Tool split-window by clicking the MIDI Tool.

To erase Start and Stop Time editing done with the MIDI Tool 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool . The MIDI Tool menu appears. Make sure Note Durations is still selected in the menu. 2. Select the region in which you edited Start and Stop Times, and press BackSpace. Or, use the Selection Tool to clear Continuous Data.

To copy Start and Stop Time editing done with the MIDI Tool 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool . The MIDI Tool menu appears. Make sure Note Durations is selected in the menu. 2. Select the region in which you edited Start and Stop Times. 3. Drag the first source measure so that it’s superimposed on the first target measure. If the first target measure is not on-screen, scroll until you see it. Then, while pressing ctrl and shift simultaneously, click the first target measure. In either case, the Copy MIDI Data dialog box appears. (This dialog box does not appear if you copy to the same measure in a different staff). 4. Type the number of times you want to copy the material (horizontally). Click OK. The Start and Stop times are copied onto the notes which fall on the same rhythmic location as source notes.

To create a legato playback 1. From the Window menu, choose Advanced Tools. Click the MIDI Tool 2. 3. 4. 5.

. The MIDI Tool menu appears. Select the region you want to sound more legato. See Selecting music for more information. From the MIDI Tool menu, choose Note Durations. From the MIDI Tool menu, choose Percent Alter. The Percent Alter dialog box appears. Enter 105 for Stop Times and click OK.

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Staves This entry contains information on adding, moving, spacing, deleting, hiding, and recovering staves. See also: Staff lines; Staff names; Groups; Staff size. When selecting a staff, you can either click the staff’s handle or the body of the staff itself (to the right of the clef, time and key signature). Drag-enclose or shift-click to select as many staff handles as you want. (You can also shift-click selected staves to remove them from the selection.)

To hide staves See Hiding staves.

To add or insert a single staff 1. Click the Staff Tool . The Staff menu appears and handles appear on every staff. 2. To add a new staff, from the Staff menu choose New Staves, then click OK. A staff appears below the existing staves. Or, in Scroll View double-click in the where you want to add the staff. If you wish to use the Setup Wizard to add staves, choose New Staves (with Setup Wizard). To insert a new staff between two staves, select the staff handle that you want the new staff placed above, then choose New Staves and click OK (or, double-click between the staves in Scroll View). Finale moves the existing staves down to make room for the new staff.

To move staves 1. Click the Staff Tool . The Staff menu appears and handles appear on every staff. 2. Select the staff or staves to be moved. 3. To move a staff or staves, drag the handle of one of the selected staves. Finale adjusts the staves differently, depending on whether you’re in Scroll or Page View, whether Special Part Extraction is selected in the Edit menu, and whether the staff systems were optimized using Page Layout Tool. For details, see Staff Tool. Note: If a staff system has been optimized using the Page Layout Tool, two handles will appear on each staff in the optimized staff system in Page View. Drag the bottom staff handle to adjust the staff’s position only in the current staff system in Page View (drag the top handle to adjust the 647

position of the staff in all staff systems in Page View). The position of the staff in Scroll View is unchanged.

To delete staves 1. Click the Staff Tool . The Staff menu appears and handles appear on every staff. 2. Select the handles of the staff or staves to be deleted. Ensure no measures or portions of measures are selected. 3. To remove selected staves without adjusting the position of the remaining staves, choose Delete Staves from the Staff menu. To delete the selected staves and reposition any remaining staves, choose Delete Staves and Reposition from the Staff menu. Finale deletes the selected staves, and places the top staff of the remaining staves in the former position of the top staff that was deleted, followed by any other staves. 4. To restore the deleted staves, immediately choose Undo from the Edit menu.

To add evenly spaced staves 1. Click the Staff Tool . The Staff menu appears. 2. To add staves, choose New Staves from the Staff menu. Or, select the staff handle you want the new staves to be placed above, then choose New Staves from the Staff menu. The New Staves dialog box appears. 3. Enter the number of new blank staves into the Number of Staves text box. 4. To place the new staves closer to or farther apart than those already in the score, enter a value (in measurement units) into the Topline to Topline Distance text box (the distance between the top lines of each added staff). You’ll usually enter a negative number, because you’re measuring down from the top line of the previous staff. 5. Click OK. Finale adds the specified number of new blank staves below the bottom staff, or inserts blank staves below the top selected staff in the score, using the distance specified in the New Staves dialog box, and adjusting the staves below to make room for the newly inserted staves.

To space existing staves evenly 1. Click the Staff Tool . The Staff menu appears. 2. Choose Respace Staves from the Staff menu. The Respace Staves dialog box appears. 3. Leave Keep Current Position selected if you don’t want to move the top staff. To place the top staff a fixed distance from the top of the screen, 648

click to select Top Staff Position: Set to, then enter the distance (in measurement units) into the Set to text box. To reposition the top staff by a percentage of its current position, click Top Staff Position: Scale to, then enter a percentage into the Scale to text box. For example, to place the staff twice as far down, enter 200 (%) in the text box. 4. To maintain a fixed distance between the remaining staves, click to select Distance Between Staves: Set to, and enter the distance (in measurement units) into the Set to text box. To place staves closer together or farther apart proportionally, click to select Distance Between Staves: Scale to, then enter a percentage into the Scale to text box. This will preserve the relative distance between each staff. For example, if you created a larger-than-usual gap between the woodwind staves and the strings, and you entered 50 (%) in the text box, Finale would make extra space, but both the gap and the distances between staves within the woodwind or string sections would be half as large. 5. Click OK to confirm your changes.

To hide (or show) staff-related items Finale gives you staff-by-staff control over the display of such staff-associated items as measure numbers, clefs, repeat brackets, and so on. For example, you probably don’t need measure numbers to appear in both the top and bottom staves of your piano part, so you can hide the measure numbers on one staff. See also Global Staff Attributes, where you can set the staff attributes for a number of staves at one time. 1. Click the Staff Tool . The Staff menu appears. 2. Select a staff handle, then choose Edit Staff Attributes from the Staff menu. (Or, double-click a staff handle, or a staff name handle.) Or, choose Edit Staff Attributes from the Staff menu without selecting a staff. The Staff Attributes dialog box appears. To display the attributes of another staff, choose a staff from the Staff Attributes for drop-down list. (Or, use the arrow controls to select a staff from the Staff Attributes for drop-down list.) 3. Change the settings in the Staff Attributes dialog box to show or hide items for the staff. In the Items to Display section, select or deselect as many checkboxes as you wish. For details, see Staff Attributes dialog box. 4. Click OK to confirm your settings.

To recover deleted staves Once you delete a staff, you can restore it by choosing Undo (as many times as necessary) from the Edit menu, or choose Undo List from the Edit menu and highlight Staff/Group delete and click OK. Actions done after the staff was deleted will also be undone. See Undo for more information.

To set the attributes for a staff 649

See also Global Staff Attributes, where you can set the staff attributes for a number of staves at one time. 1. Click the Staff Tool . The Staff menu appears. 2. Select a staff handle, then choose Edit Staff Attributes from the Staff menu. (Or, double-click a staff handle, or a staff name.) Or, choose Edit Staff Attributes from the Staff menu without selecting a staff. The Staff Attributes dialog box appears. If you didn’t select a staff before entering this dialog box, choose a staff from the Staff Attributes for drop-down list. (Or, use the arrow controls to select a staff from the Staff Attributes for dropdown list.) 3. Change settings in the Staff Attributes dialog box to define the staff’s characteristics. For details, see Staff Attributes dialog box. 4. Click OK to confirm your settings.

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Stemless notes Music with stemless notes (noteheads only) appears in plainchant and some hymn scores. In Finale, the stems can be hidden either globally or on a note-by-note basis. See also Stems. Note that you can apply stem settings from the Staff Attributes dialog box to regions of your document using Staff styles.

To create stemless notes globally 1. From the Document menu, choose Document Options and select Stems. The Stem options appear. 2. Enter zero (0) in both the Normal and Shortened Stem Length boxes. Click OK (or press enter). No stems appear anywhere in the document.

To create stemless notes, note-by-note 1. Click the Special Tools Tool


2. Click the Custom Stem Tool . A handle appears on each note. 3. Double-click the handle of the desired note. The Shape Selection dialog box appears. 4. Click Create. The Shape Designer appears. 5. Click OK, then Select (or press enter twice). In effect, you’ve selected a stem that consists of nothing. To restore the original stem, click the modified note’s handle and press delete. If you have several measures requiring stemless notes, you can copy the “nostem” information onto other notes; see Stems—To remove custom stemming from a region. Stems—To copy custom stemming to other measures.

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Stems This entry contains information on stem direction, length, position, thickness, and shape. See Stemless notes.

To flip a stem 1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. 2. Click the note whose stem you want to flip. (Or use the arrow keys to position the insertion bar.) Make certain you’re in the correct layer (if you’ve entered music in Layers) and the correct voice (if you’re using the Voice 1/Voice 2 feature). Press shift-’ (apostrophe) to change layers; press the apostrophe key to change voices. 3. Press the L key to freeze the stem in the opposite direction. When a stem is “frozen” up or down, it’s no longer free to change directions if it gets transposed. To restore a stem to its “floating” status, position the insertion bar on the note and press ctrl-L.

To flip a stem 1. Click the Simple Entry Tool . 2. Ctrl-click a note to select it. Notes just entered are selected automatically. 3. Press the L key (press twice if necessary) to freeze the stem in the opposite direction. When a stem is “frozen” up or down, it’s no longer free to change directions if it gets transposed. To restore a stem to its “floating” status, position the insertion bar on the note and press ctrl-L.

To flip all stems in a region in one direction 1. Click the Selection Tool and select the region to be affected. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Stem Direction > Up (or Down). All stems in the selected region are now “frozen” in the direction you specified.

To change “frozen” stems back to variable-direction stems 1. Click the Selection Tool and select the region to be affected. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Stem Direction > choose Use Default Direction.

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To change stem lengths, note by note 1. Click the Special Tools Tool 2. Click the Stem Length Tool

, and click the measure in question. . A handle appears on every unbeamed

stem. If you select the Beamed Stem Length Tool , then the handles appear on all beamed stems. 3. Drag the desired handle up or down. As you drag, the stem length changes. Press shift as you drag to constrain the cursor to vertical movements, and moving the stem left or right. To restore the original stem length, click the handle and press delete.

To change stem lengths globally 1. From the Document menu, choose Document Options and select Stems. The Stem options appear. 2. Change the numbers in the Normal Stem Length and Shortened Stem Length boxes. The numbers in these two text boxes set the lengths of note stems, measured in the currently selected measurement units. See Document Options-Stems for details. 3. Click OK (or press enter).

To change the position of the stem relative to its notehead If you want to change the position of a single stem, use the Stem Length Tool or Beamed Stem Length Tool (Special Tools Tool) to move the stem left or right. Or, you may want to globally change the way a stem attaches to its note, especially when you’re working with alternate noteheads (slashes, diamonds, and so on). See Stem Connections dialog box.

To change the thickness of stems 1. From the Document menu, choose Document Options and select Stems. The Stem options appear. 2. Enter a new number in the Stem Lines text box. The units are whatever you’ve selected in the Measurement Units submenu (Edit menu). (The default setting for stems is half a point.) 3. Click OK (or press enter).

To draw completely new shapes for stems You don’t have to use a simple vertical line for a stem; you can customize stems by using any shape you can draw in Finale’s Shape Designer. This feature is particularly useful in creating “splayed” stemming for note clusters— for example, you might have a stem with three spokes extending to a C , C, and C struck at the same time. 653

1. Click the Special Tools Tool


2. Click the Custom Stem Tool . A handle appears at the base of each stem. 3. Double-click the handle of the stem you want to change; in the dialog box that appears, click Create. The Shape Designer dialog box appears. 4. Draw the new stem’s shape. For instructions on using the Shape Designer, see Shape Designer. As you draw, remember that the small white dot you see in the Shape Designer—the origin—will appear at the base of the notehead, where the stem is normally connected. 5. When you’re finished, exit the Shape Designer by pressing enter twice. To restore the original stem, click the modified note’s handle and press delete. Once you’ve created custom stems in a measure, you can copy the stem information to other measures.

To create a double or split stem A double stem is a second stem, pointing in the opposite direction from the note’s original stem. A note with a double stem often signifies two voices in unison.

1. Click the Special Tools Tool


2. Click the Double/Split Stem Tool . A handle appears on every notehead in the measure; another appears above the staff, and another below. 3. To create a double stem, click the handle below any note or chord. A second stem appears on the note you clicked, no matter which way the original stem pointed. To restore the note to its original single-stemmed status, click the lower handle again so that it’s no longer highlighted. Once you’ve created a chord with a double stem, you can create split stemming within the chord, giving the effect of a separate inner voice. 4. To create a split stem, click the handle of each notehead that you want to attach to the upper stem only. Each notehead you click joins the upper stem. The remaining notes are attached to the lower stem. To restore a note to its original stem, click the split stem handle again so that it’s no longer highlighted.

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To create reverse stems A reverse stem is one that’s drawn on the “wrong” side of its notehead. It’s encountered most frequently in conjunction with cross-staff notes. See Reverse stems.

To copy custom stemming to other measures 1. 2. 3. 4. 5.

Click the Selection Tool . Choose Edit Filter from the Edit menu. A dialog box appears. Click Stem and Beam Alterations. Click OK (or press enter). Select the source measures (the ones containing the custom stems). Drag the first source measure so that it’s superimposed on the first target measure. Unless you’re dragging to a measure directly above or below the source measure, the Copy Measures dialog box appears. 6. Specify how many times you want the stemming information copied. Click OK.

To remove custom stemming from a region 1. Click the Selection Tool , and select the measures in which the modified stems appear. 2. Choose Clear Selected Items from the Edit menu. 3. Proceeding through the dialog boxes, click as follows: Only Selected Items; Entries; Beam and Stem Alterations. Click OK (or press enter) twice.

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Studio View

How to get there From the View menu, choose Studio View.

What it does Studio View is one of three ways to view your music in Finale (the others are Scroll View and Page View). By default, this is the view Finale presents you with when you open a new document. If you would like to change this setting when you open new documents, see Program Options-New. Like Scroll View, Studio View displays your music as one long staff system. As its name suggests, this view is designed for optimal viewing and real-time control while auditioning playback. This is also the view used to add an audio track, load audio files, or record audio (see Audio Files). The scroll format offers the most complete, streamlined view of your music, and the most efficient use of computer resources. Real-time control is offered through Finale’s Staff Controls which always appear on the left side of the screen in Studio View. Each staff is automatically spaced adjacent to its corresponding set of controls, which are the same as those found in Finale’s Mixer. They include controls for volume, pan, program change, as well as, mute, solo and record commands. These can be adjusted in real-time as you listen to Finale’s performance, and apply to staves as well as a document's audio track. See Staff Controls. (All Staff Controls are dynamically linked to the Mixer and Instrument List window - changes to one apply to all uniformly).

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In Studio View you will also notice a “TempoTap Staff” above the top staff. This staff displays (by default) the current main beat duration specified by the time signature. It can be edited with the Simple or Speedy Entry Tool to optimize accuracy for recording a tempo with TempoTap. See TempoTap.

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Swing For a discussion of creating playback with a swing feel, see Creating swing playback in the Finale Tutorials . The most common convention is to notate “swung” eighth notes as standard eighth notes, with the word Swing above the score (usually on the first page, with the tempo marking). Finale follows this convention in transcribing real-time performances. Note the Jazz Human Playback style applies a swing feel to your score. See Playback Settings dialog box.

To notate swing performances (HyperScribe) 1. From the MIDI/Audio menu, choose Quantization Settings. The Quantization Settings dialog box appears. 2. Select a Smallest Note Value. See Quantization Settings dialog box for more information. 3. Select Space Notes Evenly in Beat. Finale will notate swung eighth notes as normal eighth notes, but will accurately notate triplets if you play them. Note: It’s a good idea to tell Finale beforehand exactly how you want the triplets notated—whether or not they should have a bracket or slur, and so on. Instructions for defining the default tuplet appearance can be found under Document Options-Tuplets. 4. Click More Settings. The More Quantization Settings dialog box appears. 5. Select Soften Syncopations. See More Quantization Settings dialog box for more information. 6. Click OK twice. 7. Record your performance. See Recording in HyperScribe–To record into one or two staves. Note: For other ways to create a swing performance see Swing Playback.

To notate swing performances (Transcription Mode) You can also transcribe swing performances with the Transcription Mode. The process is roughly the same, but the steps are slightly different.

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1. Click the HyperScribe Tool and select Transcription Mode from the HyperScribe menu. Click the measure at which you want the transcription to begin. You enter the Transcription window. 2. Record your performance in the usual way. See To record a performance, above. 3. Click the Quant Settings button in the Transcription window. The Quantization Settings dialog box appears. 4. Select Space Notes Evenly in Beat. Finale will notate swung eighth notes as normal eighth-note pairs, but will accurately notate any triplets that occur. See More Quantization Settings dialog box for more information. Note: Again, you can tell Finale beforehand exactly how you want the triplets notated—whether or not they should have a bracket or slur, and so on. Instructions for defining the default tuplet appearance can be found under Tuplets. 5. Click OK. 6. Continue the transcription process in the usual way. Again, see To transcribe a performance, above.

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Syncopation When Finale transcribes a real-time performance, you can specify how it should handle syncopation. For example, depending on the circumstances, you might prefer each of the following notations of the same syncopation:

Left: Tied syncopation notation. Right: “Softened” syncopation notation. Finale decides how to notate such syncopations based on two factors: the time signature and the Soften Syncopations setting in the More Quantization Settings dialog box.

To eliminate tied-note syncopations If the current meter is based on the quarter note (the time signature has a 4 on the bottom), you can ask Finale to write eighth note syncopations as eighthquarter-eighth rhythms (as shown at right in the example above) instead of two tied eighth note pairs (at left, above). You must follow these steps before you record, however. 1. From the MIDI/Audio menu, choose Quantization Settings. The Quantization Settings dialog box appears. 2. Click More Settings. The More Quantization Settings dialog box appears. 3. Select Soften Syncopations. Click OK twice. You’ve just told Finale to “soften” syncopations of every even beat (second and fourth beats). If the time signature has a 4 as its bottom half, you can use the same principle to “soften” quarter note syncopations—to play a quarter-halfquarter rhythm. Change the meter to cut time (or another half-note-based meter) before recording; see Time signatures for full instructions. Finale will then notate both eighth-note and quarter-note syncopations in the “softened” form (as shown in the example above.) When you’re finished transcribing, you can change the meter back to its original quarter-note-based time signature, if necessary. Alternatively, using the Use a Different Time Signature for Display option (in the Time Signature dialog box), you can make Finale display , even though the actual meter is cut time. Once again, the program will automatically soften both eighth and quarter note syncopations.

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System (line) break Finale automatically chooses the most logical measure at which to create system breaks. You can, however, create any system breaks you wish, even if they occur in the middle of a measure.See Measures per line for more information on locking and unlocking systems.

To create a system break You can specify any measure to begin a new system, no matter what the measure layout may be in other systems. 1. Click the Measure Tool . A handle appears on each barline. 2. Double-click the measure you want to appear at the beginning of a new system. The Measure Attributes box appears. 3. Select Begin a new staff system. Click OK (or press enter). 4. From the Edit menu, choose Update Layout. The measure you specified now begins a new system and displays a non-printing Begin New System icon in Page View to indicate that the measure must appear at the start of a system (if Show Page layout Icons is activated under the View menu). The measure will always begin a new system, no matter how the page layout may change. Be careful how you use this technique, however; it could result in unusual measure widths preceding the affected measure (for example, the preceding single measure could stretch across the entire system).

To move a measure to the previous (or next) system See To move a measure to the previous (or next) system.

To split a measure across a line break See Measures—To split a measure across a line break.

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Systems A system is one line of music across the page, including all the staves that constitute the staff system. This entry contains instructions for spacing, indenting, moving, or resizing systems. See Page layout for information on setting initial system position and size settings. See System (line) break, Measure layout, or Page turns for further instructions on laying out the measures that constitute systems. For instructions on compacting staff systems by omitting empty staves (when printing orchestral scores, for example), and varying the number of staves in each system by removing blank staves, see Optimizing systems.

To omit empty staves from a system (Optimizing) See Optimizing systems.

To create variable-distance systems See To create variable-distance systems.

To indent or move a system It’s common practice to indent the first system of a piece—not only for aesthetic reasons, but often to allow room for staff names to be written out in full. The following instructions show you how to indent or move a single system; if you want to indent all systems, a better method would be to simply increase the page margin. See Margins for full instructions. 1. Click the Page Layout Tool . Each system is surrounded by a dottedline rectangle. 2. Go to the page containing the system you want to change. 3. To indent a system, drag its upper-left handle. To move a system, click within the staff lines and drag. 4. Instead of dragging, you can enter values directly into the number boxes. See Edit System Margins dialog box for more information. 5. When you’re viewing Staff Systems, you’ll notice a boldface number to the right of each system. The numbers on the systems (the first system is number 1) help you identify each system, so you’ll be aware if the system layout has shifted. 6. From the Edit menu, choose Update Layout.

To force a system onto the next page Use the following technique if you’re laying out the pages of your piece and find that you need to force the last system on one page to the top of the next 662

page. If you want the system to always appear at the top of a new page, see Page Turns. 1. Click the Page Layout Tool . Each system appears, surrounded by a dotted-line. 2. Go to the page containing the system you want to move. 3. Click to select the system. 4. From the Page Layout menu, choose Systems, then Edit Margins. 5. Enter a larger number in the Distance Between Systems text box. Make sure the Distance checked is the only box checked. 6. Click Apply. If the system doesn’t move to the next page, continue increasing the Distance Between Systems and clicking Apply until it moves. 7. Click Close. 8. From the Edit menu, choose Update Layout.

To reduce or enlarge a system You must be in Page View to reduce or enlarge a system. 1. Click the Page Layout Tool . Each system appears, surrounded by a dotted-line. 2. From the Page Layout menu, choose Resize Staff Systems. A dialog box appears, asking how to resize the system. Click Hold Margins if you want to reduce (or enlarge) the music itself but not the system margins, thus increasing (or decreasing) the number of measures that fit on a line. Click Resize Vertical Space if you want to tighten up (or expand) the space between this system and the next, proportional to the reduction (or enlargement). 3. Enter the desired reduction or enlargement percentage. Specify the region of systems you want to affect and click OK. The measure widths will probably appear uneven at first. 4. From the Edit menu, choose Update Layout. To restore a system to its original size, click on the Page Layout menu and select Resize Staff Systems again. When the dialog box appears, enter 100 (%).

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Tab Slides Tab slides are lines that indicate the finger should remain on the string and slide from one note to the next. In Finale, these are added as note-attached Smart Shapes you can add with the Tab Slide Tool (in the Smart Shape Palette). See the topics below for information regarding how to add and edit tab slides.

To create a tab slide 1. Click the Smart Shape Tool


2. Click the Tab Slide Tool . Move the cursor until the tiny arrow points to the starting note. 3. Double-click where you want the tab slide to begin; on the second click, hold the button down and drag diagonally. Release the mouse when the tab slide has the length and angle you want. To create a tab slide between two consecutive notes, just double-click the mouse on the first note. Finale places the tab slide on the adjacent notes. If the Smart Line Selection dialog box appears, you may need to create a tab slide. See Custom lines for creating Custom Line Smart Shapes.

To define Tab Slide Placement settings 1. Click the Smart Shape Tool . The Smart Shape menu appears. 2. Choose Smart Shape Placement from the Smart Shape menu. The Smart Shape Placement dialog box appears. 3. Choose Tab Slide from the Smart Shape type drop down list in the dialog box. 4. Drag the tab slide end point vertically and horizontally until the tab slide attaches to the notes the way you want it to attach to notes of that type in the score. Instead of using the mouse, you can enter values into the text boxes using the measurement unit you’ve selected. 5. Drag the other end-point of the tab slide to adjust it. 6. Click Reset at any time to return the tab slide to Finale’s built-in settings. 7. Click OK (or press enter) when you’re ready to save the new settings. Or click Cancel to cancel any changes you made to the settings. Note: All tab slides that you create from now on will use the Tab Slide 664

Placement settings. The settings also apply to tab slide end points that haven’t been manually adjusted in all existing tab slides.

To change which tab slide is assigned to the palette icon 1. Click the Smart Shape Tool . 2. Choose Smart Shape Options from the Smart Shape menu. The Smart Shape Options dialog box appears. 3. Select Tab Slide from the Line Style drop-down list. 4. Click Select next to the Line Style drop-down list. The Smart Line Selection dialog box appears. 5. Select the Smart Shape to be used when clicking the Tab Slide Tool. You can also type the number of the Smart Shape into the text box next to the Select button in the Smart Shape Options dialog box to change the selection. 6. Click OK.

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Tablature Many of Finale’s capabilities are dedicated specifically to notation of fretted instruments. For example, a specialized tablature staff allows for easy tablature notation. Fret numbers can be added and edited with the Simple Entry Tool or Speedy Entry Tool, and a library of guitar markings are available, including tab slides and bends, with the Smart Shape Tool. You can now even enter music directly into a tablature staff with a MIDI guitar. Tablature is a special kind of notation for plectrum instruments, that usually consists of two staves; the top staff displays the notes in standard notation, and the bottom staff has a staff line for each string of the instrument and displays small numbers instead of noteheads (to indicate fret numbers).

A tablature score usually appears as an upper, notation staff and a lower staff whose lines correspond to the strings of the plectrum instrument.

See also: Guitar notation Guitar bends

To create tablature notation 1. Notate the instrument’s music on a standard notation staff (transposed for guitar) as you would normally. Use the Setup Wizard to 666

create a properly transposed guitar staff (written an octave up). If a TAB staff already exists below the standard staff, skip ahead to step 6. 2. Click the Staff Tool and from the Staff menu, choose New Staves (with Setup Wizard). For these steps, we’ll add a pre-defined TAB staff. To create a customized TAB staff, see To create a tablature staff from scratch. 3. In the left column, choose the Fretted Instruments category. 4. In the middle column, double-click the desired TAB staff to add it to the right column. All TAB staves contain the text [TAB] following the instrument name. 5. Click Finish. A TAB staff appears at the bottom of the score. 6. Click the Selection Tool and select all of the measures of the notation staff. See Selecting music for some region-selecting shortcuts. 7. Click and drag the highlighted region down to the tablature staff. You should see the Lowest Fret dialog box. For now, we’ll leave these settings alone. 8. Click OK. The music will translate into corresponding fret numbers in the tablature staff. To copy a portion of your music into a tablature staff, simply highlight a smaller region of the standard staff before drag-copying it down. You can also use the Selection Tool to copy music from a tablature staff into a standard staff and Finale will translate the fret numbers into notes accordingly. See also To enter directly into a tablature staff.

To enter directly into a tablature staff (Simple Entry) 1. Click the Simple Entry Tool . The Simple menu appears. 2. From the Simple menu, choose Simple Entry Options, and then check Select Tablature Notes on Entry (if it isn’t already checked). 3. Click OK. 4. Choose a rhythmic value from the Simple Entry Palette. 5. Click in the tablature staff. You will see a “0” on the line you clicked (or the number of the default lowest fret specified in the Tablature Staff Attributes). It should already be selected. 6. Type the fret number on the numeric keypad. You can also hold down Ctrl-Shift and type the number on your QWERTY keyboard. Note: The QWERTY keyboard is the letter keys and the numbers above them. The Numeric Keypad is the set of number keys on the right side of a standard desktop keyboard. In addition to entering tablature by clicking, you can also use the Simple Entry Caret. 7. From the Simple menu, choose Simple Entry Options. Ensure Use Simple Entry Caret is selected and click OK. The Simple Entry Caret appears in the score. If not, press Return. 667

8.

9.

10.

11.

12.

13.

14.

15. 16.

Move the caret to the tablature staff. Use the left and right arrow keys to move the caret horizontally. Hold down Ctrl and press the up and down arrows to move the caret between staves. To activate the caret at a specific location, Ctrl-click a fret number to select it and press Enter (or Option-click an empty measure). For detailed information on navigation using the Simple Entry Caret, see Simple Entry. Choose a rhythmic duration. Either click a duration icon in the Simple Entry Palette or hold down Ctrl and Alt and type the desired rhythmic duration number on the numeric keypad. Or, hold down Ctrl-Alt-Shift and type the duration on the QWERTY keyboard. On the QWERTY keyboard, type the string number. For example, on a standard 6-string guitar tab staff, type 1 to move the caret to the top E string. Type the fret number on the numeric keypad. Hold down Ctrl to add a fret number greater than 9 (for example, type Ctrl-numpad 2 to add 12). The caret moves to the right in preparation for the next entry. To add a fret number with the caret, you can also press Enter to add a fret number (0) on the chosen string, and then hold down Ctrl-Shift and type the number on your QWERTY keyboard. Do this if your computer keyboard does not have a numeric keypad. To change the number of the fret number you just entered, hold down Ctrl and type the new number on the numeric keypad. Or, hold down Ctrl-Shift and type the number on your QWERTY keyboard. To change the duration of the fret number you just entered hold down Ctrl and Alt and type the desired rhythmic duration in the QWERTY keyboard. To change the string of the fret number you just entered, hold down Alt and press the up and down arrows. To add another fret number to the previous entry, hold down Alt and type the string number in the QWERTY keyboard. Then, while holding down Alt, type the fret number in the numeric keypad. (Or, hold down Ctrl-Shift and type the number on your QWERTY keyboard.) For a list of Simple Entry Tablature commands and their associated keystrokes, from the Simple menu, choose Tab Specific Commands.

To edit guitar tablature 1. To move fret numbers to a different string, click the Simple Entry Tool . 2. Ctrl-Click a fret number and drag to the appropriate string. You can also use the up and down arrows to move selected fret numbers between strings. If the fret number turns orange after selection is cleared, it is outside the range of the string. Either change the string, fret number, number of frets, or string tuning so that the fret number is in the range of 668

the string. For information on customizing the string tuning, see the Fretboard Instrument Definition dialog box. 3. To edit the fret, Ctrl-Click a fret number to select it, and then in the numeric keypad, type the new number. You can also hold down CtrlShift and type the number on your QWERTY keyboard. Note: The QWERTY keyboard is the letter keys and the numbers above them. The Numeric Keypad is the set of number keys on the right side of a standard desktop keyboard. 4. To add a fret number to the entry on the same beat, Ctrl-Click a fret number to select it, hold down Alt and then, in the QWERTY keyboard, type the new string number. Then, on the numeric keypad, type the fret number. You can also hold down Ctrl-Shift and type the number on your QWERTY keyboard. For a list of Simple Entry Tablature commands and their associated keystrokes, from the Simple menu, choose Tab Specific Commands. Note: You can also enter and edit tablature with the Speedy Entry Tool. See Tablature with Speedy Entry.

To create a tablature staff manually The following steps show you how to construct and use a tablature staff. Keep in mind, however, that you can easily begin a new TAB document by selecting a fretted instrument and corresponding TAB staff with the Document Setup Wizard. See To create tablature notation for details. For instructions on how to edit your guitar tablature, see To edit guitar tablature. 1. Click the Staff Tool and from the Staff menu, choose New Staves. 2. In the New Staves dialog box, leave Number of Staves at “1” and click OK. A standard notation staff should appear below the existing staff. 3. Double click the staff you just created to open the Staff Attributes dialog box. 4. Click the drop-down list next to Notation Style and choose Tablature. 5. Click the Select button (to the right of Notation Style). You should now see the Tablature Staff Attributes dialog box. Here you can choose or define a fretted instrument, lowest fret, as well as other parameters specific to TAB staves. See Tablature Staff Attributes dialog box for details. 6. Check On “OK”, Reset Staff Attributes To Tablature Defaults. This will tell Finale to configure the Staff Attributes for TAB staff settings. 7. Click OK. Notice items such as rests and ties are deactivated in the Items to Display subsection as they are not needed in TAB notation. 8. Click OK. You should now see the tablature staff appear in the score.

To add stems and beams to tablature 669

1. 2. 3. 4.

Click the Staff Tool . Double click a tablature staff. The Staff Attributes dialog box opens. In the Items to Display section, check Stems. Click OK. You return to the document with default beams and stems on the tablature staff. You can adjust the vertical or horizontal stem offsets or stem direction in the Staff Stem Settings dialog box. For more information on customizing stems, see the Staff Stem Settings dialog box.

To change the lowest fret of a region 1.

Click the Selection Tool and select a region of the tablature staff. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, Choose Change and then Lowest Fret. The Change Lowest Fret dialog box appears. 3. For Specify Lowest Fret, enter a fret number. This will tell Finale to place all fret numbers on the fret specified or above. 4. Click OK. Finale recalculates the fret numbers and places them on appropriate strings, all on the fifth fret or above. You can also specify the lowest fret while dragging music from a standard staff into a tablature staff.

Time signatures on tablature staves Generally, a time signature is only used on a tablature staff if it is not accompanied by a notation staff. By default, Finale leaves time signatures off of tablature staves. If you are creating a document with a tablature staff only, you might want to add a time signature to the tab staff. Here’s how: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Click the Staff Tool . Double click a tablature staff. The Staff Attributes dialog box opens. In the Items to Display section, check Time Signatures. Click OK. You return to the document. Notice the time signature is a bit small and not centered on the tab staff, so it will need to be adjusted. From the Document menu, choose Document Options and select Time Signatures. The Time Signature options appear. After Units:, click the drop-down menu and choose EVPUs. We’ll use EVPUs as our measurement units. In the Vertical Adjustment section, for Abbreviated Symbol, enter “20”, Top Symbol, “-16” and Bottom Symbol, “-20”. Click Apply. Click the Fonts category on the left side of the Document Options dialog box. The Fonts options appear. Click the drop-down menu for Notation and choose Time. 670

11. Click the Set Font button for Notation. The Font dialog box appears. 12. Set the Size to 36. 13. Click OK to return to the Fonts options and OK. Your time signature is now enlarged and centered on the staff. Make further adjustments to the placement and size by entering your own values in the Time Signature and Font options as needed. For example, if you want to place the time signature between the second and fourth tab line, in the Time Signature options, for Top Symbol, use -28 and Bottom Symbol, -10. Then in the Fonts options, set the font for Time to 26.

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Tempo (for playback) This entry includes information on setting actual tempos for playback. To create metronome marking tempo indications (

), see Metronome markings. See also Tempo markings.

To easily record, or ‘conduct,’ a unique tempo change for any region, use TempoTap. For information regarding tempo fluctuations while recording or transcribing a real-time performance in the Transcription Mode of HyperScribe, see also Playback and Transcribing a sequence . Human Playback automatically interprets tempo markings and applies them to playback. If Human Playback is turned on in the Playback Settings, use the Human Playback Preferences dialog box to customize Human Playback’s interpretation.

To set the initial playback tempo The tempo you set with this procedure is the default starting tempo Finale uses when it plays back your score by “reading” the notated, quantized music. If your score is a transcription of a performance you recorded with the Transcription Mode, however, you also have the option of hearing a playback with the actual tempo of the original performance, including any fluctuations. For a complete discussion of this process (capturing MIDI data), see To specify playback parameters. 1. From the Window menu, choose Playback Controls. Playback Controls appears. 2. Enter the starting tempo in the Tempo text box (next to the speaker icon). The number you type here is the standard metronome setting (beats per minute). Use the drop-down list to set the note value—quarter note, for example. Note: Expressions defined to set the playback tempo (such as those created with the Create Tempo Marking plug-in), override the tempo set in the playback controls.

To modify the playback tempo At any point in the score, you can insert a functional tempo marking (such as Presto or Adagio) that will actually change the tempo during playback (see Tempo markings). For gradual tempo changes, see TempoTap. 672

Tempo markings A tempo marking in Finale can be purely graphic or it can be defined for playback. Several of these markings have been predefined and stored in a Text Expressions Library. If you load such a library (or if your Maestro Font Default file, which already contains these markings, is in place), you won’t have to create the markings anew. See also Engraver Font characters. Once these Text Expressions have been loaded into your document (or created), you can place them into the score as expressions.

To place a tempo marking in the score 1. Click the Expression Tool . 2. Double-click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box appears. 3. Choose the Tempo Marks category from the list on the left. 4. If the tempo marking you would like to add appears in the list, doubleclick it to add it and return to the score. If not, click the Create Tempo Mark button. The Expression Designer dialog box appears. 5. Type the text for the tempo marking. You can enter Allegro, Moderato, or whatever marking you want. The font, size, and style is applied automatically based on your settings for tempo marks in the Category Designer dialog box. Use the Font drop-down menu to mix music characters with regular test. 6. Click OK then assign to return to the document. The tempo indication appears in the score.

To move or delete a tempo marking 1. Click the Expression Tool . 2. Drag the handle to move the tempo marking. Select it and press the arrow keys to “nudge” it for fine positioning; select it and press delete to remove it.

To define a tempo marking for playback 673

1. Click the Expression Tool . If you haven’t yet placed the marking in the score, double-click where you would like to add the marking. When the Expression Selection dialog box appears, choose Tempo Marks, click the desired marking, click Edit, and then skip to step 3. 2. Ctrl-double-click the handle. The Expression Designer dialog box appears. 3. Click the Playback tab to display the playback options. The dialog box expands. 4. From the Type drop-down list, choose Tempo; then enter a number in the Set to Value box. The number you type into the box is a standard metronome setting. (This setting is measured in quarter notes per minute, but you can change it to half notes—or any other value—using the Tempo drop-down list.) You’ve just defined the Expression to change the playback tempo to this setting whenever the marking appears in the score. 5. Click OK (or press enter). If you just defined a new expression, click Assign to add it to the score. Any time Finale encounters the expression you’ve just defined when it plays back your score, the tempo will change to reflect the expression’s playback definition. Note: To easily record, or ‘conduct,’ a unique tempo change for any region, use TempoTap.

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TempoTap TempoTap is a feature exclusive to Studio View, and can be used to tap, or “conduct” a tempo adjustment using an external MIDI device or your computer keyboard. This is the preferred method for specifying a tempo change manually. Note that Human Playback interprets “rit.”, “accel.”, and other tempo indications automatically. Tempo changes applied manually with TempoTap will apply to playback with HP because the Human Playback Preferences dialog box is configured to incorporate tempo change data by default.

To record tempo changes with TempoTap 1. From the View menu, choose Studio View. The TempoTap staff is only available in Studio View. 2. Indicate the beats you wish to tap by notating durations into the TempoTap staff with the Simple Entry Tool

(or Speedy Entry Tool

). If you want to specify a rallentando passage, for example, which slows drastically in a short amount of time, you may want to tap eighth notes instead of quarter notes to indicate the gradual change in tempo for the duration of the passage. To do so, simply enter durations into the TempoTap staff as you would any other staff. Notes snap to the line automatically. For details regarding note entry, see Simple Entry and Speedy Entry. 3. Click the HyperScribe Tool . 4. Click the measure, in the TempoTap staff, you wish to begin specifying the tempo. When you click a measure, a green scroll bar appears which tells you Finale is waiting for your signal to start recording a tempo. The first beat you tap is the signal to start recording. Therefore, to prepare for recording a tempo, consider counting off a measure or two, stopping short of pressing the spacebar before recording the first beat. 5. Tap the tempo using the spacebar or a note on your MIDI device. The scroll bar advanced at your speed as you tap the tempo. Each tap corresponds to the note duration shown directly above in the TempoTap staff. 6. When you are finished, simply stop tapping. Then, click the score. The Last Recorded Tempo dialog box displays the tempo you ended with. This

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tempo is assigned from the point you stopped recording the tempo to the next tempo change. 7. Click OK. Playback the score to review the tempo change. Note: For additional options for defining a tempo, see Accelerando and Rallentando.

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Text You can place text, in any font and size, anywhere in a Finale score. Different tools, however, are ideal for different kinds of text. The table below will help you find instructions for creating the kind of text you’re looking for.

To create these…

Use this tool…

…and see this entry

Lyrics

Lyrics Tool

Lyrics Tool

Page numbers

Text Tool

Page numbers

Notes to the conductor

Text Tool

Text blocks

Titles

Text Tool

Titles

Copyright notices

Text Tool

Copyright notices

Text expressions (arco, etc.)

Expression Tool

Expressions

Explanatory text

Text Tool

Text Tool

Chord symbols

Chord Tool

Chord symbols

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Text blocks A text block can be almost any piece of text: a note to the conductor, a page of dialogue, performance instructions, or an extra verse of lyrics, for example. You can place block text, in any font and size, anywhere in the score. Text blocks created in Scroll View and text blocks created in Page View are treated differently. Finale assigns a text block to a measure if you are in Scroll View when the text block is created. To create a page-assigned text block, you must be in Page View.

To create text in a frame that automatically expands as you type 1. Click the Text Tool . The Text menu appears. 2. Double-click the document window where you want to place text. The editing frame appears, with a flashing cursor to indicate the insertion point. 3. Type the text directly into the score without dragging to create a frame. Press enter (type a carriage return) to start a new line. The frame expands horizontally and vertically to accommodate the text you enter.

A single dashed line indicates that the frame will expand vertically and /or horizontally as you type.

To create text within a fixed-size frame 1. Click the Text Tool . The Text menu appears. 2. Double-click the document window, and drag to create a rectangle to accommodate your text. An editing frame of the size you create appears, with a flashing cursor to indicate the insertion point. The placement of the insertion point—left, center, or right—depends on the justification options selected in the Text menu.

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A double dashed line indicates that the frame is a fixed size; it will not expand as you type. 3. Enter the text you want displayed. The placement of the text within the frame—left, center, or right—depends on the justification options selected in the Text menu. The words wrap when you reach the side of the frame. 4. To resize the frame to accommodate additional text, drag the side of the frame to the desired size.

To edit text on-screen 1. Click the Text Tool . The Text menu appears. 2. Double-click a text block handle. The editing frame appears around the text. 3. Click within the selected text block to edit the text. The insertion point appears where you click. Select some text, then use the Text menu to change the character or text block settings for the selected text. 4. Use the Alignment submenu of the Text menu or Frame Attributes dialog box to change a text block’s attributes, such as whether it is assigned to a measure or a page or pages, how it’s positioned, and so on.

To resize a text block on-screen If a standard frame is set for a text block (Standard Frame is selected in the Text menu), you can resize the text block on-screen by dragging its frame. If you’re using a custom frame for a text block (Custom Frame is selected in the Text menu), see To resize a custom frame next for instructions. 1. Click the Text Tool . The Text menu appears. 2. Double-click a text block handle. The editing frame appears around the text. 3. To change the text block’s shape or size on-screen, drag any side of the frame to stretch the shape.

To resize a custom frame 679

1. Click the Text Tool . The Text menu appears. 2. Click a text block handle, then choose Custom Frame from the Text menu. The Custom Frame dialog box appears. 3. Click Select. If a shape was already selected for the custom frame, the Shape Designer appears. If no shape was selected, click Create in the Shape Selection dialog box. 4. Resize the shape in the Shape Designer. For details, see Shape Designer dialog box. 5. Click OK or Select until you return to the Custom Frame dialog box, where you can see how the text flows into the selected shape. When the text flows into the frame the way you want it to, click OK to return to the document. Note: As in previous versions, custom shapes may be used for more than one text block in the score. If the shape is used elsewhere, changing the shape for one text block will change all occurrences of the shape in the score.

To assign a text block to one or more pages 1. Click the Text Tool . The Text menu appears. 2. Click a text block handle, then choose Frame Attributes from the Text menu. Or, shift-double-click a text block. The Frame Attributes dialog box appears. 3. Click to select Attach to: Page, if it isn’t already selected. 4. Select an item from the drop-down list. Choose Single Page to show the text block on one page; choose All Pages to show it on every page; or choose Left Pages or Right Pages to show it on left or right pages. 5. Set the page range. Enter the numbers of the pages where the text block will appear (you’d select Left Pages and 6 Through 10 to show the text block on every left page between pp. 6–10, for instance). To show the text block on a single page, enter the page number in the first page text box. To display the text block through the end of the piece, enter zero in the second text box, or leave the text box empty. For example, to show the text block on every page, starting at page 6, you’d select All Pages and enter 6 Through 10, or enter 6 and leave Through blank. 6. Use the other settings in the Frame Attributes dialog box to adjust the text block’s position in the score, then click OK to return to the document.

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To assign a text block to a measure 1. Click the Text Tool . The Text menu appears. 2. Click a text block handle, then choose Frame Attributes from the Text menu. Or, shift-double-click a text block handle. The Frame Attributes dialog box appears. 3. Click to select Attach to: Measure and then, into the text box, type the number of the measure you want the text block assigned to. 4. From the Staff drop-down list, choose the name of a staff you want associated with the measure-assigned text block. Finale will align and position the text block in relation to this staff. 5. Use the other settings in the Frame Attributes dialog box to adjust the text block’s position in the score, then click OK to return to the document.

To position text blocks on-screen 1. Click the Text Tool . The Text menu appears. 2. Drag a text block’s handle to adjust its placement in the score. Dragenclose or shift-click additional text block handles to select them. You can drag multiple text blocks on the score to position them.

To position page-assigned text blocks (Text menu) 1. Choose Page View from the View menu, if it isn’t already selected. 2. Click the Text Tool . The Text menu appears. 3. Click a page-assigned text block handle, then choose Frame Attributes from the Text menu. 4. Position the text block from the page margin or the page edge using the Placement submenu. Choose Position from Page Edge or Position from Page Margin from the Placement submenu of the Frame menu to align the text block from the page edge or from the page margin, respectively. 5. Position the text block horizontally. Choose Left to place the text block on the left edge or margin of the page; choose Center Horizontally to center it between the left and right edges or margins; or choose Right to align it on the right edge or margin. 6. Position the text block vertically. Choose Top (Header) to place the text block on the top edge or margin of the page; choose Center Vertically to center it vertically between the top and bottom edges or margins; and choose Bottom (Footer) to align it on the bottom edge or margin. Note: When you change the horizontal or vertical placement, Finale clears any manual positioning that was done in the score, and resets the H: or the V: 681

positioning settings, respectively, in the Frame Attributes dialog box to the new position.

To position page-assigned text blocks (Frame Attributes dialog box) 1. Choose Page View from the View menu, if it isn’t already selected. 2. Click the Text Tool . The Text menu appears. 3. Click a text block handle, then choose Frame Attributes from the Text menu. Or, shift-double-click a text block handle. The Frame Attributes dialog box appears. 4. Use the Alignment and Positioning settings to position the text block. Note: The Horizontal, Vertical, and Position from options in the Alignment and Positioning group box are only available when you select Attach to: Page. When Attach To: Measure is selected, these options are not available, because a text block assigned to a measure only appears on the page containing that measure. 5. Position the text block horizontally. Choose Left from the Alignment and Positioning: Horizontal drop-down list to place the text block on the left edge or margin of the page; choose Center to center it between the left and right edges or margins; or choose Right to align it on the right edge or margin. 6. Position the text block vertically. Choose Top (Header) from the Alignment and Positioning: Vertical drop-down list to place the text block on the top edge or margin of the page; choose Center to center it between the top and bottom edges or margins; and choose Bottom (Footer) to align it on the bottom edge or margin. 7. Use the Position from drop-down list to position the text block from the page margin or the page edge. Choose Page Margin from the Position from drop-down list to have Finale calculate the text block’s position starting from the page margin. Choose Page Edge to have Finale measure the text block’s position starting from the edge of the page. 8. Set the positioning distance. Enter values into the H: and V: text boxes in the Alignment and Positioning group box for the distance to position the text block horizontally and vertically on the page, based on the other settings in the Alignment and Positioning group box. Click OK to confirm your settings and return to the document.

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Note: When you change the horizontal or vertical page alignment, Finale clears any manual positioning that was done in the score, and resets the H: or V: settings, respectively, to the new position.

To position measure-assigned text blocks (Frame Attributes dialog box) 1. Choose Scroll View from the View menu, if it isn’t already selected. 2. Click the Text Tool . The Text menu appears. 3. Click a measure-assigned text block handle, then choose Frame Attributes from the Text menu. Or, shift-double-click a measure-assigned text block handle. The Frame Attributes dialog box appears. 4. Set the positioning distance. Enter a value in the H: text box in the Alignment and Positioning group box for the distance to position the text block horizontally from the upper-left of the staff associated with the measure. A larger value moves text to the right; a smaller value to the left. Enter a value in the V: text box for the distance to position the text block vertically from the upper-left of the staff associated with the measure. A larger value moves text down; a smaller value up. 5. Click OK to confirm your settings and return to the document.

To position page-assigned text blocks on left- and right-facing pages (Frame Attributes dialog box) If you’re using running headers or footers in your score, you might want to position a text block in the header or footer near the “outside” edges or margins (the left or right edges, respectively) of each left-facing (evennumbered) or right-facing (odd-numbered) page, as opposed to always positioning the text block in the same place on every page. This is easily done using special positioning settings for right-facing pages in the Frame Attributes dialog box; follow the steps outlined here. 1. Choose Page View from the View menu, if it isn’t already selected. 2. Click the Text Tool . The Text menu appears. 3. Click a page-assigned text block handle, then choose Frame Attributes from the Text menu. Or, shift-double-click a page-assigned text block handle. The Frame Attributes dialog box appears. 4. Use the Alignment and Positioning settings in the Frame Attributes dialog box to position the text block on every page in the selected page range. See To position page-assigned text blocks (Frame Attributes dialog box) earlier in this section. 683

5. Click Use Right Page Positioning to place the text block differently on right-facing (odd-numbered) pages. 6. Position the text block horizontally on right-facing pages. Choose Left from the Right Page Alignment and Positioning: Horizontal drop-down list to place the text block on the left edge or margin of the right-facing page; choose Center to center it between the left and right edges or margins; or choose Right to align it on the right edge or margin. (Finale resets the Right Page Alignment and Positioning: H: setting to zero so the left, right, or center of the text block is aligned horizontally with the page edge or margin.) 7. Set the positioning distance. Enter values into the H: and V: text boxes in the Right Page Alignment and Positioning group box for the distance to position the text block horizontally and vertically on right-facing pages, based on the Right Page Alignment and Positioning: Horizontal setting, and the Vertical and Position from selections in the Alignment and Positioning group box. 8. Click OK to confirm your settings and return to the document.

To delete a text block 1. Choose the Text Tool . 2. Select a text block handle or drag-enclose to select a group of handles. Press delete.

To specify a default font for text blocks 1. From the Edit menu, choose document Options and select Fonts. The FontType Style options appear. 2. From the Text drop-down list, choose Text Block and click the corresponding Set Font button. The Font dialog box appears in which you can select the font you want to use for your text blocks. 3. Click OK twice. You return to the document. Now any new text you create with the Text Tool will use the font you selected.

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Ties Finale uses three available tie spans—short, medium, and long—whose lengths you can separately define to best suit your document. Other global settings for each tie span allow you to tailor their overall appearance and placement in the score. You can further position and shape ties in the score individually.

To adjust the placement of a tie after a system break See To adjust the placement of an individual tie in the score.

To set tie thickness See To adjust the shape of ties globally.

To horizontally adjust ties over system breaks See To adjust placement of ties globally.

To add or remove a tie (Simple Entry Tool) 1. Click the Simple Entry Tool

. The Simple Entry Palette appears.

2. Double-click the Tie Tool on the Simple Entry Palette, then click the first note to be tied. If the first note is selected, press T. If the second note is selected, press shift-T. A tie appears. If you click the stem of a chord, a tie appears on every note in the chord; if you click a single notehead, only that note receives the tie. Remove a tie by clicking the note or chord again.

To add or remove a tie (Speedy Entry Tool) 1. Click the Speedy Entry Tool, and click a measure. The editing frame appears. 2. Click to position the cursor on the first note of the tied pair, or press the arrow keys to move the cursor. If you are adding a tie to a single note of a chord, use the up or down arrows to position the crossbar squarely on the notehead; to tie every note in a chord, position the crossbar on any line or space not containing a notehead. 3. Press the equal sign (=) key or T to add a tie. A tie appears. If the insertion point bar was on a line or space not containing a notehead, a tie appears on every note in the chord; if the crossbar was on a single notehead, only that note receives the tie. Remove tie by pressing the equal sign key again.

To add a tie backwards (Speedy Entry Tool)

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1. Click the Speedy Entry Tool, and click a measure. The editing frame appears. 2. Click the note where the tie end will appear. You can also press the arrow keys to position the cursor. If only a single note of a chord is to be tied, use the up or down arrows to position the crossbar squarely on its notehead; to add a tie end to every note in the chord, position the crossbar on any line or space not containing a notehead. 3. Press the ctrl and the equal sign (ctrl-=) keys or press shift-T. A tie going to the previous note or chord appears. If the insertion point bar was on a chord stem, a tie appears on every note in the chord; if the crossbar was on a single notehead, only that note receives the tie. Remove a tie by pressing the ctrl-= sign key again.

To change the direction of a tie (Simple Entry or Speedy Entry Tool) 1. Click the Speedy Entry Tool, and click the measure containing the tie. Click on first note of the tie. 2. Or, click the Simple Entry Tool. Ctrl-click on first note of the tie. 3. Press ctrl-F to reverse the direction of the tie. In Speedy Entry, choose Automatic (or press ctrl-shift-F) from the Tie Direction submenu of the Speedy menu to have Finale automatically set the tie’s direction based on the position of the tied notes on the staff (Automatic is default). Choose Over to set the tie over notes, Under to place the tie under tied notes.

To change the direction of a tie (Special Tools Tool) 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool

, then click the measure containing a tie to adjust.

2. Click the Tie Tool . Three handles appear on each tie in the measure. 3. Select a handle of a tie whose direction you are changing. 4. Choose Flip from the Tie Direction submenu of the Special Tools menu (or press ctrl-F) to reverse the direction of the tie. Choose Automatic (or press ctrl-shift-F) to have Finale automatically set the tie’s direction based on the position of the tied notes on the staff (Automatic is default). Choose Over to always place the tie over the notes, Under to always place tie under the tied notes.

To adjust the direction of ties on chords globally 1. From the Document menu, choose Document Options, then select Ties. The Tie options appear. 2. Make a selection from the Chords drop-down list to set the direction of ties on the inside notes of chords (the top and bottom ties always 686

curve in opposite directions). Choose Stem Reversal to set tie direction based on the tied notes’ position above or below the stem reversal point (set in the Staff Setup dialog box). Choose Split Evenly to divide ties evenly over and under the notes. Outside/Inside is provided only for compatibility with previous versions. See Staff Setup dialog box. 3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To adjust the direction of ties on opposing seconds globally 1. From the Document menu, choose Document Options, then select Ties. The Tie options appear. 2. Click on the Opposing Seconds checkbox to allow ties to flip in opposite directions for opposing seconds. Deselect this checkbox to ignore opposing seconds for tie direction. 3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes. Note: This setting is mainly for chords which have more than 3 notes. If there are only 2 notes which are an interval of a second apart (and no other layers are present) ties on seconds will still be opposing.

To adjust the direction of ties with mixed stems globally 1. From the Document menu, choose Document Options, then select Ties. The Tie options appear. 2. Make a selection from the Mixed Stems drop-down list to set the direction of ties on the inside notes of chords (the top and bottom ties always curve in opposite directions). Select from Over, Under or Opposite First Stem which will set the tie over or under depending on the direction of the stem of the first note in the tie. 3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To adjust the direction of ties in a region 1. Click the Selection Tool and select a region of music. See Selecting music for more details on how to do this. 2. From the Utilities menu, choose Change, then Ties. 3. Check the box for any tie options you wish to change for the selected region.

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4. To have Finale automatically set the tie’s direction, click the Automatic radio button. To always keep the tie over the tied notes, click Over. Click Under to keep the tie under the tied notes. 5. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To change an individual tie’s shape and placement by dragging it on the score 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


2. Click the Tie Tool . Three handles appear on each tie in the measure. 3. Use the mouse to drag any of the handles, adjusting the tie’s start and end position, height and inset until it is positioned to your liking. Double-click the middle handle and two handles appear allowing you to change the inset for the left and right side of the tie arc. 4. To remove any positioning, select a handle and type backspace or shift-delete.

To adjust placement of ties globally 1. From the Document menu, choose Document Options, then Ties. The Tie options appear. 2. Select the variation of tie for which you would like to adjust the placement settings. There are a number of selections in the drop-down list. There are separate settings for ties that are inside chords, and ties that are the outermost ties on chords (noteside and stemside). Each of these have separate settings for ties over notes and ties under notes. Note: When you are adjusting these settings remember that the notes tied together may not use the same choice from the drop-down list. For example, ties with mixed stems may use different outer placement settings. To have Outer placement settings take effect, the Use Outer Placement checkbox must be selected. 3. Set the horizontal and vertical starting position for the selected tie variation. Enter a number (in measurement units) into the Start H: text box to specify the tie’s starting position horizontally from the inside edge of the first tied note. A larger number moves the tie to the right; a smaller number (including negative numbers) moves it to the left. Enter a number (in measurement units) into the Start V: text box to specify the tie’s starting 688

4.

5.

6.

7.

8.

position vertically from the inside edge of the first tied note. Type a larger number to move the tie up, a smaller number (including negative numbers) to move it down. Set the horizontal and vertical ending position for the selected tie variation. Enter a number (in measurement units) into the End H: text box to specify the tie’s ending position horizontally from the inside edge of the second tied note. A larger number moves the tie to the right; a smaller number (including negative numbers) moves it to the left. Enter a number (in measurement units) into the End V: text box to specify the tie’s ending position vertically from the inside edge of the second tied note. Type a larger number to move the tie up, a smaller number (including negative numbers) to move it down. Enter a number (in measurement units) into the System Start Adjustment text box to specify the tie’s distance from the start of the new system. Type a larger number to move the tie to the right; type a smaller number (including negative numbers) to move the tie to the left. Enter a number (in measurement units) into the System End Adjustment text box to specify the tie’s distance, measured backwards from the end of the system. Type a larger number to move the tie to the right; type a smaller number (including negative numbers) to move the tie to the left. Select additional tie variations from the drop-down list and change as desired. All tie variations will be updated when you exit the dialog box by clicking OK. Click OK to save all of your changes. Click Cancel to dismiss the dialog box and discard any changes.

To adjust the placement of an individual tie 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


2. Click the Tie Tool . Three handles appear on each tie in the measure. 3. Double-click the left or right handle of the tie. The Tie Alterations dialog box appears. 4. Set the horizontal starting position of the tie in relation to the first tied note. Enter a value (in measurement units) into the Start H: text box to position the tie horizontally away from the inside edge of the note. A larger number moves the tie to the right; a smaller number (including negative numbers) moves it to the left. 5. Set the vertical starting position of the tie in relation to the first tied note. Enter a value (in measurement units) into the Start V: text box. Type a larger number to move the tie up, a smaller number (including negative numbers) to move it down. 689

6. Set the horizontal ending position of the tie in relation to the second tied note. Enter a value (in measurement units) into the End H: text box to position the tie horizontally away from the inside edge of the note. A larger number moves the tie to the right; a smaller number (including negative numbers) moves it to the left. 7. Set the vertical ending position of the tie in relation to the second tied note. Enter a value (in measurement units) into the End V: text box. Type a larger number to move the tie up, a smaller number (including negative numbers) to move it down. 8. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To adjust the shape of ties globally 1. From the Document menu, choose Document Options, then Ties. The Tie options appear. 2. Click the Tie Contour button to display the Tie Contour dialog box. 3. Select the tie style whose settings you want to adjust from the Style drop-down list. Select Short, Medium, Long or Tie End (tie after a system break). To set more than one style, just select another style from the list before you click OK to apply your changes. To change the settings for Short Medium and Long, enter values (in measurement units) into the Short, Medium, or Long Span text boxes. These lengths will allow you to specify different height and insets for short, medium and long length ties. 4. To change the height of the left and right sides of the arc of the selected tie style, enter values (in measurement units) into the Left: Height and Right: Height text boxes, respectively. A larger number increases the height of the arc; a smaller number decreases it. Note: The Height setting is actually the height of a control point, an imaginary point that Finale uses to calculate the arc’s curve. Finale draws the actual height of the arc a little less than the value you specify for Height. 5. Choose an Inset Style. Click Inset percent to specify Inset as a percentage of the tie’s length. Click Inset Fixed to specify Inset as an unchanging amount for all tie spans, regardless of a tie’s length. This has been provided for compatibility. 6. Specify the shape of the left and right endpoints of short, medium, and long ties. Finale uses the Left and Right Inset settings to shape the left and right tie ends, giving them a more “rounded” or “hooked” appearance depending on the Inset value. If you selected Inset percent as the Inset Style, enter a number into the Left and Right Inset text boxes that 690

7.

8.

9.

10.

11.

is a percentage of the tie length for each span. Increase the percentage to flatten the tie ends; use a smaller percentage to make the ends more hooked. If Inset fixed is the selected Inset Style, enter a number (in measurement units) into the text box that appears for all spans. A larger number flattens to tie ends; a smaller number hooks the ends. Set how to determine the height of ties that fall between the specified short and medium, or medium and long spans. Click Interpolate height between short and long span to have Finale automatically calculate a proportional height based on the defined Span and Height settings. Click Use medium height between short and long span to always use the Medium Height setting for ties whose lengths fall between the specified spans. Set the thickness of the left side of the arc for all ties. Enter a value (in measurement units) into the Left text box. The larger the number, the thicker the arc. Set the thickness of the right side of the arc for all ties. Enter a value (in measurement units) into the Right text box. The larger the number, the thicker the arc. To avoid staff lines, select the checkbox Avoid Staff Lines By. Enter a different number if you want to change the default of 8 EVPUs. 12 EVPUS is equivalent to centering the tie between staff lines. The only viable range for this text box is 2-12 EVPUs. Click OK to save your changes and return to the Tie options. Click OK to return to the document. Click Cancel to return to the Tie options without making any changes.

To adjust the shape of an individual tie 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool


2. Click the Tie Tool . Three handles appear on each tie in the measure. 3. Double-click the starting or ending handle of the tie. The Tie Alterations dialog box appears. 4. Set the Height of the tie’s arc. Enter values (in measurement units) into the Height: Start and Height: End text boxes to set the height of the left and right control points of the tie’s arc, respectively. A larger number increases the height of the arc. A smaller number decreases the height. Note: The Height setting is actually the height of a control point, an imaginary point that Finale uses to calculate the arc’s curve when creating a tie. Finale draws the actual 691

height of the arc a little less than the value you specify for Height. 5. Set the tie Inset. Enter values into the Left: Inset and Right: Inset text boxes to set the amount of “hook” of the left and right end of the tie. Inset is a percentage of the tie length. Enter a lower percentage to hook the end of the tie more, curving it more sharply. A higher percentage will flatten the ends of tie. 6. To avoid staff lines select the checkbox, Avoid Staff Lines By. Finale uses the Avoid Staff Lines By: global setting in Document Options-Ties to position the arcs of ties in the region. 7. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To use outer placement setting for outer ties on chords and single tied notes globally 1. From the Document menu, choose Document Options, then Ties. The Tie options appear. 2. Click Use Outer Placement. 3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To change the outer placement setting for an individual tie 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool

, then click the measure containing the tied chord.

2. Click the Tie Tool . Three handles appear on each tie in the measure. 3. Double-click the starting or ending tie handle. The Tie Alterations dialog box appears. 4. Select a desired setting from the Outer Placement drop-down list. 5. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To avoid staff lines with ties over a region 1. Click the Selection Tool and select a region of music. See Selecting music for more details on how to do this. 2. From the Utilities menu, choose Change, then Ties. 3. Click the Avoid Staff Lines checkbox. Finale uses the Avoid Staff Lines By: global setting in Document Options-Ties to position the arcs of ties in the region.

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4. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To break ties across time and key signature changes globally 1. From the Document menu, choose Document Options, then Ties. The Tie options appear. 2. Enter a number (in measurement units) into the Left Gap text box to specify the tie’s distance backwards from the time signature. Type a smaller number to move the tie to the left, away from the time signature; type a larger number to move the tie to the right, closer to the time signature. 3. Enter a number (in measurement units) into the Right Gap text box to specify the tie’s distance forward from the time signature. Type a larger number to move the tie to the right, away from the time signature; type a smaller number to move the tie to the left, closer to the time signature. 4. Click OK to confirm your changes. Click Cancel to dismiss the dialog box without making any changes.

To break ties in a region at time or key signature changes 1. Click the Selection Tool and select a region of music. See Selecting music for more details on how to do this. 2. From the Utilities menu, choose Change, then Ties. 3. Choose On from the Break for Time or Key Signature drop-down list. Finale will always break ties in the region at a time or key signature change, regardless of the Tie options global setting. To never break at key or time signatures Choose Off. 4. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To break an individual tie at a time or key signature change 1. From the Window menu, choose Advanced Tools. Click the Special Tools Tool edit.

, then click the measure containing a tie you want to

2. Click the Tie Tool . Three handles appear on each tie in the measure. 3. Double-click the starting or ending handle of the tie you want to edit. The Tie Alterations dialog box appears. 4. Choose On from the Break for Time or Key Signature drop-down list. Finale will always break this tie at a time or key signature change, regardless of the Tie options global setting. To never break at key or time signatures Choose Off. 693

5. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To adjust ties for augmentation dots 1. From the Document menu, choose Document Options and select Ties. The Tie options appear. 2. Click Start After Single Dot to start ties after notes with a single dot. Click Start After Multiple Dots to start ties after notes with more than one dot. 3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To shift ties for intervals of a second 1. From the Document menu, choose Document Options and select Ties. The Tie options appear. 2. Click Shift For Seconds to have all the ties on chords shift in for the interval of a second. 3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To avoid accidentals for single ties 1. From the Document menu, choose Document Options and select Ties. The Tie options appear. 2. Click End Before Single Accidental to have single ties avoid accidentals. 3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To remove manual positioning over a region 1. Click the Selection Tool and select a region of music. See Selecting music for more details on how to do this. 2. From the Utilities menu, choose Change, then Ties. 3. Click Remove Manual Positioning. This will remove any individual position of ties in the selected region and return the settings to match your global settings. 4. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To set a minimum space between tied notes 1. From the Document menu, choose Document Options, then select Music Spacing. 694

2. Enter a value (in measurement units) into the Minimum Distance Between Notes With Ties text box to set a minimum distance to leave between tied notes. Enter zero if you do not want any minimum spacing limit applied. 3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

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Tiling pages for printing If you want to print a full-size score (11 by 17 inches, for example) and don’t have a printer capable of printing on 11 by 17 inch paper, you have a dilemma. You could print your score on letter or legal-size pages using your printer and then photocopy these pages—using an enlarging copying machine—onto 11by-17-inch paper; the disadvantage is that enlarging your output in this way reduces the clarity of the original printout. Or, you could use Finale’s tiling pages feature. Finale can automatically tile the pages—in other words, print out several standard-size pages with a portion of the full score page on each, so that you can then tape them together (and, if you wish, photocopy the result onto large single pages).

To tile pages with the Print dialog box 1. Set the page size of your score to the proper size. For example, 11 X 17 portrait. Use either the Page Format for Score command in the Document menu or the Page Layout Tool. (See Page layout or Page size.) 2. Choose Update Layout from the Edit menu. 3. From the File menu, choose Page Setup. Choose Landscape for the orientation, Letter for the page size and click OK. Be sure Use Finale’s Page Orientation Instead of the Printer’s Page Orientation is unchecked in Program Options-Save. 4. Select Print from the File menu. In the dialog box select Tile Pages. Specify the page range on which you’ll be printing. Some printer drivers will allow you to specify the size of the component pages (Letter or Legal) here. Other printer drivers store this information in the Page Setup dialog box. 5. Type the amount of overlap you want in the Tile Overlap text box. This amount is specified in the units you have selected in the Measurement Units submenu of the Edit menu. 6. Click Print.

To tile pages (with Compile Postscript Listing) Note, you must have a Postscript Printer to perform these steps. 1. Set the page size of your score to the proper size. Use either the Page Format for Parts command in the Document menu or the Page Layout Tool. (See Page layout or Page size.) When entering the final, taped-together page dimensions, the key is to subtract one inch for each page that will be side-by-side with another. If your score is to be 11 by 16 inches, for example, it will be composed of two letter-size pages taped together. Therefore, set the page height to 10 inches (not 11). For the width, enter 15

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inches (remember, you’re subtracting one inch for each page that will be side-by-side). By subtracting one inch from each dimension in this way, you provide for a half-inch margin of overlap on each page, so that the resultant pages will be easier to tape together. 2. Choose Update Layout from the Edit menu. 3. Choose Compile PostScript Listing from the File menu. The Compile PostScript Listing dialog box appears. 4. Click Tile Pages. Specify the page range and the size of the component pages (Letter or Legal) on which you’ll be printing. Click Center Music on Page if you want the printed image of the full score page to be centered on the taped-together physical page; if you don’t specify this option, the music will appear beginning in the upper-left corner of each fullsize page, requiring you to cut off the extra paper on the right and bottom margins, if necessary. If you also select Include All Fonts in Listing, Finale will embed the actual music fonts into the PostScript file. The resulting file will be larger, but you won’t have to worry that your music fonts aren’t installed on the computer that will ultimately be doing the printing. 5. Click Compile. To print the resultant compiled file, you’ll need a downloading program such as the LaserWriter Font Utility. For more information, see PostScript. For best results, have a paper cutter on hand to trim the default quarter-inch margins created by a PostScript printer on each page that you’ll be taping together.

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Time signatures To change the time signature 1. Click the Time Signature Tool , and double-click the measure where the time will change. The Time Signature dialog box appears. See Document Options-Time Signatures for more details. 2. Click the scroll bar arrows for the upper and lower numbers until the window displays the desired time signature. The upper scroll bar governs the upper number (beats per measure) of the time signature; the lower one governs the bottom number (the basic rhythmic value) of the time signature. The way you define your meter is important, because it also governs beaming. In the case of cut time, for example, you should set the scroll bars so that the display shows two half notes, meaning that the eighth notes will be beamed together in groups of four. This is particularly important when you’re working in time; if you “spell” the time signature as a string of six eighth notes, Finale won’t perform any automatic eighthnote beaming, as shown below (top example). If you “spell” it as two dotted quarter notes, however, Finale will beam eighth notes in groups of three (bottom example).

If you wish, you can tell Finale to beam according to one time signature, but to display a different signature. Click Options to expand the Time Signature dialog box. Select Use a Different Time Signature for Display, and create the meter you want to appear in the score. See Beaming for more important information on time signatures and beaming patterns. Unless you tell it otherwise, (see Cut time and Common time) Finale displays the common-time symbol symbol

instead of

instead of

, and the cut-time

.

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If you’re building a composite meter, click the Composite button. A dialog box appears, where you can create a composite numerator (such as 3 + 2 + 2) or denominator (such as 4 + 8). For further details, see Composite Time Signature dialog box. 3. Specify the range of measures you want to be affected by the meter change. 4. Click OK (or press enter) to confirm your changes. See also Hiding time signatures; Cut time; Compound meters.

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Title page This entry contains instructions for creating a separate title page with no music on it. If you want the title to appear at the top of the first page of music instead, see Titles.

To create a title page 1. Scroll to the beginning of the piece. Click the Page Layout Tool . 2. Choose Insert Blank Pages from the Page Layout menu. 3. For Insert, enter 1. Choose Before Page and enter 1 (these are the default values). Then click OK. 4. Click the Text Tool . You’re about to create the first piece of text (title) information. 5. Double-click where you want the first piece of text. The text editing frame appears. 6. Select font, size and style from the Text menu. Skip this step if the default Text Block settings are the ones you want to use. See Document Options-Fonts. 7. Select Title from the Inserts submenu of the Text menu. If you haven’t defined a title in the File Information dialog box, either select File Info from the File menu and fill in the appropriate information, or just type in the title you want to use. 8. Select Frame Attributes from the Text menu. The Frame Attributes dialog box appears. 9. Select Page. Choose Single Page from the drop-down list and type 1 in the first text box. (These should be the default settings). 10. Select the alignment and positioning options from the alignment and positioning drop-down lists. 11. Click OK. Repeat the process with any other information that you want to appear on the title page, selecting various Text Inserts from the Text Inserts submenu of the Text menu, or typing in text that is needed. See Titles, for information on moving and deleting titles.

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Titles A title is created and positioned with the Text Tool. If you want to create the title on a page of its own, see Title page.

To create extra room at the top of the page Depending on the format of your piece, you may want the music on the first page to begin slightly lower on the page to allow room for a title space. 1. Scroll to the beginning of the piece. Click the Page Layout Tool . Finale displays the systems on the first page, representing each as a rectangle with handles at the upper-left and lower-right. 2. Click in the middle of the first staff system and drag it downwards. When you drag the top system down, all subsequent systems move down on the page as well. If you want more precision, try this: Choose Edit Margins from the Systems submenu of the Page Layout menu. Click the top system’s handle, and then enter a larger value in the topmost text box at the right side of the screen. These numbers represent the system margins. 3. Click the upper left handle of the first staff system and drag it upwards until it overlaps the top page margin. If you later use Space Systems Evenly, Finale will adjust the Distance Between Systems value. Because we don’t want the space for the title to be considered in this spacing, we needed to adjust the top margin of the system.

To add a title 1. 2. 3. 4.

Click the Text Tool . Select Page View from the View menu. Double-click where you want the title. The text editing frame appears. Select font, size and style from the Text menu. Skip this step if the default Text Block settings are the ones you want to use. See Document Options-Fonts. 5. Select Title from the Inserts submenu of the Text menu. If you haven’t defined a title in the File Information dialog box, either select File Info from the File menu and fill in the appropriate information, or just type in the title you want to use. 6. Select Frame Attributes from the Text menu. The Frame Attributes dialog box appears. 7. Select Page. Choose Single Page from the drop-down list and type 1 in the first text box. (These should be the default settings).

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8. Select the alignment and positioning options from the alignment and positioning drop-down lists. 9. Click OK (or press enter).

To move or delete a title 1. Click the Text Tool , if it’s not already selected. A handle appears on each title. 2. Drag the title’s handle to move it; select the handle and press delete to remove it.

To specify a default font for titles The default font for titles is the same as the default font for all text blocks. See Text blocks–To specify a default font for text blocks.

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Transcribing a sequence The following topics describe how to record music into the score using the Transcription Mode of HyperScribe.

To record a performance 1. Create an empty score; establish the meter, key signature, and configuration of staves. You can transcribe onto one or two staves at a time. 2. Click the HyperScribe Tool and select Transcription Mode from the HyperScribe menu. Click the measure at which the transcription will begin. You enter the Transcription window. 3. Click Wait Till. Finale is in “pause” mode. The recording begins with the first note you play (or any other MIDI signal—be careful not to use the sustain pedal until you’re ready to record). 4. Play your piece. Click anywhere (except on a button) to stop recording. When you stop recording, you’ll see your music expressed as a sort of horizontal bar graph; the length of the bars indicate the notes’ durations, and their relationship to the piano keyboard indicates their pitch. Tip: if your performance begins with a pickup measure, fill the first part of the measure with “dummy” beats; the Transcription window always transcribes on the assumption that the first note is beat 1. 5. If you want to preserve your performance as a sequence, choose Save As from the File menu. Note that as far as Finale is concerned, the Transcription window is a different program. The File menu’s commands (New, Open, Save As) no longer refer to the Finale document (notation) you currently have open. They refer instead to the performance, or sequence, you just recorded. If you choose New from the File menu, for example, you’re specifying a new sequence; you’re not creating a new Finale (notation) document. When you save your Transcription window performance, you create a special Finale file called a Note File. When you exit Finale and return to the desktop, you’ll notice that your note file has a different icon. You can open this file any time you’re in the Transcription window; you can, for example, record a piece today, save it, and transcribe it tomorrow.

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6. To play your performance back, choose Select All from the Edit menu. The display area is highlighted. 7. Under the word Keyboard, click Play; then click Start. Finale plays back your performance.

To hear a click track while recording in the Transcription Mode In the Transcription Mode, a click track is nothing more than playback of Time Tags that Finale has placed automatically. You can specify various characteristics of the click: its pitch, MIDI channel, length, and so on. 1. Click the HyperScribe Tool and select Transcription Mode from the HyperScribe menu. Click a measure in the score. The measure you click will be the first measure of the transcription when you transcribe the performance. You enter the Transcription window. 2. Click the word In at the lower-right corner of the Transcription window, and enter the time, in hours, minutes, seconds, and thousandths of a second, at which you want the click track to begin. If you want the click track to begin immediately at the beginning of your recording, leave the indicator set at 00:00:00:000. (Instead of typing numbers, you can also specify the appropriate point in the music by clicking in the display area.) 3. Click the word Out at the lower-right corner of the Transcription window, and enter the time, in hours, minutes, seconds, and thousandths of a second, at which you want the click track to stop. In other words, if you guess that your performance will last two minutes, type 2:00:000. (Instead of typing numbers, you can also specify the appropriate point in the music by clicking in the display area.) Instead of entering numbers with the In: and Out: indicators, you may prefer to simply drag the mouse through the keyboard display area (marked by a piano keyboard at the left side). The In: and Out: numbers will change to accurately record the width of the highlighted area. 4. Enter the tempo in the Set to text box. The number you enter here is a standard metronome marking (beats per minute), and allows you to specify the tempo of the click track. (You set the rhythmic value of this metronome setting—usually quarter notes per minute—using the First Tag submenu of the Time Tag menu.) 5. Choose Click Output from the Time Tag menu. The Click Output Type dialog box appears. 6. Specify the sound of the click track by clicking Listen and playing the appropriate note. Finale automatically takes note of the MIDI channel you used to generate the sample click.

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You might want to use a rim shot or other short percussive sound on a drum machine, or a very high note on your MIDI keyboard. If you like, you can change the duration of the click sound by changing the Duration number; the default duration is a half second. 7. Click OK (or press enter). You return to the Transcription window. 8. Click Wait Till. When you click Wait Till, Finale places a set of Time Tag note icons across the top of the selected Keyboard region; when you begin to play, it will play each of these back as one click of the metronome. Finale is now in pause mode, awaiting the first note of your performance. Make sure that the Record at End radio button is selected (under the word Keyboard) and that Play is selected (under the words Time Tag). 9. Record your performance as usual. As you play, Finale will record your performance while generating a click track of the tempo, sound, and duration you specified.

To transcribe a sequence from a sequencer using the Transcription Mode If you’re interested in notating a performance that’s currently stored in a hardware or software sequencer, you have several options. If your sequence is stored in a sequencing program (software), you can usually transfer it to Finale by saving it as a standard MIDI file; read your sequencer’s instructions, then see To import a MIDI file for instruction on converting a MIDI file to standard notation. If the sequence is stored in a physical (hardware) sequencer, or if you have a second computer equipped with its own MIDI interface, you can plug the sequencer (or extra computer) into your computer and play the sequence into the Transcription Mode window. As far as Finale is concerned, the MIDI signals it’s receiving in this way are no different from the ones you produce when you play your synthesizer. The Transcription Mode can record tracks simultaneously from as many MIDI channels as you like, and then transcribe up to four channels at a time. 1. Create the empty score, including meter, key signature, and staff configuration. You can transcribe onto one or two staves at a time. 2. Click the HyperScribe Tool and select Transcription Mode from the HyperScribe menu. Click the measure at which the transcription will begin. You enter the Transcription window. If the sequence is capable of providing a MIDI “click track,” or if you can add a separate track consisting solely of quarter-note (or some other value) “clicks” on a single pitch, you’ll save time in the long run, because Finale will be learning where the beats fall at the same time as it’s hearing the music. If your sequence 705

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does not contain a click track, skip to the instruction marked by the asterisk (*). Choose Click Input from the Time Tag menu. Specify the incoming MIDI signal that will serve as the click. The easiest way to enter the click description is to click Listen, and then play the click itself. Note that if the click itself is to be a pitch, make sure it’s either a very high or very low pitch—one that won’t be mistaken for a note in your sequence. Click Ignore First Data Byte (so that it’s no longer selected). This checkbox essentially tells Finale whether or not it should be particular about the MIDI signal it’s interpreting as Time Tag information—in other words, whether or not to consider any key (or controller) to be a Time Tag. You don’t want this option selected, because you’re going to record both Time Tags and keyboard notes simultaneously. Click OK (or press enter). If the clicks will be “tapping” any duration other than a quarter note, be sure to let Finale know by choosing the correct duration value from the First Tag is submenu of the Time Tag menu. Click Record under the words Time Tag. If the sequence won’t be providing a click track, leave Play selected under the words Time Tag; you can add the Time Tags separately after you’ve recorded the sequence.

7. Click Wait Till. Finale is now in “pause” mode, where it will remain until it receives the first MIDI signal from the external sequencer. 8. Play the sequence. Click anywhere (except on a button) to stop recording. When you stop recording, you’ll see your music expressed as a sort of scrolling horizontal bar graph; the lengths of the bars indicate the durations of the notes, and their position in relation to the piano keyboard (left side of the screen) indicates their pitch. If you recorded the Time Tags (“click track”) as the sequence played, you’ll also see note icons at the top of the screen, indicating the placement of the beats. 9. To play your performance back, choose Select All from the Edit menu; under the word Keyboard, click Play; then click Start. You hear the sequence played back. Note that Finale records the MIDI channel information from the sequence, too; when it plays back, it will transmit the MIDI signals over the same channels on which they were received. Keep this in mind if you’re having trouble hearing all the tracks in the sequence when you play it back.

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10. If the sequence didn’t contain a click track, add Time Tags. See To transcribe a sequence. 11. Select the MIDI channel and pitch information to be transcribed by choosing Transcription Filter from the Transcription menu. The Transcription Filter dialog box appears, in which you can specify the range of notes within each MIDI channel you want transcribed. For example, if your sequence contained tracks recorded on several different MIDI channels, you can now transcribe them onto individual staves, one at a time; if the flute and clarinet were both on channel 2, for example, enter 2 in the first MIDI channel text box. Then, to make sure you only transcribe the flute part, enter the highest and lowest notes of the flute’s register in the Key Range: High and Low text boxes. (To enter this information by playing it, click Listen; play the lowest note, and then the highest note of the range you want to specify.) You can also use this high note/low note filter in reverse. If, for example, you specify a Low note that’s higher than the High note, you’ll have defined a range of notes you want to omit from the transcription; only notes lower or higher than the specified range will be transcribed. 12. Click Use Filters. You’ve just told Finale, in terms of MIDI channel and range of notes, what it should extract from the complete sequence for notation onto its own staff. When you’re finished transcribing this element, you can return to the Transcription window, choose Transcription Filter again, and specify the next MIDI channel setting to extract the next “track” out of the sequence, and so on, until you’ve filtered out each individual “track” from the sequence. 13. Choose Assign Measure Tags from the Time Tag menu. For each downbeat, Finale automatically puts a tiny M above the other Time Tags in the Time Tag display area, according to the time signatures in the score itself. 14. If you’re transcribing onto two staves, choose a split option (Fixed or Moving) from the Split Point submenu of the Transcription menu. If you choose Fixed, a dialog box appears. Enter the number of a synthesizer key whose pitch you want to designate as the dividing point between upper staff (usually treble clef) notes and lower staff (usually bass clef) notes. (Or, if you prefer, click Listen and play the key.) If you choose Moving, Finale will split a two-handed performance onto the correct staves (treble clef or bass clef) by tracking the positions of your hands as they move up and down the keyboard. Enter (or, by clicking Listen, play the interval of) the largest hand span (in half steps) that occurs in the sequence. As long as there’s a discernible gap between your two hands, Finale can track a changing split point automatically. Click OK to exit either Split dialog box. 707

15. Click Quant Settings in the Transcription window. The Quantization Settings dialog box appears. 16. Choose a smallest note value and type of quantization. Choose the smallest predominant note value in the piece. Select either Mixed Rhythms, Space Evenly (for a swing feel) or No Tuplets. See Quantization Settings dialog box for more information. 17. Click More Settings. The More Quantization Settings dialog box appears. 18. If you like, click Key Velocities, Note Durations. 19. Click OK twice. 20. If you like, click Save Continuous Data, and Save Tempo Changes. When the dialog box appears (when you click Save Tempo Changes), press enter. These four options tell Finale to remember the precise feel of the original performance, and to keep this data handy for playback when you dismiss the dialog box. If you don’t choose these options, then when you play back the transcribed music from the score, Finale will simply play back the sheet music—mechanically reproducing the notes, but without expression or feeling—instead of an exact re-creation of your original performance. 21. Click the Transcribe button. If the results aren’t perfect, remember that your performance is still intact, in the Transcription window. Click the first measure of the transcribed notation to switch back into the Transcription Mode, where you can correct any split point or quantization settings; then click Transcribe again. If you still don’t get good results and you can’t figure out what’s wrong, read the Quantization Settings Guide. If you discover occasional splitpoint errors in the transcription (where a right-hand note was notated on the left-hand staff, for example), see C:\Documents and Settings\markjohnson.CODA\My Documents\My Projects\Finale\Content\Finale\Split_points.htm - HT_To_correct_split_pointTo correct

split point errors.

To transcribe a performance 1. Record the music. See To record a performance, above. 2. Choose Select All from the Edit menu. The display area is highlighted. You’re about to tapao l ngwtihyourmusci astipa l ysback,provd in i gFn i ae l wtihatempopon i tofreference. These taps are called Time Tags. 3. Choose a rhythmic value for your taps from the First Tag is submenu of the Time Tag menu. If you plan to tap even rhythmic values (all quarter notes, for example), also choose Record Equal Durations from the Time Tag menu. (If you don’t select Record Equal Durations, you can actually vary the rhythmic value of your tap—sometimes eighths, sometimes 708

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quarters—and Finale will attempt, by interpolating and extrapolating, to assign the Time Tags correctly.) Under the word Keyboard, click the Play option. There are two distinct layers of MIDI information in the Transcription Mode: the Keyboard layer, which records every aspect of your synthesizer performance, and the Time Tag layer, which records only your beat taps. You want the Keyboard layer to play while you record the Time Tags. Under the words Time Tag, click Record. If you’re about to generate Time Tag taps on any channel other than MIDI channel 1, choose Click Input from the Time Tag menu. Click Listen to MIDI, and play the note (or MIDI controller) you’ll be tapping. Click OK. Click the Wait Till button. Finale goes into pause mode, where it will remain until you touch a key or pedal on the synthesizer. Tap any key in time to the music. Click anywhere (except on a button) to stop recording. If you need to start over, choose Select All from the Edit menu and repeat the last four steps. When the music ends, Finale automatically stops recording, and you should see small note symbols (Time Tags) across the top of the screen. Choose Align Tags to Notes from the Time Tag menu. This command “quantizes” your taps to the nearest notes. A small dialog box appears, asking you to specify the search width. The number in this text box, in thousandths of a second, tells Finale how far from each tag it may “search” for a note with which to align it. If the performance was slow, you can increase this number; if it was very fast and “notey,” you may want to use a smaller number (so as not to move a Time Tag inadvertently to the note after the one with which it should align, for example). In most cases, however, you can simply keep the default search width setting (200 thousandths of a second). Click OK (or press enter). Choose Assign Measure Tags from the Time Tag menu. Finale automatically puts a tiny M at the beginning of every measure, according to the time signature (or time signatures) you’ve already established in the score itself. If your piece has several different time signatures but you haven’t already established them in the score, choose Measure from the Time tag menu and repeat the tapping process, but this time tap at each downbeat. When you’re finished, choose Convert to Time Signatures from the Time Tag menu; this will automatically create time signature changes in the correct measures in your score. If you’re transcribing onto two staves, choose a split option (Fixed or Moving) from the Split Point submenu of the Transcription menu. If you choose Fixed, a dialog box appears. Enter a synthesizer key number at which to split the performance into two staves. (Click Listen, if you prefer, and play the key.) If you choose Moving, a dialog box appears in which you can enter (or, by clicking Listen, play) the largest hand span that occurs in 709

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your performance (in half steps). This doesn’t necessarily mean the widest interval you can play with one hand; rather, it means the widest interval you played in the piece. When transcribing, Finale will attempt to split your twohanded performance onto the correct treble- and bass-clef staves by tracking the positions of your hands as they move up and down the keyboard. As long as there’s a discernible gap between your two hands during the performance, Finale can track a changing split point automatically. Click OK to exit either dialog box. Choose a smallest note value and type of quantization. Choose the smallest predominant note value in the piece. Select either Mixed Rhythms, Space Evenly (for a swing feel) or No Tuplets. See Quantization Settings dialog box for more information. Click More Settings. The More Quantization Settings dialog box appears. Select Include Voice Two if desired. If there are few places where you’ll be needing an inner voice, however, don’t select this option. This will prevent Finale from creating secondary voices where you didn’t intend them—for example, where two successive notes were accidentally overlapped in the sequence. The status of this option can have a dramatic effect on the “cleanness” of your transcriptions. Use the Retranscribe function in the MIDI/Audio menu to correctly place Voice 1 and Voice Two in the few places you want them. See Retranscription. If you like, click Key Velocities, Note Durations. Click OK twice. If you like, click Save Continuous Data, and Save Tempo Changes. When the dialog box appears (when you click Save Tempo Changes), press enter. These options tell Finale to remember the precise “feel” of your original performance, and to keep this data handy for playback when you dismiss the dialog box. Save Key Velocities tells Finale to retain key velocity information (see Key velocity). Save Note Durations preserves Start and Stop Time data, such as rolled chords and swing (see Start and Stop Times); Save Continuous Data retains continuous data (pedal, pitch bend, and so on); and Save Tempo Changes captures your tempo fluctuations, including ritards and accelerandi. If you don’t choose these options, then when you play back the transcribed music from the score, Finale will simply play back the sheet music—mechanically reproducing the notes, but without expression or feeling—instead of exactly re-creating your original performance. Click the Transcribe button. If the results aren’t perfect, remember that your performance is still intact, in the Transcription window. Click the first measure of the transcribed notation to switch back into the Transcription Mode, where you can correct any split point or quantization settings; then click Transcribe again. If you still don’t get good results and you can’t figure out what’s wrong, read the section called Quantization Settings Guide in 710

the Appendix. If you discover occasional split point errors in the transcription (where a right-hand note was notated on the left-hand staff, for example), you can either change the split point settings in the Transcription window and try again, or simply go to the score and fix the wrong notes manually. See Recording with HyperScribe, Quantization Settings dialog box. See also Quantization Guide, To correct split point errors and and Retranscription.

To edit Time Tags Sometimes you need to change the durational value of a Time Tag, or move the Time Tag so that it aligns with a note, or to add or remove a Time Tag completely. The following instructions assume you’ve already recorded a performance and entered Time Tags, as described in To record a performance, above. They also assume that you’re still in the Transcription window. 1. Click the words Time Tag. The words become highlighted. You’ve just indicated that you’ll be editing Time Tags only. For better control, you can “zoom in” by choosing View Resolution from the Transcription menu. In the dialog box that appears, enter a smaller value to enlarge the display—50, for example; click OK. 2. To insert a new Time Tag, double-click in the Time Tag display area. The Time Tag display area is the top strip of the display window, where the Time Tags appear (in a line with the small metronome icon). When you double-click, a new tag appears, whose duration is determined by the First tag is setting in the Time Tag menu. 3. To move a Time Tag, drag its notehead. If you select a group of tags (by dragging through them or by choosing Select All from the Edit menu), you can drag any one notehead to move them all. 4. To change the duration of a Time Tag, carefully double-click its notehead; on the second click, hold the button down. Drag it to the left or right. As you drag, the Time Tags cycle through the durational values: sixteenth notes, eighth notes, quarter notes, and half notes. Drag to the right for larger values, to the left for smaller values. By selecting a range of tags (by either dragging or by choosing Select All from the Edit menu), you can use this technique to effectively renotate an entire piece at once. You could change a piece to cut time, for example, by changing quarter note Time Tags to eighth note Time Tags; you’re effectively telling Finale that every quarter note is now an eighth note. (If you try this, however, don’t forget to choose Assign Measure Tags again from the Time Tag menu before clicking Transcribe.)

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While it’s much easier to edit your performance once it’s been transcribed into standard notation, you can, if you wish, edit notes directly in the Transcription window. 1. Click the word Keyboard. The word becomes highlighted. You’ve just indicated that you’ll be editing notes only. For better control, you can “zoom in” by choosing View Resolution from the Transcription menu. In the dialog box that appears, enter a smaller value to enlarge the display—50, for example; click OK. 2. To delete notes, drag through their starting point and press delete. 3. To insert a new note, double-click in the Keyboard area. The Keyboard area is the bottom three-quarters of the display window, where the other notes appear. When you double-click and drag to the right, a new note appears, whose pitch is determined by the location of your click; use the piano keyboard at the left side of the screen as a guide. Technical note: The note’s initial duration is 15 units; the value of a unit is determined by the number in the View Resolution dialog box. In other words, if the View Resolution (the unit) is 100 (in thousandths of a second), the note produced by a double-click is 1500 thousandths of a second long—which is 1.5 seconds. If you hold the mouse button down on your second click, you can drag backward (to the right) to increase the duration of the note. 4. To move the attack (or release) of the note, carefully double-click the line; on the second click, keep the mouse button down and drag the first (or second) half of the line right or left.

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Transcription Mode Note: It is no longer necessary to use Transcription Mode to record continuous data. Continuous data (sustain pedal, pitch bends, etc) can be recorded in a standard HyperScribe session. See Record Continuous Data dialog box.

What it does The Transcription Mode is another real-time transcription mode; you use it to record a live keyboard performance, which you can then turn into notation. The Transcription Mode differs from the rest of HyperScribe, however, in that after you’ve played your piece, it retains your performance in a graphic sequencer-like window. (You can even save these performances as separate files on your hard disk and open them later.) See To transcribe a sequence. See also Quantization Guide. The Transcription Mode borrows certain elements from a sequencer, but it exists for the purpose of notating your performances. Unlike the rest of HyperScribe, in which you provide a tempo reference by tapping as you play or use a metronome, the Transcription Mode lets you provide these taps after you’ve recorded the performance (or before or during, for that matter). While Transcription Mode’s gratification isn’t instant, it offers you the chance to try various transcription settings, quantization levels, and so on, without ever having to rerecord your original performance. See Quantization Settings dialog box. If you haven’t worked with a sequencer before, you may encounter some terms that are new to you; one example is quantization. Finale’s sense of rhythm is much finer than ours; it perceives subdivisions of rhythm down to 1024ths of a quarter note. Because Finale’s sense of time is so precise, the program can round off, or quantize, your performance to the nearest eighth note, quarter note, or whatever rhythmic value you specify. If it didn’t, your transcription would be much too accurate—it would be filled with 128th rests, hundreds of ties, and a forest of 64th notes. Controllers are devices on your MIDI device that modify the music in some way: volume and sustain pedals, pitch and modulation wheels, and breath controllers are some examples. You can record any of this data when you use the Transcription Mode to transcribe your music; furthermore, using the MIDI Tool, you can graphically edit these controllers. See Continuous data.

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Special mouse clicks • Click any measure in the score to enter the Transcription window, where you can record a performance. When you turn your performance into notation, the transcription will begin in the measure you clicked. • Click a measure after recording a performance to transcribe a single measure if you’ve selected Transcribe in Measures in the Transcription window. This feature allows you to transcribe a measure at a time from your performance, so that the transcription can appear in non-consecutive measures. • Ctrl-click a measure in the score to re-enter the Transcription window if you’ve been transcribing a performance one measure at a time, using the Transcribe in Measures option.

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Transposing: by interval This entry discusses the transposition of the music in selected measures up or down. If you’re interested in transposing the key of a section, see Transposing: changing key. If you want to find out about transposing instruments, see Transposing instruments.

To transpose a region 1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. Choose Transpose from the Utilities menu. The Transposition dialog box appears. 3. Specify the desired transposition, including Up or Down. If you want to transpose the selected region by more than an octave, enter the number of octaves Finale should add to the specified smaller interval transposition. (For example, the interval of a tenth is a third plus one octave.) If you’re performing a chromatic transposition, choose Chromatically from the upperright radio buttons. You’ll notice that the Interval drop-down list changes to list chromatic intervals—Minor Sixth, Diminished Fifth, and so on. See Transposition dialog box for more information. 4. Click OK (or press enter). To undo the transposition, choose Undo from the Edit menu (or press ctrl-Z).

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Transposing: changing key This entry provides instructions for transposing the key of a piece (or part of a piece). If you want to transpose a passage without changing the key signature itself, see Transposing: by interval. If you want to find out about transposing instruments, see Transposing instruments.

To transpose a piece (Key Signature Tool) To transpose an entire piece or a region, see Key signatures.

To transpose chord symbols See To transpose chord symbols.

To enter pre-transposed music onto a transposing staff (step time) You might wonder how Finale handles notes you input on a transposing staff— does it consider the notes you’re entering to be the concert pitches or the written ones? When you’re using the step-time music entry tools (the Simple Entry and Speedy Entry tools), it’s up to you. The following instructions show you how to specify that the notes you’re entering have already been transposed—for example, if you’re copying an existing score. • Choose Display in Concert Pitch from the Document menu if there is a checkmark next to it. You’ll see by the key signatures that Finale is displaying the transposing staves in their transposed form. In this mode, any new notes you enter with either step-time input tool are considered already transposed. In other words, if you play a C on the MIDI keyboard, it appears as a C on the transposed staff, even though it will play back as some other note, because you’ve just entered a written C. If you want to enter the concert pitches, choose Display score in Concert Pitch again from the Document menu (so that the checkmark appears next to the menu item). Finale displays the contents of transposing staves at concert pitches. Any music you enter with either step-time input tool is now considered at concert pitch; when you turn Display in Concert Pitch off, it will be appropriately transposed.

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Transposing instruments Any staff can be defined to have any instrument transposition; for example, a trumpet staff can be notated up a whole step, yet Finale will still play the music at concert pitch. While you’re working on the document, you can be looking at the instrumental staves either in their transposed or concert-pitch forms. For steps to create two transpositions in the same staff, such as a saxophone switching to flute for a few bars, see To define a staff with a double transposition.

To define a staff transposition 1. Click the Staff Tool , and double-click the staff handle to be transposed. The Staff Attributes dialog box appears. 2. Select the Transposition; click Select. The Staff Transpositions dialog box appears. 3. Specify the desired transposition. See Staff Transposition dialog box for details on settings. 4. Click OK (or press enter). You return to the Staff Attributes dialog box. If there’s another staff for which you want to set the transposition, simply choose it from the Staff drop-down list at the top of the dialog box. 5. Click OK (or press enter).

To transpose a staff chromatically 1. Click the Staff Tool , click the staff handle you want to transpose, then choose Edit Staff Attributes from the Staff menu (or double-click the staff). The Staff Attributes dialog box appears. 2. Click Transposition. Click Select. The Staff Transpositions dialog box appears. 3. Click Chromatic and choose the desired transposition from the dropdown list. Or choose Other to create your own instrument transpositions for less common instruments. 4. To choose a different clef for the transposed staff, click Set to Clef to select it, then click the desired clef. 5. Click OK. You return to the Staff Attributes dialog box. 6. Click OK to dismiss the dialog box. Accidentals appear on all altered notes.

To display a score in concert pitch (or in transposed form) Once you’ve established the transpositions for your instrumental staves as described in “ To define a staff transposition, above, you can tell Finale whether or not it should display the full score in its transposed form. 717

• From the Document menu, choose Display score in concert pitch. If this option is selected, all music appears in its untransposed form (concert pitch) and a checkmark appears next to the menu item. When this option isn’t selected, any staff you’ve defined as a transposing staff will appear in its transposed form, just as it will when the part is extracted.

To define a staff with a double transposition 1. Define the primary instrument’s transposition, as described in “ To define a staff transposition, above. Tip: If you’re using one of MakeMusic’s templates or created your score with the Wizard, the transposition is already set correctly. 2. Click the Staff Tool . The Staff menu appears. 3. Select the region that will have the second instrument. See Selecting music for hints on selecting shortcuts. 4. From the Staff menu, choose Apply Staff Styles. You can also select Apply Staff Styles from the contextual menu by right-clicking in the staff. The Apply Staff Style dialog box appears. 5. Select the appropriate transposition from the drop-down list of available Staff Styles. If you don’t see the desired transposition, see Staff Styles for instructions on how to create a new Staff Style. 6. Click OK. The transposition will be applied to the selected region. You can assign a metatool to a Staff Style to make applying a quicker process. See Staff Styles for details.

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Tremolos A tremolo marking, usually used to indicate either the rapid restriking of a note or a rapid alternation between notes, can be either measured (where each note is struck every eighth note or sixteenth note, for example) or unmeasured (where the notes are played as fast as possible, out of time). There are several ways to create a tremolo marking in Finale, depending on the effect you want to create. See also Easy Tremolos plug-in.

To place a tremolo marking

,

, or

(Articulation)

You can place one of these markings on a note stem (for a string tremolo, for example) or above or below a note. You can also place one between two stems to indicate a rapid alternation between the two pitches.

For full instructions, see Articulations.

To create a measured or unmeasured tremolo marking Another form of tremolo often connects two longer values—for example, whole notes, as shown here:

In this section, you’ll learn how to use the Easy Tremolo plug-in to easily create tremolo markings. It’s customary to notate the tremolo duration twice—once for each part of the tremolo. First, enter two notes/chords that combined equal the desired duration of the tremolo. For example, to create a whole note tremolo like the one pictured above, first enter two half notes. To create a half note tremolo like the one seen below, enter quarter notes.

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Then continue with the following instructions. 1. Click the Selection Tool . 2. Highlight the measure(s) containing the notes you want to include in the tremolo. 3. From the Plug-ins menu, choose TGTools and then Easy Tremolos. The Easy Tremolos dialog box appears. 4. In the text box, enter the total number of beams desired. You can also choose to avoid accidentals on notes with stems and define the tremolo for playback. For a description of these settings, see Easy Tremolo plug-in. 5. Click Go. Tremolo markings appear on all notes in the selected region according to your settings. To remove the tremolo marking, from the Edit menu, choose Undo (or, press Ctrl-Z). If the Undo command is not available (created in an earlier Finale session), or you have added additional entries that you do not want to undo, use the Selection Tool to clear the entries out of the measure and re-enter the notation. Human Playback interprets and performs tremolos during playback automatically. See Human Playback. To hear manual changes to the MIDI playback definition of tremolos (such as those applied with the Easy Tremolo plug-in), you must first set Human Playback to None in the Playback Settings dialog box.

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Trills A trill is often notated with two symbols: the indication and a wavy extension line (~) that indicates the length of the trill. Both components of a trill are available as Smart Shapes and Articulations. If you’ve loaded an Articulations library into your file (or if your Maestro Font Default file is in place), you don’t have to create the markings anew. See also “Engraver Font "Trill to” Noteheads and Smart Playback.

To create a trill or trill extension line (wavy line) 1. Click the Smart Shape Tool . The Smart Shape Palette appears. (If the palette does not appear, choose Smart Shape Palette from the Window menu to place a checkmark by it.) 2. Click the Trill Tool or . 3. Position the cursor in the measure where you want the trill or wavy line to begin. 4. Double-click the mouse; on the second click, hold the button down and drag to the right until the trill or wavy line is the desired length. As long as you hold the button down, you can keep moving the end of the trill or wavy line.

To create a small accidental on a trill marking To let the player know which notes are to be trilled, a small accidental,

. (This tells sometimes in parentheses, is often placed next to the symbol the player to raise or lower the written pitch by a half step for the trill.) This symbol, too, is an Articulation; see Articulations. See also Engraver Font - "Trill to” Noteheads.

To define a trill marking for playback Trills defined with one of the default trill articulations playback automatically if Human Playback is enabled in the Playback Settings dialog box. See Playback Settings dialog box for details. If Human playback is disabled, you can apply playback to trills using the TGTools Smart Playback plug-in.

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Tuplets You can also change Tuplets over a region. Instead of selecting the Tuplet Tool, select the Selection Tool and choose Change Tuplets from the Change submenu of the Utilities menu. The settings in the Change Tuplets dialog box are the same as in the Tuplet Definition dialog box. You can also create tuplets during entry with the Simple and Speedy Entry Tools. See Tuplets (Simple Entry) and Speedy Entry.

To turn “normal” notes into a tuplet group 1. Click the Tuplet Tool . 2. Click the first note to be included in the tuplet group. The Tuplet Definition dialog box appears. 3. Specify the rhythmic composition of the tuplet. On the top part of the screen Finale is asking, “How many notes of what rhythmic value are to fit in the space normally allotted to how many of what value?” Enter the number of each rhythmic value in the text boxes. Specify the rhythmic value itself by selecting the rhythmic-value from the drop-down list. For example, to define a standard quarter note triplet, you could fill out the values either as “3 (quarters) in the space of 2 (quarters),” or “3 (quarters) in the space of 1 (half).” 4. Specify the visual appearance of the tuplet. Finale lets you specify various aspects governing the visual appearance of your tuplets. See Tuplet Definition dialog box. You can always change the angle or position of the bracket or slur once it’s in the score. If you want the “3” (or whatever number appears over the tuplet) to appear in the middle of the slur or bracket (if you’re using one) instead of being above or below it, be sure to choose Break Slur/Bracket. If you’re creating a complex tuplet, you can also choose Use Ratio for Number; instead of placing a simple digit above the tuplet (like 3, for example), Finale will express the tuplet as a ratio (such as 3:2, using the numbers you entered in the __ in the space of __ text boxes). 5. Click OK (or press enter).

To adjust, move, or delete a tuplet 1. Click the Tuplet Tool ; then click the first note of the tuplet. Handles appear on the tuplet’s bracket (or slur, or number). 2. To reposition the entire tuplet, drag the main handle (which is unshaded). 722

3. To change the length of the hook, drag the left or right hook handle. If you selected Match Length of Hooks in the Tuplet Definition dialog box, Finale automatically adjusts the other hook to the same length as you drag. 4. To move the shape closer to or away from the notes, drag the shape handle up or down. 5. To change the angle of the shape, drag the slope handle. 6. To move the number closer to or away from the notes, drag the number handle. 7. To delete the tuplet definition (and restore the notes to “normal”), click any handle and press delete.

To enter tuplets with the Simple Entry Tool 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. Click the icon representing the desired note’s duration. Click any accidental tools, if desired. 3. Click the Simple Tuplet Tool on the Simple Entry Palette. 4. Click the staff. A note appears where you clicked with rests filling out the rest of the triplet. By default, the triplet will use the duration of the first note to define the triplet. If there isn’t enough room to create the full tuplet or you click within an already existing tuplet, Finale will enter a note of the duration you selected. 5. While entering with the Simple Entry Caret, press 9 (or numpad 9) to begin a tuplet.

To enter tuplets with the Speedy Entry Tool

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1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. 2. If MIDI is not being used, place the cursor on the correct pitch. 3. Press ctrl-number in the number keypad. You can press any number between 2 and 8 to specify the tuplet value that you’re about to enter. When you do so, the number you pressed appears in the upper right corner of the editing frame, telling you that Finale is ready to group the next notes you enter as a tuplet defined by that number. If you need to enter a more complex tuplet (or want to specify a particular bracket or slur configuration), press ctrl–1, and the Tuplet Definition dialog box will appear (see Tuplet Definition dialog box). 4. Enter the notes of the tuplet. The value of the first note you enter tells Finale whether you’re entering an eighth-note tuplet, quarter-note tuplet, and so on. Finale automatically groups them and brackets them according to the default visual tuplet settings (see To predefine the appearance of tuplets, below). To enter many tuplets in a row, see To enter many notes of the same value (hands-free MIDI method).

To create a nested tuplet To nest tuplets, simply create one, then the other, as described in To turn 'normal' notes into a tuplet group. It makes no difference whether you create the outer or inner tuplet first.

To transcribe tuplets from a real-time performance For full instructions on the use of Finale’s real-time transcription tool, HyperScribe, see Recording with HyperScribe and Transcribing a sequence. However, you may find these supplementary instructions helpful. 1. Choose Quantization Settings from the MIDI/Audio menu. If you’ve just recorded a performance in the Transcription Mode, choose Quant Settings from the Transcription window. These settings are used when importing a MIDI file, and transcribing with the HyperScribe Tool. 2. Select your smallest note duration. If you will be playing nothing smaller than eighth note triplets, choose the sixteenth note. Tip: If your real-time transcriptions consistently transcribe durations that are too large, lower the smallest note duration, or choose More Settings from the Quantization Settings dialog box. Place a check beside Sensitivity and choose the next smallest duration to your smallest note duration. For example, if your smallest note 724

duration is a sixteenth note, set Sensitivity to a thirty-second note. 4. Click either Mixed Rhythms or Space Notes Evenly. If your music will have a combination of dotted rhythms and tuplets, choose the former. If your music will have only tuplets and evenly spaced rhythms, choose the later. 5. Click OK (or press enter). Continue with the transcription in the usual way.

To predefine the appearance of tuplets If you create tuplets with any of the methods described above, you don’t have to redefine the visual appearance of each tuplet each time you create one. Instead, you can set the visual appearance—including whether or not to include a slur, bracket, and so on—in advance. See Document OptionsTuplets.

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Tuplets (Simple Entry) The word tuplet describes a class of irregular note divisions such as triplets, quintuplets, or septuplets. Simple triplets are easy in Simple Entry Tool. If you want to do duplets, septuplets or other tuplets, you’ll need the Simple Entry Tuplet Definition dialog box. For more complex tuplets, such as ratios or nested tuplets, see the Tuplet Tool. Brackets in the Simple Entry Tuplet Tool follow several rules. If the notes are beamed, such as eighth note triplets, no bracket will appear. If you wish to override this rule, use the Tuplet Tool to turn off Auto Bracket. See Tuplet Definition dialog box. Brackets follow the first note in the tuplet or the beam (if you override Auto Bracket). To edit the bracket, see To adjust, move, or delete a tuplet in the Tuplet Tool chapter.

To enter a triplet 1. Click the Simple Entry Tool . The Simple Entry Palettes appear. 2. In the Simple Entry Palette, click the icon representing the desired note’s duration. Click any accidental tools, if desired. 3. Click the Simple Tuplet Tool on the Simple Entry Palette. 4. Click the staff. A note appears where you clicked with rests filling out the rest of the triplet. By default, the triplet will use the duration of the first note to define the triplet. If there isn’t enough room to create the full tuplet or you click within an already existing tuplet, Finale will enter a note of the duration you selected. 5. After entering a note or rest with the caret, press 9 (or numpad 9) to begin a triplet on the note just entered. Finale adds rests to complete the triplet. Then, enter the next two notes to replace the rests.

To remove a tuplet 1. Double-click the Simple Tuplet Tool on the Simple Entry Palette. 2. Click on the first note in the tuplet. The tuplet is removed and the notes are restored to full value. If there is not enough room in the measure for the full value of the tuplet notes, nothing will happen. Remove the extra notes first, then remove the tuplet definition.

To enter a duplet, septuplet or other tuplet By default, the triplet will use the duration of the first note to define the triplet. If you want to create an eighth note triplet starting with a quarter note, you’ll need to use the below technique. 726

1. Double-click the Simple Tuplet Tool on the Simple Entry Palette. Only the Simple Entry Tuplet Tool is selected in the Simple Entry Palette. 2. Click the note duration that you wish to use in this tuplet passage. Now, both the Simple Entry Tuplet Tool and the desired note duration tool are selected in the Simple Entry Palette. 3. Shift-click on the first note in the tuplet (or where you would like to add one). The Simple Entry Tuplet Definition dialog box appears. 4. Specify the rhythmic composition of the tuplet. Finale is asking, “How many notes of what rhythmic value are to fit in the space normally allotted to how many of what value?” Enter the number of each rhythmic value in the text boxes. Specify the rhythmic value itself by selecting the rhythmicvalue from the drop-down list. For example, to define a standard eighth note duplet, you could fill out the values as “2 (eighths) in the space of 3 (eighths).” 5. Click OK. A note appears where you clicked with rests filling out the rest of the tuplet. 6. After entering a note with the caret, hold down Ctrl and press 9 (or numpad 9) to open the Simple Entry Tuplet Definition dialog box. Define the tuplet as described above and click OK. A tuplet appears based on your settings.

Using a MIDI device with Simple Entry. Using a MIDI keyboard for entry is an alternative to clicking notes onto the staff or typing them with your computer keyboard. To use an external MIDI device for entry, ensure you have properly configured a MIDI Input device in the MIDI Setup dialog box. 1. Click the Simple Entry Tool 4. The Simple Entry Caret appears in the score. If it does not, from the Simple menu, choose Simple Entry Options, check Use Simple Entry Caret and click OK. Then ensure a rhythmic duration is chosen in the Simple Entry Palette. 2. From the Simple menu, choose check Use MIDI Device for Input (if it is not checked already). 3. Activate the caret at the desired point of entry. Use the left and right arrow keys to move the caret left and right. Hold down Ctrl and press the up and down arrows to move the caret up and down between staves. 4. Click a duration tool in the Simple Entry Palette, or type the corresponding keystroke in the numeric keypad (1-8). Note that if you are using a notebook computer, as an alternative, you can turn off Num lock and press a number 1-8 on the QWERTY keyboard. You can also choose other tools, such as the Tuplet or Tie tool to specify other properties for the note(s) you are about to enter. 727

5. Play the desired note or chord on your MIDI keyboard or other MIDI input device. The notes appear on the staff and the caret moves to the right. After entering a note or chord, use any of the available modifier keystrokes to change the entry. To see a complete list of commands, from the Simple menu, choose Simple Edit Commands.

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Undo Multiple Undo and Redo are available from the Edit menu. Every action taken that modifies your music can be undone sequentially, in the reverse order in which you took action. The amount of changes that can be undone is only limited by the free disk space on your computer. This space is freed up when you quit Finale. These actions are also available from the Edit menu Toolbar.

To undo the last change or a series of changes to your document 1. Choose Undo from the Edit menu or type ctrl-Z. You cannot select Undo if you have not performed any actions that modified the current document. 2. To continue undoing changes, choose Undo from the Edit menu or type ctrl-Z repeatedly.

To undo a series of changes up to a specified point 1. Choose Undo/Redo Lists from the Edit menu or type ctrl-shift-Z. The Undo/Redo Lists dialog box appears. 2. Select the last change that you want to undo from the list on the left. Finale will highlight all the actions that will be undone from the point you selected. 3. Click OK. Finale will undo all the highlighted actions in the list.

To re-apply changes to your document using redo You cannot redo an action unless you have already selected Undo. 1. Choose Redo from the Edit menu or type ctrl-Y. 2. To continue redoing changes, choose Redo from the Edit menu or type ctrl-Y repeatedly.

To redo a series of changes up to a specified point 1. Choose Undo/Redo Lists from the Edit menu or type ctrl-shift-Z. The Undo/Redo Lists dialog box appears. 2. Select the last change that you want to redo from the list on the right. Finale will highlight all the actions that will be redone from the point you selected. 3. Click OK. Finale will redo all the highlighted actions in the list.

To allow undo actions previous to saving a file 1. Choose Program Options from the Edit > Preferences Submenu menu and select Edit. The Program Options dialog box appears with the Edit Options available. 729

2. Select Allow Undo Past Save. This will allow Finale to continue tracking undo actions even though you have saved your document. 3. Click OK. You return to the document.

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Using Grids and Guides You can use grids and guides to accurately align and position expressions, text, or any item in your document. The grid represents horizontal and vertical lines which appear at regular intervals on the page, just like graph paper. Set apart at any distance you like, they make a great reference for aligning items relative to each other or from the page edge. Guides are reference lines, horizontal or vertical, that can be set anywhere on the page. Unlike gridlines, guides can be positioned at will, and are particularly useful for fine positioning of items to be aligned between lines of the grid. You can also tell Finale to automatically snap certain items to the closest grid intersection or to a guide line.

To show the grid 1. From the View menu, choose Page View. 2. From the View menu, choose Grid/Guides > Show Grid. The grid appears on the page. To set the distance between gridlines, see Document Options-Grids and Guides.

To create a guide 1. From the View menu, choose Page View. 2. From the View menu, choose Grid/Guides > Show Guides. Notice rulers appear above and to the left of the page. 3. Right-click the ruler and choose New Guide. The New Vertical/Horizontal Guide dialog box appears, which displays the guide location. 4. Click OK. The guide line appears. To move the line, click the arrow at the top or left end of the line.

To snap to grids and guides 1. In Page View, from the View menu, choose Show Grid or Show Guides. 2. From the Document menu, choose Document Options, and then select Grids and Guides. 3. Check Snap To Grid or Snap To Guide. 4. Choose Items to Snap To Grid or Items to Snap To Guide. The Items to Snap To Grid or Items to Snap To Guides dialog box appears. See Items To Snap To Grid and Items to Snap to Guide dialog boxes. 5. Check the items you want to snap to grids and/or guides. 6. Click OK. Selected items now snap to the nearest grid intersection and to nearby guide lines. To see how close you can move an item to a guide line 731

without snapping to the guide, Right-click the guide arrow and choose Show Gravity Zone.

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Vocal music See also Choral music; Hymns; Lyrics. One convention used in opera or art song notation is beaming to lyrics. In this practice, eighth notes and sixteenth notes are never beamed together in the vocal line except when a syllable is sustained through more than one note (as in a melisma).

To beam according to lyric syllables 1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. 2. From the Utilities menu, choose Rebeam, then Rebeam to Lyrics. The Rebeam to Lyrics dialog box appears. 3. Specify the type of lyric you want rebeamed. You can specify an individual Verse,Chorus, or Section, if you wish, by selecting the lyric type, and entering the Verse, Chorus, or Section number. 4. If you want beams broken at each beat, click Also Break Beams at Each Beat in the Time Signature. In other words, Finale will begin a new beam at each beat even if a lyric melisma is still continuing. If you don’t use this option, the melisma beam will continue all the way through the measure—as long as the melisma lasts. 5. Click OK.

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Volume See also Key velocity; Continuous data. When you’re working with MIDI music information, there are two ways to control the volume of playback. The most common way is to control the key velocity of each note—that is, how hard it is “struck” when it’s played by the computer. Usually (but not always), MIDI keyboards respond to key velocity information the same way a piano does: the harder the note is struck, the louder it sounds. See Key velocity for more information. Key velocity has one limitation, however: it can’t control the volume of a note after it’s been struck. For piano music, this is no problem. But imagine a long note played by a trumpet—the player can swell and diminuendo within the same note. To create this kind of effect, you can use a second volume-control method: MIDI volume controller information. MIDI Volume is controller number 7; see Continuous data for instructions on creating and editing this and other controller data. To control the overall volume of playback, see Mixer.

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VST Steinberg's Virtual Studio Technology (VST) is an interface for integrating software audio synthesizer plug-ins such as Finale's included Aria Player for Finale with Garritan sounds. Finale supports all VST instrument (VSTi) plugins. VST and similar technologies use Digital Signal Processing to simulate traditional recording studio hardware with software. Thousands of plugins exist, both commercial and freeware. You can assign instruments included in VST plug-ins to Finale channels using the VST Instruments dialog box. To manage VST plug-ins, use the Manage Audio Units dialog box.

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Whole rests To save you extra work, Finale automatically places a default whole rest in every blank measure. It’s important to understand the difference between one of these default whole rests and a real whole rest that you’ve entered yourself using any of Finale’s music input methods. For example, a chord or a lyric syllable may be attached to a real whole rest (although Finale automatically skips rests when assigning lyrics by itself). Only a real whole rest can be moved up or down with the Speedy Entry Tool. Finale considers a “real” whole rest an entry—something you placed in the score—just like a note or another kind of rest. Therefore, a real whole rest will not be part of a multimeasure block rest in a part; it will be placed in a measure by itself. Furthermore, a real whole rest counts as “music” when you optimize staves (suppress the display of blank staves within a given system to produce a more compact and readable full score). Even though a staff appears to be empty, Finale won’t hide it if it contains a real whole rest—a fact you can use to your advantage if you want to “force” an otherwise empty staff to appear in a certain system when you’re optimizing systems. Just add a real whole rest, and Finale won’t hide the staff. Default whole rests are always centered between barlines.

To add a real whole rest 1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. 2. Press the 7 key. Unless Use MIDI Device has been turned off in the Speedy menu, a whole rest appears. (If not, a whole note appears; click it and press backspace or shift-delete to turn it into a whole rest.) Also use 7 to specify a duration of a whole rest in Simple Entry.

To move a real whole rest 1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. 2. Drag the rest up or down. You can drag the whole rest to any line or space. It always appears with a short staff line segment when drawn in the score, so it won’t be confused with a half rest.

To turn off the default whole rests for a staff If you prefer blank measures to be completely empty instead of displaying the default whole rest, follow these steps:

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1. Click the Staff Tool , and double-click the desired staff. The Staff Attributes dialog box appears. 2. Click Display Rests in Empty Measures to de-select it. If you want to perform this operation on other staves, click the up and down arrows to scroll through the staff attributes for each. 3. Click OK (or press enter).

To fill measures with rests 1. Click the Selection Tool , and select the region of music to fill with rests. Refer to Selecting music for different methods of selecting regions. 2. From the Utilities menu, choose Check Notation, then Fill With Rests. Finale scans each measure in the selected region, and automatically fills incomplete measures by adding the correct number of rests. Note that Finale does not convert empty measures to measures with actual whole rests.

To change the character for default measure rests 1. From the Document menu, choose Document Options then select Notes and Rests. 2. Select Default Measure Rest from the Rests Characters drop-down list and click on Select. 3. Select the rest symbol you would like to use from the Symbol Selection dialog box. Any characters selected other than rests will be ignored. 4. Click Select. 5. Click OK. All your default rests are now displayed using the selected character.

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Zoom in/Zoom out To zoom in and out • Press Ctrl-+ and Ctrl--(minus) keystrokes at any time to zoom in and out. There is no need to select the Zoom tool. Or, 1. Click the Zoom Tool . 2. Click the music. Finale enlarges the spot you clicked. To zoom out, press ctrl and click (or, if you haven’t switched to the Zoom Tool, press ctrl-shift) and click the right-button. Finale ‘stops’ at the following view percentages when zooming in and out: 10, 25, 50, 75, 100, 125, 150, 200, 300, 400, 500, 600, 700, 800, 900, 1000.

To enlarge a selected area This technique works only in Page View. 1. Click the Zoom Tool . 2. Drag across the music, creating a dotted-line rectangle. When you release the mouse, Finale enlarges the enclosed portion of the display, just enough to fill your monitor.

To zoom in/out by a specific percentage Choose Zoom from the View menu. In the resulting submenu you can choose a preset percentage, or set any percentage from 5 to 1000 by choosing Other from the submenu (or pressing Ctrl-0). See Keyboard Shortcuts-View menu.

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Reference The Finale Reference includes descriptions of all menu items, dialog box commands, and other information regarding Finale's functions.

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Appendix This appendix includes additional information about MIDI, percussion, libraries, templates, and other topics relevant to general Finale usage.

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About the FINMIDI.INI file The FINMIDI.INI file is created when you confirm your MIDI Setup (MIDI/Audio menu). All settings except the playback interrupt value (“MMESpeed”) are controlled in Finale's MIDI Setup dialog box.

[FINMIDI] MMESpeed=4 Optional. Defaults to 4. This value seldom needs to be edited. It controls the amount of milliseconds between playback interrupts. If you have a slower computer, you may want to increase this value to improve the playback performance. Note that the difference is very minimal. If you have a faster machine, you probably won't hear a difference at all.

[MMEDRVR] MidiOutReset=0 SyncMaster=0 Set in Finale. These settings correspond to the checkboxes in the MIDI Setup dialog box. InName1= InBase1= ... OutName1= OutBase1= OutMatch1= ... Do not edit. Controlled in the MIDI Setup dialog box. The only values you may need to edit are the “OutMatch” settings. They default to 1, which means that each note on is matched up to a note off, even if it's the same pitch. You may need to edit this if your MIDI device cuts off all identical notes when the first note off is received. The Gravis Ultrasound exhibits this behavior; there may be other devices that behave similarly. Normally each note off is matched by a note on. 741

Alternative music fonts The following is a list of some of the fonts which are available to the Finale user in addition to Maestro, Maestro Percussion and Maestro Wide (which are included with the purchase of Finale) Finale’s default music font was developed for MakeMusic by Blake Hodgetts (see also Toccata and Fughetta). This is an elegant font, yet more robust than Petrucci, more accurately representing the look of engraved music. Maestro Wide is identical with the exception of wider noteheads. Petrucci (included with the purchase of Finale) This music font is called Petrucci, named for Ottaviano Petrucci, the sixteenthcentury Italian who first used movable type for printing polyphonic music. It was the default music font for Finale products for years, but is now shipped for compatibility. Tamburo (included with the purchase of Finale) Tamburo, an Italian term for drum, is a font primarily comprised of noteheads. It contains a variety of symbols particularly useful for percussion notation, including instrument noteheads and several articulation marks. Tamburo also contains a full set of symbols for use in hymnal shape note music, where each note of the scale is displayed with a unique notehead. Moreover, Tamburo expands your choice of accidentals for quarter-tone music. Finale Engraver Font (included with the purchase of Finale) The Finale Engraver’s font set was developed by Bruce Nelson to meet the Music Publisher Association's music font design specifications. It includes a larger notehead with a different notehead angle. It also includes “Let Ring” noteheads, “Double-stopped unison” noteheads, “Trill to” noteheads, “Tonecluster” noteheads, variations on dynamics and articulations, tempo markings, and harp pedaling symbols. (See Engraver Font) The Jazz Font (included with the purchase of Finale, Finale Allegro, or Finale PrintMusic) The Jazz Font was the premiere hand written music font prior to Finale 2010, and includes handwritten text, percussion and guitar symbol fonts as well. The Broadway Copyist Font (included with the purchase of Finale or Finale PrintMusic) The Broadway Copyist Font, Finale's premiere hand written music font, comes with handwritten text, percussion and guitar symbol fonts as well.

742

November by Robert Piéchaud ($70) November is a rich set made up of more than 330 symbols, from basic shapes such as note heads, clefs and rests, up to rarer characters like microtonal accidentals, plain-song clefs or baroque ornaments. Based on the fractal concept, in which details are as important as the whole, even for very small symbols such as music characters, November has been crafted with total attention to details and a new coherence. November is inspired by the spirit of traditional music engraving art... but with a revolutionary graphic idea! http://www.klemm-music.de/november Klemm Music Technology Waldstieg 2 D-37133 Friedland, Germany Neuma and Neuma Symbol (part of the Medieval plug-in package) by Robert Piéchaud ($200) The Medieval plug-in offers you the possibility to produce professional transcriptions of early music easily, from Gregorian square notation to Italian mixed notation, with a beautiful rendering. Medieval gives you a wide choice of tools such as automatic recognition of neumes (more than 80!) up to 7 notes, liquescences, automatic placing of the “direct”, stemmed note groupings, and numerous special symbols: quilisma, rests, plicas, large ligatures, black-void notation, etc. With Medieval you will get: 1. 2. 3. 4. 5.

A Finale plug-in (installed into the Finale plug-in Folder) consisting of a new palette with 12 graphic-oriented tools; 2 new fonts, Neuma and Neuma Symbol, for PostScript and TrueType printers; 2 new default files; Samples such as Gregorian, Franconian, Machaut´s Mass, etc.; A real handbook with a complete english tutorial

http://www.klemm-music.de/medieval Klemm Music Technology Waldstieg 2 D-37133 Friedland, Germany Toccata and Fughetta fonts by Blake Hodgetts (Shareware: $30 for both) 743

Hundreds of additional musical symbols; available for Macintosh and Windows. The full package includes TrueType and PostScript fonts, custom Finale libraries, character charts, stem connection settings and full documentation. Additional information and downloadable TrueType versions available at the following locations: ftp://ftp.shsu.edu/pub/finale/ TocFug.zip [Windows] TocFug.sit.hqx [Macintosh] TocFugRead.txt [Information text file] http://www.efn.org/~bch/AboutFonts.html Contact the author at [email protected], or write:

Blake Hodgetts 4495 Thunderbird Dr. Eugene, OR 97404

GraceNotes & Crescendo ($40 + $7.50 UPS ground) These music fonts give another look to basic notational symbols (quarter note head, Treble clef, etc.) and provide a greater selection of percussion symbols, symbols for Gregorian Chant, Harp Pedal markings and much more. Available for Macintosh and Windows.

Casady & Greene 22734 Portola Drive Salinas, CA 93908-1119 Phone 800-359-4920 or 408-484-9228 Fax 408-484-9218

Sonata ($29.95 + your choice of $6 or $9 shipping)

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The first music font, and a favorite among computer copyists. This font has fewer symbols than most other fonts but remains popular because of its “classic” look. Available for Macintosh and Windows.

Adobe Systems Incorporated PO Box 6458 Salinas, CA 93912-6458 General Phone: (800) 833-6687 Image Club (to order fonts on floppy) (800) 661-9410

Also, you can preview all of Adobe's fonts on their Type On Call CD-ROM for $49. If you then choose to purchase the code to unlock a specific font from the CD, there is an additional charge. For Sonata, this fee is $25.

Metronome & MetTimes ($24.95 + $3 shipping) A music font that works like a text font. A collection of number sets, text characters and built-in music characters lets you mix text with markings and music symbols without changing fonts. MetTimes includes the largest collection of dynamics in any music font. Available for Macintosh and Windows. DVMarticulations is included free of charge. DVM Publications 104 Woodside Rd. Suite A-202 Haverford, PA 19041 Phone/Fax: (610) 896-0996 E-Mail: [email protected] Kidnotes ($39.00 + $3 shipping) Offers noteheads with letters embedded in them. Intended for music for beginning music students, this font can be used to display note names on noteheads. Available for Macintosh and Windows. DVMarticulations is included free of charge.

DVM Publications 745

104 Woodside Rd. Suite A-202 Haverford, PA 19041 Phone/Fax: (610) 896-0996 E-Mail: [email protected]

Golden Age ($65 includes US postage) “GoldenAge” is a full-featured package of four typefaces inspired by the clear, highly legible look of professionally hand-copied sheet music. Available for either Windows or Macintosh, the package includes PostScript and TrueType versions, full documentation on their use, sample text/chord suffix libraries and a Default file template.GoldenAge has a highly readable, informal design appropriate for use in big band charts, jingles, record dates, or anywhere a commercially hand-copied look is desirable. Session players prefer the look of GoldenAge because of its familiarity and readability.The set of 4 fonts (2 music/2 text) is available for $65.00 US (postpaid) from:

Donald Rice Music Preparation P.O. Box 110838 Brooklyn, NY 11211 U.S.A. phone: 718-486-7307 email: [email protected]

*Please specify* Macintosh or Windows platform. Sample of GoldenAge are available for viewing on the GoldenAge web page at http://members.aol.com/melroc/GA.html Susato ($149 US only – plus shipping; others please call or Fax) The Susato PostScript Type 1 and TrueType character sets take the aesthetics of traditional note engraving into account and thus greatly enhance the printouts made with Finale. The standard character set is complemented by an accordion register font, a guitar tablature font, and a notehead font. Available for Mac and Windows.

Contact: Werner Eickhoff 746

MusicFontLab Schauinslandstrasse 99 D-79100 Freiburg im Brsg. Germany Phone +49-761-29970 Fax +49-761-29970 The Figured Bass font greatly simplifies the creation and entry of figured bass symbols. Its features include: 1. Direct entry (e.g. as lyrics in Finale) of numbers, special symbols and accidentals without changing font or size within the same verse. 2. Direct entry of the characters mentioned beside or below each other within only one “syllable”. 3. Enter the numbers 2,4,5,6,7,9 with accidental or as struck-through characters. The numbers “5+” and “7+” are even available in two different versions. 4. Easy-to-remember keyboard layout. A similar font exists in a version for German users, called FinalGeneralBass. The very important difference is only the keyboard-layout for German system. 5. Great flexibility because of many available characters and several different entry methods. The full version costs $50 (or DM 45.-) and can be ordered from

Ansgar Krause Erftweg 29 47807 Krefeld Germany

INTERNET: [email protected] Be sure to include the following information: Version for Windows or Macintosh, US-Version or German, and via e-mail or disk ($5 extra).

747

The Really Loud Font Company offers a variety of music related fonts. Visit their web site at http://members.aol.com/LoudFonts/Home.htm for current pricing and product information. Basic Set: $90, Supplementary Sets: $40 each -- all three sets for $90, or all of the items lists below for $150

TempiFont Family: A set of 4 fonts which facilitates Tempo Markings, Metric Modulations, Swing Time Notations, etc.

ThesisFont: Provides Parenthetic Dynamics, Microtonal Accidentals, Harp and Organ Pedallings, Brackets, Stimmen and miscellaneous articulations.

MetricFont: Notates any type of time signature whether compound additive, irregular, irrational, etc.

Basic Allotment Library -- re-space music (especially cross rhythms) cleanly and evenly in a minimum of horizontal space. (Supplementary Sets)

TallMetricFonts and MultiMaster MetricFonts -- Notate large size (conductors style) time signatures as in Metric Font. MultiMaster fonts enhance precision and control for Mac OS users.

FiguredBass Fonts --- Notate, figures, progressions and basic Schenkerian notations. Both within FINALE and also in text files.

Custom Allotment Libraries -- re-space music (especially cross rhythms) cleanly and evenly in 14 different proportional spacings. Mail orders to: Konanur Inc., 155 East 23rd Street, Suite 302, New York, NY 10010-3700 or call 212.475.3351 and leave your address if you desire a catalog. E-Mail (questions, comments and requests for information) to: [email protected] BlueNotz by Thomas Williams ($60)

748

BlueNotz™ fonts for the Macintosh, and soon for Windows, has been designed to replace the stiff, formal look of engraver based fonts with the look and “feel” of handwritten music copy. There are three components of the font bundle. BlueNotz™ is the main symbol font and is used for generating many of characters and symbols used for written music. BlueText™ is used for titles, score expressions, and any other text applications and come with the added feature of being able to create prebuilt text highlighters such as over and underscores. BlueChords™, the newest addition to the family, is used for chords and chord suffixes and includes many commonly used pre-built chord suffixes.

Musink 22103 Stocklmeir Court Cupertino, Ca 95014

749

Bank Select - Bank Change Table The following table provides a list of MIDI instruments and the bank select method used for them. When defining the type of patch you'll send from Finale, choose the appropriate method from the Patch drop-down list. For example for the Roland D-20, choose “Bank Select 0, Bank Select 32, Program Change” from the drop-down list. For the Yamaha TG300, choose “Bank Select 0, Program Change” from the drop-down list.

Instrument

Bank Select Method

Patch drop-down list menu selection

Alesis QS6

Controller 0 Only

Bank Select 0, Program Change

Alesis Quadra Synth Plus

Controller 0 Only


Casio CT-470

Controller 0 and 32

Bank Select 0, Bank Select 32, Program Change

Creative Labs, Sound Blaster AWE-32

Controller 0 Only


E-MU Classic Keys

Controller 0 and 32


E-MU Proteus FX

Controller 0 and 32


Ensoniq KS-32

Patch 100..127

Program Change, Program Change

Ensoniq SQ1

Patch 100..127


Ensoniq TS-10

Controller 0 and 32


750

Ensoniq VFX

Patch 100..127


GeneralMusic, S MusicProcessor

Controller 0 Only


GeneralMusic, WX/SX Series

Controller 0 Only


Kawai K-11

Controller 0 and 32


Korg 01/W

Controller 0 and 32


Korg 03R/W

Controller 0 and 32


Korg 05R/W

Controller 0 and 32


Korg i3

Controller 0 and 32


Korg T3

Patch 100..127


Korg Wavestation

Controller 0 and 32


Korg X3

Controller 0 and 32


Korg X5DR

Controller 0 and 32


Kurzweil 1000PX A/B

Patch 100..127


Kurzweil K1000

Controller 0 and 32


751

Kurzweil K2000

Controller 0 and 32


Kurzweil K2500

Controller 32 Only


Kurzweil MASS

Controller 0 and 32


Kurzweil PC-88mx

Controller 32 Only


Oberheim 1000

Controller 32 Only


Peavey Spectrum Bass

Controller 0 and 32


Roland D-20

Controller 0 and 32


Roland D-70

Controller 0 and 32


Roland GR-1

Controller 0 Only


Roland GS

Controller 0 Only


Roland GS mkII

Controller 0 and 32


Roland GS SC-55

Controller 0 Only


Roland GS SC-88

Controller 0 and 32


Roland JD-990

Controller 0 and 32


752

Roland JV-1080

Controller 0 and 32


Roland JV-880

Controller 0 Only


Roland JV-90

Controller 0 and 32


Roland Super JV-1080

Controller 0 and 32


Roland U-220

Controller 0 and 32


Roland XP-50

Controller 0 and 32


Technics KN1000

Controller 0 and 32


Technics PR307

Controller 0 and 32


Yamaha SY-35

Controller 0 and 32


Yamaha SY-77

Patch 100..127


Yamaha SY-85

Controller 0 and 32


Yamaha SY-99

Controller 0 and 32


Yamaha TG-100

Controller 0 and 32


Yamaha TG-300

Controller 0 Only


753

Yamaha TG-33

Controller 0 and 32


Yamaha TG-500

Controller 0 and 32


Yamaha TX-7

Controller 0 and 32


Yamaha W5/7

Controller 0 Only


Yamaha XG

Controller 0 and 32


754

Configuring Ensembles.txt Ensembles saved in the Document Setup Wizard are stored in this text file. Also, the Exercise Wizard uses the Ensembles.txt file to determine what make up an ensemble and what ranges to use. You can access all of these options within the Exercise Wizard. [Ensemble Name] This section contains the name of the ensemble. InstNames= List of instruments in the ensemble InstrCopies= Number of copies of each instrument. Corresponds to list of instruments above it, separated by commas Range= Lists skill level to use for ensemble (1=Advanced, 2=Intermediate, 3=Basic) DocStyle=

755

Configuring Instrument.txt The Setup and Exercise Wizards use the instrument.txt file to determine what instruments to offer, what order from top to bottom to place the instruments and more. To include musical characters from the default font, use ^flat() for a flat, ^sharp() for a sharp and ^natural() for a natural. For example, to get a B flat Clarinet, you’d type B^flat() Clarinet. Finale 2010 allows the Patch value to go to different banks by adding 128 for each bank starting with bank 0, then adding the program change number. For example, Bank 1 Program Change 2 would equal 258 for the Patch Setting: 128 (Bank 0) + 128 (Bank 1) + 2 (Program Change 2).

[INS:Intrument] These sections contain the detailed information for the particular instrument such as [INS:Flute]. DisplayName = Name as it appears on Page 2 of the Setup Wizard Name = Staff Name Abbr = Abbreviated Staff Name useKeySigs = Use Key Signature for staff and staff transposition (1= Use, 0= Don’t Use) Transposition = Set the transposition with the number of half steps up or down (Examples: 12=octave up, 0 = none, -12 octave down) TransClef = Type of clef for transposing instrument (treble, bass, alto, treble8vb, percussion, tenor, baritone, bass8vb, frenchviolin, cbaritone, mezzosoprano, soprano, altpercussion, treble8va, bass8va, tab1, tab2, blank) StaffType = Type of Staff (standard, percussion, single, grand, organ) Clef = Type of Clef (treble, bass, alto, treble8vb, percussion, tenor, baritone, bass8vb, frenchviolin, cbaritone, mezzosoprano, soprano, altpercussion, treble8va, bass8va, tab1, tab2, blank) ShowStems = 0=No stems (stems unchecked in Staff Attributes), 1=Show stems above 756

staff. Used primarily for TAB staves. FretInst = Name of fretboard instrument. Used for TAB staves. Patch = Patch Number for General MIDI based from 0-127. PercMap = Percussion Map Name or single General MIDI note number. Use quotes to enter the name of a percussion map, if it contains a number. ExWizDisp = 1=Instrument will appear in the Exercise Wizard, 0=Instrument does not appear in the Exercise Wizard, but does appear in the Setup Wizard RangeLow = Lowest note allowed in the Exercise Wizard in various skill levels: Basic, Intermediate, Advanced. (Values expressed as MIDI note numbers) RangeHigh = Highest note allowed in the Exercise Wizard in various skill levels: Basic, Intermediate, Advanced. (Values expressed as MIDI note numbers)

[GRP:Group] These sections define the group or family names. These items will be grouped together using a bracket. Name = Group Name Abbr = Abbreviated Group Name Instrument = x Instrument name (x = include in list, no x does not include in list) ExWizDisp = 1=Group will appear in the Exercise Wizard, 0=Group does not appear in the Exercise Wizard, but does appear in the Setup Wizard

[ORD:Order] This list contains the default order of the instruments in the wizard. As in the Group section, x means include the instrument; no x means do not include the instrument. If an instrument is not listed in the Order, it will be added to the bottom of the list.

757

Configuring MacSymbolFonts.txt If you are sharing files between a Macintosh and a Windows machine, Finale uses this file on the Macintosh to determine which fonts, such as music symbol fonts, should not be converted. If you are using custom music or symbol fonts, you will need to add these fonts to the list. To edit the MacSymbolFonts text file, you should quit Finale, then open the MacSymbolFonts file in a text editor such as WordPad or SimpleText. Each Symbol Font name appears in the font list within Finale, followed by a carriage return. Example: EngraverFontExtras EngraverFontSet

See Also Font Utilities

758

Configuring Pagesizes.txt The Setup Wizard, the Page Layout Tool and other parts of Finale use the pagesizes.txt file to determine the page size and margins of the score. You can edit this file to get a custom page size and margin. Make sure you save the file as text only. [Page Sizes] This section contains the page size name, Width and Height (followed by a semicolon), Top Margin, Bottom Margin, Left Margin, Right Margin, and a Left Margin for single-instrument documents. The Top and Bottom margins are assumed to be negative; there is no need to put in the minus sign. Ex. Letter = 8.5, 11; .5, .5, 1, .5, .75

759

Customized Speedy Keymap This section describes how to install a customized Speedy keymap for German and Swiss-German keyboards for Finale for Windows. The techniques can also be used for other international keyboards. Installing the customized keymap requires editing your Finale.INI file directly. Please use caution when editing Finale.INI. Follow the warnings and instructions below. The Finale.INI file can be edited with a text editor such as Notepad. If you use a word processor (such as Word), be sure to save the file as “text only with line breaks”. Do not edit the Finale.INI file while Finale is running.

If you choose to edit the Finale.INI file, be sure to make a backup of it first. If you make an accidental change, you can either restore the backup copy of the Finale.INI file, or delete the edited Finale.INI file. When you launch Finale again, Finale will re-generate a new Finale.INI. If Finale creates a new Finale.INI file, any custom settings and Finale Preferences you had saved in your previous INI file will be lost. If you have any doubts about how to edit Finale.INI, don't do it! Mistakes can cause you to lose your Finale settings, and perhaps cause Finale to run improperly. This is why a backup copy of the file is so important.

The German Keymap You will need to replace the entire [SpeedyKeys] section of Finale.INI, including the line “[SpeedyKeys]” as well as all subsequent lines beginning with “SK”. Replace the [SpeedyKeys] section with the new [SpeedyKeys] section below. If the [SpeedyKeys] section does not exist in your Finale.INI, simply add the new section below. This keymap adopts the standard Speedy Entry commands for German and Swiss-German keyboard layouts. In addition, Swiss-German users can now use the '$' key to change layers (instead of the '#' key).

[SpeedyKeys] SK000=59 0 -1 -1 -1 -1 5 SK001=65549 0 0 -1 -1 -1 34 SK002=65582 0 -1 -1 -1 -1 23 SK003=65544 0 0 -1 -1 -1 24 SK004=65574 0 0 -1 -1 -1 15

760

SK005=65574 0 1 -1 -1 -1 11 SK006=65576 0 0 -1 -1 -1 16 SK007=65576 0 1 -1 -1 -1 12 SK008=65573 0 0 -1 -1 -1 13 SK009=65573 0 1 -1 -1 -1 9 SK010=65573 1 0 -1 -1 -1 17 SK011=65575 0 0 -1 -1 -1 14 SK012=65575 0 1 -1 -1 -1 10 SK013=65575 1 0 -1 -1 -1 18 SK014=91 0 -1 -1 -1 -1 9 SK015=93 0 -1 -1 -1 -1 10 SK016=65563 0 0 -1 -1 -1 82 SK017=39 0 -1 -1 -1 -1 6 SK018=35 0 -1 -1 -1 -1 8 SK019=65725 0 1 -1 -1 -1 25 SK020=65725 1 1 -1 -1 -1 26 SK021=65723 0 0 -1 -1 -1 19 SK022=65723 1 0 -1 -1 -1 21 SK023=65725 0 0 -1 -1 -1 20 SK024=65725 1 0 -1 -1 -1 22 SK025=65643 0 -1 -1 -1 -1 19 SK026=65643 1 -1 -1 -1 -1 21 SK027=65645 0 -1 -1 -1 -1 20 SK028=65645 1 -1 -1 -1 -1 22 SK029=65642 0 -1 -1 -1 -1 28 SK030=65642 1 -1 -1 -1 -1 29 SK031=47 0 -1 -1 -1 -1 27 SK032=46 0 -1 -1 -1 -1 33 SK033=65723 0 1 -1 -1 -1 28 SK034=65723 1 1 -1 -1 -1 29 761

SK035=65615 0 -1 -1 -1 -1 1 SK036=65616 0 -1 -1 -1 -1 2 SK037=65612 0 -1 -1 -1 -1 3 SK038=65612 1 -1 -1 -1 -1 4 SK039=65584 0 0 -1 -1 -1 81 SK040=65584 1 0 -1 -1 -1 39 SK041=65584 0 1 -1 -1 -1 48 SK042=65584 1 1 -1 -1 -1 104 SK043=65585 0 0 -1 -1 -1 40 SK044=65585 0 1 -1 -1 -1 49 SK045=65585 1 1 -1 -1 -1 105 SK046=65585 1 0 -1 -1 -1 83 SK047=65586 0 0 -1 -1 -1 41 SK048=65586 0 1 -1 -1 -1 50 SK049=65586 1 1 -1 -1 -1 106 SK050=65586 1 0 -1 -1 -1 84 SK051=65587 0 0 -1 -1 -1 42 SK052=65587 0 1 -1 -1 -1 51 SK053=65587 1 1 -1 -1 -1 107 SK054=65587 1 0 -1 -1 -1 85 SK055=65588 0 0 -1 -1 -1 43 SK056=65588 0 1 -1 -1 -1 52 SK057=65588 1 1 -1 -1 -1 108 SK058=65588 1 0 -1 -1 -1 86 SK059=65589 0 0 -1 -1 -1 44 SK060=65589 0 1 -1 -1 -1 53 SK061=65589 1 1 -1 -1 -1 109 SK062=65589 1 0 -1 -1 -1 87 SK063=65590 0 0 -1 -1 -1 45 SK064=65590 0 1 -1 -1 -1 54 762

SK065=65590 1 1 -1 -1 -1 110 SK066=65590 1 0 -1 -1 -1 88 SK067=65591 0 0 -1 -1 -1 46 SK068=65591 0 1 -1 -1 -1 55 SK069=65591 1 1 -1 -1 -1 111 SK070=65591 1 0 -1 -1 -1 89 SK071=65592 0 0 -1 -1 -1 47 SK072=65592 0 1 -1 -1 -1 56 SK073=65592 1 1 -1 -1 -1 112 SK074=65592 1 0 -1 -1 -1 90 SK075=65593 1 0 -1 -1 -1 32 SK076=65593 0 0 -1 -1 -1 31 SK077=65632 0 -1 -1 -1 -1 81 SK078=65632 1 0 -1 -1 -1 39 SK079=65633 0 -1 -1 -1 -1 40 SK080=65633 1 -1 -1 -1 -1 83 SK081=65634 0 -1 -1 -1 -1 41 SK082=65634 1 -1 -1 -1 -1 84 SK083=65635 0 -1 -1 -1 -1 42 SK084=65635 1 -1 -1 -1 -1 85 SK085=65636 0 -1 -1 -1 -1 43 SK086=65636 1 -1 -1 -1 -1 86 SK087=65637 0 -1 -1 -1 -1 44 SK088=65637 1 -1 -1 -1 -1 87 SK089=65638 0 -1 -1 -1 -1 45 SK090=65638 1 -1 -1 -1 -1 88 SK091=65639 0 -1 -1 -1 -1 46 SK092=65639 1 -1 -1 -1 -1 89 SK093=65640 0 -1 -1 -1 -1 47 SK094=65640 1 -1 -1 -1 -1 90 763

SK095=65641 0 -1 -1 -1 -1 31 SK096=65641 1 -1 -1 -1 -1 32 SK097=65609 0 -1 1 -1 0 57 SK098=65611 0 -1 1 -1 0 58 SK099=65724 0 0 1 -1 0 59 SK100=65625 0 -1 1 -1 0 60 SK101=65624 0 -1 1 -1 0 61 SK102=65603 0 -1 1 -1 0 62 SK103=65622 0 -1 1 -1 0 63 SK104=65602 0 -1 1 -1 0 64 SK105=65614 0 -1 1 -1 0 65 SK106=65613 0 -1 1 -1 0 66 SK107=65601 0 -1 1 -1 0 67 SK108=65619 0 -1 1 -1 0 68 SK109=65604 0 -1 1 -1 0 69 SK110=65606 0 -1 1 -1 0 70 SK111=65607 0 -1 1 -1 0 71 SK112=65608 0 -1 1 -1 0 72 SK113=65610 0 -1 1 -1 0 73 SK114=65617 0 -1 1 -1 0 74 SK115=65623 0 -1 1 -1 0 75 SK116=65605 0 -1 1 -1 0 76 SK117=65618 0 -1 1 -1 0 77 SK118=65620 0 -1 1 -1 0 78 SK119=65626 0 -1 1 -1 0 79 SK120=65621 0 -1 1 -1 0 80 SK121=65646 0 0 -1 -1 -1 33 SK122=65759 0 0 -1 -1 -1 8 SK123=246 -1 -1 -1 -1 -1 100 SK124=214 -1 -1 -1 -1 -1 100 764

SK125=228 -1 -1 -1 -1 -1 101 SK126=196 -1 -1 -1 -1 -1 101 SK127=65556 0 0 0 -1 -1 102 SK128=65619 0 0 1 -1 1 122 SK129=65619 0 0 0 -1 -1 122 SK130=65619 0 1 1 -1 1 19 SK131=65619 0 1 0 -1 -1 19 SK132=65606 0 0 1 -1 1 123 SK133=65606 0 0 0 -1 -1 123 SK134=65606 0 1 1 -1 1 20 SK135=65606 0 1 0 -1 -1 20 SK136=65614 0 -1 1 -1 1 124 SK137=65614 0 -1 0 -1 -1 124 SK138=65624 0 -1 1 -1 1 125 SK139=65624 0 -1 0 -1 -1 125 SK140=65622 0 -1 1 -1 1 126 SK141=65622 0 -1 0 -1 -1 126 SK142=65602 0 0 1 -1 1 27 SK143=65602 0 0 0 -1 -1 27 SK144=65602 0 1 1 -1 1 128 SK145=65602 0 1 0 -1 -1 128 SK146=65613 0 -1 1 -1 1 100 SK147=65613 0 -1 0 -1 -1 100 SK148=65601 0 -1 1 -1 1 129 SK149=65601 0 -1 0 -1 -1 129 SK150=65607 0 -1 1 -1 1 5 SK151=65607 0 -1 0 -1 -1 5 SK152=65608 0 -1 1 -1 1 1 SK153=65608 0 -1 0 -1 -1 1 SK154=65618 0 -1 1 -1 1 127 765

SK155=65618 0 -1 0 -1 -1 127 SK156=65620 0 0 1 -1 1 25 SK157=65620 0 0 0 -1 -1 25 SK158=65620 0 1 1 -1 1 26 SK159=65620 0 1 0 -1 -1 26

766

Document Settings and Program Settings The following document settings are saved with the document. This means that opening this document on another computer would not change these settings. Program Settings are specific to a particular installation of Finale. Document Settings

Program Settings

View menu/Snap to Grid

Edit menu/Automatic Update Layout

View menu/Snap to Guide

Automatic Music Spacing

View menu/Scroll or Page View

Palette ConfigurationTool Set

View menu/View Percentage

View menu/Show Margins

View menu/Staff Sets

View menu/Show System Locks

View menu/Grid Guide Options

Edit menu/Enharmonic Spelling

View menu/Show Grid

Special Tools menu/Show Crosshairs

View menu/Show Guides

Movable Items dialog box

View menu/Show Rulers

Program Options dialog box

View menu/Show Message Bar

Edit menu/Measurement Unit

View menu/Layer Selection

Special Tools menu/Tie Direction

Document menu/Show Active Layer Only

MIDI Setup dialog box

Document menu/Display in Concert Pitch

MIDI Thru dialog box

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Document Options-Accidentals

Special Tools menu/Tie Direction

Document Options-Alternate Notation

MIDI Thru Table dialog box

Document Options-Augmentation Dots

Import MIDI File Options dialog box

Document Options-Barlines

Export MIDI File Options dialog box

Document Options-Beams

Window menu/Main Tool Palette

Document Options-Chords

Window menu/Simple Entry Palette

Document Options-Clefs

Window menu/Simple Entry Rests Palette

Clef Designer dialog box

Window menu/Smart Shape Palette

Document Options-Flags

Window menu/Special Tools Palette

Document Options-Fonts

Window menu/Instrument List

Document Options-Grace Notes

Window menu/Playback Controls

Document Options-Key Signatures

Staff menu/Show Staff Styles

Document Options-Layers

Staff menu/Show Default Staff Names

Document Options-Lines and Curves

Staff menu/Show Default Group Names

Document Options-Lyrics

Staff menu/Auto Sort Staves 768

Document Options-Multimeasure Rests

Measure menu/Dragging Selects Measure Handles

Document Options-Music Spacing

Measure menu/Dragging Selects Number Handles

Document Options-Notes and Rests

Simple Entry Options dialog box

Document Options-Piano Braces

Speedy Entry Options dialog box

Document Options-Repeats

Speedy menu/Use MIDI keyboard

Repeat Bars dialog box

Speedy menu/Playback During Drag

Document Options-Stems

Speedy menu/Jump to Next Measure

Document Options-Staves

Speedy menu/Create New Measures

Stem Connections dialog box

Speedy menu/Check Beaming

Document Options-Text

Speedy menu/Check Accidentals

Document Options-Ties

Speedy menu/Check for Extra Notes

Tie Contour dialog box

Speedy menu/Use Five Line Staff

Document Options-Time Signatures

Speedy menu/Auto Freeze Accidentals

Document Options-Tuplets

Speedy menu/Edit Tab

Playback/Record Options dialog box

Speedy menu/Insert Notes

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Page Format for Score dialog box

HyperScribe menu/Beat Source

Page Format for Parts dialog box

HyperScribe/Record Mode

Page Setup dialog box

Tap dialog box

Edit Staff Attributes dialog box

MIDI Event dialog box

Select Clef dialog box

Tap States dialog box

Edit Full Staff Name dialog box

Playback and/or Click dialog box

Position Full Staff Name dialog box

HyperScribe Options dialog box

Edit Abbreviated Staff Name dialog box

Fixed Split Point dialog box

Position Abbreviated Staff Name dialog box

Moving Split Point dialog box

Staff Transposition dialog box

MIDI Input Filter dialog box

Alternate Notation dialog box

Transcription Filter dialog box

Staff Setup dialog box

Punch-in Pre-Roll dialog box

Percussion Layout Selection dialog box

Click Input dialog box

Percussion Layout Designer dialog box

Click Output dialog box

Symbol Selection dialog box

Expression menu/Show All Handles

Extract Parts dialog box

Expression menu/Metatool Attachment

Tablature dialog box

Chord menu/Input Method

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Define Staff Styles dialog box

Chord menu/Substitute Symbols

Apply Staff Styles dialog box

Chord menu/Show All Handles

Group Attributes dialog box

Chord menu/Italicize Capo Chords

Respace Staves dialog box

Fretboards (View)

Staff Usage dialog box

Fretboard Editor dialog box

Staff menu/Set Default Names/Full Staff Names

Note Mover Function

Staff menu/Set Default Names/Abbreviated Staff Names

Rebar Options dialog box

Staff menu/Set Default Names/Full Group Names

Special Tools menu/Show Handles

Staff menu/Set Default Names/Abbreviated Group Names

Special Tools menu/Update

Position Full Staff Names dialog box

Quantization Settings dialog box

Position Abbreviated Staff Names dialog box Position Full Group Names dialog box Position Abbreviated Group Names dialog box Key Signature dialog box Non Standard Key Signature dialog box Key Step Map dialog box 771

Accidental Order and Amount dialog box Tone Center(s) dialog box Accidental Octave Placement dialog box Special Key Signature Attributes dialog box Symbol List dialog box Time Signature dialog box Composite Time Signature dialog box Measure menu/Measure Numbers Show/Hide Measure Number dialog box Enclosure Designer dialog box Position Measure Number dialog box Measure Attributes dialog box Edit Frame dialog box Default Tuplet Visual Definition dialog box Smart Shape menu/Direction Slur Contour dialog box Smart Shape Placement dialog box

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Smart Shape Options dialog box Articulation Selection dialog box Expression Selection dialog box Executable Shape Selection dialog box Shape Selection dialog box Rulers and Grid dialog box Repeat Selection dialog box Chord menu/Chord Style Chord menu/Left Align Chords Chord menu/Show Guitar Fretboards Chord menu/Simplify Spelling Chord Suffix Selection dialog box Resize Fretboards dialog box Fretboard Instrument Definition dialog box Fretboard Styles dialog box Fretboard Style Fonts and Shapes dialog box Fretboard Barre Shape Selection dialog box Fretboard Fingered String Shape Selection dialog box 773

Fretboard Open String Shape Selection dialog box Fretboard Muted String Shape Selection dialog box Fretboard Custom Shape Selection dialog box Adjust Baselines dialog box Instrument List dialog box Text menu/Size Text menu/Style Text menu/Justification Text menu/Word Wrap Text menu/Attach to Measure/Page Text menu/Show Only On Screen Font dialog box Size dialog box Baseline Shift dialog box Superscript dialog box Tracking dialog box Character Settings dialog box Page Offset dialog box Line Spacing dialog box 774

Page Layout menu/Avoid Margin Collision Page Layout menu/Update Page Format for Score Edit System Margins dialog box Adjust Staff System Range dialog box Edit Page Margins dialog box Adjust Page Range dialog box Page Size dialog box Tilting Mirror dialog box Mirror Attributes dialog box Transposition dialog box Selective Mirror dialog box Beaming Chart dialog box Placeholder dialog box Set Placeholder dialog box Ossia Measure Designer dialog box Ossia Measure Assignment dialog box Ossia Page Assignment dialog box Tempo Adjustment dialog box

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Set Swing dialog box Duration dialog box Document menu/Special Part Extraction File Info dialog box Click and Countoff dialog box Assign to Staff dialog box

776

Equivalents This table gives equivalents for EVPUs, spaces, inches centimeters, millimeters, points, and picas. (There are 288 EVPUs - ENIGMA Virtual Page Units - per inch. A space is the music engraver’s unit of measurement - the distance between two staff lines.) EVPUs

Spaces

Inches

CM

MM

Points

Picas

24

1

.083

.212

2.12

6

.667

1

.042

.0035

.009

.09

.25

.042

288

12

1

2.54

25.4

72

6

113

4.708

.392

1 (.997)

10

28.25

2.3622

11

.458

.038

.1 (.097)

1

2.75

.2362

4

.167

.014

.035

.35

1

.083

48

2

.167

.423

4.23

12

1

Finale also uses its own units of rhythmic, or durational, measurement: EDUs, or ENIGMA Durational Units. There are 1024 EDUs per quarter note. The following table provides EDU equivalents for use on those occasions when you need to perform conversions of rhythmic value into EDUs in Finale.

Rhythmic value

EDUs

Rhythmic value

EDUs

Rhythmic value

EDUs

double whole

8192

quarter

1024

dotted 32nd

192

dotted whole

6144

dotted eigth

768

triplet sixteenth

171

777

whole

4096

triplet quarter

683

32nd

128

dotted half

3072

eighth

512

dotted 64th

96

half

2048

dotted sixteenth

384

64th

64

dotted quarter

1536

triplet eighth

341

dotted 128th

48

half note triplet

1365

sixteenth

256

128th

32

778

Ethnic Percussion MIDI Map Table The Ethnic Percussion Map included with Finale was designed for use with the Garritan Ethnic Percussion instrument sounds. See Garritan Personal Orchestra Finale Edition. The Ethnic Percussion sounds are loaded automatically when you add an Ethnic Percussion staff in the Setup Wizard (using the Garritan Instruments for Finale instrument set). For information regarding how this map is used for input and playback, see Percussion MIDI Maps. You can view or edit MIDI notes in the Percussion MIDI MIDI Map Editor dialog box. Tip: To see the relationship between MIDI Note numbers and pitches on a piano keyboard see the MIDI Note to Pitch Table.

MIDI Note Number

Name

MIDI Note Number

Name

36

Bata Macho Low

66

Super Tumba Muff

37

Bata Macho Muff

67

Super Tumba Slap

38

Bata Macho Slap

68

Surdu Open

39

Bata Itotele Low

69

Surdu Muff

40

Bata Itotele Muff

70

Lo Timbales Open

41

Bata Itotele Slap

71

Hi Timbales Open

779

42

Bata Onkokolo Low

72

Lo Timbales Stick Rim

43

Bata Onkokolo Muff

73

Tumba Low

44

Bata Onkokolo Slap

74

Tumba Muff

45

Low Bongo Open

75

Tumba Open

46

Low Bongo Muff

76

Tumba Slap

47

Low Bongo Slap

77

Udu Low

48

Hi Bongo Open

78

Udu High

49

Hi Bongo Muff

79

Cabassa Shake 1

50

Hi Bongo Slap

80

Cabassa Multi Shake

51

Cajone Low

81

Cabassa Shake 2

52

Cajone Slap

82

Maraccas Low Shake

53

Cajone Hit

83

Maraccas Low Multi Shake

54

Conga Center Tone

84

Maraccas Hi Shake 780

55

Conga Open

85

Maraccas Hi Multi Shake

56

Conga Muff

86

Shaker 1

57

Conga Slap

87

Shaker 2

58

Djembe Low

88

Egg Shaker 1

59

Djembe Muff

89

Egg Shaker 2

60

Djembe Slap

90

Egg Shaker Multi Shake

61

Quinto Low

91

Shekere Low

62

Quinto Muff

92

Shekere Hi

63

Quinto Slap

93

Shekere Low Shake

64

Super Tumba Center Tone

94

Shekere Hi Skake

65

Super Tumba Open

781

Exercise numbers in the Exercise Wizard Scales (1-1999)

Twisters (5000-5999)

Exercise Family

Exercise numbers

Exercise Family

Exercise numbers

Major

1-99

Major Triad

50005199

Natural Minor

100-199

Natural Minor

542005399

Harmonic Minor

200-299

Harmonic Minor

54005599

Melodic Minor

300-399

Melodic Minor

56005799

Chromatic

400-499

Whole Tone

500-599

Pentatonic

600-699

Diminished

700-799

Intervals (2000-3999)

Rhythms (6100-6999)

Exercise Family

Exercise numbers

Exercise Family

Exercise numbers

Seconds

20002199

Simple Time 1

61006199

782

Thirds

22002399

Simple Time 2

62006299

Fourths

24002599

Simple Time 3

63006399

Fifths

26002799

Compound Time 1

64006499

Sixths

28002999

Compound Time 2

65006599

Sevenths

30003199

Octaves

32003399

Mixed

36003799

Arpeggios (4000-4999) Exercise Family

Exercise numbers

Major Triad

40004099

Minor Triad

41004199

Diminished Triad

42004299

Augmented Triad

43004399

Major Seventh

44004499 783

Minor Seventh

45004599

Dominant Seventh

46004699

784

Exercise Wizard Instrument Ranges

785

786

787

Finale and Explorer Finale supports standard usage of Explorer in Windows 2000/XP. In particular, “drag and drop” and command-line switches are supported.

Drag and drop Drag and drop is supported for opening files. Start Finale and Explorer. In Explorer, select the Finale files you wish to open. Drag them to Finale's window and release the mouse button. The selected files will be opened in Finale. Finale also supports printing from Explorer: see your Windows documentation for details.

Project icons You can create Finale icons in the Program Manager for different projects. This feature can be used to specify groups of files such as a score, and all extracted parts of a score. Use icons in conjunction with the command-line switches below, specifying different sets of files and perhaps an alternate Finale.INI file, to customize your Finale working environment.

Command line Finale supports multiple filespecs and wildcards in the command line of a Program Manager icon. For example, specifying “*.mus” on the command line will open all the music files in the current folder. Finale also supports the following command-line switches. These switches can appear in any order, anywhere in the command line. They are not case sensitive, and can be combined. Either “-” or “/” acts as a switch trigger. Some command switches can be accessed more easily from the Program Options dialog box, such as whether to open a document on startup.

-q Instead of launching Finale and displaying an “Untitled” document, it displays the Open dialog box and prompts for the file you want to open. The Open dialog box appears once for each “q” switch in the command line. -n Launches Finale without loading the MIDI drivers. This can be useful if you are running other MIDI software, or if there is some other MIDIrelated problem on your system. -x Launches Finale without opening any documents, not even a default “Untitled” document. -z Launches Finale without any Plug-ins. The Plug-in menu will not appear.

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-i Lets you specify an alternate Finale.INI file. Enter the file name of the INI file you want Finale to draw its settings from. This can be very useful if you share your computer with someone else, or if you have different projects that require different global settings. -p Prints the first file on the command line.

Examples: Finale -qn Starts Finale without MIDI and prompts for a file name. Finale pr1\*.mus -i Finale.pr1 Opens all the files in the PR1 folder, and uses the settings in Finale.PR1 instead of Finale.INI.

About the Finale.INI file The Finale.INI file contains custom settings and Finale Preferences that you set within the Finale program. Finale Preferences include dialog boxes and menu settings that affect your Finale working environment. They do not include settings that differ from document to document. Most of the options in the Finale.INI can and should be set within the Finale program itself. Other settings can only be changed in the Finale.INI file. For example, you may need to change the font used for Finale's Message Bar, depending on the fonts installed in your system. The Finale.INI file can be edited with a text editor such as NotePad. In general, you will not need to edit this file directly. Do not edit the Finale.INI file while Finale is running.

If you choose to edit the Finale.INI file, be sure to make a backup of it first! If you make an accidental change, you can either restore the backup copy of the Finale.INI file, or delete the edited Finale.INI file. When you launch Finale again, Finale will re-generate a new Finale.INI. If Finale creates a new Finale.INI file, any custom settings and Finale Preferences you had saved in your previous INI file will be lost. The Finale.INI file is divided into sections, which are separated by headers that appear in square brackets. The Finale.INI consists of the following sections:

[Settings] [MIDI] [Extensions] 789

[Program Options] [Colors] [Chromatic Spelling Tables] [Palettes] [Speedy Keys] [Directories]

The following paragraphs contain general descriptions of each Finale.INI section, as well as an explanation of the settings within the section. Each setting contains a more detailed explanation, and is marked either Set in Finale, Optional, or Do not edit. The default values are also listed for each setting. If a key is not found in the Finale.INI file, then the default value will be assumed. Settings that are marked “Do not edit” should ordinarily be left alone. Edit such settings only if you are having a particular problem and you know exactly what you are doing!

[Settings] This section includes general settings that can enhance your Finale working environment. Init=(0, 1) Do not edit. The default is 0, which indicates that Finale has never been run on this system. Finale sets the Init value to 1 the first time it launches, and allows you to personalize your copy of Finale by entering your name and serial number. MusicFontName=Maestro MusicFontSize=24 Set in Finale. Reflects the default music font and size that you specify in the Document Options-Fonts. HandleSizeX=0 HandleSizeY=0 Optional. When set to 0, Finale displays handles on editable music elements using a default size. You may want to change these values (which are measured in pixels) if the handles are either too large or too small. For example, if you set your monitor to a high resolution, the handles that Finale displays may be too large in relation to the elements in your score. In this

790

instance, the handles may completely obscure an element such as a staccato marking. IncludeFonts=(0, 1, 2) Set in Finale. Use the Include Fonts checkbox in the Compile PostScript dialog box to turn this setting on (1) and off (0). If you're having problems with this value set to 1, try changing it to 2. When set to the default value of 1, Finale includes fonts when compiling PostScript listings. If Finale cannot find the soft font listing in the WIN.INI file, it asks the PostScript driver for fonts. When set to 2, Finale includes only the soft fonts listing from the WIN.INI file when compiling PostScript listings. If Finale cannot find the soft font listing, it will not ask the PostScript driver for fonts. If the resultant PostScript files are too large, you can change this setting to 0. When set to 0, the fonts will not be included in the PostScript listing. This results in much smaller files, but requires you to manually download the fonts prior to printing the files. MaxPSFontsPerPage=15 Do not edit. This setting controls the number of fonts that will fit into your printer's virtual memory. Although a higher number may result in faster printing, it may also increase the risk of PostScript errors. PSXResolution= PSYResolution= Do not edit. Finale gathers its default settings from the printer driver. These settings control the resolution of coordinates in PostScript files and printing. MsgBarHeight=0 Optional. Defaults to 0. If set to 0, the height is automatically calculated from the MsgBarFontHeight and MsgBarBorder settings. Otherwise, Finale uses the height (in pixels) you specify. MsgBarBorder=3 Optional. Defaults to 3 pixels. The border is contained within the MsgBarHeight. MsgBarFontHeight=0 Optional. Defaults to 0. If set to 0, the Message Bar font will be 10 pixels high. If you need to change the size of the message bar font, enter the value in pixels. For example, if you enter 12, the font will be 12 pixels high, and the Message Bar height adjusts to the specified size. Hint: Sizes between 8-12 work best. MsgBarFont=

791

Optional. Defaults to no specific font, so that Finale displays a sans serif font provided by Windows. Enter the exact font name (as it appears in the Fonts control panel) that you want Finale to use for the Message Bar display. Example: “MsgBarFont=Arial”. MsgBarTop=(0,1) Optional. Defaults to 0, so the Message Bar appears at the bottom of Finale's main window. If you want the Message Bar to appear at the top of Finale's main window, change this to 1. MsgBarShow=(0,1) Set in Finale. Choose Message Bar from the Windows menu. Defaults to 1 so that the Message Bar appears in Finale. If this is set to 0, Finale's Message Bar will not appear. ShowRulers= (0,1) Set in Finale. Choose Show Rulers from the View menu. Defaults to 1 so that the rulers appear on-screen in Finale. If this is set to 0, the rulers will not appear. MaxFileAlert=10 Optional. Defaults to 10. This determines the maximum number of files that can be opened before a warning appears. You can open more than one file at a time, by using the command line, or by using the drag and drop feature in the File Manager. When the warning appears, you can choose to continue to open the files, but you may run into memory limitations. This guards against accidentally opening dozens or hundreds of files. LoadWinPos=0 SaveWinPos=0 Set these options in Finale. Use the View portion of the Program Options dialog box to determine what will be saved. They refer to the following settings: Load Window States at Startup, Save Window States at Exit. MaximizeWin=0 WinPos=(left) (top) (right) (bottom) Do not edit. These settings are controlled by the LoadWinPos and SaveWinPos. MaximizeWin determines the state of the window: 0 = normal, 1 = maximized, 2 = minimized. WinPos determines the position of the main window. If you want to alter the positioning of your windows, position the windows in Finale, and use the View portion of the Program Options dialog box to Save or Load the window positioning. SerifFont=

792

SansSerifFont= Optional. Default serif font is “Times New Roman.” The default sans serif font is “Arial”. These fonts are used for any text elements that you can't set the default fonts for within Finale. The default fonts for the majority of text elements in Finale are controlled in the Document Options-Fonts (Document menu). If the specified font is not available, Windows provides an alternative font. OPoolSize=1560 DPoolSize=1489 EPoolSize=511 Optional. These settings control the size of Finale's internal data caches. They replace Finale 3.0's OtherPoolSize, DetailPoolSize and EntryPoolSize settings. If you adjusted these settings for Finale 3.0, you may wish to modify them for Finale 3.5, especially if you have a slower machine. However, the recommended values are considerably higher than the old values. NewWinMax=(0,1) Set this option in Finale. Use the New portion of the Program Options dialog box to select whether new windows will be maximized or not. IndependentPSPages=(0,1) Optional. Defaults to 1. The standard setting of 1 is compatible with print spoolers, but results in larger PostScript files. We recommend setting it to 0 to reduce the size of the PostScript file, and to reduce the number of times a font is downloaded. If 0, printer memory will not be reset after each page in compiled PostScript files. The resulting file will not be “Adobe conforming,” meaning that it might confuse some spoolers, but will download more rapidly. (This setting is equivalent to the Advanced Option, “Clear Memory Per Page” in the Windows PostScript driver setup dialog box.) FontScaleMode=(0,1,2) Optional. Defaults to 0. This setting determines how bitmap fonts are rendered when an exact match cannot be found. If 0, Finale will try to scale the bitmaps. If 1, Windows will scale the bitmaps. If set to 2, Windows will substitute the “closest” TrueType font. Setting this option to 1 or 2 will avoid potentially long printing times to non-PostScript printers. NewWinPerc=100 Set this option in Finale. Use the New portion of the Program Options dialog box to select what view percentage will be used in new windows. NewWinScroll=1

793

Set this option in Finale. Use the New portion of the Program Options dialog box to select whether new windows will be opened in Scroll View or Page View. Use3D=1 Optional. Defaults to 1. If 0, CTL3DV2, which displays three-dimensional buttons, is disabled. This is ordinarily set automatically by Finale if it detects an incompatibility or failure of CTL3DV2, but can be set to 0 by the user if required. OpenOlderDocsAsUntitled= OpenTemplatesAsUntitled= Set these options in Finale. Use the Open portion Program Options dialog box to select whether older documents and Templates will be opened as untitled documents. ConfirmConversion= Set this option in Finale. Use the Open portion of the Program Options dialog box to select whether Finale will ask about converting ties to PostScript or screen representation in when opening older files. UndoPastSave= Set this option in Finale. Use the Edit portion of the Program Options dialog box to select whether Undo will take effect past the Save operation. TaskDoneChime= Set this option in Finale. Use the Edit portion of the Program Options dialog box to select whether a chime will sound when a long task is completed. DMCS=2 Set this option to force two-byte (1) or single-byte (0) font support. The default it 2, which will auto-detect which to support based on your system font. OwnPS=3 Optional. Set this option to zero to have Windows generate the Postscript for the text and Finale generate the Postscript for the graphics. This setting works better for some situations, such as printing imported EPS graphics, but requires an Optimize for Portability setting on your printer driver. Set this option to 3 to have Windows generate the Postscript for both the text and the graphics. Default settings is 3.

[MIDI] MIDIRoot=FINMIDI 794

Do not edit. This entry stores the name of Finale's own MIDI driver. It should never be changed. MIDIEcho=0 MIDISendSync=0 MIDIEcho0=0 1 2 3 4 5 6 7 8 9 MIDIEcho10=10 11 12 13 14 15 16 17 18 19 MIDIEcho20=20 21 22 23 24 25 26 27 28 29 MIDIFixedEchoChannel=0 All of these settings are set within Finale by choosing MIDI Sync and MIDI Thru from the MIDI/Audio menu.

[Extensions] This section contains optional settings that control the extensions Finale uses for its files. You should only make changes if you have a conflict with another application. Note that the extensions do not include a period. The Backup extension supports the standard DOS wildcards “*” and “?”. For example, “Backup=??_” will save backup files with the first two characters of the original extension followed by an underscore. If you choose to set a backup folder (see “BackupDir” below), you may want to have backup files retain their original extensions. In this case you would use “Backup=*”. Music=MUS Template=FTM ETF=ETF MIDI=MID Playback=PLY Transcription=NOT Postscript=PS Library=LIB Clip=CLP Backup=BAK Encapsulated PostScript=EPS TIFF=TIF Windows Metafile=WMF 795

Track=TRK AutoSave=ASV PlugIn=FXT

[Program Options] This section contains performance settings that are controlled in, or related to the Program Options dialog box. Purge=(0,1) Optional. Defaults to 0. Finale does not clean out Temp files when you close files. Although this helps Finale to run faster, if you open or close a lot of files, you could potentially run out of disk space. If you have limited disk space you may want to set this to 1 so that Finale cleans out the Temp files when you close a file. You will notice that Finale takes longer to close files. Turning Undo on and off will also purge unneeded temporary files. DottedRests=(0,1) Set in Finale. Defaults to 0, which means that dotted rests are not allowed during transcription. If you set it to 1, dotted rests are allowed during transcription. DefaultFile=Maestro Font Default.FTM Set this option in Finale. Use the New portion of the Program Options dialog box to change the default file name from Maestro Font Default to another name. g0=0 0 0 0 0 0 0 0 0 0 g10=0 0 0 0 0 0 0 0 0 0 Do not edit. These settings are controlled by the Program Options dialog box. MaxProgOpts=266 Do not edit. This setting is controlled by the Program Options dialog box. SavePrefs=1 Set in the Save portion of the Program Options. Defaults to 1, which means that preferences are saved when exiting Finale. Toolmenu=0 Set in View portion of the Program Options. Defaults to 0, which means that the Tool menu is not displayed.

796

[Colors] UseColor=1 UseLayerColor=0 c1= ... cc16= Set these options within Finale by choosing Select Display Colors from the View menu.

[Chromatic Spelling Tables] ChromCount=36 ChromMode=0 g0=0 1 0 1 0 0 0 0 1 0 g10=1 0 0 1 0 0 0 0 0 0 g20=0 0 0 0 0 0 0 0 0 0 g30=0 0 0 0 0 0 0 0 0 0 Set these options within Finale by using the commands in the Edit menu's Enharmonic Spelling submenu.

[Palettes] This section contains positioning and tool arrangement for the palettes in Finale. Most of these settings are saved when Save Window States at Exit is selected in the View portion of the Program Options dialog box. AutoClosePalettes=(0,1) Set in Finale. Defaults to 1, so Finale closes the sub-palettes when you select another tool on the Main Tool Palette. When set to 0, the palettes remain on the screen when you select another tool on the Main Tool Palette. MainPalette=(on) (current tool idx) (anchor) (left) (top) (width) (height) SimplePalette=(on) (current tool idx) (anchor) (left) (top) (width) (height) SmartPalette=(on) (current tool idx) (anchor) (left) (top) (width) (height) SpecialPalette=(on) (current tool idx) (anchor) (left) (top) (width) (height)

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Do not edit. These settings store the position and configuration of the tool palettes. The one value that can be edited within Finale is (anchor), which defaults to 0. This value governs where the palette is positioned relative to, according to the following chart: When anchor is

Palette is positioned relative to

0

top left of application window

1

top right of application window

2

bottom left of application window

3

bottom right of application window

4

top left of screen

5

top right of screen

6

bottom left of screen

7

bottom right of screen

TS1.0=(list of space -- delimited tool IDs -- for tool set 1) TS1.1=(continued) TS2.0=(list of space -- delimited tool IDs -- for tool set 2) TS2.1=(continued) TS3.0=(list of space -- delimited tool IDs -- for tool set 3) TS3.1=(continued) Do not edit. These settings store the configuration for Finale's tool sets.

[Directories] 798

This section includes settings that are controlled in the Folders portion of the Program Options dialog box. MusicDir= LibDir= BackupDir= AutoSaveDir= ExtensionDir= TemplateDir= DocuDir= TempFileDir= Set in Finale. Use the folders portion of the Program Options dialog box to specify the folders.

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Finale File Extensions Finale creates a number of different types of files; each has its own extension. In the table below, you’ll find a description of each kind of file you may encounter while working with Finale.

File Extension

Finale.EXE Finale application (program)

.MUS Finale file

.LIB Finale library

.LSN Lesson file

Description

How to Make One

How to Open One

This is the Finale program itself

There’s only one of these

Double-click to start Finale.

This is a standard Finale (notation) document file.

Choose Save As from the File menu.

Double-click.

A Finale library may contain a set of symbols (such as Chords or Articulations), markings (such as Text Expressions), or settings (such as Document settings or Spacing Widths

Choose Save Library from the File menu.

From the File menu, choose Load Library.

This file contains a grouping of exercises and an ensemble of instruments.

From the File menu, choose New, Exercise Wizard.

From the File menu, choose Open; Select Lesson File and double-click the one you want to open. 800

.MID MIDI file

.SMP SmartMusic Public Accompaniment file

.TRK Track/Staff Mapping file

.NOT Note file

This is a standard MIDI sequencer file. It can be read by most sequencer programs.

Choose Save As from the File menu select the File Type “MIDI File.” Name the file and click OK.

From the File menu, choose Open; Select MIDI File and double-click the one you want to open.

This is a SmartMusic Public Accompaniment file.

When you are ready to save a SmartMusic Accompaniment, from the File menu, choose Export to SmartMusic®.

In SmartMusic, from the File menu, choose Open SmartMusic Accompaniment. Choose Finale Family Generated Files. Navigate to the .SMP file and double-click.

This file contains sequencer track/channel-toFinale staff information for use when you open a MIDI sequencer file with Finale.

Choose Open from the File menu; select the File Type “MIDI File.", and double-click the one you want to open. Click Track-to- Staff List; create a track/staff configuration and click Save. See Track/Channel Mapping to Staves dialog box.

From the File menu, choose Open; select the File Type “MIDI File." , and double-click the one you want to open. Click Track-to-Staff List and click Load. Doubleclick the one you want to open.

This file contains the MIDI information you’ve recorded in the Transcription window.

Click the HyperScribe Tool, select Transcription Mode and click a measure. Click

Click the HyperScribe Tool, select Transcription Mode and click a measure. 801

.CLP Clip File

.PS PostScript file

.EPS Encapsulated PostScript file

Wait Till and perform your piece. Choose Save As from the file menu. Name the file and click OK.

Choose Open from the File menu. Doubleclick the Note file you want to open.

This file contains a motif, passage, or section of music you’ve copied from a Finale document.

Click the Selection Tool; select a region of measures. While pressing ctrl, choose Cut or Copy from the Edit menu. Name the file and click OK. See Copying music

Click the Selection Tool; select a region of measures. While pressing ctrl, choose Insert or Replace Entries from the Edit menu. Doubleclick the Clip file you want to open.

This special text file contains the complete PostScript description of your document; by downloading it to a PostScript printer, you can print without using the Finale program itself.

Choose Compile PostScript Listing from the File menu and click OK; name the file and click OK.

You can’t open these files. You need a special downloading program to send this file to the printer. See PostScript

This special text file contains the Encapsulated PostScript description of one page of your document. This file can be used in Finale or in other programs that import graphics.

Choose Compile PostScript Listing from the File menu or Export Page from the Graphics menu or double-click to select an area and choose Export Selection from the

Select Place Graphic from the Graphics menu or start another page layout or graphics program and use its Open or Place command. Double-click the name of the EPS 802

PICT file

.TIF TIFF file

Graphics menu. Enter a page number in the “EPS file of page:” text box if needed, and click OK; name the file and click OK.

file. Click in the score to place the EPS file.

This graphic file contains a PICT graphic which can be used in Finale or in other programs that import graphics. In OS X, this icon may appear as a thumbnail of the image.

Double-click to select an area to export in the Graphics Tool and select Export Selection from the Graphics menu, or just select Export Pages from the Graphics menu. Select PICT from the Type popup menu. Click Save

Select Place Graphic from the Graphics menu or start another page layout or graphics program and use its Open or Place command. Double-click the name of the PICT file. Click in the score to place the PICT file.

This graphic file contains a TIFF graphic which can be used in Finale or in other programs that import graphics.

Double-click to select an area to export in the Graphics Tool and select Export Selection from the Graphics menu, or just select Export Pages from the Graphics menu. Select TIFF from the Type dropdown list. Click OK.

Select Place Graphic from the Graphics menu or start another page layout or graphics program and use its Open or Place command. Double-click the name of the TIFF file. Click in the score to place the TIFF file.

803

This is the Finale Preferences file, which contains settings such as those made in the Program Options dialog box and the Windows menu.

Finale creates this file automatically and places it in your Finale folder.

Finale uses this file each time the program is started.

This a plug-in, which is a small program that runs only in Finale to allow you to enhance Finale’s abilities.

Finale comes with a number of plug-ins already installed in your Finale folder. If you are interested in making your own Plug-in programs please visit our website for details.

You can’t open these files. Finale loads all the plug-ins available each time the program is started.

This is one of Finale’s temporary files; under normal circumstances, you never see them.

The temporary file exists only while your working in Finale (or after the computer is turned off without quitting Finale properly).

You can’t open these files.

.BAK

This is a backup of a standard notation document file.

These files are created when Make Backups When Saving Files is selected in the Program Options dialog box.

In Finale, choose File, then Open. Select Files of Type, All Files. Double-click on the file.

.ASV

This is an automatically saved backup of a standard notation

These files are created when Auto Save Files Every X Minutes

In Finale, choose File, then Open. Select Files of Type, All Files.

Finale.INI Preferences file

.FXT Plug-in applications

.TMP Finale Temporary file

804

document file.

is selected in the Program Options dialog box.

Double-click on the file.

805

Finale Libraries Finale’s libraries contain reusable sets of musical elements: expression markings, for example, or chord-symbol suffixes. A basic set came with your Finale package; they’re in a folder called Libraries within your Finale folder. You add a library’s contents to the active document by choosing Load Library from the File menu, or by clicking Load Library in the Document options dialog box. Feel free to modify these libraries, or to create new libraries containing your own sets of symbols. For more information on libraries, consult the appropriate entries, such as Expressions, Document Options-Music Spacing, Chord symbols, and so on. See also the Save Library dialog box for an explanation of the different types of libraries. You can include any combination of the available score elements in the same library file. • Articulation Shapes. This library contains shapes to be used for articulations. You can create shapes to be used as articulations using the Shape Designer. • Articulations (Maestro). This library contains a selection of singlecharacter articulation marks that describe how a single note is to be played. You place them into the score with the Articulation Tool. Finale’s Articulation Designer dialog box lets you add intelligence to the markings you design. You can train them to jump into place on a note, a specific distance from the notehead. You can also designate a secondary, “upside-down” symbol (called the Flipped Symbol) for Finaleto substitute if the note’s stem direction changes. Here’s a listing of Finale’s default articulations, and how their automatic positioning and playback features have been set up:

Main Symbol

Flipped Symbol

Default Vert. Pos.

Handle Pos. M(H,V)/F(H,V)

Playback Effect

AutoPositioning Options

Metatool

16

0,–4/0,0

Duration 40%

Center, Note side, Avoid staff lines, Inside Slurs

S

806

16

0,-8/0, 32

Duration 30%

Center, Note side, Outside Staff

X

14

0,–4/0,– 23

Velocity 125%


A

19

0,0/0,–35

None


Z

16

0,–8/0,– 32

None

Center, Above Note, Outside Staff

V

16

0,–8/0,– 34

None


G

14

0,0/0,-16

Duration 105%


E

16

0,–2/0,– 21

Duration 75%


W

807

†

†

† †††

None

0,0/0,-30

Duration 125%


Q

23

None

None


F

36

None

None

Above, Outside Staff

T

24

None

None


24

None

None


24

None

None


None

None

None

Copy(H), Manually, Outside Staff

† †

†

808

Y

36

0,-13/0,13

None


M

36

0,-13/0,13

None


K

48

0,10/0,0

None


J

12

None

None


U

12

None

None


D

14

None

None

Center, Note side, Avoid staff lines

O

23

None

None


H

23

None

None


I

809

16

0,-4/0/0

None

Center, Above note, Avoid staff lines

1

16

0,-4/0/0

None


2

16

0,-4/0/0

None


3

16

0,-4/0/0

None


4

16

0,-4/0/0

None


5

60

0,–48/0,0

None

Center, Below Note, Outside Staff

P

60

0,-48/0,0

None

Center, Below Note, Outside Staff

L

None

None

Attack (0/–256)

Copy Vertically, Manually

R

810

–48

12,–12/– 12,–16

None

Center, Stem side

6

–48

12,–12/– 12,–16

None

Center, Stem side

7

–48

12,–12/– 12,–16

None

Center, Stem side

8

12

36,– 36/0,0

None


C

36

24,8/0,0

Duration 50%

Above note, Outside Staff

B

None

None

None

Manually

N

None

-26,21/0,0

None

Center, Note side

9

None

26,-21/0,0

None

Center, Note side

0 (zero)

811

None

None

None

NA (For TAB)

None

None

Duration 40%


NA (For TAB)

24

None

None


NA (For TAB)

24

None

None


NA (For TAB)

None

None

Velocity 125%


†

24

0,4/0,–4

None

Center, Above Note, Aviod Staff Lines, Outside Staff

†

24

4,4/0,0

None

Center, Above Note, Aviod Staff Lines, Outside Staff

††††

††††† † †

Center, Stem side

812

†

16

8,0/8,0

None


16

8,0/8,0

None


†

16

8,0/8,0

None


†

18

20,10/20,10

None

Center, Note Side, Outside Staff

†

18

18,0/10,18

None


†

24

18,0/10,24

None


†

12

10,0/10,-2

None


†

†

†

† † † † †

813

† † † † † † † †

†

14

8,4/8,-4

None


†

14

8,4/8,-4

None


†

8

2,0/2,0

None


6,0/6,0

None


†

10

-15,0/15,0

None


†

24

4,6/4,-24

None


†

24

4,6/4,-24

None


†

24

4,6/4,-24

None


†

814

24

†

†

4,6/4,-24

None


See Staccato marks, an_Ref2014316318d_Ref2014316318 Rolled Chords. for more complete discussions of these markings and their playback definitions.

• Chords & Fretboards: Chord Suffix (Arial).LIB, Chord Suffix (Times).LIB, Chord Suffix Expanded (Arial).LIB, Chord Suffix Expanded (Times).LIB, Chord Suffix (Jazz Text), Chord Suffix Expanded (Jazz Text), Chord Suffix (JazzCord), Figured Bass, Fretboard Styles, Slash Chords (Arial).LIB, Slash Chords (Times).LIB, Slash Chords (Jazz Text), Slash Chords (Jazz Cord). These sets of predefined chord symbols are used by the Chord Tool. Finale understands each chord symbol in a musical way, and plays the chord back intelligently. The Chord Suffix & Fretboard libraries consist of a set of libraries: one containing the most commonly used chord suffixes and fretboards; the second containing an expanded library with more suffixes and more fretboards per suffix; and a third library containing common slash chords. Each of these sets are duplicated three times, once for each of the following fonts: Arial, Times, and JazzText. The fourth set is a JazzCord font library which contains commonly used jazz suffixes accompanied by fretboards created with Jazz Font characters. More Libraries of like font type and design can be loaded together to expand the number of available suffixes and fretboards. So, if you’re working in a file based on the Maestro Font Default (which contains the first type of library in Arial font) and you find you need more suffixes or fretboards, loading the Chord Suffix Expanded (Arial) library will provide you with more options in the same style and font.When you load a new chord suffix library, Finale compares the suffixes. If the suffixes are identical in position and font, Finale won’t duplicate the suffix, but will load the new fretboard. Adding the Slash Chord libraries works similarly, with the exception that these libraries only add fretboards when loaded into libraries of like font type (they don’t add additional suffixes). After loading this library, you’ll find slash chord fretboards added to existing Maj, m, min, 7, m7, and min7 suffixes. The list below identifies the chord symbols in these libraries. Remember that you can modify any of these symbols (for example, to change “min7” to “m7”), and that you can add as many new ones as you want. 815

Slot Num ber

Suff ix

Slot Num ber

Suffi x

Slot Num ber

1

Maj

22

min6

43

m11

64

2

min

23

6 9

44

m13

65

3

aug

24

6 min 9

45

m(maj7 )

66

4

dim

25

m

46

m9(maj 7)

67

5

7

26

M7

47

m7(ad d4)

68

6

min 7

27

m7

48

m7(ad d11)

69

7

sus 4

28

M6

49

7sus4

70

8

Maj 6

29

m6

50

71

30

(add 9)

51

72

31

(add 2)

52

73

7sus 2

53

74

13su s

9

10

11

aug 7

32

Suffix

Slot Num ber

Suffi x

13

816

12

33

54

9sus4

75

13

Maj 7

34

55

76

14

9

35

56

77

15

13

36

57

13sus4

78

16

37

M13

58

79

17

38

M13( 5)

59

80

18

39

60

81

82

19

11

20

21

dim 7

40

m(ad d2)

61

41

m(ad d9)

62

6

42

m9

63

M9

†

Each library also stores a few additional learned chords that include an alternate bass note. In other words, Finale will correctly identify these chords, but they don’t necessarily appear in the Chord Suffix Selection dialog box. In the key of C, these learned chords are F/G, Dmin/G, and Dmin7/G; of course, Finale will recognize these chords regardless of the key you’re in, as long as they’re built on the same scale tones as these original learned chords. • Clefs. This library contains eighteen standard clefs. 817

• Choral Dynamics. This library contains dynamic expressions set to Above Staff instead of Below Staff. • Default Fonts. This library contains the default font settings, as found in Document Options-Fonts. • Document Options. This library holds all the settings that are saved in with your document such as the settings in the Document Options dialog box and a number of other settings in the Document Settings submenu, and other settings as well, such as the Playback Controls settings. • Engraver Articulations. This library, similar to the Maestro Articulation Library, has a number of Engraver symbols to be used for articulations. They are already adjusted to take advantage of Finale’s positioning settings. • Engraver Text Expressions. This library contains text expressions using the Engraver Font. Expressions such as dynamics and tempo indications are included. • Executable Shapes. This library contains six predefined Executable Shapes, which can serve as the playback definitions for expressions. Each affects the specified playback parameter by 26 units. That is, if you construct an accel. marking based on one of these Executable Shapes, the marking will produce a tempo increase of 26 beats per minute. For full instructions, see To define an expression for playback. More If you look at these shapes in the Executable Shape Selection dialog box, you’ll see three pairs of sloping lines. In each pair, the first shape produces an increase in the specified playback variable, and the second produces a corresponding decrease. The only difference between the three pairs is the amount of music affected by each: the change produced by the three pairs lasts for eight, four, and sixteen eighth notes, respectively. • Figured Bass. This library provides a simple starting place for entering figured bass into your document. • Fretboard Styles. This library contains four fretboard styles, which define how Finale draws custom fretboard elements. The first three fretboard styles are the classic (4, 5 & 6 frets) style; the last was created with Jazz Font characters for a hand-produced look. • Harp Diagram. This is a Shape Expression Library containing the two parts of a harp pedal diagram—the “skeleton” and the “pedals”—described in Harp pedal diagrams. See that entry for full instructions for placing and using this diagram. • Handwritten Default.This library includes all the markings in the Broadway Copyist font. • Instrument Libraries. The General MIDI library is designed to work with most synthesizers’ built-in sounds. 818

• Jazz Articulations. This is the articulation library to be used with the Jazz Font. It contains items such as staccatos, accents, house tops, falls and glissandos. • Jazz Chords & Fretboards. Jazz Chords Suffixes and Fretboards. • Jazz Clefs.This library contains eighteen jazz clefs. • Jazz Default Fonts. This library contains the default font settings for the Jazz font, as found in the Document Options-Fonts. • Jazz Document Settings. This library changes items in your Document Settings that are appropriate for use in the Jazz font, especially the alignment of notes with their stems and flags. • Jazz Dynamics. This is a library containing text expressions (dynamic markings etc.) for the Jazz Font. • Jazz Measure Rests. This is a shape expression library which contains a multi-measure rest shape. • Jazz Page Format. This library contains default settings for the Page Format for Score and Page Format for Parts dialog boxes. • Jazz Rehearsal Letters. This library contains rehearsal letters from A-Z, all of which are enclosed in a box. This is also a text expression library. • Jazz Spacing. This library contains spacing widths for use with the Jazz Font. • Jazz Staff Styles. This library contains a basic selection of Jazz Staff Styles for use with the Staff Tool. See Staff styles for more information. • Jazz Stem Connections. This library contains stem connection definitions for use with the Jazz font. See Stem Connections dialog box for more information. • Jazz Tempos. This library contains tempo indications in the Jazz font. This is also a text expression library. • Jazz Text Repeats. This is a text repeat library for the Jazz Font. It contains items such as D.S. al Coda, etc. These expressions also come with brackets. • Measure Rest. This library contains the default Multimeasure Rest symbol. • Page Format. This library contains default settings for the Page Format for Score and Page Format for Parts. • Percussion Layouts. This library contains all of the percussion layouts that you have created as well as default percussion layouts. • Pitch Bend. This is a single Text Expression in a library by itself. It consists of the words “pitch bend,” and has been defined to produce a single pitch bend. This pitch bend lasts for one whole note. It moves the pitch wheel from its “at rest” position all the way to the top of its range of movement, then back down to its “at rest” position. For a full description of pitch wheel 819

usage in Finale—including instructions for the creation of this particular pitch bend expression—see Pitch wheel. • Quarter Tone. This Key Signature library contains a single key signature— namely, the key signature for a quarter-tone key system, where there are three chromatic steps between two diatonic steps (instead of the usual one). If you set your piece in this key signature, bear in mind that one key on your MIDI keyboard corresponds to one chromatic step in the music. In other words, you won’t be able to play normally and still get an accurate transcription of your playing, because—for example—the C# key on your MIDI keyboard will correspond to a C-quarter sharp on the screen. See Nonstandard key signatures for more information. • Shape Expressions. This library contains a selection of Shape Expressions for use with the Expression Tool. While it does contain several phrase markings and hairpins (crescendo markings), remember that it’s far easier to create phrase markings and hairpins using the Smart Shape tools. The sole advantage to using these crescendo hairpins is that they have been defined for playback; they produce a volume change of 26 MIDI key velocity units in the time of a whole note. This library also contains a glissando line and tremolo marking, as described in Glissandos and Tremolos, respectively. • Smart Lines. This library contains Smart Shapes available in the Smart Line Selection dialog box including glissandos, pedal indications, trills extensions, guitar markings, and other line-type markings that can be adjusted in the score. • SMS Markers. This library contains a collection of Text Expressions that are pre-defined for SmartMusic Markers that can be added to the score to specify repeats, rehearsal marks, pauses, and other indications while creating a file intended to be saved as a SmartMusic Accompaniment. See SmartMusic® for details. • Staff Styles. This library contains a basic selection of Staff Styles for use with the Staff Tool. See Staff styles for more information. The following metatools appear in the Maestro Font Default file. More Staff Style

Metatool Assignment

Slash Notation

S

Rhythmic Notation

R

Blank Notation: Layer 1

B

820

Blank Notation: Layer 4

K

Blank Notation: All Layers

A

Normal Notation

M

One-Bar Repeat

O

Two-Bar Repeat

T

Standard 5-line staff

F

1-line Staff: Full Barline

N

1-line Staff: Short Barline

N

Hide Staff

H

Percussion: 1-line Staff

P

Percussion: 5-line Staff

C

Note Shapes

X

Flute Transposition

1

Bb Clarinet

2

Transposition Eb Alto Saxophone

3

Transposition

821

4

Bb Tenor Saxophone Transposition

• Spacing Widths libraries: Fibonacci Spacing · Fibonacci with Edited Dots · Tight Spacing · Medium Spacing · Loose Spacing. These libraries contain spacing width tables used for the spacing of notes and lyrics. Fibonacci Spacing is the default which spaces your music using a ratio of about 1 to 1.6. So a quarter note will take up 1.6 times the space of an eighth note. To find out how you use these libraries, see Document Options-Music Spacing. The library titles indicate the relative spacing of the entries in a measure; music that’s been spaced using the “medium” library will be more compact than music spaced with the “loose” library. • Text Expressions (Maestro). This library, for use with the Expression Tool, includes a number of expression and dynamic markings, many of which have been defined for playback. Each has also been defined for positioning. see Expression Designer dialog box. The dynamics always appear in Maestro music font, and the other expression markings appear in the Times New Roman italic font; feel free to change these fonts to suit your system. (For the non-dynamic expressions, choose a PostScript font if you plan to print on a PostScript printer or a True Type font if you plan to print on a non-PostScript printer.) More This library also contains some sample rehearsal letters. The playbackdefined expressions in this library are as follows:

Expression

Playback effect

Value

Key velocity

10

Key velocity

23

Key velocity

36

Key velocity

49

Key velocity

62

822

Key velocity

75

Key velocity

88

Key velocity

101

Key velocity

114

Key velocity

127

Adagio

Tempo

40

Moderato

Tempo

80

Allegro

Tempo

120

Transposition

12

Transposition

–12

accel.

Tempo

Increases 26 beats per minute over four beats

rit.

Tempo

Decreases 26 beats per minute over four beats

• Text Repeats (Maestro). This library contains a selection of text repeats— textual repeat indications, such as “D.S. al Coda,” that are fully functional for playback. You create and edit repeats using the Repeat Tool. (See Repeats (barlines and text indications)) for a more complete discussion.) More The text repeats in this library are as follows: 823

D.C. al Fine

To Coda #

D.C. al Coda

Fine

D.S. al Fine D.S. al Coda D.S. al #

Go to Measure #

The number sign (#), when it appears in a text repeat, represents a temporary “stand-in” for some variable. For example, if you place the “To Coda #” or the “D.S. al #” marking in the score, Finale will automatically substitute the text of the target (“Mark” type) text repeat for the number sign. (The result might be, for example, “To Coda .”) And if you place the “Go to Measure #” marking into the score, Finale will replace the number sign with the measure number to which you direct this marking’s playback. (The result might be, for example, “Go to Measure 44.”)

824

Finale Notational Defaults Finale adheres to the standards of music engraving practice that follow. There are many more “rules” or “standards” that govern music notation, and indeed, the standards themselves may vary from publisher to publisher. The ones listed here are automatically supported by Finale.

Placement of Text Staff names are centered vertically on each staff. Both full and abbreviated staff names are right-aligned. Chord symbols are placed 1/2 inch above the top line of the staff. If Guitar Fretboards also appear, the Chord Symbol appears one inch above the top line of the staff, and the top of the fretboard appears 1/2 inch above the top lines of the staff. Lyrics appear 1/2 inch below the bottom line of the staff.

Notes, Stems and Beams (Ligatures) Single notes with single stems are stemmed down when the note is positioned on the middle line of the staff or higher. Down stems are positioned on the left side of the note. Single notes with single stems are stemmed up when the note is positioned on the second space of the staff or lower. Up stems are positioned on the right side of the note. Single stems are exactly one octave in length. If there is more than one note on a stem, the stem length is calculated from the note closest to the end of the stem. Stems of notes on ledger lines which would not normally reach the middle line of the staff are extended to reach the middle line of the staff. A beam is the thickness of half a space. The normal stem length will accommodate two beams. For each additional beam the stem length is extended one space. The angle up or down of any beam does not exceed one space, and the direction of the slant is determined by the general direction of the movement of the notes.

Placement of Note Heads In an interval of a second on a single stem the lower note is placed on the left of the stem, the upper note on the right. In this configuration the note head on the wrong side of the stem is called a “displaced” note. Chords with opposite stems or on separate staves are aligned according to the properly placed note heads, not the displaced note heads.

Accidentals in a chord

825

When accidentals cannot be aligned, the highest accidental is placed in the normal position and the next lower accidental is placed to the left of it. Accidentals continue to be placed to the left until an accidental can align with the top one, in which case the procedure is repeated until all the accidentals have been placed.

Accidentals across barlines When a note with an accidental is tied across a barline, the accidental is not repeated on the first note of the next measure. However, if the note appears later in the measure, the accidental is repeated.

Modifying Symbols Articulations are placed on the notehead side, opposite the stem. Bowing marks are placed above the staff, regardless of the stem direction.

Music Spacing (Time Spacing) There are no absolute rules governing time spacing, but Finale follows the general principle of spacing notes according to their duration. Longer notes are followed by larger spaces than shorter notes. Barlines have no rhythmic significance and do not affect the time spacing. Neither do accidentals, except in those situations when the normal time spacing may not allow enough room for the accidental, in which case additional space is allotted for the accidental. Rests are treated the same as notes, except for the whole measure rest which is centered in the measure.

Grace Notes The stem direction is up for grace notes. Slashes appear on flagged grace notes (unless Slash Flagged Grace Notes is deselected in the Document Options dialog box).

Tuplets Tuplets can appear as a number placed within a bracket, or, on the beam side, just a number. The beam of a rhythmic group is extended over any rests within the group. The bracket slope adjusts to the notation, following the slope of beams and stems.

Multimeasure Rest (Block Rest) A Multimeasure or block rest is built into Finale. The rest appears centered on the middle staff line. The thick horizontal line in 3 pts. (1 space) thick (the same thickness as beams), and the thin vertical lines, which extend from the second to the fourth staff line, are 1/2 point thick. The multimeasure rest number appears just above the staff. The width of the measure is 1 1/4 inches to contain the multimeasure rest symbol. 826

Line Thickness Beam thickness is three points (half a space). Barline, ledger line, staff line, and stem line thickness are half a point. Other lines (such as tuplet and repeat brackets) are also half a point thick.

Spacing of Basic Elements A certain amount of space appears before and after basic musical elements. One space appears before clefs, key and time signatures, and before the first note or rest in a measure. An additional half space appears after key and time signatures.

Maestro Font Default file The Maestro Font Default file is what appears when you choose the File menu > New > Default Document. It consists of one treble staff with 31 measures, in common time. Measure numbers appear at the start of each line, above the clef. It contains libraries for music spacing, chord symbols, musical text and shape expressions, articulations, and so on. See Finale Libraries for more information. The page size is 8.5 by 11 inches with 1/2 inch page margins all around except for the left margin which is 3/4 inch. The first system is indented (from the page margin) 1/2 inch, and is dropped 1 1/2 inches to allow for a title, and other text. A place holder for a title appears centered 1/2 inch below the top margin, and page numbers appear beginning on page 2 in the form “-2-”. Music appears and prints at 100%.

827

Finale Score Templates In your Finale folder, you’ll find a folder called Templates. In this folder you’ll find nearly fifty blank Finale documents, each with staves in a particular instrumental configuration. These templates can save you time—just open a copy of a score setup you need, and start entering the music. To open a template, choose File, New, then Document from Template. When you open a template, Finale prompts you to customize your new document with the last two pages of the Setup Wizard (if Display Setup Wizard When Opening a Template is checked in Program Options-New). These templates have the “.FTM” extension, which means that they will appear as “untitled” files when you open them. Choose New from Template from the File menu. Any template files in the current folder will appear in the list. Double-click the template you want to use. To open a template and create an untitled copy of one of these templates (thus preserving the blank template itself for later use), choose File, New, then Document from Template. Double-click the name of the desired template; Finale will open an untitled copy. Each of these templates, like the Maestro Font Default file, has a selection of libraries already loaded. These include the Chord Suffix, Articulations, Shape Expressions, Text Expressions, Text Repeats, Allotments (medium), Quarter Tone, and Executable Shapes libraries. Each has also been defined to have sequential measure numbers, page numbers, and a sample title. Staves for the transposing instruments (e.g., clarinets, horns) have been set up to transpose automatically (see Transposing instruments). The templates are titled as follows:

General Templates Template title

System setup

Lead Sheet.FTM

One staff

Lead Sheet (Jazz Font).FTM

One staff, uses Jazz Font

Lyrics and Chords.FTM

Single one-line staff with rests. Lyrics and chords Staff Style

Piano Grand

Two staves (piano staff)

828

Staff.FTM Big Note Bells.FTM

One staff (enlarged), landscape orientation

Instrumental Solo.FTM

Three staves (piano and a reducedsize solo staff)

Rhythm Section Generator

One Staff, 100 measures, slash notation

Band Templates Template title

System setup

Small Concert Band.FTM

Nine staves

Full Concert Band.FTM

26 staves

Wind Ensemble.FTM

25 staves

Marching Band.FTM

21 staves, landscape orientation

Jazz Band.FTM

18 staves, landscape orientation

Jazz Band (Jazz Font).FTM

18 staves, landscape orientation, uses Jazz font

Woodwind Trio.FTM

Three staves (Flute, Oboe, Bassoon)

Woodwind Quintet.FTM

Five staves (standard woodwind quintet)

Woodwind Choir.FTM

12 staves

Saxophone Quartet.FTM

4 staves

Brass Trio.FTM

Three staves (Trumpet, Trombone, French Horn)

829

Brass Quintet.FTM

Five staves (standard brass quintet formation)

Brass Choir.FTM

12 staves

Brass Band.FTM

19 staves (British brass band)

Drum Corps.FTM

7 staves

Orchestral Templates Template title

System setup

String Trio.FTM

Three staves (standard string trio)

String Quartet.FTM

Four staves (standard string quartet)

String Orchestra.FTM

Five staves

String Orchestra with Piano.FTM

Seven staves

Chamber Orchestra.FTM

20 staves

Full Orchestra.FTM

27 staves

Choral Templates Template title

System setup

Barbershop Female.FTM

Two staves (Sopr, Lead, Alto, Alto)

Barbershop Male.FTM

Two staves (Tenor, Lead, Bari, Bass)

Vocal Solo with Piano.FTM

Three staves (piano and vocal)

Two Part with

Four staves 830

Piano.FTM SSA with Piano.FTM

Five staves (SSA plus Piano)

SAB with Piano.FTM

Five staves (SAB plus Piano)

SATB (Four Staff) with Piano.FTM

Six staves (SATB plus Piano)

SATB w Piano, Bass & Perc.FTM

Eight Staves (SATB + 4)

TTBB w Piano.FTM

Six staves (TTBB plus Piano)

SATB (Two Staff) with Piano.FTM

Four staves (SA on Treble, TB on Bass, plus Piano)

Church Templates Template title

System setup

Church Orchestra.FTM

19 staves

Handbells.FTM

One staff

Hymnal.FTM

Two staves

Piano & Organ.FTM

Five staves (2 + 3)

Shape Note Hymnal.FTM

Two staves with note shapes

Education Templates Template title

System setup

2-Measure Examples.FTM

Two staves, five systems moved to right side of page - Space for questions on left

4-Measure Examples.FTM

Two Staves, four systems

831

Boomwhackers-R Tubes Grand Staff.FTM

Grand Staff with colored noteheads for Boomwhackers® Percussion Tubes / Chroma-Notes™ Instruments

Boomwhackers-R Tubes Treble Staff.FTM

Treble clef staff with colored noteheads for Boomwhackers® Percussion Tubes / ChromaNotes™ Instruments

Full System, No Barlines.FTM

Eight systems - One measure per system, no barlines

Blank Manuscript.FTM

Eight systems - One measure per system, no barlines or clefs

Worksheet Example.MUS

Examples and procedures for creating worksheets

Guitar Templates Template title

System setup

House Style 1.FTM

Single TAB Staff w/time signature

House Style 2.FTM

Standard 5-line staff over TAB (large TAB clef)

House Style 3.FTM

Standard 5-line staff over TAB (small TAB clef)

Lute - FrenchEnglish.FTM

Single TAB staff, lute tuning with letters

832

General MIDI Patch Set Groupings The patches, or sounds, in General MIDI are grouped according to the following table. This grouping is used for all channels except for channel 10, which is used for percussion.

Patch Number Patch Name 1-8..............................Piano 9-16............................Chromatic Percussion 17-24..........................Organ 25-32..........................Guitar 33-40..........................Bass 41-48..........................Strings 49-56..........................Ensemble 57-64..........................Brass 65-72..........................Reed 73-80..........................Pipe 81-88..........................Synth Lead 89-96..........................Synth Pad 97-104........................Synth Effects 105-112......................Ethnic 113-120......................Percussive 121-128......................Sound Effects

See Also: General MIDI

833

General MIDI Percussion MIDI Map Table This listing contains all the General MIDI percussion tones on channel 10, which is the channel reserved for percussion. (Note you can also set the patch to 2 (in the Instrument List) to use marching percussion sounds or patch 49 to use orchestral percussion sounds). Refer to the Percussion MIDI Map Editor dialog box for additional percussion MIDI Note mappings.

Note Number Note Name 35.........................Acoustic Bass Drum 36.........................Bass Drum 1 37.........................Side Stick 38 ........................Acoustic Snare 39.........................Hand Clap 40.........................Electric Snare 41.........................Low Floor Tom 42.........................Closed Hi Hat 43.........................High Floor Tom 44.........................Pedal Hi Hat 45.........................Low Tom 46.........................Open Hi Hat 47.........................Low-Mid Tom 48 ........................Hi-Mid Tom 49.........................Crash Cymbal 1 50.........................High Tom 51.........................Ride Cymbal 1 52.........................Chinese Cymbal 53.........................Ride Bell 54.........................Tambourine

834

55.........................Splash Cymbal 56.........................Cowbell 57.........................Crash Cymbal 2 58.........................Vibraslap 59.........................Ride Cymbal 2 60.........................Hi Bongo 61.........................Low Bongo 62.........................Mute Hi Conga 63.........................Open Hi Conga 64.........................Low Conga 65.........................High Timbale 66.........................Low Timbale 67.........................High Agogo 68.........................Low Agogo 69.........................Cabasa 70.........................Maracas 71.........................Short Whistle 72.........................Long Whistle 73.........................Short Guiro 74.........................Long Guiro 75.........................Claves 76.........................Hi Wood Block 77.........................Low Wood Block 78.........................Mute Cuica 79.........................Open Cuica 80.........................Mute Triangle 81.........................Open Triangle

See Also: General MIDI 835

General MIDI Orchestral Percussion MIDI Map Table This listing contains all the General MIDI percussion sounds on channel 10, patch 49, which is the channel (and patch) reserved for orchestral percussion. These sounds are available when SmartMusic SoftSynth is chosen as your MIDI Out device in the MIDI Setup dialog box. You must also ensure the orchestral percussion staff is set to channel 10 and program 49 in the Instrument List window. (Or, choose an orchestral percussion staff from the Setup Wizard). Use a pre-designed Percussion map to easily enter orchestral percussion sounds and appropriate noteheads.

Note Number

Name

Note Number

Name

27

Closed Hi Hat

44

Timpani Gs

28

Pedal Hi Hat

45

Timpani A

29

Open Hi Hat

46

Timpani As

30

Ride Cymbal

47

Timpani B

35

Jazz Kick

48

Timpani C

36

Concert Bass Drum

49

Timpani Cs

38

Concert Snare drum

50

Timpani D

39

Castenets

51

Timpani Ds

40

Concert

52

Timpani E

836

Snare Drum 41

Timpani F

53

Timpani F

42

Timpani Fs

57

Concert Cymbal 2

43

Timpani G

59

Concert Cymbal 1

837

General MIDI Table This list contains all the General MIDI Patch Numbers and Patch Names. Finale’s SmartMusic SoftSynth is a General MIDI SoundFont containing these patches. In addition, note that the SmartMusic SoftSynth contains two additional alternative patches, one piano (bank 1, patch 0) and one violin (bank 1, patch. Patch Number

Name

Patch Number

Name

Patch Number

Name

1

Acoustic Grand Piano

16

Dulcimer

31

Distortion Guitar

2

Bright Acoustic Piano

17

Drawbar Organ

32

Guitar Harmonics

3

Electric Grand Piano

18

Percussive Organ

33

Acoustic Bass

4

Honky-tonk Piano

19

Rock Organ

34

Electric Bass (finger)

5

Electric Piano 1

20

Church Organ

35

Electric Bass (pick)

6

Electric Piano 2

21

Reed Organ

36

Fretless Bass

7

Harpsichord

22

Accordion

37

Slap Bass 1

8

Clavi

23

Harmonica

38

Slap Bass 2

9

Celesta

24

Tango Accordion

39

Synth Bass 1

838

10

Glockenspiel

25

Guitar (nylon)

40

Synth Bass 2

11

Music Box

26

Acoustic Guitar (steel)

41

Violin

12

Vibraphone

27

Electric Guitar (jazz)

42

Viola

13

Marimba

28

Electric Guitar (clean)

43

Cello

14

Xylophone

29

Electric Guitar (muted)

44

Contrabass

15

Tubular Bells

30

Overdriven Guitar

45

Tremolo Strings

46

Pizzicato Strings

74

Flute

102

FX 6 (goblins)

47

Orchestral Harp

75

Recorder

103

FX 7 (echoes)

48

Timpani

76

Pan Flute

104

FX 8 (sci-fi)

49

String Ensemble 1

77

Blown Bottle

105

Sitar

50

String Ensemble 2

78

Shakuhachi

106

Banjo

51

SynthStrings 1

79

Whistle

107

Shamisen

52

SynthStrings 2

80

Ocarina

108

Koto

53

Choir Aahs

81

Lead

109

Kalimba

839

1(square) 54

Voice Oohs

82

Lead 2 (sawtooth)

110

Bag Pipe

55

Synth Voice

83

Lead 3 (calliope)

111

Fiddle

56

Orchestra Hit

84

Lead 4 (chiff)

112

Shanai

57

Trumpet

85

Lead 5 (charang)

113

Tinkle Bell

58

Trombone

86

Lead 6 (voice)

114

Agogo

59

Tuba

87

Lead 7 (fifths)

115

Steel Drums

60

Muted Trumpet

88

Lead 8 (bass+lead)

116

Woodblock

61

French Horn

89

Pad 1 (new age)

117

Taiko Drum

62

Brass Section

90

Pad 2 (warm)

118

Melodic Tom

63

SynthBrass 1

91

Pad 3 (polysynth)

119

Synth Drum

64

SynthBrass 2

92

Pad 4 (choir)

120

Reverse Cymbal

65

Soprano Sax

93

Pad 5 (bowed)

121

Guitar Fret Noise

66

Alto Sax

94

Pad 6 (metallic)

122

Breath Noise

840

67

Tenor Sax

95

Pad 7 (halo)

123

Seashore

68

Baritone Sax

96

Pad 8 (sweep)

124

Bird Tweet

69

Oboe

97

FX 1 (rain)

125

Telephone Ring

70

English Horn

98

FX 2 (soundtrack)

126

Helicopter

71

Bassoon

99

FX 3 (crystal)

127

Applause

72

Clarinet

100

FX 4 (atmosphere)

128

Gunshot

73

Piccolo

101

FX 5 (brightness)

841

Garritan Finale Edition Instrument Details Instrument Ranges The following table lists ranges for each GPO instrument included with Finale. Pitches notated outside of an instrument’s range will not sound if GPO is selected as the Playback device. Ranges are stated as they appear in the Kontakt Player (MIDI Note 60=C3 instead of the standard C4).

GPO Instrument

Range

Flute Solo

B2-D6

Flute Plr1

B2-D6

Flute Plr2

B2-D6

Flute Plr3

B2-D6

Piccolo Solo

D4-C7

Oboe Solo

A#2-G5

Oboe Plr1

A#2-G5

Oboe Plr2

A#2-G5

Oboe Plr3

A#2-G5

English Horn Solo

E2-C5

Bb Clarinet Solo

D2-G5

Bb Clarinet Plr1

D2-G5

842

Bb Clarinet Plr2

D2-G5

Bb Clarinet Plr3

D2-G5

Bass Clarinet Solo

B0-F4

Bassoon Solo

A#0-E4

Bassoon Plr1

A#0-E4

Bassoon Plr2

A#0-E4

Bassoon Plr3

A#0-E4

Contrabassoon Solo

A#-1-G#2

French Horn Solo

D1-F4

French Horn Plr1

D1-F4

French Horn Plr2

D1-F4

French Horn Plr3

D1-F4

Trumpet Solo

F#2-F5

Trumpet Plr1

F#2-F5

Trumpet Plr2

F#2-F5

Trumpet Plr3

F#2-F5

Trombone Solo

E1-F4

Trombone Plr1

E1-F4

Trombone Plr2

E1-F4

Trombone Plr3

E1-F4

843

Tuba Solo

E0-G3

Glockenspiel

G4-C7

Marimba

G#1-C6

Xylophone

F3-C7

Harp KS - Range (pluck):

C0-G6

Harp KS - Range (harmonics):

C2-C6

Steinway Piano

A1-C7

Harpsichord (8'stop)

F0-E5

Hauptwerk All Stops

C1-G5

Violin Solo

G2-D6

Violin Plr1

G2-D6

Violin Plr2

G2-D6

Violin Plr3

G2-D6

Violin Solo KS 1

G2-D6

Violin Solo KS 2

G2-D6

Viola Solo

C2-C6

Viola Plr1

C2-C6

Viola Plr2

C2-C6

Viola Plr3

C2-C6

844

Viola Solo KS

C2-C6

Cello Solo

C1-C5

Cello Plr1

C1-C5

Cello Plr2

C1-C5

Cello Plr3

C1-C5

Cello Solo KS

C1-C5

Dbl Bass Solo

C0-E3

Dbl Bass Plr1

C0-E3

Dbl Bass Plr2

C0-E3

Dbl Bass Plr3

C0-E3

Dbl Bass Solo KS

C0-E3

Violins Arco

G2-D6

Violins Pizzicato

G2-D6

Violins Tremolo

G2-D6

Violins KS

G2-D6

Violas Arco

C2-C5

Violas Pizzicato

C2-C5

Violas Tremolo

C2-C5

Violas KS

C2-C5

Cellos Arco

C1-C5

845

Cellos Pizzicato

C1-C5

Cellos Tremolo

C1-C5

Cellos KS

C1-C5

Basses Arco

C0-E3

Basses Pizzicato

C0-E3

Basses Tremolo

C0-E3

Basses KS

C0-E3

Full Strings Arco

C0-D6

Full Strings Pizzicato

C0-D6

Full Strings Tremolo

C0-D6

Full Strings KS

C0-D6

Instrument Controllers If youa re using the Kontakt Player, it should be set for sustain pedal mode 1 (standard sustain operation) for all instruments to function properly.

General controllers for all wind instruments Volume/timbre:

cc#1 (continuous 0-127; default=0)

Tongue/slur:

cc#68 (switched - tongue=0; slur=127; default=0)

Attack strength:

velocity

Portamento:

cc#20 (continuous 0-127; default=0) only functions 846

during slurs - cc68=127; default=0 Length:


Random intonation variability:


Random timbre variability:


Pitchbend range:

+/-12 semitones (default=0)

Trombones have an extra controller as a suppliment to cc#20 portamento control to help with the slide simulation. This controller is only active for tongued notes. Switchable pitchbend:

cc#19 (pitchbend on=0; pitchbend off=127)

General controllers for all strings Volume/timbre:


Standard arco/legato:

cc#68 (switched standard=0; legato=127; default=0)

Attack strength:

velocity

Switchable pitchbend:

cc#19 (pitchbend on=0; pitchbend off=127) only functions during standard arco - cc68=0; default=0

Portamento:

cc#20 (continuous 0-127; default=0) only functions during legato - cc68=127; 847

default=0

Length:


Random intonation variability:

cc#22 (continuous 0-127; default=0) applies only to pizzicato in section strings


cc#23 (continuous 0-127; default=0) Applies only to pizzicato in section strings

Pitchbend range:

+/-12 semitones (default=0)

General controllers for Percussion Standard sustain pedal response. (for Glockenspiel, Marimba, and Xylophone)

cc#64

Volume/timbre:

Velocity (except where noted)

Random intonation variability




Bass drum hit volume

Velocity

Bass drum hit brightness

cc#16 (continuous 0-127; default 0)

Bass drum hit fundamental strength

cc#20 (continuous 0-127; default 10)

Controllers for Pipe Organ: 848

(The pipe organ features these controllers for creating custom timbre variations) Filter level:


Filter center frequency:


Fundamental strength:


Keyswitches and Instrument Mapping Keyswitches consistently reside in the lowest octave for all instruments. All keyswitched instruments are designated with a "KS" in their name. The following pitches are represented in MIDI Note numbers. The following MIDI notes are well below the range of the instrument, and will not sound, only apply the patch change. See MIDI Note to Pitch Table for equivalents. (Also note that MIDI Note 60=C3 when displayed in the Kontakt Player for Finale, instead of the standard C4).

Keyswitches for Strings 0

Arco

5

Pizzicato

7

Tremolo

Keyswitches for Harp 0

Open Pluck

1

Hand stopped pluck

2

Open harmonics 849

3

Hand stopped harmonics

Keyswitches for Timpani 0

Full ring

2

Hand damped

Orchestral Percussion Instrument Mapping 35

Bass drum hit left hand

36

Bass drum hit right hand

37

Bass drum roll (cc#1 controls volume)

56

Side drum hit left hand

57

Side drum hit right hand

58

Side drum roll (cc#1 controls volume)

59

Snare drum left hand

60

Snare drum right hand

61

Snare drum roll (cc#1 controls volume)

80

Large gong

81

Medium gong 1

82

Tam tam

850

83

Medium bong 2

84

Piatti cymbal 1

85

Piatti cymbal 2

86

Piatti cymbal 3

87

Crash cymbal

88

Choke cymbal

89

Cymbal hit (ping)

90

Cymbal hit (ping)

91

Cymbal hit (ping) choke

92

Cymbal hit (ping) choke

93

Cymbal roll with release (cc#1 controls volume)

94

Cymbal roll crescendo and decay

95

Triangle damped

96

Triangle open

GPO Keyswitch Triggers in Human Playback Any instrument with "KS" in its name (as shown in the Setup Wizard or Aria Player) includes alternate sounds relating to a special type of performance technique for that instrument. For example, all "KS" string instruments can play in an arco (bowed), pizzicato (plucked), or tremolo (in rapid succession) style. To invoke a keyswitch conventionally, a note can be added outside the range of the instrument as described above under Keyswitches and Instrument Mapping. Alternatively, when using Human Playback, text expressions or Smart Shape text can be added to "trigger" keyswitches as part of HP’s interpretation. The following are a list of triggers that can be used to change the playback sound of any GPO instrument that supports keyswitches. 851

Note: An expression intended for use with HP should not include a playback definition - HP looks for the text only. Make sure Type is set to None under the Playback tab of the Expression Designer dialog box. Also, NoteAttached expressions are recommended for keyswitch expressions.

HP Keyswitch Triggers - Garritan Instruments for Finale Instrument Name Timpani

Keyswitch

MIDI #

•

l.v.

0

•

Handdampened

2

Trigger Text

•

Unmarked note

•

Expression or Smart Shape line w/text: "damped", "damp.", "dampen", "étouffé", "étouffés", "étouffées", "étoufféz", "dämpfen", "velare", "coprire"

852

Harp

•

Open pluck (ordinaro)

•

Hand-stopped pluck

1 2

•

Unmarked note

•

Expression or Smart Shape line w/text: "damped", "damp", "dampen", "stopped", "étouffé", "étouffés", "sons étouffés", "étoufféz", "dämpfen", "velare", "coprire", "sec", "secco",

•

Open harmonic

, ; articulation:

•

Hand-stopped harmonic

•

Articulation; ,

•

"dampen" etc. plus harmonic articulation

0

•

Expression: "arco", "ord.", "ordin.", "natural", "nat.", "normal", "normale", "coll’arco", "con l’arco", "col arco", Bog.", "Bogen"

5

•

Expression: "pizz.", "pizzicato", "pizzicati"

7

•

Articulation:

0

•

Arco

•

Pizzicato

•

Tremolo

,

•

3

All "KS Solo Strings and Section Strings

,

,

853

Guitar markings Enter the following guitar markings with the Smart Shape Tool. To enter a Guitar Bend, TAB Slide, Trill (vibrato), or Bend Hat, first click the corresponding tool in the Smart Shape Palette. The remaining markings are available in the Smart Line Selection dialog box. For information on how to enter these markings, see To enter hammer-ons, pull-offs and other guitarspecific markings. For information on how to program your own metatools for all of these markings, see Smart Shape Tool.

Marking

Description

Predefine d Metatool

Bend Arrows

B

TAB Slide

X

Vibrato

E

Bend Hat

6

Hammer-on

H

854

Hammer-on for use above a slur or tie

2

Pull-off

P

Pull-off for use above a slur or tie

3

Bend

U

Bend for use above a slur or tie

4

Release

R

Release for use above a slur or tie

5

Artificial Harmonic (A.H./A.H)

A

Artificial Harmonic/A.H .

--

855

Natural Harmonic (N.H/N.H.)

N

Natural Harmonic/N.H .

--

Pick Harmonic (P.H./P.H.)

--

Pick Harmonic/P.H .

--

Palm Mute (P.M./P.M.)

M

Palm Mute/P.M.

--

Let Ring

--

Hold Bend

--

856

Up Pick

--

Down pick

--

See also: Guitar notation

857

Harmony Presets These harmony presets are used in the Band-in-a-Box Harmonizing plug-in. For more information, see Band-in-a-Box Auto-Harmonizing Plug-in.

Two Part

Three Part

Four Part

Five Part

Six Part

Guitar 3rds & 6ths

Guitar

Jazz Piano

Jazz Piano

Guitar

3rds & 6ths Below

Drop 2

Guitar Drop 2

Drop Two (SuperSax)

Big Band Brass

3rd Below

Drop 2 8vb

Swing Guitar

Swing Woodwinds

Male Choir

6th Below

6ths Above & Below

Super Brass

Close Vocal

Country Vocal

3rds & 6ths Above

Two Below #1

Strings

Female Choir

Three Below 8va & 8vb

3rd Above

Two Below #2

Strings 8va

Male Choir

3rd Above 8va & 8vb

6th Above

Two Below #3

Strings 8vb

Four Below

6th Above 8va & 8vb

Octave Below

One Above #1

Barbershop Close

3rd Above 8vb

Alt Above 8va & 8vb

Octave Below (Long Notes)

One Above #2

Barbershop Open

6th Above 8vb

Two Above 8va & 8vb #1

Two Octaves

One Above #3

Drop 2

Alt Above 8vb


858

Below Octave Above

Two Above #1

Drop 3

Two Above 8vb #1


Two Above #2

Three Below #1

Two Above 8vb #2


Two Above #3

One Above #1

Two Above 8vb #3

Three Above 8va & 8vb

3rds & 6ths Below 8vb

One Above #2

Three Above 8vb

Four Above 8va

3rd Below 8vb

Two Above #1

Three Below 8va

6th Below 8vb

Two Above #2

6th Above 8va

3rd Above 8vb

Three Above

Alt Above 8va

6th Above 8vb

3rd Above 8vb #1

Two Above 8va #1

3rds & 6ths Above 8va

3rd Above 8vb #2

Two Above 8va #2

3rd Above 8va

6th Above 8vb #1

Three Above 8va #1

6th Above 8va

6th Above 8vb #2

Three Above 8va #2

3rd Below 8va

Alt Above 8vb #1

Three Above 8va #3

6th Below 8va

Alt Above 8vb #2

Two Below 8va & 8vb #1

859

Octaves 8va & 8vb

Two Above 8vb #1


Two Above 8vb #2


Two Above 8vb #3

3rd Above 8va & 8vb

Two Above 8va #1

6th Above 8va & 8vb

Two Above 8va #2

Alt Above 8va & 8vb

6th Above 8va #1


6th Above 8va #2


3rd Above 8va #1


3rd Above 8va #2 Alt Above 8va #1 Alt Above 8va #2 Two Below 8va #1 Two Below 8va #2 Two Below 8va #3

860

3rd Below 8va & 8vb 6th Below 8va & 8vb 3rd Above 8va & 8vb 6th Above 8va & 8vb

861

Human Playback Dictionary When you begin a document with the Setup Wizard, a template, or new default document, all of the existing expressions defined for playback are performed by Human Playback (though their playback definitions are substituted with Human Playback’s interpretation based on the style chosen). Human playback recognizes articulation and all other standard performance markings in your score (see Human Playback). In addition, Human Playback looks for any expression or Smart Shapes that contains common words used for tempo and dynamic changes such as "rit." and "cresc.". These expressions, which can be typed into a new expression, are also interpreted during the performance. The following list includes the words Human Playback will recognize and perform. Note that any dots, extra spaces, parenthesis or brakets are ignored as Human Playback looks for these words in the score. For details on adding expressions, see Expressions. To add text as a Smart Shape, use the "Left Start"option to add text in the Smart Line Selection dialog box. If defining or editing a Human Playback style, ensure the appropriate item is checked under Interpret in the Human Playback Custom Style dialog box.

Tempo ("rall", "acc.")

acc, accel, accelerando, accelerato, affretando, incalzando, ristringendo, stringendo, string, stretto, en pressant, pressez, en accélérant, faster, beschleunigend, eilend, drängend, belebend, rall, rallentando, calando, rit, ri, ritar, riten, ritenuto, ritenente, ritardando, slargando, morendo, ritardo, allargando, allarg, retenu, rallentir, en retenant, en cédant, cédez, zurückhaltend, breiterwerdend, breiter, a tempo, tempo, on time, au mouvement, zeitmass, zeitmaß

862

Dynamics

cresc, crescendo, en augmentant, augmentez, erhebend, aufschlagend, dim, dimin, diminuendo, decrescendo, decresc, decr, perdendosi, smorzando, smorz, en diminuant, en s’éloignant, en atténuant, abnehmend, nachlassend, nachgebend, fz, sf, sfz, sffz, rf, rfz, fp, fp, sfp, ffp, fpp, ffpp, ffpp, sfpp

All of the above can be combined with the following, which can be used to modify the playback effect: poco a poco, peu à peu, nach und nach, little by little, sempre, toujours, always, immer, molto, moltissimo, moltiss, très, beaucoup, much, un poco, poco, pochissimo, poch, un peu, légèrement, etwas, a little

Human Playback also interprets the following: con pedale, ped., pedale, solo, non arpeggio, g.p., grand pause

In addition to text, Human Playback also recognizes musical characters from the Finale music fonts (Maestro, Engraver, etc.), including symbols like trills, accents and turns. You can even combine characters in the Expression Designer. For example, entering a turn with accidentals above and/or below, such as , will be recognized and performed. For this example, you would simply add the characters into an expression as you want it to appear and then attach the expression to the desired note. Similarly, you can add an accidental to a trill character or other such symbols to customize the performance. Abstract of ornaments caught: Trill (short, long), trill on several notes or several layers, trill with changing notes behind (long piano trill), trill with specified accidental (as articulation or within the smartshape/expression), trillo (short baroque trill), mordent, all Bach/Couperin ornaments (mostly found in November font), including cadenza and coulé, gruppeto (with specified accidental(s) or not, can be combined with mordent like in Bach), Baroque appogiatura, classical accacciatura, timpani/drum trill, all Jazz Font ornaments (prebend, bend, doit, fall, …) as articulation, jazz shake (wavy line), guitar expression tremolo (wavy line). Maestro font (or any Maestro map-compatible font, such as Petrucci, November, etc.):

863

EngraverExtra font:

Abstract of tremolos caught: TG tools piano tremolos (measured or not), string tremolos (as articulation), including harmonic tremolo, xylophone tremolo (alternate notes, written as diddle as in marching bands), percussion diddles, tuplet based/dotted tremolos. Gruppetti: Gruppetti (Music Font char. 84), d (November Extra char. 100) or g (November Extra char. 103) are tracked by HP. Baroque Ornaments (articulations): Popular ornaments are lower mordent (char #77) and trillo (=upper mordent)

(short trill, char#109),

(char #181) long trillo. Special November Extra font ornaments are char. # 101 to 121: Basically, symbols above are French and German baroque ornaments, and HP takes a great care of their interpretation. If option Baroque Ornaments and Grace Notes is checked, the symbol "+" (char #43 and 246) plays back either as lower mordent, or trillo (if not checked, it is used for Trombone stopped notes.) Punctual accents:

Jazz Articulations:

864

865

Jazz Fusion Percussion MIDI Map Table The Jazz Fusion Percussion MIDI Map included with Finale was designed for use with the Garritan Jazz Fusion Drum Kit instrument sounds (from the Garritan Jazz and Big Band library). See Garritan Personal Orchestra Finale Edition. The Jazz Fusion Drum Kit sounds are loaded automatically when you add a Jazz Fusion Drum Kit staff in the Setup Wizard (using the Garritan Instruments for Finale instrument set). For information regarding how this map is used for input and playback, see Percussion MIDI Maps. You can view or edit MIDI notes in the Percussion MIDI Map Editor dialog box.

Tip: To see the relationship between MIDI Note numbers and pitches on a piano keyboard see the MIDI Note to Pitch Table.

MIDI Note Number

Name

MIDI Note Number

Name

34

Side Stick

59

Cracked Ride Cymbal 3

35

Bass Drum 1

60

China Cymbal

36

Bass Drum 2

61

Splash Cymbal

37

Rim Shot

62

Ride Cymbal 4

38

Snare LH

63

Crash Cymbal 5

39

Snare RH

64

Sizzle Cymbal 2 (wood tip)

40

Foot Closed

65

Sizzle Cymbal 2 866

Hi Hat

(nylon tip)

41

Low Floor Tom

66

Sizzle Cymbal 2 (mallet)

42

Closed Hi Hat LH

67

Sizzle Cymbal 2 (finger)

43

Closed Hi Hat RH

68

Sizzle Cymbal 2 (wood tip BS)

44

Half Open Hi Hat

69

Cymbal Scrape 1

45

Mid Tom

70

Cymbal Scrape 2

46

Open Hi Hat

71

Cymbal Scrape 3

47

Hi Hat Crash

72

Cymbal Scrape 4

48

High Tom

73

Cymbal Scrape 5

49

Crash Cymbal 1

74

Garbage Can Lid (stick)

50

Ride Cymbal 1

75

Garbage Can Lid (mallet)

51

Ride Cymbal 2

76

Garbage Can Lid (hard mallet)

52

Crash Cymbal 2

77

Garbage Can Lid (rubber mallet)

867

53

Ride Bell 1

78

Garbage Can Lid (car keys)

54

Ride Bell 2

79

Garbage Can Lid (hand)

55

Ride Cymbal 3

80

Radial Saw Blade

56

Crash Cymbal 3

57

Sizzle Cymbal 1

58

Stagg Crash Cymbal 4

868

Latin Percussion MIDI Map Table The Latin Percussion sounds included with Finale were designed for use with the Latin Percussion plug-in. These sounds are configured for staves automatically (shown in the Instrument List window) when the Latin Percussion plug-in is applied to a new or existing staff. They can also be applied to staves manually in the Instrument List (see steps below). These sounds are only available when SmartMusic SoftSynth is chosen as your MIDI Out device in the MIDI Setup dialog box. To setup a staff to use these sounds manually: 1. From the MIDI/Audio menu, choose MIDI Setup. Ensure SmartMusic SoftSynth is selected as the MIDI Out device. Click OK. 2. From the Window menu, choose Instrument List. 3. Find the staff you want to apply the sound to, then, under the Instrument row to the right of that staff, click the drop-down menu and choose New Instrument. 4. Enter the Instrument Name. Then, choose channel 10 (or any GM percussion channel e.g. 26, 42, etc.), then Program 4. (Or, do the following if you would like to use several different channels for different latin percussion instruments: for Patch, click the drop-down menu and choose "Bank Select 0, Bank Select 32, Program Change." For "Bank Select 0," enter 120. For Program Change, choose 4.) 5. Click OK to return to the Instrument List. Your settings have been applied. You can now use the MIDI Notes from the table below to add Latin Percussion sounds using an external MIDI device. Tip: To see the relationship between MIDI Note numbers and pitches on a piano keyboard see the MIDI Note to Pitch Table. For information regarding how this map is used for input and playback, see Percussion MIDI Maps. You can view or edit MIDI notes in the Percussion MIDI MIDI Map Editor dialog box. MIDI Note Number

Name

MIDI Note Number

Name

869

36

Heel Quinto

74

Timbales Macho Rimshot

38

Fingertips Quinto

76

Fiberblock

40

Slap Quinto

77

Timbales Cáscara Hembra

41

Open Tone Quinto

79

Timbales Cáscara Macho

43

Heel Conga

81

Mambo Bell Neck

45

Fingertips Conga

83

Mambo Bell Mouth

47

Slap Conga

84

Cha-Cha Bell Neck

48

Open Tone Conga

86

Cha-Cha Bell Mouth

50

Heel Tumba

88

Ride Cymbal

52

Fingertips Tumba

89

Crash Cymbal

53

Slap Tumba

91

Campana Neck

55

Open Tone Tumba

93

Campana Mouth

57

High Tone Macho Bongos

95

Güiro Motion DU

870

59

Fingertips Macho Bongos

96

Güiro Down Long

60

Thumb Macho Bongos

98

Güiro Up Short

62

Open Tone Macho Bongos

100

Güiro Down Short

64

Open Tone Hembra Bongos

101

Güiro Up Long

65

Bass Drum

103

Claves Standard

67

Timbales Hembra Open Stick

105

Claves Afro

69

Timbales Hembra Open Hand

107

Maracas Macho (Right Hand)

71

Timbales Hembra Muffled Hand

108

Maracas Hembra (Left Hand)

72

Timbales Macho Open

871

Linking Details for Linked Parts This following chart describes the relationship between items/edits in the score and its corresponding linked part. • Always Linked. These items are always identical between the score and corresponding part. Changes to an item that is "always linked" in the score always also applies to the corresponding part. Changes to an item that is "always linked" in a part always also applies to the score. • Never Linked. These items are autonomous. Changes to an item that is "never linked" in the score never applies to any part. Changes to an item that is "never linked" in a part never applies to the score. • Linked until changed in part (or "inteligently linked"). These items are, by default, linked to the score. Changes to an item that is "Linked until changed in a part" in the score also apply to its part. Changes to an item that is "Linked until changed in a part" in a part do not apply to the score. Future edits of that type in the score no longer apply to the part (until the item is "relinked" to the score). See Linked Parts. Element/Edit Type

Always Linked

Never Linked

Linked until changed in part (inteligently linked)

Articulations Articulation Selection dialog box

X

Articulation Designer dialog box

X

Reposition an articulation

X

Show/hide an articulation

X

Delete an

X

872

articulation in part Delete an articulation in score

X

New articulation in part

X

Clear manual positioning*

X

Chords Chord Suffix Editor dialog box

X

Chord Suffix Definition dialog box

X

Reposition a chord

X

Show/hide a chord

X

Show/hide fretboard

X

Delete a chord

X

New chord in part

X

Fretboard Editor

X

Resize Fretboards

X

Chord baselines (triangles)

Triangles 3 and 4

Triangles 1 and 2

873

Clefs Clef Change dialog box

X

Mid-measure clefs

X

Change clef size

X

Document menu Display in concert pitch

X


X

Repeat dialogs

X


X


X (only applied to score)


X (only applied to parts)

Page Setup for Score dialog box

X (only applied to score)

Page Setup for Parts dialog box

X (only applied to parts

Expressions

874

Expression Selection dialog box

X (except for H: and V: values)

Expression Designer dialog box

X

Shape Expression Designer dialog box

X

Reposition expression

X

Show/hide expression

X

Delete expression in part

X

Delete expression in score

X

New expression in part

X

Expression baselines (triangles)

Triangles 3 and 4

Shape Expression: change size

X

Expression playback

X

Expression: Show On

X

Triangles 1 and 2

875

Expression assignment: Allow Individual Edits Per Staff setting

X

Clear manual positioning*

X

Expression playback

X

Graphics Add/delete graphic in score

X

Graphic added to part

X

Graphic deleted from part

X

Reposition graphic

X

Instrument List/Mixer/Staff Controls Volume

X

Pan

X

Reverb

X

Room Size

X

Channel

X

876

Program

X

Key Signatures Key Signature dialog box

X

Key signature change

X

Measures Position notes

X

Measure Attributes (except for measure width check boxes and values)

X

Measure Number Regions

X

Lyrics Document Options Lyrics

X

Adjust Lyric Baselines

X

Lyric Text

X

Lyric Font

X

Lyric Size

X

877

Lyric Style

X

Baseline Positioning

Triangles 3 and 4

Triangles 1 and 2

Adjust syllables

X

Edit word extension

X

Utilities menu Mirrored measures

X

Music spacing

X

MIDI/Audio menu VSTSetup dialog box

X

Play Finale Through VST

X

Note Mover Cross-staff notes

X

Search and replace Notes Pitches Enharmonic changes

X X

878

Cautionary accidentals

X

Rhythms

X

Beaming

X

Parenthetical accidentals

X

Tuplet definitions

X

Tuplet Positioning

X

Ossia Ossia Measure Designer dialog box

X

Ossia Positioning

X

Page Layout Add blank pages

X

Page breaks

X

Optimization

X

Fit Measures

X

Edit system margins

X

Edit page margins

X

879

Page size and orientation

X

Playback Playback Controls

X

Repeats Document Options Repeats

X

Backwards Repeat Bar Assignment dialog box

X

Create Edit Ending dialog box

X

Repeat Options dialog box

X

Create new repeat

X

Delete repeat

X

Reposition repeat endings/text repeats

X

Resize Resize Page

X

Resize System

X

880

Resize Staff

X

Resize Note

X

Resize Notehead

X

Smart Shapes Smart Shape Placement dialog box

X

Smart Shape Options dialog box

X

Smart Slur Options dialog box

X

Guitar Bend Options dialog box

X

Add or Delete smart shapes

X

Show/hide smart shapes

X

Change slur shape

X

Smart shape direction

X

Measure Attached Smart Shape Horizontal Positioning

X

881

Measure Attached Smart Shape Vertical Positioning

X

Hairpin Positioning

X

Special Tools Note Positioning

X

Notehead Positioning

X

Note Shape

X

Accidental Mover

X

Stem Length

X

Broken Beam Direction

X

Double/Split Stem

X

Reverse Stem

X

Custom Stem

X

Beam Angle

X

Secondary Beam Break

X

Beam Extension

X

882

Secondary Beam Angle

X

Tie

X

Dot

X

Beam Width

X

Beam Stem Adjust

X

Text Text

X

Font

X

Size

X

Style

X

Reposition text block

X

Justification

X

Alignment

X

Frame Attributes

X (except for H:; and V: values)

Line Spacing

X

Word Wrap

X

883

View menu View Percentage

1 view % for score 1 view % for (all) parts

Staff Sets

X

Grid/Guide Options dialog box

X

Show Grid

X

Show Guides

X

Show Rulers

X

Layer Selection

X

Shoe Active Layer Only

X

* Choosing to clear manual positioning in a part moves the part item to its default postitioning (H:0, V:0) and breaks the link to the score. Clear Manual Positioning does not restore broken links.

884

Marching Percussion MIDI Map Table This listing contains all the General MIDI percussion tones on channel 10, patch 2, which is the channel (and patch) reserved for marching percussion. Finale’s marching percussion sounds are available when SmartMusic SoftSynth is chosen as your MIDI Out device in the MIDI Setup dialog box. You must also ensure the marching percussion staff is set to channel 10 and program 2 in the Instrument List window. (Or, choose a marching percussion staff from the Setup Wizard). Use the pre-designed Marching Percussion MIDI map to easily enter marching percussion sounds and appropriate noteheads. See also Percussion Layouts. For information regarding how this map is used for input and playback, see Percussion MIDI Maps. You can view or edit MIDI notes in the Percussion MIDI MIDI Map Editor dialog box.

Tip: To see the relationship between MIDI Note numbers and pitches on a piano keyboard see the MIDI Note to Pitch Table.

Note Number

Name

Note Number

Name

36

Bass Drum 5

69

Tenors - Drum 3

37

Bass Drum Rims

70

Tenors - Drum 3 Rim Shot

38

Bass Drum 4

71

Tenors - Drum 3 Buzz Roll

39

Bass Drum Unison

72

Tenors - Drum 2

885

40

Bass Drum 3

73


41

Bass Drum 2

74


42

Bass Drum Buzz Roll

75

43

Bass Drum 1

76

Tenors - Drum 1

44

Cymbal Smash

77


45

Crash Cymbals

78


46

Hi Hat Choke

79

Tenors - Drum Spock Drum

47

Crash Choke

80

Tenors - Drum Spock Drum Rim Shot

48

M_Snare LH

81

Tenors -Hi Rims

49

M_Snare LH Rim Shot

82

Tenors -Lo Rims

50

M_Snare RH

83

Tenors - Drum Side Click

51

M_Snare RH Rim Shot

84

Crash Cymbal w/stick

886

52

M_Snare Gok (both hands rim shot)

85

Chinese Cymbal

53

Short Guz

86

Cowbell

54

Long Guz

87

Lo Agogo

55

M_Snare LH Rim

88

Hi Agogo

56

M_Snare RH Rim

89

Claves

57

M_Snare Cross Shot

90

Vibra Slap

58

M_Snare Stick Shot

91

Tambourine

59

M_Snare Stick Click

92

Cabasa

60

M_Snare Buzz Roll

93

Hi Muted Conga

61

Ride Cymbal Bell

94

Hi Open Conga

62

Ride Cymbal

95

Lo Open Conga

63

Open Hi Hat

96

Concert Bass Drum

64

Closed Hi Hat

97

Muted Triangle

887

65

Tenors Drum 4

98

Open Triangle

66

Tenors Drum 4 Rim Shot

99

Short Whistle

67

Tenors Drum 4 Buzz Roll

100

Long Whistle

101

Gong

68

888

MIDI Note to Pitch Table The following diagram shows the relationship between MIDI Note numbers and pitch names.

889

890

MIDI Terminology Sequencing Technically speaking, Finale isn’t a sequencing program. It has been designed primary to produce notation. Yet it duplicates many functions of a sequencer, and has the added advantage of being notation-based. You’ll find separate entries for Continuous data; Tempo (for playback); MIDI channels; MIDI files; Dynamics; Rallentando; Key velocity; Pitch wheel; and so on, all of which affect the playback of your score. If you plan to use Finale as a quasi-sequencer, it’s important to recognize that Finale can play back any score in one of three very different ways. Using a Human Playback style that interprets expression markings, dynamics, ritards, accents, hairpins and more. Or, if you set Human Playback to None (in the Playback Settings dialog box), you can use the Playback/Record Options dialog box to specify whether you want to playback the score as recorded, or rhythmically perfect, lacking any of the irregularities in performance that give music a human feel. If in the Document menu, Playback/Record Options, all of the items under “Play recorded” are checked, Finale will, play back the score using captured MIDI data. Captured MIDI data is the actual, unquantized MIDI “recording” of a performance you created using HyperScribe Tool, including your key velocity information, your ritards, and your pedaling. What’s even more useful is that once you’ve transcribed such a performance, you can edit the notes, the dynamics, and other elements of the notated score; when you play the performance-data version, you’ll hear your changes incorporated into the original performance. Remember, you can only hear playback as it was recorded (or without any additional continuous data), if you set Human Playback to None in the Playback Settings dialog boxPlayback Controls. If you want to capture this MIDI data when you record, before recording in HyperScribe, under the MIDI/Audio menu, choose Quantization Settings, and then click More Settings. Make sure Retain Key Velocities and Retain Note Durations are checked.

MIDI Setup A MIDI setup is the physical connection between all your MIDI devices and your computer. A typical setup consists of a MIDI interface, a computer, and the actual MIDI equipment such as keyboards, sound modules, wind controller, and so on.

MIDI System A MIDI system is any part of the operating system that handles communication between Finale (or any other software application) and a MIDI setup. 891

MIDI Interface A MIDI interface is an external device that translates signals between your computer and MIDI instrument(s). On the Macintosh, a MIDI interface often connects to a USB port, or, if you have an older Mac, one of the serial ports.

Port A port is simply the connection at the back of the computer where you connect a cable leading to any of several kinds of peripheral devices, such as modems, printers, scanners, and MIDI interfaces. Some older Macintosh models have two built-in serial ports, the Printer port and the Modem port. Most newer Macintosh models have a USB port. Depending on your MIDI interface, you may need an adaptor to plug into a USB port. If you have serial ports, you can plug in the MIDI interface’s cable to whichever serial port you prefer. If you have more than one serial port, it is often more convenient to connect the MIDI interface to the Modem port—if you have a printer, it is probably used often enough that it should have a constant connection to the Printer port. With some MIDI interfaces, you can plug your printer into a special connection on the MIDI interface, then easily switch between running MIDI and printing all on one port, without having to swap out cables on your computer. These interfaces are helpful for computer systems that are connected to a modem, printer, and MIDI gear or multimedia equipment. Technical Note: if you have an internal modem on your Macintosh, you can no longer use the modem port. This port is in fact being used by your internal modem. Instead, you must use your printer port.

MIDI channels Finale supports up to 64 MIDI channels. If you are using a USB interface that has at least four MIDI Out ports, you can use the maximum number of channels Finale supports through your four (or more) external MIDI devices. (Finale supports up to 16 MIDI channels per device.) If you plan to work extensively with staff-to-MIDI channel mappings, you should become familiar with the concept of Instruments. An Instrument is one distinct stream of playback information; you might think of an Instrument as one player’s part. An Instrument is usually one staff in your score, but it doesn’t have to be. For example, you’ll probably want to write a piano part on two staves, but those two staves are considered just one Instrument (and thus they’ll use the same MIDI channel). On the other hand, each layer of each staff can be considered a different Instrument; you might write two clarinet parts on a one staff (in different layers), but you can tell Finale to treat them as two Instruments. Using two instruments (on different channels) allows you to edit their MIDI data independently.

892

Each Instrument can have its own MIDI channel, and each Instrument is dynamically independent. If you want the treble and bass staves of a piano part to have independent dynamics, make sure you assign them to different Instruments on different channels. There are 64 possible channels in Finale. If you use the Setup Wizard or new defualt document, each instrument you add is assigned to its own channel. Note that multiple staves of the same instrument added with the Document Setup Wizard (or New Staves Setup Wizard) will be given the same instrument name and channel. For more complex playback situations, however, you’ll find that Finale’s Instrument List window gives you a lot of power and control with very little effort. As a matter of fact, we ’ ve included Instrument Libraries— preconfigured instrument, channel, and patch setups—for many popular MIDI keyboards. See “To load an Instrument Library.”

MIDI Channels and Patches Finale supports up to 16 channels per MIDI device. Some devices only play back using one channel at a time. Other devices are multi-timbral, meaning that they can play back more than one channel at a time. In other words, you can play different sounds assigned to different channels at the same time, on the same MIDI device. Different sounds within a MIDI device have specific numbers assigned to them, called patches (or program numbers). Depending on the device, patch 1 may be a grand piano sound, patch 2 - electric piano, program 3 - violin, program 4 - viola, and so on. Some of the more sophisticated sound modules can contain many hundreds of sounds. However, MIDI only supports the use of the first 128 numbers (numbered 0 through 127). To use some of the additional sounds “above” 127, renumber them as lower numbers, or set them manually on the instrument before playing back. To accommodate more than 128 sounds many MIDI devices use banks of sounds. Banks are an isolated group of 128 patches, which are accessed by changing your “active” bank of patches to a new bank using a special controller message. Bank information, combined with program information, creates what is referred to as a Patch. To have different patches play back at the same time, you need to use different channels with a specific patch assigned to each channel. For example, if you wanted to play back a piece for a trio consisting of flute, violin and piano, you would set up the piano staves to play back on channel 1, program 1; the flute staff to play back on channel 2, program 74; and the violin staff to play back on channel 3, program 41. These settings reflect the General MIDI program numbers. Each MIDI device can be different, so refer to the device’s documentation for a reference to its patches.

Finale Instruments and Channels

893

There are 64 Finale channels available for MIDI output. Since each instrument in Finale’s Instrument List allows you to specify a unique channel and patch combination, you can define up to 64 different instrument sounds. Finale makes 64 total channels available, but supports 16 channels per MIDI device. So, Finale groups its internal channels in four fixed sets: 1-16, 17-32, 33-48, and 49-64. Using the MIDI Setup dialog box, you can assign each set of Finale channels to the 16 MIDI channels on a particular MIDI device. By assigning an instrument to a staff in the Instrument List, you tell Finale which device should play that staff’s information and furthermore, which of the device’s channels Finale should use. For example, if you had two devices, one using the first set of 1-16 and the other using the second bank of 17-32, assigning a Finale instrument to channel 17 would cause the second device to play on channel 1. Depending on your MIDI setup, you could map four different devices to their own bank of channels, or overlap them. In the following example, Finale’s 64 channels are mapped to each of the four devices and their 16 MIDI channels. Finale Channels

MIDI channels on the connected instrument

1-16

Device One’s channels 1-16

17-32

Device Two’s channels 1-16

33-48

Device Three’s channels 1-16

49-64

Device Four’s channels 1-16

For entering notes with MIDI using HyperScribe, enter any number between 1 and 64 for the Finale channel that will receive the MIDI information, or set HyperScribe to receive on all MIDI channels. You can also remap the input channels using Finale’s MIDI Thru dialog box. See MIDI Setup dialog box. For MIDI playback from Finale, you can either use the Instrument List to assign the channels to staves in your score, or you can create expressions to change a staff's channel during playback. Enter any number between 1 and 64 for the Finale channel used for playback. Finale will direct the playback to the appropriate device.

894

Regardless of whether you use the Instrument List or create expressions, Finale refers to settings in the MIDI Setup dialog box to see what Input or Output device is assigned to the channel you selected. Finale channels 1–16 go directly to channels 1–16 of the specified Input or Output device. The remaining three sets of Finale channels are mapped to channels 1–16 of the specified Output or Input device for that set of channels. For example: Finale channels


1-16

1-16

17-32

1-16 (Add 16 to determine the Finale channel.)

33-48


49-64


Input Device and Output Device Input Device and Output Device options in the MIDI Setup dialog box let you choose where you want MIDI information sent or received. The available devices vary, depending on the MIDI driver and device you are using.

Note: You can’t assign the same input or output device to more than one set of Finale channels—after all, each device only uses 16 channels. You can, however, select multiple devices for a set of Finale channels. This allows you to double the number of devices playing the affected staves’ music. (To do this, hold down the Shift key when selecting your MIDI devices.

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More on MIDI MIDI stands for Musical Instrument Digital Interface. It’s a communications protocol for computers and synthesizers that was developed in 1983 through the collaboration of several major electronic instrument manufacturers. By linking different MIDI devices together by MIDI cables, you have great flexibility: a key you strike on one MIDI instrument (the keyboard controller) can produce sound from a second MIDI instrument—or several other MIDI instruments; a note played by a person can be precisely recorded and reproduced by a computer; and a computer can play many MIDI instruments at once in perfect synchronization. This part of the appendix covers some sophisticated aspects of MIDI that may help you to understand Finale better. A MIDI signal, or event, is transmitted in a burst of two or three bytes (pieces of computer data in numeric form). The first byte of every event is called the status byte, because it identifies by number the kind of event being transmitted—a note being struck, the pedal being released, and so on—and what MIDI channel it’s being sent on. The other bytes are called data bytes, because they tell the computer or MIDI instrument which MIDI device (of the type described by the status byte) is being operated, and by how much its status has changed. For example, when you strike a note, the data bytes produced describe which note you played and how hard you struck the key. Here are some of the various MIDI events described by the status byte and what kind of information is conveyed by the corresponding data bytes.

MIDI event described by status byte

Parameters described by data bytes

Note On (pressing a key)

MIDI key number and key velocity

Note Off (releasing a key)

MIDI key number and release velocity

Polyphonic Aftertouch (channel pressure)

MIDI key number and amount of pressure applied

Controller

Controller number and its value (see next table)

Patch Change

Patch number 896

Monophonic Aftertouch (channel pressure)

Amount of pressure applied after note is struck

Pitch Bend

Position of pitch wheel

System Codes

Variable

In a few Finale dialog boxes you’ll see sets of three text boxes containing numbers preceded by a dollar sign. These three boxes contain hexadecimal notation for the three bytes in a MIDI event: from left to right, the status byte and the two data bytes. If you backspace over the dollar sign, however, you can enter normal (decimal notation) numbers instead of hexadecimal notation; Finale will translate your numbers into hexadecimal notation automatically. (Note that most times you see the MIDI data text boxes like this, you’ll also see a Listen button. The Listen button lets you play the MIDI event being requested; Finale translates the key, pedal, or controller you play into hexadecimal notation automatically.) While the events in the table above are described by MIDI status bytes, there’s another class of status bytes called System status bytes that are independent of any particular MIDI channel. They include MIDI Sync data; Sequencer Start, Stop, and Continue commands; System Exclusive data (unique to each synthesizer); and other synchronization and system-exclusive data. Often in the Finale manual you’ll encounter the term MIDI controller. Controller data is usually produced by a MIDI device that affects the MIDI notes you’re playing—pedals, pitch and modulation wheels, breath controllers, and so on. There are some useful controllers that are settings more than they are devices: MIDI volume level, tremolo depth, and right/left stereo pan are examples. In the table below, the most common MIDI controllers are listed along with their controller numbers.

Controller number

Controller

Controller number

Controller

1

Modulation Wheel (or Lever)

64

Sustain

2

Breath Controller

65

Portamento

897

4

Foot Controller

66

Sostenuto

5

Portamento time

67

Soft Pedal

7

Main volume

91

External Effects Depth

8

Balance

92

Tremolo Depth

10

Pan

93

Chorus Depth

11

Expression Controller

Armed with these controller numbers, you can use Finale’s Expression or MIDI tools to add this kind of data to the playback of your scores.

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Other SmartMusic SoftSynth Patches There are two additional alternative General MIDI patches on bank 1, Piano and Violin (all other SmartMusic SoftSynth patches reside in bank 0). These are the same piano and violin patches that were included with Finale 2005 are available when SmartMusic SoftSynth is chosen as your MIDI Out device in the MIDI Setup dialog box. To create an instrument using one of these alternative patches, do the following: 1. If the Instrument list isn’t visible, from the Window menu, choose Instrument List. 2. Under the Instrument Column click the drop-down menu for the staff you want to assign to the 2005 Piano or Violin and choose New Instrument. This option is at the top of the list. The Instrument Definition dialog box appears. 3. Click the Patch drop-down menu and choose Bank Select 32, Program Change. The Bank Select 32 and Program Change text boxes should be available. 4. In the Bank Select 32 text box, enter 1. 5. In the Program Change text box, enter 1 for the Finale 2005 Piano and 41 for the Finale 2005 Violin. Important note: If you want to change this instrument back to any of the standard General MIDI patches, first change the Bank Select 32 text box back to 0.

Percussion Layouts (libraries) Finale includes many percussion layout libraries that can be loaded into any document. If you start a new score with the Document Setup Wizard, many of these are already available in your document. Their purpose is to get you started and to provide some common approaches to notating percussion staves. Although users notate percussion in many different ways, Finale’s libraries are based on one increasingly accepted standard (the Percussive Arts Society (PAS) standard). However, since no single standard exists for all percussion notation, you’ll probably want to create your own custom layouts or edit Finale’s to match your needs. Once you've created the layouts, save them into your own percussion layouts library so that you can load them into any new file you create. Or, load them into the Maestro Font Default file, so the percussion layouts are ready for use in new documents. For a list of percussion layout libraries, see Percussion Layout Libraries under Finale Libraries in the Appendix. 899

The Entry maps provide most of the note definitions for a standard five tomtom drum kit and other percussion instruments. Each map is configured for use with Maestro Percussion, one of Finale’s notehead fonts. You can also use Tamburo or any other music font for your percussion staff. (Choose the notehead font to use for the staff in the Staff Attributes dialog box.) You can review the definition for all of Finale's percussion layouts, as well as the ones you have defined yourself, in the Percussion Layout Designer dialog box. (Select the percussion layout you want to reference in the Percussion Layout Selection dig box.)

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Percussion MIDI Maps A Percussion MIDI Map is simply a list that matches each percussion instrument in a sound library with a particular MIDI note number (e.g. bass drum = 36, snare drum = 38, etc.). These maps are required to properly assign the same percussion notation to various playback devices, and are also used to accommodate the many different percussion sound banks that can be used for input with an external MIDI device. PLAYBACK: To playback your percussion parts using the correct instrument sounds, ensure the appropriate Percussion MIDI Map is selected under the Percussion Map column of the Instrument List. See To setup playback for a percussion staff. INPUT: To designate sounds performed by an external MIDI device so that they are recorded to the appropriate instrument sounds in Finale, define the MIDI notes to percussion sounds in the Percussion MIDI Map Editor dialog box, then choose this Percussion MIDI Map in the Percussion Input Map dialog box. Note that the same percussion MIDI map can be used for both MIDI input and playback. Choose MIDI Thru under MIDI/Audio menu > Device Setup to audition the percussion sounds Finale interprets if you want to use your MIDI keyboard for input and not for playback. If you converted your document from an older version of Finale, and you find that the note types assigned to a converted percussion layout do not represent your desired sounds, use the Change Note Types dialog box to reconvert note types based on a different mapping.

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Plug-in filenames Plug-in Name

Filename

Add Cue Notes

Cuenotes.FXT

Apply Human Playback

ApplyHumanPlayback.FXT

Auto-Dynamic Placement

Autody32.FXT

Auto-Slur Melismas

AutoSlurMelismas.FXT

Automatic Barlines

Autobr32.FXT

Band-in-a-Box AutoHarmonizing

BIABAutoHarmonizer.FXT

Beam Over Barline

BmOvrBar.FTX

Canonic Utilities

Seruti32.FXT

Cautionary Accidentals

Ctnacc32.FXT

Change Font

Chngfnt.FXT

Change Noteheads

ChangeNoteheads.FXT

Change to Default/Real Whole Rests

DefaultRests.FXT

Check Range

Chkrng32.FXT

Check Region for Durations

CHKDUR32.FXT

Chord Analysis

ChordAnalysis.FXT

902

Chord Morphing

ChordMorphing.FXT

Chord Realization

ChordRealization.FXT

Chord Reordering

ChordReordering.FXT

Chord Splitting

ChordSplitting.FXT

Classic Eighth Beams

CEBeams.FXT

Clear Lyric Positioning

ClearLyricPos.FXT

Clear Measure Number Positioning

MeasNumPos.FXT

Command Line

CommandLine.FXT

Common Tone Transposition

CommonToneTransp.FXT

Count Items

Cntitm32.FXT

Create Coda System

CreateCodaSystem.FXT

Create Tempo Marking

CreateTempoMarking.FXT

Drum Groove

DrumGroove.FXT

Export To OpenMusic

OMExport.FXT

FinaleScript

FinaleScript.FTX

Find Parallel Motion

ParallelMotion.FXT

Find Range

Fndrange.FXT

Flat Beams / Flat Beams Remove

flatbm.FXT

Frequency Modulation

FMChordGenerator.FXT 903

Chord Generator Global Staff Attributes

Gstfatt.FXT

Import From OpenMusic

OMImport.FXT

Ledger Lines - Hide & Show

Hsledg32.FXT

Mid-Measure Repeats

MidMeasureRepeats.FXT

MusicXML Import/Export

MusicXMLLight.FTX

Melodic Morphing

MelodicMorphin.FXT

menu Shortcuts

TGToolsLE2002.FXT

Midline Stem Direction

MidlineStemDirections.FXT

Move Rests

MoveRests.FXT

Notes and Rests - Hide & Show

flatbm.FXT

Number Repeated Measures

NUMRPT32.FXT

Patterson Beams

PatBeams.FXT

Piano Reduction

PianoReduction.FXT

Resize Noteheads

ResizeNoteheads.FXT

Rhythm Generator

RhythmGenerator.FXT

Rhythmic Subdivisions

RHYTHS32.FXT

Score System Divider

ScoreSystemDivider.FXT

904

Single Pitch

SinglePitch.FXT

Slash Flagged Grace Notes (Remove)

flatbm.FXT

Smart Cue Notes

SmartCueNotes.FTX

Smart Page Turns

PageTurns.FTX

Split Measure

SplitMeasure.FXT

Split Point

MoveSplitPoint.FXT

Tie Common Notes

TieCommonNotes.FXT

TGTools: Align/Move Dynamics, Cross Staff, Easy Harmonics, Easy Tremolos, Handbells Used, Modify Rests, Process Extracted Parts, Smart Playback, Smart Split Point

TGToolsLe.FXT

Virtual Fundamental Generator

Virtfund.FXT

Voice 2 to Layer

Voice2toLayer.FXT

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Quantization Guide Yur success at creating notation with the HyperScribe Tool depends largely on o the settings you make in the Quantization Settings dialog box. The more simple the assortment of rhythmic values in your piece, the better Finale will transcribe them; but Finale can handle even rhythmically complex pieces if you’ve made the proper settings. These settings include your beat source (called Time Tags in the Transcription window), the smallest note you will input, and your quantization type settings. For a complete discussion of the beat source and quantization options, see Quantization Settings dialog box, Recording with HyperScribe and Transcribing a sequence). The following table is designed to help you make the correct quantization settings before you begin. Consult this table if you find that (1) Finale is quantizing (rounding off) smaller values—such as sixteenth notes—into chord clusters with larger values, such as eighth notes, or (2) Finale isn’t quantizing enough—in other words, you’re finding that eighth notes are being notated as sixteenth notes separated by sixteenth rests, for example, or (3) Finale isn’t correctly notating triplets or other tuplets. Consult the Beat (Tap), Rhythm and Time columns of this table to find the assortment of rhythmic values and Time Signatures that correctly characterizes the rhythmic values of the piece you’re trying to notate.The Smallest Note Value and Type of Quantization columns show you what settings to use in the Quantization Settings dialog box to notate the described rhythm. (To specify a Beat Duration—that is, the rhythmic value of your tap—in HyperScribe, choose Tap from the HyperScribe menu and click a note value in the Tap Source dialog box. In the Transcription window, choose the corresponding value from the “First Tag is” submenu of the Time Tag menu before you record Time Tags.)

Beat (Tap )

Rhythm

T i m e

Smalles t Note

Type of Quantization

906

Space Notes Evenly

Space Notes Evenly

Space Notes Evenly

Space Notes Evenly

Mix Rhythms

907

Mix Rhythms

Mix Rhythms

Space Notes Evenly

Mix Rhythms

908

Space Notes Evenly

Mix Rhythms

Space Notes Evenly

32nd note

Space Notes Evenly

909

Mix Rhythms

910

TapSpace Instruments & Percussion MIDI Maps Finale includes a library of more than 100 TapSpace Virtual Drumline instrument sounds. When you choose the TapSpace Instruments for Finale 2010 Instrument Set in Finale's Setup Wizard, Finale loads the TapSpace sound libraries into the Aria Player automatically and assigns the staff to the corresponding percussion MIDI map. To assign TapSpace Instruments to an existing staff, note the staff's channel in the Instrument List. Then, open the Aria Player to assign the desired TapSpace Instrument to that channel. Then, apply the corresponding percussion layout to the staff. Finale includes percussion layouts designed for TapSpace Instruments accessible from the Percussion Layout Selection dialog box. Review the Percussion Layout Designer dialog box to reference the specific instrument mapping for each sound. For more information, including details regarding mapping instrument sounds using percussion MIDI maps, see To setup playback for a percussion staff. All MIDI Note-to-instrument mappings are listed in the Percussion MIDI Map Editor dialog box.

TapSpace Instrument Sets Each TapSpace Instrument Set (as it appears in the Setup Wizard) is listed below. The MIDI Pitch indicates the pitch you would play on MIDI Keyboard to add the sound (middle C = 60 C4). See MIDI Note to Pitch Table.

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Troubleshooting For the most up-to-date information, see our Knowledge Base at http://finalemusic.com/support.aspx. If you’re having problems, you may wish to check for a maintenance release, which may have fixed problems appearing in earlier releases. Updates can be found at http://finalemusic.com/downloads/. Here is a list of common problems and suggested solutions. Each question provides a link to the relevant solution.

General Troubleshooting 1. 2. 3. 4. 5. 6. 7.

How do I open a Macintosh Finale file on my PC? How do I open a Windows Finale file on my Macintosh? Why can't I open Finale 2010 files in earlier versions? Why doesn't Finale allow me to save a file in an older version format? How do I open older Finale files in my current version? Can you suggest any books on the standard practices of music engraving? What is a CTREE error, and what can I do about it?

MIDI and Playback Troubleshooting 1. I am having MIDI Problems, what can I do to make sure everything is setup correctly? 2. Why is Speedy Entry only giving me rests? 3. I’m playing my keyboard controller, but no sound is coming out of my second (sound module) MIDI instrument.

Printing 1. How do I create and print PostScript files?

Display 1. Why can I see some staves or measures in Scroll view but not in Page view? 2. My music is displaying and printing as strange text symbols rather than musical characters. How can I correct this? 3. Why is Mouse movement sluggish while holding down a metatool key? 4. Why do Upper ASCII characters display incorrectly.

Lyrics, Expressions, Clefs and More 912

1. How do I copy and paste music from one document to another? OR, Why am I having difficulty copying and pasting certain items?

Scanning 1. When I try to import a Tiff graphic with SmartScore Lite, I get an error message. What can I do? 2. How can I use SmartScore Lite with my HP Scanner? Q: How do I open a Macintosh Finale file on my PC? A: Since Finale 3.7, the Finale Notation File format has been crossplatform. This means that the same file can be opened on either a Macintosh or a Windows computer. The only caveat is that in some cases the file won't be recognized on the Windows machine as a Finale Notation File until it is named according to the format: [filename].mus -- where the “.mus” portion of the name tells the Windows computer that the file is a Finale Notation File. Checking the “Append File Extensions” box when saving the file on the Macintosh can resolve this problem. There are several ways to transport the file: via a PC-formatted floppy disk or other removable media. More information below. via E-mail. More information below. via a web site or local network. Upload (save) the file to a network drive from the Mac and then download (save) the file onto the PC. Keep in mind that Finale Notation Files are not backwards compatible. This means that the latest version of Finale (or Allegro, PrintMusic or NotePad) will always open files created in earlier versions, but you can't, for example, open Finale 3.7 files in Finale 2.0. If the user does not yet own a version that is compatible, we suggest downloading Finale NotePad (it's free), which should open files from all previous versions. To use removable media like a floppy disk or ZIP disk, Save (copy) your Macintosh Finale Notation File to a PC-formatted disk, making sure the file has a “dot-three” extension to the name as appropriate (.mus or .ETF). Place the disk in your PC and save the file to your PC, noting the location. Remove (eject) the disk. Launch Finale on your Mac. Go to the File menu and choose Open. Navigate to the location of your Finale Notation File. Select it and click Open. Note: Most recent Macs come with software like ~Access PC or File Exchange that allows the Mac to format, read and write to PCformatted disks. To convert a blank Mac-formatted disk, highlight the disk 913

icon from the desktop, and choose Erase Disk from the Special menu. When asked, specify “DOS 1.4 MB.” (Keep in mind this completely erases the contents of the disk: never reformat a disk that contains data you want to keep.) The following alert will appear when Finale cannot determine a file’s current font encoding. This could happen if a file were created on one platform and then modified on another platform:

For more information, see Program Options-Open and Data Check submenu. If you are having trouble e-mailing files, there are several things you can do. To try to protect the files, you might want to send Finale Notation Files in compressed form using a utility like Aladdin DropStuff (for instance). This is available at www.aladdinsys.com. Several e-mail programs now can automatically compress files for you when you send e-mail. This reduces errors in transmission. Next you might try using a different e-mail service to send the files. There are many free ones such as www.hotmail.com or www.yahoo.com. Q: How do I open a Windows Finale file on my Macintosh? A: Since Finale 3.7 it has been easy to open PC files on your Macintosh. Finale Notation Files are fully cross-platform compatible. All you need to do is save or copy the Windows notation file. Transfer it to your Mac using media such as a CD or over the Internet. Go to the File menu and choose Open. Under Type specify All Files. Navigate to your floppy drive and select the Finale Notation File you wish to open.

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Keep in mind that Finale is not backwards compatible. This means that the latest version of Finale will always open files created in earlier versions, but you can't, for example, open a file created in Finale 2010 in Finale 2007. The following alert will appear when Finale cannot determine a file’s current font encoding. This could happen if a file were created on one platform and then modified on another platform:

For more information, see Program Options-Open and Data Check submenu. Q: Why can't I open Finale 2010 files in earlier versions? A: A Finale document contains items (Staff Styles, Engraver Slurs, Percussion Maps, and Shape Articulations for example) that simply didn't exist in earlier versions. Consequently, previous versions of Finale will not recognize this data. Q: Why doesn't Finale allow me to save a file in an older version format? A: One of the reasons Finale is so powerful is that it has a very high degree of flexibility, which is made possible by a very “rich” data structure. As a result, a significant development effort would be required to add the capability to save Finale, Allegro, or PrintMusic! files in an older format. Such an effort would take resources away from the development of new features and enhancements that have been more often requested by our customers. In addition, if this functionality was added, and you “saved as” an older version, much of the new data made possible by the current version would be lost. Since the introduction of Finale Notepad, which can be downloaded for free from MakeMusic's web site, you can share your Finale files not only with people who own older versions of Finale, but even with people who 915

have never purchased a MakeMusic product; Finale Notepad allows anyone to open, playback, print and even edit any Finale, Allegro, Finale Guitar, PrintMusic or Notepad file. Q: How do I open older Finale files in my current version? A: To open a Finale file created in an earlier version, launch your version of Finale and choose Open from the File menu, select the desired file, and click OK. Depending on what version of Finale the file was last saved in, you may see a message stating that the file was created with an earlier version of Finale. When this happens, simply click the OK button. The file will be opened as a untitled document. When you save this untitled document, we suggest naming it something different than what it was named in the previous version: Opus might become Opus2, for example. In addition to providing you with a backup of your file (always a good idea when working with computers), by not overwriting the original file you retain the ability to open the original in the older version of Finale, should you choose to do so. Q: Can you suggest any books on the standard practices of music engraving? A: Here are five: 1. "(Teach Yourself) the Art of Music Engraving" by Ted Ross (Hansen Books) 2. "Music Notation" by Gardner Read (Crescendo/Taplinger) 3. "The Norton Manual of Music Notation" by Heussenstamm (Norton) 4. "Music Notation in the 20th Century" by Kurt Stone (out of print) 5. "Preparing Music Manuscript" by Anthony Donato (Amsco) The Ross book might be your best bet as it specifically deals with precision engraving whereas Read, for example, uses many handwritten examples. Try locating these books at a new or used bookstore near you. Q: What is a CTREE error, and what can I do about it? A: Most often, a CTREE error means that there is not enough room on your hard drive for Finale to write its temp files. Temp (temporary) files are the “scratch paper” Finale uses when it's figuring out how to do what you've asked of it. (These temp files are only useful to Finale while a document is open. They will not help you resurrect a lost document.) If you're getting a Ctree error message, you'll want to:

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1. Free up some space on your hard drive. This may mean throwing away old applications or files you no longer need, or simply archiving data elsewhere, either on floppy disk or other drives or storage media. If you have an idea of how big your largest file is, at a absolute minimum you'd want to have ten times the size of that file free on your drive at all times. 2. In Finale, go to the Edit menu and open the Program Options. Under “Folders” there will be a path (or lack there of) for “Temporary Files:”. This should read something like C:\Windows\TEMP. If it does, and you are still getting this error message, close Finale and double click on My Computer, C:, Windows. If there is not a folder in this directory named TEMP, create one.If you are using a RAM disk you should increase the size to accommodate the space needed for the temp files. If this is not possible, you may want to restart without the RAM disk. Q: I get crashes and errors type 1,2 or 3. What does this mean? A: Error types 1,2 and 3 have to do with memory, or RAM. You may be running more applications than your machine can handle at once, or you may not have enough RAM to run the program. To find out how much total memory you have on your computer and how much memory the operating system itself uses, go to the Apple menu and choose “About this Computer.” If you know you have enough RAM, you may be able to remedy error type 1, 2 or 3 crashes by giving the program more memory. 1. Make sure Finale is not running. 2. Open the program folder on your hard drive and single-click on the startup icon. 3. Go to the File menu > Get Info > Memory. 4. Increase the Minimum and Preferred sizes by, for example, 500k or 1000k each. Q: I can’t add instruments in the Setup Wizard by double-clicking. What’s going on? A: Turn off the DigiSystem Init 3.1.1 extension. This extension shipped with older versions of ProTools. Q: My settings are not being saved from session to session. What can I do? A: If your settings are not being saved, you can trash the program's Preferences file in order to create a fresh new one. 1. If Finale is running, Quit. 2. Find the “Finale 2010 Preferences” file found in the System Folder>Preferences folder. Drag it to the Trash. 917

3. Empty the Trash and Start Finale. A new preferences file has been created. Q: I am having MIDI Problems, what can I do to make sure everything is setup correctly? A: Start by making sure your MIDI cables are hooked up correctly. As simple as this sounds, it's a common problem as the correct configuration strikes many as non-intuitive. The cable labeled “IN” that comes from the MIDI interface must be connected to the “OUT” port of the MIDI keyboard. The cable labeled “OUT” that comes from the MIDI interface must be connected to the “IN” port of the MIDI keyboard (or other playback device). Note: Some interfaces lable the ports "TO IN" and "TO OUT." If this is the case, do what the cables say. To test MIDI out: •

Open any file with music in it. The included Tutorial files will serve as good test files.

•

Adjust your volume controls on your computer speakers or MIDI output device.

• •

Click Play. If you hear the music, you have MIDI Out. If you don’t, go back to MIDI Setup and try a different Output driver.

To test MIDI input: • From the File menu, choose New, then Default Document. • Select the Speedy Entry Tool. • From the Speedy menu, ensure Use MIDI Device for Input is checked. • Click the first measure and the Speedy Edit frame appears. • Hold down a note on the MIDI keyboard and type a “5” from the numeric keypad on your computer. (while keeping the note depressed). (On a laptop look for the function key that allows you to use some of the “normal” QWERTY keys as though they were the numeric keypad if the numbers across the top aren't working.) You should see a quarter note at the pitch you played. Any other result indicates a problem. A rest means you don’t have MIDI input. 918

A different (wrong) note means that you have not checked “Use MIDI Device for Input” from the Speedy menu. If your setup fails this test, proceed to the next question Article 19379 in the Knowledge Base. If you've tried all the choices for input and output drivers, and you still can't get MIDI to work in Finale, you may need to take a step back to see if your sound card/interface and their drivers are properly installed. The soundcard/interface manufacturer may be your best resource in helping you determine that this has been done properly. You may also wish to read “Setting Up Your MIDI System” in the Installation chapter of your Finale Installation and Tutorials guide. See Installation for Windows. Q: I've confirmed all the above configurations, and I get MIDI Out, but not MIDI In. What's next? A: This symptom most commonly points to an interrupt conflict. Either the interrupt setting on your sound card does not agree with the setting in the driver software, or the interrupt setting specified for the sound card and the driver software are already in use by something else in the computer. If you suspect this might be the case and you have some other Windows based MIDI Software (like a sequencer) you might see if you are able to get MIDI In and Out with this other software: this would indicate whether the problem was in the configuration of Finale or in Windows in general. Commonly the interrupt setting on the card can only be configured by removing the card from the computer and re-configuring jumpers or switches on the card. You will likely need to consult the documentation which came with your sound card for these details. Q: I set the initial playback tempo in the Playback Controls. Why isn’t it working? A: Several things can override the initial playback tempo. You could have an Expression with a tempo playback effect in your score. Click on the Expression Tool. In the first measure, or wherever the problem seems to occur, double-click on the handle of any Expression. In the Text Expression Designer dialog box, click the Playback tab. Check the Type drop-down list to see if there is a Tempo defined. If there is, change the Type to none. If you have trouble finding the offending marking, try erasing all expressions from the suspected region with the Selection Tool and Clear Items. (Remember you can undo your actions by choosing Undo from the Edit menu.) You could also have Tempo Tool adjustments. To clear the adjustments, click on the Selection Tool. From the Edit menu, choose Select All (or

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select the appropriate area). From the Edit menu, choose Clear Items, Only Selected Items, Measures, Tempo Changes. Click OK twice. Q: Why is Speedy Entry only giving me rests? A: If you are not trying to use a MIDI Keyboard, make sure Use MIDI Device for Input is unchecked in the Speedy menu. If you are trying to use a MIDI Keyboard, then the MIDI signals aren’t reaching the computer. First, make sure your MIDI equipment is connected properly (see “Setting up your MIDI system” in Installation & Tutorials). Check your cables (each should run from a MIDI IN port to a MIDI OUT port). I am having MIDI Problems, what can I do to make sure everything is setup correctly? Q: I click a Listen button and play a note or other MIDI device, but the Listen dialog box“Finale is Listening” alert box doesn’t go away. A: MIDI signals aren’t reaching the computer. First, make sure your MIDI equipment is connected properly (see “Setting up your MIDI system” in Installation & Tutorials). Check your cables (each should run from a MIDI IN port to a MIDI OUT port). Make sure the MIDI interface is turned on and connected properly. Make sure you’ve identified the port (modem or printer) to which the interface is connected by choosing MIDI Setup from the MIDI/Audio menu. Make sure the MIDI interface is turned on and connected properly. See also I am having MIDI Problems, what can I do to make sure everything is setup correctly? Q: I’m not getting accurate, clean transcription when I use HyperScribe. A: Your quantization settings aren’t quite right, and/or there is a MIDI latency problem that delays the MIDI signal from the MIDI device to the computer. See Quantization Guide, for hints on making the proper quantization settings. To compensate for MIDI latency, from the MIDI/Audio menu, choose MIDI Setup and then click the Advanced button to expand the dialog box. Then, after MIDI-In Latency, enter a duration, like 25. This is just a first guess. Getting this value to match the precise delay may require some trial and error. You may need up to 150ms to compensate for the delay. The ideal amount of latency will depend on your hardware configuration. You also might find using a MIDI output device other than SoftSynth (in MIDI Setup), which is demanding on computer resources, solves this problem.

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Q: I’m playing my keyboard controller, but no sound is coming out of my second (sound module) MIDI instrument. A: You haven’t turned on MIDI Thru. Choose MIDI Thru from the MIDI/Audio menu, choose Smart, and click OK. See MIDI Setup dialog box for more details. Q: I’m absolutely positive that all my cables are correctly installed and that the MIDI interface, if any, is plugged in and turned on, if necessary - but still no MIDI signals are going in or out. A: Your MIDI instrument may need to be put into “MIDI” mode or your MIDI cables are damaged. A few MIDI instruments (some Casio models, for example) have a MIDI button that you must press to tell the synthesizer to transmit and receive MIDI signals or replace your MIDI cables. Q: I don't get the correct MIDI channel when clicking the Listen button, then playing a note. This occurs in the Click and Countoff dialog box (MIDI/Audio menu) and all other dialog boxes that record channel information. A Some MIDI Devices use a MIDI channel (sometimes called Global Channel or Control Channel) to communicate between Editor\Librarian software. If this channel is being used, Finale will hear it before any other channel when “listening” for MIDI data. Turn off the Control channel in your MIDI device, or simply play into Finale, then type in the correct channel information after Finale has filled in the note number, velocity and duration information. Q: I'm trying to use Speedy Entry and “Use MIDI Keyboard for Input” in the Speedy menu is grayed out. A No MIDI device is present. Install an interface or soundcard. Use the MIDI Setup dialog box (MIDI/Audio menu) to ensure that Finale knows about your device. Q: All my staves play back using the same sound. A: Most of the time, when using the Setup Wizard, your Staves will be assigned automatically to the correct MIDI Patches. At times, this is not the case and you will need to go into the Instrument List and configure the playback yourself. Go to the Window menu and open the Instrument List. Check Send Patches Before Play if it isn’t checked already. Under "Instrument", ensure that each staff (shown under the "Staff Name" column) is assigned to the desired instrument. 921

If it is, also make sure each instrument is assigned to a unique channel under the "Chan." column. To playback using multiple instruments, each instrument must be assigned to a unique channel. To assign a new channel to an instrument, click the box under the B column (of the row containing the instrument you want to change) to open the Instrument Definition dialog box, and then jump ahead to the next section. If the desired instruments do not appear under the "Instrument" column, click on the Drop Down Arrow next to the instrument name. Do you see the instrument you are looking for in this list? If so, choose the Instrument (each instrument here is assigned to it’s own channel). If the staff still does not sound correct on playback, click on the “GM” column to the far right and choose the correct sound. If this doesn't seem to be working for ANY reason, click in the B column for that Staff. This will bring up the Instrument Definition Dialogue Box, skip to this section below. If you don’t see the instrument you need, choose “New Instrument” from the top of the drop down menu. This will bring up the Instrument Definition Dialogue Box, continue below. The Instrument Definition Dialog Box Instrument Name: Name the instrument appropriately. You will need to enter a unique name. (i.e. if you already have an instrument named Grand Piano, and you want another Instrument that sounds like a Grand Piano, you could name this one Grand Piano 2.) Channel: While the specific channel you choose for an Instrument is not important, you do need to choose a unique Channel for each instrument in your document. The exception to this is Channel 10, which is reserved for Non-Pitched Percussion on General MIDI devices (meaning your Soundcard, Keyboard, or Sound Module). Keep in mind that there is a limit on all single MIDI devices of 16 Channels so Channels 17 and higher will not work unless you are using multiple devices. For large scores you can usually get away with assigning similar staves to the Same MIDI Instrument, i.e. Staves Oboe 1 and Oboe 2 can both have Oboe assigned as the Instrument. Patch: This should be set to “Program Change” by default, you will not need to change this unless your MIDI Device is Non-General MIDI. General MIDI: Click on this list and choose the Patch for the Instrument. This is the actual sound that the Instrument will use. Due to manufacturer variations in numbering, this list may be off by one number as compared to your MIDI Device. If this is the case, compensate for this when you make your selection. (If you want patch 24, choose 25 from the list.) If the list doesn't match the table of sounds on your device whatsoever, or if there are sounds not accessible through this list, then you have a NonGeneral MIDI Device.

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Once you have defined an Instrument, click OK and return to the Instrument List where you can continue to assign Instruments to Staves and create new Instruments when needed. To close the Instrument list, click on the x in the upper right hand corner. See also Instrument List or MIDI channels. Q: I have a controller keyboard and several sound modules. They all seem to work with my other MIDI applications, why don't they work with Finale? A: MIDI Thru has not been selected. Choose MIDI Thru from the MIDI/Audio menu. Select Direct then click OK. See MIDI Setup dialog box. Q: Finale's list of sounds doesn't match my MIDI Device. How do I get the correct sounds on playback? A: For general information on the Instrument List, see also Instrument List. Also, if your external MIDI device has an accompanying .MIDNAM file, follow instructions under To configure a new device in Audio MIDI Setup. The Instrument List is based on General MIDI patches, a standard list of 128 Instruments. When a MIDI Device (meaning your Soundcard, Keyboard, or Sound Module) doesn't communicate using General MIDI, (or has additional patches above the 128 General MIDI sounds) you can access these sounds in that Device by using “Bank Select” information and Program Changes. There are two Bank Selects, “Bank Select 0" and “Bank Select 32" (sometimes referred to as “Control 0" and “Control 32"). The Bank Select and Program change information that needs to be sent to obtain these non-GM patches varies for different brands and models of keyboards, and this table of the Bank Selects (or Controls) and Program Change for each patch should be obtainable from the keyboard's manual or the keyboard manufacturer. Once you obtain this information, these patches can be selected from the Instrument Definition Dialog: Example 1: If the non-GM instrument is selected by Control 0 = 24, Program Change 120, In the Instrument Definition dialog box: for Patch, choose “Bank Select 0, Program Change;” for Bank Select 0, enter 24; for Program Change, enter 120. Example 2: If the non-GM instrument is selected by Control 0 = 24, Control 32 = 118, Program Change 120, In the Instrument Definition dialog box: for Patch, choose “Bank Select 0, Bank Select 32, Program Change;” for Bank Select 0, enter 24; for Bank Select 32, enter 118; for Program Change, enter 120. 923

Example 3: If the non-GM instrument is selected by Program Change 128, Program Change 12, In the Instrument Definition dialog box: for Patch, choose “Program Change, Program Change;” for the first Program Change, enter 128; for the second Program Change, enter 12. Tip: Lists of Instrument Definitions can be saved as libraries for use in other documents. See Finale Libraries. Once you have defined instruments for your MIDI device, choose “Save Library…” from the File menu. Choose “Instruments” and click OK. Name the library, (perhaps with the name of your MIDI device) and save it in the Finale > Libraries > Instrument Libraries folder. (You will find several instrument libraries in this folder prepared by MakeMusic for common MIDI devices) In any other document, (or your template/default file) choose “Load Library” from the File menu to load your saved instrument library. Q: How do I create and print PostScript files? A: Sometimes you may need to print a Finale document from a computer that does not have Finale. You can do this by creating and downloading a PostScript file. It's important to note that this will only work with PostScript printers and you need to have a PostScript printer driver installed in order to compile the listing. Another non-PostScript alternative would be to use Adobe’s Acrobat to turn the PostScript listing into a PDF file which can be opened with the free Acrobat Reader. When you have finished entering and laying out your score you can create a PostScript file by choosing Compile PostScript Listing (File menu). Make sure Include Fonts in Listing is checked. Select the pages you wish to compile and click on the Compile button. Note: You can also send a Finale file. Then, instruct the recipient of the file to download and install Finale NotePad which is available at www.finalemusic.com/notepad for free. The recipient can open and print the file using Finale Notepad. Q: Why can I see some staves or measures in Scroll view but not in Page view? A: There are several possible causes for this problem:

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This situation may have been caused by editing measures in Scroll View that were previously included in a multimeasure rest in Page View. To retrieve the “missing” measures: • Go to page 1 in Page View, and choose the Measure Tool. • From the Edit menu, choose Select All. • Go to the Measure menu >> Multimeasure Rests >> Create. • This will redefine any multimeasure rests, and bring back any “hidden” measures. • Choose Update Layout from the Edit menu. This can also be caused by making changes in the document after applying optimization. For more information on this option please see Optimizing systems. • Select the Page Layout Tool. • Go to the Page Layout menu and select Optimize Staff Systems. • Select “Remove Staff System Optimization” and “Whole Document” then click OK. • Go to the Edit menu and click Update Layout. • If you wish, you can then reapply the optimization. Go to the Edit menu and make sure this option is turned off (unchecked). Q: My music is displaying and printing as strange text symbols rather than musical characters. How can I correct this? A: If you’re running Windows 2000, or XP, restart the computer. If problems continue, you may need to reinstall your music fonts: Turn off any anti-virus programs. If you’re running Windows 2000, or XP, make sure you’re logging in as Administrator. Put in your Finale CD. If the setup program does not automatically start: Go to the Start menu and choose Run. Click on the Browse button. For “Look In”, choose the Finale CD-ROM. Double-click on the “Setup” or “Setup.exe” file. Click OK. In the setup program, click Next until you see the window marked Install Type. Choose Custom, and click Next. Put a checkmark on all items that have “Font”, “TrueType”, or “PostScript” in their names. Click Next until the installation is completed.

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Restart your computer, and then launch Finale. Your fonts should be in place. A Your music fonts may have become corrupted. Reinstall your fonts from the CD. Insert your Finale CD. Double-click the installer and click continue twice. In the install window, change from Easy Install to Custom Install in the upper-left corner of the window. Scroll down and place a checkmark next to “Basic Fonts” and “Additional Fonts.” Click Install. After restarting the computer, empty the trash. Launch Finale and your fonts should now be in place. Q: Why is mouse movement sluggish while holding down a metatool key? A: Some notebook computers are set to limit trackpad mouse movement while typing. As a result, you may experience sluggish performance while dragging over items while holding down a metatool key. To resolve this, open the Preferences pane and deactivate "Ignore accidental trackpad movements." Q: The font that appears in Finale's Message Bar is difficult to read. A: Windows has substituted a font that is difficult to read. You can select any font installed on your system to be used in the Message Bar. Open the Finale.INI file with any text editor such as NotePad. Scroll to “MsgBarFont” and “MsgBarFontHeight”, in the [Settings] section. If nothing is entered for “MsgBarFont=”, or if the key does not exist, Finale allows Windows to provide its best sans serif font. Sometimes the font provided by Windows is not ideal. Enter the exact font name (without leading or trailing spaces) that you want Finale to use for the Message Bar display. This would be the same name you see in the Control Panel Fonts dialog box, without the parenthesized technology description (True Type, Plotter, VGA, etc.). (Example: Arial Bold Italic”) You should change the “MsgBarFontHeight=” key as well to specify the font size that you want to use. Font sizes between 8-12 pixels high work best, but you may want to use larger values with higher resolution displays. Save the changes to the Finale.INI file, and exit the text editor. Q Why do Upper ASCII characters display incorrectly. A: Starting with Finale 2002a, files can be transferred across platforms while maintaining correct higher ASCII text characters, such as è, ö, and hard spaces (commonly used in lyrics). Finale is configured to do this by default. Before opening a file, from the Edit menu, choose Program Options, select Open, and then check “Automatically Convert Text In Files From Other Operating Systems,” and then open the file (see Program Options-Open). Alternately, this conversion can be done after the file is 926

open: From the Document menu, select Data Check, and then Font Utilities. Choose the Advanced tab and check Convert Text for Macintosh (see Font Utilities dialog box). Q How do I copy and paste music from one document to another? OR, Why am I having difficulty copying and pasting certain items? A: To copy music, select the Selection Tool and highlight the material you wish to copy. (There are a number of methods you can use to highlight larger regions of music: for details, see Selecting music.) Then, from the Edit menu, choose Copy, or press Ctrl-C. To paste this data you must choose between two options in the Edit menu: Insert, OR Replace Entries This distinction is a very important one and is discussed in detail, see Copying music. Let's say, for example, you wanted to append the music of one document onto the end of another. After copying the source music (as described above) you'd add a blank measure at the end of the destination document, highlight this measure on all staves with the Selection Tool, and choose Insert (Edit menu). Insert will add new measures to your piece and place them before the blank measure you'd selected. (Similarly, if you wanted to paste a section between measures 3 and 4, you'd highlight measure 4 prior to choosing Insert.) The number of measures added will depend on the number of measures you had copied. As the Insert procedure generates new measures, most measure items (like repeats, time and key signatures, expressions...) are included. If, however, you wanted to paste some notes into just one staff of a score, using Insert would paste the copied material into the desired staff, but it'd also generate blank measures on all the other staves of the score. In this case you'd be better off using Replace Entries. For an example, imagine a completed piano piece on a grand staff. You decide that you want to replace measure 2 in just the treble clef. After copying the desired source data, select the Selection Tool, highlight measure 2 in just the treble clef, and choose replace entries (or press Ctrl-V). This will replace just the Entry Items (notes, lyrics, chords, articulations) in measure two of the treble clef. The limitation with this method is that Measure Items (repeats, time and key signatures, expressions...) are not copied. For complete lists of what are entry or measure items, see Edit Filter dialog box. Q: My lyrics are garbled. What can I do? A: Should corrupted lyrics appear, the solution is to select the Selection Tool, highlight the area in which the lyrics are misbehaving, go to the Edit menu, and choose Clear Selected Items. Click None, ten check Lyrics and 927

click OK. This will remove the lyrics (and their corrupted connection) from the score, but not from the Edit Lyrics window. At this point you can use Click Assignment to place them back into the score, and the problem will be resolved without having to re-type any text. Q: I'm having difficulty copying music which has clef changes in it: the clef changes don't appear. What can I do? A: When using the Selection Tool, if you highlight one measure and drag it to another measure on a staff with a different clef, the clef will not copy. Similarly, if you drag a measure with a clef change in it, either to a staff with a different clef, or to elsewhere on the same staff, the clef change will not copy. This is a change from earlier versions (before 3.5) in which the clef did change. Many users found the old behavior inconvenient; particularly when copying a section of music from one instrument to another, unwanted clef changes would appear. Now they don't. If, however, you want the clef to copy, here's the trick: select the Selection Tool, select the region you want to copy, go to the Edit menu and choose Edit Filter and click All, then OK. (If you want to move any measure items, you could next specify them as well.) When you specifically select All entry items the clef will be copied in Selection Tool functions. Note: Clef changes will not copy from one document to another. Q: Whenever I alter a shape in my score with the Expression Tool, the identical shape I've placed elsewhere changes also A: You have not entered them as a Metatool expression. See the Metatools section for the Expression Tool in Finale Reference. Q: When I try to import a TIFF graphic with SmartScore Lite, I get an error message. What can I do? A: Here are some possible reasons for an error message from MIDIScan: • TIFFs scanned at 300 dpi tend to produce the best results. • The TIFF must be grayscale. • There should be no LZW compression on TIFF files, and the file should be a standard TIFF. Some scanning applications save TIFF files that are specific to their product line; if you suspect that your scanning software is producing non-standard TIFF files, try opening it in another application or graphic utility, eliminating compression, and saving it again. Paint Shop Pro is one application capable of saving uncompressed TIFFs.

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• Skewed scans are not properly recognized. Make certain your scan is properly aligned to avoid errors. • Clear, clean originals tend to give the best results. Handwritten scores and poor quality originals tend to cause error more frequently.

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Dialog Boxes Refer to the following topics for information regarding all of Finale's dialog boxes, how to find them, and what they do.

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3-Beam Groups dialog box

How to get there From the Plug-ins menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then Patterson Beams. Click on Additional Beam Separation for 3-Beam Groups.

What it does The 3-Beam Groups dialog box allows you to adjust the distance between the beams when there are 3 beams present. You can specify when space should be added depending on how the beam is drawn in relation to staff placement, the number of beams at the end or the creation of wedges. See also Patterson Beams plug-in. • Additional Separation Amount. Enter a value in the current measurement unit to be added to the Beam Separation amount. • In Staff Only · Only If An Endpoint Has Enough Beams · Only If Resulting Beam Creates A Wedge. Check each option that you want to have 3-Beam Groups edited. In Staff Only requires the beam group to be inside or touch a staff line. Only If An Endpoint Has Enough Beams requires the beam group start or end with 3 beams. Only If Resulting Beam Creates A Wedge requires the beam group to form a white triangular space between any beam and a staff line. • Add’l Beam Thickness. Checking this option causes the specified amount to be added to the beam thickness. Enter a value to be added to the Beam Thickness in Document Options-Beaming (under the Document menu). Normally, this value is less than or equal to the Additional Separation Amount. • OK · Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made. You return to the Patterson Beams dialog box. See Also: Beaming

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Patterson Beams plug-in

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4-Beam Groups dialog box

How to get there From the Plug-ins menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then Patterson Beams. Click on Additional Beam Separation for 4-Or-More-Beam Groups.

What it does The 4-Beam Groups dialog box allows you to adjust the distance between the beams when there are 4 beams present. You can specify when space should be added depending on how the beam is drawn in relation to staff placement, the number of beams at the end or the creation of wedges. See also Patterson Beams plug-in. • Additional Separation Amount. Enter a value in the current measurement unit to be added to the Beam Separation amount. • In Staff Only · Only If An Endpoint Has Enough Beams · Only If Resulting Beam Creates A Wedge. Check each option that you want to have 4-Beam Groups edited. In Staff Only requires the beam group to be inside or touch a staff line. Only If An Endpoint Has Enough Beams requires the beam group start or end with 4 beams. Only If Resulting Beam Creates A Wedge requires the beam group to form a white triangular space between any beam and a staff line. • Add’l Beam Thickness. Checking this option causes the specified amount to be added to the beam thickness. Enter a value to be added to the Beam Thickness in Document Options-Beams (under the Document menu). Normally, this value is less than or equal to the Additional Separation Amount. • OK · Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made. You return to the Patterson Beams dialog box. See Also: Beaming Patterson Beams plug-in 933

About Finale This dialog box displays the user's name and serial number along with the current software version number and ways to contact Customer Support.

To view this dialog box, go to theHelp menu and choose About Finale

See Also: Customer Support

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Accidental Octave Placement dialog box

How to get there Click the Key Signature Tool , and double-click the measure in which you want the key to change. The scrolling Key Signature dialog box appears. (There are a variety of other ways to access this dialog box.) Choose Nonstandard from the drop-down list. Click the ClefOrd icon.

What it does This dialog box is used in the creation of linear key formats and nonlinear key signatures; see Nonstandard Key Signature dialog box for a more complete discussion. In brief, Finale lets you create nonstandard key systems and key signatures, based on scales with any number of steps, and with accidentals placed anywhere you want. In some of the key signatures you create—and for some nonstandard clefs you design—you may want to adjust the octave placement of accidentals on the staff. In this dialog box, you can adjust the octave in which each accidental appears in relation to each clef. • Clef(#): Previous: Next. In any Finale document there can be up to eighteen defined clefs, numbered 0 through 17. This indicator identifies, by number, the clef for which you’re adjusting accidental placement. Click Previous and Next to change the Clef (#) indicator and scroll through the eighteen clefs defined for the document. • Unit (#): Previous: Next. In Finale, an accidental that appears in the key signature is called a Unit. The Units are numbered in the order in which they appear; thus, in a standard key signature system, the first accidental to appear (the Fs in the key of G) would be Unit 1; the second (the Cs in the key of D) would be Unit 2, and so on. Flats are labeled with negative Unit numbers: the first flat to appear (the Bf in the key of F) would be Unit –1 (in the standard key system), the next (Ef) would be Unit –2, and so on. This 935

indicator identifies the Unit, or accidental, whose octave placement you’re changing. Click the Previous and Next buttons at the bottom of the dialog box to change the Unit indicator, thus moving from one Unit to another in the key signature. (Note that in a nonlinear key signature, the Unit numbers are always positive. Because there is no progression of keys—only a single key signature—the Units are simply numbered sequentially as they appear in the key signature.) • Octave. octave are labeled with negative numbers: –1 is the first octave below Octave 0, and so on."middle C"The number in this text box tells Finale which octave the specified Unit should appear in. Octave 0 is the octave starting with middle C; Octave 1 is the octave above that, and so on. Octaves below the • OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the octave positions of the various accidentals. You return to the Nonstandard Key Signature dialog box. (If you click OK, Finale first asks you if you want to save your changes.) • Delete. Click Delete to revert the octave placement values to their default "traditional" values (for all the accidentals in the key system you’ve been defining).

See Also: Key Signatures Nonstandard Key Signature dialog box Key Signature Tool

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Accidental Order and Amount dialog box

How to get there Click the Key Signature Tool , and double-click the measure in which you want the key to change. The scrolling Key Signature dialog box appears. (There are a variety of other ways to access this dialog box; you can arrive at it from any dialog box or menu with a Set Key, or Change Key command.) Choose Nonstandard from the drop-down list. Click Next twice, then click the AOrdAmt icon. (You clicked Next twice because this dialog box doesn’t appear if Linear Key Format 0 or 1 is selected; these key formats are predefined as the standard major and minor key systems, respectively.)

What it does This dialog box is used in the creation of linear key formats and nonlinear key signatures; see Nonstandard Key Signature dialog box for a more complete discussion. In brief, Finale lets you create nonstandard key systems and key signatures, based on scales with any number of steps, and with accidentals placed anywhere you want. If you’re creating a linear key format, this dialog box is where you specify the pitches on which accidentals appear as you progress from one key to another. For example, in the traditional key system, you’d use this dialog box to tell Finale that the first sharp to appear should be on F (the F sharp in the key of G). The second to appear should fall on C (the C sharp in the key of D, after the F sharp), and so on. If you’re creating a nonlinear key signature (a single key signature with any combination of sharps or flats, unrelated to any other key), this dialog box simply lets you specify which accidentals you want to constitute the key signature.

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• Unit (#). A unit is an accidental in the key signature. The Units are numbered in the order in which they appear; thus, in a standard key signature system, the first accidental to appear (the F sharp in the key of G) would be Unit 1; the second (the C sharp in the key of D) would be Unit 2, and so on. Flats are labeled with negative Unit numbers; the first flat to appear (the B flat in the key of F) would be Unit –1 (in the standard key system), the next (E flat) would be Unit –2, and so on. (If you’re creating a nonlinear key signature, however, there is no particular pattern or "progression" in the way accidentals are added to the key signature, because a nonlinear key has a single key signature unrelated to any other key. In this case, the Unit numbers simply identify each accidental within the one key signature—thus, the Unit numbers are always positive in a nonlinear key signature.) The Unit indicator identifies the Unit, or accidental, you’re placing in a nonstandard key signature. Click the Previous and Next buttons to change the Unit indicator, thus moving from one Unit to another in the key signature. • Step Level. The number in this text box controls the pitch placement of the currently selected Unit, as measured in scale degrees from C, which is designated as step zero. In the standard key system, for example, the Step Level for Unit 1 (the first sharp to appear) is 3, because it appears on the F line or space—three diatonic steps above C. (Remember, C is considered step zero, not one.) For Unit –4 (the fourth flat to appear), the Step Level is 5, because it appears on the A line or space—five diatonic steps above C. • Amount. The number in this text box specifies the "amount" (interval) by which the pitch specified in the Step Level text box is to be altered, in chromatic steps (not necessarily half steps). In the standard key system, for example, the Amount for the first Step Level (the F sharp in the key of G) is 1, because the F is being raised one chromatic step. Enter a negative number to lower the specified pitch. However, in nonstandard key systems, "1" may not always represent a half step. For example, in a quarter-tone scale, there are three "black keys" (chromatic steps) between whole steps, not just one. Therefore, the Amount for a "normal" sharp or flat in the key signature is always 2 or negative 2, because a sharp in the key signature (F sharp, for example) represents two chromatic steps above the diatonic step (F, for example). Note that if you enter a zero in this text box for any Unit in a nonlinear key signature, no accidental will appear in the key signature for this or any subsequent Units. Enter a zero, therefore, to indicate that you’ve finished assigning accidental placements in a key signature. 938

• Previous • Next. Click these buttons to move backward or forward through the Units in your key signature. • OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the placements of the various accidentals. You return to the Nonstandard Key Signature dialog box. (If you click OK, Finale first asks you if you want to save your changes.) • Delete. Click Delete to revert the accidental placements for all the accidentals to their default "traditional" values. See Also: Key Signatures Nonstandard Key Signature dialog box Key Signature Tool

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Accidental Settings dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Special Tools Tool , and click a measure containing accidentals. Click the Accidental Tool; handles appear on each accidental. Double-click the handle on the accidental.

What it does The Accidental Settings dialog box allows you to specify the horizontal and vertical positioning of an accidental, relative to the note or chord; change the size of the accidental; and choose an alternate character or font for the accidental. • Positioning: Horizontal • Vertical • Allow Vertical Positioning. Enter the precise amount to offset the accidental. Positive numbers will move the accidental to the right; negative numbers will move the accidental to the left. This dialog box will use the same measurement units found in the Edit menu, Measurement Units submenu. Check the Allow Vertical Positioning box to access the Vertical text box. • Size: Resize To __ %. This text box specifies how much you want to resize the accidental, expressed as a percentage of the original full size. • Font: Use Default Accidental Font • Set Font • [Font]. Check this box to use the default font in Document Options-Fonts for accidentals. To select a different font, click Set Font. Underneath the Set Font button, Finale will display the currently selected font for accidentals.

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• Alternate Character: Select. Click Select to display the Symbol Selection dialog box, where you can select a font character to replace the selected accidental. • OK • Cancel. Click OK to return to the score, where you’ll see the effects of your accidental changes. The handle you clicked remains selected to remind you that you’ve modified it. Click Cancel to return to the score without changing any accidentals. See Also: Accidentals (Simple Entry) Accidentals (Speedy Entry) Special Tools Tool

941

Add Bookmark dialog box

How to get there From the Bookmarks submenu of the View menu, choose Add Bookmark. Or type Ctrl-B. The Add Bookmark dialog box appears, showing your current location in the score.

What it does The Add Bookmark dialog box allows you to create a new bookmark, and contains the settings used to assign a bookmark to a position in the score. The Add Bookmark dialog box offers different settings depending on whether you’ve selected Assign to: Scroll View or Page View. • Name. Although Finale offers a default name, you can enter a descriptive name for the bookmark to be added. • Assign to: Scroll View • Page View. Assign a bookmark to Page View or Scroll View by clicking the appropriate radio button. • Settings for Page View: Page • Zoom • Horizontal • Vertical. The Page View settings reflect the score setup when you enter the Add Bookmark dialog box. Click the checkboxes for the settings you want remembered for this bookmark. In the Page text box, enter the page number that the bookmark will be assigned to. Zoom is the size the score displays on the screen. Enter a valid view percentage. Enter a value into the Horizontal text box corresponding to the bookmark’s horizontal position on the page. Enter a value in the Vertical text box corresponding to the bookmark’s vertical position on the page. Use the current measurement unit. • Settings for Scroll View: Measure • Zoom • Staff Set • Staves. The Scroll View settings reflect the score setup when you enter the Add Bookmark dialog box. Click the checkboxes for the settings you want remembered for this bookmark. In the Measure text box, enter the number of the measure that the bookmark will be assigned to. Zoom is the size the 942

score displays on the screen. Enter a valid Scale View percentage. Either choose a Staff Set option to associate the bookmark with all staves or a staff set at the selected Measure, or use the Staves option to name an individual staff associated with the bookmark at the indicated Measure. The measure you are marking is the "absolute" measure number in the piece. If you add or delete measures after the bookmark is created, the music at the marked measure could be different. As an example, if you put a bookmark at measure 10, then delete measure 9, you will still go to measure 10 when the bookmark is called, but you will see the music that was previously in measure 11. • Add • Cancel. Click Add to add a bookmark. Click Cancel to return to your score without adding a bookmark. Tip: Set your document as you want the bookmark to be, then choose Add Bookmark. Finale will remember all the settings for you. See Also: Edit Bookmarks dialog box

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Add - Continuous Data dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit (pitch wheel, monophonic aftertouch, and so on) by choosing Continuous Data from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Add from the MIDI Tool menu.

What it does The Add dialog box’s contents change to reflect your MIDI data type selection (MIDI continuous data such as controllers and wheels). Its function is to add a fixed amount to (or subtract a fixed amount from) the controller value of every note in the selected region. Because it adds an absolute amount to every selected note, the Add command preserves the relative proportions of the existing values. • Add ___. In this text box, enter the value you want added to the selected MIDI data values of all selected notes. Note that in any of the examples below, this value can be a positive or negative number. A dialog box appears in which you can specify the MIDI controller you want to edit— pedaling, patch changes, pitch wheel, and so on. In this case, the number in the Add text box specifies a value you want added to the selected controller’s value for all the selected music. The Add command isn’t relevant if you’ve specified a non-continuous controller such as the sustain pedal or a patch change; it may be useful, however, if you want to increase the degree of pitch bend or monophonic aftertouch by a uniform amount for every note in the selected region. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score) See Also: 944

MIDI MIDI Tool menu MIDI Tool

945

Add - Key Velocities dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Key Velocities from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Add from the MIDI Tool menu.

What it does The Add dialog box’s contents change to reflect your MIDI data type selection (key velocities). Its function is to add a fixed amount to (or subtract a fixed amount from) the key velocity of every note in the selected region. Because it adds an absolute amount to every selected note, the Add command preserves the relative proportions of the existing values. For example, you can specify that each note in a selected region should be played back with slightly more volume by adding, for example, 20 MIDI velocity units. (MIDI velocity is measured on a scale from zero, which is silent, to 127, which is very loud.) • Add ___. In this text box, enter the value you want added to the selected MIDI data values (key velocities, note durations, or MIDI controller settings) of all selected notes. Note that in any of the examples below, this value can be a positive or negative number. The number in this text box represents the number of MIDI velocity units you want added to every note in the selected region; MIDI key velocity is measured on a scale from zero, which is silent, to 127, which is very loud. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI 946

MIDI Tool menu MIDI Tool

947

Add Measures dialog box

How to get there From the Edit menu, choose Add Measures.

What it does This dialog box lets you specify how many new measures you want added to the end of the score. When you add measures, the Measure Width and Position Notes Evenly settings in the Measure Attributes dialog box from the last measure in the piece are copied into the new added measures. See Measure Attributes dialog box for details on these settings. • How many measures?. In this text box, enter the number of new measures you want added. • OK • Cancel. Click OK to add the specified measures, or Cancel to leave the score unchanged, and return to the score. See Also: Measures Edit menu

948

Add - Note Durations dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Note Durations from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Add from the MIDI Tool menu.

What it does The Add dialog box’s contents change to reflect your MIDI data type selection (key velocities, note durations, or MIDI continuous data such as controllers and wheels). Its function is to add a fixed amount to (or subtract a fixed amount from) the duration of every note in the selected region. Because it adds an absolute amount to every selected note, the Add command preserves the relative proportions of the existing values. • Add ___. In this text box, enter the value you want added to the selected MIDI data values (key velocities, note durations, or MIDI controller settings) of all selected notes. Note that in any of the examples below, this value can be a positive or negative number. If you selected Note Durations, the number in this text box represents the number of EDUs, of which there are 1024 per quarter note, you want added to the Start and Stop Times of the selected notes. (See Start and Stop Times for a discussion of Start and Stop Times). You specify whether you want this value added to Start Times, Stop Times, or both by clicking one or both of the checkboxes (see "Start Times/Stop Times," below). • Start Times • Stop Times. These two checkboxes let you specify which MIDI data type you want to edit—either the Start Time (the difference between the notated attack of a note and the time you actually played it when recording in Transcription Mode) or the Stop Time (the difference between the notated release of a note and the time you actually released it). If you select both checkboxes, the effect of the Add command is to shift the playback of the entire note forward or backward in time. 949

• OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI MIDI Tool menu MIDI Tool

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Add SmartMusic Markers dialog box

How to get there From the Document menu, choose Add SmartMusic Markers.

What it does Use this dialog box to add SmartMusic performance markers to your music while creating a SmartMusic accompaniment file. These markers control how SmartMusic responds to performance characteristics such as pauses (fermatas, tenutos), tempo changes, repeated sections, and Intelligent Accompaniment level. See SmartMusic Performance Markers for details. The options here are shortcuts for adding SmartMusic markers to your score with Expressions manually. To do this, use the Playback tab in the Expression designer to define the marker (see To add SmartMusic performance markers as expressions). For a description of each SmartMusic marker, see SMS Markers in Finale Libraries. • [Marker List]. On the left side of this dialog box you see a list of SmartMusic Marker types. Choose a marker type and then click Add to add a marker of that type to the document. See SmartMusic Performance Markers for a description of each marker. • [Marker window]. In the middle of this dialog box you see a list of SmartMusic markers that have been added to the document. You can select one of these markers and then click Edit to edit it. • Add. Choose a marker type from the Marker List, and then click Add to add a marker of that type to your document. A dialog box appears which allows you to control the location and attributes for that marker. 951

• Edit. Choose a marker you have already added (in the Marker window) and click Edit to change the location or settings for that marker. • Delete. Choose a marker you have already added (in the Marker window) and click Delete to remove that marker. • Intelligent Accompaniment Slider • Set. This slider is available when Intelligent Accompaniment is chosen in the Marker List, and a marker of this type is selected in the Marker window. Move the slider to the right to increase the Intelligent Accompaniment level, or to the left to decrease the Intelligent Accompaniment level. 0 = No Intelligent Accompaniment (soloist follows accompaniment entirely), 10 = full intelligent accompaniment (accompaniment follows soloist completely). Click the Set button to set the selected marker to the level indicated on the slider. The default SmartMusic setting for Classical repertoire, for example, is 2; Romantic repertoire, 5. • Create/Update Repeat Markers. Click this button to scan the document for repeat markings and generate all repeat markers automatically. • Done • Cancel. Click Done to add the markers you have created to your document. They appear as hidden expressions. Click Cancel to dismiss the dialog box without adding SmartMusic markers. See Also: SmartMusic

952

Add Tempo dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Tempo from the MIDI Tool menu. If you’re in the MIDI Tool splitwindow, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Add from the MIDI Tool menu.

What it does The Add dialog box’s contents change to reflect your MIDI data type selection (key velocities). Its function is to add a fixed amount to (or subtract a fixed amount from) the tempo of every note in the selected region. Because it adds an absolute amount to every selected note, the Add command preserves the relative proportions of the existing values. For example, you can specify that each note in a selected region should be played back in a slightly faster tempo by adding, for example, 5 beats per minute. • Add ___. In this text box, enter the value you want added to the number of beats per minute. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also: MIDI MIDI Tool menu MIDI Tool

953

Additional PostScript Information dialog box

How to get there Choose Compile PostScript Listing from the File menu and click Specify Additional PostScript Information.

What it does If you want to embed the date and another single line of identifying text into the code of your PostScript listing (as a reference), use this dialog box to enter the information. The information you type here doesn’t print out; in fact, you’ll only see this information if you open the PostScript listing with a word processor, where the information will appear in the header at the beginning of the listing. • Date • For. In these text boxes, you can enter a date and a second line of identifying information (such as your name) that will be incorporated into the header of the resultant compiled PostScript file. • OK • Cancel. Click OK to confirm, or Cancel to discard, the entries you’ve made in this dialog box and return to the Compile PostScript Listing dialog box. See Also: Compile Postscript Listing dialog box

954

Adjust Lyric Baselines dialog box

How to get there Click the Lyrics Tool

. Choose Adjust Baselines from the Lyrics menu.

What it does In this dialog box, you can specify the exact position of the baseline of each lyric type and number (the invisible line against which the bottoms of the words align) in relation to the staff. Furthermore, you can specify a different baseline position (marked by the four positioning triangles in Click Assignment mode) for each staff. The numbers in these boxes are measured from the middle line of the staff using the currently selected measurement units (Edit menu). Lower values (that is, larger negative values) move the baseline down. You’ll usually want the baseline of Verse 1, for example, to be just below the melody, and Verse 2 to be just under Verse 1. As a matter of fact, Finale’s default values position verses in precisely that way: one beneath another. If you change the font for your Verses (by choosing Select Default Fonts from the Document menu) and find you have overlapping lyric due to the font size, you can neatly adjust the baselines for all lyric lines at once by clicking the Set Piece Offsets to Default Font button. Note, by the way, you can perform these same settings visually by dragging any of the four positioning triangles up or down when you’re in Click Assignment or Type Into Score mode. This dialog box, however, provides a way to preset the lyric lines’ positions, to specify very precise numerical locations, or to adjust several at once (even after the lyrics have been entered). • Verse • Chorus • Section. Select the appropriate radio button for the lyric type whose baseline positions you wish to edit. 955

• Number. In this text box, enter the Verse, Chorus, or Section number for which you’re setting the baseline positions. • Piece. The number in this text box specifies the position for all the lyrics of the indicated type and number. It corresponds to the position of the first (leftmost) positioning triangle (of the four that appear when you’re placing lyrics in the score using the Click Assignment or Type Into Score commands). This number is measured from the middle line of the staff; since the default position is below the middle line, the number is a negative number. • Staff (#) • Prev • Next. Sometimes, even after you’ve specified the Piece Offset (see above), the lyrics in one particular staff may need a slightly different placement—for example, if the notes in the alto line fall mostly below the staff, the lyrics may need to be moved lower. In the Staff Offset text box, you can specify a new vertical position for the lyrics only in the indicated staff. (This setting corresponds to the positioning of the second of the four positioning triangles.) The Staff: indicator identifies the staff by name, if you’ve named it, or by number; cycle through the staves in your piece by clicking the Prev and Next buttons to its right. When the Staff: indicator identifies the staff whose lyric line position you need to change, enter a number in the text box. This number indicates how much higher or lower the lyric line should be in this staff compared to other staves in the piece—in other words, how much higher or lower it should be than the Piece Offset baseline position. A larger negative number moves the lyric line farther down. • Staff System (#) • Prev • Next. Not only can you specify a separate lyric line position for each staff (above), but you can even specify the position of the baseline in an individual system. If, for example, the notes in a staff are so low that they threaten to overlap the lyrics—but only in a measure or two—use this setting to move the lyric line out of the way only for the affected staff and system. (This setting corresponds to the positioning of the third of the four positioning triangles.) The Staff System: indicator identifies the system by number. Click the Prev and Next buttons to its right to specify the system number. Set the staff number with the Staff: Prev and Next buttons (see above). When the Staff and Staff System indicators identify the line whose lyric position you want to change, enter a number in the text box. This number, indicates how much higher or lower the lyric line should be in this system compared to other systems (for this staff)—in other words, how much higher or lower it should be than the Staff Offset baseline position. A larger negative number moves the lyric line farther down.

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• Total Offset. This indicator displays the final position for the indicated lyric type, number, staff, and system, as measured from the middle line of the staff. Finale arrives at this figure by adding the Staff and Staff System values to the basic Piece Offset. • Set Piece Offsets To Default Font. Click this button to tell Finale to automatically change the baseline-positioning values for all Verses, Choruses, and Sections in all staves. When this is done, each successive lyric of each type is neatly and evenly stacked. When Finale calculates these default positions, it takes into account the font and size you’ve specified in Document Options-Fonts. You might click this button, for example, if you’ve just chosen a font for your verses that’s smaller than usual; Finale will respond by moving all the Verse lyric lines closer together (than they were when a larger font was selected). Note: To neatly stack all lyrics using the Set Piece to Default Font feature, first align the positioning arrows for each verse, section, or chorus (this button only resets the leftmost positioning arrow). • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score, where you’ll see the effects of your lyric line positioning (if you’ve already added lyrics). Click Cancel to tell Finale to ignore any changes you made in this dialog box. You return to the score. See Also: Lyrics Lyrics menu Lyrics Tool

957

Alter Feel - Note Durations dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Note Durations from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Alter Feel from the MIDI Tool menu.

What it does The Alter Feel dialog box’s contents change to reflect your MIDI data type selection (key velocities or note durations; the Alter Feel command isn’t available for Continuous Data). Like the Add or Percent Alter commands, the Alter Feel command lets you add a positive or negative number to the durations of every note in the selected region. However, in the Alter Feel dialog box, you can target individual beats in each measure to receive the alterations. When you read the following descriptions of the three text boxes, keep in mind that the number in each text box produces a different effect depending on whether the Absolute or Percent of Original button is selected (see below). • Downbeats by. A downbeat is defined as the first beat in the measure. By entering a value in this text box, you can increase or decrease the velocity (or the Start Time) of only the downbeats of the measures in the selected region.

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• Other Beats by. Other Beats means every beat in every measure except a downbeat or a backbeat. The beat is determined by the durational value of the denominator in the Time Signature dialog box; for example, Other Beats of a 3/4 meter would be the second and third quarter note of each measure if you represented the meter as quarter quarter quarter in the Time Signature dialog box. However, if you represented the 3/4 meter as a dotted half note. in the Time Signature dialog box (a waltz "in one," for example), there would be no "other beats" in each measure; see Time Signature dialog box. By entering a value in this text box, you can increase or decrease the velocity (or the Start and Stop Times) of only the other beats of the measures in the selected region. (If you’ve selected Note Durations from the MIDI Tool menu, you’re editing both the Start Time of each "other beat" and the Stop Time of the previous note.) • Backbeats by. In Finale, a backbeat (sometimes called an offbeat) is the second half of the beat (in duple meters); thus the second eighth note of every beat in 2/4 or 4/4 time—or the second quarter note of every beat in 2/2 time—is the backbeat. In triple meters, the second and third thirds of the beat are the backbeats. In both cases, "beat" is determined by the durational value of the denominator in the Time Signature dialog box. The backbeats of a 3/4 meter could either be the second eighth note of each beat (if you represented the meter with three quarter notes in the Time Signature dialog box) or the second and third quarter notes of the measure (if you represented the meter as a dotted half note in the Time Signature dialog box); see Time Signature dialog box. The number in this text box represents the amount by which you want to modify every backbeat in the selected region. (If you’ve selected Note Durations from the MIDI Tool menu, you’re editing both the Start Time of each backbeat and the Stop Time of the previous note.) One of the best uses for this option is to slightly delay the playback of every backbeat (by choosing Note Durations from the MIDI Tool menu and then choosing the Alter Feel command). For example, by entering 171 into the Backbeats By text box, you create a true triplet swing feel. • Absolute • Percent of Original. If Absolute is selected, the number in the text box represents MIDI key velocity units (where zero is silent and 127 is very loud) or EDUs (1024 per quarter note), depending on whether you’re editing key velocities or note durations. If Percent of Original is selected, the number in the text box represents a percentage of the original key velocity or Start and Stop Time values by which you want these data changed.

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• OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). Use this dialog box to shift the attack (in time) of notes by shifting the Start and Stop Times on particular beats by a fixed amount. Hint: 1024 EDUs=one quarter note.

To view this dialog box, click the MIDI Tool. Select some measures. (If you’re editing a one-staff region, double-click to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Note Durations from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Alter Feel from the MIDI Tool menu.

See Also: MIDI MIDI Tool menu MIDI Tool

960

Adjust Page Range dialog box

How to get there Click the Page Layout Tool . From the Page Layout menu, choose Page Margins, then Adjust Page Range.

What it does Use this dialog box to specify which pages you want updated when you adjust the page size or page margins on one page. • Page Range: Page___Through ___. Enter the page numbers that define the page range you want. • Adjust Left or Right Pages Only. Select whether Finale should update the left (even-numbered) pages or right (odd-numbered) page in the specified page range. When selected, and you adjust a left page, Finale also adjusts all left pages in the specified range. If you adjust a right page, Finale adjusts all right pages in the range. For example, if you set the page range to page 5 through 10, then adjust page 3, Finale adjusts pages 5, 7, 9 and page 3. • OK • Cancel. Click OK to make the specified changes. Click Cancel to disregard any changes you’ve made in this dialog box. See Also: Page layout Page Layout Tool

961

Align Time Tags To Note Starts dialog box

How to get there Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe menu. Click any measure. Choose Align Tags to Notes from the Time Tag menu.

What it does After you’ve recorded a MIDI real-time performance and then told Finale where the beats fall by entering Time Tags, you can use the Align Tags to Notes command to align the tags more precisely with the beginnings of notes in your performance. In effect, you’re "quantizing" the tags to the nearest notes, so that Finale understands that the tag and the note should fall exactly together. In this dialog box, you specify, in effect, how sensitive you want Finale to be as it "searches" for the nearest note attack. • Search Width. The number in this text box, in thousandths of a second, tells Finale how far from each Time Tag it may "search" for a note with which to align it. (The default is 200, or 1/5 second.) If the tempo of the performance was slow, you can increase this number; if it was very fast and "notey," you may be better off using a smaller number so as to avoid moving a Time Tag inadvertently (for example, to the note after the one with which it should align). • OK • Cancel. Click OK to confirm the search width setting and return to the Transcription window. If you click Cancel, Finale ignores any changes you made in this dialog box and cancels the Align Tags to Notes command. See Also: Transcription Mode Transcription dialog box HyperScribe Tool

962

Alter Feel - Key Velocities dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Key Velocities from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Alter Feel from the MIDI Tool menu.

What it does The Alter Feel dialog box’s contents change to reflect your MIDI data type selection (key velocities or note durations; the Alter Feel command isn’t available for Continuous Data). Like the Add or Percent Alter commands, the Alter Feel command lets you add a positive or negative number to the velocities or durations of every note in the selected region. However, in the Alter Feel dialog box, you can target individual beats in each measure to receive the alterations. For example, if you’ve selected Key Velocities, you can specify that the downbeat of each measure in the selected region should be played back with 50% more volume, while the other beats in the measure are unaffected. When you read the following descriptions of the three text boxes, keep in mind that the number in each text box produces a different effect depending on whether the Absolute or Percent of Original button is selected (see below). For example, to double the key velocity of all downbeats (to make them twice as loud), click Percent of Original and enter 200 in the Downbeats By text box. But to add an equal amount of velocity to all downbeats—thus preserving their 963

relative velocity values—click Absolute and enter a MIDI key velocity value in the Downbeats By text box. • Downbeats by. A downbeat is defined as the first beat in the measure. By entering a value in this text box, you can increase or decrease the velocity (or the Start Time) of only the downbeats of the measures in the selected region. • Other Beats by. Other Beats means every beat in every measure except a downbeat or a backbeat. The beat is determined by the durational value of the denominator in the Time Signature dialog box; for example, Other Beats of a 3/4 meter would be the second and third quarter note of each measure if you represented the meter as quarter quarter quarter in the Time Signature dialog box. However, if you represented the 3/4 meter as a dotted half note. in the Time Signature dialog box (a waltz "in one," for example), there would be no "other beats" in each measure; see Time Signature dialog box. By entering a value in this text box, you can increase or decrease the velocity (or the Start and Stop Times) of only the other beats of the measures in the selected region. (If you’ve selected Note Durations from the MIDI Tool menu, you’re editing both the Start Time of each "other beat" and the Stop Time of the previous note.) • Backbeats by. In Finale, a backbeat (sometimes called an offbeat) is the second half of the beat (in duple meters); thus the second eighth note of every beat in 2/4 or 4/4 time—or the second quarter note of every beat in 2/2 time—is the backbeat. In triple meters, the second and third thirds of the beat are the backbeats. In both cases, "beat" is determined by the durational value of the denominator in the Time Signature dialog box. The backbeats of a 3/4 meter could either be the second eighth note of each beat (if you represented the meter with three quarter notes in the Time Signature dialog box) or the second and third quarter notes of the measure (if you represented the meter as a dotted half note in the Time Signature dialog box); see Time Signature dialog box. The number in this text box represents the amount by which you want to modify every backbeat in the selected region. (If you’ve selected Note Durations from the MIDI Tool menu, you’re editing both the Start Time of each backbeat and the Stop Time of the previous note.) One of the best uses for this option is to slightly delay the playback of every backbeat (by choosing Note Durations from the MIDI Tool menu and then choosing the Alter Feel command). For example, by entering 171 into the Backbeats By text box, you create a true triplet swing feel. • Absolute • Percent of Original. If Absolute is selected, the number in the text box represents MIDI key velocity units (where zero is silent and 127 is 964

very loud) or EDUs (1024 per quarter note), depending on whether you’re editing key velocities or note durations. If Percent of Original is selected, the number in the text box represents a percentage of the original key velocity or Start and Stop Time values by which you want these data changed. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI MIDI Tool menu MIDI Tool

965

Alteration for Slot dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Note Mover Tool and click a measure; a handle appears on every notehead. Select a handle by clicking it, several handles by shift-clicking (or drag-enclosing) them, or all notes in the measure by choosing Select All from the Edit menu; choose Search and Replace from the Note Mover menu; and click one of the criterion buttons (In All Octaves, In Selected Octave Only and Match Durations).

What it does Finale’s Search and Replace command has several uses, including transforming a given pitch to its enharmonic equivalent or editing a recurrent motif throughout a score. The Alteration for Slot dialog box lets you specify how you want each occurrence (of a note or a motif) modified. • Alteration for Slot. If you’ve selected more than one note, the Slot Number identifies which of the notes you’re specifying the alteration for. Click Prev or Next to move to previous or subsequent notes (notes are numbered from bottom to top in chords, and from left to right in the measure). • No Transposition. Click this button if you want a note to be spelled as is. • Transpose. When you click this button, the Transposition dialog box appears, where you can specify the interval by which you want Finale to transpose this note (as specified by the Slot Number) each time it occurs in the musical pattern you originally selected. By applying a separate transposition to each note in a selected motif, you can, in effect, completely rewrite its melody. • Enharmonic. If you select this button, Finale will transpose the selected note (as identified by its Slot Number) to its enharmonic equivalent each time it occurs in the musical pattern you originally selected. • Prev • Next. You use the Prev and Next buttons to move you around from note to note (among the selected notes). Moving "forward" (the Next 966

button) moves you from bottom to top in chords, and from left to right in the measure. • Set All. If you want to transpose all of the notes you originally selected by the same interval, specify a transposition using the Transpose or Enharmonic button. Then click Set All, which applies the transposition to all notes in the musical pattern. Note: if you selected several notes, you can transpose all of them by choosing Set All. • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score; the Search menu now appears, offering various commands for performing the search-and-replace procedure you’ve just specified. Click Cancel to tell Finale to ignore any changes you made in this dialog box and return you to the score. See Also: Search and Replace Search and Replace dialog box Note Mover Tool

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Alternate Notation dialog box

How to get there Click the Staff Tool , and select Staff Attributes or Define Staff Styles from the Staff menu. Click Select beside Alternate Notation.

What it does This command lets you fill the selected staff with one of several alternativenotation styles, such as slashes, measure repeats, or blank measures. You can also apply alternate notation to portions of staves using staff styles. (Alternate Notation applied as a Staff Attribute will affect the entire staff. Alternate Notation applied as a Staff Style will affect only the selected region.) Tip: To apply alternate notation to selected measures, use staff styles. For more information, see Apply Staff Style.

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• Slash Notation. Select this alternate-notation style to fill every measure with one slash per beat. In cut time, for example, there would be two slashes per bar. If you want a dot after the slash in compound meters, such as 6/8, check the Add Dots To Slashes In Compound Meters checkbox. Slash notation is useful for indicating that the player is to "comp," or improvise, a part with an unspecified rhythm. • Rhythmic Notation. This alternate-notation style converts every note or chord to a stemmed slash. All slashes are centered on the middle staff line, and all stems go down, unless you check the Stems Up in Rhythmic Notation checkbox. Use this form of slash notation when the player is to "comp" or improvise in a specific rhythm. See Document Options-Alternate Notation for changing rhythmic notation character positioning settings. • One-Bar Repeat(s). This alternate-notation style hides whatever music is already in the measures, and displays instead the one-bar repeat symbol, indicating that the player is to repeat the contents of the previous measure. See Staff Styles to apply to only selected measures. • Two-Bar Repeat(s). If you click this option, whatever music is already in a pair of measures gets hidden. Instead, they’re filled with the two-bar repeat symbol, indicating that the player is to repeat the contents of the previous two measures. See Document Options-Alternate Notation for changing the vertical positioning of the number. See Staff Styles to apply to only selected measures. • Blank Notation. Choose this option to hide all the music in the selected staves. The advantage to this option is that anything attached to the notes in the selected layer—such as lyrics—remain in view. This feature opens up many notational possibilities, such as lyrics beneath blank measures. • Blank Notation with Rests. Choose this option to hide all the music in the selected staves and display rests instead. This option is useful when using multiple voices in a linked part that display, for example, a single note to specify a tutti (both or all players) section in some measures and a solo in others. Use this alternate notation style in a Staff Style to temporarily change extra notes to rests for printing. • Normal Notation. Choose this option to display the selected staff in standard music notation. • Apply to Layer • Show: [Articulations • Lyrics • Expressions • Smart Shapes]. Use this command to choose which layer you would like the alternate notation applied. Select the checkboxes below to display those items attached to notes in the layer selected. • All Layers • Show: [Chords • Fretboards]. Chords and fretboards are attached to to the beat, and not a specific layer. Select these checkboxes to display chords and/or fretboards.

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• Other Layers • Show: [Notes • Lyrics • Articulations • Smart Shapes • Expressions]. This is similar to the checkboxes in the section above, but they apply to the other layers, not the layer with the alternate notation. • Add Dots To Slashes In Compound Meters. Select Slash Notation and check this box to have a dot after the slash in compound meters, such as 6/8. • Stems Up In Rhythmic Notation. Select Rhythmic Notation and check this box to have rhythmic notation with all stems frozen up instead of stems down. • OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box.

See Also: Staff Styles dialog box Document Options-Alternate Notation Staff Tool

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Apply Articulation dialog box

How to get there Click the Selection Tool , and select a region of measures (or part of a measure). From the Utilities menu, choose Apply Articulation. Or, click the Articulation Tool and drag-enclose a series of notes.

What it does The Apply Articulation dialog box lets you apply an articulation mark (such as an accent or staccato mark) to every note in a selected region. In fact, you can even apply a marking only to every quarter note, for example. • Articulation • Select. The Articulation text box identifies, by number, the articulation marking you’re about to place on the selected notes. (The articulations in Finale’s articulation palette are numbered left to right, top to bottom, starting from 1.) Instead of typing in a number, it may be more convenient to click Select. Finale displays a palette of all articulations you’ve created (or loaded) in this document. Double-click the one you want; you return to the Apply Articulation dialog box, where that marking’s number appears in the text box. • All Notes. Leave this option selected if you want the selected articulation to appear on every note or chord in the selected region. 971

• Notes Within Range of Durations • From (Shortest Note) • Through (Longest note) • EDUs. It doesn’t make much sense to put a staccato mark on a whole note; nor is a fermata found very often on a 32nd note. For this reason, you can specify what kinds of notes you want to receive the selected articulation. In the From palette, click the smallest note value— and in the Through palette, click the longest note value—you want to receive the marking. All notes between (and including) those two note values will be affected. (To specify a dotted rhythm, click the dot as well; click the dot again to specify a non-dotted rhythm.) If you only want quarter notes, eighth notes, and sixteenth notes to have staccato marks, then, click the sixteenth note in the From row, and the quarter note in the Through row. Finale won’t apply staccato marks to whole notes, half notes, 32nd notes, for example. If the note-duration you’re looking for doesn’t appear in the palette—for example, if you want to specify a quintuplet quarter note—you can calculate its EDUs value and enter that number directly into one of the EDUs boxes. There are 1024 EDUs per quarter note; you’d enter 1024 for a quarter note, 128 for a sixteenth, and so on. • Include Notes that Start a Tie. You usually wouldn’t expect to find a cesura (full stop, or "railroad track") on a note that begins a tie; the tie and the marking contradict each other. For cases like this, you can deselect this checkbox, and Finale won’t apply the selected articulation to any note that’s tied to a later note. • Include Notes that Continue or End a Tie. Similarly, you normally wouldn’t expect to find an accent mark on a note that’s tied over from a previous note. Select this checkbox if, for some reason, you do want Finale to place the selected articulation on notes that are tied from a previous note. • Additional Positioning: H: • V:. To specify a particular position for the articulation you’ve selected (beyond any "smart" positioning it’s been given using the Articulation Designer dialog box), enter numbers into these boxes. • OK • Cancel. Click OK to return to the score, where Finale places articulation markings according to your specifications—or click Cancel to return to the score without changing anything. See Also: Articulations Utilities menu Articulation Tool

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Apply Human Playback Preferences dialog box

How to get there From the Plug-ins menu, choose Playback, and then Apply Human Playback. Then click HP Preferences. When Human Playback is applied to a region of your document, the settings in this dialog box apply. These are program-wide settings, and not specific to the document you are editing. Settings in this dialog box do not apply to standard Human Playback defined in the Playback Settings dialog box.

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Note: to adjust preferences for standard Human Playback, from the Windows menu, choose Playback Controls. Click on the Playback Settingsbutton on the Playback Controls. Click HP Preferences.

What it does Here, you can control how Human Playback deals with existing MIDI data and make additional settings for regions of the score affected by this plug-in. See Human Playback Preferences dialog box (which contains the exact same settings as the Apply Human Playback Preferences dialog box).

See Also: Human Playback

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Apply Music Spacing dialog box

How to get there Choose the Selection Tool and select a region of measures. From the Utilities menu, choose Music Spacing, and then Apply Music Spacing to Selected Parts/Score.

What it does This dialog box allows you to choose any combination of the score and/or parts to which you would like to apply changes. • [Parts/Score list]. The score and all parts are listed here. Check the box next to the item to which you would like to apply changes. • Check All • Check None. Click Check All to select all items in the list. Click Check None to uncheck all items in the list • Beat Spacing • Note Spacing • Time Signature Spacing. Here, choose which type of music spacing you would like to apply. See Music Spacing. • OK • Cancel. Click OK (or press enter) to confirm your settings. Click Cancel to discard settings and dismiss the dialog box.

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See Also: Linked Parts Utilities menu

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Apply Staff Style dialog box

How to get there Click the Staff Tool . Select a region of measures. Choose Apply Staff Style from the Staff menu.

What it does Use the Apply Staff Style dialog box to apply the specified staff style to the selected region. Staff Styles can be any combination of Staff Attributes. If you don’t see any Staff Styles to choose from, you can load the Staff Styles library or create your own (see Staff Styles dialog box). • Staff Styles. Select the desired staff style from the list box. • Define. Select a staff style. Click Define to open the Staff Styles dialog box, where you can make changes to the selected staff style or create a new staff style. • OK • Cancel. Click Cancel to return to the score without making changes. Click OK to apply the selected staff style your changes and return to the score. Tip: To create a Staff Style choose Define Staff Styles from the Staff menu. See Also: 977

Staff styles Staff Styles dialog box Staff Tool

978

Aria Player for Finale

How to get there From the MIDI/Audio menu, choose Instrument Setup > VST Instruments. Click a drop-down menu for one of the channel groups and choose aVST plugin, such as "Instruments for Finale 2010." Click Edit for that channel group.

What it does The Aria Player for Finale allows you to assign Finale's included Garritan instruments to Finale channels. It also displays the range of each instrument, its keyswitches, and allows you to make adjustments to the properties of the instrument sound. • [Channels and instruments list]. Each of these sixteen boxes represents the channel assignment for one bank of 16 Finale channels. You can load up to eight Aria Players in Finale’s VST Instruments dialog box, for a total of 128 instruments. To load new Instruments, select an empty box and choose the instrument from the drop-down menu. If you load more than one Aria Player, channel 1 in each player window will equal the first channel in its channel range. For example, if you select "Instruments for Finale 2010" for Channels 17-32 in the VST Instruments dialog box, channel 1 displayed in the Aria Player will equal channel 17 in Finale. The staff for this instrument will need to be set to channel 17 in the Instrument List window. 979

• [Controller #7 and controller #10 sliders]. You can use these sliders to adjust the MIDI controller data (#7 Volume or #10 Mod Wheel). Note that you can leave these controls alone and use Finale's Mixer to manage the volume, panning, and other playback parameters. See Mixer. • [Keyboard]. The Aria Player virtual keyboard will allow you to audition the sound of each instrument in the document by simply clicking on the keys on the screen with your mouse. If you have a MIDI keyboard connected, you may play the samples using your keyboard as well. (To do so, MIDI Thru must be on. See MIDI Thru dialog box. Also, under the MIDI/Audio menu, Play Finale File through VST must be checked. If you don’t hear any sound when playing the keys on the keyboard, turn up the Mod wheel.Use the keyboard to reference the instrument range and the keys used for keyswitches. See keyswitches. • Controls: Click the Controls tab in the lower right of the Aria Player to display these dials.

• Porta (CC20): All wind and string instruments have this graduating slide function (CC#18). This is especially useful for instruments like the trombone and the strings where slides are a normal characteristic. It can also be useful with other wind instruments to simulate the way movement by larger intervals “settles into” the destination pitch. • Length(CC21): This controller allows you to adjust the duration of notes. • VAR1 (CC22): This controller allows you to introduce random variability in intonation. This can make a big difference, especially in fast passages where real players almost never achieve accurate intonation from note-tonote. • VAR2 (CC23): This controller allows you to introduce random variability in timbre. The two variability controllers can go a long way toward eliminating the dreaded “machine gun” effect of rapid repeated notes. Proper 980

application of the VAR controls can also help the user create convincing double and triple tongued passages in the brass. • ModWhl(CC1): This knob controls the Modulation Wheel controller. • About. Click About to view additional information about the Aria player and the impact of your computer's resources. You can click Get More Sounds to launch the Garritan website where additional sounds are available. Note: To apply reverb to playback, use the included Ambience Reverb option in the VST Instruments dialog box. See Also: VST Instruments dialog box GPO and HP Tutorial

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Arrowheads dialog box

How to get there Enter the Shape Designer (see Shape Designer dialog box). Select Arrowheads from the Shape Designer menu.

What it does When you’re creating a line or curve in the Shape Designer, you can add arrowheads to either end. • Start • End; None • Predefined Arrowhead • Custom Arrowhead; Select. Choose the start and ending arrowhead type if desired, from either predefined arrowheads, or make your own. Depending on your choice, the Predefined Arrowhead Selection dialog box, or the Custom Arrowhead Selection dialog box appears where you can select the arrowhead required. See Custom Arrowhead Selection dialog box for more information. • OK • Cancel. Click OK to confirm, or Cancel to discard, your specifications of an arrowhead setting and return to the Shape Designer. See Also: Arrows Shape Designer dialog box Shape Designer menu Expression Tool

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Articulation Designer dialog box

How to get there Click the Articulation Tool . Click on, above, or below any note. When the Articulation Selection dialog box appears, click Create (or click an existing symbol and click Edit). If an Articulation already appears in the score, click its note; a handle appears. Double-click the handle.

What it does An articulation is a one-character marking that affects only a single note (an accent, staccato, or fermata, for example). In this dialog box you can specify the character to be used for the symbol, whether or not (and how) it should be "smart" (capable of centering itself and flipping when the note stem flips), and what playback effect, if any, it should have on the note it’s attached to. You can make excellent use of these intelligent, self-positioning markings without ever even reading the following descriptions or understanding their workings. Simply load the pre-defined Articulations Library we’ve provided, work from the Maestro Font Default file we’ve provided, or copy the settings 983

shown in the articulations table in the Finale Libraries section (See the Appendix). • Articulation Designer • [Arrow controls]. The number at the top of this dialog box is the ID number of the symbol you’re working on; click the up or down arrows on the small control to view the settings of other articulations in the current document’s library. • Display On Screen Only (Do Not Print). Select this checkbox to prevent the articulation from printing. • Main. The articulation you’re defining appears in the Main display. To choose (or change) this symbol, click the button. Finale displays every character (letter, symbol, or marking) in the selected font; double-click the marking you want. • Main: Shape • Character. The articulation that you define here will appear in the Main display. Click Shape to tell Finale to use a shape for the articulation, then click Main to specify the shape. The Shape Selection dialog box appears. You can create your own shapes or combine characters using the Shape Designer. Click Character to tell Finale to use a symbol for the articulation, then click Main. The Symbol Selection dialog box appears. Double-click the symbol you want to use. • Flipped. Certain articulations, notably the fermata and marcato symbols, appear one way when they’re above a note ( or ), and upside-down ( or ) when they’re below a note. Finale lets you choose a different character to represent the upside-down version. Click the button to view the full palette of musical symbols, and double-click the one you want to serve as the upside-down version of the Main symbol. If you do so, be sure you choose Flipped Symbol from one of the two "When Placed…" drop-down lists described below. • Flipped: Shape • Character. The articulation defined here specifies the "flipped" version of the Main symbol or shape (so Finale can display the articulation correctly when it’s placed below a note). Click Shape to tell Finale to use a shape for the articulation, then click Flipped to specify the shape. The Shape Selection dialog box appears. You can create your own shapes or combine characters using the Shape Designer. Click Character to tell Finale to use a symbol for the articulation, then click Flipped. The Symbol Selection dialog box appears. Double-click the symbol you want to use. • Set Font. Click this button to display the Font dialog box, where you can specify the font from which you want to select the character for the articulation. • When Placed Above a Note, use the: Main symbol • Flipped symbol. If you’ve specified both a Main and a Flipped symbol to represent this articulation in its upright and upside-down conditions, use this drop-down 984

list to select which symbol appears above the note. For example, if your Main symbol was this fermata , and your Flipped symbol was this one , you’d choose Main from this drop-down list. • When Placed Below a Note, use the: Main symbol • Flipped symbol. If you’ve specified both a Main and a Flipped symbol to represent this articulation in its upright and upside-down conditions, use this drop-down list to select which symbol appears below the note. For example, if your Main symbol was this fermata , and your Flipped symbol was this one , you’d choose Flipped from this drop-down list. If there’s no "upside-down" version of a symbol—which is usually the case—choose Main symbol from both drop-down Once you’ve specified which symbol appears above, and which below, a note, Finale will place the correct symbol into the score automatically when you select it from the Articulation Selection dialog box. And if the note gets transposed so that its stem changes direction, Finale will automatically substitute the inverted symbol. • Copy the Main Symbol: Vertically • Horizontally. Some markings— notably the rolled chord and trill symbols—need to be variable in length. For this reason, you can select the Copy the Main Symbol option, which provides two handles on the articulation in the score instead of the usual one. When you drag the second handle, the marking (in the case of the rolled chord and trill symbols, a single segment of a wavy line) duplicates itself as many times as necessary, allowing you to stretch the marking. Choose either Vertically or Horizontally from the drop-down list, depending on how you want the symbol to stretch: Vertically for a rolled chord marking, and Horizontally for a trill. See Trills and Rolled Chords. • Playback Effect: None • Change Attack • Change Duration • Change Velocity. Use this drop-down list to display and edit the settings for the three playback effects that Finale will use when playing back the note affected by this articulation. Choose each Playback Effect option from the drop-down, then enter values for that option in the dialog box. Choosing None disables all three playback effects for the articulation. When you choose Change Key Velocity the numbers in the Top Note Value and Bottom Note Value text boxes represent MIDI key velocity (volume) values. These values can range from –127 to 127, where a negative number makes the affected note softer than unaffected notes, and a positive number makes it louder. Your marking will then affect the velocity (volume) of its note; accents, stress marks, and marcato marks are good examples. (A key velocity of 0 = silent playback)

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When you choose Change Duration the numbers in the Note Value text boxes represent changes in the duration of the affected notes. A staccato mark is a good example of an articulation that uses this setting. When Change Duration is selected, Finale sustains the affected note for its notated value plus the duration indicated in the Top Note Value text box. (If you want every note of a chord to be sustained by a different amount, enter a different value in the Bottom Note Value text box too.) The numbers in these text boxes are in EDUs, of which there are 1024 per quarter note. To affect the timing of a note, therefore, be sure to enter numeric values large enough to create a noticeable rhythmic difference on playback—256 EDUs (a sixteenth note) and higher, for example. Because EDUs are hard to compute, the best way to use this setting may be to select Values Are Percentages (see below), so that you can simply type a percentage of the notated value into the text box. To create a staccato marking, for example, you might type 50 (% of full note value) into the Top Note Value text box. When you choose Change Attack, you’re telling Finale to shift the attack of the affected note forward or backward in time (without changing the note’s duration). A negative number tells Finale to strike the note slightly before the beat during playback; a positive number tells it to strike the note just after the beat. This option is most useful in creating the rolled chord effect, which you can achieve by entering different values in the Top Note Value and Bottom Note Value text boxes. That’s because Finale ranges the attack times of the middle chord notes proportionally between the earliest and latest attacks (as specified by the values in the Top Note and Bottom Note text boxes), producing a true rolled-chord sound. If you want the chord rolled from top to bottom, enter a negative number in the Top Note Value text box, and zero in the Bottom Note Value text box. If you enter zero for the Bottom Note Value and a positive number in the Top Note Value text box, the attacks of the upper chord notes will be late—in other words, the rolled chord will begin on the beat. For a more detailed discussion, see Rolled Chords. • Top Note Value • Bottom Note Value. These text boxes let you enter specific values for increased or decreased velocity, duration, or attack time for the affected notes. The separate text boxes for Top and Bottom notes come into play when you’re attaching an articulation to a chord, because a chord’s top and bottom notes can have different key velocity values or durations. Because Finale scales the key velocities or durations of any middle notes proportionally between the values in the Top and Bottom Note Value text boxes, it’s easy to create effects such as rolled chords. If you don’t need a varied playback effect in chord situations— which is likely to be most of the time—leave the Bottom Note Value text box empty, 986

and enter a value in the Top Note Value text box; Finale will apply the Top Note Value to the entire chord. • Values are Percentages. When this checkbox is selected, the numbers you enter into the Note Value text boxes represent percentages of the note’s notated value. For example, if Change Durations is selected in the Playback Effect drop-down list, you could enter 50 in the Top Note Value text box, and the affected note would play back with only half its notated rhythmic value (as in the case of a staccato). If Change Key Velocity is selected, you could enter 150 to represent emphasis that’s 50% greater than an unaffected note (as in the case of an accent). • Avoid Staff Lines. If you want to ensure that the articulation you’re designing will never overlap a staff line, select this checkbox. Note, though, that Finale will only see to it that the marking’s handle doesn’t fall on a staff line. It’s up to you to adjust the handle’s position (using the Handle Positioning button) so that the symbol itself doesn’t fall on a staff line. In the case of large symbols, you may not be able to find a position that doesn’t overlap any lines, but you can use this option (and the Handle Positioning button) to place it in the best position possible. • Always Place Outside Staff. In one school of music-engraving thought, if a staccato mark (for example) is so close to a notehead that it would appear within the staff lines, it should be placed as close as possible outside the staff, as shown here.

Select this checkbox if you want the articulation you’re designing always to fall outside the staff. • Attach to Top Note. Use this checkbox to specify whether the articulation should be attached to the top or bottom note of a chord, so that when the notehead changes pitch, the articulation changes position accordingly. Select Attach to Top Note if the marking’s distance should be fixed from the top note; don’t select it if you want the marking attached to the bottom note. • Center Horizontally. Select this checkbox if, when you place this articulation into the score, you want it to automatically center itself relative to the notehead. (You can always drag it into a new position once it appears in the score, of course.) • Inside Slurs. Select this checkbox to force a Smart Shape slur tip to avoid this articulation by moving farther out. See Slurs. • Position: Manually • Auto Note/Stem Side On Notehead Side • On Stem Side • Above Note • Below Note. Using this drop-down list, you can 987

instruct the articulation you’re designing always to appear in—and maintain—a certain vertical position relative to the note. Choose Auto Note/Stem Side to allow Finale to decide whether the articulation should reside on the note or stem side of the staff. For example, if the addition of a new layer forces stems to flip, the articulation will also flip to the stem side.

If you manually flip the stem (L) of a note containing an articulation set to Auto Note/Stem Side, the Articulation will flip to the stem side. Revert to the default stem (Shift-L) to restore the articulations original placement. (These options are called "Flip Stem" and "Default Stem" under the Simple menu > Simple Edit Commands > Modify Entry.) Additionally, this setting automatically handles articulation placement when notes and layers are removed from staves while isolating a voice in a part. See Voicing for Staff in Part dialog box and Articulations in Linked Parts. Choose On Notehead Side if this marking should always appear on the notehead side of a note, even flipping if a transposition flips the note’s stem in the opposite direction. Choose On Stem Side for a marking that does the opposite—appears on, and always flips as necessary to remain on, the stem side of a note. (If you’ve specified a Flipped symbol, Finale will automatically substitute the upside-down symbol when the stem direction changes.) Choose Above Note if you want this articulation always to appear above the note, regardless of the note’s stem direction, and Below Note if it should appear below the note, regardless of stem direction. (Choose Manually if you want to place this articulation by hand each time you place it into the score.) • Default Vertical Position:. In this text box, specify how far you want this articulation to appear from the notehead you’re attaching it to. (This distance, of course, is subject to the other settings you’ve made in this dialog box, such as Always Place Outside Staff.) • Handle Positioning. Finale’s musical symbols are actually just characters in a special font. Since the computer places these characters onto the screen by the invisible "handle" in the lower-left corner of each symbol, Finale lets you adjust the position of each character’s handle, so that all the positioning-sensitive options in this dialog box will work properly; generally, you only need this option to compensate for unusually large symbols (or symbols from unusual fonts); let your eye be your guide. (You don’t need to specify a handle position if you’re using the Center Horizontally option.) 988

This button displays the Handle Positioning dialog box; see Handle Positioning dialog box for details. To find out some appropriate handle settings for various articulations, see Finale Libraries. • OK • Cancel. Click OK to confirm your editing and return to the Articulation Selection dialog box (or to the score). If you’ve just designed a new articulation, it now appears in the selection box. Click Cancel to tell Finale to ignore any editing you’ve done in this dialog box. You return to the Articulation Selection dialog box or to the score. Tip: if you like an articulation, but need to vary it slightly, duplicate the articulation in the Articulation Selection dialog box, then make your edits in this Designer dialog box. See Also: Articulations Articulation Tool Apply Articulation dialog box Articulation Selection dialog box Symbol Selection dialog box Handle Positioning dialog box

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Articulation Selection dialog box

How to get there Click the Articulation Tool . Click on, above, or below any note. (If the note already has an articulation, you will need to double-click the note) Or, in Simple Entry, select a note, press Alt-Shift-A, and then click Select. Also, to program a Metatool, press a letter or number key while pressing shift.

What it does An articulation is a one-character marking that affects only a single note (an accent, staccato, or fermata, for example). You can select, edit, delete, or create articulations in this dialog box. The number in the top left corner of each item lists the slot number for the item. This can be handy if you have the option of typing in the slot number in a dialog box instead of scrolling through the selection dialog box. Occasionally, a character in parenthesis appears in the top right corner of an item in the selection dialog box. This character indicates the metatool assigned to the item.

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• Edit. After selecting an existing articulation by clicking it, click Edit to enter the Articulation Designer dialog box. You can change any aspect of the articulation selected, however, keep in mind that when you edit an articulation, your editing affects every occurrence of it in the score. • Create. Click Create to enter the Articulation Designer dialog box, where you can design a new articulation. See Articulation Designer dialog box. • Duplicate. Click Duplicate to create a copy of the selected shape to modify. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Delete. After selecting an existing articulation by clicking it, click Delete to remove it from the Articulation Selection dialog box. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. If the expression is used in the score, the Delete Element dialog box is displayed, where you can specify delete options. See Delete Element dialog box. • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shiftclick to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • [Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it. • Cancel. Click Cancel to return to the score without placing an articulation in the score. • Select. After clicking the symbol you want to apply to the note, click Select. You return to the score, and the marking is attached to the note. Instead of using the Select button, you can simply double-click the desired marking. (In fact, you can avoid this dialog box completely by using Articulation metatools. Tip: To attach the same articulation to many notes at once, use Apply Articulation See Also: Articulations Selection Overview

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Articulation Designer dialog box Articulation Tool

Assign to Staves dialog box

How to get there Click the Expression Tool , and double-click a measure or existing expression in the score to open the Expression Selection dialog box. (This dialog box also appears when you’re programming an expression Metatool: While pressing shift, press a letter or number key.) Choose a category other than tempo marks, tempo alterations, and rehearsal marks. Click the dropdown menu next to the Assign button and choose Assign to Specific Staves. Or, right-click an expression in the score and choose Assign to Specified Staves. Note. Tempo marks, tempo alterations, and rehearsal marks are displayed on specific staves using Score Lists. See Category Designer dialog box.

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The Assign to Staff dialog box allows you to define assignment lists, which are used to specify the staves to which an expression will be assigned. Once defined, an assignment list appears under the Assign drop-down menu of the Expression Selection dialog box. Assignment lists are only used for expressions that apply to a single staff (e.g. dynamics), and any expression added in this manner is subsequently independent, as if it were added individually. Assignment lists are a document setting, and saved with each individual document. Note. Only expressions assigned to a Score List include a Master Expression. • Name • [New Assignment List text box]. From this drop-down menu, choose the desired assignment list. To add a new list, enter a name in the lower text box and click the Add button to add it to the list. • [Staves list]. This list displays each staff in the score. Click to place an X next to a staff to specify you want to add the expression to that staff. • Add • Remove. Click Add to introduce the current settings and list name to the assignment list. Click Remove to delete the selected assignment list. • OK • Cancel. Click Cancel to return to the Expression Selection dialog box without making changes. Click OK to confirm your selection and add the expression to specified staves in the score.

See Also: Expressions Expression Assignment Expression Selection Expression Tool

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Audio Clip Attributes dialog box

How to get there With an Audio Track Loaded, from the MIDI/Audio menu, choose Audio Track, then Audio Clip Attributes.

What it does This dialog box allows you to manage audio file references (path), the start point of the audio file within the document, and how to display the audio file in Finale's audio track. This dialog box also displays information about the audio file including the type, length, and format. • Path; Select. This section displays the path to the chosen audio file on your computer. Audio files are not embedded within the Finale file. Instead they are referenced by the path listed here. If the Finale file and its associated audio file are moved to a different computer, the path may need to be updated to restore the reference. To do so, click Select, navigate to the desired audio file, and select it. • File Type • File Length • File Format. This section includes general information about the audio file. • Start in Score • Repeat. An audio file can be set to start at any point in the score. Here, choose the measure and beat you would like to designate as the start point for the audio file. • Start in Clip • End in Clip. Use these commands to crop an audio file so that it begins at a point other than the beginning of the audio file and/or 994

ends at a point prior to the ending. Enter a value for Start in Clip to specify the point in the audio file you would like to begin. Enter a value for End in Clip to specify the point in the audio file you would like to end. You can use the Time measure number style to reference the elapsed time at each barline. See Time Style dialog box and Measure Numbers. • Display Unit; Time • Samples. Choose Time to display the File Length, Start in Clip, and End in Clip parameters in time (i.e. hours|minutes|seconds|miliseconds). Choose samples to display the File Length, Start in Clip, and End in Clip parameters in samples. The granularity of the sample (number of samples per minute) depends on the sample rate of the original audio recording and/or additional editing. • OK • Cancel. Click OK to accept changes and return to the document. Click Cancel to dismiss the dialog box without making changes. See Also: Audio Add Bookmark dialog box View menu

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Audio Setup dialog box

How to get there From the MIDI/Audio menu, choose Audio Setup.

What it does This dialog box allows you to set up options for recording audio and configuring the MicNotator feature. • Audio Driver. Here, you can choose an Audio Driver to use with MicNotator. Note that the ASIO audio drivers are not compatible with MicNotator. DirectSound drivers are compatible with MicNotator. • Mic Source. Select an input source from drop-down list. • Play Through. From this drop-down menu, choose the device you would like to use while playing the microphone input through your computer's speakers. • Output. From this drop-down list, choose the device used to play sound coming through the microphone.

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• Microsoft® Volume Controls: Output • Input. These button open the Volume Controls of your Windows operating system. • Levels: Mic Level • Input Meter. When you play into the microphone, you’ll see colored bars in the Input Meter, indicating how loud Finale heard you. Adjust the Mic Level slider to change your microphone input levels so that your loudest note doesn’t hit the red levels. If the levels are too "hot," the distortion will cause poor quality recordings and will also impair MicNotator’s pitch recognition. • Enable MicNotator. Check this box to use the MicNotator feature to convert pitches recorded through the microphone to MIDI notes that Finale can transcribe into notation in Simple Entry, Speedy Entry or HyperScribe. You should use the levels meter to fine-tune your microphone input. • MicNotator: Channel • MIDI In Latency. In the Channel text box, specify your input channel. Enter a value in the MIDI-In Latency text box to correct for a delayed response from an external MIDI device during a Recording session. The MIDI latency value compensates for the short delay it sometimes takes for MIDI information to travel from an external MIDI device into the computer. • Reverb Type: From this drop-down menu, choose the • Reverb level. Enter a reverb level (1-127) in this text box. A higher number amplifies the type of reverb selected above. • Recording Latency. Enter a value in this text box to delay Finale’s translation of audio information while recording in HyperScribe. The latency value compensates for the short delay it sometimes takes for audio information to travel from the microphone into the computer. • OK • Cancel. Click OK to confirm, or Cancel to discard, your settings and return to the document. See Also: Audio MIDI/Audio menu Speedy Entry Tool HyperScribe Tool

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Automatic Check for Updates dialog box

How to get there From the Help menu, choose Check for Finale Updates. Then click Settings.

What it does With this dialog box, you can set the frequency for automatic update checks. • Yes. Please check every _ days. Here, enter the number of days between checks. If an update is available, you will be notified upon Finale startup. (A notice is only shown if an update is available). • No. Choose this option to prevent Finale from checking for automatic updates. • OK • Cancel. Click OK to confirm, or Cancel to discard, your settings and return to the score. See Also: Help menu

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Backward Repeat Bar Assignment dialog box

How to get there Click the Repeat Tool , click a measure, then double-click either the "Back" or "Back Ending" repeat bar icons. Or, if a backward repeat barline is already in the score, double-click its handle, or right-click its handle and select Edit Repeat Assignment.

What it does The two middle graphic repeat barline icons (Back and Back Ending) can be defined to affect the playback of your piece. The playback assignment is determined in this dialog box. • Play Section_Times. Select this radio button, and enter the number of times you would like this section to play. Since a standard repeat with one forward and one backward repeat barline (and no endings) plays back two times, "2" is entered by default. • Jump on Pass. Select this radio button and enter the pass(es) you want Finale to jump to the specified target. To indicate multiple passes, separate

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the pass numbers with commas, or indicate a range with a hyphen (e.g. "24"). • Reset on Repeat Action. Once Finale has played the music the number of times specified in the Play Section_Times or Jump on Pass(es) text boxes—and thus performed the Repeat Action—it will, if you wish, reset its internal "counter" back to zero and begin counting toward the Total Passes number again. This option could be useful if you’re creating nested repeats, and want an inner repeat to be fully executed with each pass of the larger repeated region. • Always Jump. If you select this radio button, Finale will execute the repeat every time the playback reaches the repeat barline. • Target Measure. The number in this text box specifies the measure Finale will jump to when playback reaches the repeat barline. From the drop-down list, choose Nearest Forward Repeat to direct playback to the closest forward repeat barline defined earlier in your score. Choose Measure # and enter a number in the text box to direct playback to that measure. Choose Backward and enter the number of measures previous to the backward repeat barline that you would like to direct playback. • Show On: All Staves • This Staff Only. Select All Staves to show the text repeat on every staff in the score and parts. All Staves is selected by default. Select This Staff Only to assign the text repeat to the current staff only. Use the This Staff Only option if you want a text repeat to appear only in the current staff. • Staff List: New Staff List • (All defined Staff Lists); Edit. Select New Staff List to display the Staff List dialog box, where you define which staves will display text repeats. To select a Staff List already created for use in the score, choose its name from the drop-down list. Click Edit to display the Staff List dialog box for the selected Staff List, and change which staves the text repeat should appear in. • Allow Individual Edits Per Staff for Ending Bracket. If you’ve selected the repeat barline with a bracket attached, Finale places an identical bracket in every staff. Check Allow Individual Edits Per Staff to allow each staff’s bracket to be moved or resized independently. Note, too, that a bracket may be stretched horizontally as long as needed. Note that if you drag the right end of an ending bracket across the right barline in the score, the positioning link will be broken in all parts. (This is a property unique to ending brackets). See "Linked Parts" for details. • OK • Cancel. Click OK (or press enter) to confirm the settings you’ve made in this dialog box and place the repeat sign in the score (if it wasn’t there already). Click Cancel to tell Finale to ignore any changes you made in this dialog box and return you to the score, and no repeat sign is placed (or, if you were editing an existing repeat, no changes take place). See Also: 1000

Repeats Repeat Tool

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Baseline Shift dialog box

How to get there Click the Text Tool

. Select Baseline Shift from the Text menu.

What it does The Baseline Shift dialog box allows you to adjust the vertical position of the text without affecting the spacing between lines. To select the default measurement units, click on the Edit menu, then Measurement Units, then select the desired units. • Amount. Enter the amount (in measurement units) that Finale should shift the selected text characters vertically above or below the baseline. A positive value raises the text, and a negative value lowers it. • OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score. See Also: Text Text menu Text Tool

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Beam Extension Selection dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Special Tools Tool , then click any measure containing beamed notes. Click the Beam Extension Tool. A handle appears at each end of each beam; double-click the handle at the end of the beam you want to extend.

What it does When you extend a beam (for example, to beam across a barline), the Beam Extension Selection dialog box lets you specify whether you want to extend all the beams (if there are sixteenth-note and other secondary beams), or only selected secondary beams. • 8th • 16th • 32nd • 64th • 128th • 256th • 512th • 1024th • 2048th • 4096th. When you select these checkboxes Finale will extend the beams for those note durations. • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score, where you can now drag the handle (the one you originally clicked) to extend the beams. To change your beam selections, double-click the handle; the Beam Extension Selection dialog box reappears. Click Cancel to tell Finale to ignore any changes you made in this dialog box and return you to the score. Tip: Any beam not selected cannot be extended. See Also: Beaming 1003

Special Tools Tool

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Beaming Chart dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Mirror Tool , then click an empty measure; the Tilting Mirror dialog box appears. Assemble a composite mirror by clicking the arrow buttons to maneuver your "window" from measure to measure in the score, dragging the dotted-line "cut bar" handles inward to enclose the desired notes, clicking Next, and saving your changes; repeat this process as needed. Click OK, then click Rebeam, then click Rebeam to Beam Chart. If a mirror already exists in the score, shift-click it; the Mirror Attributes dialog box appears. Click Rebeam, then click Rebeam to Beam Chart.

What it does Using the cut bars as described above, you can assemble a measure composed of notes copied from other measures in the score. The resultant measure is a composite mirror, whose notes are dynamically linked to the "real" notes from which they were copied. Because you build a composite mirror by combining material from other measures, the beaming of eighth notes (and smaller values) may not be correct. The Beaming Chart dialog box lets you specify the beaming in a composite mirror. • Beaming Chart for Frame (#). This beaming window displays a handle for each eighth note (or smaller value). You break a beam between one note and another by clicking the handle of the second note. Any notes whose handles you haven’t selected will be beamed together. (If you want all notes beamed together, select the first handle in the measure.) • OK • Cancel. Click OK to confirm the rebeaming you’ve done and return to the Mirror Attributes dialog box. Click Cancel to tell Finale to ignore any

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changes you made in this dialog box, leave the beaming as it was, and return you to the Mirror Attributes dialog box. See Also: Beaming Tilting Mirror dialog box Mirror Tool

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Beat Chart dialog box

How to get there Click the Measure Tool , and click the bottom handle of any barline that has two handles. (Such measures have been specified as having beat charts.) There are two ways to provide a measure with a beat chart. First, you can set its positioning by using the Music Spacing command in the Edit menu. Second, choose Using Beat-Chart Spacing in the Measure Attributes dialog box for the desired measure. The beat chart appears. Double-click the top handle of any pair in the beat chart.

What it does A beat chart lets you change the horizontal position of a beat in all staves at once; for example, you might want to drag the fourth beat of a measure slightly to the left to allow room for a septuplet run in the strings. Finale normally provides a handle on every beat or every note in the measure. Using this dialog box, however, you can specify a precise beat or subdivision of a beat that you want a particular beat chart handle to control—even if there’s no note that falls on that beat. You can change the position of any beat handle (note or rest) within the measure numerically; Finale also displays the range of available values for your reference.

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• Beat Chart Element (#). This number shows which beat chart handle, in order from left to right, you’re editing. • Measure (#). This number indicates which measure is represented by the beat chart. • Elapsed Duration. The number in this text box (in EDUs, 1024 per quarter note) tells which beat (or which subdivision of a beat) has its horizontal positioning controlled by this handle. In other words, if the text box displays a value of 1024 EDUs, then you can drag the lower handle of the pair to the left or right to reposition the occurrence of the second quarter note in all staves (that is, 1024 EDUs, or one quarter note, has already elapsed). This text box can be useful if you want to move, for example, the second note of a triplet slightly to one side (in all staves). By calculating the appropriate EDU value to enter into the Elapsed Duration text box, you can specify precisely which element of the triplet you want the handle to control. (In this example, if the quarter-note triplet begins on the first beat, you’d type 682 into the text box, because that’s one-third of 2048 [the total EDU value of the quarter-note triplet].) To make this handle control another beat in the measure, type its EDU equivalent in this text box. The number must be within the displayed range. • Position. The number in this text box, in measurement units, tells you the current position of the handle and any notes or rests that line up with it. • End Position. The number in this text box, in measurement units, tells you how close to the beginning of the next beat (or the end of the measure) you can adjust the note or rest. • Minimum Position. The number in this text box, in measurement units, tells you how close to the end of the previous beat (or the beginning of the measure) you can adjust the note or rest. • Duration Range. This display shows you the smallest and the largest note duration you can edit within the range of notes. The range shows the values for the notes on either side of the note you selected by doubleclicking its Beat Chart handle. • Position Range. This display shows you the allowable values for this beat element's lower handle, from the end of the previous beat (or the beginning of the measure) to the beginning of the next beat (or the end of the measure). • Total Duration. The number in this text box, in EDUs (1024 per quarter note), tells you the total duration of the measure. • Total Width. The number in this text box, in measurement units, tells you the total width of the measure.

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• OK • Cancel. Click OK to confirm, or Cancel to discard, any changes you’ve made in this dialog box and return to the beat chart. See Also: Measure Attributes dialog box Measure Tool

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Bracket dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Ossia Tool . If you’re in Page View, double-click the location on the page to which you want to attach the "floating measure." If you’re in Scroll View, click the measure to which you want it attached (or click again if there’s already a floating measure attached to it). Or, to edit an existing floating measure, double-click its handle. In the Ossia Measure Designer dialog box, click Select near the Bracket Group.

What it does This dialog box lets you specify the bracket style and positioning for an ossia measure. • [Five pictured brackets]. Click a picture to select a bracket style. • Distance from Left Edge of Staff:. This number tells Finale how far from the left edge of the grouped staves (or from the floating measure) to place the bracket. A negative number moves the bracket to the left. Finale proposes a value that places the bracket just to the left of the staves. • Vertical Adjust (Top of Bracket) • Vertical Adjust (Bottom of Bracket). These numbers tell Finale how far to extend the upper and lower ends of the bracket, respectively, in relation to the top of the staff and bottom of the staff, respectively. The default values, zero, place the bracket’s ends even with the top and bottom lines of the staff; a positive number for either parameter extends the corresponding end of the bracket upward. Keep in mind that you can always drag the bracket’s ends manually once it’s in the score. • Bracket (#). Any ossia staff can have up to 16 brackets attached; Finale numbers them sequentially. This indicator tells you which bracket is being 1010

edited. You can either type a new number into the text box, or click the up or down arrows on the arrow controls to increase or decrease the number. • Add. Click this button to add another bracket to the ossia staff. • Delete. Click this button to remove the current bracket from the ossia staff. • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and proceed to the next dialog box—or return to the score. Click Cancel to tell Finale to ignore any changes you made in this dialog box. You return to the Ossia Measure Designer. See Also: Ossia Ossia Tool

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Bracket Style dialog box

How to get there Enter the Shape Designer (see Shape Designer dialog box). Choose Bracket Style from the Shape Designer menu.

What it does Using the Shape Designer’s Bracket Tool, with a single click, you can add a bracket to a custom shape you’re drawing. This dialog box lets you specify which of nine brackets you want to appear. • [Nine pictured brackets]. Click the bracket style you want, then click OK (or simply double-click the bracket). You’ll have the opportunity to resize or reshape it once it’s part of your drawing. • OK • Cancel. Click OK to confirm, or Cancel to discard, your new bracketstyle selection. When you exit the dialog box, click the Bracket Tool and then click in the drawing area. To reshape the bracket, click the Selection Tool, and double-click the new bracket to reveal its reshaping control handles. See Also: Shape designer Expression Tool

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Breath Mark dialog box

How to get there From the Document menu, choose Add SmartMusic Markers. Select Breath Mark from the marker list on the left and click add. Or, select an existing breath mark marker from the Marker window and click Edit. This marker should be placed on the note ending the breath, and the effect begins one note prior. This marker temporarily slows the tempo (from the prior note) by roughly 80 to 90 percent.

What it does Use the settings in this dialog box to control the measure assignment, and other attributes, for the breath mark SmartMusic Marker you are adding or editing • Rehearsal Mark • Bar • Note • Repeat. Choose a rehearsal mark, repeat, or specify a bar and note to add a Wait for Breath Mark marker. • Large Breath. Select Large Breath to indicate a larger pause. • Small Breath. Select Small Breath to indicate a short pause. • OK • Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic Markers dialog box without making changes. See Also: SmartMusic Add SmartMusic Markers dialog box 1013

Category Designer dialog box

How to get there Click the Expression Tool , and double-click a note or measure. The Expression Selection dialog box appears. Click Edit Categories. Or, from the Document menu, choose Category Designer.

What it does Because similar types of expressions usually share positioning and appearance characteristics, Finale separates the different types of expressions into independent categories (see Expressions). This dialog box displays text, positioning, and staff assignment settings for the expression category selected to the left. Each category includes its own font, size, and style. When you create a new expression, Finale automatically assigns the category's font, size, and style to the text you type. Also, because some markings, particularly tempo marks, require multiple fonts, a category can include up to three different fonts, Text (e.g. Times New Roman), Music (e.g. Maestro), and Number.

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Each category's positioning settings also apply to all expressions in the category. Review the preview beneath the positioning settings for an example of the positioning option chosen from the Horizontal/Vertical Alignment dropdown menu. To accommodate markings that apply to the full score, but only appear on certain staves, some expression categories include a Score List. For example, tempo marks often appear above the top staff of a large score, as well as above the top staff in each instrumental section. Score Lists are also capable of automatically placing expressions properly in optimized scores, where various staves are hidden in some systems (see Score List dialog box). Score Lists are not designed for dynamics. To quickly apply dynamic expressions to multiple staves, use the Assign drop-down menu in the Expression Selection dialog box. Changes to the Category Designer dialog box apply to all expressions in the selected category, including those that already exist in the score, except those specifically defined to ignore category settings (see the Use Category Fonts and Use Category Positioning check boxes in the Expression Designer-Main dialog box, and the Expression Designer-Positioning dialog box). • Text Font • Music Font • Number Font. Choose whether you would like to edit the font, size, and style of the text or music font. The Expression Designer allows you to easily combine text and music fonts as you create or edit expressions using the Font drop-down. See Expression Designer dialog box. • Fixed Size. When this option is selected, Finale maintains the exact size of the text despite the size of the music altered with the Resize Tool. • Hidden. Select this checkbox to prevent the expression from printing. Hidden expressions will continue to display on-screen at the Hidden Object Shading percentage specified in Program Options-View. • Justification: Left • Center • Right. From this drop-down menu, choose the desired justification relative to the Horizontal Alignment point and Offset. • Horizontal Alignment: Horizontal Click Position • Left of All Noteheads • Left of Primary Notehead • Stem • Center of Primary Notehead • Center of All Noteheads • Right of All Noteheads • Left Barline • Start of Time Signature • After Clef/Key/Time/Repeats • Start of Music • Center Between Barlines • Center Over/Under Music • Right Barline. Use these options to specify the alignment of the expression relative to the notehead, barline, or music, as illustrated by the diagram in this dialog box. To place the expression at the horizontal position clicked in the score, choose Horizontal Click Position. To align the expression to the left edge of the notehead (or left-most notehead of a chord), choose Left of All 1015

Noteheads. To align the expression with the left edge of the notehead (or primary notehead of a chord), choose Left of Primary Notehead. To align the expression with the stem, choose Stem. To center the expression based on the primary notehead (changes if added to a chord containing an interval of a second), choose Center of Primary Notehead. To align the expression on the center of a notehead, or, if added to a chord with a second, center the expression between the notes, choose Center of All noteheads. To Align the expression with the right edge of the notehead, choose Right of All Noteheads. To align the expression with the left barline, choose Left Barline. To align the expression with the left edge of the time signature, choose Start of Time Signature. To align the expression with the end of the clef, key signature, time signature, or repeat bar, choose After Clef/Key/Time/Repeats. To align the expression with the first entry in the measure, choose Start Of Music. To center the expression between the left and right barline, choose Center Between Barlines. To center the expression based on where the music starts and ends (taking into account "Before" and "After" spacing in Document Options-Music Spacing), choose Center Over/Under Music. To align the expression with the right barline, choose Right barline. • Additional Horizontal Offset. Enter a value here, positive or negative, to make an additional adjustment to the horizontal positioning of the expression • Vertical - Vertical Click Position • Above Staff Baseline • Below Staff Baseline • Top Note • Bottom Note • Above Entry • Below Entry • Above Staff Baseline or Entry • Below Staff Baseline or Entry. Use these options to specify the vertical positioning of the expression relative to the note or staff. To position the expression based on the vertical distance you clicked from the top staff line choose Vertical Click Position. To position the expression on the baseline above or below the staff (akin to lyrics and chords) choose Above Staff Baseline or Below Staff Baseline. To "fasten" the expression to the top or bottom note of the chord, choose Top Note or Bottom Note from the drop-down list. If you choose Top Note or Bottom Note, the value for vertical positioning in the Expression Assignment dialog box represents the distance from the top or bottom note in the chord. To place the expression on the above or below staff baseline, or, if the expression collides with the note, above or below the note, choose Above Staff Baseline or Entry or Below Staff Baseline or Entry. • Additional Vertical Offset. Enter a value here, positive or negative, to make an additional adjustment to the vertical positioning of the expression. • Additional Entry Offset. Enter a value here, positive or negative, to make an additional adjustment to the vertical positioning of the expression relative to the entry.

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• Additional Baseline Offset. This option appears only when Above/Below Staff Entry or Baseline is chosen. Enter a value here to specify an offset from the baseline above or below the staff. • Score List; Edit. From this drop-down menu, choose the Score List you would like to apply to the selected category. Score Lists are designed to accommodate expressions that often appear on multiple staves in a consistent arrangement. For example, tempo markings often appear above the top staff as well as above the top staff of instrumental sections. Click Edit to open the Score List dialog box where you can edit the selected Score List. • Duplicate. Click Duplicate to make a duplicate copy of the category. The New Category dialog box will appear, prompting you to enter a name for your new category. • Rename. Click this button to open the Category Name dialog box where you can rename new categories. Finale only allows you to rename categories you create using the Duplicate button. • Delete. Click Delete to delete the selected category. See Also Expressions Expression Selection dialog box

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Change Articulation Assignments dialog box

How to get there Click the Selection Tool , and select a region of measures. From the Change submenu of the Utilities menu, choose Articulation Assignments.

What it does Using the Change Articulation Assignments command, you can swap one articulation marking for another, adjust the positions of all accent marks at once (for example), or clean up the positioning of all articulations in a region. • Position All Articulations. Select this option if you want Finale to adjust the position of every articulation in the selected region. How it moves them depends on your setting from the Add to… drop-down list (see below); this item simply specifies which markings will be moved. • Position Selected Articulation • Select. If you only want to move all occurrences of a specific marking, enter its number into the text box. (Finale numbers its articulations from left to right, top to bottom, in the Articulation Selection dialog box.) It may be more convenient, of course, to click Select; Finale displays a palette of all articulations created in (or loaded into) the current document. Double-click the one you want to move; you return to this dialog box, where the correct number appears in the text box. Once again, how Finale will move the articulation type you’ve selected depends on your setting in the Add to… drop-down list (see below).

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• Change All Articulations (or Selected Articulation) to Articulation ___ • Select. Click this checkbox if, instead of moving all articulations (or the selected articulation marking, depending on your choice of the top two radio buttons), you want to replace them with a different articulation marking. You could replace all > accent marks with ^ accent marks, for example. To do so, enter the replacement symbol’s number in the text box, or click Select, and double-click your selection in the Articulation Selection dialog box that appears. Of course, if you enter numbers into the H: and V: text boxes, you can move the articulations as you replace them. • Add to Default Position • Add to Current Position. If you decide to adjust the positions of articulations, use this drop-down list to specify how. If you choose Add to Default Position, Finale moves each marking into the position dictated by its built-in "smart" settings (created in the Articulation Designer dialog box)—that is, according to whether it’s auto-centering, supposed to lie outside the staff lines, and so on—plus any additional adjustment you specify in the H: and V: text boxes (see below). (See Articulation Designer dialog box to find out more about an articulation’s auto-positioning settings.) If you instead choose Add to Current Position from the drop-down list, Finale ignores whatever auto-positioning you’ve established for your articulations (in the Articulation Designer dialog box). Instead, Finale simply slides each marking—from its current position—a distance you’ve specified in the H: and V: text boxes (see below). • H: • V:. Type numbers into these text boxes to specify how far Finale should move the specified markings. A positive or negative H: value moves them to the right or left. When an articulation is positioned On notehead side, or On stem side, a positive V: value moves the marking away from the staff; a negative V: value moves the marking in toward the staff. Because they can flip from one side to another, Finale does not track their actual positions, but instead places them closer to or further away from the staff. When an articulation is positioned Manually, Above Note, or Below Note, a positive V: value moves the articulation up; a negative V: value moves the articulation down. It doesn’t matter whether the articulation is above or below a note. • OK • Cancel. Click OK to proceed with the articulation transformation; click Cancel to return to the score without changing anything. See Also: Articulations Utilities menu

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Change Chord Assignments dialog box

How to get there Click the Selection Tool , and select a region of measures. From the Utilities menu, choose Change, then Chords.

What it does This dialog box lets you change all chord symbols in a selected region in several ways. You can transpose them, turn their playback on or off, change their display to fraction-style, or move them by a precise amount. • Show: Root • Lowercase • Suffix • Fretboard • Alternate bass • Lowercase • After Root • Under Root • As Subtext. You can hide certain portions of the selected chord symbols. Click a checkbox once to make it white (meaning that this chord symbol element won’t appear), click a second time to make an check mark appear (meaning that this item will appear), and click a third time to make it filled again (meaning that this item will be unchanged). 1020

Root refers to the root scale tone; if you turned this box off for a Cmaj7 chord, only the "maj7" would remain. The first Lowercase option determines whether the Root will appear as a lowercase or a capital letter. Alternate Bass is the bass note of a chord in some inversion; if you turned this box off for a Cmaj7/G chord, only Cmaj7 would appear in the score. The second Lowercase determines whether the Alternate Bass will appear as a lowercase or capital letter. After Root, Under Root and As Subtext. If this checkbox appears white, all chord symbols will appear in normal slash style. Click a second time to make a check mark appear and choose Under Root, meaning that alternate bass notes will appear directly beneath the rest of the chord symbol, fraction-style. Or, choose As Subtext to have the alternate bass notes appear below and slightly to the right. Click yet again to make the checkbox filled, so that the alternate-bass styles remain unchanged. • Play: Root • Suffix • Fretboard • Alternate Bass. Normally, Finale plays chord symbols when you play back your score. Using these three checkboxes, you can silence all of them—or any portion of them. Because some chords may be set to play back and others may not (within a certain region), these checkboxes initially appear filled—meaning that Finale won’t change this element at all. To turn an item off (so it won’t play back), click the checkbox so it turns white. To turn an item on, click again, so that a check mark appears in it. Click yet again to make the checkbox is filled again. Root is the root scale tone (the C in a Cmaj7/G chord); Suffix represents the notes of the chord suffix only; Fretboard plays the entire chord as displayed in the fretboard diagram; and Alternate Bass is the bass note of a chord in some inversion (the G in a Cmaj7/G chord). You can turn playback of each of these elements on or off individually for all chords in the selected region. • Transpose. Finale transposes chord symbols automatically; when you change the key of your piece, the chord symbols change key too, so that their harmonic relationship to the notated piece remains the same. Occasionally, however, you may want to change the chord symbols’ "key" without changing the key of your piece. Click this button to display the Transposition dialog box, where you can specify a transposition of any interval. See Transposition dialog box. • Capo. Check this box then enter a fret number to automatically adjust the selected fretboard to reflect the position of the capo for the selected region. Or enter zero to remove a capo adjustment. Example: if the capo is set to the first fret and an E7 chord is entered, the fretboard that appears will be the D7 from the currently selected Fretboard Group. Also, the name of the chord will change to D7 even though the chord will sound as an E7. To 1021

change the chord name to an italic style, select Italicize Capo Chords from the Chord menu. • Scale All Chords By • Scale All Fretboards By. Use these values to specify the chord symbol and fretboard scaling for the selected region. The scaling percentage specified here is in addition to the global chord symbol and fretboard scaling percentage specified in Document Options-Chords. (Note that to retain consistent scaling of chords with suffixes, use the Chords Symbol option in Document Options-Fonts.) • Fretboard Style. Check this box to change the style Finale uses to draw certain elements of custom fretboards. Choose a different style from the drop-down list. • Use Fretboard Font. Choose this item to use the default font for fretboards in Select Default Fonts, instead of custom fretboards. • Add to Default Position • Add to Current Position. If you decide to adjust the positions of the chord symbols, use this drop-down list to specify how. If you choose Add to Default Position, Finale moves each symbol into its default position (dictated by its baseline and point of note attachment)— plus any additional adjustment you specify in the H: and V: text boxes (see below). If you instead choose Add to Current Position from the drop-down list, Finale ignores the chord symbols’ default positions. Instead, Finale simply slides each symbol—from its current position, even if you’ve dragged it by hand—a distance you specify in the H: and V: text boxes (see below). • H: • V:. Type numbers into these text boxes to specify how far Finale should move the specified chord symbols (a positive H: number moves them to the right, and a positive V: number moves them upward). If you leave both numbers at zero, Finale won’t move them at all. • OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel to return to the score without changing any chord assignments. Note: To display fretboards on all chords in the piece, Show Fretboards must be selected in the Chord menu. See Also: Chord symbols Utilities menu Chord Tool

1022

Change Chord Suffix Fonts dialog box

How to get there Click the Chord Tool, and choose Change Chord Suffix Fonts from the Chord menu.

What it does The Change Chord Suffix Fonts dialog box lets you change the fonts for the suffixes (the "maj7" portion) of all chord symbols in your piece. Chord suffixes are often made up of characters in more than one font (one for text and one for musical symbols). In this dialog box, you can isolate characters in a specific font to change (font, size or style) for all suffixes. Or, you can also change the font, size or style for all suffix text characters at once (without changing the musical symbols). • Search For: All Fonts. Click All Fonts if you want to change any font, size, or style of text in all your document’s chord symbols to a certain other font, size or style. By chooseing All Fonts, Finale will change all text characters in chord suffixes, and leave music characters (sharps, flats, etc.) alone. • Selected Font • Font • Size • Style • Set Font. If you want Finale to search your chord suffixes for a particular Font, click Selected Fonts. Then click the Set Font button to display the Font dialog box, where you can 1023

identify the font, size, and style you want to change. If you only want to change one element—for example, you want to change the type size but not the font or style—deselect the appropriate checkboxes (Font, Size, Style), so that only the elements you want to change are selected. Both radio buttons (All Fonts and Selected Fonts), by the way, direct Finale to replace only text elements of your chord symbols. They won’t affect musical characters such as the f in C7f9. • Replace With: Font • Size • Style • Set Font. After specifying the Font you want to replace, click this Set Font button to specify the replacement Font. Again, select the appropriate checkboxes (Font, Size, Style) to specify which elements you want to replace. For example, using the upper Size and Style controls, you could specify that you want to replace every occurrence of 14-point bold, regardless of the font—and replace them with Times 10-point, using the lower Font and Size checkboxes. • Fix Chord Suffix Spacing. As you change the font or size of the characters in your suffixes, you may introduce peculiar spacing unless you also select this checkbox, which adjusts the positions of the individual characters in your suffixes so that they’re appropriately spaced. • Fix Baseline Positioning. Check this box if, in the process of changing fonts, you want Finale to move all individual characters in each suffix so that they align with the same baseline (invisible horizontal bottom line). • OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel to return to the score without changing any chord suffix fonts. See Also: Chord symbols Chord menu Chord Definition dialog box Chord Tool

1024

Change Clef dialog box

How to get there Click the Clef Tool , then double-click any measure to enter a clef change at the beginning of the measure. To enter a mid-measure clef, highlight a region beginning where you would like to enter the clef change, then doubleclick the highlighted region (or press Enter). See Selecting music. Or, in Simple Entry, select a note, press Alt-Shift-C, and then Select.

What it does In this dialog box you specify which clef you want to use and tell Finale whether you want it to occur at the beginning of the measure or somewhere in the middle. • Show Clef: When Needed • Never • Always. Select When Needed to display a courtesy clef if the clef is changing from the previous measure. Select Never to hide the clef. Select Always to force the clef to display.

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Tip: Use Never at the end of a first ending repeat to set the clef for the second ending without displaying it. • Clef Size __%. This box is available only when you have selected Always Show Clef. Enter in the size of the new clef as a percent of full size. • Measure ___ Through ___ • Measure ___ Through End of Piece • Measure ___ To Next Clef Change. Using these text boxes, tell Finale what range of measures you want to be affected by the clef change. Finale shows the measure you clicked in the text boxes; if you’re only changing a single measure, you don’t need to adjust these settings. If you want to change the measure you clicked through the end of the piece, select the middle option. If you want to change the measure you clicked until the next measure of a different clef, click the lower option. • OK • Cancel. If you click the OK button, Finale places the clef you selected at the beginning of the specified measure and returns you to the score. Click Cancel to return to the score without adding or editing a clef. See Also: Clefs Clef Tool Clef Designer dialog box

1026

Change Lowest Fret dialog box

How to get there Click the Selection Tool and select a region of measures in a TAB staff. Choose Lowest Fret from the Change submenu of the Utilities menu.

What it does Use this dialog box to specify the lowest fret for a region of tablature in a TAB staff. • Use Staff’s Default Lowest Fret. Select this option to use the Default Lowest Fret specified in the Tablature Staff Attributes. • Specify Lowest Fret. Enter a fret number to tell Finale to recalculate the string placement of the fret numbers to appear no lower than a certain fret. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your transposition selection. If you click OK, Finale performs the transposition. See Also: Tablature Utilities menu

1027

Change Note Durations dialog box

How to get there Click the Selection Tool , and select a region of measures. From the Utilities menu, choose Change, the Note Durations.

What it does This dialog box lets you halve, double, or otherwise change the note values in a selected region. • Change All Note Durations by: 25% • 50% • 100% • 200% • 400%. Using the drop-down list, specify how you want to affect all notes in the selected region. For example, choose 200% to double every note’s rhythmic value— to turn every eighth note into a quarter, every quarter into a half note, and so on. • Change Selected Note Duration From • To. Instead of changing all notes’ values, you can change only a specific note value; for example, you might want to double the values of eighth notes, but to leave all other note values alone. Specify the note value you want to replace by clicking its icon in the upper palette. (Click the dot, too, to specify a dotted note.) Specify the replacement note value by clicking an icon in the lower palette. For example, to change all sixteenth notes into quarter notes, you’d click the sixteenth note in the top palette, and the quarter note in the bottom palette. • Include Tuplets. This option only works when Change All Note Durations is selected. If you select this checkbox, Finale will also transform notes within tuplets (such as triplets and quintuplets) proportionally. For example, if you’re halving the rhythmic values of a passage, an eighth-note tuplet will 1028

become a sixteenth-note tuplet. If you don’t select this option, the eighth note tuplet will remain the same. • Rebar Music. If you’re changing the values of notes in the selected measures, chances are that your measures will wind up containing the wrong number of beats. If this checkbox is selected, Finale will also rebar the selection—redistribute notes in their measures—so that each measure contains the proper number of beats. • OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel to return to the score without making any changes. See Also: Note durations Utilities menu

1029

Change Note Size dialog box

How to get there Click the Selection Tool , and select a region of music. From the Utilities menu, choose Change, then Note Size.

What it does Using the Change Note Size dialog box, you can change the sizes of all notes in a selected region. It’s especially useful for creating cue notes. • Resize Notes to ___ %. In this text box, enter the percentage by which you want to scale all notes in the selected region. For example, enter 50% to make all notes half their sizes (while remaining on a full-size staff). • OK • Cancel. Click OK to proceed with the note-resizing; click Cancel to return to the score without changing anything. See Also: Note size Utilities menu Resize Tool

1030

Change Expression Assignments dialog box

How to get there Click the Selection Tool , and select a region of measures. From the Utilities menu, choose Change, then Expressions.

What it does Using this command, you can swap one expression for another, adjust the positions of selected expressions at once (for example), or clean up the positioning of all expressions in a region. • Position All Expressions. Select this option if you want Finale to adjust the position of every expression in the selected region. How it moves them depends on your setting from the Add to… drop-down list (see below); this item simply specifies which markings will be moved. • Position Selected Expressions • Select. If you only want to move all occurrences of a specific marking, enter its number into the text box. (Finale numbers its Expressions from left to right, top to bottom, in the Expression Selection dialog boxes.) It may be more convenient, of course, to click Select; Finale displays the Expression Selection dialog box containing all the text and shapes you’ve created in (or loaded into) the current document. Double-click the one you want to move; you return to this dialog box, where the correct number appears in the text box. Once again, how Finale will move the Expression type you’ve selected depends on your setting in the Add to… drop-down list (see below). • Change All Expressions (or Selected Expression) to Expression ___ • Select. Click this checkbox if, instead of moving all Expressions (or the 1031

selected articulation marking, depending on your choice of the top two radio buttons), you want to replace them with a different Expression. You could replace all P marks with pp marks, for example. To do so, enter the replacement symbol’s number in the text box, or click Select, and doubleclick your selection in the Expression dialog box that appears. Of course, if you enter numbers into the H: and V: text boxes, you can move the expressions as you replace them. • Add to Default Position • Add to Current Position. If you decide to adjust the positions of Expression, use this drop-down list to specify how. If you choose Add to Default Position, Finale moves each Expression from the center of the notehead (the topmost note in a chord) and adjusts by using the distances specified in the H: and V: text boxes (see below). If you instead choose Add to Current Position from the drop-down list, Finale simply slides each marking—from its current position—by the distance you’ve specified in the H: and V: text boxes (see below). • H: • V:. Type numbers into these text boxes to specify how far Finale should move the specified markings. A positive or negative H: value moves them to the right or left, respectively. A positive V: value moves the marking above the staff; a negative V: value moves the marking below the staff. • OK • Cancel. Click OK to proceed with the expression transformation; click Cancel to return to the score without changing anything. See Also: Expressions Utilities menu Expression Tool

1032

Change Note Types dialog box

How to get there From the Document menu, choose Data Check > Reconvert Percussion Note Types.

What it does When Finale converts a file from Finale 2009 or earlier, it uses MIDI note information based on General MIDI mapping to determine the proper Finale 2010 note type. Use this utility to reconvert note types based on a different mapping if you find that the note types assigned to a converted percussion layout do not represent your desired sounds. See Percussion MIDI Maps. • Select a Percussion Layout to Update. From this popup menu, choose the percussion layout you would like to update. All percussion layouts can be referenced in the Percussion Layout Designer dialog box. • Current Note Types are Based On. From this popup menu, select the Percussion MIDI Map that corresponds to your imported percussion layout/map/what does this mean? • Change Note Types Based on This Percussion MIDI Map. From this popup menu, choose the Percussion MIDI Map you would like to apply to the selected percussion layout. Select the Percussion MIDI Map that matches the playback (and/or input) device for which the percussion layout was originally created. • OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel to return to the score without making any changes

1033

Change Noteheads dialog box

How to get there Click the Selection Tool. Select the region containing the notes you want to change. From the Utilities menu, choose Change, then Noteheads.

What it does Use this dialog box to change the noteheads in the selected region to regular noteheads or to the notehead you specify. • Find: All Noteheads • All Custom Noteheads • Selected Notehead; Select. Specify what noteheads you want to change in the selected region. Choose All Noteheads to change all regular and custom noteheads in the selected region; choose All Custom Noteheads to change every custom notehead in the selected region; choose Selected Notehead to change only the notehead you specify in the selected region. To specify a particular notehead, enter its keyboard equivalent in the text box, or click Select to choose the notehead in the Symbol Selection dialog box. • Change to: Regular Noteheads • Selected Notehead; Select. Select the replacement noteheads for the specified noteheads in the selected region. Choose Regular Noteheads to change the noteheads to regular noteheads; choose Selected Notehead to change both the custom and non-custom noteheads to the notehead you specify. To specify a particular notehead, enter its keyboard equivalent in the text box, or click Select to choose the notehead in the Symbol Selection dialog box. • OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel to return to the score without making any changes. See Also:

1034

Noteheads Utilities menu

1035

Change Ties dialog box

How to get there Click the Selection Tool , and select a region of music. From the Utilities menu, choose Change, then Ties.

What it does Use the Ties command to change settings of ties in a region. You can set tie direction, break ties at a new time or key signature, remove any manual adjustments to positioning and specify whether the arcs of ties should avoid staff lines. Finale updates the Tie Alterations dialog box settings for each tie in the region. Note: Use the Ties command to adjust more than one tie in a region. To adjust a single tie or the tie end after a system break, use the settings in the Tie Alterations dialog box. See Tie Alterations dialog box. • Tie Direction: Automatic • Over • Under. Set the direction for ties in the selected region as frozen under, frozen over or use Automatic to let Finale decide which direction the tie should go based on your settings in the Tie Options dialog box. You can also use ctrl-F to flip the tie with the Speedy Entry Tool or the Special Tools Tool. • Break for Time Signature: Default • On • Off. Choose an option from the drop-down list to specify whether ties in the selected region break and continue at a time signature change. Default is the initial setting. When Default is selected, Finale uses the global Break for Time Signature setting in Document Options-Ties. Choose On to always break ties in the selected region at a time signature change and continue it immediately after the signature change, regardless of the global setting. Choose Off to draw ties in the selected region through the time signature without any break.

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• Break for Key Signature: Default • On • Off. Choose an option from the drop-down list to specify whether ties in the selected region break and continue at a key signature change. Default is the initial setting. When Default is selected, Finale uses the global Break for Key Signature setting in the Document Options-Ties. Choose On to always break ties in the selected region at a key signature change and continue it immediately after the signature change, regardless of the global setting. Choose Off to draw ties in the selected region through the key signature without any break. • Outer Placement. When this checkbox is selected, ties in the selected region will be set to outer placement (unless they are inner ties on chords). Deselect this checkbox to remove outer placement on all ties in the selected region. • Avoid Staff Lines. When this checkbox is selected Finale uses the global Avoid Staff Lines setting in the Tie Contour dialog box to determine where to position the peak of the arc in relation to staff lines. When not checked, Finale does not avoid staff lines in the selected region. • Remove Manual Positioning. When this checkbox is selected all of the Inset, Height and H: and V: changes from the global settings are removed. • OK • Cancel. Click OK to save the new settings and return to the score. Click Cancel to return to the score without making any changes. Tip: Use Document Options-Ties to globally set all ties. See Also: Ties Utilities menu

1037

Change Tuplets dialog box

How to get there Click the Selection Tool , and select a region of music. From the Change submenu of the Utilities menu, choose Tuplets.

What it does In this dialog box you can change the definition of both the rhythmic and visual aspects of tuplets—the number of eighth notes that are to be played in the time of a quarter note, for example—and whether or not a bracket or slur should appear, and so on. The settings in this box are identical to the Tuplet Definition dialog box, except that these settings allow you to select, deselect or retain current settings (greyed out). Note that you can predefine the default visual aspects of the tuplets in your score, so that every tuplet you create automatically appears with a neatly 1038

positioned bracket (for example). To do so, ctrl-click the Tuplet Tool; Finale displays Document Options-Tuplets, where you can specify these parameters. (See Document Options-Tuplets for a more complete discussion—although its contents are identical to almost all of this dialog box.) Note also that you can store tuplet "definitions"—the settings you make in this dialog box—in a tuplet Metatool, so that you can instantly transform non-tuplet notes into tuplet notes (having the tuplet definition you prefer) with the press of a key. In fact, you can assign a different set of Tuplet Definition settings to each of the number and letter keys on your keyboard. To program a tuplet Metatool, see Tuplet Tool. When you create a new tuplet, Finale usually places a number over it (such as the 3 above a triplet). In this dialog box, you can change the tuplet notation for each individual notation; for example, you could tell Finale to display a slur or bracket in addition to the number. • __ ____in the space of __ _____ • Half(s) • Dotted Quarter(s) • Quarter(s) (etc.). Define the rhythmic qualities (temporal definition) of the tuplet by entering numbers in these two text boxes (to specify how many) and selecting the rhythmic-value from the drop-down list (to specify "of what value"). For example, suppose you want to create an eighth-note triplet. In the score, click the Tuplet Tool, and click the first of the three normal eighth notes you want to transform into triplets. When this dialog box appears, enter 3 and 2 in the text boxes ("3 in the space of 2"); choose eighths from the drop-down list: 3 eighths in the space of 2 eighths. (Alternatively, you could create an eighth-note triplet by specifying 3 eighths in the space of 1 quarter.) These text boxes apply only to the tuplet you’re currently placing in the score. • Number: Nothing • Number • Ratio. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet. • Shape: Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered ends). Placement: • Manual • Beam Side • Note Side • Above • Below. When Manual is selected in this drop-down list, Finale uses the settings from the Document Options-Tuplets to position the tuplet on the notes in the score. Drag to reposition the tuplet in the score. When Beam Side is selected and you create a tuplet on beamed notes, Finale automatically places the tuplet on 1039

the beam side and matches the beam angle. If Beam Side is selected and you create a tuplet on unbeamed notes, Finale places the tuplet using the Document Options-Tuplets settings. You can then drag to adjust the tuplet in your score. Choose Above to place the tuplet above the staff by default. Choose Below to place the tuplet below the staff by default. • Engraver Tuplets. Check this box to enable Engraver Tuplets. Engraver Tuplets automatically reposition to account for raised or lowered notes in the staff. They also update to avoid rests and staff lines. Bracket placement and slope for Engraver Tuplets is determined by the stem direction of the majority of stems in the tuplet (rather than the first stem in the tuplet as is the case when this box is not checked). • Avoid Staff. Check this option to instruct Finale to always place tuplet brackets above the top line, or below the bottom line of the staff. • Allow Horizontal Drag. Check this box to enable the ability to drag tuplet markings horizontally in the score. If this box is not checked, tuplets can only be adjusted vertically in the score. • Use Bottom Note. If the first note in the tuplet group is a chord, the numbers in the Position text boxes are generally measured from the top note; if you transpose that note up or down, the entire tuplet moves with it. Select this option, however, if you want these numbers measured from the bottom note instead. Appearance: • Number: Nothing • Number • X:Y, X:Yq, Xq:Yq. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet. If you choose, for example X:Y, Finale will display "3:2" for triplet numbers. If you choose Xq:Yq for a quarter note triplet, Finale will display "3q:2q". Finale does not display X or Y values of 1. If durations are different (i.e. 3 quarter in the space of one half) X:Yq will display as Xq:Yq. • Shape: Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered ends). • Break Slur or Bracket. If you’ve chosen a slur as the shape for the tuplet, then select Break Slur or Bracket, to have Finale break a slur or bracket to allow for a number to be placed there. • Always Use Specified Shape • Bracket Unbeamed Notes Only • Never Bracket Beamed Notes on Beam Side • No Change. Choose Always Use Specified Shape to place a bracket (of the shape defined above) on all tuplets. Choose Bracket Unbeamed Notes Only to instruct Finale to place brackets on unbeamed groups of notes only. Choose Never Bracket Beamed Notes on Beam Side to instruct Finale to place brackets on tuplets 1040

defined to appear on the note side of the staff (for example, if the beam appears above notes tuplets will only contain brackets if placed below the staff). Choose No Change to leave this setting as defined. Position: • Number: Horizontal • Vertical. Enter values (in measurement units) to adjust the horizontal and vertical position of the tuplet number displayed in the score. • Center Number Using Duration. Check this box to position tuplet numbers based on the rhythmic center of the tuplet (rather than equidistant from the first and last note/rest of the tuplet). • Ignore Horizontal Number Offset. If you have specified a global sideways shift for the numbers in your tuplets, select this option if you don’t want it to apply to this tuplet. • Shape: Horizontal • Vertical. Enter values here to specify the horizontal and vertical adjustments for placing the shape (slur or bracket) in relation to the tuplet number. Enter a smaller or larger value for H: to change the position of the entire shape in relation to the notes. To move the shape closer to or further away vertically from the note, enter a smaller or larger value for V:. • Always Flat. Check this box to instruct Finale to always use flat brackets for tuplets. • Extend Bracket. Check this option to extend the right edge of the bracket to enclose the full duration of the tuplet. • Match Lengths of Hooks. Check this box to always use same length for left and right hooks. If the values for Hook Length are different, Finale uses the smallest value for both hooks. • Allow Horizontal Drag. Select this option so you can drag every tuplet handle horizontally on-screen. You can move a slur, bracket, and number to the left or right. • Left Hook • Right Hook. These options replace the Left Offset and Right Offset text boxes that controlled the length of the left and right hooks on horizontal brackets in previous versions of Finale. Enter a negative value (in measurement units) in Left Hook or Right Hook to set the length of the left-most or right-most hook. The value is negative because Finale measures down from the bracket. If Match Length of Hooks is selected, Finale updates the Right Hook text box with the new Left Hook value. If Match Length of Hooks is not selected, you can enter different values in each text box. • Left Extension • Right Extension. By default, Finale initially creates a tuplet that surrounds the position of notes in the measures. However, in some cases it’s easier for a musician to interpret the music if the tuplet can encompass the visual space of the beat instead of just surrounding the notes. You can accomplish this by using these settings to specify how far 1041

the bracket or slur should extend beyond the notes. Enter a larger value to lengthen the bracket or slur. • Maximum Slope. Enter a positive value to specify the maximum angle of brackets or slurs when the right side is higher than the left. Enter a negative value to specify the maximum angle when the right side of the tuplet lower than the left. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the tuplet appearance you’ve created. You return to the score. See Also: Tuplets Utilities menu Tuplet Tool Tuplet Definition diaog box Document Options-Tuplets

1042

Character Settings dialog box

How to get there Click the Text Tool . Double-click a text block handle; the editing frame appears. Select the text you want to change, then choose Character Settings from the Text menu.

What it does The Character Settings dialog box contains all the font settings, as well as the baseline shift, superscript, and tracking settings (also available separately in the Text menu). Use this dialog box to see what character formats are in use for the selected text, and to make changes to more than one setting at once. • Font • Size • Font Style • Effects • Sample. See the Font dialog box for details about these options. Note: Outline and Shadow are only available in compiled PostScript documents. Also, Finale does not provide special support for bitmap fonts. To get the best screen display results, use PostScript and TrueType fonts. Use ATM and PostScript fonts if 1043

a TrueType version is not available for display. • Baseline Shift. Use Baseline Shift to adjust the vertical position of the text without affecting the spacing between lines. Enter the amount, in measurement units, that Finale should shift the selected text characters vertically above or below the baseline. A smaller value lowers the text, and a larger value raises it. • Superscript. Use Superscript to adjust the vertical position of the text, adjusting the spacing between lines by the same amount. Enter the amount (in measurement units) that Finale should shift the selected text characters vertically above or below the baseline. A positive value raises the text (making it superscript), and a negative value lowers the text (making it subscript). • Tracking. Enter the amount of horizontal space, in em’s, that Finale should leave between characters for the selected text. One em is equivalent to 1/1000 of the point size. Em’s are proportional measurement units; if you increase or decrease the point size of the text, Finale adjusts the distance between characters accordingly, keeping the same proportional distance relative to the new font size. • Script. some fonts contain a number of different scripts in the same font. You may choose which script to use with this drop-down list • OK • Cancel. Click OK to confirm your format settings and return to the score or the Edit Text window. Click Cancel to return to the score or the Edit Text window without changing any format settings. To view this dialog box, click the Text Tool . Double-click a text block handle; the editing frame appears. Select the text you want to change, then choose Character Settings from the Text menu.

See Also: Text Text Tool Document Options-Fonts

1044

Check Graphics dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Graphics Tool . Choose Check Graphics from the Graphics menu.

What it does Finale doesn’t actually embed a graphic in your Finale document when you place a graphic. Instead, it places a link to the graphic’s location on your computer. Use the Check Graphics dialog box to display the location and full name of all graphics files placed into your score. • Scrolling Graphic List: Finale searches for each graphics file placed in the current document. Any missing graphics appear marked with an asterisk in italics. Finale also lists the filename and path for all found graphics . Finale provides the original location and full name of the graphics file that it was unable to locate. Found graphics and their path also appear in the list after any missing graphics in the file. • Select Graphic. Select a graphic and then click this button to display the Open dialog box where you can choose a new path for the selected graphic.

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• Attributes. Select a graphic and click this button to open the Graphic Attributes dialog box where you can apply positioning, assignment, and other settings for the selected graphic. See Graphic Attributes dialog box. • Copy List to Clipboard. Click this button to copy the contents of the scrolling list into the clipboard. You can then paste the contents into a word processing program, and print the list if you want. This can be useful if you’ll be printing from another system, and want to have all the graphics available when you print the file. • Select Graphic. Highlight a graphic from the list and click Select Graphic to specify a graphic manually. • Attributes. Highlight a graphic from the list and click Attributes to open the Graphic Attributes dialog box where you can adjust the positioning, page/measure assignment and other attributes. See Graphic Attributes dialog box. • Done. Click Done to return to the score. See Also: Graphics Graphics Tool

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Check Repeats dialog box

How to get there Click the Repeat Tool

. From the Repeat menu, choose Check Repeats.

What it does This option scans the entire score for repeat markings and lists the chronological sequence of measures as they will be performed when you playback the score. • [Playback route]. Here, you see a list of the measure sequence you will hear when you playback the score. Finale includes all repeat markings that have been defined for playback to generate this list. If you have a repeat defined to loop infinitely, you will see the same measure region listed the number of times entered for "Maximum Repeat Passes" in the Repeats page of Document Options. • Done. Click Done to close this dialog box and return to the score. See Also: Repeat menu

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Choose Junction for Staff dialog box

How to get there In the Score Merger dialog box, check Edit Instrument Junction Between Files. Add files with different instrumentations. Click on Merge These Files into One File. Click Merge. In the Instrument Junction dialog box, double-click a staff or click Edit Selected Line.

What it does The commands in this dialog box allow you to control how staves will be merged. The title of the dialog reflects which instrument is being currently edited (in this case, Bassoon). To the left are instruments from the target, and to the right Finale displays what will happen to them in relation with the current instrument once the files are merged. For example, the bassoon is currently configured to be inserted below the Oboe.

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Select a staff and use the buttons in this dialog box to edit the merging behavior of staves relative to corresponding staves in the previous merged document. • Join.Choose Join totell Finale that the instruments are equivalent between the two files being merged and should be combined. If the target instrument you want to join the source instrument to is joined onto another instrument already, an alert appears.

• Separate. Choose Separate to clear the current assignment (inserted or joined) in order to specify that they are to be joined, inserted above, or inserted below another staff in the merged document (or not merged altogether). For example, if no target instrument is assigned to the currently edited source instrument (marked "Free"), then the source instrument will not be merged at all. You can see this clearly when returning to the Instrument Junction dialog box (as shown below).

• Insert Above. Choose Insert Above to indicate that you want the current staff inserted above the selected staff in the resulting merged document. • Insert Below. Choose Insert Below to indicate that you want the current staff inserted below the selected staff in the resulting merged document. • Continue • Cancel Merge. Click continue to apply your settings and advance through the score merging process. Click Cancel Merge to abort the current merge procedure.

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See Also: To combine two files with ScoreMerger

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Chord Definition dialog box

How to get there Click the Chord Tool . Choose Manual Input from the Chord menu. Double-click a beat in your score where you want to add the chord symbol. If the note already has a chord attached to it, right-click the handle and choose Edit Chord Definition to edit the current chord. The Chord Definition dialog box also appears if you select the Chord Tool and press shift with a letter or number. Pressing shift and a letter or number is the sequence for programming a Chord Metatool, useful for quickly adding chords to your score.

What it does The Chord Definition dialog box offers an easy way to enter an entire chord symbol by typing it into a single text box. Or, if you prefer, you can enter the root, alternate bass note, and suffix into separate text boxes. You can also access the Fretboard Editor to create custom fretboard diagrams. 1051

When you type a chord symbol, then press spacebar (or click another field), Finale updates the settings that control the display of the separate parts of the chord. If you access this box by using a Metatool, Finale will memorize any chord you build in the dialog box and assign it to the number key you pressed. For example, if you press shift-5 and build an E 13/G chord in the Chord Definition dialog box, then you can pop this chord into the score at any point just by clicking the beat to which you want it attached while pressing 5. • Chord Symbol. Use this text box if you’d prefer to enter the entire chord symbol in one place instead of specifying three separate settings for the root, alternate bass note, and suffix. Enter a chord into the text box in the Standard style. To add a chord suffix, enter the suffix after the root; for example, you could type Cmin7. When you press spacebar (or click on another field), Finale interprets the chord (paying attention to upper and lowercase letters), then updates the dialog box settings. In the Chord Symbol text box, the chord symbol will appear in the system font; however, it will appear correctly in the score, where the root and alternate bass notes appear in the display style selected in the Chord Style submenu. If no match is found for the suffix you type, an alert appears. Click Cancel to return to the Chord Definition dialog box. Or, click OK to create a new suffix from the suffix you typed in; the Chord Suffix Editor dialog box appears with the suffix characters already entered. Edit the suffix or set playback for the suffix, then click OK. Finale adds the new suffix to the chord suffix library, and returns you to the score, where the chord symbol appears in the piece. For a list of keyboard shortcuts you can use to enter chords, see the Keystroke table in the Chord menu/Type into Score section. • Advanced. Click this button to expand or collapse the Chord Definition dialog box. When expanded, you’ll have access to more advanced options, such as a numeric chord definition, suffixes and capo settings. • Fretboard ID; Select; Edit. Fretboard ID displays the number of the currently selected group of custom fretboards. Click Select to open the Fretboard Selection dialog box, where you can select a fretboard group or create a new one. Click Edit to open the Fretboard Editor dialog box and edit the currently selected fretboard group. This button is unavailable if you do not have any fretboard libraries loaded. • [Fretboard icon]. Finale shows you a thumbnail or small picture of your currently selected fretboard. • Style • Edit Styles. The drop-down list displays the currently selected fretboard style. Click on Edit Styles to open the Fretboard Styles dialog box, where you can customize the building blocks of your fretboards. 1052

• Show: Root. In general, you’ll want the checkbox selected, telling Finale to display the root letter name as part of the chord symbol. You can, however, omit the root from the chord symbol by deselecting this checkbox (to create, for example, the "rootless" chords in this sequence: Cmaj7 /B /A). • Show: Root—Lowercase. Select Lowercase if you want the Root Scale Tone to appear in lowercase. For example, if you’re using the Roman display chord style, you’d select Lowercase to display minor chords (ii, iii, and so on) in the score. This checkbox is automatically updated when you type your chord symbol. Finale ignores lowercase settings when displaying Nashville and Solfeggio chord styles, which follow different conventions. Lowercase chord roots always affect playback, unless a chord suffix is selected. Finale plays a major triad for uppercase chord roots and a minor triad for lowercase chord roots when no chord suffix is selected. • Show: Suffix. Select the Suffix checkbox to show or hide the chord suffix. When selected, the suffix will appear in the score. Click to deselect this checkbox if you want to hide the suffix. When you specify a suffix by clicking the Select button in the Chord Suffix Editor dialog box, Finale automatically selects the checkbox for the Chord Suffix ID, so it will appear in the score. • Show: Fretboard. Select this checkbox to force a single fretboard to be appear. Make sure this option is not selected if you want the fretboard for the selected chord to be hidden. To show fretboards globally, see Show Fretboards in the Chord menu. • Show: Alternate Bass. If you select this checkbox, Finale will display the scale-degree number in the text box as an alternate bass note, and will notate it as part of a "slash" chord symbol (such as Cmaj7/E). For example, if you’re in the key of C and the Root Scale Tone is 1 (C), select Alternate Bass and enter 5 to produce a C/G chord in the score. • Show: Alternate Bass—Lowercase. Select Lowercase if you want the Alternate Bass note to appear in lowercase. This checkbox is automatically updated when you type your chord symbol. Finale ignores lowercase settings when displaying Nashville and Solfeggio chord styles, which follow different conventions. • Show: Alternate Bass: After Root • Under Root • As Subtext. When Alternate Bass is selected, you can choose from three ways to display the alternate bass note. After Root places a slash after the root (if displayed) and then the alternate bass. Under Root displays the alternate bass directly underneath the chord symbol (as though it’s the denominator of a fraction) 1053

instead of following a slash. As Subtext displays the alternate bass slightly below and to the right of the chord symbol. • Play: Root • Suffix • Fretboard • Alternate Bass. These checkboxes govern the playback of the chord symbol. Root and Chord Suffix are selected by default. Select Alternate Bass to have that note play back with the chord. Deselect any of the four to omit playback of the corresponding part of the chord symbol. Note that the capitalization of a chord’s root may affect playback when the chord doesn’t have a suffix (zero appears in the Chord Suffix ID text box); for example, in the key of C Major, the chords C and d will play back major and minor, respectively. This setting also affects the display of major and minor fretboards. • Root Scale Tone. The number you enter in this text box is the root scale degree of the chord. To indicate a C chord in the key of C, enter 1 in this box. To indicate a G chord in the key of C, enter 5. • Root Scale Tone—Alteration. You can specify a modification of the diatonic scale step you’ve specified as the root of the chord by entering a number in this text box (measured in half steps from the unmodified diatonic step); a positive number raises the root by half steps, and a negative number lowers the root by half steps. For example, to create an E flat chord in the key of C, enter a 3 in the Root Scale Tone box (which would normally create an E chord symbol), but enter –1 in the Alteration box. To specify an F sharp chord in the key of C, enter a 4 in the Root Scale Tone box and enter 1 in the Alteration box. • Alternate Bass—Scale Tone. The number you enter in this text box will be used as an alternate bass note, and Finale will notate it as part of a "slash" chord symbol (such as Cmaj7/E). For example, if you’re in the key of C and the Root Scale Tone is 1 (C), enter 5 in the Alternate Bass text box to produce a C/G chord in the score. • Alternate Bass—Alteration. You can specify a modification of one of the diatonic scale steps for the alternate bass note by entering a number in this text box (measured in half steps); a positive number raises the root by half steps, and a negative number lowers the root by half steps. For example, to create a C chord over a B flat bass note in the key of C, enter 1 in the Root Scale Tone box (to create the C chord), 7 in the 1054

Alternate Bass text box (to create the B bass note), and enter –1 in the Alteration box to lower the alternate bass note by a half step (to B flat). • Chord Suffix ID; Select; Edit. The number in this text box identifies the chord suffix by number. If the number is zero, no suffix has yet been defined; click the Chord Suffix Select button to bring up the Chord Suffix Selection dialog box. The Chord Suffix Selection dialog box displays any suffixes that have been loaded (via a Chords & Fretboards Library) or created (by you or by Finale) in this piece. Double-click one to select it. If the Chord Suffix text box already contains a number (other than zero), click the Chord Suffix Edit button to enter the Chord Suffix Editor, where you can edit the chord suffix. For example, you can change its spacing, specify a font for any character, or determine whether it notates a major chord suffix as "maj." or "M" (see Chord Suffix Editor dialog box). When you specify a suffix by clicking the Select button in the Chord Suffix Editor dialog box, Finale automatically selects the checkbox for the Show Suffix, so it will appear in the score. • Listen. As a shortcut to building a chord symbol by typing numbers, you can click one of the three Listen buttons, then play the note (Root or Alternate Bass) or notes (Chord Suffix) on your synthesizer. Finale enters the correct number in the appropriate text boxes. For example, if you click the Root Scale Tone Listen button and then play a B flat (and the key is C), Finale automatically writes a 7 in the first box and –1 in the Alteration box. When you click the Chord Suffix ID Listen button, play the chord suffix alone (the remaining notes of the chord, without the root and without the bass). If the corresponding suffix has been defined (by you, Finale, or by loading a Chord Suffix Library), the suffix’s number appears in the Chord Suffix ID box. If the chord suffix hasn’t yet been defined for this piece, no new number appears there. • Capo At Fret. Check Capo At Fret then enter a fret number to automatically adjust the selected fretboard to reflect the position of the capo. Example: if the capo is set to the first fret and an E flat 7 chord is entered, the fretboard that appears will be the D7 from the currently selected Fretboard Group. Also, the name of the chord will change to D7 even though the chord will sound as an E flat 7. To change the chord name to an italic style, select Italicize Capo Chord from the Chord menu. See Chord menu for more information. • Use Fretboard Font. Click on Use Fretboard Font to use the font selected for fretboard diagrams in Document Options-Fonts. Uncheck this box to use a custom fretboard.

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• OK • Cancel. Click OK to return to the score and add the chord you’ve created or edited to the score. Click Cancel to return to the score without adding, or making changes to, a chord. See Keystroke table in the Chord menu/Type into Score section, which provides a table of keystrokes for typing chord symbols.

Tip: In C major, 1 = C, 2 = D, 3 = E, 4 = F, 5 = G, 6 = A, 7 = B. Note: To display fretboards on all chords in the piece, Show Fretboards must be selected in the Chord menu. See Also: Chord symbols Document Options-Chords Chord Tool

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Chord Suffix Editor dialog box

How to get there Click the Chord Tool , choose Manual Input from the Chord menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog box, click on Advanced to expand the dialog box. Click on Select near Suffix to enter the Chord Suffix Selection box, then click Create. (If there are already chord suffixes listed in the Chord Suffix Selection dialog box, click one and then click Edit.) If a note has a chord symbol attached, click the note to make the chord’s handle appear. Double-click the handle, click on Advanced, then Suffix Select, then click Create.

What it does In the Chord Suffix Editor dialog box you can create and edit chord suffixes. Finale perceives a chord as a root tone sounding together with notes specific intervals above it; these notes constitute the suffix. Therefore, Finale uses the same suffix whether you play a C major seventh or an F major seventh—the relationship of the suffix notes to the root is the same. Each letter of the suffix can have its own font, size, and position, making subscript and superscript numbers (for example) possible. You can only edit one character of the suffix at a time, moving among the characters with the Prev and Next buttons. You use the Chord Suffix Editor dialog box both to define the graphic appearance of the suffix and to specify a voicing for a chord’s playback.

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You can also use the Chord Suffix Editor dialog box to teach Finale new chords when you’re entering chords using one of Finale’s automatic analysis modes. When you see the Unknown Chord Suffix dialog box, click I’ll Do It, to access the Chord Definition dialog box; then create the chord symbol (and its suffix, if necessary) in the Chord Definition dialog box (see Chord Definition dialog box). The next time you play the chord (in any octave or voicing), Finale will know what chord symbol to display. (This custom teaching feature is "rootspecific," however; if you only teach Finale to recognize a C major sixth chord in the key of C, it will only recognize major sixth chords built on C. But it will recognize, for example, a Gmaj6 in the key of G and an Amaj6 in the key of A.) • Symbol. This text box displays the currently selected character of the chord suffix. If you’re creating a new suffix, the text box is initially empty; type the first letter of the new suffix here, and click Next or Update to make it appear in the display. The character in the Symbol box is always displayed in the System font, even if you’ve specified a different font for the character. (The character appears with the correct font in the display area.) If you want to choose the character from a palette, select the font with the Set Font button. Then click the Symbol button; Finale displays a selection box containing every symbol in the font. Double-click the one you want; its corresponding System font character appears in the Symbol text box. You can only type one letter at a time into the Symbol text box unless you’ve told Finale that you’re entering a number (by selecting Number), in which case you can enter a multidigit number. • Number. Select this option if the symbol you’re adding to a chord suffix is a number, in which case the Symbol text box will allow you to type numbers with several digits. In other words, if you select Number, you can enter 13 in the Symbol box; if you didn’t select Number, you’d have to enter the 1 and the 3 as separate symbols. • Prefix with: Flat • Sharp • Plus • Minus. If the Prefix With checkbox is selected, the four prefix options become available (flat, sharp, plus, and minus). You’ll generally use these prefixes in conjunction with a number (– 9, for example), but they’ll work on an alphabetic character too. You can add a separate prefix to each character or number in the chord suffix. (The type style for the flat and sharp in these prefixes can be changed in Document Options-Fonts by Modifying the Alteration in the Chord dropdown list.) • H: • V:. The H: and V: boxes contain coordinates that determine the distance of the currently selected character from the chord suffix’s handle (where the crosshairs intersect, at the suffix’s lower-left corner). The chord suffix handle is considered the zero point. The H: number sets horizontal distance (a positive number moves the character to the right, negative to

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the left) and the V: number sets the vertical distance (a positive number moves the character upward, negative downward). If you drag the currently selected character’s handle in any direction, the H: and V: numbers will change as you move it. If you’re trying to align characters with each other, however, you may find that typing values in the H: and V: boxes gives you greater precision. Enter a new value in the H: or V: box, then click Update to see the effect of the new numbers on the display. (Note that each time you add a new character, Finale automatically adds enough horizontal space to make room for the new character.) • Prev • Next. Use the Prev and Next buttons to move through the various characters that constitute the chord suffix (because you can only edit one letter or number at a time). If you’ve already selected the last character in the suffix (and it’s displayed in the Symbol text box), then click Next to open a slot for an additional character; Finale will automatically place the new character’s handle far enough to the right that it doesn’t overlap the previous character. • Set Play. Click this button to enter the Suffix Keynumber Offsets dialog box, where you can define a particular voicing you want Finale to use when it plays back a particular chord symbol. See Suffix Keynumber Offsets dialog box. • Set Font. Click this button to enter the Font selection box, where you can specify the type characteristics of the currently selected character. (If you select Fixed Size, for any character in a chord suffix, the entire suffix, including prefixes, will be treated as fixed size.) Use this button if you’re combining several fonts within a single suffix—for example, if the suffix contains a half-diminished symbol (ø), you can use the proper symbol from the Maestro music font. (The current character is displayed in the Symbol text box, although it always appears there in the System font, no matter what font you’ve selected using the Set Font button. Click the Update button to see the effects of your font changes in the display area.) Incidentally, don’t use this button to change all suffixes to a new font, one character at a time. Instead, use the Change Chord Suffix Fonts command in the Chord menu. And if you want to change the font for the letter name (root) of all your chord symbols (instead of the suffixes), use the Symbol button in Document Options-Fonts (from the Document menu, choose Document Options and select Fonts.) (There’s a selection for Chords labeled Accidentals in the same box, with which you can set the font for the accidentals in the roots of your chord symbols—Ef, for example—as well as the flat and sharp prefixes within the chord suffixes.)

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• Show Handles. Finale normally displays a small square handle at the lower-left corner of the currently selected character, which you can drag to reposition the character. Deselect Show Handles if you want these handles to be invisible (if they’re obscuring some small character, for example). You can still drag the character by its handle, but the handle itself will be invisible. • Update. The Update checkbox has two functions. First, you need to click it in order to see the effects of any changes you make (in the H, V, or Symbol text boxes, or using the Set Font or prefix buttons) on the display of the suffix. Second, when the Update checkbox is selected, you’ll see the character at all times while you’re dragging it; when Update isn’t selected, you’ll only see the character in its new position when you finish dragging. • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the Chord Definition (or Chord Selection) box. If you’ve created a new suffix, it’s now stored in the Chord Suffix Selection box. Click Cancel to tell Finale to ignore any changes you made in the Chord Suffix Editor. You return to the previous dialog box. See Also: Chord Definition dialog box Chord Suffix Selection dialog box Chord Tool

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Chord Suffix Selection dialog box

How to get there Click the Chord Tool , choose Manual Input from the Chord menu, then click a note that doesn’t have a chord symbol attached. In the Chord Definition dialog box, click on Advanced to expand the dialog box. Click on Select near Suffix. If a note has a chord symbol attached, click the note to make the chord handle appear. Double-click the handle, click on Advanced, and click Select.

What it does The Chord Suffix Selection dialog box displays any chord suffixes you’ve created in (or loaded into) the document. It allows you to select, delete, or edit any of the suffixes; it also provides an entrance to the Chord Suffix Editor, where you can design new suffixes. The number in the top left corner of each item lists the slot number for the item. This can be handy if you have the option of typing in the slot number in a dialog box instead of scrolling through the selection dialog box. Occasionally, a character in parenthesis appears in the 1061

top right corner of an item in the selection dialog box. This character indicates the Metatool assigned to the item. • Edit. If you’ve selected a suffix in the Chord Suffix Selection box by clicking it once, click Edit to enter the Chord Suffix Editor, where you can modify the suffix’s appearance or playback definition. Any alterations you make to one occurrence of a suffix automatically change all occurrences of that suffix throughout the score. You might use this technique, for example, to change o

all occurrences of "Gdim7" to "G 7". • Create. If you don’t see the suffix you’re looking for in the Chord Suffix Selection box, click Create to enter the Chord Suffix Editor, where you can build one of your own. • Duplicate. Click this button to create a copy of the selected Chord Suffix that you can modify with the Chord Suffix Editor. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Delete. If you’ve selected a suffix in the Chord Suffix Selection box by clicking it once, click Delete to remove it from the selection box. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl -click to select only a specific additional item in the list. If the suffix is used in the score, the Delete Element dialog box is displayed, where you can specify delete options. See Delete Element dialog box. • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shiftclick to select an additional item and include all the items in between. Ctrlclick to select only a specific additional item in the list. • [Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it. • Cancel. Click Cancel to return to the Chord Definition box without having made a suffix selection. • Select. If you have clicked a chord symbol in the Chord Suffix Selection dialog box, click Select to return to the Chord Definition dialog box. Finale puts the number of the suffix you selected in the Chord Suffix ID text box and places the selected suffix in the score (when you click OK). Doubleclicking a suffix is the same as clicking it once and clicking Select. Tip: Choose duplicate to create a copy of a suffix. Then choose Edit to alter a suffix as you want it to be. 1062

See Also: Selection Overview Chord Definition dialog box Chord Tool

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How to get there From the Document menu, choose Document Options and select Clefs. Then, click Clef Designer.

What it does Finale supplies eighteen standard default clefs for use in your pieces (see picture). You can modify these clefs or replace them with custom clefs of your own, using new symbols if you prefer (you can either use a symbol from a font or design the graphic clef symbol yourself). If you define a new clef, Finale will treat it intelligently, correctly renotating any music that follows it and always keeping track of the notes’ playback pitches. Any new clefs you create appear in the standard palette of eighteen clefs (replacing existing clefs). • [Clef icons]. These icons illustrate the eighteen clefs defined for this piece. Click an icon to select it for editing. • Character: Select • [Symbol]. Click Character to create a clef based on a font symbol. The character you enter in the symbol text box tells Finale 1064

what symbol to use to represent the clef when it appears in the score. The symbol always appears in this text box in the system font, even if you’ve specified a different font for the actual display. For example, the treble clef appears in this text box as an ampersand (&), even though in the score (and in Finale’s music font) it looks like the G-clef symbol (&). If you’re not sure which letter corresponds to the symbol you want to use, click Select. Finale will display a palette containing every character available. • Use Default Clef Font • Set Font. Check this box to display the selected clef in the font currently selected for Clefs in Document Options-Fonts. • Shape: Select • Edit. Click Shape to create a clef based on a shape. The number in the text box identifies the raw shape you’re editing. If there’s a zero in this box, click Select to display the Shape Selection dialog box, where you can double-click an existing shape (or click Create to enter the Shape Designer, where you can create your own). In either case, when you return to the Clef Designer, Finale enters the number of the shape you selected in the text box. • Middle C Position (from Top Staff Line, in steps). The number in this text box specifies the middle-C line for this clef. A value of zero places middle C on the top line of the staff; the number in this text box indicates the number of lines and spaces away from this top line middle C is to be. For example, the treble clef, which places middle C one ledger line below the staff, has a Clef Adjustment value of –10, because one ledger line below the staff is ten lines and spaces below the top line of the staff. Note that when you move the position of middle C, the key signature will also move with it. • Clef Position (from Top Staff Line, in steps). This value, measured in lines and spaces from the top line of the staff, determines where the new clef will sit on the staff. A value of zero places the baseline of the clef on the top line of the staff. Note that the baseline of a clef isn’t quite the same as the baseline for regular text; the baseline of a clef is determined by its musical meaning. For example, the baseline of the treble clef isn’t the bottom of the character—it’s the "curl" that’s centered on the G line of the staff; the baseline of the bass clef is centered between the two dots (the F line), and so on. Thus the Clef Position for the treble clef is –6, six lines and spaces lower than the top line of the staff. • Musical Baseline Offset. The value in this text box sets the distance between the normal baseline for each clef (as defined in the previous item) and its vertical position when it occurs as a clef change (and hence at a reduced size). It’s measured in the currently selected units, inches by default.

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Clefs in the Maestro, Petrucci, Engraver, Broadway Copyist, Jazz and Sonata music fonts are positioned correctly automatically when they occur as clef changes, but symbols in fonts you design yourself may require this extra adjustment. • Reset • Reset All. Click Reset to return the selected clef to the default clef in a Coda font (Petrucci, Engraver, Jazz, Broadway Copyist, or Maestro). Click Reset All to return all of the clefs to the defaults. • OK • Cancel. Click OK to return to the score. From now on, any time you access the palette of clefs (in the Staff Attributes dialog box, for example, or within the Clef Tool), you’ll see your new clef represented as one of the eighteen available. Remember that when you define a new clef, you replace one of the eighteen default clefs, including any occurrences of it in the score. Click Cancel to return to the score without making any changes to the clefs in your piece. See Also: Clefs Clef Tool

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Clef Selection dialog box

How to get there The Clef Selection dialog box appears any time you click a Select button for a clef, which appears in a number of Finale dialog boxes.

What it does The Clef Selection dialog box displays a palette containing the eighteen clefs currently available in this piece. Finale initially offers eighteen clefs, however, you can edit these clefs or even design your own, using the Clef Designer available in the Clef section of the Document Options dialog box. (See Document Options-Clefs) • [Clef icons]. These icons illustrate the eighteen clefs defined for this piece. Double-click one to select it and exit the dialog box. • OK • Cancel. Instead of double-clicking a clef’s picture, you can click it once and then click OK, which also selects the clef and exits this dialog box. Click Cancel to exit the dialog box without making a selection. See Also: Clefs Clef Tool

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Click and Countoff dialog box

How to get there Choose Click and Countoff from the MIDI menu. Or, choose Playback Controls from the Window menu to display Playback Controls (a checkmark appears by the command when displayed). Click on the Playback Settings button, then click the Click and Countoff button. Or, click the HyperScribe Tool. Choose Playback and/or Click from the Beat Source submenu of the HyperScribe menu. Click the Click and Countoff Button.

What it does Use the Click and Countoff dialog box to define the countoff click settings and the metronome click used for HyperScribe recording, and for playback using Playback Controls. Set up the number of measures you want Finale to count off before starting to record. Choose when you want to hear a metronome click, and what the clicks should sound like. Increased control over the click sound includes the ability to emphasize the down beat, for example, by increasing the key velocity of the click or by lowering the pitch of the "other beats" in the measures. When you change the number of countoff measures in this dialog box, Finale automatically updates the number of countoff measures in Playback Controls as well. If you have selected Tap as your Beat Source, Finale will ignore the settings in this dialog box. • Countoff: Always • While Recording • While Playing • Never. Use the drop-down list to specify when you want Finale to play a countoff metronome click. Choose Always if you want a countoff of a specified number of measures before recording with HyperScribe or playing back 1068

with Playback Controls. Choose While Recording if you want the countoff only when you’re recording with HyperScribe. Choose While Playing if you want a countoff only when you’re playing back with Playback Controls, or choose Never if you don’t want any countoff at all. These global settings are saved with your preferences. • Measures__. Enter the number of measures you want Finale to count off before starting to record with HyperScribe or play back using Playback Controls. Enter 0 (zero) if you don’t want a countoff, 1 if you want one measure counted off, 2 to hear two measures, and so on. Finale uses the meter of the first measure selected for playback or for recording into to determine the meter of the countoff measure. Any change you make to the countoff is automatically updated in the Countoff text box in Playback Controls. Note: Finale will always sound a metronome click while playing the countoff measures. • Click: Always • While Recording • While Playing • Never. Use this dropdown list to determine when Finale should play a metronome click to indicate the beat in your music. Choose Always if you want to hear a metronome click while recording with HyperScribe and playing back with Playback Controls. Choose While Recording if you want a metronome click only when recording with HyperScribe. Choose While Playing if you want a metronome click only when playing back with Playback Controls, or choose Never if you don’t want any metronome click to sound while recording or playing back. Note, if you have a countoff measure selected, Finale will always click for the countoff measures. • Source: MIDI Note • MIDI Data. Use this drop-down list to specify the type of MIDI signal for the down beat and the other beats in the measure. In general, you’ll probably choose a MIDI note rather than a MIDI event for the metronome sound. You can choose any MIDI note for the metronome click, but to distinguish the down beat click from that of other beats, you might want to choose a short percussive sound or a high note. Choose MIDI Data if you want to use something other than a MIDI Note for the metronome click. • Metronome Sound: Down Beats • Other Beats; Channel • Note • Velocity • Duration (% of the beat); Listen. The labels in the text boxes change if you choose MIDI Data; you’ll see Channel, Status, Data1, Data2, and Duration, instead of Channel, Note, Velocity, and Duration. To have Finale enter this information automatically for you, click Listen in the Down Beats or Other Beats row, then play the note or trigger the MIDI event that you’re planning to use for the metronome click. Finale will automatically enter all values except Duration for you; if you prefer, you can type these values yourself. 1069

To enter MIDI Note information manually (MIDI Note is selected in the Source drop-down list), enter the MIDI channel number and the MIDI note number into the corresponding text boxes. Specify how hard the note should be struck by entering a value between 0—127 (0 being the softest, 127 the loudest) in the Velocity text boxes. Change the Duration value if you want to change the length of the metronome click sound. Enter the note length in terms of the percentage of the beat. For example, if a quarter note is a beat and you want the click to be 1/2 the length of the beat (in other words, an eighth note), type 50 (for 50%) into the Duration text box. When MIDI Data is selected in the Source drop-down list, enter the MIDI channel number for the click, then enter the MIDI status into Status and data byte values into Data1 and Data2. Your MIDI device’s manual should contain the values that you need to enter, depending on the effect you want to achieve. • OK • Cancel. Click Cancel to return to your score without making any changes to the dialog box. Click OK to confirm your click and countoff settings and return to the score. Note: Finale will always sound a metronome click while playing the countoff measures. See Also: Recording with HyperScribe Playback Controls HyperScribe Tool

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Click Assignment dialog box

How to get there Click the Lyrics Tool . After creating lyrics with the Edit Lyrics command in the Lyrics menu, choose Click Assignment from the Lyrics menu (and then click the note to which you want to begin attaching lyric syllables). (If you’ve created different lyrics types—Verse, Chorus, and Section—the Click Assignment window will display only the most recent lyric type you’ve worked on. Use the Specify Current Lyric command in the Lyrics menu to specify a different type.)

What it does The Click Assignment window provides a scrolling display of any lyrics you entered in the Edit Lyrics text processor. Use the lower scroll bar to scroll through the lyrics horizontally (click in the gray area to move one full window to the left or right, and click the arrows to move one syllable at a time). If you entered several sets of lyrics (more than one Verse, Chorus, or Section, for example), use the upper scroll bar to scroll through different sets of the same type. You can move the Click Assignment window by dragging its title bar, and you can close it (and exit the Click Assignment mode) by clicking its close box. When this window is present, each time you click a note in the score, the lyric at the left edge of the Click Assignment window disappears from the window and attaches itself to the note you clicked. (Your clicks need to be within the staff lines, not necessarily on the noteheads.) If you click within the staff at the position of a note while pressing ctrl, Finale will automatically distribute all the syllables in the Click Assignment window to the notes in the score, until it runs out of either notes or syllables. • Auto Update. If you’re assigning syllables to notes in the score by clicking one note at a time, you can select the Auto Update button to make Finale redraw the measure after you assign each syllable, widening it if necessary to accommodate the lyrics. (If you don’t select Auto Update, the lyrics may overlap slightly as you’re putting them into the score. To space them correctly, use the Music Spacing command.) • [Four positioning triangles]. When the Click Assignment window appears, four triangles also appear, at the left edge of the screen. These 1071

triangles are handles that control the baseline for the lyrics (the invisible line against which the bottoms of the letters align). Dragging the leftmost triangle up or down moves the baseline for this set of lyrics vertically, affecting the entire piece. The second triangle sets the baseline for this set of lyrics for this staff only. The third triangle, whose effect is only visible in Page View, sets the baseline for this staff in this system only (which can be useful if, for example, you have a vocal passage of very low notes requiring that the lyrics be moved down a little bit to make room). The rightmost triangle sets the baseline for the next syllable you assign if you’re "clicking in" one syllable at a time or for the next syllable you enter using Type Into Score. Tip: To attach all the lyrics at once, hold down the Ctrl key as you click on the first note. See Also: Lyrics Lyrics menu Lyrics Tool

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Click Input dialog box

How to get there Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe menu. Click a measure in the score and choose Click Input from the Time Tag menu.

What it does After recording a real-time performance in the Transcription window, you generally have to make a second pass, during which you tap in tempo along with the playback of your performance, telling Finale where the beats fall in relation to the notes you played. You don’t have to choose the Click Input command at all, in this case; if you’re recording Time Tags in a separate pass, Finale assumes that any key you tap is meant to be the tempo tap, provided that (1) you’ve remembered to click the Record button under the words Time Tag, and (2) that you’re transmitting the Time Tag signal on MIDI channel 1. See Transcription window. If, however, you want to record the performance and the Time Tags simultaneously, use the Click Input command to help Finale distinguish between the notes of the performance and the note representing the tempo tap (for example, the highest key on the keyboard). If you plan to play a melody with one hand while tapping a key with the other, for example, use this command to tell Finale what key you’ll be tapping. If you’re transcribing a sequence being played by your synthesizer or another computer capable of generating a MIDI click track, once more you can tell Finale what to listen for. Finally, if you plan to transmit your Time Tags to Finale on any channel other than MIDI channel 1, use this dialog box to specify the new channel. • Input Code. These three text boxes display special codes which, taken together, identify the MIDI event (tapping a key or pedal, for example) that Finale will be listening to as a tempo reference (Time Tag input). Use the Listen button to change the codes in these text boxes.

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• Listen. When you click this button, Finale displays a message telling you that it’s "listening." The program will translate the next MIDI event you transmit—by tapping a key or pedal, for example—into the MIDI codes. You’ve just specified the device (key, pedal, or controller) and the MIDI channel Finale will listen to for Time Tags; now you’re ready to record Time Tags and a performance simultaneously. If the "Finale is listening" message doesn’t disappear when you play a key or pedal, then your MIDI system is not connected properly (and Finale is receiving no MIDI events at all). • Ignore First Data Byte. In short, this checkbox tells Finale how particular it should be about the MIDI event it’s receiving—in other words, whether to consider any key (or controller) to be a Time Tag, or only a specific key (or controller). As a practical consideration, don’t select this checkbox if you plan to record both Time Tags and a keyboard performance simultaneously, because Finale needs to be tuned to a specific key (or controller) to register the Time Tags in order not to confuse them with notes (or controllers) played in the performance. (Technical note: This option is called Ignore First Data Byte because it tells Finale to ignore the second text box—the first data byte—when determining whether or not a MIDI event matches the event you’ve specified for your Time Tags.) • Second Data Byte Greater Than Zero. This checkbox should almost always be selected. The only time it shouldn’t be selected is when you’re recording a performance and Time Tags simultaneously, and the Time Tags are being generated by a source (such as a drum machine) that Finale could confuse with an actual note in the performance. The "second data byte" is the one that lets Finale know the qualitative value of the specified tag transmission—the key velocity of the Time Tags, for example. Therefore, unless you strike the key with precisely the specified key velocity, Finale won’t know that a Time Tag has occurred. Because a drum machine can generate a click track where every "tap" has a uniform key velocity, you can tell Finale only to register incoming Time Tag signals with that specific velocity by turning off this option; thus Finale won’t confuse the drum machine’s click track notes with notes of the same pitch you happen to play during your performance, because it will only register notes of the precise key velocity value you specified as Time Tags. • OK • Cancel. Click OK to confirm your Time Tag input settings and return to the Transcription window. Click Cancel to tell Finale to ignore any changes you made in this dialog box and return you to the Transcription window. The default settings (a tap on any key or pedal, over any MIDI channel, will be considered a Time Tag) remain in force.

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Tip: Click on Listen and play your MIDI note if you are unsure of the Input Code to enter. See Also: Transcription mode Transcription dialog box HyperScribe Tool

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Click Output Type dialog box

How to get there Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe menu. Click a measure in the score and choose Click Output from the Time Tag menu.

What it does There are two cases where you might like Finale to provide a click track, or metronome, as you record in the Transcription window. First, you might like Finale to provide a "click track" as you record a real-time performance in the Transcription window, so that you won’t have to record Time Tags in a separate pass. (The "click track" is nothing more than playback of Time Tags that Finale has placed automatically.) Second, you might want Finale to drive an external sequencer or computer using MIDI Sync signals, so that the external device will play in tempo with Finale. In either case, the Click Output Type dialog box lets you specify various characteristics of the click: its pitch, MIDI channel, length of a click, and so on. • Send MIDI Sync. Select this radio button if you want Finale to transmit MIDI Sync signals instead of providing an audible click. If you have connected your computer to an external sequencer (or another computer) that has been configured to interpret this kind of MIDI message, it will wait in "pause" mode until Finale begins play, at which point the two will play in perfect synchronization. • Send MIDI, Channel:. Select this radio button if you want Finale to send the clicks via MIDI (instead of transmitting MIDI Sync signals). The number in the text box specifies the MIDI channel over which Finale will transmit the

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click information. Finale will automatically fill in this text box and all others in this dialog box if you use the Listen to MIDI button. • Start Code: • Stop Code:. The codes in these two rows specify the MIDI signals (events) to be sent at the beginning and ending of each individual click, and are used to compensate for the idiosyncrasies of various synthesizers. Finale will fill in these text boxes automatically if you use the Listen button. • Listen. When you select this checkbox, Finale goes into "listening" mode. Finale will translate the next MIDI signal you transmit—by playing a key, for example—into the MIDI codes. (Technically, Finale registers the next two MIDI events—a note on and note off command, for example, that constitute a single key strike.) You’ve just specified the key and the MIDI channel Finale will play to create the clicks. (You might use the snare drum or clave sound on a drum machine, for example.) • Click Duration. The number in this text box, in thousandths of a second, specifies the exact duration of each click. In general, you’ll want this value to be fairly small, so that the click sound will be short and sharp; the default value, 500, produces a click that lasts half a second. • OK • Cancel. Click OK to confirm the click settings you’ve made and return to the Transcription window. Click Cancel to tell Finale to ignore any changes you made in this dialog box. The default settings (MIDI channel 1, Start Code = note on, Stop Code = note off, pitch = C above middle C with a key velocity of 64) remain in force. See Also: Transcription mode Transcription dialog box MIDI Sync HyperScribe Tool

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Color dialog box

How to get there From the Document menu, choose Document Options and select Grids and Guides. Click on Grid Color or Guide Color. Or, choose Select Display Colors then click on any button.

What it does Use this dialog box to select a color.

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Compile PostScript Listing dialog box

How to get there Choose Compile PostScript Listing from the File menu.

What it does When you choose Print from the File menu and have a PostScript printer, Finale performs two steps. First it generates a PostScript listing (a coded description of every element on the page, its size and position, and so on). Then it downloads this code to the PostScript printer, which translates it into a printed image. You can, if you prefer, break up these two steps into separate procedures by using the Compile PostScript command, which creates the PostScript listing without sending it to the printer. You’ll be asked to give the listing a title, and it will be saved on your hard disk. Because different printers handle color differently, we recommend unchecking Use Colors (View menu, Select Display Colors) before Compiling. In order to print this listing, you may need a downloading program capable of sending it to the printer just as Finale does automatically when you choose Print. Why would you want to create a compiled PostScript listing in this way? There are several advantages. First, a document prepared and printed this way takes less total time to print than if you use the Print command. Second, you can 1079

transport the listing file on a disk to print elsewhere without having to bring the Finale program itself. Third, the Compile PostScript command permits you to prepare and print full-size scores (11 by 17, or as large as you like). See Page Size. • Compile: Score • Parts. Click one of these two buttons to tell Finale whether you want the listing made of the full score or the extracted parts. • Page Range: All • From __ To __. Click All if you want the listing to include all the pages in the score (or parts). If you want to include only a range of pages, enter numbers in the From and To boxes. These numbers are inclusive; if you enter From 1 To 3, three pages will be compiled. (Enter From 1 to 1, for example, to specify a single page.) • Orientation: Portrait • Landscape. Click one of these two radio buttons to specify the orientation of the printed image on the page—either Portrait (the standard upright orientation) or Landscape (sideways). The same applies if you’re tiling pages—use these buttons to tell Finale the orientation of the pages you’ll be taping together. • Page Size: Letter • Legal • A4 • A5 • B5 • Tabloid. Use the Page Size drop-down list to select the page size. The Height and Width values appear in the current measurement unit. Bear in mind that the image size of the printed music has nothing to do with paper size; the two are completely independent. (Set the size of the printed image with the Page Layout Tool; see Page Size.) • Width • Height. The numbers you enter in these text boxes (in Measurement Units), tell Finale how much of each page to cover with music when printing pages for tiling (the image size). You’ll note that Finale fills in these boxes automatically when you select your paper size, because Finale assumes you’ll want to print on as much of each sheet as possible. If, however, you want Finale to print on a smaller portion of each sheet (in effect creating a larger margin), you can enter smaller values in these boxes. • Center Music on Page. Select this checkbox if you want the printed image of the music to be centered on the page. If you’re creating one large tiled page by taping several standard pages together, this option will center the printed music on the composite page. If you don’t select this option, Finale will place the printed image in the upper-left part of the page. • Tile pages. If the printed image is larger than one standard page, Finale will normally attempt to print it on a single page anyway (and the right and bottom portions of the page will be chopped off). If you select this checkbox, however, Finale knows to print as many pages as it needs to fit the entire printed image, printing a portion of the full printed image on each sheet, so that you can later tape them together to form large score pages. This technique, called tiling pages, is described more fully under Tiling Pages for printing in the User Manual. 1080

• Include Fonts in Listing. Select this checkbox to include the fonts used in the document in the Compiled PostScript Listing. • Manual Feed. Select this checkbox if you want your printer to take paper from the manual feed hopper of your PostScript printer. • Specify Additional PostScript Information. Click this checkbox to bring up the Additional PostScript Information dialog box, where you can enter a date and title in the nonprinting "header" of the actual PostScript listing. You’ll only see this information if you open the resultant PostScript listing with a word processor. (See Additional PostScript Information dialog box.) • Compile. Click Compile to confirm the PostScript file settings you’ve made. Finale asks you to name the PostScript listing (or EPS file) and then proceeds to create it, storing it on your disk; you’ll hear a beep when the process is complete. To print a compiled PostScript listing, be sure you download the MAEST.PFB laser font before downloading the listing itself. Of course, if the fonts are included in the listing, downloading the fonts separately isn’t necessary. • Cancel. Click Cancel to return to the score without creating a PostScript file. Tip: Be sure to either take the .pfm and .pfb music font files with you if you want to print to a postscript printer that does not have Finale installed or include the Fonts in the Listing. By default, Finale uses Maestro or Broadway Copyist as the music font, but you could also use Petrucci, Engraver Font Set, or Jazz. See Also: PostScript File menu

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Composite Time Signature dialog box

How to get there Click the Time Signature Tool , and double-click the measure in which you want to change the meter. The Time Signature dialog box appears. Click Composite. Or, click the Options button and select the Composite button in the expanded options section of the Time Signature dialog box.

What it does This dialog box allows you to create complex time signatures. • Beat Groups: _ + _ + _ + _ + _ . Enter up to five numbers that you want to appear as the upper half of the composite time signature, specifying the number of beats per measure. Finale treats each number and its corresponding Beat Duration as a separate component of the composite time signature. You can use + signs between numbers within a text box if you need time signatures such as 3+2+2 over 8 You can also use decimals, such as .75. • Beat Duration: _ + _ + _ + _ + _ . Enter up to five numbers you want to appear as the lower half of a composite time signature. These numbers specify the rhythmic value of the beats in the measure. Each number appears below its corresponding Beat Group number. You can use + signs between numbers within the Beat duration text box. • Use EDUs for Beat Duration. Select this checkbox if you need to enter beat durations for dotted notes. When this checkbox is selected, Finale uses the specified EDUs number for the beat duration. When this checkbox 1082

is not selected, Finale displays the number you enter in the lower half of the composite time signature. • OK • Cancel • Clear. Click OK to save new settings and return to the score, or click Cancel to cancel any changes you made to the settings. Click Clear to remove the current composite time signature settings. For example, to specify a dotted quarter as the beat duration, enter 1536 (1024 EDUs = quarter note, plus 512 EDUs = eighth note for the dot value). See Also: Time signatures Time Signature dialog box Time Signature Tool

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Create/Edit Ending dialog box

How to get there Create Ending: Click the Repeat Tool , and highlight the measures you want to include in the ending. Right-click and select Create Ending. Or, after selecting the desired measures, from the Repeat menu, choose Create Ending. Or, double-click a measure. The Repeat Selection dialog box appears. Double-click an ending graphic repeat. Edit Ending: Right-click an existing ending and choose Edit Ending.

What it does In this dialog box, you can specify the properties of a repeat ending, including the text and playback attributes. Tip: To easily create repeats with a standard first and second ending, select the desired first ending measure(s) and from the Repeat menu, choose Create First and Second Endings. 1084

• Ending Number(s). Here, enter the number(s) that you would like to appear within the ending bracket. The numbers entered here also apply to playback. For example, enter a 1 here to indicate a first ending that is to be played the first time only. On all other passes, playback skips over the ending and goes to the target (specified below in this dialog box). You can enter multiple numbers to indicate multiple passes, and Finale will playback the ending accordingly (during playback, after the last pass, Finale will skip over the ending and jump to the specified target). Separate multiple numbers with commas (or a hyphen for number ranges). Finale automatically places a period after a single number if Add Period After Number is checked in Document Options-Repeats. • Alternate Text in Ending. Text entered in this text box will appear within the ending bracket instead. Enter a number sign (#) as a stand-in for the ending number defined above). Text entered in this box does not apply to playback. If you want to combine the Ending Number with other text (for example, "4th time only"), use the number sign (#, which you create by typing shift-3) as a stand-in for the Total Passes number (for example, "#th time only"). You set the font for this text by choosing Fonts in the Document Options dialog box (under the Document menu) and clicking Font. In the Text drop-down list, choose Ending repeat. Then click Set Font. This will affect the font for all existing and future ending repeat text. • Target. When a target is specified, after playing back the total number of passes (specified in Ending Numbers), Finale will skip from the beginning of the repeat ending measure(s) to the specified target. • Choose Next Ending to automatically skip to the next ending in the score. • Choose Measure # to indicate a specific measure number. • Choose Forward or Backward to indicate a relative number of measures in that direction. • Choose Never Skip Ending if this ending is the last ending and will be played every time through. • Skip Ending if Ignoring Repeats. Check this option to skip this ending during playback if Ignore Repeats is checked in the Playback/Record Options dialog box. • Allow Individual Edits Per Staff. If your piece contains more than one staff, Finale will place an identical ending-repeat bracket in each staff; all brackets will be affected when you resize or alter any one. If you want each bracket to be independently resizable and movable, select Allow individual edits per staff. You can specify on which staves you want repeat endings to appear using Staff Lists available in the Create/Edit Ending dialog box and Backward Repeat Bar Assignment dialog box. • Create Backward Repeat Bar (Create Ending only). Choose this option to automatically create a repeat bar after the ending. (It will be assigned to "Always Jump" and have a target of "Nearest Forward Repeat"). Uncheck 1085

this box when creating the last ending of a repeated section (which requires no repeat barline). • Show On: All Staves • This Staff Only. Select All Staves to show the text repeat on every staff in the score and parts. All Staves is selected by default. Select This Staff Only to assign the text repeat to the current staff only. Use the This Staff Only option if you want a text repeat to appear only in the current staff. • Staff List: New Staff List • (All defined Staff Lists); Edit. Select New Staff List to display the Staff List dialog box, where you define which staves will display text repeats. To select a Staff List already created for use in the score, choose its name from the drop-down list. Click Edit to display the Staff List dialog box for the selected Staff List, and change which staves the text repeat should appear in. • OK • Cancel. Click OK (or press enter) to return to the score, where the new (or edited) repeat barline appears. Click Cancel to tell Finale to ignore any changes you made in this dialog box and return you to the score. See Also: Repeats (barlines and text indications) Repeat Tool

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Custom Arrowhead Selection dialog box

How to get there Click the Smart Shape Tool. Choose Smart Shape Options from the Smart Shape menu. Choose Custom Line from the Smart Line Designer drop-down list. Click Select, then Create or Edit. Click Select next to Custom Arrowhead.

What it does The Custom Arrowhead Selection dialog box allows you to select from a number of shapes you’ve created to use for your arrowhead. • Edit. After selecting an arrowhead, click Edit to enter the Shape Designer dialog box. You can modify the arrowhead, however, keep in mind that when you edit an arrowhead, your editing affects every occurrence of it in the score. See Shape Designer dialog box. • Create. Click Create to enter the Shape Designer, where you can design an arrowhead. 1087

• Duplicate. Click Duplicate to create a copy of the selected arrowhead to modify. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Delete. After selecting an existing arrowhead, click Delete to remove it from the Custom Arrowhead Selection dialog box. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shiftclick to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • [Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it. • Cancel. Click Cancel to return to the Smart Line Designer dialog box without selecting a preset arrowhead. • Select. After clicking the arrowhead you want to use, click Select. You return to the Smart Line Designer dialog box. Instead of using the Select button, you can simply double-click the desired arrowhead. See Also: Arrows Smart Shape Tool

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Custom Frame dialog box

How to get there Click the Text Tool the Text menu.

. Click a text block handle. Choose Custom Frame from

What it does The Custom Frame dialog box contains an option where you specify the amount to inset a text block from the custom shape. • Shape • Select. The number in the Shape text box identifies the enclosure shape by number. To select one visually—or to create a new one—click Select. The Shape Select dialog box will appear; if you’ve loaded a Shape Library into your piece, such as the one provided with Finale, the shapes will appear in this selection dialog box. Either double-click on to select it, or click Create to enter the Shape Designer, where you can create your own (see Shape Designer dialog box). In either case, when you return to the Custom Frame dialog box, Finale places the correct shape number in the text box. • View. You can magnify or reduce the view custom frame as you’re working on it by choosing a magnification level from this drop-down list. (100% is actual size.) Use it if you want to "zoom in" on a very small custom frame,

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or "zoom out" to see all of a very large custom frame; neither has any effect on the size of the custom frame as it will appear in the score. • Show: Handle • Shape • Text. These checkboxes govern what elements of your custom frame appear in the dialog box. (A selected checkbox means that the object will appear.) • Distance from Handle. These are two small circular handles in the a Custom Frame dialog box display; a black one and white one (but they’re initially superimposed, so that all you can see is the white one). The white circle represents the location of the custom frame’s handle when it appears in the score. If you want to position the black dot relative to the white dot numerically, you can enter measurement values in the two text boxes. The H: text box sets the horizontal distance from the black dot to the white dot. (a positive number moves the white dot to the right, a negative number moves it to the left); the V: text box sets the vertical distance (a positive number moves the white dot upward, a negative number moves it downward). After entering numbers into these text boxes, drag anywhere in the display area to update the screen image. • Inset Text. Enter the distance, in measurement units, that you want to inset the text block from the shape. Finale always uses this value, even if the frame is hidden. Although you can edit the text flowing into custom frames on the screen, custom frames cannot be resized on the screen, nor can they be set to expand automatically to accommodate more text. To take advantage of on-score resizing and expanding, see Standard Frame dialog box. Note: If you create a custom shape, Finale will display the text in a standard editing frame while you’re editing it on-screen. When you’ve finished editing, the text will be shown on-screen, within or surrounding the custom shape you selected. • OK • Cancel. Click OK to confirm the construction of your custom frame and return to the score. Click Cancel if you decide note to create or edit a custom frame. See Also: Text menu Text Tool

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Customize Toolbar dialog box

How to get there From the Window menu, choose Customize Palettes, then choose one of the Palettes. The Customize Toolbar dialog box appears.

What it does Use the Customize Toolbar dialog box to add, remove, or rearrange the tools in your palettes. • Add · Remove. Select an icon from available buttons, then click Add to move the icon onto the toolbar. Select an icon from the Toolbar buttons, then click Remove to delete the icon from the toolbar. • Move Up · Move Down. Select an icon from the Toolbar button, then click Move Up or Move Down to rearrange the order of the tool in your palette. • Close · Reset. Click Close to save the new settings and dismiss the dialog box. Click Reset to return the palette to the tool arrangement you had when you entered the dialog box.

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Dashed Line dialog box

How to get there Enter the Shape Designer (see Shape Designer dialog box). Choose Dashed from the Line Style submenu of the Shape Designer menu.

What it does When you’re creating a shape in the Shape Designer, you can specify that a selected line (or one you’re about to draw, if no line is selected) is to be a dotted (dashed) line. When this dialog box appears, you can specify the lengths of the dashes as well as the lengths of the gaps between them. • Dash Length. The number in this text box specifies the length of each dash of the dashed line. • Space. The number in this text box specifies the length of the gap between dashes of the dashed line. • Inches [etc.]. From this drop-down list, choose the units of measurement you want to work in within this dialog box. • Reset. Click Reset to restore Finale’s default dashed-line settings (.0625 inch dash, .0625 inch gap). • OK • Cancel. Click OK to confirm your specifications for a dashed line. If a line or shape was already selected, it now appears dashed. If nothing was selected, the next line you create (with the Line, Rectangle, Curve, Multiline, or Polygon Tools) will be a dashed line. All lines you draw will now be dashed, until you choose Solid from the Line Style submenu of the Shape Designer menu. Click Cancel to return to the Shape Designer without selecting a dashed line style. See Also: Shape Designer Expression Designer

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Define Keyboard Shortcut

How to get there Choose the Simple Entry Tool. From the Simple menu, choose Simple Entry Options and then choose Keyboard Shortcuts. Click Add or Edit.

What it does In this dialog box, you can add a new keyboard shortcut association for any of the Simple Entry Commands, or edit an existing association. To add a new keyboard shortcut, click Add in the Keyboard Shortcuts dialog box. To edit an existing association, highlight the keyboard you want to change in the Keyboard Shortcuts dialog box and choose Edit. • Commands [window]. In this window, select the Simple Entry Command you want to assign to a keystroke. • Key. Enter the main letter or number you want to assign to the Simple Entry Command highlighted in the window above. • Modifiers • Ctrl • Alt • Shift. Check Ctl or Alt or Shift to add these modifier to the keystroke.

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• OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the keyboard shortcuts you’ve added or edited and return to the Keyboard Shortcuts dialog box. See Also: Simple Entry Simple menu Simple Entry Tool Edit Keyboard Shortcuts dialog box

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Delete Blank Pages

How to get there Click the Page Layout Tool Layout menu.

. Choose Delete Blank Pages from the Page

What it does This dialog box provides a quick, easy way for you to remove blank pages, not only from the end of your score, but from any point in your document. Blank pages contain no music. When you delete blank pages, items such as titles or text blocks that were assigned to that particular page will also be deleted. • Delete Blank Page(s) in: Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all parts and the score. • From Page ___ Through ___ • From Page ___Through End of Piece. Specify the range of page numbers for the blank pages you want removed from your score. The first page number defaults to the current page. To remove every blank page in your score, select From Page ___ Through End of Piece and enter the number "1" in the text box. • OK • Cancel. Click OK to delete blank pages from the score, or click Cancel to return to the score without deleting blank pages. Tip: When you're working with Facing Pages that have different left and right page margins, delete two pages at a time to maintain the correct margins.

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See Also: Blank pages Page Layout menu Page Layout Tool

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Delete Element dialog box

How to get there Click the Expression Tool

and double-click a note or measure, or the

Articulation Tool and click a note. (If the note already has an articulation attached, click again.) Select an articulation or expression, then Click Delete.

What it does This dialog box allows you to delete elements from the Articulation or Expression List and specify how to handle any elements of that type already in the score. You can replace them with another articulation or expression or you can just have them deleted. • Delete element from selection palette and replace in score with: Select. Choose this option if you want to replace the deleted element with a different expression. Click Select to bring up the Articulation or Expression Selection dialog box where you can choose the new element. • Delete element from both selection palette and score. Choose this option to delete the articulation or expression without replacing it in the score with another expression. • OK • Cancel. Click OK to delete the expression. Click Cancel to return to the Articulation or Expression Selection dialog box without deleting anything. See Also: Expressions Expression Tool Shape Selection

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Diatonic Instrument Definition dialog box

How to get there Click the Staff Tool , and double-click any staff. From the Notation Style drop-down list choose Tablature, click Select, then click the Edit Instrument button. Click the Define button.

What it does In this dialog box, specify the pitch variation, in whole and half steps, for a diatonic fretted instrument. In the text box, enter "1" to specify a pitch variation of a half step from the previous (lower) fret or from the nut. Enter a "2" to specify a pitch variation of a whole step from the previous (lower) fret or from the nut. Separate each entry in this text box with a comma. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your changes and return to the Fretboard Instrument Definition dialog box. See Also: Tablature Guitar Notation Fretboard Instrument Definition dialog box

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Document Options dialog box

How to get there From the Document menu, choose Document Options.

What it does This dialog box allows you to change the global settings for a number of musical items. You will find global settings for augmentation dots, barlines, ties, text inserts and many other items. Choose one of the categories on the left side of this dialog box to display its options on the right. • Load Library • Save Library. Click the Save button to select from a list of document elements to save in a library. Click the Load button to open an existing library. • Units. Click the drop-down list to select the measurement unit you want Finale to understand—and display—in all of its dialog boxes. • OK • Cancel • Apply. Click OK (or press enter) to save the new settings and return to the score. Click cancel and you will be prompted to save or discard unapplied changes. Click Apply to save the selected changes in your dialog box and keep the Document Options box open. 1099

Special mouse clicks • Press Ctrl-Alt-A at any time to open the Document Options dialog box.Hold down the • Hold down the Ctrl key to move to the next page and press Page Up to move to the previous page. See: Document Options-Accidentals Document Options-Alternate Notation Document Options-Augmentation Dots Document Options-Barlines Document Options-Beams Document Options-Chords Document Options-Clefs Document Options-Flags Document Options-Fonts Document Options-Grace Notes Document Options-Grids and Guides Document Options-Key Signatures Document Options-Layers Document Options-Lines and Curves Document Options-Multimeasure Rests Document Options-Music Spacing Document Options-Notes and Rests Document Options-Piano Braces Document Options-Repeats Document Options-Stems Document Options-Text Document Options-Ties Document Options-Time Signatures Document Options-Tuplets 1100

Document Options-Accidentals dialog box

How to get there From the Document menu, choose Document Options and select Accidentals.

What it does These options control the spacing of accidentals in relation to both the notes they are attached to and other accidentals in an entry. • Space Between Accidental and Note. This number determines the horizontal distance between the accidental and the notehead to which it is attached. • Space Between Accidentals on Notes.This number determines the distance between accidentals that appear on notes that are a second apart or greater.

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• Space Within Multi-character Accidentals. This number sets the distance between accidentals that appear on the same line or space. In general, this parameter only occurs in nonstandard key signatures where there are so many sharps or flats that triple sharps and flats are introduced, or where triple sharps or flats appear on a note in the score; in each case, this measurement defines the distance between the double-sharp (or double-flat) symbol and the next sharp or flat to its left. • Minimum Vertical Spacing Between Accidentals. The number in this text box, measured in lines and spaces, specifies the minimum vertical distance between noteheads in a chord that will require Finale to rearrange the positions of accidentals to avoid overcrowding. If two accidentals are closer together than the Vertical Spacing Between Accidentals number (measured in half spaces), one of them will be forced into the next “accidental slot” to the left, as shown. The default is 6.

When the Vertical Spacing Between Accidentals is 4 (above left), both flats may occupy the same vertical position, because their noteheads aren't less than four lines and spaces apart. If the Vertical Spacing Between Accidentals is 6 however, one of the flats must move to the left to avoid crowding, because the noteheads are indeed less than six lines and spaces apart. • Music Characters; Select. Here, specify font characters to use for accidentals in your notation. Select an accidental type from the drop-down list, then click Select to choose the character for the accidental. The available characters will depend on the default font for accidentals specified in the Font options. • Adjustment at Start of Measure. This is an adjustment to the Spacing Before Music value displayed in Document Options Notes and Rests. If you do not want to leave as much space for notes with accidentals to the right of barlines, you can use this value to move notes with accidentals to the left. • Use Cross-Layer Accidental Positioning. Check this box to automatically avoid collision of accidentals between layers and voices and to align accidentals an octave apart vertically. Also, with this option checked, manually adjusting an accidental’s positioning will not modify the positioning of other accidentals attached to the entry. Note that this option does not apply to cross-staff notes moved to an adjacent staff with the NoteMover Tool. 1102

See Also: Accidentals (Simple Entry) Accidentals (Speedy Entry) Document Options-Fonts Document menu/Document Options

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Document Options-Alternate Notation dialog box

How to get there From the Document menu, choose Document Options and select Alternate Notation.

What it does Use these options to specify spacing and font characters for alternate notation applied to a staff. Alternate notation can be applied to any staff or a portion of a staff. • Vertical Offset for Two bar Repeat Number. The number in this text box controls the vertical placement of the number for the two-bar repeat alternate notation. • Rhythmic Notation Vertical Positioning: Quarter Note (Small) Slash: Baseline Adjust • Stem Connection • Half Note Diamond: Baseline Adjust • Stem Connection • Whole Note Diamond: • Double Whole Note Diamond. Use these settings to control the exact placement of slash 1104

and diamond noteheads and how these symbols attach to note stems when you’re using rhythmic notation, such as percussion notation. Enter values in the text boxes (in measurement units) for the amount that Finale should vertically adjust the stems to connect them properly. • Music Characters; Select. Here, specify font characters to use for alternate notation. Select the alternate notation item from the drop-down list, then click Select to choose the character for that item. The available characters will depend on the default font for alternate notation specified in the Font options. See Also: Staff Tool Alternate Notation dialog box Staff Styles dialog box Document Options-Fonts Document menu/Document Options

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Document Options-Augmentation Dots dialog box

How to get there From the Document menu, choose Document Options and select Augmentation Dots.

What it does The Augmentation Dots options have several controls for finetuning the placement of dots in your music. To select the default measurement units, click on the Edit menu, then Measurement Units, then select the desired units. • Space Between Dot and Note. This text box controls the placement of the first dot on a dotted note. Enter a value in measurement units for the horizontal distance between the notehead and the first dot. • Space Between Dots. This text box controls the distance between the dots on a note with more than one dot. Enter a number in measurement units to set the horizontal distance between the dots.

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• Vertical Adjustment of Dot. By default, Finale positions the dot between two staff lines. Depending on the font character you use for the dot, you may need to adjust the placement of the dot. Enter a larger value to raise the dot, a smaller value to lower the dot. • Horizontal Adjustment for Upstem Flags. Use this setting to position dots on upstem flagged notes. By default, Finale positions the dot to the right of the flag to avoid collision. Enter a larger value to move the dot to the right, a smaller value to move the dot to the left. • Adjust Dot for Multiple Voices. Finale automatically adjusts dot positions in multiple layer and inner voice situations (where stems are frozen up). When you select this option, Finale places dots below the staff line when necessary. • Music Character; Select. Click Select to choose a character for your augmentation dots. The characters available will depend on the default augmentation dot font (specified in Font options). See Also: Augmentation Simple Entry Tool Speedy Entry Tool Document menu/Document Options

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Document Options-Barlines dialog box

How to get there From the Document menu, choose Document Options and select Barlines.

What it does The Barlines options provide global settings that allow you to tailor barlines to a consistent appearance and placement in your score, without having to edit each barline individually. You can fine-tune the appearance of barlines by separately specifying the thicknesses of the thin and heavy lines, by setting line spacings for thin, thick and final barlines, and by defining the dash length and dash spacing for dashed barlines. You can also direct Finale to display or hide left barlines on single and multiple staves (which is useful for scores with optimized page layout), and place final barlines through all staves at the end of each system or at the end of the piece.

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• Display All Barlines. When selected, Finale displays all barlines in your score. Note that barlines hidden by Staff Attributes or Staff Styles will remain hidden. • Close Barline at End of Each System. Select this checkbox if you want Finale to ignore the regular staff grouping at the end of each staff system, and draw the barline you selected for the end of each staff system through all the staves. • Close Barline at End of Piece. Select this checkbox if you want Finale to ignore the regular staff grouping in the last measure, and draw the barline you selected for the last measure of the piece through all the staves. • Final Barline at End of Piece. Select this checkbox if you want Finale to automatically place a final barline at the end of the piece. Even if you add or delete measures, the last measure will always have a final barline. • Left Barlines: Display on Single Staves • Display on Multiple Staves • Default Style is Normal Barline • Default Style is Previous Measure’s Right Barline. You can control whether Finale draws the left barline on a single staff, or on all staves in each staff system in the piece. Select the Single Staves option to have Finale draw barlines in each staff system that contains only a single staff, such as a solo line. If this is not selected left barlines will not display on a single staff no matter which left barline style is selected. Select the Multiple Staves option to draw the left barline in staff systems that contain two or more staves, such as a piano part. If you want Finale to display every left barline on every staff system, select both check boxes. Deselect both options if you want to hide every left barline on every staff system. These options are useful when you prepare a score for creating parts. Before extracting parts, select the Multiple Staves option so that the left barline is drawn through the staves in each system, and deselect the Single Staves option. Finale will know to omit the left barline on each part. You can also set the default for the left barline style, whether it will be a normal barline, or if it will follow from the previous measure. For example, if you have a double barline in the previous measure and would like to start the next measure at the start of the system with a double barline, select Default Style is Previous Measure’s Right Barline. If you prefer a different style of left barline, you can override the defaults using the left barline settings in the Measure Tool. • Heavy Line Thickness. This setting defines the line thickness of the heavy line used for the Final and Solid barlines. Enter a value (in measurement units) for the desired heavy line thickness. Finale’s default thickness is .042 inches (three points). • Thin Line Thickness. This setting defines the thickness of the thin line used for barlines. Enter a value (in measurement units) for the thin line thickness. Finale’s default value for thin line thickness is .008 inches. • Space Between Double Barlines. This setting defines the amount of distance between the two lines used for double barlines. The default 1109

distance is one half-space. Enter a larger value (in measurement units) to move the two lines farther apart and increase the space between the lines. Enter a smaller value (in measurement units) to bring the lines closer together. • Space Between Final Barlines. This setting controls the distance between the two lines used for final barlines. The default distance is one half-space. Enter a larger value (in measurement units) to move the two lines farther apart and increase the distance. Enter a smaller value (in measurement units) to move the lines closer together. • Dash Length. This setting controls the length of the dash used for dashed barlines. The default value is .0625 inches (4.5 points). Enter a larger value (in measurement units) to lengthen the dash. Enter a smaller value to shorten the dash. • Dash Space. This setting controls the space between dashes used for dashed barlines. The default value is .0625 inches (4.5 points). Enter a larger value (in measurement units) to widen the gap between dashes. Enter a smaller value to narrow the gap between dashes. See Also: Barlines Staff Attributes dialog box Staff Styles dialog box Measure Attributes dialog box Staff Tool Measure Tool Document menu/Document Options

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Document Options-Beams dialog box

How to get there From the Document menu, choose Document Options and select Beams.

What it does This dialog box allows you to customize the beaming for your document. You can set the degree of flat beams by using the Beaming Style setting. Specify how you prefer your eighth notes beamed in common time. Improve the look of beams over rests, and disallow beams to cross the space in a staff. To select the default measurement units, click on the Edit menu, then Measurement Units, then select the desired units. • Beaming Style: Base Slant on End Notes Only. With this option, Finale will draw beams at the angle created between the first note in the beam group and the last not in the beam group. This is also the beam angle style used previous to Finale 2000.

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• Beaming Style: Flatten Beams Based On Standard Note. Using this option the beam angle will be determined by the note which is closest to the center staff line—the Standard Note. Where there are two notes equidistant from the center staff line, the note closest to the beam will be used as the Standard Note. If this note is on the outside of the beam group, the beam is angled, otherwise the beam is flattened. If there are two Standard Notes in the beam group the beam angle is flat. • Beaming Style: Flatten Beams Based On Extreme Note. Using this option the beam angle will be determined by the note which is closest to the beam—the Extreme Note. If this note is on the outside of the beam group, the beam is angled, otherwise the beam is flattened. • Beaming Style: Flatten All Beams. In standard notation, beams on eighth notes (and smaller values) slant at an angle corresponding to the melodic contour of the notes they connect. You may prefer nonslanting, horizontal beams—for example, to minimize the jaggedness of beams in lower resolution situations. Select this option if you want only horizontal beams. • Beam Four Eighth Notes Together in Common Time. Deselect this option to have eighth notes beamed in groups of 2 when in common time. Otherwise, Finale will beam eighth notes in groups of four when in common time. • Include Rests when Beaming in Group of Four. Select this option to include any rests between eighth notes when the above option is selected. • Beam Three Eighth Notes Together Before An Eighth Rest. Select this option to beam three eighth notes together as opposed to two when there is a rest in the first or last position of the group of 4 eighth notes. • Allow Primary Beam Within a Space. Select this option to allow beams to cross over spaces in the staff. • Allow Rests to Float. Select this option to allow rests to move away from beams. • Extend Beams Over Rests. Select this option if you want Finale to extend primary beams over rests on the outside of a beam group. Even when this option is off, you can use Speedy Entry to create single, broken beams; just press the slash key to extend the beam over the rest to the left of the flagged note. • Extend Secondary Beams Over Rests. Select this option to extend sixteenth and smaller beams over rests on the outside of a beam group. • Display Half-Stems for Beamed Rests. If you’ve turned on Extend Beams Over Edge Rests in Beaming Options, you may also wish to select this option, which places a half-stem, or stem stub, for each rest that’s bridged by a beam.

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• Beam Thickness. Change the thickness of beams globally using this text box. • Broken Beam Length. Enter a value for the length of all broken beams in the score. To change the direction of a broken beam use the Special Tools Broken Beam Tool. • Secondary Beam Separation. The number in this text box specifies the vertical distance between beams. For example, it sets the distance between the eighth and sixteenth note beams. • Max Slope. This number specifies the maximum vertical distance between the high and low ends of any beam, measured vertically in the currently selected measurement units. • Max Distance from Middle Staff Line. This setting pertains to the stem length of notes that are very far above or below the staff. In essence, the number in this text box specifies the maximum distance the endpoint of any beam may be from the middle staff line, based on its attachment to the note farthest from the middle staff line in the currently selected measurement units.

The Maximum Distance from Middle Staff Line setting specifies the maximum distance a beam may be from the middle line of the staff. It’s calculated based on the note that’s farthest from the middle line. There are a number of variables governing the angle of beams and the length of stem lines (such as Max Slope). Therefore, if you change the default value for this parameter, you may not see any immediate changes in the score. See Also: Beaming 1113

Staff Attributes dialog box Patterson Beams and Flat Beams plug-in Time Signature Tool Document menu/Document Options

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Document Options-Chords dialog box

How to get there From the Document menu, choose Document Options and select Chords.

What it does Here, you can specify the font of chord elements, adjust their baselines and change their font characters. • Chord Alteration Baseline Adjustment: Sharps • Flats • Naturals. Use these controls to set baseline values individually for sharp signs, flat signs and naturals placed on chord suffixes. To set the vertical distance of sharps, flats and naturals from the baseline, enter a value in each text box. Double sharps will use the offset for sharps and double flats will use the offset for flats. • Scale All Chords By • Scale All Fretboards By. Use these values to specify the global chord symbol and fretboard scaling. (Note that to retain consistent scaling of chords with suffixes, use the Chords Symbol option in 1115

Document Options-Fonts.) The scaling percentage specified here is in addition to any staff or page resizing applied with the Resize Tool. (Chord symbols and fretboards are no longer note-attached, and therefore do not adjust according to the note size). To change the scaling of specific chord symbols or fretboards by region, use the Change > Chords command under the Utilities menu. See Change Chord Assignments dialog box. • Music Characters; Select. Here, specify font characters to use for accidentals in chords. Select an item from the drop-down list, then click Select to choose the character for that item. The available characters will depend on the default font for chord alterations specified in Font options. See Also: Chord symbols Chord Tool Document Options-Fonts Document menu/Document Options

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Document Options-Clefs dialog box

How to get there From the Document menu, choose Document Options and select Clefs.

What it does Finale treats each clef intelligently, correctly renotating the music that follows it. Use these options to specify when to display clefs, modify clef spacing, configure settings for clef changes, load and save clef libraries, and design your own clefs. Finale supplies you with eighteen standard clefs for use in your pieces. • Display Clef Only on First Staff System. When selected, Finale displays the clef on the first staff system of each page only. This option is particularly useful for lead sheets. • Display Courtesy Clef at End of Staff System. If a clef change occurs at the end of a line (system) of music, it’s traditional to forewarn the musician by displaying the incoming clef at the rightmost end of the preceding system. Check this box to display these courtesy clef changes.

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• Spacing: Before Clef • After Clef. These numbers determine the amount of space to the left and right of a clef in the score, respectively. The first text box specifies the distance from the left barline to the clef; the second text box specifies the distance from the clef to the key signature. • Extra Space Between Clef and Key Signature. Here, specify the space between clefs and key signatures. You can use this setting as an alternative to the Before Clef and After Clef setting. • Extra Space Between Clef and Time Signature. Here, specify the space between clefs and time signatures. You can use this setting as an alternative to the Before Clef and After Clef setting. • Default Clef Change: Clef; Select • Percent Reduction • Offset. This text box identifies, by number, the default starting clef of a new staff and any floating measures you create with the Ossia Tool. (Finale’s usual default starting clef is the treble clef, number 0.) If you know the number of the clef you want to specify for all new staves, you can enter it in this text box (the available clefs are numbered 0 through 17). You may find it easier, however, to click Select; Finale displays a palette of all eighteen available clefs. Double-click the clef you want; Finale enters its number in this text box automatically. The number in the Percent Reduction text box specifies the default size of an inserted clef (one that appears in mid-staff), expressed as a percentage of full size. The default value is 75%. (You can override this default reduction on a case-by-case basis. See Clef Tool.) The number in the Offset text box sets the distance between an inserted clef and the barline it precedes:

This offset applies only to “single” Finale clefs—those that appear just before the left barline of the measure they’re to modify. (Contrast with midmeasure clefs, which can appear anywhere in a measure.) The default value is –.028 inches (a negative number, because it’s being measured leftward from the barline). • Clef Designer. Click the Clef Designer button to display the Clef Designer dialog box, where you can replace or edit any of the clefs—including their appearance, placement, and effect on the music. See Also: Clefs

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Clef Tool Clef Designer Document menu/Document Options

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Document Options-Flags dialog box

How to get there From the Document menu, choose Document Options and select Flags.

What it does With these options, specify global settings for flag type, positioning and spacing. You can also choose new font characters for each type of flag. • Use Standard Flags • Use Straight Flags. Click Use Standard Flags to use Finale’s default flag characters. Click Use Straight Flags to place straight flags on note stems (angled or horizontal straight flag symbols are available). You must select Finale’s Tamburo font in the Fonts options before you select Straight Flags. If Straight Flags is not selected, Finale places curved flags on stems. • Flag Positioning: First Upstem Flag • First Downstem Flag • Second Upstem Flag • Second Downstem Flag • 16th Note Upstem Flag • 16th Note Downstem Flag • Straight Upstem Flag • Straight Downstem Flag; H: • V:. Choose the flag style that you want to adjust from the drop-down list, then enter a different value for H: and V: to adjust the horizontal and 1120

vertical placement of the character. You may need to adjust the placement of flags if you choose to use a font other than Maestro or Petrucci for flags. • Flag Spacing. Type in the amount of space between flag symbols. You may need to change this value if you use a music font other than Maestro or Petrucci. For Petrucci this value is one space (24 EVPUs), as defined by Ted Ross in Teach Yourself The Art of Music Engraving & Processing. However, flag characters in other music fonts, such as Sonata, are not designed to be placed one space apart. In order to support the accepted standard of notating flagged notes where the eighth and 16th notes are the same height, we have added this control, which lets you move the flag symbols closer together or further apart. For example, if you use Sonata, you need to set the Flag Spacing to slightly less than one space in order to get consistent looking spaces between the flag characters. This is due to the shape of the flag character. • Secondary Group Adjust. Type in the amount to shift 16th and smaller flags (the secondary flags) away from the eighth flag. Hint: A larger number moves the secondary flags further from the eighth flag. A smaller number moves the secondary flags closer to the eighth flag. You may need to change this value if you use a music font other than Maestro or Petrucci. For example, if you use Sonata, you need to set the Secondary Flag Adjust to pull the secondary flags close to the eighth flag. This is due to the shape of the flag character. • Music Characters; Select. Here, choose any character in the default flag font to use for any flag type. Select the flag type from the drop-down list, then click Select to choose a character for that flag. The available characters will depend on the default font for flags specified in Font options. Finale supports two styles of notating 16th and smaller notes— one style for which flagged 16th notes are taller than flagged eighth notes (for files created in versions of Finale before 3.5)—and another style for which flagged 16th notes match the height of flagged eighth notes (used in files created with version 3.5 and later). See Also: Flags Document Options-Fonts Document menu/Document Options

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Document Options-Fonts dialog box

How to get there From the Document menu, choose Document Options and select Fonts.

What it does These options allow you to globally change the font for almost every element in your score. It lets you change all occurrences at once, or set the primary font to the one you most often use. Set the initial font for full and abbreviated staff names and group names. Choose a name item from the drop-down list, then click Set Font to specify the initial font for full and abbreviated staff names and group names. This font is used when you first create a name. Use the Chord drop-down list where you can specify separate fonts and sizes for chord roots and chord suffixes, and setting the baseline positioning of sharps, flats and naturals that appear on some chord roots. Maestro, a music font provided with Finale, is the default font for the musical symbol elements such as Music, Clef, Key, and Time. However, Finale offers you the option of setting these musical elements in any other music fonts, such as Engraver, Jazz, Petrucci (also provided), Sonata or Crescendo you can mix and match fonts to suit your taste. 1122

• Font display. The font, size and style specified for an item appears below the selected item, so you can see what font is selected without entering the Font dialog box. • Lyrics: Verse • Chorus • Section; Set Font. Choose this command, then click Set Font to specify the default font, size and style for Lyrics. These three types of lyrics are technically identical, as far as Finale is concerned, except that each type may have its own default font. (When you enter the text for lyrics, use the Set Font button in the Edit Lyrics window to specify variations from the primary font.) • Text: Text Expression • Text Repeat • Ending Repeat • Text Block • Measure Number • Staff Names (Full) • Staff Names (Abbreviated) • Group Names (Full) • Group Names (Abbreviated); Set Font. Choose this command, then click Set Font to choose the default font, size and style of various text elements. • Choose Text Expression to specify the primary (default) font for text expressions you create with the Expression Tool. • Choose Text Repeats to specify the primary (default) font for these text repeats, such as Fine, that you create. • Choose Ending Repeat to specify the primary (default) font for the text under a repeat barline bracket ("1,2,3,", for example, or "Repeat and fade"). • Choose Text Block to specify the primary (default) font for text blocks. • Choose Measure Number then click Set Font to set the initial font for measure numbers in this dialog box. (You can still change the fonts for each measure number region in the Measure Number Map for Region dialog box.). The fonts you select for full staff names and full group names will also be used for the default, non-printing staff and group names. • Notation: Noteheads • Augmentation Dot • Accidentals • Flags • Rests • Clef • Key • Time • Time Signature Plus Sign • Alternate Notation • Alternate Notation Number • Repeat Dot • Multimeasure Rest • Tuplet • Tablature • Articulation; Set Font. You can separately define a different font for each music element—notes, flags, rests and so on. Use the dropdown list to set the font for each item. There’s also an option for setting the initial font for articulations and the number displayed over multimeasure rests. Choose a notation type, then click Set Font to choose the font, size and style for the element. • Chord: Symbol • Suffix • Alteration • Fretboard; Set Font. Items in the Chord drop-down list include Alteration and Symbol, Suffix and Fretboard. Suffix allows you to specify separate fonts, sizes and styles for chord roots and chord suffixes. This will ensure correct font and character spacing when you enter new chords directly into the score using Finale’s Type Into Score method. • Chord Alteration Baseline Adjustment: Sharps • Flats • Naturals. Use these controls to set baseline values individually for sharp signs, flat signs 1123

and naturals placed on chord suffixes. To set the vertical distance of sharps, flats and naturals from the baseline, enter a value in each text box. Double sharps will use the offset for sharps and double flats will use the offset for flats. See Also: Fonts Font Annotation Staff Attributes dialog box Measure Attributes dialog box Document menu/Document Options

1124

Document Options-Grace Notes dialog box

How to get there From the Document menu, choose Document Options and select Grace Notes.

What it does Use these options to globally modify the size, spacing, thickness and playback duration of grace notes throughout your document. • Grace Note Size. The number in this text box specifies the size of grace notes in your document, expressed as a percentage of normal-sized notes. The default is 50%. • Tablature Grace Note Size. The number in this text box specifies the size of grace notes in a tablature staff, expressed as a percentage of normalsized notes. The default is 50%.

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• Grace Note Offset on Entry. This option controls the distance of the first grace note from the note it is attached to, as well as the distance between grace notes. Enter a value in the current measurement units. • Grace Note Slash Thickness. This value controls the thickness of grace note slashes. • Always Slash Flagged Grace Notes. It’s customary to place a small diagonal slash through the flag of any grace note that’s not beamed to other notes. Select this option if you want the slash to appear by default on all unbeamed grace notes. If this option is on, the Simple Entry and Speedy Entry Tools will only toggle between slashed grace note and full note. • Playback Duration _ EDUs • Set Duration. Enter a value in the EDUs text box to specify the grace note duration (there are 1024 EDUs in one quarter note), or click Set Duration. If you choose Set Duration, the Set Duration dialog box appears and you can choose a duration value from the note palette. Finale will automatically enter the corresponding EDU value in the text box. Grace notes on any given note will play back according to the duration that you specify. See Also: Grace notes Slash Flagged Grace Notes plug-in Simple Entry Tool Speedy Entry Tool Document menu/Document Options

1126

Document Options-Grids and Guides dialog box

How to get there Choose Grid/Guide Options from the View menu, or from the Document menu, choose Document Options, then select Grids and Guides.

What it does Use the Grid/Guide Options dialog box to set the various options for the grids and guides on your page. • Grid Line Every. Type in the number and select the units for your grid spacing. • Display One In ___ . You can set how dense the grid is displayed. Even though you are snapping every quarter inch, you can display the grid every half inch. • Gravity Zone Size. Use this text box and units selection to specify the area around the guide that will be affected by Snap to Guide.

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• Grid Line Style • Guide Line Style: Solid • Dashes • Dots • Cross hairs. Select the type of grid and guide to be displayed. • Grid Color • Guide Color. Click on these buttons to set the Grid and Guide color. • Items to Snap to Grid • Items to Snap to Guide. Click on these buttons to select which items will be affected by snapping. • Show Grid • Show Guide. Select these checkboxes to display the grids and guides. This is the same as selecting Show Grid or Show Guide from the View menu. • Snap to Grid • Snap to Guide. Select these checkboxes to activate Snap to Grid or Snap to Guide. This is the same as selecting Snap to Grid or Snap to Guide from the Edit menu. See Also: Grids and Guides Items to Snap to Grid dialog box Items to Snap to Guides dialog box View menu Document menu/Document Options

1128

Document Options-Key Signatures dialog box

How to get there From the Document menu, choose Document Options and select Key Signature.

What it does Use these options to specify where to display key signatures, and configure key signature spacing. • Display Key Signature Only on First Staff System. When selected, Finale will display the key signature on the first staff system of each page only. This options is particularly useful for notating lead sheets. • In C, Display Naturals at Start of Staff System. If a key change to the key of C occurs at the end of a line, select this item if you want Finale to repeat the display of canceling accidentals by drawing them at the beginning of the new line. (The naturals appear at the end of the previous

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line whether this option is selected or not, if you’ve specified that you want "courtesy" key signatures to appear at the ends of lines.) • Redisplay Key Signature if Only Mode is Changing. Using the Key Signature Tool, you can create virtually any key signature; each can have any note of the scale as its root. This option has to do with key changes from one key to another that have identical sharps or flats in the key signature, but aren’t actually the same key (and are instead in different modes)—for example, from C minor to E major. Select this item if you want Finale to treat such a key change in the usual way—by canceling the first key signature before displaying the second. If you don’t select this option, Finale won’t cancel the first key signature before displaying the second. • Cancel Outgoing Key Signature. If the key is changing from a "sharp" key to one with fewer sharps, or a "flat" key to one with fewer flats, select this option if you want Finale to display "canceling" naturals in the courtesy key signature for any sharps (or flats) that are no longer sharped (or flatted) in the new key signature. Otherwise, no naturals will appear in the courtesy key signature. • Display Courtesy Key Signature at End of Staff System. If a time signature change occurs at the end of a line (system) of music, it’s traditional to forewarn the musician by displaying the incoming time signature at the rightmost end of the preceding system. If you want this "courtesy" key or time signature to appear, select this checkbox. If not, leave it unselected, and the new key or time signature will only appear at the beginning of the new line. • Preserve Octave When Simplifying Keys. When using Simplify Keys in a Staff Transposition, Finale will octave displace a note in some rare circumstances. Checking this box will prevent the octave jump while attempting to simplify the key for transposing instruments. This box is unchecked for documents converted from earlier versions. • Space Before Key Signature Key • Space After Key Signature • Canceled Key. The top two numbers determine the amount of space before and after a key signature in the score, respectively. The Canceled Key number sets the distance between a "canceled" (outgoing) key signature and a new one. • Space Between Key Signature Accidentals. This number determines the distance between accidentals in key signatures. • Extra Space Between Key and Time Signature. Here, specify the space between the key signature and time signature. You can use this setting as an alternative to the Space Before key signature setting. • Music Characters; Select. Here, specify characters to use for accidentals on key signatures. Select an accidental type from the drop-down list, then click Select to choose the character for the accidental. The available characters will depend on the default font for key specified in Font options. 1130

See Also: Key signatures Key Signature dialog box Key Signature Tool Document Options-Fonts Document menu/Document Options

1131

Document Options-Layers dialog box

How to get there From the Document menu, choose Document Options and select Layers.

What it does The easiest way to notate simultaneous independent voices on a single staff is to use Finale’s Layer mechanism. Using these options, you can define the behavior of music in each layer—for example, you might want the second layer’s note stems always to go down, and you might want to make sure that second layer rests are out of the way of the upper layer. Note that the system of Voice 1/Voice 2 uses a completely independent method of flipping the stems. • Settings for Layer 1 • Layer 2 • Layer 3 • Layer 4. Using this drop-down list, choose the layer for which you’re establishing your settings. For example, you may decide that stems in Layer 1 should go up, and stems in Layer 2 should go down. How you handle Layers 3 and 4—since there 1132

aren’t any more stem directions to choose from—depends on the structure of the inner voices in the particular piece you’re working on. • Freeze Stems and Ties • Freeze stems Up/Down. When you select this checkbox, you can choose an automatic stem direction for stems. Choose either Up or Down from the drop-down list. Most of the time you’ll want to freeze Layer 1’s stems up and Layer 2’s stems down, and also to select Apply Settings Only if Notes are in Other Layers; with this setup, Finale will flip all stems up only when necessary—when there’s another voice (that is, in another layer) on the same staff. • Freeze Ties in the Same Direction as Stems. When there’s only a single voice on a staff, a tie customarily arcs away from the noteheads it’s attached to—hence, in the opposite direction from the note stems. If there are two voices on the staff, however, ties that followed this scheme would overlap and be difficult to read. This option, then, tells Finale to flip ties the "wrong way"—in other words, if notes in Layer 2 are present, you’ll want ties in Layer 1 to flip upward, even though the Layer 1 stems are upward. • Adjust Floating Rests by ___ Steps. If you select this item, you can enter a number in the text box that tells Finale, in lines and spaces, how much higher (or lower) than usual you want it to position rests in this layer. For example, you may want to enter a 4 in the text box and also select Apply Settings Only if Notes are in Other Layers; with this setup, Finale will move the upper voice’s rests up out of the way only when there’s a second voice on the same staff. (Of course, you could accomplish the same thing manually, by dragging any rest vertically using the Speedy Entry Tool; position the insertion bar on it and then drag it up or down.) A typical setup might be an Adjust Floating Rest setting of 4 for Layer 1, and –4 for Layer 2. • Hide Layer when Inactive. When this item is selected, the notes in this layer will only appear when it is the active editing layer. When this item is not selected, the notes in a hidden layer will appear as greyed notes when you are editing other layers. • Apply Settings Only if Notes are in Other Layers. Select this option if you want the other options—involving stems, ties, and rests—to apply only when there’s another voice (in another layer). If you don’t select this option, Finale will flip all Layer 1 stems (for example), or adjust all Layer 1 rests, even when Layer 1 is the only voice in a measure. • Ignore Layers Containing Only Hidden Notes • Ignore Hidden Layers. Check Ignore Hidden Notes to have Finale skip Layer Options settings for measures where only hidden notes appear in other layers. Uncheck this box to have hidden notes affect when Finale applies the Layer Options settings, if the Apply Settings Only box is checked. For example, you may wish to check this box if you’re using hidden notes in another layer for playback of a notated trill. Check Ignore Hidden Layers to have Finale skip

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Layer Options settings if the entire layer is hidden by the Hide Layer when Inactive checkbox above. • Playback. If you select this item, notes in this layer will playback as normal. If you uncheck this item, notes in this layer won’t playback. For example, you may wish to leave layer 1 unchecked for playback for a notated trill. Note that the Play setting in the Instrument List provides the same function. • Affect Music Spacing. If you select this item, notes in this layer will be considered when music spacing is applied. If you deselect this item, notes in this layer will be ignored during music spacing. For example, you may wish to leave layer 4 unchecked for Affect Music Spacing for written-out playback-only trills. See Also: Multiple voices Instrument List Simple Entry Tool Speedy Entry Tool Document menu/Document Options

1134

Document Options-Lines and Curves dialog box

How to get there From the Document menu, choose Document Options and select Lines and Curves.

What it does Lines means staff lines, ledger lines, underlines, and so on. Here, you can change their thickness. In the Curves section, you can specify the resolution for curves displayed on the screen and for Non-PostScript printers. The resolution settings apply to all slurs, ties and curves for on-screen display and non-PostScript printing. • Line Thickness: Enclosures • Staff Lines. In these boxes, enter the desired thickness for enclosures and staff lines. • Ledger Lines: Thickness • Left Half • Left Half Rest • Right Half • Right Half Rest. Enter a value after Thickness to globally set the thickness of ledger lines. For the remaining parameters in this section, you can specify 1135

the lengths of the left and right halves of ledger lines independently— that is, the portion that protrudes from the left and right sides of the note or rest. A positive number makes the ledger half longer. • Resolution • Lower Resolution • Medium Resolution • High Resolution. Technically speaking, these settings determine how many tiny, vertical line segments Finale uses to compose the display of each slur, tie, and brace. Instead of clicking one of the three general-setting buttons, you can also enter a number from 1 to 128 directly into the Resolution text box. The higher the number, the finer the resolution of these curves will be—but (as indicated in the wording of the dialog box) the longer it’ll take the program to draw them on the screen. For that reason, you may want to leave the Curve Resolution on Low while you’re preparing your piece, and then change it to High just before you print on a non-PostScript printer. If you have a PostScript laser printer, these settings have no effect on your printouts. • Underline Depth. The number in this text box sets the distance, for underlined text, between the underline itself and the baseline of the text. • Underline Thickness. The number in this text box sets the thickness, for underlined text, of the underline itself. • Shape Designer Slur Tip Width. This setting determines the thickness of the curved line at the end of a slur in the Shape Designer. See Also: Shape Designer dialog box Document menu/Document Options

1136

Document Options-Lyrics dialog box

How to get there From the Document menu, choose Document Options, and then select Lyrics.

What it does Here, you can specify the alignment and justification of specific types of syllables in your piece such as syllables with word extensions, or syllables starting a system. You can also set the hyphen spacing, word extension line thickness and the position of word extensions (vertically and horizontally. • Syllables with Word Extensions • First Syllable in Lyric • Syllables at Start of System • Others; Alignment • Justification: Center • Left • Right. You can select the global alignment and justification option for your score with these settings. (See Lyrics menu for examples of syllable alignment and justification.) The order of the alignment and justification items in the dialog box also indicate order of precedence. For example, if you have a syllable which is the first syllable in the system, but also has a 1137

word extension, the Syllables with Word Extensions settings will be used instead of the Syllables at Start of System (assuming you have both these items checked). If you have a syllable that starts a system as well as has a word extension, the setting for word extensions will be used. Select the checkbox next to the options you would like to affect your score.

• Use Smart Hyphens. With this box checked, Finale can create hyphens over system breaks automatically and also uses the hyphen character of the font specified for lyrics. • Always. Choose Always to place a hyphen at the start of the following system whenever the last syllable on the previous system has a hyphen. With this option selected, a hyphen will appear at the start of the second system even if the lyric is attached to the first note. • Only when the first syllable is attached to the second note or later. Choose this option to only show hyphens at the start of the second system if the lyric appears on the second note of the system or later. • Never. Choose this option to never put a hyphen at the start of the second system. • Maximum Space Between Hyphens. Enter the distance between multiple hyphens that appear between lyric syllables. When the distance between hyphens matches this value, Finale creates another hyphen between the lyric syllables. If you only want a single hyphen to appear between syllables, set this value to a large distance, such as 12 inches. • Word Extensions. Click Word Extensions to open the Word Extensions dialog box where you can modify the appearance and behavior of Smart Word Extensions. See Also: Lyrics Document menu/Document Options Word Extensions dialog box

1138

Document Options-Multimeasure Rests dialog box

How to get there You can access the Multimeasure Rest options from a number of places, depending on whether you’re setting up global values for multimeasure rests, extracting parts, or creating and editing multimeasure rests in your music. 1. From the Document menu, choose Document Options, then select Multimeasure Rest to change the default settings for multimeasure rests. 2. In Scroll View, select one or more staves with the Staff Tool, then choose Special Part Extraction from the Edit menu. 3. From the Document menu, choose Manage Parts, click Part Creation Preferences, then click Multimeasure Rests.

What it does Use the Multimeasure Rest dialog box to define how Finale will display multimeasure rests for the score or parts. In this dialog box, you can set up the appearance of newly created multimeasure rest measures in the score. Here, you will be define the initial appearance of each multimeasure rest Finale creates. (Finale also uses the multimeasure rest settings from the Document 1139

Options when you create a multimeasure rest by choosing Create from the Multimeasure Rests submenu in the Measure menu.) To change the appearence of an existing multimeasure rest, use the Multimeasure Rest dialog box. • Select. The shape for the multimeasure rest itself is identified by the number in the text box next to the Select button. If a number other than zero appears in the text box, a rest has already been selected. If a zero appears in the text box, click Select to enter the Shape Selection dialog box, which contains the shapes available in this file. Click Select if you want to select an existing rest shape. If you want to create your own shape, click Create in the Shape Selection dialog box to enter the Shape Designer. • Adjust Start Point • Adjust End Point. Use these values to adjust the start and end points of the shape used for the multimeasure rest. Changing these values lengthens or shortens the shape. You usually won’t need to change these settings, but you may find them useful if you have a cautionary clef sign that appears in the multimeasure rest grouping. Enter positive values to shift the shape’s start or end point to the right; enter negative values to shift the start or end point to the left. • Update Automatically. With this box checked, Finale automatically redistributes multimeasure rests to show measures containing notes added within the measure region of a multimeasure rest. (Notes can be entered into one of these measures in Scroll or Studio View where multimeasure rests are not visible). With this box checked, multimeasure rests will never overwrite notation. If this box is not checked, notes can appear in Scroll or Studio view, but be hidden by a multimeasure rest in Page View. Note that Finale does not automatically re-create multimeasure rests if the notes are deleted. • Number Adjustment: H: • V:. Set the horizontal and vertical position of the rest number by entering values (in measurement units) in the Number Adjustment fields. Enter a positive value in H: to move the number to the right. Enter a positive value in V: to raise the rest number higher on the staff. • Start Numbering at ___ Measures. There are certain cases in which you may not want a number to appear over a multimeasure rest. If you have a section that’s vamping, for example, you may prefer to have no number appear, then add an expression that says to vamp a certain number of times, or until a singer or instrument comes in. This value is also useful when you’re notating rests with symbols instead of a shape. Standard notation practice advises using symbols for rests that are less than nine measures. If you don’t want a number to appear over the symbols, enter "9" in this text box. A number will only appear on rests of nine or more measures. • Measure Width. The value in this text box specifies the minimum width (in measurement units) of a multimeasure rest measure. Rests may actually 1140

be stretched somewhat wider when Finale justifies the systems on a page. You can also use the Measure Tool to adjust the measure width of a single measure right on the score. • Use Symbols for Rests Less Than ___ Measures. Select this option if you want to use the alternate symbolic style of notating rests instead of using a shape. You can use a combination of double and whole rest symbols. Finale defaults to nine measures as the maximum for using symbols, adhering to standard practice. If you prefer to use the symbolic style and don’t want numbers to appear over the rests, be sure to change the Start Numbering at ___ Measures text box to reflect the number of measures for which Finale should display a number over the rest. • Space Between Symbols. This value (in measurement units) controls the distance that appears between each rest symbol when you’re using the symbolic style to notate multimeasure rests. See Also: Multimeasure rests Shape Designer dialog box Measure Attributers dialog box Measure Tool Document menu/Document Options

1141

Document Options-Music Spacing dialog box

How to get there From the Document menu, choose Document Options, then select Music Spacing.

What it does Because the matter of music spacing is one of personal taste, this dialog box lets you determine how Finale handles music spacing; for example, you can specify whether or not extra space should be allotted to accommodate lyrics or chord symbols, or specify the minimum distance between tied notes. To select the default measurement units, click on the Edit menu, then Measurement Units, then select the desired units. • Avoid Collision of: Notes and Accidentals • Articulations • Chords • Lyrics • Expressions • Clefs • Unisons • Seconds • Ledger Lines. Because lyric syllables, accidentals, and other elements are "attached" to their notes, they may require that extra space be allotted to their notes. If 1142

the appropriate options are selected, Finale will add enough additional space to each beat or note to ensure that none of these elements overlap (or, in the case of Notes and Accidentals, that no accidentals overlap other notes or a barline). • Minimum Measure Width • Maximum Measure Width. Using these text boxes, you can specify a minimum or maximum width for the measures in the region you respace with the Music Spacing command. If any measures are narrower or wider than you’ve specified, Finale will adjust them so that they fall within the specified range. This feature can be useful for setting whole-rest and whole-note measures to some width that’s wider than Finale’s spacing feature would ordinarily allot. • Minimum Distance Between Items. Enter the minimum distance (in the current measurement units) you want to appear between elements selected for collision avoidance. • Minimum Distance Between Notes with Ties. Enter the minimum distance (In the current measurement units) you want to separate ties notes. • Manual Positioning: Clear • Ignore • Incorporate. Manual positioning refers to any manual dragging you’ve done with the Speedy Entry Tool or the Special Tools Tool. Choose Clear from the drop-down list to remove all manual adjustments while spacing the music. Choose Ignore from the dropdown list to have Finale space the music as if it weren’t manually positioned; after spacing, Finale will add the positioning to its result. Finally, choose Incorporate to include any manual adjustments into Finale’s calculations while spacing the music. • Grace Note Offset on Entry: Automatic Distance Between • Keep Current • Reset to Grace Note Offset. Enter a value here (in the measurement unit chosen under the Edit menu) to specify the distance between consecutive grace notes. Choose Keep Current to leave grace notes at their current positions upon music spacing (use this option if you want to retain manual positioning applied to grace notes). Choose Reset to Grace Note Offset to set grace notes back to the positions specified by the Grace Note Offset on Entry option in Document Options-Grace Notes. • Use Fonts and Resolution from: Screen • Printer. These options account for the differences between the screen and printer resolution. Choose Printer to ensure that computations use printer fonts and resolution from the currently selected printer. • Use Spacing Width Table; Widths. Select Use Spacing Width Table to use the spacing setting in the currently loaded Spacing Table. Click the Widths button to enter the Spacing Widths dialog box, where you can view

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or change the actual pairings of rhythmic values to width allotments. (See Duration Allotments dialog box.) • Use Default Width If Duration Not In Table. In each of the Spacing Width Libraries Finale uses to calculate the appropriate spacing to give each note, there are width allotments assigned to each of two dozen note values. For example, Finale knows precisely how much space to give a quarter note, an eighth note, and so on. Sometimes, however, Finale will encounter a note in your score for which it doesn’t have a predetermined width value—a quintuplet sixteenth note, for example. If you leave Use Default Width unselected, Finale will automatically consult its Spacing Library to find out the widths assigned to the nearest note values—a sixteenth note and a 32nd note, in the quintuplet example—and interpolates a new value automatically. This intelligent method will always give you the most professional results. If you select Use Default Width, Finale will assign all unknown note values to a single default catch-all width value. See Duration Allotments dialog box for instructions on setting this default value, whose Duration is called zero. • Use These Values: Reference Duration; Duration • Reference Width • Scaling Factor. Select Use These Values to use a spacing ratio for all values instead of setting individual values using the Spacing Table. The Reference Duration is the selected note to base the spacing on, such as the quarter note or whole note. Click Duration to bring up the Set Duration dialog box to select from a palette instead of typing in the EDU for the specified duration. See Set Duration dialog box. The Reference Width tells Finale the amount of space to allocate to the Reference Duration. The Scaling Factor (a number from 1.0 to 2.0) determines the spacing relationship between the Reference Duration and other durations in the document. For example, if a quarter note has a Reference Width of 72 EVPUs and the Scaling Factor is set to 2.0, the half note will receive 144 EVPUs (or twice as much) space. Conversely, a Scaling Factor of 1.0 will give the same amount of space to every note. The Scaling Factor for Fibonacci Spacing, a commonly used relationship in many fields, not just music spacing, is 1.618. • OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made in this dialog box. You return to the score. Tip: Music Spacing can be applied when notes are entered with Automatic Music Spacing (Program Options-Edit) or select a region of music with the Selection Tool and 1144

choose Apply Music Spacing from the Utilities menu. See Also: Music spacing Document menu/Document Options Document menu

1145

Document Options-Notes and Rests dialog box

How to get there From the Document menu, choose Document Options and select Notes and Rests.

What it does This dialog box contains options for choosing specific characters for note and rest durations. Also specify rest positioning and the amount of space before and after each barline in your document. • Use Note Shapes. This checkbox is the switch for the settings you make in this section. When it’s selected, the score displays your selected notehead shapes; deselect this checkbox to restore normal noteheads (until you reselect it). The Special Tools Tool lets you change normal noteheads to X noteheads, diamond noteheads, and so on, on a case-by-case basis. There may be times, however, when you need every occurrence of a certain pitch to have a certain shape. "Shape-note" gospel music uses such a system, for example, as do many drum parts. This section not only lets you specify 1146

a different note shape for every note of the scale, but even a different note shape for every rhythmic value for every note of the scale. You can also use this feature for creating rhythm part slashes by using the slash mark instead of a notehead. • Replace: Double Whole • Half • Quarter. Using this drop-down list, select the traditional notehead shape you want to change. • Noteheads on Scale Degree ___ • [Arrow controls]. Either type, or click the arrow controls to select, the scale degree number for which you want to change the selected notehead shapes. For example, to change every occurrence of G to an X-notehead in the key of C, enter 5 in this text box, since G is the fifth note of the scale. • With This Symbol: ___ • Select. The character displayed in this text box is the alphabetic equivalent of the particular notehead shape you’re specifying; it appears in the system font, regardless of what it looks like in the music font. For example, even if you’ve selected an X notehead in the Maestro music font, you’ll see an upside-down question mark in this text box. Instead of having to look up the alphabetic equivalent for the music symbol you want, simply click Select. Finale displays a palette containing every symbol in the music font; double-click the shape you want to use as the replacement notehead. When you return to the dialog box, Finale enters the symbol’s alphabetic system font equivalent in the text box automatically. • Rest Positioning: Eighth • 16th • 32nd • 64th • 128th. You can specify the exact vertical position of different rests. Enter a value in the text boxes and Finale will shift each rest type according to your setting. The default rest position values in EVPUs for the Maestro, Petrucci and Engraver fonts are: Rests

Values

8th, 16th, 32nd

0

64th

-24

128th

-48

The default rest position values in EVPUs for the Sonata font are: Rests

Values

8th

12

16th, 32nd

-12

64th

-36 1147

128th

-60

• Flag Positioning: First Upstem Flag • First Downstem Flag • Second Upstem Flag • Second • Spacing Before Music • Spacing After Music. These numbers determine the amount of space before and after the music in a measure. The first number is the distance between the end of the measure header (the clef, key and time signatures) and the first note or rest; the second number sets the distance between the last note or rest and the final barline. • ScaleManual Positioning of Notes. This option pertains to adjustments you make by dragging notes sideways (using the Speedy Entry Tool or the Special Tools Tool). This setting has the most relevance when you consider notes in different voices (or layers) that are an interval of a second apart— an F in the stems-down voice and a G in the stems-up voice, for example— which you must drag apart so that their noteheads don’t overlap. But even if you make such notes look perfect in Scroll View, they may look askew in Page View, because measures are slightly wider in Page View (Finale stretches them so that they’re fully justified with the page margins). As the measure gets stretched, so does the relative distance between notes. To eliminate this problem, deselect this checkbox. From now on, Finale will remember the specific amount you dragged a note—a quarter-inch, for example—instead of storing the note-heads’ positions relative to the measure width. Therefore, even when the measures change width, notes that you’ve carefully dragged into position in Scroll View will be exactly the same distance apart in Page View. Note: When you open documents created with versions earlier than 3.0, you’ll find that this checkbox is selected. Moreover, if you then deselect this checkbox, notes that you had positioned manually in the older file may shift positions, requiring you to readjust them. • Display Cross-Staff Notes in Original Staff. If this checkbox is selected, Finale draws all cross-staff notes on their original or "source" staves, to make editing and proofreading easier for you. To restore cross-staff notes to their cross-staff positions, deselect this checkbox. (Even when the option is selected, you can still create cross-staff notes with the Note Mover— you just won’t see the results until you deselect this checkbox.) • Notehead Characters, Select. The items in this drop-down list refer to the shapes used as the basis of Quarter notes and smaller values. Use the drop-down list to choose the type of notehead you want to change, then click Select to choose an alternate shape. The available characters will depend on the default font for noteheads and rests specified in Font options. • Rest Characters, Select. The items in this drop-down list govern the character to be used for rests of the indicated values: Double Whole and so on. Use this drop-down list to choose the type of rest you want to change, then click Select to choose an alternate shape. Choose Default Measure 1148

Rest to select the rest character to be used in measures without entries. If you choose a non-rest character, Finale will reset to the whole measure rest. The available characters will depend on the default font for noteheads and rests specified in Font options. • Colored Noteheads • Show Border Around Color Noteheads • Reset Colors • C • D#/Eb • ...B. These colors apply to noteheads in any staff designated to use color noteheads (in the Staff Attributes dialog box). Choose Show Border Around Color Noteheads to display a black border surrounding the colored noteheads as shown below:

Finale's default colors are based on the Chroma-Notes™ Colored Music System for use with Boomwhackers® Tuned Percussion Tubes. (See Boomwhackers® Tuned Percussion Tubes / Chroma-Notes™ Instruments for details). To customize a pitch's color, click its corresponding button to open the Color dialog box where you can select a new color. Click Reset Colors to revert to Finale's default notehead color settings. See Also: Staff Styles Document Options-Fonts Document menu/Document Options

1149

Document Options-Piano Braces and Brackets dialog box

How to get there From the Document menu, choose Document Options and select Piano Braces.

What it does Using these options, you can adjust the curvature, thickness, and overall shape of the curly piano braces used in your document. • [Display and handles]. Finale creates a piano brace by drawing two sets of curves, then filling the space in between with black to produce a smoothly tapered brace. By tugging on handles that control the curves, you can make different sections of the brace thicker or thinner.

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• H: • V:. These values for each of the items listed below describes the horizontal and vertical placement of the corresponding handle (as shown in the diagram above). To move a handle to the right, enter a positive number in the H: text box. To move a handle down, enter a negative number in the V: text box, and so on. • Outer Tip • Inner Tip. These handles (and their corresponding H: and V: coordinates) control the thickness of the brace near the outer tips. • Outer Body • Inner Body. These handles (and their corresponding H: and V: coordinates) control the thickness of the brace near the center—the main curve. • Width of Brace. This variable controls the overall width of the brace, from its leftmost point (the center point) to the rightmost (the points of the tips). • Center Thickness. Enter a value in measurement units for the thickness of the center point of the piano brace. Increase the value to make the center point thicker, decrease the value to make the center point thinner. • Tip Thickness. Enter a value in measurement units for the thickness of the tips of the piano brace. Increase the value to make the tips blunter; decrease the value to make the tips thinner. • Default Distance from Left Edge of Staff. Here, you can specify the space between group brackets and the left edge of the staff. • Reset. Reset restores the piano brace to its original default settings. See Also: Groups Document menu/Document Options

1151

Document Options-Repeats dialog box

How to get there From the Document menu, choose Document Options and select Repeats.

What it does The Repeat options provide a number of powerful options that enable you to define global settings for repeats. The changes you make affect the appearance of all repeat bars in your score. You can set the thickness of both thin and thick lines of a repeat, tell Finale how much space to leave between repeat lines or between lines and dots, and draw repeats that have curved, single, or double "wings". You can also set the amount of space to leave before a forward repeat that is placed after a starting clef, or a key or time change. You can define the appearance of repeat dots and position them in relation to the repeat, independently of each other. Finale also offers three choices of back-to-back repeat styles.

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• Wing Styles: None • Curved • Single • Double. Click to select a wing style for all repeat bars in your score. • Back-to-Back Styles: Thin • Mixed • Thick. Click to select a style for back-to-back repeats in your score, using thin lines, a mixture of thin and thick lines, or only thick lines. • Line Options: Heavy Line Thickness. Enter the line thickness (in measurement units) of the thick lines used in repeat bars. This setting affects the thick lines in all repeats currently in your score, as well as those not yet created. • Line Options: Thin Line Thickness. Enter the line thickness (in measurement units) of the thin lines used in repeat bars. This setting affects the thin lines in all repeats currently in your score, as well as those not yet created. • Line Options: Space Between Lines. Enter a value (in measurement units) to set the distance between the thin and thick lines in repeat bars. • Forward Repeat Spacing: After Clef • After Key • After Time. These three new controls ensure that enough space appears before forward repeat bars in your score. Enter a positive value (in measurement units) to change the distance between forward repeats and any starting clefs, or key or time signatures at the start of staff systems. • Space Between Dot and Line: Forward Repeat • Backward Repeat. These settings enable you to position a repeat dot horizontally in relation to the thin line of a repeat. Enter a value in Forward Repeat (in measurement units) to set the horizontal spacing between a dot and the thin line in a forward repeat. As the value increases, so does the distance between the dot and the line. Enter a value in the Backward Repeat text box (in measurement units) to set the horizontal spacing between a dot and the thin line in a backward repeat. As the value increases, so does the distance between the dot and the thin line. • Vertical Dot Adjustment: Upper Dot • Lower Dot. By default, Finale places repeat dots vertically in the center of the spaces above and below the middle line of the staff for the Upper and Lower Dot respectively. These settings allow you to vertically reposition dots in relation to their default positions. Enter a positive value (in measurement units) to raise the upper or lower dot above its default position. As the value increases, the dot moves higher up the staff. Entering a negative value moves the dot below its default position. As the negative value increases, the dot moves further down. • Show On: All Staves • Top Staff Only • Staff List: New Staff List • (All defined Staff Lists); Edit. These options control the default "Show On" setting for all repeat dialog boxes including the Backward Repeat Bar Assignment, Text Repeat Assignment, and Edit Ending dialog boxes. Select All Staves to indicate you want to show repeat markings on every staff in the score and parts. Select Top Staff Only to indicate you want 1153

repeat markings to appear on the top staff only. Select New Staff List to display the Staff List dialog box, where you define which staves will display repeat markings. To select a Staff List already created for use in the score, choose its name from the drop-down list. Click Edit to display the Staff List dialog box for the selected Staff List, and change which staves repeat markings should appear in. The set tings in this subsection do not apply to existing repeats. • Add Period After Number. Check this box to automatically place a dot after the number that appears in repeat ending brackets (the number that appears after "Ending Number(s)" in the Create Ending dialog box or Edit Ending dialog box. This option does not apply to Alternate text specified in these dialog boxes. • Repeat Dot Character: Select. Click Select to choose the character used for the repeat dots. • Reset. Click Reset to restore the built-in Finale default settings. • Maximum Repeat Passes. Enter a value in this text box to specify the maximum number of times a repeated section is allowed to playback. This option overrides a repeated section defined to repeat a greater number of times. Most importantly, if any repeated section in the document is defined to loop back on itself at every pass, this setting prevents Finale from processing these measures infinitely (which effectively hangs the program upon initiating playback). • Repeat Endings. Click this button to open the Repeat Endings dialog box. See Repeat Endings dialog box. See Also: Repeats Repeat Tool Repeat Endings Document menu/Document Options

1154

Document Options-Staves dialog box

How to get there From the Document menu, choose Document Options and select Staves.

What it does This dialog box contains settings for controlling staves in documents used as Document Styles. See Document Styles. • Default Topline to Topline Distance. This is the default distance between new staves (in currently selected measurement units (see Measurement Units), measured from the top line of one staff to the top line of the next. Enter a value to place the staves closer or farther apart in scores using these settings as part of a Document Style. Note: Finale always measures Topline to Topline Distance from the top line of a standard, 5-line staff. To locate Finale’s “Topline” position on staves with fewer than five lines (such 1155

as percussion staves), look for the staff handle; it always indicates the top line position. • Always Use Default Topline to Topline Distance. The Default Topline to Topline Distance is a Preferred Value that can Change if Necessary. Choose Always Use Default Topline to Topline Distance to apply this setting to all new files using this Document Style (when starting new documents with the Setup Wizard). Choose The Default Topline to Topline Distance is a Preferred Value that can Change if Necessary to tell Finale to make adjustments to the staff spacing in order to make the most of space available on the page. If this option is selected, for example, Finale might squeeze the staff spacing in order to fit more systems on a page. • Setup Wizard "Extra Space" Value. This is the amount of vertical space added when the Add Vertical Space button is used to add space between staves in the Document Setup Wizard. See Setup Wizard. See Also: Staves Staff Attributes dialog box Document menu/Document Options

1156

Document Options-Stems dialog box

How to get there From the Document menu, choose Document Options and select Stems.

What it does This dialog box contains options for controlling stem length, thickness and offset from notehead as well as options for customizing your stem connections. • Normal Stem Length • Shortened Stem Length. These numbers determine the lengths of note stems, measured in the currently selected measurement units. (Set both boxes to zero if you want stemless notes.) The first number is the length of a normal stem. The Shortened Stem Length specifies the length of a stem that’s been flipped in the "wrong" direction, on a note a line (or more) away from the middle staff line.

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• Half-Stem Length. Enter a value in measurement units for the length of all half-stems placed over rests. Use the Document Options dialog box to set whether Finale displays half-stems over rests in your score. • Reverse Stem Adjust. A reverse stem is one that’s attached to the "wrong" side of its note-head, often in conjunction with cross-staff notes or notes in different registers, as shown here:

The number in the Reverse Stem Adjust text box specifies where a note’s stem should end, measured in the currently selected measurement units from its normal location, in those cases where the stem direction is also reversed (see figure below).

Note, however, that Finale also considers a number of other variables when it decides how long a stem should be, including the Max Slope and Max Distance From Middle Staff (in Document Options-Beaming) parameters, as well as standard notation rules for stemming. Therefore, if

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you change the value for this parameter you may not see any immediate changes in the score. • Stem Line Thickness. Enter a value here to specify stem line thickness throughout your document. • Stem Offset for Noteheads. This value, which you may need to change if you use a music font other than Maestro or Petrucci, adjusts the vertical position of the note stems relative to their noteheads. The number (in measurement units) specifies the distance between the note-head and the bottom of the stem. The default is .5 points (or the equivalent unit of measurement). You can also specify the settings for each individual notehead type. • Display Reverse Stemming. A reverse stem is one that’s drawn on the "wrong" side of its notehead; it’s encountered most frequently in conjunction with cross-staff notes.

You may find your score easier to edit, however, if these stems are temporarily drawn on the correct sides of their noteheads; if so, select this option. At any time, you can restore these stems to reverse-stem status by turning this option off again. (You might want to select this option at the same time you select Display Cross-staff Notes in Original Staff, so that all notes are temporarily drawn without their unusual beaming configurations.) • Use Stem Connections. When Use Stem Connections is selected, Finale uses all the special stem connections defined in the document. If you have X noteheads or other custom noteheads in the piece and Use Stem Connections is selected, Finale will adjust the stems on the noteheads shown in this dialog box. When this option is not selected, no special stem connection settings are used. • Stem Connections. Click to display the Stem Connections dialog box, where you can define custom stem connections. See Also: Stems 1159

Document Options-Beams Stem Connections Document menu/Document Options

1160

Document Options-Text dialog box

How to get there From the Document menu, choose Document Options and select Text.

What it does In these options, specify the number of spaces in place of one tab number. Use the Text Inserts subsection to change the global definition of the sharp, flat, natural, double sharp, and double flat signs used as text inserts. The default settings are based on the Maestro font. These settings, which are saved with the document, are available if you wish to use a music font other than Maestro. Also, modify the format of the time stamp. • Use _ Spaces in Place of One Tab Character. You enter a number in this text box to specify how many spaces you want Finale to "type" for you when you press Tab while entering the text for lyrics or text blocks. (Finale considers a tab in a set of lyrics an "end-of-syllable" mark, just like a space or hyphen.) • Symbol: Sharp • Flat • Natural • Double Sharp • Double Flat. Choose the symbol that you want to change from the Symbol drop-down list. Any 1161

change you make to these global settings affects the appearance of all inserts of the same type in your score. You may want to change these if you’re using a font other than Maestro for your music font. • Symbol: Select. Enter the text font equivalent for the symbol, or click the Select button to display the Symbol Selection dialog box, where you can choose the character you want to use for the currently selected insert. The symbol you select will be used when you place the insert into the text. • Set Font. Click this button to display the Font dialog box, where you can choose the font and style for the currently selected insert. • Note: You cannot select a specific size for the insert character in the Font dialog box, since the size of the character is proportional to the preceding text. (If no text is entered yet in the text block, the insert will be proportional in size to the default font in Document Options-Fonts • Options: Font Size • Baseline Shift • Tracking Before • Tracking After. Enter values to size and position the insert proportionally, in relation to the point size of the font preceding the insert. Enter percentages for Font Size and Baseline Shift to adjust the size of the font and vertical position of the insert, respectively. Since music characters usually seem smaller than text characters at the same font size, you may want a value larger than 100%. Enter values, in ems (1/1000 of the current font size), in Tracking Before and Tracking After to adjust the amount of horizontal space before and after the insert, respectively. • Apply Settings to All Symbols. Click this button if you want the current settings (except for the selected character) applied to each symbol. Finale updates the font, baseline, and tracking values for each symbol. • Reset All Symbols. Click this button to restore the default settings, including their default Maestro characters, for each symbol. Finale updates all symbols in the score. • Include Seconds in Time Stamp. Select this option if you want to include seconds (2:43:15) in the time stamp you apply to a document (using the text inserts in the Text Tool). • Date Format. From this drop-down list, choose a short or long date form when Finale date-stamps its printouts. Finale is sensitive to the date, time, and decimal settings in the International portion of the Control Panel. You create such a date stamp using the Text Inserts in the Text Tool. See Also: Text Document Options-Fonts Document menu/Document Options

1162

Document Options-Ties dialog box

How to get there From the Document menu, choose Document Options and select Ties.

What it does Use the Ties Options to define global settings for the appearance and placement in the score of short, medium and long ties. Changes to these settings affect all ties to be added to the score as well as ties already in the score (note that you can override some Tie Options settings for individual ties in the Tie Alterations dialog box). To select the default measurement units, click on the Edit menu, then Measurement Units, then select the desired units. • Tie Placement: Over/Inner • Under/Inner • Over/Outer/Note • Under/Outer/Note • Over/Outer/Stem • Under/Outer/Stem. These six settings let you precisely place ties in your score for different situations. Over and Under refer to ties over the notes or chords and ties under the notes or chords, respectively. Inner ties are ties that sit inside of a tied chord. Finale uses the Inner settings to draw and place all ties in the score unless Use Outer Placement is selected. When either type of Outer tie is 1163

selected in the drop-down list, Finale uses these settings to draw and place outer ties on chords (an "outer" tie is the tie on the notehead farthest away from the stem end) when Use Outer Placement is selected. • Start H: • End H: • Start V: • End V:. Enter a value (in measurement units) into the Start H: text box for the tie’s distance horizontally from the inside edge of the first note tied note. A larger number moves the tie to the right, further away from the note. A smaller number moves the tie to the left, closer to the note. Enter a value (in measurement units) into the Start V: text box for the vertical distance of the tie’s left end over or under the first tied note. A larger number moves the tie up and a smaller number moves the tie down. Enter a value (in measurement units) into the End H: text box for the tie’s distance horizontally from the inside edge of the second tied note. A smaller number moves the tie to the left, farther away from the note. A larger number moves the tie to the right, closer to the note. Enter a value (in measurement units) into the End V: text box for the vertical distance of the tie’s right end over or under the second tied note. A larger number moves the tie up and a smaller number moves the tie down. • Use Outer Placement. Click the checkbox if you want to use the global Outer settings to draw single ties and ties on the outer notes for chords (the "outer" note is the notehead farthest from the stem end of a chord, or highest and lowest ties on stemless chords) differently than ties on the other notes. Use Outer Placement will override the four checkboxes directly below it. When Use Outer Placement is not checked, Finale uses the Inner settings for all ties in the score; there is no difference in the appearance of ties on the outer notes of chords. • Start After Single Dot • Start After Multiple Dots. Click the Start after single dot checkbox to start ties after the augmentation dot on dotted notes. When unchecked, ties start before the dot (which is the default setting). Click the Start after multiple dots checkbox to start ties after the last dot on multi-dotted notes. When unchecked, ties start before the first dot (which is the default setting). • End Before Single Accidental. When this option is selected, ties will end before a single accidental. If this option is not selected, ties will end after a single accidental. • Shift For Seconds. When this option is selected, ties will shift left or right to account for noteheads being on either side of the stem. When this option is not selected, ties will be aligned even though there are seconds in the chord.

On the left: Shift For Seconds is selected. On the right: Shift For Seconds is not selected. 1164

• Tie System Breaks: System Start Adjustment • System End Adjustment • Extra System Start Space. When a tied note pair is divided by a system (line) break, Finale breaks the tie before the break and continues after the new system. Enter a value (in measurement units) into System Start Adjustment for the tie’s position after the new system. A larger number moves the tie to the right, away from the system; a smaller number moves it to the left, closer to the system. Enter a value (in measurement units) into System End Adjustment to specify the tie’s position before the system break. A smaller number moves the tie to the left, away from the system; a larger number moves it to the right, close to the system. Enter a value for Extra System Start Space to adjust the Spacing Before Music value displayed in Document Options Notes and Rests. If you do not want to leave as much space for notes with ties to the right of barlines, you can use this value to move notes with ties to the left. • Chords: Stem Reversal. Select Stem Reversal from the drop-down list to set tie direction on chords based on the stem reversal point of notes on the staff. You can modify the stem reversal point in the Staff Setup dialog box. Ties on the top and bottom notes of chords always curve in opposite directions. Ties on inside notes at or above the stem reversal point go over tied notes. Ties on inside notes below the stem reversal point go under tied notes.

Note: Finale ignores this global Tie Direction setting when you set an individual tie’s direction to Over or Under in the Tie Alterations dialog box. • Chords: Split Evenly. Select Split Evenly from the drop-down list to set the direction of ties on chords as follows: Ties on the top and bottom notes always curve in opposite directions. In chords with an even number of notes, ties on inside notes are split evenly—ties in the upper half of the chord go over tied notes, and ties in the lower half of the chord go under tied notes.

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In chords with an uneven number of notes, ties on inside notes at or above the stem reversal point go over tied notes. Ties on inside notes below the stem reversal point go under tied notes. For information about the stem reversal point, see Staff Setup dialog box.

• Chords: Inside/Outside. This selection has been provided for compatibility with previous version only. Older files converted from before Finale 97 will have this option set. • Opposing Seconds. Click to select the checkbox. When checked, the two ties on second intervals curve in opposite directions. When not selected, Finale determines tie direction based on the Tie Direction setting. • Mixed Stems: Over • Under • Opposite First Stem. Select the desired setting for tie direction that you prefer when the stems of the tied notes are in opposite directions. • Time: Left Gap • Right Gap. Click to choose this option. When selected, Finale always breaks a tie before a time signature change and continues it after the new signature. Enter a value (in measurement units) into Left Gap for the distance to leave after ending the tie before the new time signature. Enter a value (in measurement units) into Right Gap for the distance to leave before continuing the tie after the new time signature. Note: This setting affects ties already in the score only when Default is the Break for Time Signature setting in the Tie Alterations dialog box for an individual tie. • Key: Left Gap • Right Gap. Click to choose this option. When selected, Finale always breaks a tie before a key signature change and continues it after the new signature. Enter a value (in measurement units) into Left Gap for the distance to leave after ending the tie before the new key signature. Enter a value (in measurement units) into Right Gap for the distance to leave before continuing the tie after the new key signature. Note: This setting affects ties already in the score only when Default is the Break for Key Signature setting in the Tie Alterations dialog box for an individual tie.

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• Tie Contour. Click to display the Tie Contour dialog box, where you define the global appearance and overall shape of short, medium, and long tie spans. • Reset. Click Reset to restore the original settings. See Also: Ties Tie Alterations dialog box Staff Setup dialog box Tie Contour dialog box Document menu/Document Options

1167

Document Options-Time Signatures dialog box

How to get there From the Document menu, choose Document Options and select Time Signatures.

What it does You can vertically adjust the abbreviated cut and common time symbols, and you can also separately adjust the top time signature symbol that shows the number of beats and the bottom symbol that shows the duration of the beat. You can easily create enlarged time signatures by choosing a larger point size for the time signature font (in the Select Default Fonts dialog box), then adjusting the placement of the top and bottom symbols within this dialog box. This dialog box also contains the settings for selecting the abbreviated cut and common time symbols, as well as spacing options. Since the appearance of time signatures sometimes differs between the part and score, separate settings are available - one for the score and one for parts.

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• Abbreviate Common Time to • Abbreviate Cut Time to; Select. These options allow you to select the symbol for Common or Cut Time signatures. Click the checkbox to use the symbols for Cut and Common Time. Click Score to choose a different symbol to use for the score (or just type the keyboard equivalent into the text box). Click Part to choose a different symbol to use for linked parts (or just type the keyboard equivalent into the text box). • Vertical Adjustment: Abbreviated Symbol • Top Symbol • Bottom Symbol. Enter values to change the vertical placement of the abbreviated time signature symbols used for cut and common time, the top symbol that shows the number of beats, and the bottom symbol that shows the duration of the beat. Enter a positive value to raise the symbol. Enter a negative value to lower the symbol. Use the Score column to apply these settings to the score. Use the Parts column to apply these settings to linked parts. • Display Courtesy Time Signature at End of Staff System. If a time signature change occurs at the end of a line (system) of music, it’s traditional to forewarn the musician by displaying the incoming time signature at the rightmost end of the preceding system. If you want this "courtesy" time signature to appear, select the appropriate checkbox here. If not, leave these checkbox unselected, and the new time signature will only appear at the beginning of the new line. • Space Before Time Signature • Space After Time Signature. These numbers determine the amount of space to the left and right of a time signature in the score, respectively. These numbers determine the amount of space to the left and right of a time signature in the document, respectively. Use the Score column to apply these settings to the score. Use the Parts column to apply these settings to linked parts. • Decimal Places for Composite Meters. When you create a composite meter (using the Time Signature Tool) that includes a fraction in the upper number, it’s displayed in decimal notation when it appears in the score. This number specifies the maximum number of decimal places you want Finale to use when it expresses these fractional numerators. This number specifies the maximum number of decimal places you want Finale to use when it expresses these fractional numerators. • Composite Time Signature Plus Sign Character; Select. Click this button to open the Symbol Selection dialog box, where you can choose the character for the plus sign in composite time signatures. Choose the font for this character in Document Options-Fonts, under notation. Click Score to choose a different symbol to use for the score (or just type the keyboard equivalent into the text box). Click Part to choose a different symbol to use for linked parts (or just type the keyboard equivalent into the text box). See Also: Time signatures 1169

Time Signature dialog box Document menu/Document Options

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Document Options-Tuplets dialog box

How to get there Ctrl-click the Tuplet Tool to display Document Options-Tuplets. Or, from the Document menu, choose Document Options and select Tuplets.

What it does When you create a new tuplet, Finale usually places a number over it (such as the 3 above a triplet). In this dialog box, you can change the default tuplet notation; for example, you could tell Finale to display a slur or bracket in addition to the number. Thereafter, each new tuplet you create will appear with all of these visual aspects already in place. Default Placement: • Manual • Stem/Beam Side • Note Side • Above • Below. When Manual is selected in this dropdown list, Finale uses the settings from the Default Tuplet Visual Definition dialog box to position the tuplet on the notes in the 1171

score. Drag to reposition the tuplet in the score. When Beam Side is selected and you create a tuplet on beamed notes, Finale automatically places the tuplet on the beam side and matches the beam angle. If Beam Side is selected and you create a tuplet on unbeamed notes, Finale places the tuplet using the Default Tuplet Visual Definition dialog box settings. You can then drag to adjust the tuplet in your score. Choose Above to place the tuplet above the staff by default. Choose Below to place the tuplet below the staff by default. • Engraver Tuplets. Check this box to enable Engraver Tuplets. Engraver tuplets automatically reposition to account for raised or lowered notes in the staff. They also update to avoid rests and staff lines. Bracket placement and slope for engraver tuplets is determined by the stem direction of the majority of stems in the tuplet (rather than the first stem in the tuplet as is the case when this box is not checked). • Avoid Staff. Check this option to instruct Finale to always place tuplet brackets above the top line, or below the bottom line of the staff. • Allow Horizontal Drag. Check this box to enable the ability to drag tuplet markings horizontally in the score. If this box is not checked, tuplets can only be adjusted vertically in the score. • Use Bottom Note. If the first note in the tuplet group is a chord, the numbers in the Position text boxes are generally measured from the top note; if you transpose that note up or down, the entire tuplet moves with it. Select this option, however, if you want these numbers measured from the bottom note instead. Default Appearance: • Number: Nothing • Number • X:Y, X:Yq, Xq:Yq. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet. If you choose, for example X:Y, Finale will display "3:2" for triplet numbers. If you choose Xq:Yq for a quarter note triplet, Finale will display "3q:2q". • Shape: Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered ends). • Break Slur or Bracket. If you’ve chosen a slur as the shape for the tuplet, then select Break Slur or Bracket, to have Finale break a slur or bracket to allow for a number to be placed there. • Always Use Specified Shape • Bracket Unbeamed Notes Only • Never Bracket Beamed Notes on Beam Side. Choose Always Use Specified Shape to place a bracket (of the shape defined above) on all tuplets. Choose Bracket Unbeamed Notes Only to instruct Finale to place brackets 1172

on unbeamed groups of notes only. Choose Never Bracket Beamed Notes on Beam Side to instruct Finale to place brackets on tuplets defined to appear on the note side of the staff (for example, if the beam appears above notes tuplets will only contain brackets if placed below the staff).

Default Position: • Number: Horizontal • Vertical. Enter values (in measurement units) to adjust the horizontal and vertical position of the tuplet number displayed in the score. • Center Number Using Duration. Check this box to position tuplet numbers based on the rhythmic center of the tuplet (rather than equidistant from the first and last note/rest of the tuplet). • Ignore Horizontal Number Offset. If you have specified a global sideways shift for the numbers in your tuplets, select this option if you don’t want it to apply to this tuplet. • Shape: Horizontal • Vertical. Enter values here to specify the horizontal and vertical adjustments for placing the shape (slur or bracket) in relation to the tuplet number. Enter a smaller or larger value for H: to change the position of the entire shape in relation to the notes. To move the shape closer to or further away vertically from the note, enter a smaller or larger value for V:. • Always Flat. Check this box to instruct Finale to always use flat brackets for tuplets. • Extend Bracket. Check this option to extend the right edge of the bracket to enclose the full duration of the tuplet. • Match Lengths of Hooks. Check this box to always use same length for left and right hooks. If the values for Hook Length are different, Finale uses the smallest value for both hooks. • Left Hook • Right Hook. These options replace the Left Offset and Right Offset text boxes that controlled the length of the left and right hooks on horizontal brackets in previous versions of Finale. Enter a negative value (in measurement units) in Left Hook or Right Hook to set the length of the left-most or right-most hook. The value is negative because Finale measures down from the bracket. If Match Length of Hooks is selected, Finale updates the Right Hook text box with the new Left Hook value. If Match Length of Hooks is not selected, you can enter different values in each text box. • Left Extension • Right Extension. By default, Finale initially creates a tuplet that surrounds the position of notes in the measures. However, in some cases it’s easier for a musician to interpret the music if the tuplet can encompass the visual space of the beat instead of just surrounding the notes. You can accomplish this by using these settings to specify how far 1173

the bracket or slur should extend beyond the notes. Enter a larger value to lengthen the bracket or slur.

• Manual Slope Adjustment. Enter a positive value to specify the angle of brackets or slurs when the right side is higher than the left. Enter a negative value to specify the angle when the right side of the tuplet lower than the left.

Horizontal Number Offset: • Upstem Side of Note • Downstem Side of Note. When Finale places the number above a tuplet grouping (such as the "3" above a triplet), it chooses a position that’s aligned precisely with the central notehead of the group. When the number appears on the stem side of the triplet, Finale follows the same rule—it aligns the number with the central notehead of the group as shown here.

However, a few publishers feel that the number appears to be off-center when positioned that way as shown here.

Some publishers prefer that the number be aligned with the central stem instead of the notehead. These two text boxes let you nudge the tuplet numbers in your piece to the right or left (by entering a positive or negative number, respectively). The first text box controls only stems-up notes; the second text box controls stems-down notes. As an example, entering -14 (EVPUs) into the second text box would nudge each tuplet number just enough to align it with a triplet’s central stem. You can override this global tuplet-number positioning offset on a case-by-case basis, using the Ignore Format Offset checkbox in Tuplet Definition dialog box. • Bracket Thickness. In this box, enter the desired thickness for all tie brackets.

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• Maximum Slope_Degrees. Enter a positive value to specify the maximum angle of brackets or slurs when the right side is higher than the left. Enter a negative value to specify the maximum angle when the right side of the tuplet lower than the left. See Also: Tuplets Tuplet Definition dialog box Tuplet Tool Document menu/Document Options

1175

Dot Offsets dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Special Tools Tool . Then, click the Dot Tool and double-click the handle of the note or rest whose dot you want to move.

What it does In this dialog box, you can precisely adjust the position of the dot on a dotted note or rest. (You can also globally adjust the horizontal position of dots in your document by adjusting the Dot Spacing variable in the Augmentation Dot dialog box reached from the Document Options dialog box). See Document Options-Augmentation Dots.) • H Offset. The number in this text box specifies the horizontal position of the dot relative to its default position. To move a dot to the right, for example, enter a positive number. • V Offset. The number in this text box specifies the vertical position of the dot relative to its default position. To move a dot downward, enter a negative number; to move it upward, a positive number. • Inter-Dot Spacing. The number in this text box sets the distance between the dots of a note or rest that has more than one dot. The default value is 2 points. • OK • Reset • Cancel. Click OK to confirm, Reset to restore the dot offsets for the dot you clicked to their default values, or Cancel to discard, any changes you’ve made to the status of the dot you clicked. You return to the score. See Also: Document Options-Augmentation Dots Special Tools Tool

1176

Duration Allotments dialog box

How to get there From the Document menu, choose Document Options, then select Music Spacing. Click Spacing Widths. Then click Widths.

What it does By spacing your music with the aid of a Spacing Library, you can create extremely professional-looking scores, in which measures are neither wider nor narrower than they need to be. There are several spacing libraries provided with Finale: Fibonacci, Loose, Medium, Tight, etc. After you’ve loaded one of these libraries into the document (by choosing Load Library from the File menu), you apply its spacing to your music by selecting the desired region and using the Music Spacing command in the Utilities menu. You can also edit or create your own Spacing Table using this dialog box. • Spacing Widths (#). A Spacing Width Table is constructed by assigning a horizontal space measurement to each rhythmic value—from sixty-fourth note to double whole note. The Spacing Width indicator tells you which of such duration/width pairings you’re viewing. (Click the Prev and Next buttons to cycle through the pairings.)| end • Duration. The number in this text box, measured in EDUs (1024 per quarter note), identifies the durational value whose width allotment you’re viewing. If you want to create a new duration/width pairing—for a tuplet that has no specified allotment, for example—you must first calculate the duration, as expressed in EDUs, and enter it in this box. (For example, the EDU value for a quintuplet eighth note is 205, because it’s one-fifth of a quarter note, whose duration is 1024). Then you enter a width allotment in the Allotment box, and click Insert.

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Instead of calculating the EDU equivalent, however, you can also click Duration to display a visual palette of rhythmic values. Click the desired value (and the dot, if it’s a dotted value) and click OK; Finale returns to the Duration Allotment box and fills in the EDU equivalent in the Duration box for you. (If, when viewing a duration/width pairing whose EDU number isn’t evenly divisible into a quarter note—a quintuplet value, for example— the duration palette will display the closest possible value.) • Spacing Width. The number you enter in this text box specifies the horizontal width to be allotted to any note of the displayed rhythmic value (Duration box). (As usual, the units of measurement are whatever you’ve selected using the Measurement Units submenu of the Edit menu.) If you notice that a certain Spacing Table isn’t allotting enough space for your sixteenth notes, for example, increase the Spacing Width value of the sixteenth note (Duration value: 256) and use the Music Spacing command again. You should notice that Finale is now giving more space to every sixteenth note in the selected region (if you made a large enough increase in its Spacing Width value). • Insert. If you need to create a new duration/width pairing, enter new numbers into the Duration and Spacing Width boxes, as explained above. (Don’t worry about typing over existing values; Finale will remember the values you’re replacing.) Then click Insert to save your new pairing into this Spacing Table. • Delete. Click Delete to remove a duration/width pairing from the table. • Prev • Next. Click Prev or Next to move backward or forward through the displays of duration/width pairings. • OK. Click OK to save any changes you’ve made to the Spacing Table and return to the Document Options-Music Spacing dialog box. If you then click OK again, your modified spacing widths are applied to the selected measures. If you’ve made substantial changes, you may want to save the complete edited library into a separate file of its own (a spacing library on your disk with its own icon), so that you can load it later into other pieces. If so, choose Save from the Library submenu of the File menu, click Music Spacing, click OK, give your customized library a title, and click Save. See also Save Library dialog box. • Cancel. Click Cancel to discard the last change you’ve made to the Spacing Table and return to the Document Options-Music Spacing dialog box. See Also: Music spacing Music spacing dialog box Utilities menu 1178

Document Options-Music Spacing dialog box

1179

Edit Bookmarks dialog box

How to get there From the Bookmarks submenu of the View menu, choose Edit Bookmarks. The Edit Bookmarks dialog box for the current view (Page or Scroll View) appears.

What it does Use the Edit Bookmarks dialog box to add a bookmark to the score, to edit the settings of an existing bookmark, or to remove a bookmark from the score. The Edit Bookmarks dialog box changes slightly depending on whether you’ve selected Assign to: Scroll View or Page View. • Name. Enter the name of a bookmark to be added or edited, or select the bookmark name in the Bookmarks list box. • Assign to: Scroll View • Page View. Assign a bookmark to Page View or Scroll View by clicking the appropriate radio button. • Bookmarks. This list box contains the names of existing bookmarks. Use the scroll bars as needed to display the bookmarks. When you select a bookmark in this list, its name appears in the Name text box. Any changes you make to the bookmark settings affect the current bookmark. Changes are updated as they are made.

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• Settings for Page View: Page • Zoom • Horizontal • Vertical. These settings are the same as the Add Bookmark Page View settings. See Add Bookmark dialog box. • Settings for Scroll View: Measure • Zoom • Staff Set • Staves. These settings are the same as the Add Bookmark Scroll View settings. See Add Bookmark dialog box. • Add • Delete. Click Add to create a new bookmark, or click Delete to remove the selected bookmark. • Done. Click Done to complete the action and return to the score. See Also: Add Bookmark dialog box View menu

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Edit Filter/Clear Selected Items dialog box

How to get there Edit Filter: From the Edit menu, choose Edit Filter (Shift-Alt-Ctrl-F). Or, select a region of music, then a Ctrl-Shift-Click the target region. Or, if you want to paste from the clipboard, press Shift-Ctrl-V to call the Edit Filter dialog before the paste.

IMPORTANT: The settings for copying (Edit menu > Edit Filter) in the Edit Filter dialog box are programwide. That means these settings apply to all documents when copying music, even after closing and restarting Finale. If you are unsure of previous 1182

settings be sure to review this dialog box prior to copying to ensure it is set up as desired. In contrast to copying, the Clear Selected Items dialog box invoked for clearing items (Edit menu > Clear Selected Items) is sessionspecific and resets after each use.

What it does You can copy or erase any element of your music without disturbing the remaining elements. This dialog box lets you specify which elements you want to copy or erase. For example, you might want to erase only the lyrics from a selected region, or you might want to copy only staff styles or time signatures from one place to another. You can specify any combination of items to copy or erase. Settings made here apply to music copied using both the drag-copy method and the Copy/Replace Entries commands under the Edit menu. Item

What it includes

Notes and Rests

When copying music, this includes notes and rests only, including their spacing. If you’re clearing, clicking Notes and Rests is the same as selecting all entry-related items (notes, articulations, slurs, lyrics, chord symbols, and so on) from the selected region (because those items can’t exist unless there are notes they can be attached to).

Tuplet Definitions

This element is only available when you’re erasing; it specifies that tuplet definitions created with the Tuplet Tool will be cleared from any tuplets in the selected region. In other words, if you select it, Finale will turn all tuplets (triplets, quintuplets, and so on) into normal nontuplet notes (even if the result is too many beats in the measures). See Tuplet Tool for more information.

Cross-staff notes

This element refers to cross-staff notes (notes that have been moved, for clarity, to another staff with the Note Mover Tool or with the Cross Staff Plugin). If you don’t select Cross-Staff Notes, Finale still copies all notes in the selected region; the difference is that the resultant copy will return the cross-staff notes to their original staff. (In order for cross-staff notes to copy, you must also have both staves in your selection.) See Note Mover Tool.

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Articulations

Select this item to clear or copy all articulation markings (staccatos, accents, and so on) created with the Articulation Tool. See Articulation Tool for more information on Articulations.

Chords and Fretboards

This item governs chord symbols (and fretboard diagrams, if any) you created with the Chord Tool. If you’re copying chord symbols from one passage to a passage in a different key, Finale transposes the chord symbols automatically. See Chord Tool for more information on Chord symbols.

Expressions; Dynamics...

(Copy or Erase) Expression markings in categories without Score Lists: Dynamics, Expressive Text,Technique Text, and Miscellaneous (see Expressions).

Expressions; Tempo...

(Copy or Erase) Expression markings in categories with Score Lists: Tempo Marks, Tempo Alterations, and Rehearsal Marks (see Expressions). Stack Selection Required.

Smart Shapes (Assigned to measures)

(Copy or Erase) The intelligent, stretchable expression markings created with the Smart Shape Tool: slurs, brackets, crescendos, and so on.

Smart Shapes (Assigned to Notes)

This checkbox allows you to select note-attached slurs or bends for copying and erasing.

Lyrics

Select this item to copy or erase lyrics you created with the Lyrics Tool. See Lyrics Tool for more information on Lyrics.

Text Blocks (Assigned to Measures)

(Copy or Erase) Text blocks you’ve attached to measures with the Text Tool.

Beam Extensions

These elements refer to beaming changes you’ve made with the Special Tools Tool (the Beam Extension tool). The significance of this and other elements in this dialog box pertaining to beaming is that you need only create such special beaming once—in the first measure. Then you can use this dialog box to copy only the beam modifications to other measures; even if the notes are different, they’ll receive the same custom beaming as the source measure. See Special Tools Tool.

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Dot and Tie Alterations

Special Alterations include any changes you’ve made with the Tie or Dot tools in the Special Tools Tool. See Special Tools Tool.

Notehead, Accidental and Tablature String Alterations

This item includes any reductions or enlargements you’ve performed on notes or note groups with the Resize Tool, as well as adjustments you’ve made to the positions of notes or accidentals with the Special Tools, or string changes to fret numbers on TAB staves. If you’ve created a measure of cue notes, for example, you’d select this checkbox to copy onto other measures so that their notes are reduced equally. See Resize Tool and Special Tools Tool

Secondary Beam Breaks

These refer to beaming changes you’ve made with the Special Tools Tool (the Secondary Beam Break tool). The significance of this and other elements in this dialog box pertaining to beaming is that you need only create such special beaming once—in the first measure. Then you can use this dialog box to copy only the beam modifications to other measures; even if the notes are different, they’ll receive the same custom beaming as the source measure. See Special Tools Tool.

Stem and Beam Alterations

This element refers to custom stemming and beaming you’ve created with the Special Tools Tool. It includes any changes you’ve made with the Stem Length, Custom Stem, Broken Beam, Beam Angle, and Secondary Beam Angle tools. See Special Tools Tool.

Performance Data

Performance data includes the key velocity information (how hard you struck each key) as well as note durations, minor rhythmic deviations from the beat (Start and Stop Time data). When you record a real-time performance or sequence (using the Transcription Mode of HyperScribe), Finale gives you the option of saving certain MIDI information that make the performance sound human. After you’ve transcribed a performance, you can tell Finale to play back the notation and the captured performance data, giving the playback a very human "feel" (as opposed to the very precise but "square" sound Finale produces when it reads only the notation). If you select Performance Data in this dialog box, therefore, you can actually copy this "feel" information onto other 1185

passages in your score (or erase it altogether). You can use the MIDI Tool to copy or erase only specific elements of performance data—for example, only the key velocity data, or only the Note Duration (Start and Stop Time) information. Smart Shapes (Assigned to Notes)

This checkbox allows you to select note-attached slurs or bends for copying and erasing.


This element refers to custom stemming and beaming you’ve created with the Special Tools Tool. It includes any changes you’ve made with the Stem Length, Custom Stem, Broken Beam, Beam Angle, and Secondary Beam Angle tools. See Special Tools Tool.

Tie Alterations

This element refers to custom ties edited with the Special Tools Tool. See Special Tools Tool.

Continuous Data

This refers to continuous MIDI data. See MIDI Tool.

Performance Data

This refers to MIDI performance Data. See HyperScribe and MIDI Tool.

Tempo Changes

This refers to tempo data defined with TempoTap, or the Tempo Tool. See Tempo.

Graphics (Assigned to Measures)

(Copy or Erase) Graphics you’ve attached to measures, in Scroll View only, with the Graphics Tool.

Measure Number Positioning & Enclosures

(Copy or Erase) Any occurrences (in a region for which you’ve specified measure numbers with a geometric enclosure on Selected Numbers) where you’ve added, deleted, or resized the enclosures with the Measure Tool. This will erase manual positioning of measures numbers as well. (Measures that have been forced to show will copy with a Stack Selection.)

Ossia (Assigned to measures)

(Copy or Erase) Floating measures you’ve attached to measures, in Scroll View only, with the Ossia Tool.

Staff Styles

(Copy or Erase) Any Staff Style defined as "copyable" in the Staff Style dialog box. Erase any Staff Style in the selected region Stack selection is required.

Barline Styles

The barline style specified in the Measure Attributes 1186

dialog box. Extra Space

The space specified for "Extra Space at Beginning" and/or "Extra Space at End" in the Measure Attributes dialog box.

Key Signatures

(Copy only) Any key changes you’ve created with the Key Signature Tool, Simple Entry Tool, or Selection Tool.

Measure Widths

(Copy only) The barline-to-barline widths of a region of source measures. When you click this item, the Copy Measure Width dialog box appears, where you can tell Finale how, or if, you want to change the measure width of the copy you’re creating.

Note Positioning

(Copy only) This refers to the type of Note positioning you have selected in Measure Attributes. Automatic Music Spacing must be off and a Stack must be selected.

Page Breaks

(Copy or Erase) Page breaks added with the Page Layout Tool. Stack selection is required.

Repeats

(Copy or Erase) Repeat barlines, endings or text repeats (such as "To Coda") created with the Repeat Tool. Stack Selection is required.

Split Points

(Copy or Erase) Any measure "split points"—places you’ve specified as permissible breaking points in a long measure that might straddle a system break. (You create split points with the Measure Tool.)

System Breaks

(Copy or Erase) System Breaks added with the Page Layout Tool.

Time Signatures

(Copy or Erase) Time Signatures added with the Time Signature Tool, Simple Entry Tool, or Selection Tool. Stack Selection is required. Note: Time Signatures always copy with stack selections, and never without a stack selection.

• Copy Clefs: Always • Never • When Needed. Use the Clef radio buttons to determine whether to include the starting clef and any clef changes in the 1187

selected region for copying. Choose Always to include the clef of the source region while copying. Choose Never to always use the clef of the destination region for the copied material. Choose When Needed to copy the clef only when there is a clef change within the original selected region. • Uncheck All • Reset to Defaults. Click Uncheck all to deselect all items in this dialog box. Click Reset to Defaults to restore the original settings. • None • All. Click None to deselect all items in this dialog box and to set Copy Clefs to Never. Click All to check all items and set Copy Clefs to When Clef Changes. • OK • Cancel. Once you’ve selected those items you want to copy or erase, click OK to exit the dialog box and proceed with the process. Click Cancel if you decide not to copy or erase anything. See Also: Copying music Edit menu

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Edit Frame dialog box

How to get there Click the Speedy Entry Tool and ctrl-click a measure that contains music (that is not being edited with the Speedy Entry Frame)..

What it does You’ll rarely, if ever, need to enter this extremely technical dialog box. It lists dozens of coded variables regarding the notes in the measure you clicked, and allows you to edit the "behind-the-scenes" raw data Finale associates with each note. Each note in a measure has a good deal of information stored with it, including its ID number, its voice assignment, whether or not it "launches" a tie, and so on; in this dialog box, you can set each such "bit" manually. You’ll encounter 1189

some technical terms in this discussion; one of the most important is entry, which refers to any note, rest, or chord. You can hide ledger lines on an entry by deselecting the Ledger checkbox in the Frame dialog box. There is also a Slur checkbox that indicates whether a slur is attached to an entry. • Frame (#). This indicator identifies the measure frame you’re editing. A frame refers to one measure in one staff. You should note, however, that Finale doesn’t number the frames in the order they occur in the score— instead, it numbers them in the order in which you created them. • First Entry: (#) • Last Entry (#). These indicators identify the note or rest that begins and ends the measure you’re editing. Finale assigns a number to every single note or rest as you create it. While Finale assigns numbers to notes sequentially, you might not always enter notes sequentially, so the Start and End numbers may appear to be out of order. • Current Entry (#). This indicator identifies the entry you’re looking at. (Remember that Finale gives every note or rest an ID number as you create it.) • Duration. The number in this text box sets the rhythmic value of the current entry, in EDUs (1024 per quarter note). Click Duration if you want to change its value graphically; a palette of rhythmic values appears. • Position. The number in this text box shows the horizontal distance by which an entry has been displaced from its default placement in the measure. Any time you drag a note to the right with the Speedy Entry or Special Tools Tool, you increase this value; if you drag a note to the left, you decrease this value. • Entry Slot (#). This indicator lets you know which note, chord, or rest (entry) you’re looking at. The first entry in the measure is 0, and the "slots" are numbered from left to right; there’s an invisible "end-of-measure" slot in each measure, too. (A measure with four notes and a rest, therefore, has six slots including this "end-of-measure" slot.) • Prev Entry • Next Entry. Click these buttons (at the top of the dialog box) to scroll from one entry to another within the measure. • Entry Slot: Add • Delete. These buttons insert an entry into, or remove the currently displayed entry from, the measure. • Articulation. If this checkbox is selected, there’s an articulation mark attached to currently displayed entry. • Beam/Beat. If this checkbox is selected, the currently displayed entry isn’t beamed to the note before it. • Beam Ext. If this checkbox is selected, the currently displayed entry’s beam has been extended with the Beam Extension Tool (within the Special Tools Tool). 1190

• Chord. If this checkbox is selected, there’s a chord symbol attached to the currently displayed entry. • Clef Change. This very technical item is used by Finale’s internal drawing routines. Whether or not the checkbox is selected makes no difference to the screen display. • Cross Up. If this checkbox is selected, one or more of the notes of the currently displayed entry is cross-staff note. • Double Stem. If this checkbox is selected, the currently displayed entry has both an upstem and a downstem, created with the Double/Split Stem Tool (within the Special Tools Tool). • Flip Tie. If this checkbox is selected, you have flipped the tie upside-down, either locally (using Special Tools or Speedy), or by your settings in Document Options-Layers. • Float Rest. If this checkbox is selected, the currently displayed entry (if it’s a rest) is fixed on the middle staff line (or another line, if you’ve established in Document Options-Layers [Document menu] that reposition all rests in a layer). If this checkbox is not selected, you can drag the rest up and down with the Speedy Entry Tool. • Freeze Beam. If this checkbox is selected, the currently displayed entry’s beam has been frozen either joined or broken. Additional changes to the measure will not change the state of the beam, found in the Beam/Beat box. Utilities/Rebeam will override this setting. • Freeze Stem. If this checkbox is selected, the currently displayed entry’s stem has been frozen up or down. (See the checkbox labeled Up/Down in the fourth column of dialog box items; if it’s selected, the stem is frozen up.) • Grace. If this checkbox is selected, the currently displayed entry is a grace note. • Ignore. If this checkbox is selected, the currently displayed entry is invisible and doesn’t play back (because you’ve pressed the O key using the Speedy Entry Tool). • Ledger. This option is selected by default, so that Finale automatically draws ledger lines for all notes that need them. To hide ledger lines on a particular entry, deselect this option. When you return to the score, the ledger lines will no longer appear on that entry. To display ledger lines for an entry that have been hidden, select this option for the entry. • Legality. The function of this checkbox is extremely technical; you should never need to click it. Briefly, when not selected, this checkbox hides the currently displayed note and all subsequent notes or rests in the measure. In other words, an entry whose Legality checkbox isn’t selected acts as an "end-of-measure" mark to Finale (see Entry Slot [#]," above)—meaning that Finale ignores it and any subsequent notes.

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• Note Detail. If this checkbox is selected, the currently displayed entry (including its notehead, stem, and beam, if any) has been resized with the Resize Tool, or its notehead or accidental has been modified with the Notehead or Accidental tools (within the Special Tools Tool). • Note/Rest. If this checkbox is selected, the currently displayed entry is a note; if not, it’s a rest. • Perf Data. If this checkbox is selected, there’s performance data (Key Velocity and Start/Stop Time information) associated with the currently displayed note. • Playback. If this checkbox is selected, the note will sound during playback. • Reverse Up • Reverse Dn. If one of these checkboxes is selected, a reverse upstem or downstem, respectively (on the "wrong" side of the notehead) has been added to the currently displayed entry with the Reverse Stem Tool (within the Special Tools Tool). • Sec Beam. If this checkbox is selected, you’ve made adjustments to the beaming of the currently displayed entry with the Secondary Beam Break Tool (within the Special Tools Tool). • Slur. If this option is selected, the entry has a note-assigned Smart Shape slur attached to it. This option is provided for reference only; you should not change this setting manually. • Spacing. If this checkbox is selected, the currently displayed entry will affect how Finale spaces the music. If this checkbox is unchecked, Finale will ignore the entry when calculating music spacing. • Special. If this checkbox is selected, the currently displayed entry’s tie or dot has been modified with the Tie or Dot Tools (within the Special Tools Tool). • Split Stem. If this checkbox is selected, one or more notes of the currently displayed entry have split stems created with the Double/Split Stem Tool (within the Special Tools Tool). • Note Exp. If this checkbox is selected, there’s an Expression attached to currently displayed entry. • Slash Grace. If this checkbox is selected the grace note is slashed. • Stem Detail. If this checkbox is selected, the currently displayed entry’s stem has been modified with the Custom Stem, Stem Length, Beam Angle, or Secondary Beam Angle tools (within the Special Tools Tool). • Text Detail. If this checkbox is selected, there’s a lyric syllable attached to currently displayed entry. • Tuplet. If this checkbox is selected, the currently displayed entry is the first note of a tuplet.

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• Up/Down. If the Freeze Stem checkbox is selected, this checkbox indicates whether the currently displayed entry’s stem has been frozen up or down. If Up/Down is selected, the stem is frozen up; if not, it’s frozen down. • Voice 2. If this checkbox is selected, the currently displayed entry belongs to Voice 2. • V2 Beam. Under normal circumstances, you can’t beam together notes in Voice 2 that have been "launched" from different Voice 1 notes. Select this checkbox for the first note of the second of two Voice 2–launched groups; you’ll now be able to beam the first group to the second in the usual way (using the slash key in the Speedy Entry Tool). • V2 Launch. If this checkbox is selected, a second voice (V2) has been "launched" from the currently displayed entry. • V2 Tup Para. This element is one of the few Edit Frame dialog box items you might want to edit yourself. It’s used only in one particular circumstance: a tuplet in Voice 2 is being overlapped (in time) by a tuplet in Voice 1. If such a situation arises and you notice that the tuplets’ spacing isn’t correct, select this checkbox for the first note of the Voice 2 tuplet to correct the notes’ positioning. • Note Slot (#). This indicator specifies which of the notes in a chord you’re looking at. The notes of a chord are numbered from bottom to top, beginning with the number 0. • Prev Note • Next Note. Click these two buttons (near the bottom of the dialog box) to scroll from one note to another within a chord. (Prev moves you from the bottom to top note, and Next moves you from top to bottom.) • Note Slot: Add • Delete. These buttons insert a note into, or remove the currently displayed note from, a chord. • Note ID. The number in this text box identifies the currently displayed note in the chord. • Displacement. The number in this text box identifies the currently displayed note’s pitch, expressed as a number of diatonic steps away from the first note of the scale (the tonic). The note E is two scale degrees above C, so its Displacement in the key of C is 2. • Raise/Lower. The number in this text box specifies the amount (in half steps) the currently displayed note has been raised or lowered from its unmodified diatonic scale degree by the addition of accidentals. A B flat in the key of C has a Raise/Lower value of –1. An F sharp in the key of C has a Raise/Lower value of 2. • Accidental. If this checkbox is selected, the currently displayed note’s accidental appears, even if it wouldn’t normally (such as the natural before a C in the key of C)—sometimes called a courtesy accidental. • (Accidental). If this checkbox is selected, there’s an accidental in parentheses on the current entry. 1193

• Cross Note. If this checkbox is selected, the currently displayed note is a cross-staff note. • Freeze Accidental. An X in this checkbox indicates that you’ve forced an accidental to appear (or not to appear) by pressing the asterisk key while editing with the Speedy Entry Tool. • Legality. This checkbox, when not selected, hides the currently displayed note and all subsequent notes in the chord, serving as an "end-of-chord" marker for Finale. • Playback. If this checkbox is selected, the note will sound during playback. • Spacing. If this checkbox is selected, the currently displayed entry will affect how Finale spaces the music. If this checkbox is unchecked, Finale will ignore the entry when calculating the music spacing. • Tie Start • Tie End. These checkboxes indicate whether a tie begins or ends on the currently displayed note. Do not edit these checkboxes. • Upstem 2nd • Downstem 2nd. If this checkbox is selected, the currently displayed note’s notehead is drawn on the "wrong" side of its stem, usually because it’s an interval of a second from another note in the same chord. (Upstem and Downstem refer to the stem direction.) • Upstem Split. If this checkbox is selected, the currently displayed note’s stem has been "split" from the other notes of the chord, using the Double/Split Stem Tool (within the Special Tools Tool), and the currently displayed note has been assigned to the upward stem. • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score. Click Cancel to tell Finale to ignore any changes you made in this dialog box. You return to the score. See Also: Speedy Entry Tool

1194

Edit Keyboard Shortcuts dialog box

How to get there Choose the Simple Entry Tool. From the Simple menu, choose Simple Entry Options and then choose Keyboard Shortcuts.

What it does In this dialog box, you can edit the keystroke commands used for note entry and editing in Simple Entry. • Tool: Simple Entry • Simple Entry Tablature. From this drop-down menu, choose Simple Entry to define keyboard shortcuts for use while entering into a standard staff. Choose Simple Entry Tablature to define keyboard shortcuts for use while entering into a tablature staff. • Add. Click Add to open the Define Keyboard Shortcut dialog box where you can create a new keystroke association for any Simple Entry command. See Define Keyboard Shortcut dialog box. • Edit. Click Edit to open the Define Keyboard Shortcut dialog box where you can change the currently highlighted command. • Delete. Click Delete to remove the currently highlighted command.

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• New Set. Click New Set to create a new collection of keyboard shortcuts. New sets created appear under the Name drop-downpopup menu. • Delete Set. Click Delete Set to delete the keyboard shortcut set currently selected under the Name drop-down menu. The Default Shortcut Table set, which supplies Finale’s default short-cuts, cannot be deleted. • Duplicate Set. Click Duplicate Set to duplicate the keyboard shortcut set currently selected under the Name drop-down menu. • Reset to Defaults. Click Reset to Defaults to reset the currently selected keyboard shortcut set to Finale’s default set. • Name: Default Shortcut Table. From the Name drop-down menu, choose the keyboard shortcut set you want to use. Any new sets you have created or duplicated are available in this list. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the keyboard shortcuts you’ve added, edited, or deleted. You return to the score. See Also: Simple menu Simple Entry Tool Define Keyboard Shortcut

1196

Edit Learned Chords dialog box

How to get there Click the Chord Tool

. Choose Edit Learned Chords from the Chord menu.

What it does When you use one of Finale’s three automatic chord analysis methods (MIDI Input, One-Staff Analysis, or Two-Staff Analysis), Finale has no problem identifying most of the common chord types (major, minor, augmented, diminished, half-diminished, suspended, sevenths, ninths, and so on). Each time it encounters a chord for which you’ve created (or loaded in a Chord Suffix library) a chord suffix, it automatically displays the correct chord symbol on the screen, complete with an alternate bass, if necessary. If Finale encounters a chord for which it can find no predefined suffix, it displays the Unknown Chord Suffix dialog box, giving you two options: "I’ll Do It" or "Let Finale Do It". If you click Let Finale Do It, Finale creates a chord suffix automatically, adds it to the list of chord suffixes for the document, and displays the chord symbol. If you click "I’ll Do It," however, you have the opportunity of teaching Finale a chord. There are a number of reasons you might want to do so. For example, you might prefer the notation C6 to Finale’s default notation for the same chord (Am7/C). Or you might want Finale to learn a chord by another name—for example, you can teach it to recognize "V11" chords (such as F/G or Dm7/G). You might even want to teach it completely new ways of notating chords that have nothing to do with the usual chord symbol system. See Chord Symbols for a more complete discussion of learned chords. Once you’ve created a learned chords or two, however, you may need to edit or delete them. To do so, click the Chord Tool again, and choose Edit Learned Chords from the Chord menu. The Edit Learned Chords dialog box appears. In 1197

it, you can teach Finale another chord, "call up" one that Finale has already learned (to edit it), or delete a learned chord. • Set Key. Learned chords are scale-degree-specific; if you teach Finale to recognize a C6 chord, it won’t automatically recognize an F6 or a G6 in the same key. But because C6 is built on the root scale tone in the key of C, Finale will recognize a major sixth chord built on the root scale tone in any other key. Therefore, when you teach Finale new chords, you need to indicate the key signature so that Finale knows the context in which it will encounter them. Click this button to display the Key Signature dialog box, which you can scroll to set the key signature for the chord you’re about to teach Finale. • Learn. Click this button if you want to teach Finale to recognize a new chord. Finale responds by asking you to play the chord on your MIDI keyboard. When you do so, Finale "memorizes" the particular set of notes you played and displays the Chord Definition dialog box, where you can create the chord symbol you want to associate with those notes. From that moment on, Finale will always recognize that chord (regardless of the voicing or octave register) and automatically display the correct symbol, provided it encounters the chord on the same scale degree as the one you originally taught it. (For example, if you teach Finale to recognize a C6 in the key of C, it won’t recognize F6 or G6 in the same key. But it will, for example, recognize an A6 in the key of A, because the A6 is built on the same scale degree in A as the C6 was in C.) • Delete. Click Delete if you want Finale to "forget" the currently displayed learned chord. You won’t remove any chord symbols already in the score by clicking this button—Finale simply won’t recognize the chord the next time it encounters the associated group of pitches. • Prev • Next. Click Prev or Next to scroll through any learned chords Finale already knows. They appear in the display in the order in which they were created; when you reach the end (or beginning) of the list, the Next (or Prev) button dims. • Find. Use this button to "call up" any learned chord you’ve already created (so that its symbol appears in the staff display), in order to edit or delete it. When you click the button, Finale displays a message asking you to play the learned chord on your MIDI keyboard. Play it in any voicing and any register, but with the same combination of pitches—and the same bass note—as the learned chord for which you’re searching. Finale responds either by displaying the chord symbol or by telling you that it doesn’t recognize what you played. (At this point it also asks if you want it to learn the chord you just played.) Note: If you teach Finale a chord it already knows, you’re asked whether or not you want to edit the chord 1198

symbol associated with it. If you click Yes, the Chord Definition dialog box appears, where you can modify the chord symbol in the usual way. • Edit. Click this button to display the Chord Definition dialog box, where you can define the visual appearance of the chord symbol in any way you want. See Chord Definition dialog box for full details on how to change the root, alternate bass, or suffix of any chord. • OK • Cancel. Click OK to return to the score. Click Cancel to disregard any current selections and return to the score. See Also: Chord symbols Chord menu Chord Tool

1199

Edit Lyrics dialog box


, and choose Edit Lyrics from the Lyrics menu.

What it does The Edit Lyrics window is one of the two ways you can enter lyrics (the other way is to use the Type Into Score feature; see Lyrics menu). Within this window, you can also create variations in the main font (which you’ve specified with the Set Default Fonts command in the Document menu)—for example, you can italicize a phrase within the lyrics. If you’ve copied lyrics from an external word processor, you can paste them directly into the Edit Lyrics window by pressing ctrl-V. The Edit and Text menus are available when the window appears so you can copy and paste text, change fonts and styles, and carry out other editing tasks. Note that only the Text menu commands that affect the display of text characters are available for lyrics; the Line Spacing and Edit Page Offset commands as well as the commands in the Inserts and Justification submenus are not available. Once you’ve put these lyrics into the score by using the Click Assignment command, the lyrics in the score are dynamically linked to the lyrics in the Edit 1200

Lyrics Window. Change a word in the Edit Lyrics window and it’s also changed in the score; delete it, and all the syllables in the score slide to the left to close up the gap. (Bear in mind that the same process works in reverse when you use the Type Into Score feature to edit your lyrics in the score: any word deleted from the score is also deleted from the Edit Lyrics window—but not when you erase lyrics from the score using the Selection Tool or the Adjust Syllables feature. In those cases, you’re just removing lyrics from the score, but they remain in the Edit Lyrics window.) You can cut, copy, and paste lyrics from one place to another within a single screenful of Edit Lyrics lyrics, as well as from one set of lyrics to another. To cut or copy, select the text by dragging the cursor through it. Then press ctrl-X to cut it (and place a copy on the Clipboard) or ctrl-C to copy it. To paste the cut or copied text, click at the location where you want the lyrics to appear and press ctrl-V. • Lyric: Verse • Chorus • Section • ___. Use this drop-down list to choose what type of lyric you want to create or edit. Enter the verse number, or use the up and down arrows to switch to different verses, choruses or sections. The three types of lyrics (Verse, Chorus, and Section) are technically identical as far as Finale is concerned. They’re only there to help you keep your lyrics straight, and to make it easy to change the font or style for a large chunk of lyrics at once (you can specify a different font for Verses, Choruses, and Sections by choosing Set Default Fonts from the Document menu). • OK • Cancel. Click OK if you want Finale to store the lyrics or modifications you’ve created, and assign a number to any new sets you entered. You return to the score. Click Cancel if you want Finale to ignore any text you’ve entered or changes you’ve made while in the Edit Lyrics window. You return to the score. See Also: Lyrics Edit menu Lyrics menu Lyrics Tool

1201

Edit MIDI Modifiers dialog box

How to get there Click the Speedy Entry Tool . From the Speedy menu, choose Speedy Options. Click Create Key Map or Edit Key Map.

What it does The Edit MIDI Modifiers dialog box allows you to use MIDI keys (such as keys on your MIDI keyboard or a sustain pedal) to set the duration of a note, navigate the score and other commands. • Modifier Set Name. Enter a name for this definition of MIDI notes to use. • Modifier Assignments: Note Durations • Listen. Enter a MIDI code to use that duration. Or, click the Listen button and play the note on the MIDI keyboard. • Modifier Assignments: Dot • Listen. Enter a MIDI code to add a dot. Or, click the Listen button and play the note on the MIDI keyboard. • Modifier Assignments: Triangle Left • Listen. Enter a MIDI code to move the cursor forward one note or rest. Or, click the Listen button and play the note on the MIDI keyboard. 1202

• Modifier Assignments: Triangle Right• Listen. Enter a MIDI code to move the cursor backward one note or rest. Or, click the Listen button and play the note on the MIDI keyboard. • Modifier Assignments: Tied Notes• Listen. Enter a MIDI code to tie to the next note. Or, click the Listen button and play the note on the MIDI keyboard. • Modifier Assignments: Enter• Listen. Enter a MIDI code to add a note to a chord or turn a rest into a note. Or, click the Listen button and play the note on the MIDI keyboard. • OK • Cancel. Click OK to confirm, or Cancel to discard, your Key Map edits and return to the Speedy Options dialog box. See Also: Speedy Entry Speedy Options dialog box Speedy Entry menu Speedy Entry Tool

1203

Edit MIDI Note dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Double-click a measure with notes to open the MIDI Tool window. Select a note handle in the MIDI Tool split-window and choose Edit MIDI Note from the MIDI Tool menu or double-click a note handle in the MIDI Tool split-window.

What it does This dialog box simply provides a convenient way to edit the Start and Stop Times and Key Velocity of a note in one place. • MIDI Note Number. This text tells you the MIDI Note Number of the selected note. • Start Time • Stop Time. Enter the Start Time and Stop Time for the selected note. • Velocity. Enter the Key Velocity for the selected note. • OK • Cancel. Click OK (or press enter to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool splitwindow (or the score). See Also: MIDI MIDI Tool

1204

Edit Modal or Chromatic Spellings dialog box

How to get there From the Edit menu, choose Enharmonic Spelling > Edit Modal or Chromatic Spelling.

What it does Use the Edit Modal or Chromatic Spellings dialog box to change the enharmonic spelling Finale will use for chromatically altered notes in modes and chromatic scales. Finale uses this table if Use Spelling Tables is selected in the Enharmonic Spelling submenu and Finale detects a mode or chromatic key created in the Non-Standard Key Signature dialog box. • Step • Raise • Lower. The Edit Modal or Chromatic Spellings dialog box contains enharmonic spelling settings for the twelve steps of a chromatic scale, allowing you to define spelling for modes. Step 1, the tonic note of the scale, does not change. Click the Raise or Lower button for each step to specify the enharmonic spelling. For example, if you click Raise for step 2, Finale displays the note as a raised interval when it’s entered in your score. If you select Lower, the note will be displayed as a lowered interval. Note: Remember that enharmonic spelling is used only for non-diatonic notes (those that are outside the scale). Otherwise, Finale uses the key signature to spell the note. These settings will be particularly useful when you enter or edit notes in a nonstandard key signature you’ve created, like a church mode.

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• OK • Cancel. Click OK (or press enter) to save the new settings, or click Cancel to dismiss the dialog box and discard any changes you made to the settings.

1206

Edit Major and Minor Key Spellings dialog box

How to get there From the Edit menu, choose Enharmonic Spelling > Edit Major and Minor Key Spellings.

What it does The Edit Major and Minor Key Spellings dialog box displays the enharmonic spelling Finale will use for chromatically altered notes if Use Spelling Tables is selected in the Enharmonic Spelling submenu. Finale uses these settings to determine the enharmonic spelling of non-diatonic notes in major and minor keys in your piece. You’ll notice that the settings in the tables refer to the notes as scale degrees rather than as actual note-names in a scale. This is because one table is used for all major keys and another for all minor keys. Each fixed scale degree is numbered, starting at step 1, which is the tonic (C in the key of C major, D in D major, and so on), up to step 7. Notes outside the scale (altered scale steps) entered in your piece will be raised or lowered by a halfstep according to your settings. • Major Keys: Fixed Scale Step • Altered Scale Step • Raise • Lower. Click to specify spellings for the altered scale steps in all major keys used in your piece. For example, if you select #1 for the half-step between Fixed Scale Steps 1 and 2 (C and D in C major, D and E in D major, and so on), Finale displays the note as a raised interval when it’s entered in your score.

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If you select b2, the same half-step between Fixed Scale Steps 1 and 2 will be displayed as a lowered interval. • Minor Keys: Fixed Scale Step • Altered Scale Step • Raise • Lower. Click to specify spellings for the altered scale steps in all minor keys used in your piece. For example, if you select #1 for the half-step between Fixed Scale Steps 1 and 2 (C and D in C minor, D and E in D minor, and so on), Finale displays the note as a raised interval when it’s entered in your score. If you select b2, the same half-step between Fixed Scale Steps 1 and 2 will be displayed as a lowered interval. • OK • Cancel. Click OK (or press enter) to save the new settings, or click Cancel to dismiss the dialog box and discard any changes you made to the settings. See Also: Options/Enharmonic Spelling

1208

Edit Page Margins dialog box

How to get there Click the Page Layout Tool Margins, then Edit Margins.

. From the Page Layout menu, choose Page

What it does Use this dialog box to set the Page Margins numerically. • Top • Left • Right • Bottom. Use these text boxes to enter the page margins for the specified pages. If the adjacent checkbox is checked, changes will affect that margin. • Change: Page ___ • All Pages • Left Only • Right Only • Page Range: From: ___ Thru: ___ • Adjust Right or Left Only. Select which systems should be affected by the specified margins. Select a specific page, all pages, all left pages or all right pages, or a page range. When Adjust Right or Left Only is selected, and you adjust a left page, Finale also adjusts all left pages in the specified range. If you adjust a right page, Finale adjusts all right pages in the range. For example, if you set the page range to page 5 through 10, then adjust page 3, Finale adjusts pages 5, 7, 9 and page 3. • Apply to Parts/Score. Select this button to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. • Apply • X. Click Apply to make the adjustments and leave the dialog box available for more changes. Click X to dismiss the dialog box without making any changes. See Also: 1209

Page layout Page Margins submenu Page Layout menu Page Layout Tool

1210

Edit System Margins dialog box

How to get there Click the Page Layout Tool Systems, then Edit Margins.

. From the Page Layout menu, choose

What it does Use this dialog box to set the System Margins numerically. • Top • Left • Right • Bottom • Distance Between Systems. Use these text boxes to enter the staff system margins for the specified systems. Changes do not occur until you click the Apply button. Changes are applied to any value with a checked box. • Space for Additional System. This text displays the amount of space required to place an additional system on the current page. • Change: System ___ Thru: ___ • Select All. Select which systems should be affected by the specified margins. Select a system range or all systems. • Apply to Parts/Score. Select this button to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. • Apply • X. Click Apply to make the adjustments and leave the dialog box available for more changes. Click X to dismiss the dialog box without making any changes. See Also: Page layout System submenu 1211

Page Layout menu Page Layout Tool

1212

Edit Text dialog box

How to get there To edit all text blocks in the document (text blocks, and staff and group names): Click the Text Tool. Choose Edit Text from the Text menu. To edit a single text block: Click the Text Tool. Click a text block handle. Choose Edit Text from the Text menu.

Note: You can also edit lyrics using Finale’s text editing window. See Edit Lyrics window.

What it does The Edit Text window displays text in the same fonts and styles that will appear on the screen and on printout. A rectangle around a portion of text indicates an insert command was used to display the date, composer, or similar text items (see Text menu/Inserts for a complete list of inserts). The Edit and Text menus are available when the window appears so you can copy and paste text, change fonts and styles, and carry out other editing tasks. Note that text always appears left-justified within the display area and the commands in the Justification submenu are not available from the Text menu 1213

when the Edit Text window is displayed; to change the justification of the text, edit the text block on-screen. For details, see Text menu and Edit menu. • Editing: [Item Type] • ID [ID #]. These settings identify the text block you’re currently editing. The type of text block being edited—full or abbreviated staff name, group name, or block of text—appears first (Item Type). The text’s Finale-assigned ID number also appears. Up and down arrows appear when you choose Edit Text when no text blocks are selected. Click the arrows to cycle through all the text blocks in the score. • OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score without changing the settings. Note: You can also edit lyrics using Finale’s text editing window. See Also: Text menu Edit menu Lyrics Tool Text Tool

1214

Edit Text limited dialog box

How to get there To edit a staff name: Click the Staff Tool. Click a staff handle, then choose Edit Staff Attributes from the Staff menu. Click Edit next to the full or abbreviated staff name in the Staff Attributes dialog box. (Or, ctrl-click a staff name handle on-screen.) To edit a group name: Click the Staff Tool. Click a group handle, then choose Edit Group Attributes from the Staff menu. Click Edit next to the full or abbreviated group name in the Group Attributes dialog box. (Or, ctrl-click a group handle on-screen.)

Note: You can also edit lyrics using Finale’s text editing window. See Edit Lyrics window.

What it does The Edit Text window displays text in the same fonts and styles that will appear on the screen and on printout. A rectangle around a portion of text indicates an insert command was used to display the date, composer, or similar text items (see Text menu/Inserts for a complete list of inserts). The 1215

Edit and Text menus are available when the window appears so you can copy and paste text, change fonts and styles, and carry out other editing tasks. Note that text always appears left-justified within the display area and the commands in the Justification submenu are not available from the Text menu when the Edit Text window is displayed; to change the justification of the text, change the justification of staff and group names in the Position Staff Name and Position Group Name dialog boxes. For details, see Text menu and Edit menu, and see Position dialog boxes. • Editing: [Item Type] • ID [ID #]. These settings identify the text block you’re currently editing. The type of text block being edited—full or abbreviated staff name, group name, or block of text—appears first (Item Type). The text’s Finale-assigned ID number also appears. • OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score without changing the settings. Note: You can also edit lyrics using Finale’s text editing window. See Also: Text menu Edit menu Lyrics Tool Text Tool

1216

Elapsed Time dialog box

How to get there Click the Selection Tool , and select a region of measures. From the Utilities menu, choose Check Notation, then Check Elapsed Time. Or press the 5 key with selected measures.

What it does This dialog box gives the following information: (1) the amount of time that has passed from the beginning of the piece to the beginning of the selected region; (2) the time that has passed from the beginning of the piece to the end of the selected region; and (3) the total time of the selected region itself (all in thousandths of a second). • OK. Click OK to return to the score. Tip: This information is useful when composing music that must last an exact amount of time such as jingles for commercials. See Also: Utilities menu

1217

Enclosure Designer dialog box

How to get there Click the Expression Tool , and double-click a note or measure. In the selection box that appears, click Create (or click an existing expression and click Edit). If you like, enter or edit text in the Expression Designer text box, then click Edit under Enclosure Shape. You also find this dialog box in the Repeat Tool. Click the tool, then click a measure. Click Create to create a new text repeat (a piece of text that functions as a fully operational repeat marking, such as "To Coda"), enter the text for the text repeat, and click Enclose Repeat. Finally, you encounter this dialog box in the Measure Tool. Click the Measure Tool and select Edit Region from the Measure Numbers submenu of the Measure menu. Click Enclosures. Or, double-click the handle of certain measure numbers in the score to change their enclosures. Specifically, it appears if you’ve specified Enclosures in the Measure Number dialog box for the current region of measures. See Measure Number dialog box for details.

What it does This dialog box lets you enclose the expression mark (such as a rehearsal letter) or text repeat (such as "To Coda") in a box of any size, geometric shape, or line thickness. If you encounter it using the Measure Tool, it lets you modify, add, or remove the enclosure for the measure number you clicked. 1218

• Shape: Rectangle, Oval, ... None. Use this drop-down list to select a shape such as a rectangle, oval or triangle, to draw around the text, or choose None if you don’t want an enclosure to appear.

Note that the display shows three square handles. By dragging these handles, you can change the size, shape, and positioning of the enclosure. • Line Thickness. Type the thickness, in measurement units, of the enclosure shape’s outline. • Opaque. Select this option to make the prevent items behind the enclosure from showing through. This is only available for rectangles and ellipses. • Height. Type the distance to add to Finale’s default height of the enclosure, in the selected measurement units (Edit menu). • Width. Type the distance to add to Finale’s default width of the enclosure in the selected measurement units (Edit menu). • Center: H: • V:. Type the amount to shift the enclosure horizontally and vertically, if you don’t want it centered on the text. Positive H: numbers move the enclosure shape to the right of the center of the text. Positive V: numbers move the enclosure shape upward from the text’s baseline. • Options: None, Enforce Minimum Width, Match Height and Width. Use this drop-down list to control how the shape is drawn. If you choose None, Finale allows you to independently set the height and width of the shape. Choose Match Height and Width to display the shape symmetrically so that the enclosure's height matches its width. Choose Enforce Minimum Width to enforce a minimum width so the enclosure’s height doesn’t change when its width adjusts to the text. • Fixed Enclosure Size. When this option is selected, Finale maintains the exact size of the enclosure despite the size of the text. When this option is not selected, Finale adjusts the width (and size) of the enclosure depending on which item is selected in the Options drop-down list.

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• Use Default Enclosure. This option is only available when you have accessed the Enclosure Designer through a measure handle. If you have specified a unique enclosure, use this button to reset the item to use the default enclosure used in the rest of the document. • OK • Cancel. Click OK to return to the previous dialog box. Click Cancel to return to the previous dialog box (or to the score) without making any changes. Tip: Choose Match Height and Width from the Options drop-down list for Rehearsal letters if you want the shape to be the same size throughout the score. See Measure Number dialog box for details.

See Also: Expressions Expression Tool

1220

Erase Layer dialog box

How to get there This alert appears if you choose Move/Copy Layers from the Edit menu, then set up the options so that you'd be copying over music that already exists.

Tip: If you do remove music that you wanted to keep, choose Undo from the Edit menu.

What it does Click the Selection Tool, and select a region of measures. Choose Move/Copy Layers from the Utilities menu. In the dialog box, specify that one layer’s contents be placed into a layer that already contains notes. Click OK.

See Also: Move/Copy Layers dialog box Edit menu

1221

Executable Shape Designer dialog box

How to get there Click the Expression Tool , and double-click a note or measure. (If the note or measure already has an expression attached, double-click.) Click Create (or click an existing shape in the selection box and click Edit). Click the Playback tab; then click Execute Shape; Select; and Create (or click a shape and click Edit).

What it does An Executable Shape is a line whose contours Finale "reads" as it plays back your music in order to produce changes over time of some musical aspect: tempo or volume, for example. You draw the Executable Shape itself in the Shape Designer (which you enter from this dialog box by clicking Shape ID, then clicking Create), but you define its characteristics in this dialog box. For a more complete discussion of Executable Shapes, see Shape Designer. • Shape ID. The number in this text box identifies the particular shape that’s being used as an Executable Shape. If you don’t know the number of the shape you want to use—or if you haven’t yet created it—click Shape ID; you’ll enter the Shape Selection box, where you can double-click the desired shape (or click Create to enter the Shape Designer, where you can create your own shape; see Shape Designer dialog box). You’ll return to the Executable Shape Designer dialog box, where Finale will have entered the appropriate number in the Shape ID box. • Time Scale. If you haven’t told Finale to do otherwise, it will "sample" (or consult the level of) an Executable Shape once every eighth note. For

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example, if you’re creating a rallentando that lasts for one measure of , Finale will decrease the tempo slightly in eight eighth-note increments.

The Time Scale, a ratio formed by the numbers in the two text boxes, lets you tell Finale to sample the shape more (or less) frequently. If, for example, you have a passage composed of sixteenth notes and you’ve created a rallentando that sounds too jerky, tell Finale to sample it twice as often (once every sixteenth note) by entering a Time Scale of 1:2. You enter 1:2 because Finale "reads" the entire Executable Shape in one-half the time (by sampling the shape twice as often). • Level Scale. The numbers in these two text boxes form a ratio that governs the amount by which Finale should change the tempo (or volume, or whatever parameter you’ve specified) over time. If you leave the Level Scale at 1:1, Finale examines the shape you’ve drawn in the Shape Designer; for every horizontal gridline the shape rises or falls, Finale changes the playback value by one degree, depending on the playback variable being affected. (In the Shape Designer, choose Grid from the Show submenu of the Shape Designer menu to view the grid points.) For tempo changes, "one degree" means one quarter note per minute (a metronome marking). For velocity, a degree means one MIDI velocity value (where 0 is silent and 127 is loud as possible). For MIDI patch or MIDI channel, each degree corresponds to a switch to the next patch or channel, and for pitch, a degree is a half step. Suppose, therefore, that you’ve created a rallentando shape in the Shape Designer that looks like the one pictured below. When you enter the word "rall." in the score (for which this Executable Shape is the playback definition), you’ll hardly hear any tempo change at all in the playback. Based on what you now know, you’ll realize that it’s because your sloping line only drops two gridlines over its entire length. That means your rallentando only slows the tempo from 120 to 118 beats per minute! 1223

This is an ideal problem for the Level Scale to solve. Just change the Level Scale to, say, 15:1; in other words, for every grid point your shape rises or falls, the tempo will increase or decrease by 15 beats per minute, not one. • Sample Rate. As described above, the rate at which Finale "consults" the Executable Shape is determined by the Time Scale. However, you have even further control over the behavior of your playback expression, because the Sample Rate text box tells Finale to affect playback only on the Nth sample, where N is the number in the box. If, for some reason, you decide that a certain Executable Shape crescendo is too smooth, enter 2 in the Sample Rate box, and Finale will only change the volume every second time the Executable Shape triggers a change, ignoring the samples in between. • Use List. If you want Finale to "notice" specific samples that you specify, select Use List. A dialog box appears, letting you enter a series of numbers, one in each text box (if there are more than four values in your list, use the right and left arrows to scroll to additional text boxes, but you can’t enter more than six). The numbers you specify here tell Finale which samples of the Executable Shape you want it to register for playback purposes. Use List can produce interesting effects if this Executable Shape governs pitch or Restrike Keys. (Restrike Keys is one of the playback definitions you can assign to any expression; the note to which it’s attached is struck over and over again, at a rate specified by its Time Scale setting.) By creating a sample list and entering your values carefully, you can create a Restrike Keys expression that plays a certain rhythm. Suppose, for example, your Restrike Keys shape is applied to a whole note, and has a Time Scale of 1:1 (it restrikes the note every eighth note). If you click Use List and enter 3, 3, and 2 in the first three boxes, the affected whole note would play back with this rhythm:

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• Repeat Count. There may be times when you want the Executable Shape you’ve just defined to repeat itself several times. For example, if you’ve just designed a magnificent trill that lasts for only a quarter note—but you want to create a trilling whole note—you can tell Finale how many extra times you want the shape played by entering the number (in this example, 3) in the Repeat Count box. • Log All. When sampling your Executable Shape, Finale generally only "notices" (or produces an audible playback change for) a sample when its value changes; a Restrike Keys expression whose Executable Shape is a horizontal line won’t restrike the note at all, because Finale doesn’t notice any changes in the line’s vertical value. If you want such a shape to generate a sample at each eighth note whether its value has changed or not, select Log All. • Quit at End of Sample List. If you’ve specified a sample list by selecting Use List, and if the shape is long enough to produce more samples than the highest number you’ve entered in the Sample List, Finale will ordinarily start over at the beginning of the Sample List in deciding which samples to "notice." If you’d rather have Finale respond only once to the specific samples named in the list—and not to repeat the action—select this option. • OK • Cancel. Click OK to confirm, or Cancel to discard, the Executable Shape settings you’ve made and proceed to the next dialog box. Tip: Create your shape to be exactly as you want—span the amount of time and offering the exact effect you want. Then set Time and Level Scales to 1:1 See Also: Expression Tool

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Executable Shape Selection dialog box

How to get there Click the Expression Tool , and double-click a note or measure. Click Create (or click an existing expression from the selection box and click Edit); click the Playback tab, Execute Shape, then click Select.

What it does Every Executable Shape that has been created or loaded into the document appears in this box, ready to be assigned as part of the playback definition for an expression. • Edit. If you want to modify one of the shapes appearing in the Executable Shape Selection box, click it once and then click the Edit button. You’ll enter the Executable Shape Designer dialog box, where you can modify Finale’s interpretation of the shape (or, by clicking Shape ID, you enter the Shape Designer dialog box, where you can modify the shape itself). 1226

• Create. Click Create to enter the Executable Shape Designer dialog box, where you can teach Finale how to interpret a certain shape. To draw the shape itself, click Shape ID and then Create to enter the Shape Designer. See Executable Shape Designer dialog box and Shape Designer dialog box. • Duplicate. Click Duplicate to make a duplicate copy of the highlighted expression. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Delete. After selecting a shape by clicking it, click Delete to remove it from the selection box. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. (You can’t delete it if it’s being used as part of the playback definition of an existing expression.) • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shiftclick to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • [Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it. • Cancel. Click Cancel to return to the Playback Definition box without specifying an Executable Shape. • Select. If you click one of the displayed shapes and then click Select, you’ll return to the Expression Designer, where Finale will have automatically entered the number of the shape you selected in the Execute Shape text box. (You can simply double-click a shape instead of clicking once and then clicking Select.) See Also: Selection Overview Expression Designer

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Exercise Wizard dialog box

How to get there From the File menu, choose New, then Exercise Wizard. Or, in the Launch Window, select Exercise Wizard.

What it does The Exercise Wizard helps you to setup a lesson for your vocal or instrumental ensemble based on Exercises that you choose. The Exercise Wizard includes a large selection of exercises to choose from, including scales, intervals, and arpeggios. Mix and match the exercises to create your own lesson plan. You can even share the lesson with other ensembles or teachers. You can apply slurring articulations or change the key. It also allows you to specify the instruments and the number of copies that are printed of each lesson.

• Lesson Title. Type the title for the lesson. You are limited to one line of text and no carriage returns. It will appear at the top of the page.

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• Set Font. Click Set Font to specify the font, size and style for the lesson title. • Page Size. Select the page size you want to use. The page size information is stored in the text file pagesizes.txt and can be edited to your specifications. See Configuring Pagesizes.txt in the Appendix. • Cancel · Next. Click Cancel to exit out of the Exercise Wizard and return to Finale without creating a lesson. Click Next to continue on to the next dialog box in the Exercise Wizard.

• [List of Exercises] · Add · Remove. Select exercises from the list on the left and add them to the list of selected exercises on the right. Click on the plus signs to display more exercises; click on the minus signs to hide the exercises in the list below. Use the Scroll arrows to reorder the selected exercises. A preview of the selected exercise appears in the lower right corner. • Cancel · Back · Next. Click Cancel to exit out of the Exercise Wizard and return to Finale without creating a lesson. Click Back to return to the first page of the Exercise Wizard. Click Next to continue to the next page of the Exercise Wizard.

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• Exercise Title. Click an exercise and assign it a title in this text box. • Apply Concert Key. Use the scroll bar to select a concert key. Exercises for transposing instruments will appear in the appropriate transposed key. Click the up arrow to add sharps or subtract flats; click the down arrow to add flats or subtract sharps. Major or minor keys will appear depending on the selected exercise. • Apply Articulations. Click on a button to apply instrumental tonguing patterns (such as tongue 2, slur 2) to the selected exercise. • Cancel · Back · Next. Click Cancel to exit out of the Exercise Wizard and return to Finale without creating a lesson. Click Back to return to the first page of the Exercise Wizard. Click Next to continue to the next page of the Exercise Wizard.

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• Ensemble Name. Type a name for a new ensemble or select one from the drop down menu. Then, you can use the options on this page to configure and save this ensemble. The default settings for the ensembles can be found in the Ensembles.txt file. For more information, see Configuring Ensembles.txt in the Appendix. • Save · Save As · Delete. Use the Save button to Save any changes to the currently selected ensemble. Use the Save As button to save the currently selected ensemble with a new name. Click the Delete button to remove the currently selected ensemble from the list. • Families · Parts: Add · Remove. Select a certain instrumental family, and add the part selected from the Parts column. If you want to Remove a part from the list on the right, highlight the part and click remove. The family and part information is stored in the text file ensembles.txt and can be edited to your specifications. • [Ensemble Instrument List]. The name and number of instruments found in your ensemble are listed on the right. Click an instrument, then use the arrow buttons to increase or decrease the number of exercises to print for that instrument. • Instrument Range Checking: Basic · Intermediate · Advanced. Select a skill level for your ensemble here. The Exercise Wizard will transpose the 1231

exercises by octaves to stay within the acceptable ranges for each individual instrument at the selected skill level. The ranges for each instrument are stored in the Instrument.txt file. See Configuring Instrument.txt in the Appendix. • Fit Lesson on One Page. Check this box to tell Finale to adjust the spacing of the generated lesson so that it fits on a single page. • Print. Click the Print button to print a copy of every exercise in the lesson for each instrument in the ensemble. • Save Lesson. Click the Save Lesson box to save the exercises you’ve created as a lesson, as notation files for each instrument in the ensemble, or both. A lesson file (.LSN) can be opened by the Exercise Wizard later for making changes or printing. Note that file names must be short enough to allow the instrument name to be added and still remain under 32 characters long. • Cancel · Back · Finish. Click Cancel to exit out of the Exercise Wizard and return to Finale without creating a lesson. Click Back to return to the third page of the Exercise Wizard. Click Finish to save your settings and exit the Wizard.

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Explode Music dialog box

How to get there Click the Selection Tool , and select a region of measures. From the Utilities menu, choose Explode Music. You can also use a Selection Tool Metatool: press the 2 key with selected measures. Or, hold down E while dragging selected measures to a destination.

What it does In essence, Finale’s Explode Music command strips a chordal passage into individual single-line melodies on separate staves. You could use this feature, for example, to transform a piano reduction into four single-line melody staves for a choir. Before it will "explode" the selected region, however, you have to tell Finale, in this dialog box, how many resultant staves you want, what clefs they should use, and how Finale should handle cases where there are more notes (or fewer notes) in a chord than there are staves on which the music will be exploded. • Split into__ Staves. This number specifies how many resultant staves Finale should create. 1233

• Explode Direction: Top Down • Bottom Up. These options decide how Finale will fill the staves receiving music, especially when some chords have fewer notes than the chords around them. For example, when you are exploding music onto four new staves, and there is a chord which only contains three notes, Top Down will place the three note chord on the top three staves, leaving the bottom staff empty. Using the same example you can make the lower three voices receive notes, (leaving the top staff blank) by selecting Bottom Up. • Extra Notes: Put in Top Staff • Put in Bottom Staff • Distribute to These Staves __ • Discard. These options are used when there are more notes in a chord than there are staves selected in the Split Into text box to determine how to deal with the overflow of notes. Finale will divide the number of notes by the number of staves, with the remainder being the extra notes. If Only One Note per Staff is selected, at most one note will be assigned to each staff. When Put in Top Staff is selected, all extra notes from a chord will be placed in the topmost exploded staff. When Put in Bottom Staff is selected, all extra notes will be placed in the bottom most exploded staff. Discard will put the same number of notes on each staff and throw the extra notes away. When Distribute to These Staves__ is selected, it allows you to decide, explicitly, which staves will receive extra notes. For example, if you’re exploding the music from a chordal passage into three staves, and one of the chords contains five notes, this box decides which staves are allowed to receive more than one note of the chord, therefore, guaranteeing all the notes in the chord will be present in one of the resulting staves. In the example above, if you left the default numbers in this box (12340000), Finale would recalculate how the notes are to be distributed from the original five-note chord, allowing more than one note from the chord to appear in staff one and staff two. That is, it would notate the top two notes on the first exploded staff, the next two on the second staff, and the fifth (bottom) note on the third exploded staff. If the Distribute to These Staves was 22222222, however, Finale would place all the "extra" notes (the top three of the original five-note chord) on the second exploded staff; the remaining staves would receive one note apiece. • One Note Per Staff. Select this check box to ensure each staff receives at most one note when exploding music. All extra notes in the chord will then be distributed according to your Extra Notes settings. • Use These Clefs. If you select this checkbox, Finale will consult the numbers in the text box to decide what clef to give each of the resultant exploded staves. The numbers in the text box are clef numbers, see Clef Designer dialog box for which numbers represent which clefs. The first number specifies the clef for the first exploded staff; the second number specifies the clef for the second staff, and so on. 1234

• Place Music into: New staves Added to Bottom of Score • Existing Staves Starting with. Select New Staves Added to Bottom of Score if you want Finale to create a number of new staves (specified by the Split Into__Staves box) below the source Staff. Select Existing Staves Starting with to explode your music onto existing staves starting with the staff selected in the drop-down list (replacing whatever music is currently on them). • OK • Cancel. Click OK to proceed with the exploding process. Click Cancel to return to the score without exploding any music. Tip: The Numbers beside Clef refer to Finale’s numbering. 0=Treble Clef; 3=Bass Clef Note: If you place the music into existing staves, the music in the selected region for those staves will be lost. See Also: Selection Tool

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Extract Lyrics dialog box

How to get there From the Lyrics menu, choose Export Lyrics.

What it does The Export Lyrics dialog box allows you to save the lyrics in your file to a text file. These lyrics could then be imported into a word processor for spellchecking or sent to a lyricist for collaborations. You may choose to export all lyrics, all lyrics of a specified type, or any single lyric of a specified type. • Lyric Type · All · Verse · Chorus · Section. Choose which lyric or lyrics to extract from the current score. Type the specific verse/section/chorus number in the adjacent text box. • Remove Hyphens and Underscores. When this checkbox is selected, normal hyphens and underscores are removed from the text. • Copy All to Clipboard. Click this button to load the contents of the preview window to the clipboard. Then, select a destination, such as a word processing document, and press Ctrl-V to paste. • Save Text File. Choose this option to open the Save Text As dialog box where you can name, choose a location, and save the lyrics as a text file. • Cancel. Click this button to dismiss the Export Lyrics dialog box and return to the score.

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Export MIDI File Options dialog box

How to get there Choose Export MIDI File Options from the MIDI/Audio menu. Or, Choose Save As from the File menu. Enter a title and select MIDI File from the File Type drop-down list. Click OK. Also, when you save a MIDI File from the Playback Controls, the MIDI File Options dialog box appears when you click OK.

What it does You can save any document into several formats. This file format, known as a standard MIDI File, enables your document to be shared with other music programs (primarily sequencers), most of which can read this kind of file. In this dialog box, Finale asks you which kind of MIDI file you want to create; most sequencers can read any of these formats. The MIDI File Options dialog box also lets you save bookmarks as markers when you create a MIDI file. • MIDI File Type: Format 1. Click this button to create a Format 1 MIDI file— by far the most widely used format, which contains multiple tracks. In Finale, every Instrument is placed in its own track; remember that each element of each staff (Layer 1–4, Chords, and Expressions) can have its own Instrument assignment. Remember, too, that unless you’ve given each of these elements its own Instrument, the resultant MIDI file won’t have multiple tracks. For a discussion of Instruments, see Instrument List. • MIDI File Type: Format 0. In this MIDI file format, all of the music is placed in a single track, separated only by MIDI channel. In Finale, however, two staves can only have different MIDI channel assignments if they also have 1237

different Instrument assignments. So, again, for the purposes of this file format, make sure you’ve assigned a different Instrument to every element (Layer 1–4, Chords, Expressions) you want assigned to its own MIDI channel. • MIDI File Type: Tempo Map. Certain advanced sequencer programs allow you to import a tempo map of a piece—that is, a separate file consisting entirely of the ritards, accelerandi, and other tempo fluctuations in a piece. Click this button to create a Tempo Map MIDI file from your document. • Save Bookmarks as Markers. Specify whether you’d like the Finale bookmarks converted to sequencer marks. • Don’t show this during File Save As. Select this option if you wish to use the current settings in the Export MIDI File options next time you save a MIDI file in Finale. The Export MIDI File Options dialog box will not be displayed when you save a MIDI file, only when Export MIDI File Options is selected from the MIDI/Audio menu. Deselect this checkbox to again display the Export MIDI File Options dialog box when saving MIDI files. • OK • Cancel. Click OK to confirm, or Cancel to return to the score without creating a MIDI file. See Also: MIDI Instrument List MIDI/Audio menu

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Export Selection/Pages dialog box

How to get there From the View menu, choose Page View. From the Window menu, choose Advanced Tools. Click the Graphics Tool . Choose Export Pages from the Graphics menu to display the Export Pages dialog box. Or, double-click and drag to enclose the musical excerpt you want to export. Choose Export Selection from the Graphics menu to display the Export Selection dialog box.

What it does Whether you choose Export Selection or Export Pages, the dialog box settings are the same, except for the title. The only difference is that you’re either exporting a selected region , or exporting an entire page (or range of pages). Use this dialog box to export pages of your score into a graphics file format usable in other programs such as word processing or desktop publishing programs. These files can be saved as Encapsulated PostScript (EPS) or TIFF graphics file types. All graphics formats will export as black and white (1-bit line art), even when colors are showing on the screen prior to export.

Although you do not require a PostScript printer (only the driver) to create EPS files, you will need a PostScript printer to print the resulting EPS file. TIFF files use Pack Bits compression. 1239

• Type: EPS •TIFF. Select the type of graphics file you want Finale to create. If you choose EPS the PostScript Options will be available. If you choose TIFF, the TIFF Resolution settings will be available. Make changes to these settings as needed. • Pages: All • From ___ to ___. Click All to export every page of your score to a graphics file. Click From to export a range of pages, then enter the page numbers in the two text boxes. Note that each page is saved to a separate graphics file. • File Names: Generate names from • Prompt for each name. If you want Finale to name each file automatically, select Generate names from and enter the file’s title in the text box, followed by a number sign (#). Finale uses the title you enter and replaces the number sign by a sequential number to create a unique title for each file (if, for example, you’re exporting a range of pages to separate files). Select Prompt for each name if you want Finale to ask you for a title each time a file is created. Note: Finale automatically displays a file extension as part of the file name: EPS for Encapsulated PostScript files and TIF for TIFF files. If you type a new name replacing the file name and extension, Finale will use the name you enter. • PostScript Options: Include TIFF Preview • Include Fonts. These options are only available when EPS is the selected file type. Use this group box to change the PostScript settings for EPS files that you export. Select Include TIFF Preview to have a preview of your EPS file appear when you place the EPS file into other programs. Select Include Fonts to have Finale save the music fonts used in the document as part of the EPS graphics file being exported. Select Allow Transparency if you want to create a transparent EPS file. (These options work the same way as the options in the Compile PostScript Listing dialog box. See Compile PostScript Listing dialog box for details.) • TIFF Resolution: 72 • 150 • 300 • 600 • 1200. Choose an option from the TIFF Resolution drop-down list to change the resolution of the TIFF file, or enter a value between 1–3500 dpi into the text box; the higher the value, the better quality of printout you’ll obtain. Generally, you should set this value to match the resolution of your printer. For example, if you’re printing on a 300 dpi printer, enter 300. If you’re printing on a 600 dpi printer, enter 600. Note: Be aware that the higher the resolution you select, the larger the resulting files will be, and your printer 1240

may run out of memory. If your printer has trouble printing TIFF files, choose a lower resolution when exporting files—perhaps 300 dpi to match the resolution of your printer, or 72 dpi to match the resolution of your monitor. • OK • Cancel. Click OK to save the graphics file; the standard Save As dialog box appears. Click Cancel to return to the score without saving the file. Tip: Include Fonts in the EPS file if you will be using the file on a machine that does not have Finale installed. Note: The higher the resolution you select, the larger the resulting files will be. If your printer has trouble printing TIFF files, choose a lower resolution when exporting files - perhaps 300 dpi to match the resolution of your printer, or 72 dpi to match the resolution of your monitor. See Also: Graphics Graphics Tool

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Expression Assignment dialog box

How to get there Click the Expression Tool , and Shift-double-click on an expression's handle (or press Shift-Enter). Or right-click an expression's handle and choose Edit Expression Assignment.

What it does After you’ve selected an expression to place in the score, you can access this dialog box for several additional options pertaining to the marking’s placement and playback definition. • Alignment Point. Enter a value and then select the desired increment in the adjacent drop-down menu to specify the point at which the expression will be attached. • Grace Note. Refer to the diagram to the right to specify the grace note positioning. Grace notes are numbered left to right. • Offset from Alignment Point: Horizontal • Vertical: These controls let you specify the precise vertical and horizontal position of the expression 1242

mark. Specify the marking’s distance from the attachment point by entering values in the Horizontal and Vertical number boxes. (A higher number moves the marking to the right or upward.) Of course, you can also simply drag the marking’s handle when you return to the score. The measurement unit is determined by the settings chosen for Measurement Units in the Edit menu. • Scale Expression with Attached Note. With this box checked, Finale resizes the expression to match the reduction of its corresponding note in the score. If the expression is reassigned to a note of a different size, it resizes respectively. Notes can be resized several different ways: with the Resize Tool using the Change Note Size command under the Utilities menu, or by using one of the cue notes plug-ins such as the Smart Cue Notes Plug-in. • Show On: All Layers • Score and Parts. From these drop-down menus, you can assign the expression to an individual layer or to the score, part(s), or score & parts. Note that Expressions can be assigned to specific layers using the Favor Attachment to Active Layer command under the Expression menu. • On Playback, Affect: Current Layer • Layer 1 • Layer 2 • Layer 3 • Layer 4 • Chord • Dynamic Layer. This drop-down menu allows you to specify which of these musical elements you want affected by a marking’s playback definition. For example, it’s possible to specify that a dynamic marking affect only the chord symbol above the music to which it’s attached, or to attach a patch change to only one of Finale’s four layers. • Begin Playback at Beginning of Measure • Position in Measure. If the expression you’re placing has been defined for playback, you can control where its playback effect will "kick in." See Horizontal Alignment Point in the Expression Designer. When Beginning of Measure is selected, you’ll hear its effect at the beginning of the measure. When Position in Measure is selected, you won’t hear the marking’s effect until Finale reaches the marking itself while playing back, no matter where it falls. Remember that your layers need to be assigned to unique channels in order to apply a playback effect to one independently. See Instrument List. • OK • Cancel. Click OK to confirm your settings and return to the score, where you’ll see the expression marking. Click Cancel to return to the score without adding or editing an expression marking. See Also: Expressions Expression Selection Expression Tool 1243

Expression Selection dialog box

How to get there Click the Expression Tool , and double-click a note, measure, or existing expression in the score. This dialog box also appears when you’re programming an expression Metatool: While pressing shift, press a letter or number key.

What it does This dialog box displays a palette of any Expressions (either text- or shapebased) you’ve created in, or loaded into, your document. If your Maestro Font Default file is in place, this dialog box displays a selection of common Expressions, such as Allegro, ritard, and various dynamic markings. All of Finale's expressions are organized into categories that include unique font and positioning settings. Use the category list to the left to isolate specific categories of expressions in the preview window. From this dialog box, you can select an expression to put in the score, edit an existing one, or create a new one. Characters in in the top right corner of an item in the selection dialog box indicate the Metatool assigned to the item.

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• Edit. After clicking an existing expression, click Edit to enter the Expression Designer dialog box, where you can edit it. Remember that you’re simultaneously editing every occurrence of that expression in the score. • Duplicate. Click Duplicate to make a duplicate copy of the highlighted expression. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Delete. After clicking an existing expression, click Delete to remove the expression from the palette. You can select more than one item. Use Ctrlclick to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. If the expression is used in the score, the Delete Element dialog box is displayed, where you can specify delete options. See Delete Element dialog box. • Move To. Use this drop-down menu to move the selected expressions into a different category. If the "Use Category Fonts/Positioning" check boxes are checked, the expression will inherit these settings from the destination category. • Reset to Category. Choose an expression and use this drop-down menu to reset the expression's font and/or positioning settings to match those of its category. • Create. Click Create if you want to create your own expression. You proceed to the Expression Designer dialog box, where you can create a new expression. See Expression Designer dialog box for more information. • Move Up • Move Down (arrows). Click these arrows to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Cancel. Click Cancel to return to the score without adding an expression. • Assign • . After clicking an Expression in the selection box, click Assign to add it to the score. To assign dynamics, expressive text, and technique text (and other expressions that apply to individual staves) to multiple staves simultaneously, use the adjacent drop-down menu. Choose Assign to Staves to open the Assign to Staves dialog box where you can specify on which staves the expression will appear. The drop-down menu is not available for expressions that apply to the full score (tempo and rehearsal marks). These expressions are designated to appear on specific staves according to the category's Score List. See Category Designer. • [Magnifying glass icons]. Use the magnifying glass icons in the upper right to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it.

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Note. You can simply double-click the desired expression instead of clicking it and clicking Select. See Also: Expressions Selection Overview Expression Tool

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Expression Designer-Main dialog box

How to get there Click the Expression Tool , and double-click a note or measure. Click Create, or click an expression and then click Edit.

What it does There are two kinds of Expressions: Text Expressions, composed of words or symbols you can type (Allegro, ritard, dynamic markings, and so on), and Shape Expressions, composed of shapes you’ve created in the Shape Designer. Either can be defined for playback. In this dialog box, you can create a new Expression or edit an existing one. This dialog box is separated into three tabs, each responsible for different 1247

attributes of the expression. Use options under the Main tab to edit the spelling, font, or description, options under the Playback tab to edit how the expression affects playback, such as volume or tempo, and options under the Positioning tab to specify precise positioning of the expression relative to its corresponding note or measure. • Description. You can use this text box to label each expression for reference later. The description entered here displays near the bottom of the expression in the Expression Selection dialog box. The description can be particularly helpful if you have a number of expressions that do not contain any text, such as expressions defined only to modify the playback. • Text • Shape. Choose the Text radio button to define or edit a Text Expression and the Shape radio button to define or edit a Shape Expression. Important note: Slurs, phrase markings, and hairpin crescendos should be entered with the Smart Shape Tool. • [Text box]. This text box is where you type the expression text itself. • Use _ Category Fonts. Check this box to use the font, size, and style defined for this category. Fonts for each category can be defined in the Category Designer dialog box. Uncheck this box to display additional font, size, and style options that allow you to define these settings for this specific expression only (see Expression Designer-Positioning). • Font. Use this drop-down menu to switch between entering text and musical symbols. The text and music font can be defined for each category of expressions. The text and/or music font for a category can be changed in the Category Designer dialog box. Uncheck Use Category Fonts to display additional font options that you can use to apply to this particular expression (independent from the category). • Hidden. Select this checkbox to prevent the expression from printing. Hidden expressions will continue to display on-screen at the Hidden Object Shading percentage specified in Program Options-View. • Enclosure: Shape • Edit. If you want your expression framed by a geometric enclosure, click this drop-down menu to choose the desired shape. Click Edit to open the Enclosure Designer dialog box, where you can specify the shape, size, and line thickness of the enclosure. (See Enclosure Designerfor more information.) You might use this feature, for example, when creating rehearsal marks—you can enclose each letter in a neat rectangle. • Use Auto-Sequencing Style • A, B, C...Measure Number. [Available for rehearsal marks only]. Check this box and choose a rehearsal mark style from the adjacent drop-down menu to use this expression for a series of automatically incrementing rehearsal marks that retain their consecutive 1248

sequence whether added, reordered, or deleted in the score. See Rehearsal marks. Choose Measure Number to use the style defined in the Measure Number dialog box. If there is no measure number region defined, Finale will use the “real” measure numbers for rehearsal marks and use the defined measure number style. If there is more than 1 measure region present, Finale will use the measure numbers as defined by the first measure number region. If auto-sequenced rehearsal marks are already in the score and this option is unchecked, Finale will leave the existing rehearsal mark expressions intact, but remove each auto-sequenced number or letter, leaving empty placeholders. If you wish to remove auto-sequenced rehearsal mark expressions you can delete them individually in the score (see To erase expressions from a region), or delete the definition directly from the Expression Designer dialog box (by selecting the expression's box, clicking Delete, and choosing "Delete element from both selection palette and score"). • Hide Measure numbers. [Available for rehearsal marks only]. With this box checked, rehearsal marks automatically take the place of measure numbers on the measures added. In other words, measure numbers are hidden in favor of rehearsal marks. If the rehearsal mark is subsequently deleted or moved to a different measure, the measure number reappears automatically (if assigned to show in the Measure Number dialog box). • Edit • Create • Select. Click Edit or Create to open the Shape Designer where you can edit the selected shape expression or create a new one. Click Select to choose an existing Shape Expression. • Allow Horizontal Stretching. When Finale creates the image of a page of your score in Page View, it tends to stretch each measure by a small amount in order to justify each system neatly to the page margins. In many cases you’ll want any Shape Expressions to stretch along with the measures in which they occur. In such cases, select this item. Deselect this checkbox if you don’t want to permit a shape to be stretched horizontally— for example, you might prefer that a harp pedaling diagram retain its original dimensions. • Hidden. Select this checkbox to prevent the shape expression from printing. Hidden expressions will continue to display on-screen at the Hidden Object Shading percentage specified in Program Options-View.

Tip: Set an opaque enclosure to have the Text Expression cut away other items underneath it in the score.

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To apply playback settings to the expression, click the Playback tab. See Expression Designer-Playback. To set the default positioning, click the Positioning tab. See Expression Designer-Positioning.

See Also: Expressions Expression Selection General MIDI Patch Numbers & Names Enclosure Designer Playback Data Dump Expression Tool

1250

Expression Designer-Positioning dialog box

How to get there Click the Expression Tool , and double-click a note or measure. Click Create, or click a text expression and then click Edit. Click the Positioning tab.

What it does These options control the default positioning of the expression relative to the note, barline, or music. • Use _ Category Positioning. Check this box to use the positioning defined for this category in the Category Designer dialog box. Uncheck this box to unlock the positioning options below that allow you to define these settings for this specific expression only. • Break Multimeasure Rest. Select this checkbox to force a multimeasure rest to break where this expression is placed, such as for a rehearsal mark.

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• Justification: Left • Center • Right. From this drop-down menu, choose the desired justification relative to the Horizontal Alignment point and Offset. • Horizontal Alignment: Horizontal Click Position • Left of All Noteheads • Left of Primary Notehead • Stem • Center of Primary Notehead • Center of All Noteheads • Right of All Noteheads • Left Barline • Start of Time Signature • After Clef/Key/Time/Repeats • Start of Music • Center Between Barlines • Center Over/Under Music • Right Barline. Use these options to specify the alignment of the expression relative to the notehead, barline, or music, as illustrated by the diagram in this dialog box. To place the expression at the horizontal position clicked in the score, choose Horizontal Click Position. To align the expression to the left edge of the notehead (or left-most notehead of a chord), choose Left of All Noteheads. To align the expression with the left edge of the notehead (or primary notehead of a chord), choose Left of Primary Notehead. To align the expression with the stem, choose Stem. To center the expression based on the primary notehead (changes if added to a chord containing an interval of a second), choose Center of Primary Notehead. To align the expression on the center of a notehead, or, if added to a chord with a second, center the expression between the notes, choose Center of All noteheads. To Align the expression with the right edge of the notehead, choose Right of All Noteheads. To align the expression with the left barline, choose Left Barline. To align the expression with the left edge of the time signature, choose Start of Time Signature. To align the expression with the end of the clef, key signature, time signature, or repeat bar, choose After Clef/Key/Time/Repeats. To align the expression with the first entry in the measure, choose Start Of Music. To center the expression between the left and right barline, choose Center Between Barlines. To center the expression based on where the music starts and ends (taking into account "Before" and "After" spacing in Document Options-Music Spacing), choose Center Over/Under Music. To align the expression with the right barline, choose Right barline. • Additional Horizontal Offset. Enter a value here, positive or negative, to make an additional adjustment to the horizontal positioning of the expression. • Vertical Alignment: Vertical Click Position • Above Staff Baseline • Below Staff Baseline • Top Note • Bottom Note • Above Entry • Below Entry • Above Staff Baseline or Entry • Below Staff Baseline or Entry. Use these options to specify the vertical positioning of the expression relative to the note or staff. To position the expression based on the vertical distance you clicked from the top staff line choose Vertical Click Position. To position the expression on the baseline above or below the staff (akin to lyrics and chords) choose Above Staff Baseline or Below Staff Baseline. To "fasten" the expression to the top or bottom note of the chord, choose Top Note or Bottom Note from the drop-down list. If you choose Top Note or 1252

Bottom Note, the value for vertical positioning in the Expression Assignment dialog box represents the distance from the top or bottom note in the chord (as in Finale version 2003 or earlier). To place the expression on the above or below staff baseline, or, if the expression collides with the note, above or below the note, choose Above Staff Baseline or Entry or Below Staff Baseline or Entry. • Additional Baseline Offset. This option appears only when Above/Below Staff Entry or Baseline is chosen. Enter a value here to specify an offset from the baseline above or below the staff. • Additional Vertical Offset. Enter a value here, positive or negative, to make an additional adjustment to the vertical positioning of the expression. • Additional Entry Offset. Enter a value here, positive or negative, to make an additional adjustment to the vertical positioning of the expression relative to the entry. • OK • Cancel. Click OK (or press enter) to return to the Expression Selection dialog box, where your new (or edited) text expression appears in the list— or to return to the score. Note that when you edit an expression, your editing will affect every occurrence of the marking in the score. Click Cancel to return to the Expression Selection dialog box (or to the score) without creating or editing a text expression. See Also: Expressions Expression Designer Expression Selection Expression Tool

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Expression Designer-Playback dialog box

How to get there Click the Expression Tool, and double-click a note or measure. (If you want to edit a text expression that’s already in the score, double-click or ctrl-doubleclick its handle.) Click Create, or click a text expression and then click Edit. Click the Playback tab.

What it does These options control playback effects assigned to the expression. • Type: From this drop-down list, choose the playback effect you want this Text Expression to have on MIDI playback. Each option is described separately below. • Type: None. This choice, the default, means that your Text Expression will have no effect on playback. 1254

• Type: Tempo. Select this option if you want the marking you’re creating to affect the playback tempo wherever it appears in the score. When Tempo is selected, a new drop-down list appears, from which you can choose the rhythmic pulse for the Tempo setting (quarter notes per minute, half notes, etc.); specify the number of these units per minute in the Set to Value text box. If the tempo is to change gradually (a rallentando or accelerando), don’t enter any value in the Set To Value box. Instead, use an Executable Shape. • Type: Controller. MIDI controllers include modulation wheels, breath controllers, pedals, and so on (the pitch wheel has a separate Playback Definition option; see Pitchwheel, below). When Controller is selected, a new text box appears with a drop-down list, in which you can specify the MIDI controller itself by entering its number; for example, the controller number for the sustain pedal (on most keyboards) is 64. Some common controllers (see the Appendix section More on MIDI for a complete list): Controller number

Controller

Controller number

Controller

Controller number

Controller

1

Modulation wheel or lever

7

Main volume

65

Portamento

2

Breath Controller

10

Pan

66

Sostenuto

4

Foot Controller

64

Sustain pedal

67

Soft Pedal

If you select this option, the number in the Set To Value box (or the shape identified by the number in the Execute Shape box) governs the effect of this controller. • Type: Key Velocity. Choose Key Velocity if you want the marking you’re creating to affect the key velocity (how hard the keys are struck) wherever it appears in the score. (Use this option to define dynamic markings, for example.) Specify the velocity value itself in the Set to Value text box; the scale of MIDI velocity values is from zero (silence) to 127 (very loud). See Set to Value - Key Velocities. If the volume is to change gradually (a crescendo or diminuendo), don’t enter a value in the Set To Value box. Instead, use an Executable Shape (see Execute Shape, below). (There are also quicker and easier ways to create a playback crescendo, however, using the MIDI Tool.) • Type: Transposition. Choose Transposition if you want the marking you’re creating to affect the transposition of the music wherever it appears in the 1255

score. (Use this option to define an 8va marking, for example—but don’t forget to create another expression at the end of the affected passage to "cancel out" the transposition.) Specify the transposition value itself, expressed as a positive or negative number of half steps, in the Set to Value text box. See Set to Value. If, for a special effect, the transposition is supposed to change gradually as the music plays, don’t enter any value in the Set To Value box. Instead, use an Executable Shape (see Execute Shape, below). Note that for any use of the Transposition playback effect, Finale only changes the playback transposition of the affected notes. No note transpositions appear on the screen or in printouts. • Type: Channel. Choose this option if you want the marking you’re creating to effect a MIDI channel change wherever it appears in a staff. In the Set to Value text box, specify the MIDI channel you want the marking to switch the playback to. • Type: Patch. Select this option if you want the expression you’re defining to change the MIDI keyboard patch or voice being played by the staff in which it appears. Select the instrument you would like to hear from the GM (General MIDI) drop down list. This will automatically set up the Bank Select and Program Change settings. • Type: Pitchwheel. Select this option if you want the marking you’re creating, wherever it appears in the score, to change the setting of the pitch bend wheel in playback. You can also specify a new value by entering a number in the Set to Value text box. (See Set to Value.) To create a true pitch bend effect, however, click Execute Shape, then Select, and choose (or create) the shape whose contour you want to govern the pitch bend. • Type: Channel Pressure. Choose Channel Pressure if you want the expression you’re defining to govern the monophonic aftertouch (channel pressure) setting of the affected notes. (Aftertouch or channel pressure is the pressure you apply to a key while it’s being held down.) If you select this and enter a number in the Set To Value text box, you can define an expression that sets the aftertouch setting to a particular value (on a scale from 0 [no pressure] to 127 [maximum pressure]). You might use an expression with a Channel Pressure playback definition, for example, to trigger a vibrato effect (if your synthesizer is programmed to interpret aftertouch in this way). You might also want to use the Channel Pressure parameter in conjunction with an Executable Shape. Click Execute Shape, then Select, and choose (or create) the shape whose contour you want to govern the application of key pressure. • Type: Restrike Keys. Select this option if you want Finale to play the notes affected by this marking over and over again (for tremolo or trill effects, for example). The Set To Value box is not used for this effect; instead, click

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Execute Shape and Select to choose—or create—the shape that’s to govern the rapidity and duration of the restriking. • Type: Dump. Click Dump to display the Playback Data Dump dialog box. In this dialog box, you can create a playback instruction for Finale to send the staff’s playback information over more than a single MIDI channel. If you’re a MIDI programmer, you can also use this option to generate System Exclusive data or sequencer Start signals; see Playback Data Dump dialog box. • Type: Play Tempo Tool Changes • Ignore Tempo Tool Changes. If you’ve made tempo changes using the Tempo Tool or captured tempo information from a performance in the Transcription Mode of HyperScribe, you can make Finale "obey" this invisible tempo information in some passages and ignore it in others. (In passages where you’ve told Finale not to use this stored tempo information, it will use the default tempo you’ve set in the Playback Controls, or it will adhere to any Tempo-defined expressions you’ve placed into the score.) At the beginning of the passage where you want Finale to obey the tempo information, create an expression whose playback has been defined with the Play Tempo Tool Changes setting. At the end of the passage, create a second expression, but define its playback to be Ignore Tempo Tool Changes. • Type: Swing; Standard Swing Values. Select Swing if you want Finale to play the notes affected by this marking with a slight delay on the second note of a triplet, or with a swing feel. Select a Swing value from the dropdown list to select a pre-defined amount of swing. Or, type into the box the percentage of swing - zero is no swing, 100% is standard. • Type: SmartMusic Studio Marker. Choose this option to create a performance marker, such as a pause for a fermata or cesura, a repeat, or an Intelligent Accompaniment level, for a file saved as a SmartMusic Accompaniment file (*.SMP). Expressions containing SmartMusic Markers should be attached to the solo staff. If the file is to be saved as a Full Ensemble, expressions containing SmartMusic Studio markers should be assigned to the top staff of the score. Note that some markers, such as repeats, require additional parameters added to the Description text box of the Text Expression Designer dialog box. • Type: Human Playback On. Select Human Playback On to tell Finale to incorporate Human Playback settings configured in the Playback Controls to the MIDI performance. After assigning an expression containing this playback effect, you can enter an expression assigned to Human Playback Off to turn human playback off at any point during the MIDI performance of the score. • Type: Human Playback Off. Select Human Playback Off to tell Finale to ignore Human Playback settings configured in the Playback Controls during the performance. After assigning an expression containing this playback effect, you can enter an expression assigned to Human Playback On to 1257

turn human playback on at any point during the MIDI performance of the score. • SMS Marker. When SmartMusic Studio Marker is chosen under the Type drop-down list, this new drop-down list appears. Here, choose the SmartMusic Studio Marker you would like to apply to the expression. These options are described below. • SMS Marker: Intelligent Accompaniment=0 through Intelligent Accompaniment=10. Choose one of these settings to adjust the Intelligent Accompaniment level. For example, if you would like SmartMusic Studio to follow the performer precisely, adjusting to all spontaneous tempo changes, choose Intelligent Accompaniment=10. To indicate the performer should follow the accompaniment, choose Intelligent Accompanimnet=0. Choose Intelligent Accompaniment=2, 5, or 8 (low, medium, or high) to indicate an intermediate level. • SMS Marker: Wait for End of Note. Choose this option to instruct SmartMusic Studio to wait for the soloist to release a held note before resuming the accompaniment. After assigning this marker to an expression, enter the expression to a point containing a note that should be held in the solo staff. Then, enter an expression containing a Resume marker at the point the accompaniment should resume after the release of the held note. When the soloist releases the note, SmartMusic will resume the accompaniment at the next resume marker. • SMS Marker: Wait for Note On. Choose this option to instruct SmartMusic Studio to wait for the soloist to play a specified pitch before resuming the accompaniment. After assigning this marker to an expression, enter the expression at a point you want the accompaniment to pause. Then, enter an expression containing a Resume marker on the note in the solo staff SmartMusic should wait for to resume the accompaniment. SmartMusic will listen for the specified pitch before resuming the accompaniment. • SMS Marker: Wait for Foot Pedal. Choose this option to instruct SmartMusic Studio to wait for a foot pedal message before resuming the accompaniment. After assigning this marker to an expression, enter the expression at a point you want the accompaniment to pause. Then, enter an expression containing a Resume marker at the point SmartMusic should resume the accompaniment. When the performer presses the foot pedal, the accompaniment resumes. This marker might be used if the solo and accompaniment resume simultaneously, or if the accompaniment resumes before the soloist (after a cadenza for example). • SMS Marker: Resume. Choose this option to specify the end of a pause, or, in other words, a trigger for the accompaniment to resume. After assigning this marker to an expression, assign the expression to the point in the solo staff that SmartMusic Studio should wait for before resuming the accompaniment. The trigger used to resume the accompaniment depends on the ‘wait for’ marker used. If a Resume marker appears after a Wait for 1258

End of Note, SmartMusic will resume upon the release of a held note. If a Resume marker appears after a Wait for Note On marker, SmartMusic will resume upon hearing the note under the Resume marker. If a Resume marker appears after a Wait for Foot Pedal, SmartMusic will resume upon receiving a foot pedal message. • SMS Marker: Reset Tempo. Choose this option to instruct SmartMusic Studio to resume the accompaniment at the tempo defined by a tempo expression or other tempo indication. This marker eliminates tempo adjustments made by SmartMusic’s Intelligent Accompaniment feature. These markers are generally placed at the same point as Resume markers, or any point the performer is to return to the written tempo (such as an a tempo marking). • SMS Marker: Opt. Octave Up 1. Choose this option to instruct SmartMusic Studio to acknowledge a performance that sounds an octave higher than written (in addition to the original octave). • SMS Marker: Opt. Octave Down 1. Choose this option to tell SmartMusic Studio to acknowledge a performance that sounds an octave lower than written (in addition to the original octave). • SMS Marker: End opt. Octave. Choose this option end an Opt. Octave Up or Opt. Ovate Down section. • SMS Marker: Rehearsal. Choose this option to indicate a rehearsal letter. Then, enter the text (A,B, etc.) into the Description text box in the Expression Designer. In SmartMusic Studio, you can begin an accompaniment all points marked by rehearsal letters. These should be added at the first beat of a measure. • SMS Marker: Repeat. Choose this option to specify the beginning of a repeated section. This marker is displayed in SmartMusic’s Repeat window during the performance. This marker is also used to indicate repeat endings (first ending, second ending, etc.). After choosing this option, additional parameters must be set in the Description text box of the Expression Designer dialog box to indicate the repeat number, pass, measure number, and other parameters. • SMS Marker: Repeat End. Choose this option to specify the end of a repeated section. • SMS Marker: Repeat DS. Choose this option to indicate a D.S. section. A Repeat DS marker is required at the first pass of the D.S. as well as the actual D.S. section. • SMS Marker: Repeat DC. Choose this option to indicate a D.C. section. A Repeat DS marker is required at the beginning of the score, as well as at the actual D.S. section. • SMS Marker: Use Description Text. This option accommodates any additional markers that could be added to future versions of SmartMusic Studio. 1259

• Set to Value. The number in this text box specifies the MIDI value of the playback parameter you’ve selected from the Type drop-down list (see below; not all of the playback parameters require a value in the Set To Value box). The units depend on the parameter you’ve selected, as shown in this table. Drop-down list choice

Set to Value units

Drop-down list choice

Set to Value units

Tempo

Beats per minute

Channel

MIDI channel (1 to 16 [or 17–32, if you’re using both ports])

Controller

0 (off) or 127 (on) for pedals; any value from 0 to 127 for variable controllers (such as a modulation wheel)

Patch

Synthesizer patch number (1 to 128)

Key Velocity

MIDI key velocity (0 to 127)

Pitchwheel

Pitch wheel position (-8192 to 8191; 0 is "at rest" position)

Transposition

Half steps (positive or negative)

Channel Pressure

Channel Pressure (0 to 127)

• Execute Shape • Select. While some playback effects take place instantaneously (a tempo or volume change, for example), others occur over time—a ritard, for example, or a crescendo. To create playback definitions of this latter type, you can assign a Text Expression to an Executable Shape—in essence, a graph whose contours Finale "reads" as it plays back the music. The number in this text box identifies the Executable Shape you’ve chosen to represent the playback effect of the marking you’re defining. To view the available shapes, click Select; the Executable Shape Selection box appears, where you can double-click the desired shape. (Or, if the shape you want doesn’t appear in the selection box, create your own by clicking Create, Select, and Create to enter the Shape Designer. For instructions on the use of the Shape Designer, see Shape Designer.)

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• Play Only on Pass ___ . If Finale encounters the expression whose playback you’re defining more than once—in other words, if it falls within a repeated section you’ve created using the Repeat Tool—the number in this text box specifies which time through the expression will have a playback effect. (If you leave the number at its default value, zero, the marking will affect playback on every repeat.) For example, if you’ve created an expression such as "ritard 2nd time only" by entering a 2 into this box, Finale will apply the playback definition you’ve defined only on the second time it plays back the affected passage. See Also: Expressions Expression Selection General MIDI Patch Numbers & Names Playback Data Dump Expression Tool

1261

Extract Parts dialog box

How to get there Open the document from which you’ll be extracting parts. Choose Extract Parts from the File menu.

What it does This dialog box allows you to extract parts into individual documents. When you do this, each new file Finale creates is identical to the corresponding part from the parent document. • [Parts/Score list] • Check All • Check None • Check Current. The score and all parts appear in this section. From this list, choose the parts (and/or score) you would like to extract. Click Check All to select all items in the list. Click Check None to uncheck every item in the list. Click Check Current to check an item if it is highlighted. • Manage Parts. Choose this option to open the manage Parts dialog box where you can add, delete, and customize parts. See Manage Parts dialog box. 1262

• Generate Parts. Click this button to generate a part for each instrument in the score. Finale recognizes instruments that contain more than one staff, such as Piano, and creates a single part accordingly. This is identical to the Generate Parts button in the Manage Parts dialog box. • File Names: Generate Names From • Prompt for Each Name • Save In • Open Extracted Part. Finale needs to know what to call each document it creates for an extracted part. If you want Finale to automatically extract parts and create a file name for each document without intervention on your part, select Generate Names From and enter the folder in the text box, followed by any variables you would like to use in naming your parts. The variables are detailed in the table below. Variable

Represents

Example

%f

Score file name

"Pastorale.mus"

%t

Score Title from the File Info dialog box

"Symphony No 6"

%p

Part name

"Flutes 1 and 2"

%s

First staff name

"Flute 1"

%a

First abbreviated staff name

"Flt I" or "Pno"

%i

First staff number

"1"

The default is %p, which using the examples in the table would give you extracted parts with a name like "Flutes 1 and 2.mus." Using %f %p will name all the files first with the score name followed by the part name: "Pastorale Flutes 1 and 2.mus," "Pastorale Oboe.mus," "Pastorale Clarinet.mus". Using %n %s would give you "1 Flute 1.mus," "2 Oboe.mus," "3 Clarinet.mus" and so on in the order of the score. Thus your files are listed in score order instead of alphabetically according to staff or group name. Select Prompt for Each Name if you want Finale to ask you for a file name each time a document is created. Click the Save In button to select the folder in which you want the parts saved. If you check Open Extracted Part, Finale will open the file for each part, layered on top of each other, when Finale finishes extracting all of the parts. To switch between open documents, click on the Window menu and select the desired file. For more information, see the Window menu. • OK • Cancel. Click OK (or press enter) to confirm your parts extraction settings, or click Cancel to dismiss the dialog box without changing any settings. 1263

See Also: Extracting parts Document Options-Music Spacing Page Layout menu

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File Info dialog box

How to get there Choose File Info in the File menu to display the File Info dialog box.

What it does Finale supplies a quick, convenient way to add notes about your document, such as reminders to yourself or to the person (or publishing-house) where you’re sending the file. The File Information dialog box has plenty of room for you to enter the title of the piece, the composer’s name, copyright information, and a document description. You can type any file-specific information that you may want to refer to later on. If you’re sending the file to a publisher, for example, you might use the file description area to communicate information about the fonts that were used in the file. Statistical information on the content of your file is easily accessible from the File Info dialog box. To display the File Statistics dialog box, click the Statistics button. See File Statistics dialog box. Below the document description you can enter the initials of the file’s creator and modifier. Finale automatically provides the creation and modification dates, the name of the application (Finale), the platform (Macintosh or Windows) that created the file, and the application version number. See Text menu. 1265

• Title • Subtitle • Composer • Arranger • Lyricist • Copyright • Description • Score Name Insert • Created • Modified. Enter text in these text boxes to help manage your documents, and allow you to use the Text Inserts in the Text Tool to easily place these items into your score, or automatically with the use of file templates. • Statistics. Click this button to bring up the File Statistics dialog box. See File Statistics dialog box. • OK • Cancel. Click OK to use the information entered and return to the score. Click Cancel to return to the score ignoring any changes that were made. You can get further file information by running the Count Items Plug-in.

Tip: Hold the Alt key and type 0169 on the Number pad to create a © character See Also: File Statistics Text Tool

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File Integrity Test Results dialog box

How to get there Open a file with inconsistencies. From the Document menu, choose Data Check, then File Maintenance. Ensure Check File Integrity is checked and click OK.

What it does Finale 2001 created files that were approximately one-third the size of files created with previous versions of Finale. This new capability, unfortunately, introduced a problem in which a small percentage of files are damaged when saved in the original release of Finale 2001. The symptom of this problem is that the last nine (or fewer) notes or rests that were entered before the file was saved AND closed will be missing when the file is reopened. Finale 2010 prevents further damage from occurring. While using 2010 will completely prevent the problem from occurring in new files, files previously saved in Finale 2001 may already be damaged. The File Integrity Utility will examine the file for inconsistencies and try to repair the file. Files last saved in Finale 2001 will automatically be tested for file integrity and corrected. Files created before Finale 2001 and last saved in Finale 2001a or later will ask if you wish to test file integrity. Once the file has been tested for file integrity and saved, you won't be prompted on that file again. Other files may benefit from the Test File Integrity utility. The Test File Integrity dialog box displays a message stating whether it found inconsistencies in the file. Click on Details to display the types of items that were repaired in your score. 1267

• Unused Entries. The utility removed notes or rests found in the file but not used. This is similar to Remove Deleted Items or emptying the Recycle Bin. Unused entries, without any repaired items, do not indicate a damaged file. • Orphaned Entry Details. The utility removed items attached to notes or rests found in the file but not used, such as articulations that were attached to notes you erased. This is similar to Remove Deleted Items or emptying the Recycle Bin. Orphaned Entry Details, without any repaired items, do not indicate a damaged file. • Repaired Entries. The utility repaired notes or rests that referenced a corrupted note or rest. We recommend you check your file for missing notes or rests. • Repaired Frames. The utility repaired groups of notes that referenced a corrupted note or rest. We recommend you check your file for missing notes or rests. • Repaired Frame Attachments. The utility repaired frames (one layer of a measure) that referenced a corrupted note or rest. We recommend you check your file for missing notes or rests. • Missing Measures. The utility repaired gaps in the sequence of measures. • Repaired Staff Optimization Lists. The utility repaired errors in optimization data. • Unnecessary Expressions Removed. The utility found and deleted empty expression assignments. • List of possible error locations. If the utility can determine the location, it will provide a list of locations of missing notes or rests. • OK. Click OK to return to the score. See Also: Document menu File Maintenance

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File Maintenance dialog box

How to get there From the Document menu, choose Data Check, and then File Maintenance.

What it does Use this dialog box to remove deleted items from your document to reduce file size, or to run a file integrity check.

• Remove Deleted Items. When you delete or erase music, measures, or staves from a document you’re working on, Finale doesn’t immediately discard that music. The Remove Deleted Items command permanently removes any deleted staves, measures, notes and rests that Finale is "remembering," and can dramatically decrease the size of your document (in terms of the disk space consumed). Select the Remove Deleted Items check box and click OK. A dialog box appears warning you that the process of removing items takes some time. When the operation is complete Finale will display the results of the process. • Remove Duplicate Library Elements • Text Expressions • Shape Expressions • Articulations • Retain Duplicate Elements With Unique Metatools. Check one or more of these options to remove duplicate items from these libraries. You might want to do this if you load a library that was saved from a different document that contains identical expressions or articulations. Instead of deleting all duplicate items manually in the Expression/Articulation Selection dialog box, you can use this option to tell 1269

Finale to do it for you. Check Retain Duplicate Elements With Unique Metatools to tell Finale to keep any duplicate item that has a unique metatool assignment. • Test File Integrity. Choose this option to test the file for damage caused by a small percentage of documents created in Finale 2001. See File Integrity Test Results. See Also: Document menu

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File Statistics dialog box

How to get there Choose File Info from the File menu. Click Statistics.

What it does The File Statistics dialog box is a possible solution to a common dilemma for Finale music copyists—how to bill for their services. Finale can print any music at any size and with any spacing. Therefore, a payment-per-page billing system makes less sense than it did when every page had the same number of measures. On the other hand, an hourly rate isn’t quite right either, because an expert user with a high-powered computer is likely to finish the work much sooner than a novice with a slower computer. One possible solution is to bill by the frame. A frame is one measure of one staff. The File Statistics dialog box tells you how many Pages, Staff Systems, and Measures are in your piece. The File Statistics dialog box also tells you how many frames actually have notes in them, excluding empty measures. See also the Count Items Plug-in for more information. • Pages • Staff Systems • Measures • Active Frames. These indicators tell you how many pages, systems (lines of music), measures, and frames (measures times staves) are in your document. ("Active" frames refer to non-empty frames.) • Non-Whole Rest Active Frames. This indicator shows how many frames contain notes; it doesn’t count any measures that contains whole rests, even if they’re "real" whole rests (that you entered, for example, using the 7 key in the Speedy Entry Tool). • OK. Click OK to exit the dialog box and return to the File Info dialog box. See Also: 1271

File menu/File Info

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Fill dialog box

How to get there Enter the Shape Designer (see Shape Designer dialog box). Select an enclosed-outline object in the drawing area and choose Other from the Fill submenu of the Shape Designer menu.

What it does When you’re creating a shape in the Shape Designer, you can specify that any enclosed object (square, circle, polygon, and so on) be "colored in" with any shade of black or gray. If none of the shading choices in the Fill submenu is what you want, you can use this dialog box to specify any other degree of black or gray. • Fill • [Scroll bar]. In the text box, you can type in any number from zero (white) to 100 (black) to specify a shade of gray. If it’s more convenient, you can use the scroll bar to change the number in the text box. As you change either of these controls, the area above the scroll bar changes to show you the gray shade you’ve specified, as it will appear on the screen. (The grays are smoother when printed on a PostScript printer.) • Solid Fill (PostScript Only). Leave this technical option selected. If you don’t, then shading applied to complex polygons with crisscrossing lines will only fill alternate spaces created by the crossing lines (for example, only the points of a 5-pointed star would be filled in). • OK • Cancel. Click OK to confirm, or Cancel to discard, your specifications of a Fill setting and return to the Shape Designer. See Also: Shape Designer Expression Designer 1273

Expression Assignment

1274

Filter Channels dialog box

How to get there Choose Open from the File menu, and Select MIDI from the File Type dropdown list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI File Options dialog box, click the Set Track-to-Staff List radio button. In the Track/Channel Mapping to Staves dialog box, click the topmost unassigned row of track information; the Track/Channel Mapping dialog box appears. Enter the numbers of the tracks from which you want to select ranges of notes to be transcribed in the text boxes at the top of the window; click Filter.

What it does The Track/Channel Mapping dialog box offers you a great deal of control over the way in which your sequencer-file tracks are transformed into Finale staves. You can tell Finale to create up to eight staves out of a single sequencer track, to create one Finale staff from up to four sequencer tracks, and so on. You can think of the Filter split option as the inverse of the Fixed, Multiple, and other split options. Where these other functions serve to split the notes on the tracks you’ve specified into separate staves, the Filter function lets you combine selected notes from several different sequencer tracks onto a single Finale staff. In the Filter Channels dialog box, you specify the ranges of the notes from each of up to four tracks you want Finale to transcribe onto a single staff. Note, however, that the Filter function has no meaning if you haven’t specified at least one track by entering its number in one of the text boxes at the top of the Track/Channel Mapping dialog box. If you click Filter without having specified a track, Finale will display an alert message. • Track/Channel (#):(#). There are up to four of these indicators, which identify the track and MIDI channel number pairs you entered at the top of the Track/Channel Mapping dialog box. 1275

• Key Range: Low • High • Listen. In each pair of these text boxes, you enter a low and a high key number; in this way, you can specify up to four registers, one from each of the four track/channel combinations identified by the Track/Channel (#):(#) indicators. Finale will transcribe only the notes within each of these registers onto a single staff in the resulting transcription. Middle C is key number 60, and keys are numbered sequentially from left to right on the keyboard. (You can even enter a Low key number that’s higher than the High number; Finale will include in the transcription all notes except those in the register you’ve just outlined.) Note, however, that you don’t have to calculate the key numbers and type them in manually—you can play them instead. • Listen. Click the Listen button beside each pair of text boxes, and play each note—the lowest, then the highest note in the range; Finale enters their key numbers in the text boxes automatically. • OK • Cancel. Click OK to confirm, or Cancel to discard, your specifications of note Filter settings and return to the Track/Channel Mapping dialog box. See Also: MIDI Track/Channel Mapping Track/Channel Mapping to Staves Import MIDI File Options

1276

FinaleScript Editor dialog box

How to get there From the Plug-ins menu, choose Miscellaneous, and then FinaleScript Palette. Then, click the View Current Script button .

What it does In this dialog box, create or edit scripts used in the FinaleScript plug-in • Script Name. Enter the name of the script here. This text will appear will appear in the Script List portion of the FinaleScript Palette. • Show in menu. Check this box to display this script in the FinaleScript submenu of the Plug-ins menu. • Use Shortcut; Select. Check this box to assign this script to a keyboard shortcut. Click Select to open the FinaleScript - Shortcut Editor dialog box where you can define a keyboard shortcut. • [Script Editor Window]. Use this window to define Finale commands to be applied when the script is run. The shorthand used to specify FinaleScript 1277

commands and Finale Commands can be found in the Appendix. See FinaleScript Plug-in. The // command can be used to type comments that will not be processed. Use /* */ to enter a comment of more than one line. • Run Script. Choose Run Script to execute your script without leaving the FinaleScript - Editor dialog box. • Save and Close · Cancel. Click Save and Close to save the script and return to the FinaleScript Palette. Click Cancel to return to the FinaleScript Palette without saving the changes to the script.

Contextual Menus Contextual menus are reached by right-clicking text in the FinaleScript - Editor dialog box. A contextual menu will be displayed where you can select various items (see also FinaleScript Helpers).

menu item

What it does

Insert path

Launches the Open dialog box where you can choose a source or destination folder (choose a folder and FinaleScript will insert the path automatically)

Comment/uncomment

Comments or uncomments the selected line

Help

Opens the FinaleScript - Editor topic of the Finale User manual.

Command unfound/(no keyword found)

Indicates whether or not the selected command is in the FinaleScript Dictionary

Dictionary list

Lists all keywords bearing resemblance to the selected text

Script Syntax Coloring FinaleScript uses an automated coloring scheme to display the function of script text. As you type FinaleScript updates the coloring automatically. • Deep green for command keywords • Deep purple for command attributes 1278

• Dark blue for numbers • Dark Orange for strings "between quotes" • Red for font names (between brackets) • Light gray for comments • Dark gray for unrecognized words (ignored by FinaleScript)

See Also: FinaleScript plug-in

1279

Fit Measures dialog box

How to get there In Page View, click the Selection Tool, and select a region of full measures. From the Utilities menu, choose Fit Measures.

What it does Using this powerful page-layout command, you can force Finale to place a group of selected measures onto one line (staff system) on the page. Or you can select a larger region of measures, and tell Finale to place them in groups of 4 (or any other number) per line. The Fit Measures command also allows you to lock the measure grouping and the contents. • Change Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all parts and the score. • Lock Layout with ___ Measures per System • Treat Multi-Measure Rests as One Measure. The Measures per System option lets you specify how many measures per line you want for the region you’ve selected. You may optionally treat multi-measure rests as one measure (when checked) or count each measure inside the multi-measure rest individually (when unchecked.)

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• Lock Selected Measures into One System. Click this option if you want Finale to place all the selected measures into the same line of music (system). Both of these options work by placing the selected measures into locked configurations. When the measures are locked, a lock icon will appear next to the system. See the View menu for more information about displaying or hiding these non-printing lock icons. (For more on measure groups, see Measure layout). • Remove System Locks. Click this option to remove all locked measures for the selected systems. This will allow Finale to move measures to different systems when updating your layout. • Change: All Measures • Measure ___ thru ___ . Click on the Whole Document radio button to lock every system in the score. Click on Measure ___ thru __ to lock only the measures entered in the text boxes. • OK • Cancel. Click OK to confirm, or Cancel to discard, your measurelayout settings and return to the score. If you clicked OK, Finale performs the measure-layout action and automatically chooses Update Layout from the Edit menu. If you are displaying System Locks, you’re changed systems will now display them. See View menu. To undo measure groups you’ve created in this way, choose Update Layout from the Edit menu while pressing shift or press U in the Selection Tool after selecting individual systems. See Also: Utilities menu

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Fit to Time dialog box

How to get there Click the MIDI Tool . Select a region of music. From the MIDI Tool menu, choose Tempo. Then, from the MIDI Tool menu, choose Fit to Time.

What it does This dialog box displays the start and end time of the selected region of music based on the playback tempo. It allows you to specify a duration for the selected region of music or the elapsed time of the entire score. This dialog box does not account for tempo changes applied by Human Playback. To eliminate Human Playback’s tempo changes, for Tempo, choose No HP Effect in Human Playback Preferences - MIDI Data. • New End Time. Here, enter the moment (from the beginning) playback should reach the end of the selected region. • New Elaped Time. In this text box, enter the duration for the selected region. Finale adjusts the tempo of the music so that the measures selected fit into the amount of time specified. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the Fit to Time data changes you’ve specified. See Also: MIDI Tool

1282

Fixed Split dialog box

How to get there Choose Open from the File menu, and select MIDI File from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI File Options dialog box, click the Set Track-To-Staff List radio button. In the Track/Channel Mapping to Staves dialog box, click the top unassigned row of track/channel mapping information. In the text boxes at the top of the Track/Channel Mapping dialog box, enter the track numbers and MIDI channel numbers of the "tracks" you want to split. Click Fixed.

What it does In this dialog box, you can specify up to four split points for the music in the sequencer track (or tracks) you’ve specified for transcription. In each pair of text boxes, you specify a range of notes you want to appear in a separate staff. You could, for example, include only the notes in the flute’s register to place in one staff; only the notes in the bass’s register to put in another, and so on. You can even specify overlapping split ranges so that some notes are transcribed more than once. • Key Range: Low • High. In each pair of Low/High text boxes, enter a low and a high key number, where middle C is key number 60, and the numbers increase sequentially as you move from left to right on the keyboard. The notes to which these synthesizer key numbers refer—and all notes in between—will be split into their own staff. Note: You don’t have to calculate the key numbers and type them in manually. Click the Listen button (see 1283

below) beside each pair of text boxes, and play each note—the lowest, then the highest note in the range; Finale enters their key numbers in the text boxes automatically. You can split the notes of the track (or tracks) you’ve indicated into as many as four separate staves this way. These staves will appear in the same top-tobottom order as these pairs of text boxes. • Listen. When you click this button, Finale goes into "listen" mode, waiting for a MIDI signal. (A message to this effect appears on the screen.) Simply play the desired key on your keyboard; Finale enters the appropriate key number in the active text boxes. • Split into ___ Staves. After indicating all the desired ranges of notes in the text boxes (see above), tell Finale how many resultant staves you want by entering the appropriate number in the Split text box (1 to 4). • OK • Cancel. Click OK to confirm your split points, or Cancel to discard them, and return to the Track/Channel Mapping dialog box. In the Split column for the row you clicked, you’ll see Fixed (if you clicked OK) or None (if you clicked Cancel). See Also: Track/Channel Mapping

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Fixed Split Point dialog box

How to get there Click the HyperScribe Tool . Choose Split into Two Staves from the Record submenu of the HyperScribe menu. Or, choose Transcription Mode from the HyperScribe menu and click a measure. Choose Fixed from the Split Point submenu of the Transcription menu.

What it does When you’re playing a two-handed keyboard performance into Finale, it needs some instructions for splitting the incoming music onto separate staves. This option lets you designate a note on your MIDI keyboard as the "split point" pitch. All notes on or above this pitch are transcribed onto the upper staff, and all notes below it are assigned to the lower staff. • Split at MIDI Note:. In this text box, you identify a MIDI Note below which all music should be split onto the lower (left-hand) staff. This note is determined by the standard MIDI key numbering system, where keys are numbered sequentially from left to right, and middle C is 60. Instead of figuring out the number to enter here, you may find it easier to use the Listen button (see below). • Listen. When you click this button, Finale goes into "listen" mode, waiting for a MIDI signal. (A message to this effect appears on the screen.) Simply play the desired key on your keyboard; Finale enters the appropriate key number in the text box. • OK • Cancel. Click OK to confirm the split point and return to the score (HyperScribe) or the Transcription window. Your transcription will now be correctly split onto two staves. Click Cancel to return to the score (HyperScribe) or the Transcription window without specifying a split point. Your transcription will appear on a single staff. Tip: Middle C=60=C4.

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See Also: HyperScribe Tool

1286

Font dialog box

How to get there This dialog box appears any time you click a Set Font button. You can find a Set Font button in, for example, the Measure Number, Articulation Designer, and Expression Designer dialog boxes.

What it does In this dialog box you can specify a font (typeface), point size, and style for the text element you’re defining. Finale displays sample text to show the effects of your selection. • Font. In this scrolling alphabetical list, Finale displays every font installed. Click a font name to select it. If any elements in the score use fonts that were present when the document was created or edited, but are no longer installed, then the font name appears in the Font text box but not in the scrolling font list; see Font Utilities dialog box. At the top of the dialog box, Finale shows you the actual text you’ve typed, if appropriate. Enter the Size (and click each check box to remove any dashes) to preview the selected font. (A dash indicates the current fixed size or style specified for any text existing in the document. Since more than one size/style may exist in the document for any given font, the font preview is only available with dashes removed.)

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Note: When you’re creating musical elements such as Articulations, Finale conveniently displays the default music font at the top of the list (usually Maestro) as well as in its normal alphabetical position. • Size. In this text box, enter the size, in points (72 per inch), for the textual element you’re designing. Each time you enter a number, Finale updates the sample text display to reflect the change. See Fonts for some important advice about selecting fonts and type sizes. • Fixed Size. Normally, when you use the Resize Tool to make your music larger or smaller on the page, Finale scales all page elements by the same amount, including text. Therefore, the size of your lyrics and titles, for example, always remains proportional to the music around it. In some cases, though, you may want to specify a point size for some text that will never change, even if you reduce or enlarge the music on the page (lyrics and titles are the most common examples). If that’s the case, select Fixed Size; Finale won’t scale this text if the size of the music changes. • Style. Click as many of these checkboxes as you want; each creates a stylistic change in the font and size you’ve selected, as follows: Bold, Italic, Underline, and Hidden. • OK • Cancel. Click OK to confirm, or Cancel to discard, the font change you’ve specified. You return to the previous dialog box. See Also: Articulation Tool Expression Tool Lyrics Tool Measure Tool Text Tool

1288

Font Annotation dialog box

How to get there From the Edit menu, choose Program Options and select Edit. Then click the Font Annotation button.

What it does Modern font technology is orientated towards text rendering, but symbol fonts often require more information. The Font Annotation dialog box allows you to fine-tune the height and width of each font character, allowing Finale to better handle the selection area for font characters and collision avoidance for Engraver slurs. We’ve provided annotation files for each of the fonts provided by MakeMusic. If you use an alternative music font, you should create your own font annotation file for a smoother integration with Finale. Any Font Annotation (FAN) files found in the Font Annotation folder will be automatically loaded upon starting Finale. See Program Options-Edit for information about defining your Font Annotation folder. • Character: Select • Set Font. Click on the Select button to open the Symbol Selection dialog box, where you can scroll through the font 1289

characters. Type in the text box if you know the specific symbol number, or use the up or down arrows to cycle to the character. Click on the Set Font button to switch to a different font. The currently selected font is displayed below the Set Font button. • Origin • Baseline. These text boxes reflect the values for the green lines representing the font character’s origin and baseline. • Bounding Rectangle: Top • Left • Right • Bottom. These text boxes reflect the values for the annotated size of the font character. • Show Font Reference Lines. Check this box to display the blue lines which represent the size of the height of the largest character in that font. • Show Bounding Rectangle. Check this box to display the red lines which represent the size of the font character. Uncheck the box to hide the rectangle. • Show Origin and Baseline. Check this box to display the green lines which represent the font character’s origin and baseline. • View % • Magnifier Glass + • Magnifier Glass -. Select a view percentage from the View drop-down list to change your display of the font character. Click the Magnifier Glass + button to increase the view percentage to the next highest percentage in the menu. Click the magnifier Glass - button to decrease the view percentage to the next smallest percentage in the menu. • Center View. Click this button to center the display according to the font reference lines. • Reset. Click Reset to return the font character to its default settings. • New • Save • Open • Save As. Use these buttons for file management of Font Annotation Files (FAN). Click New to create a new set of annotations. Click Save to save your current changes to the font annotation file. Click Open to edit a previously created file. Click Save As to save the current font annotation file with a new name. • OK • Cancel. Click OK to confirm, or Cancel to undo, the font annotation changes you’ve made, and return to the Font dialog box. See Also: Program Options-Edit

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Font Utilities dialog box

How to get there From the Document menu, choose Data Check > Font Utilities.

What it does This dialog box tells Finale to inspect the font of every musical element in your piece—articulations, expression marks, chord symbols, the music itself—in search of the font you’ve specified, and replace each occurrence of it with a different font you specify. This is particularly useful if, for example, you decide you want to change the font for all your tempo markings at once, or all your chord symbol suffixes. This dialog box also includes variety of commands related to font management, including dealing with fonts in files opened cross-platform. Basic tab: • Search For This Font • Select. Click here to select the font, size and/or style to search for. Finale presents the Font dialog box. • Replace With This Font • Select. Click here to select the font, size and/or style with which to replace the found items. Finale presents the Font dialog box again. • Apply Changes to Fonts in Shapes. This option determines whether Finale will search shapes, as well as text, for font changes when you select 1291

any of the data check options relating to fonts. When this option is not selected, Finale only searches text—such as text expressions, lyrics, staff and group names, text blocks—for font changes. Finale does not change the fonts for any font characters embedded in shapes. Note: When Apply Changes to Fonts in Shapes is selected, any data check operation may take slightly longer, depending on the number of shapes and the fonts used in the shapes. • Scale Font Size to: _%. Enter a value in this text box to change the size of a font throughout the Finale document. • Check Document Fonts Against System Fonts. Choose this menu item to compare the font list in the file opened to the font list of the computer being used. Advanced tab: • Reset Symbol Fonts List to Default. Choose this option to restore the default list of Symbol Fonts in MacSymbolFonts.txt. This command is useful if a font has been added to the list of symbol fonts unintentionally, which was considerably easier to do while opening files cross-platform in versions of Finale older than Finale 2009a. • Sync Document to Symbol Fonts List. If a document is saved on a Macintosh, where a font such as Times is listed as a Symbol Font, then opened on a Windows computer where Times is NOT listed as a symbol font, this command updates the document to treat Times as a non-Symbol Font. Then, it will re-encode the required text. Note: If a font is marked as a non-Symbol Font on the first computer, then opened on a computer where it is marked as a Symbol Font, selecting this option will mark all the text as Symbol Font text, BUT WILL NOT RE-ENCODE THAT TEXT. This is a limitation of crossplatform encoding; it cannot be done reliably more than once. When text is re-encoded upon opening a document, any attempt to undo it (by encoding it 1292

for the opposite platform) will not yield reliable results. • Convert Text for Windows. This command tells Finale to convert higher ASCII text font characters (such as è, ö, and hard spaces) to the appropriate font encoding for Windows.

See Also: Data Check Submenu Document menu

1293

Frame Attributes dialog box

How to get there Click the Text Tool. Click a text block handle, then choose Frame Attributes from the Text menu. Or, shift-double-click a text block handle. Or type controlshift-T.

What it does For measure-assigned text blocks, use the Frame Attributes dialog box to specify the staff and measure to which Finale should assign the text block; for page-assigned text blocks, specify which pages a text block will appear on, and position the text block vertically and horizontally on the page. The dialog box appears with the settings already selected for measure- or page-assigned text blocks. • Attach to: Page: Single Page • All Pages • Page Range • Left Pages • Right Pages; __Through__. Click Page to assign the text block to one or more pages. Choose an item from the drop-down list to have Finale show the text block on a single page, all pages, a range of pages, left-facing (even-numbered) pages or right-facing (odd-numbered) pages, then specify the range of pages (with the exception of single page and all pages). Enter the numbers of the pages where the text block will appear (you’d select Left Pages, and 6 Through 10 to display the text block on every left page 1294

between pp. 6–10, for example). To show the text block on a single page, choose Single Page, then enter the page number in the first text box. To display the text block on the first page through the end of the piece, choose All Pages. To show the text block on every page, starting at page 6, you’d select Page Range and enter 6 Through 0, or enter 6 and leave Through blank. The page number(s) in the Frame Attributes dialog box may differ between the part and the score if either contains blank/title pages. For example, if there is one title page on the part but not the score and a text frame is assigned to the first page containing music, the Frame Attributes dialog box indicates page 1 while viewing the score and page 2 while viewing the part. Note: A text block assigned to a measure will only appear on the page containing that measure, so the page settings aren’t available for measure-assigned text blocks. • Attach to: Measure • [Staff names]. Click to assign the text block to a measure. In the Measure text box, enter the measure number you want the text block to be assigned to. From the Staff drop-down list, choose the staff you want associated with the measure-assigned text block. Finale aligns and positions the text block in relation to this staff. Note: When you change whether a text block is assigned to a page or a measure, Finale resets the H: and V: values to zero. It also sets Measure to 1 or Page to 1 (or the current page if you’re in Page View). • Alignment and Positioning: Horizontal: Left • Center • Right; Vertical: Top (Header) • Center • Bottom (Footer); Position from: Page Margin • Page Edge; H: • V:. Use the Horizontal drop-down list to position a pageassigned text block horizontally between the left and right page edges or margins. Choose Left or Right to position the text block flush with the left or flush with the right page edge or margin. Choose Center to center the text block between the left and right page edges or margins. When you select a Horizontal option Finale resets the Alignment and Positioning: H: value to zero, and positions the text block horizontally, depending on the Position from selection. Use the Vertical drop-down list to position a page-assigned text block vertically between the top or bottom page edges or margins. Choose Top (Header) or Bottom (Footer) to place the text block at a distance measured from the top or measured from the bottom of the page edge or margin. Choose Center to center the text block between the top and 1295

bottom edges or margins. When you select a Vertical option Finale resets the Alignment and Positioning: V: value to zero, and positions the text block vertically, depending on the Position from selection. Use the Position fromdrop-down list to have Finale calculate a pageassigned text block’s position starting from either the page margin or page edge. Select Page Margin to have Finale measure the text block’s position starting from the page margin. Select Page Edge to measure the text block’s position from the page edge. Note: The Horizontal, Vertical and Position from options are only available for page-assigned text blocks (Attach to: Page is selected). Use the H: and V: text boxes to position a measure- or a page-assigned text block horizontally and vertically. For measure-assigned text blocks (Attach to: Measure is selected), enter values in H: and V: to position the text block from the top-left of the measure. For page-assigned text blocks (Attach to: Page is selected), enter values in H: and V: to position the text block on the page, based on your settings in the Alignment and Positioning group box. Enter a value for H: to change the horizontal position; a positive number moves the text block to the right; a negative number moves it to the left. Enter a value for V: to change the vertical position; a positive number moves the text block higher; a negative number moves it lower. Note: The H: and V: text boxes in the Alignment and Positioning group box are used for both measure- and pageassigned text blocks. • Right Page Alignment and Positioning: Use Right Page Positioning; Horizontal: Left • Center • Right; H: • V:. Select. Use Right Page Positioning if you want Finale to position a page-assigned text block differently on right-facing pages. When this option is selected, you can set separate horizontal alignment and H: and V: settings for right-facing pages. Finale uses the settings in the Alignment and Positioning group box for leftfacing (even-numbered) pages, and the settings in the Right Page Positioning and Alignment group box for right-facing (odd-numbered) pages in the score. Use the Horizontal settings to position page-assigned text blocks horizontally on right-facing pages when Use Right Page Positioning is selected. The settings work the same as the Horizontal settings in the 1296

Alignment and Positioning group box, but are used for right-facing pages only. Use the H: and V: text boxes to position page-assigned text blocks on right-facing pages when Use Right Page Positioning is selected. These settings work the same as the H: and V: settings in the Alignment and Positioning group box, but are used for right-facing pages only. • Position from Edge of Frame. This option is automatically selected for text blocks created in Finale. If you open a file from a version older than 3.7, this option is not selected; text blocks in your file will be positioned as they were in the previous version. This checkbox also affects line spacing in the text block. Finale also looks at font changes within the line when changing fonts. • OK • Cancel. Click Cancel to return to the score without updating any positioning for the text block. Click OK to confirm your settings and return to the score. Note: The Page options are only available when Attach to: Page is selected. See Also: Text Tool

1297

Fretboard Editor dialog box

How to get there Click the Chord Tool , choose Manual Input from the Chord menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog box, click the Edit button in the Fretboard area if you have fretboards created. Otherwise, click Select, then Edit.

What it does This dialog box allows you to create custom fretboard diagrams. • Name. Displays the name of this group of fretboard diagrams. • Show/Hide Group. Click the Show Group button to expand the dialog box to display all of the fretboard thumbnails for this group. Click the Hide Group button to collapse the dialog box and hide the thumbnails. • Instrument • Edit Instrument. Click this button to change the number of strings, tuning and other aspects of the selected instrument. From this drop-down menu you can choose to show fretboards for banjo, dulcimer, gamba. 7-string guitar, bass, lute, mandolin, requinto, sitar, ukulele, and vihuela. You can also edit these styles to account for custom tuning. See the Fretboard Instrument Definition dialog box for details.

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• Fretboard Tools: Hand Grabber • Eraser • Open Circle • Closed Circle • X • Open Diamond • 1 • 2 • 3 • 4 • T • Barre. Click on the Hand Grabber tool then click and drag the fretboard to move your view of the fretboard. You can also select the Hand Grabber Tool with the shortcut of right-click and drag. Click the Eraser, then click on any marking on the fretboard to remove it. Click the Open or Closed Circle, X, Open Diamond, a number, or T; then click on a string to add the marking. Click on the Barre, then click and drag to draw a barre. Clicking on a mark with its associated tool will erase the mark. • Clear Items. Removes all of the fretboard markings to display a blank fretboard. • Multiple Items per String. Check this box to allow more than one marking on each string. • Number of Frets. Type in this text box the number of frets to display in this fretboard diagram. • Play. Click this button to have Finale play the chord as an arpeggio. • Fretboard Number: Show • Number. Check the Show button to display the text fr. and the number of frets in the number text box. To adjust the fretboard number text or placement, see Fretboard Styles dialog box. • View: Percent • Style. Choose a view percentage from the drop-down list to change the display, but not resize the fretboard. • OK • Cancel. Click OK to confirm the changes to the fretboards and return to the Chord Definition dialog box. Click Cancel to return to the Chord Definition dialog box without modifying the fretboards. • Generate. Click on Generate to have Finale create new fretboards in this group based on the nearest already existing fretboard. Finale will only change unlocked fretboards. • Clear Unlocked • Lock All • Unlock All. Click Clear Unlocked to clear the contents of unlocked fretboards. Click Lock All to freeze all of the group fretboards. Click Unlock All to unlock all of the group fretboards and allow Generate to make changes. Next to each root’s fretboard diagram is a small lock icon. These icons indicate the lock status for each fretboard. They may be clicked to lock or unlock the individual fretboard. See Also: Chord symbols Chord Definition

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Fretboard Instrument Definition dialog box

How to get there Click the Chord Tool , choose Manual Input from the Chord menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog box, click the Edit button in the Fretboard area. Click on Edit Instrument. If a note has a chord symbol attached, click the note to make the chord’s handle appear. Double-click the handle, click the Edit button in the Fretboard area, then click Edit Instrument.

What it does In this dialog box you can define the number of strings, tuning and other aspects of an instrument that affect how a fretboard diagram is displayed. • Name. The name of the instrument. • Number of Strings. Type the number of strings of your instrument into this text box. • Diatonic; Define. Some fretted instruments, such as dulcimer, have varying pitches between frets. Click the Define button to define a nonchromatic fretboard. See Diatonic Instrument Definition. 1300

• Number of Frets. Type the number of frets of your instrument into this text box. • String 1: • String 2: . . . String 24: • Listen. Define up to 24 strings. Either type the string into the text box, or, if you don’t know the MIDI note number, clicking the Listen button will bring up the Listen dialog box. Highlight the text box next to the string number you want to enter. Click the Listen button and play the note on your MIDI instrument for the highlighted string. Finale will enter the MIDI note number for you. • New • Duplicate • Delete • Set As Default. Click New to define a new instrument. Click Duplicate to make a copy of the selected instrument. Click Delete to remove the selected instrument. Click Set As Default to make the selected instrument the default for all fretboards in this document. • Speedy Clef. Click this button to open the Clef Selection dialog box where you can choose a clef to use when editing TAB staves , which use this instrument, as standard notation in Speedy Entry. • OK • Cancel. Click OK to confirm the instrument definition for the fretboards and return to the Fretboard Editor dialog box. Click Cancel to return to the Fretboard Editor dialog box without modifying the instrument definition. See Also: Chord Definition Fretboard Editor

1301

Fretboard Selection dialog box

How to get there Click the Chord Tool , choose Manual Input from the Chord menu, then click a note that doesn’t have a chord symbol attached. In the Chord Definition dialog box, click on Select in the Fretboard area. If a note has a chord symbol attached, click the note to make the chord handle appear. Double-click the handle, click on Select in the Fretboard area.

What it does The Fretboard Selection dialog box displays any fretboards you’ve created in (or loaded into) the document. It allows you to select, delete, or edit any of the fretboards; it also provides an entrance to the Fretboard Editor, where you can design or edit new fretboards. • Select. If you have clicked a fretboard in the Fretboard Selection dialog box, click Select to return to the Chord Definition dialog box. Finale puts the 1302

number of the fretboard you selected in the Fretboard ID text box and places the selected fretboard in the score (when you click OK). Doubleclicking a fretboard is the same as clicking it once and clicking Select. • Cancel. Click Cancel to return to the Chord Definition box without having made a fretboard selection. • Edit. If you’ve selected a fretboard in the Fretboard Selection box by clicking it once, click Edit to enter the Fretboard Editor, where you can modify the fretboard. • Create. If you don’t see the fretboard you’re looking for in the Fretboard Selection box, click Create to enter the Fretboard Editor, where you can build one of your own. • Duplicate. Click this button to create a copy of the selected Fretboard that you can modify with the Fretboard Editor. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Delete. If you’ve selected a fretboard in the Fretboard Selection box by clicking it once, click Delete to remove it from the selection box. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. If the fretboard is used in the score, the Delete Element dialog box is displayed, where you can specify delete options. See Delete Element dialog box. • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shiftclick to select an additional item and include all the items in between. Use ctrl -click to select only a specific additional item in the list. • [Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it. • Copy Fretboards from Another Chord Suffix: Select Suffix. Click on Select Suffix to open the Chord Suffix Selection dialog box, where you can choose to copy fretboards from the selected suffix. See Also: Chord symbols Chord Definition Fretboard Editor

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Fretboard Shape Selection dialog box

How to get there Click the Chord Tool , choose Manual Input from the Chord menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog box, click the Edit Styles button. In the Fretboard Styles box, click on Fonts & Shapes. Click any Select button. If a note has a chord symbol attached, click the note to make the chord’s handle appear. Double-click the handle, then click the Edit Styles button. Click on Fonts & Shapes. Click any Select button.

What it does In this dialog box you can select the shapes for barre symbols, open or muted strings and other symbols.

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• Select. If you have clicked a shape in the Fretboard Shape Selection dialog box, click Select to return to the Fretboard Style Fonts & Shapes dialog box. Finale puts the shape you selected in the custom fretboards using this fretboard style. Double-clicking a shape is the same as clicking it once and clicking Select. • Cancel. Click Cancel to return to the Fretboard Style Fonts & Shapes box without having made a shape selection. • Edit. If you’ve selected a shape in the Fretboard Shape Selection box by clicking it once, click Edit to enter the Shape Designer, where you can modify the shape. See Shape Designer for more information. • Create. If you don’t see the shape you’re looking for in the Fretboard Shape Selection box, click Create to enter the Shape Designer, where you can build one of your own. See Shape Designer for more information. • Duplicate. Click this button to create a copy of the selected shape that you can modify with the Shape Designer. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Delete. If you’ve selected a shape in the Fretboard Shape Selection box by clicking it once, click Delete to remove it from the selection box. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. If the shape is used in the score, the Delete Element dialog box is displayed, where you can specify delete options. See Delete Element dialog box. • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shiftclick to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • [Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it. See Also: Chord Definition Fretboard Editor

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Fretboard Style Fonts and Shapes dialog box

How to get there Click the Chord Tool , choose Manual Input from the Chord menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog box, click the Edit Styles button. In the Fretboard Styles box, click on Fonts & Shapes. If a note has a chord symbol attached, click the note to make the chord’s handle appear. Double-click the handle, then click the Edit Styles button. Click on Fonts & Shapes.

What it does In this dialog box you can define the fonts for fingerings and fret numbers. You can also define the shapes for barre symbols, open or muted strings and other symbols. • Fonts: Fingering • Set Font • Fret Number • Set Font. Click on the Set Font under Fingering to change the font used for fingering numbers. Finale displays the currently selected font next to Fingering. Click on the Set Font 1306

under Fret Number to change the font used for fret numbers. Finale displays the currently selected font next to Fret Number. • Shapes: Barre • Fingered String • Open String • Muted String • Custom. Click a Select button to open the Fretboard Shape Selection dialog box, where you can design an alternate marking for these fretboard elements. See Fretboard Shape Selection dialog box. • OK • Cancel. Click OK to confirm the settings and return to the Fretboard Styles dialog box. Click Cancel to return to the Fretboard Styles dialog box without modifying the settings. See Also: Chord Definition Fretboard Editor

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Fretboard Styles dialog box

How to get there Click the Chord Tool , choose Manual Input from the Chord menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog box, click the Edit Styles button. If a note has a chord symbol attached, click the note to make the chord’s handle appear. Double-click the handle, then click the Edit Styles button.

What it does In this dialog box you can fine-tune how Finale draws certain aspects of fretboard diagrams, such as how far apart to draw the strings or how much of the string to whiteout around numbers. • Name. The name of the style you’re editing. • String Spacing. Enter the distance between strings on custom fretboards. • String Thickness. Enter how wide to draw the strings on custom fretboards. 1308

• Fret Spacing. Enter the distance between frets on custom fretboards. • Whiteout. Enter the vertical whiteout area to draw above and below 1, 2,3,4, & T on custom fretboards. • Nut Thickness. Enter the thickness of the nut line drawn at the top of custom fretboards. • Show Last Fret. Check this box to show the bottom fret line. Uncheck it to hide the last fret. • Fret Number: Text • Horz Offset • Vert Offset. Enter the text you wish to appear next to the fret number. Use the Offset values to adjust the position of fret number text and fret number. • Handle Offset: Horizontal • Vertical. Use these values to adjust the position of the fretboard handle relative to the fretboard in the score. • View: Units • Percent. Select a measurement unit from the drop-down list to see all values in the dialog box displayed in that unit. Select a view percentage from the drop-down list to change the display of the fretboard example. • Fonts & Shapes. Click this button to select the fonts for the fret number and fingering text as well as the shapes of barres and other symbols. See Fretboard Style Fonts & Shapes dialog box. • Number of Frets (Default). Enter the default number of frets to use when creating custom fretboards. • New • Duplicate • Delete • Set As Default. Click New to create a new Fretboard Style. Click Duplicate to make a copy of the current Fretboard Style to edit. Click Delete to remove the current Fretboard Style. Click Set As Default to set the fretboard style to be used as the default. • OK • Cancel. Click OK to confirm the settings and return to the Chord Definition dialog box. Click Cancel to return to the Chord Definition dialog box without modifying the settings. See Also: Chord Definition Fretboard Editor

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Full Measure dialog box

This alert appears when you attempt to apply a Staff Style defined with elements such as Independent Key or Time Signature to part of a measure. Click OK to apply the Staff Style to the entire measure.

See Also: Staff Styles Staff Tool

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Graphic Attributes dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Graphics Tool . Click to select a graphic, then choose Attributes from the Graphics menu. Or, double-click a graphic.

What it does Use the Graphic Attributes dialog box to control the positioning of a graphic in the score, the range of pages a graphic appears on, and whether it is assigned to a measure (in which case the graphic will only appear on the page containing the selected measure), or a page (in which case you can set the graphic to display on one or more pages). If a graphic is displayed on more than one page, changing the attributes for the graphic changes the display of the graphic on all pages. If you’re using running headers or footers in your score, you might want to position a graphic in the header or footer near the "outside" edges or margins (the left or right edges, respectively) of each left or right page, as opposed to positioning the graphic in the same place on every page. This is easily done using special positioning settings for right-facing pages. 1311

• Link to file • Path • Select. Check Link to file to instruct Finale, instead of embedding the graphic, to maintain a relationship with the file as it is located in the hard drive. When an embedded graphic is changed to "linked" via the Graphic Attributes or Check Graphics dialog, the Save TIFF dialog box appears where you can specify the linked image. You can change a graphic from linked to embedded, as long as the linked file is found. The original path of the graphic (where it was located when you placed it into the score) is listed below these check boxes. Click Select to change the path of the referenced graphic. This is especially useful if the file link is broken (which happens when linked files are moved). This setting is retained between Finale sessions. • Type • Height • Width • Path. This display at the top of the dialog box shows the type of graphic placed (EPS, TIFF or WMF, the current dimensions of the graphics file, and the original path of the graphic (where it was located when you placed it into the score). • Attach to: Page: Single Page • All Pages • Page Range • Left Pages • Right Pages; Page • __Through__. Click Attach to: Page to assign the graphic to a page and display it on one or more pages. Select an item from the Page drop-down list to have Finale show the graphic on a single page, all pages, a range of pages, left-facing (even-numbered) pages only or right-facing (odd-numbered) pages only, then specify the range of pages. Enter the numbers of the pages where the graphic will appear (for example, choose Left Pages, and enter 6 Through 10 to display the graphic on every left page between pp. 6–10). To show the graphic on a single page, choose Single Page, then enter the page number in the first text box. To display the graphic on the first page through the end of the piece, choose All Pages. To show the graphic on every page, starting at page 6, you’d select Page Range and enter 6 Through 0, or enter 6 and leave Through blank. The page number(s) in the Graphic Attributes dialog box may differ between the part and the score if either contains blank/title pages. For example, if there is one title page on the part but not the score and a graphic is assigned to the first page containing music, the Graphic Attributes dialog box indicates page 1 while viewing the score and page 2 while viewing the part. Note: The Page options are only available when Attach to: Page is selected, because a graphic assigned to a measure can only appear on the page containing that measure. • Attach to: Measure • [Staff names]. Click Attach to Measure to assign the graphic to a measure. In the Measure text box, enter the number of the measure that the graphic will be assigned to. From the Staff drop-down list, choose the staff you want associated with the measure-assigned graphic. 1312

Finale aligns and positions the graphic in relation to this staff. Finale will only display the graphic on the page the measure appears on when you’re in Page View. When your measure layout changes, the graphic moves with the measure. Note: When you change whether a graphic is assigned to a page or a measure, Finale resets the H: and V: values to zero. It also sets Measure to 1 or Page to 1 (or to the current page if you’re in Page View). • Alignment and Positioning: Horizontal: Left • Center • Right; Vertical: Top (Header) • Center • Bottom (Footer); Position from: Page Margin • Page Edge; H: • V:. Use the Horizontal drop-down list to position a pageassigned graphic flush with the left or right edge or margin of the page, or centered between the left and right edges or margins. The graphic is positioned horizontally between the edges or margins of the page, depending on the Position from selection. When you change the horizontal alignment, Finale resets the H: setting to zero. Use the Vertical drop-down list to position a page-assigned graphic vertically. Select Top (Header) or Bottom (Footer) from the drop-down list if you want Finale to place the graphic at a distance measured from the top or bottom of the page edge or margin. Choose Center to center the graphic between the top and bottom of the page. The graphic is positioned vertically between the page margins or the edge of the page, depending on the Position from selection. When you change the vertical alignment, Finale resets the V: setting to zero. Use the Position from drop-down list to have Finale calculate a pageassigned graphic’s position starting from either the page margin or page edge. Select Page Margin to have Finale measure the graphic’s position starting from the page margin. Select Page Edge to measure the graphic’s position from the page edge. Finale repositions the graphic from the margin or edge; it does not reset the H: and V: settings. Note: The Horizontal, Vertical and Position from options are only available for page-assigned graphics (Attach to: Page is selected). Use the H: and V: values to position a measure- or a page-assigned graphic horizontally and vertically. For measure-assigned graphics (Attach to: Measure is selected), enter values in H: and V: to position the graphic from the top-left of the measure, which is the default position if H: and V: 1313

are zero. For page-assigned graphics (Attach to: Page is selected), enter values in H: and V: to position the graphic on the page, based on your settings in the Alignment and Positioning group box. In either case, enter a value for H: to change the horizontal position. A positive number moves the graphic to the right; a negative number moves it to the left. Enter a value for V: to change the vertical position. A positive number moves the graphic higher; a negative number moves it lower. Note: The H: and V: options in the Alignment and Positioning group box are used for both measure- and pageassigned graphics. • Scale: H: • V: • Fixed Percent. These values show the exact scaling in effect when you resize a graphic in the score. The H: and V: values are percentages of the graphic’s original size. If you want the graphic scaled proportionally, enter the same value for H: and V:. Enter 100 in both text boxes to show the graphic at 100% (its original size); enter 50 to reduce it to half (50%) its original size. Larger percentages increase the size of the graphic; smaller percentages decrease its size. Check Fixed Percent to keep the graphic a fixed size even when you change the size of your page with the Resize Tool. • Right Page Alignment and Positioning: Use Right Page Positioning; Horizontal: Left • Center • Right; H: • V:. Select Use Right Page Positioning if you want to position a page-assigned graphic differently on right-facing pages (odd-numbered) and left-facing (even-numbered) pages. When this option is selected, you can set separate horizontal alignment and H: and V: settings for right-facing pages; Finale uses the settings in the Alignment and Positioning group box for left-facing pages, and the settings in the Right Page Alignment and Positioning group box for right-facing pages in the score. Use the Horizontal drop-down list to position page-assigned graphics horizontally on right-facing pages when Use Right Page Positioning is selected. The drop-down list works the same as the Horizontal drop-down list in the Alignment and Positioning group box, but are used for rightfacing pages only. Use the H: and V: values to position page-assigned graphics on rightfacing pages when Use Right Page Positioning is selected. These settings work the same as the H: and V: settings in the Alignment and Positioning group box, but are used for right-facing pages only. • OK • Cancel. Click Cancel to return to the score without updating any positioning for the graphic. Click OK to confirm your settings and return to the score. 1314

Tip: If you're using running headers or footers in your score, you might want to position a graphic as a header or footer near the "outside" edges or margins of each left or right page, as opposed to always distancing the graphic from the left or right page edge (or margin). This is easily done using special positioning settings for right-facing pages. For example, choose Left Pages, and enter 6 Through 10 to display the graphic on every left page between pp. 6-10.

Note: The Page options are only available when Attach to: Page is selected. See Also: Graphics Graphics Tool

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Garritan Ambience dialog box

How to get there From the MIDI/Audio menu, choose Instrument Setup > VST Instruments. From the FX drop-down menu for one bank of channels, choose Ambience Reverb, then click the Adjacent Edit button.

What it does From the Garritan documentation: “Reverberation describes the phenomenon that occurs when a sound is made in an ambient space. Whenever a sound is produced it radiates in all directions in that space. When these radiated sounds hit a surface such as a wall or the ceiling, the sound is either reflected or absorbed. Our ears and our brain recognize these signals and let us know about the type and size of space we are in. Much in the same way as the acoustical space adds a great deal to the music, reverb can impart that certain three-dimensional ambient sound to sampled instruments. Reverb can also help smooth out the sounds of the instruments and cause them to blend together in the mix. Of all the effects that can be applied to music, reverb is perhaps the most widely used since it emulates the sound that's literally heard everywhere around us. The Ambience™ Reverb plug-in is an excellent-sounding reverb that rivals the quality of some of the best commercial reverbs. Ambience allows you to 1316

simulate the reverberation of a concert hall and other performance spaces. Included with Ambience are customized presets that were designed for the instruments of Garritan Personal Orchestra. These presets include concert halls, a cathedral, ballrooms, parlors, halls, and other performance spaces. You can also design your own spaces with Ambience.” • Gating: Amount • Attack • Release. These controls affect how the reverb follows the dynamics of the audio input and can generate some interesting effects. These effects aren’t suitable for naturally sounding reverb, although they can be useful for experimental music. • Decay: Time • Diffusion • Hold. The Time dial controls the time it takes for the reverb reflections to fade away into silence. Diffusion has a subtle effect on the sound, especially noticeable with small room sizes. The Hold button will freeze the reverb at its current sound, holding it indefinitely until you press it again. This is useful for creating a pad from a plucked instrument. (This could produce interesting effects when used with the gater.) • Shape: Size • Predelay • Width • Quality/CPU • Variation. The Size dial controls the size of the room. Note that long reverb time and small room sizes do not mix well. For natural sounds, a large room size, such as a concert hall, should be accompanied by a long reverb time, and vice verse. Predelay is the amount of time between the direct sound and the first of the reverb reflections. It is pre-delay that defines our perception of the size of the room. The Width dial controls the stereo spread from mono (0%) all the way to a wide stereo (100%). It is recommended this be set close to 100%. The Quality/CPU dial allows you to trade off reverb quality for CPU usage. High quality = high CPU usage. If there is too much CPU demand on your machine, try turning down the quality. You can make fun effects if you set it very low (try it). The Variation dial can create a new variant of the same room. If there is some annoying echo or ringing in the reverb that bugs you, adjust this control until you find a desirable variation. (If a problem still persists, try raising the Quality/CPU too.) • EQ. These controls allow you to put equalizer effects on the reverb. They can be useful for cutting away bass that can otherwise make the reverb sound muddy. They can also help to simulate the roll-off in response at high frequencies characteristic of most concert halls. • Damping. The Damping section affects how the reverb's character develops over time as it decays. Use it to control the decay time of bass and treble. • Dry. This slider controls the volume of direct (unprocessed) sound. When using Ambience as a send effect, set this parameter to -inf. • Wet. This slider controls the volume of the processed reverberant sound. See Also: Aria Player 1317

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Group Attributes dialog box

How to get there To create a new group, click the Staff Tool. Select the handles of staves to include in the group, then choose Add Group and Bracket from the Staff menu. Or, ctrl shift-click a handle of one of the selected staves. (Or, with no staves selected, choose Add Group and Bracket from the Staff menu to set up a group containing all staves in the score.) To edit an existing group, click the Staff Tool. Click a group handle, then choose Edit Group Attributes from the Staff menu. Or, double-click a group handle or a bracket handle. (Or, with no handle selected, choose Edit Group Attributes from the Staff menu. Use the arrow controls to display the attributes of the groups in the document.)

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What it does In Finale, groups are created and edited in the Group Attributes dialog box. You can assign a staff to as many groups as you like, and customize how you want barlines and brackets to appear. • Group Name • Edit • Position; • Abbr. Group Name • Edit • Position. The full or abbreviated names you enter for the group appear in a regular text font. Click the Edit button to display the Edit Text window, where you can enter or edit the full or abbreviated group name, as well as set fonts and text styles. For details, see Edit Text window. By default, Finale positions group names vertically between the first and last staves in the group. The default positioning is used unless you explicitly change the position of a group name. To set individual positioning, click Position. The Position Full Group Name or Position Abbreviated Group Name dialog box appears. For details, see Position dialog box. • Staff • Through. These Staff drop-down list show the names or numbers of the starting and ending staves for the currently displayed group. Choose a staff name or number to specify the starting and ending staves in a group. A group always includes the staves in between the specified staves. • Group ID. Finale assigns a Group ID to each group, and internally identifies the group by a number. Use the arrow controls to display the attributes for other groups of staves. • Staff List: Global • Special Part Extraction • Staff System (plus the current system number). Finale displays which staff systems will be affected when you change the attributes of a group. Finale has three ways of displaying information in Page View. The first is the default, or "Global", view. Finale can temporarily display the page formatting in two other ways: during Special Part Extraction, and when staff systems have been "optimized" to remove resting parts. The Staff List indicator lets you know whether the positioning changes you make affect the "Global" view, or whether they only affect the temporary formatting during Special Part Extraction or optimization. When "Global" appears, changing a group’s attributes will alter its appearance in Scroll View. The changes will also appear in every staff system in Page View—unless you’re viewing a Special Part Extraction, or have already optimized staff systems. (If you later turn off Special Part Extraction or remove optimization, Finale will display the changes in Page View.) "Special Part Extraction" appears when you display the group attributes for a selected staff in Page View, and Special Part Extraction is selected in the Edit menu. Changing a group’s attributes in Page View will affect its 1320

appearance in every staff system—except for optimized staff systems— but won’t change its appearance in Scroll View. "Staff System" (plus the current staff system number) appears when you display the group attributes for a selected staff in Page View, and the selected staff system has been optimized using the Page Layout Tool. Any change to a group’s attributes in Page View will affect the current staff system only. • Draw Barlines: Only on Staves • Through Staves • Only Between Staves (Mensurstriche). Select Only on Staves if you want the barlines drawn only within each staff, without connecting each staff with the barline; select Through Staves to draw one continuous barline passing through all the staves in the group. Select Only Between Staves (Mensurstriche) to draw barlines between the staves, but not through the staff lines of each staff in the group. • Show Group Name. This checkbox controls whether group names that you enter will appear in the score. When selected, the full and abbreviated group names appear in your score. If you prefer to hide the names for this group, deselect this checkbox. Tip: Use Show Default Group Names in the Staff menu to control whether default, non-printing group names appear in the score. • Use Alternate Group Barline. Select this option if you want Finale to use an alternate barline style that you select from the Barline palette, instead of the barline style selected in the Measure Attributes dialog box. If this option is not selected, Finale uses the barline style specified in the Measure Attributes dialog box. Note: You can override the barline selected for a group on a measure-bymeasure basis by choosing Override Group Barlines in the Measure Attributes dialog box. When you choose this option, the barline set in the Measure Attributes dialog box will always appear, regardless of any alternate barline style selected in the Group Attributes dialog box. This might be used for the final bar in a piece. • Group Optimization: Optimize Normally • Only Remove if All Staves are Empty • Never Remove. These options dictate how Finale will treat the 1321

group after Optimization. Choose optimize Normally to disregard the group definition while optimizing. Choose Only Remove if All Staves are Empty to leave all staves if the group contains any notes in the system. This is typically used for instruments such as piano and harp that are notated on more than one staff. In these cases, you would ordinarily want either both staves to show, or none, but not just one. Choose Never Remove to always leave all staves in the group after optimization. • Barline Styles. Click to choose an alternate style for the current group. Finale uses the selected style unless Override Group Barlines is selected in the Measure Attributes dialog box. This barline style is only used if Use Alternate Group Barline is selected in this dialog box. For a description of Custom, See Measure Attributes dialog box. • Bracket Options. When you first enter this dialog box, None is selected by default. Click to select the bracket style you want to use for the current group, or click None if you don’t want a bracket to enclose the group. If you want more than one bracket to appear for a group, create additional groups for the staves, then choose a different bracket style for each group. • Distance from Left Edge of Staff • Vertical Adjust (Top of Bracket) • Vertical Adjust (Bottom of Bracket). As an alternative to entering values here to adjust positioning, you can drag the handles of a bracket on the score. Distance from the Left Edge of Staff is the distance (in measurement units) from the left edge of the grouped staves on which Finale will place the bracket. Enter a negative number to move the bracket to the left. Enter numbers in the Vertical Adjust (Top of Bracket) and Vertical Adjust (Bottom of Bracket) text boxes to tell Finale how far to extend the upper and lower ends of the bracket in relation to the top of the top staff and the bottom of the bottom staff, respectively. The default value of zero aligns the bracket ends evenly with the top and bottom lines of the group. A positive number moves the bracket end upward; a negative number moves the bracket end downward. • Show Bracket if Group Contains Only One Staff. Select this option if you want a bracket to appear on a group containing only one staff, if all staves but one are "optimized out" (i.e., removed because the staves are resting instruments), or if you selected one staff from the group, then selected Special Part Extraction from the Edit menu. This option is not selected by default, since brackets are generally omitted when only one staff appears in a staff system. • OK • Cancel. Click Cancel to return to the score without changing group settings. Click OK to confirm your settings and return to the score. Tip: Use Show Default Group Names in the Staff menu to control the appearance of default, non-printing group names in the score. 1322

Note: You can override the barline selected for a group on a measure-bymeasure basis such as for the final bar in a piece. To do so, select Override Group Barlines in the Measure Attributes dialog box. Tip: To display more than one bracket on a staff or staves in a group, create additional groups for the staves, then choose a different bracket style for each group. See Also: Staves Staff menu Staff Tool

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Guitar Bend Options dialog box

How to get there Click the Smart Shape Tool Bend Options.

. From the Smart Shape menu, choose Guitar

What it does The Guitar Bend Options dialog box allows you to specify various settings related to how the bend affects tab numbers in a tab staff and the text that accompanies bend curves when you create them. Settings you make in this dialog box will affect all guitar bends in your document. • Place Release Bend Number in Parenthesis. Check this box to place parentheses around a fret number when the number indicates a bend that has been released. • Hide "Bend-to" number. In tab notation, the second note of a bend is often absent in the tab staff. Check this box to automatically hide the second fret number of a guitar bend. • Automatically Generate Text. Check this box to automatically generate text indicating the pitch variation of the bend. If the second note of a bend is one half-step higher than the first, for instance, you will see a "1/2" accompanying the guitar bend when this option is selected. • Replace "1" with "Full". Check this box to indicate bends of a whole step with "full" instead of "1". Click the Set Font button to the right of this check box to specify the Font, Size or Style of the text "Full" as it will appear in the score. This option is only available if Automatically Generate Text is selected.

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• Whole Number/Set Font. Click this Set Font button to specify the Font, Size or Style of any whole number generated while entering a guitar bend. • Fraction/Set Font. Click this Set Font button to specify the Font, Size or Style of any fraction generated while entering a guitar bend. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made to your settings for guitar bends. You return to the score. See Also: Guitar notation Smart Shape menu

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Hand Width Split dialog box

How to get there Choose Open from the File menu, and select MIDI File from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI File Options dialog box, click Set Track-to-Staff List. In the Track/Channel Mapping for Staves dialog box, click the first row of information you haven’t yet filled in. Click Hand Width.

What it does This dialog box lets you transcribe the contents of the sequencer tracks you’ve specified into two staves, splitting the notes according to the width of your hands, based on the numbers you enter in this dialog box. The advantage of this method of splitting your performance into right- and left-hand parts (as compared with the Fixed split point option) is that Finale follows your hands as they move up and down the keyboard, eliminating the need to specify a single, fixed split point—provided there’s always a large enough gap between the hands for Finale to know which hand is which. • Starting Right Hand Position • Starting Left Hand Position • Listen. These text boxes let you tell Finale where your right and left hands are at the beginning of the track(s) to be transcribed. The numbers are synthesizer key numbers (middle C is key number 60), and they specify the starting position of your leftmost finger of each hand. Instead of calculating key numbers and entering them in these boxes, just click the Listen button, then play the note or chord that begins the lefthand (or right-hand) part of the track you’re transcribing. Finale automatically enters the key number into the appropriate text box (in which you’ve clicked the cursor). • Hand Width: • Listen. In this text box, enter the widest interval, in half steps, that either hand played during your performance. Instead of calculating the number of half steps, click Listen to MIDI, and play the 1326

widest interval. The checkbox is no longer selected, and the Hand Width text box displays the width of the interval. • OK • Cancel. Click OK to confirm, or Cancel to discard, the hand width settings you’ve just made. You return to the Track/Channel Mapping dialog box. See Also: MIDI Track/Channel Mapping Track/Channel Mapping to Staves Import MIDI File Options File menu

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Handle Positioning dialog box

How to get there Click the Articulation Tool , and click a note. Click Create (or click a symbol and click Edit). In the Articulation Designer dialog box, click Handle Positioning.

What it does The Articulation Designer dialog box contains positioning options which let you create articulation marks (accents, staccatos, and so on) that center themselves—and distance themselves uniformly from the notehead— automatically. Not only do markings come in all different sizes and shapes, but different fonts handle symbols differently. For example, suppose you place a fermata on a note that comes from a nonstandard music font, and you decide that even though you’ve told Finale to center it on the note, it’s a little bit too far to the left. Using the Handle Positioning dialog box, you can teach Finale to place the symbol slightly farther to the right from now on, by slightly shifting the symbol’s handle (which is always in the lower-left corner of the symbol). You might also use the Handle Positioning feature to place breath marks and railroad tracks to the right of their attached notes automatically, for example, or to compensate for a symbol’s extra height when you use the Avoid Staff Lines placement option. See Articulation Designer dialog box. (Note: You generally don’t need to specify a handle position for each marking for centering purposes; Finale automatically measures a symbol’s width and centers it over its note, even if the handle is to the left of the note.) • Main Symbol • Flipped Symbol • H: • V:. In the H: and V: text boxes, type numbers that specify how much you want to move the marking. A positive H: number moves the marking to the right, and a positive V: number moves 1328

it upward. You can specify these options separately for the Main Symbol and its upside-down "Flipped" symbol (see Articulation Designer dialog box). • OK • Cancel. Click OK to confirm, or Cancel to discard, the changes in handle positioning you’ve just made. You return to the Articulation Designer dialog box. See Also: Articulation Designer Articulation Tool

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Human Playback Custom Style dialog box

How to get there From the MIDI/Audio menu, choose Human Playback, then Custom.

What it does In this dialog box, you can create custom Human Playback settings. • Copy Settings From. Choose a Human Playback style from this dropdown list to apply its settings to the parameters in this dialog box. Tip: Use FinaleScript to copy Human Playback settings between documents.

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• Revert Settings. Click Revert Settings to restore all parameters to the last confirmed group of settings. • % Rhythmic Feel. Move this slider right to increase or left to decrease subtle rhythmic variations that a musician would give to the notes while performing any type of music, depending on the time signature, tempo, style, and other factors. This parameter does not change the global tempo measure by measure, only subtle variances within the existing tempo. • % Rhythmic Accents. Move this slider right to increase or left to decrease the degree to which dynamic accentuation is applied to the performance. Any part of a measure in human performance has a slightly different accentuation, and joint movements, such as scales, are naturally accentuated differently than disjoint ones such as arpeggios. The results of this setting also depend on the time signature. For example, the 3rd 8th note in 4/4 time is played in a different manner than the 3rd 8th note of 6/8 time. Fixed-dynamic instruments, such as organ or cembalo, should have this parameter put to zero. • % Rubato. Move this slider right to increase or left to decrease the degree to which the overall tempo can be adjusted during the course of the performance. Tempo rubato means "stolen time." Actually, time is stolen (accelerando) but also given back (deccelerando). This is the distinguishing characteristic of rubato style. For creating this rubato effect, Human Playback analyzes the score as a complex stream of notes, dynamics, rhythms, tempos, and calculates a resulting data structure called entropy, which is basically the measurement of the disorder, or chaos, of the music. As an example, the well-known first prelude in C major of Bach’s WellTempered Clavier has an entropy close to zero (except at the end, which leads to some rubato) while about any of Beethoven’s sonatas have a very high degree of entropy. • Swing: None...Dotted 8th, 16th. This control allows you to apply a swing feel to the Human Playback style. Click on the Swing Values drop-down list to select from several levels of swing. Or, choose Current to use the current setting in the Playback Settings. Note that Human Playback recognizes documents created using the Jazz music font and applies Swing playback automatically. Interpret: Human Playback will incorporate items checked here into the performance. • Slurs. Suggests to the performer how the music should be articulated and phrased. Human Playback interprets slurs by slightly overlaying one note onto its neighbor. The amount of overlap depends on the instrument. For example, overlap for the piano or harpsichord is relatively longer than for a wind instrument. The value of the overlap also depends on the context (as most 1331

parameters in HP), and generally speaking, does not depend on the tempo. The last note of a slured passage is relatively shorter. Staccato notes within a slur (string spiccato) do not overlap but are relatively longer than normal staccato. Repeated notes within slur are taken into account so not to overlap. Non slured notes are given a shorter end time value (so to sound somewhat detached). Certain notes are automatically slured (without requiring an actual slur symbol), such as ornaments, tremolos, and glissandi. For example, piano glissando (on black or white keys) gets a strong overlap because the player's hand actually clusters the keys when glissing. • Slurs with GPO: For sustaining instruments (winds, brass, strings), controller 64 or 68 is used (see Garritan Instruments for Finale Instrument Details). Value 127 is applied just after the start of the first slured note. Value 0 is applied back just before the end of the last passage note. An overlap between notes (of 1 EDU) is required to alter the attack. The GPO manual recommends to have a polyphony of 1 for solo winds and brass, although legato effect does work in practice if polyphony > 1 (default in Garritan Instruments for Finale is poly=2 for solo instruments.) For non sustaining instruments (piano, etc), normal overlap is applied. • Tempo Changes. When checked, Accelerandi and Rallentandi are processed. Tempo changes added as text expressions or smartshapes are interpreted. When a smarshape is used, such as a hairpin, the duration of the effect is dictated by the length of the smartshape. When an expression is used, HP uses the following factors to guess the duration of the tempo change: whether it is the end of a movement, near a fermata, near an expression tempo change, near an "a tempo" expression, or near a subsequent rall or acc. When none of these clues is available, HP decides the duration on its own (generally not more than 2 measures). Generally speaking, HP uses linear model for tempo changes. The number of steps depends on the actual time involved. The effect depends on the context: slowing down from Presto is not the same thing as from Andante. The effect also depends on the Rubato slider. See Human Playback Dictionary for a complete list of words Human Playback understands. Note that Some wording is ignored (has no effect) including: poco a poco, peu aà peu, nach und nach, little by little, sempre, toujours, always, and immer. Other wording intensifies or softens the effect including: molto, moltissimo, moltiss, très, beaucoup, much, più, un poco, poco, pochissimo, poch, un peu, légèrement, etwas, a little. 1332

• Trills, Ornaments, Tremolos. HP interprets nearly all known ornaments (trills, rolls, rare baroque ornaments, etc.) and tremolos. In Finale, these can appear as Smart Shapes, expressions or (symbol-based) articulations. The context is very important: HP finds the right interval (when not specified) and right speed, the right accent and legato. The ornaments recognized range from early music to jazz (more than a hundred symbols). HP also catches Third-party font ornaments such as November and Jazz. Trill notes are created in Voice 2 of the trill note layer. Whether an ornament is measured or not depends on the context and on the notation. Unmeasured HP ornaments are not dependent on the tempo, even a fermata. Their speed depends on the Orniment/Tremolo Minimum Speed values specified in the Human Playback Preferences dialog box, as well as the context. For example, if Humanize Rolls and Trills is checked, the trill speed for string and winds slightly depends on the pitch - a lower trill on a bass clarinet is physically slower to produce than a high pitch on a piccolo. Tremolos, according to HP, fall into two categories: string diddles and percussion rolls (slashed notes), and piano tremolos (alternate). Whether the tremolo/diddle is measured or not depends on the context. Generally, a diddle counting less than 3 slashes (including beams) is measured, unless they are string tremolos and the tempo is fast (half note > 60). If Play 32nd Note Diddles Exactly is checked, diddles are always measured for percussion rolls or 2-beam string tremolos. Trills and Tremolos are given some legato feel as if they were slured. For ornaments (trill, gruppetto, etc.) with no accidental specified, HP watches the notes nearby to determine the best guess for the interval. (Adding an articulation accidental will modify the interval accordingly. Accidentals can be parenthized, small version, or EngraverFontSet trill notes). See Human Playback Dictionary. Long trills (multi-measure smart shapes) are possible. The trilled notes can change, and some different accidental can be specified along the way, such as an articulation, using available accidentals as well as rarer symbols such as November Extra char # 132 to 136, or Engraver 76, 89, 180, 194, 231, and 241. Trills generally start with the lower note, unless otherwise specified: grace note before, or HP option Baroque Ornaments and Grace Notes checked. If a trill or ornament is on a chord, HP only processes the upper/lower note only, depending on where the ornament is placed. Multiple trills are possible on the same staff - 2 trills going on different layers. When a trill is placed on a fermata, it doesn't get slowed down, and it stops a little bit on the last note at the end. A breath can be heard before the music starts again. 1333

If Humanize Rolls and Trills is set, start of trill (the first 3-4 notes) is a little bit delayed (some Mood factor is used, here, too), using a linear progression to the final trill speed. This delay slightly depends on whether the passage/staff is solo or not. Performance of Gruppetti (Music Font char. 84) depends on context, following classical interpretation rules. A grupetto on a dotted note followed by a half-value note (e.g. dotted quarter+8th) is different than on a plain non-dotted note. If Baroque Ornaments and Grace Notes is checked, grupetti on relatively short notes start with the upper note. On long plain notes, grupetti are "packed" at the end. Grace notes: HP distinguishes between accacciatura and appoggiatura. An accacciatura is a slashed grace note and is performed as fast note somewhere before the beat. An appoggiatura is an unslashed grace note and must be performed rather slowly, at about (but not quite) half the value of its successive note, starting on the beat. Percussion flams: Simple, double and triple flams, written as grace notes, are interpreted as fast repetition; the speed is those of normal trills (real time: doesn't depend on tempo). If the preceeding note is too short, then the value is adjusted accordingly (no overlap possible). Jazz Shake (wavy line smartshape): Shakes are interpreted as relatively fast minor-third alternate tremolos. For sustaining instruments, (and if Humanize Rolls and Trills is checked, they are much better performed as pitch bend variation, using a mix of sin-based and linear curves. Jazz char # 148 and 149 can also be used as articulations. Other Jazz Stuff: Turn (char#84): The interpretation depends on the melodic context (ascending, descending melody). See Glissandi and Bends below for more information. Percussion Rolls (or trills): If Humanize Rolls and Trills is checked in the Human Playback Preferences dialog box, rolls (timpani, snare drum, etc.) are brought special treatment to make them sound more realistic. Rolled notes are generally somewhat softer than the main note, and overall, small, irregular series of dim/cresc are applied. The range and length of these dim/cresc depend on the context, and on a controlled random factor. Also, start times are slightly randomized. These effects are best suited for superior sound libraries such as GPO. Some humanization also applies actual (written) fast repeated percussion notes. There is also a less subtle effect for diddles or trills. Trills, Ornaments, Tremolos with GPO: Some special GPO controller effects are applied to tremolos and ornaments (Humanize Rolls and Trills must be checked). Garritan Instruments for Finale is able to handle piano sustain pedal and sustaining instrument legato effect at the same time, because it uses CC#68 for legato instead of CC#64. Because of this, one can fully take

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advantage of HP Automatic Pedaling and standard pedal symbol interpretation. Strings, Winds and Brass trills or alternate tremolos: CC#21 (length) is increased to 110 (default=64) to get a better "blend". Keyswitch trills are not used by HP. Timpani rolls: CC#22 (Intonation) is increased to 105 (default=10), and CC#23 (Timbre) is set to 20 (default=10). Bass drum (Basic Orchestral Perc, MIDI note 35/36): CC#22 is set to 45, and CC#23 to 24; For Snare Drum (MIDI note 59/60), CC#22 is 23 and CC#23 is 28; For Side Drum (MIDI note 57/58), CC#22 is 15 and CC#23 is 18. Standard value of 10 for CC#22 and 23 are written back after a roll. For Timpani, Bass drum, Snare and side drums, alternate strokes are used (for Timpani, alternate notes are separate by 2 "octaves"). No CC# 22/23 or alternate note changes are given to other percussive instruments. String Tremolos: If Support for String, Harp and Brass Techniques is checked, keyswitches are used. Garritan Instruments for Finale uses unified string keyswitches (Use Unified KS is set by default) available for either section or solo strings: MIDI note 0 = arco/ordinario, MIDI note 1=mute, MIDI note 5= pizz, MIDI note 6=tremolo mute, MIDI note 7=tremolo. Non-unified keyswitches can be used as well for compatibility with GPO1 and 2 (uncheck HP pref Use Unified KS for this); for instance, non-unified pizz is MIDI note 41 (any string non-unified KS is supported, from Contrabass to Violin, but note that string tremolo KS are not available in GPO 1/2 - possible inconsistency). GPO Finale Full String KS are supported, too, but GPO 1/2 Full String KS are not. • Fermatas. Includes fermatas added with the Expression and Articulation Tools, and also includes breath marks, grand pauses (GP) and commas. The playback effect is highly context dependent (based on the surrounding music). A fermata (and sometimes breath marks) are preceded by an automatic rallentando, which depends on both the Rubato and Mood sliders. A short breath is heard after a fermata, breath mark and comma. Commas or breath marks that are already defined for playback (shorter note length) are taken into account (and overridden). Note fermata playback also depends on the Minimum Duration setting applied in the Human Playback Preferences dialog box. • Hairpins and Dynamics. Any type of dynamic marking, graphic or textual, is interpreted by Human Playback. These can be added as text expressions or smartshapes. The playback effect used is either Volume (controller 7) or Key Velocity based on whether the instrument is a sustaining (flute) or nonsustaining (piano) instrument. Hairpins (expression or smart shape) in the middle of piano staves have effect on both. Effect can depend on the Mood 1335

parameter, and also relies heavily on the corresponding HP preferences. See Human Playback Preferences dialog box. For a complete list of words Human Playback understands, see Human Playback Dictionary. HP interprets graphic hairpins and text expressions such as "cresc" or "dim". Hairpins apply to playback for their duration unless a dynamic marking is encountered. Several factors are evaluated as HP decides whether the concluding hairpin dynamic should apply to the following notes, including the distance to the next dynamic marking, whether a hairpin follows, and whether it is the end of a passage. For percussive instruments and plucked strings (keyboards, mallet instruments, percussion, harp, etc.), Velocity is used for dynamic changes exclusively. For sustaining instruments, such as winds, brass, and strings, HP uses a complex combination of Velocity and Volume because MIDI Volume alone is not sufficient to account for timbre changes. A typical difficult case is a single sustained note starting and ending . HP solves this by using a fractional-power equivalence function between Velocity and Volume. Fast passage on sustaining instruments, however, are processed using Velocity, because it generally sounds better. The base staff Volume value is taken into account in the calculation, or whether it is a solo instrument or phrase. Hairpins are processed phrase by phrase examining the context always very carefully. A complex case is alternation of pizz and arco passage. Pizz are processed as Velocity, and arco as Volume. Sometimes pizz/arco changes are very close altogether and HP has been designed to handle these changes fluently. For a complete list of dynamic text expressions that HP understands, see Human Playback Dictionary. Hairpins and Dynamics with GPO: For percussive instruments and plucked strings Velocity is used for dynamics, as is the GM standard. For sustaining instruments, such as winds, brass and strings, HP takes advantage of GPO's unique dynamic approach using CC#1 (Modulation). For this to function, Use Contr. #1 for Continuous Dynamic must be checked in the Human Playback Preferences dialog box. • Pedal Markings. Pedal markings indicated by smart shapes, expressions and articulations are interpreted by HP. CC#64 (Sustain) data is added with value 127 (Ped) or 0 (*). Pedal signs can be used for the piano and mallet instruments (Glokenspiel, Marimba, Celesta, Xylophone). The following symbols and expressions are tracked: Ped, con pedale, pedale, ° (#161), * (#42). If several "Ped" signs follow each other without "*", HP automatically releases the Ped in between, so not to blend the sound. Also, Pedal 1336

Markings do not conflict with Automatic Piano Pedaling function. Near notated pedal markings, HP will not apply the automatic pedal function. Pedal Markings with Garritan Instruments: Garritan Instruments for Finale is able to handle piano sustain pedal and sustaining instrument legato effect at the same time, because it uses CC#68 for legato instead of CC#64. Because of this, one can fully take advantage of HP Automatic Pedaling and standard pedal symbol interpretation. • Glissandi and Bends. This is complementary to the Trills, Ornament, Tremolo setting. Note-attached Smart Shape Glissandi, guitar bends, tab slides, and wavy lines (custom or not) are interpreted by Human Playback. The type of gliss performed (white key piano, black key piano, harp tonebased, harp with altered scale) is based on the context of the music. Pitch bends are used for relatively short spans under an octave, chromatic for a short piano gliss (theater music gliss). Note attached slurs and jazz bends added with the Jazz Font as articulations are recognized and interpreted. A piano or harp gliss (or xylophone, etc.) can be a chord (or gliss of third, 5th, octave, etc). Some additional preferences are available in the Human Playback Preferences dialog box. HP is able to perform glissandi and bends in about any type of situation. Basically, there are two types of glisses and bends: using note scales, or pitch bend. • Glissandi. They are written as note-attached smartshape (wavy, or straight line), and can be cross-measure, and cross-staff. Piano/keyboard gliss: Depending on then start note (black versus white), a keyboard gliss is performed as white note gliss or black note gliss, automatically. The effect doesn't depend on the current key signature. Small (< 5th) chromatic "theater" piano/organ glissandi are also available. Harp Gliss: These depend on the current key signature/accidental context. To perform harp glissandi right, HP watches the key signature, as well as the accidentals before. Also, courtesy small notes can be used to indicate which note are being altered (ex: Debussy's Après-midi d'un Faune)Note that Harp gliss are never chromatic in HP. Harp and keyboard glissandi can be performed on multiple notes (glissandi of chords). They both use a square root-based algorithm, making speed somewhat flexible during the gliss. Gliss on sustaining instruments: They use pitch bend, and above the max pitch bend range (see Pitch Bend Range in the Human Playback Preferences dialog box), they are performed as chromatic or diatonic glissandi.

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When starting the pitch bend change and restoring the normal pitch bend (=0), HP takes breath and resonance into account, as far as possible. Curve is either cubic or linear, depending on the context. Doits/Falls, Prebends. They generally are Jazz Font articulations, but can also be created as smartshape (wavy/straight line, slur) attached to a single note, or attached to a note and a rest. Placement and direction are watched to determine the best performance. Guitar bends and prebends (of any kind: 1/2, 1/4, etc) are also interpreted, written as smarthapes. On the guitar, the wavy line is interpreted as a pitch-bend vibrato, using a decay exp/sin-based curve. Glissandi and Bends with GPO: Garritan Instruments for Finale can take full advantage of HP's bends and glissandi. Note that HP does not use Portamento. Final Bars. Human Playback creates a unique effect for the end of a piece based on the dynamic, note density, and other musical factors, as well as the Mood and Rubato sliders. This effect applies to several movements in a single document (in that case, a breath is performed between movements). DC al fine and other repeats are taken into account. % Mood. Move the Mood slider right to increase, or left to decrease a slight degree of randomness in the performance. Virtually all items interpreted by HP are effected by the position of the mood slider. Advanced Settings: Use these options to apply or remove advanced Human Playback effects to the custom settings. • Automatic Expression. Adds espressivo automatically to held notes from sustaining instruments (such as winds and strings). It creates three types of effects: smooths attacks on long notes with soft dynamics, adds expressivo to long notes, and softens the ending of long notes. This effect is volume based and dependant on the Mood slider. • Detection of Solo Instruments. Check Detection of Solo Instrument to tell Human Playback to recognize a solo instrument in a score in order to apply appropriate settings (Such as Soften Accompaniment). HP recognizes not only a soloist instrument (e.g. 1st violin of a string quartet), but also solo passages in, for example, an orchestral score. Note that the balance between the solo and others can be adjusted in the Human Playback Preferences dialog box. This setting uses the Volume controller for balancing, and also effects how the solo part is placed in the orchestral space. • Baroque Style for Ornaments. Check Baroque Style for Ornaments to perform mordents, trills and other ornaments in a Baroque style (i.e. trills start on upper note, appoggiaturas are slow, etc.).

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• Short Syncopations/Off Beats. This options makes jazz music sound more realistic by emphasizing off beats and short syncopations. The effect is applied with Key Velocity. • Viennese Waltz Feel. When checked, this gives a special feel to 3-based time signatures, with emphasis on the 3rd beat. It influences both Rhythmic and Accent feels. • Play 32nd note diddles exactly. This option tells HP to always perform 3beam diddles exactly as 32nd notes, opposed to unmeasured. It also allows to perform 16th note diddle exactly on fast tempo, long notes (briefly: Mozart's style, opposed to Beethoven's). • Adjust Dotted 8th+16th/Triplet • Longer • Shorter. Check Adjust Dotted 8th+16th/Triplet, and then choose Longer to increase the duration of the sixteenth note in dotted eighth-sixteenth figures (relative to a quarter and eighth eighth-note triplet). Choose Shorter to decrease the duration of the sixteenth note in dotted eighth-sixteenth figures (relative to a quarter and eighth eighth-note triplet). • Soften Accompaniments. Detects and softens accompaniment figures (such as Alberti basses, arpeggios, etc), to emphasize melodies. Key velocity is used to apply this effect. • Auto Piano Pedaling. Complementary to the Pedal Marking feature, this options creates a pedal effect automatically (using MIDI controller 64). It analyzes harmonic progressions for changes and avoids note confusion as much as possible. It is inactive in passages that contain pedal markings that have been added manually. As expected, this function will only work on grand piano staff. HP analyzes the evolution of harmony and voicing, and creates CC#64 data automatically. Basically, HP attempts to avoid harmony confusion based on several factors, such as an interval of a major 7th, presence of staccato notes and rests, and so on. Slured chord progressions (meaning note overlap) are also taken into account. Also, Pedal Markings do not conflict with Automatic Piano Pedaling function. Near pedal markings HP will not apply automatic pedaling. • Chord Balance. Check Chord Balance to highlight melodies by balancing notes within chords appropriately by adjusting key velocities. This is especially useful for piano music. • Soften Basses. On some sound device, piano basses are generally too loud compared to other notes of the same Velocity. Check Soften Basses to decrease the volume of piano basses. • String Harmonics. Creates harmonic effect for strings (violin, etc.) and harp, using standard notation. With this option, HP processes string artificial harmomics and harp harmonics. Artificial string harmomics look like 2-note intervals with the upper note as diamond notehead, sounding 1339

between one octave and two octave and a fifth higher, using music font char # 79, 180, 225 and 226. Harp harmonics are note with small circle articulation with char # 76 and 111, sounding one octave up. Both are processed using a transposition MIDI data, on a note-by-note basis. String Harmonics with GPO: If Harp Harmonics is checked in the Human Playback Preferences dialog box, HP automatically uses keyswitches for the best effect. For Unified keyswitches, the Harp Harmonic is MIDI note = 2, standard is MIDI note = 0. (For GPO versions 1 and 2, harmonic is MIDI note = 16 and standard = 12.) • Strum Plucked String Chords. Slightly rolls chords automatically. Works for Harp, Guitar (strum and Brush), and harpsichord. For Harp, this setting takes non-arpeggio-like expressions into account. Uses start and stop times. • Interpret Harmonic Cadences. Check Interpret Harmonic Cadences to tell Human Playback to analyze the harmonic progression of the score and automatically decrease the tempo slightly for perfect and semi cadences. • OK • Cancel. Click Cancel to return to the Playback Settings dialog box without making any changes. Click OK (or press enter) to confirm your settings and return to the Playback Settings dialog box.

Note: When Human Playback is active, existing MIDI data assigned to the score with the MIDI or Expression Tool is ignored in favor of the Human Playback settings. To use MIDI data applied manually, set Human Playback to None in the Playback Controls.

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Human Playback Preferences dialog box

How to get there From the Window menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls. Click HP Preferences.

What it does This dialog box allows you to customize intricate details of Human Playback’s interpretation. Explicit performance techniques indicated on the score, such as the type of mute or bowing style, can be specified here. But this dialog box controls more subtle nuance as well. In an orchestral rehearsal, aspects of this dialog box would be equivalent to directions from the conductor scribbled on 1341

parts, such as how to approach a fermata, or the amount to exaggerate certain dynamic markings. In fact, even MIDI data you have specified manually can be intertwined with Human Playback’s interpretation using these settings. In general, the settings here are program-wide, but a configuration can also be saved and “attached” to a specific document. Similarly, a configuration can be transferred across documents.

Note: An identical dialog box also exists to control regions to which Human Playback has been applied with the Apply Human Playback plugin (program-wide, or “attached” to the document). In the Apply Human Playback dialog box, choose Preferences. Preference Sets Management HP maintains and stores multiple sets of preferences in a single file ("HP.dat") located in the Component Files folder. Human Playback overwrites the HP.dat when upgrading from Finale 2006 or earlier since the file format is completely different. However, Human Playback Preferences can be imported from Finale 2008 or 2009 to Finale 2010 using the Import function (explained below). The default Human Playback Preferences set handles playback for SoftSynth, Garritan Instruments for Finale, Garritan Personal Orchestra, and other Garritan products including Jazz & Big Band (“JABB”), Marching Band, Stradivari Violin, and Gofriller Cello - all automatically. • Current. The current Human Playback Preferences Set is displayed here. A Set is simply a configuration of settings from all pages of this dialog box (similar to the Document Options dialog box and Program Options dialog box). All available sets are listed under this drop-down menu. • Name. Use this text box to name the current set of preferences. Typing in this text box automatically changes the name in drop-down menu, as well as the dialog box title. • Attach to Active File. When you check this box (and save), the current set of preferences is duplicated and reserved for use with this file instead of the program-wide set. To indicate a Human Playback Preferences Set is attached to a file, “attached” appears in the Current drop-down menu as well as in the title bar. When a set is attached to a file, changes to this dialog box apply only to the attached set (for the active file only). If you decide to select a different set under the Current drop-down menu (or uncheck Attach to Active File), you are prompted to either save or discard the set. If saved, the set appears in the Current drop-down list for all files, 1342

and is available for program-wide use or to be attached to another file. If you discard, the set is lost. • Keep this Prefs Set Locked. Disables all dialog commands to prevent any accidental changes on a given preferences set, whether it is attached to a file or not. • Duplicate. Click this button to copy the current preferences set into a duplicate set. Using Duplicate is a convenient way to begin designing new custom sets if only some items require changing. • Default. Click this button to reset all options in this dialog box to their original default settings. • Delete. Click this button to delete the current set of preferences. • Import. Click this button to import Human Playback Preferences from an earlier Finale installation. • Allow Temporary Score Items Adjustments. Check this box to allow HP to adjust the horizontal position of score items while processing the score for playback. Any adjustments made to expressions or other score items return to their original position after playback. • Never Show Messages. Check this box to skip all static messages/warnings that appear while working with the Human Playback Preferences. • Save and Close • Cancel. Click Save and Close to save your changes. Click Cancel to discard changes and return to the active document. See Also: Human Playback Preferences - Instrument Techniques and Effects Human Playback Preferences - Dynamics and Volume Human Playback Preferences - MIDI Data Human Playback Preferences - Glissandi & Bends Human Playback Preferences - Ornaments & Tremolos Human Playback Preferences - Tempo Variations Human Playback Preferences - Garritan Specials

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Human Playback Preferences Dynamics & Volume dialog box

How to get there From the Window menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls. Click Dynamics & Volume.

What it does Use these options to customize Human Playback’s interpretation of dynamic markings such as hairpins and dynamic expressions. • Type: Automatic • Key Velocity Only • Volume Contr. Only. Click this drop-down menu and choose Key Velocity Only to apply 1344

crescendo/diminuendo effects as Key Velocity data (generally used for nonsustaining instruments). See Key velocity. Choose Volume Contr. Only to apply crescendo/diminuendo effects as Volume continuous data (generally used for sustaining instruments). Choose Automatic to instruct Human Playback to decide which type of data to apply for crescendo and diminuendos. Note that key velocity is always used for piano staves regardless of this setting. • Curve: Automatic • Cubic • Quadratic • Linear. Click this drop-down menu and choose one of the options to define how Human Playback interprets crescendos and diminuendos. Choose Automatic to instruct Human Playback to decide which type of crescendo/diminuendo effect to apply. • Hairpin Pair Emphasis. Move this slider to the right to increase the dynamic (expressivo) effect of hairpins in the score. Move this slider left to decrease the dynamic effect of hairpins in the score. • Auto Expression Emphasis: Move this slider to the right to increase the dynamic (expressivo) effect of expressions in the score. Move this slider left to decrease the dynamic effect of expressions in the score. • Automatic Diminuendo on Long Ending Notes. By default, Human Playback’s interpretation of long notes at the end of a score includes a diminuendo effect. If you do not want Human Playback to perform this diminuendo in, for example, a jazz score, uncheck this box. • Controller for Sustaining Instruments: Automatic • Volume (CC#7) • Modulation (CC#1) • Expression (CC#11). For percussive instruments and plucked strings, Velocity is used for dynamics (as is the GM standard). For sustaining instruments, such as winds, brass and strings, the type of controller used depends on the sound library. For example, HP takes advantage of GPO's unique dynamic approach using Continuous Data Controller #1. For sustaining GPO instruments, dynamics are controlled by Controller #1 entirely, allowing a cresc from the finest up to a on the same sustained note, with, unlike GM Volume, highly realistic timbre and dynamic changes. In this context, Velocity is used for the initial attack only (average attack value is 80 - See Optimize Attacks below). Since dynamic expressions use Velocity, one might ask, how does HP avoid interfering with the proper attack? HP doesn't modify the expression's definition, but actually readjusts every note's velocity depending on the current dynamic, to match the Attack Base Value. At first stage, this is done uniformly, but some further adjustments are brought for accentuated or staccato notes. Accents (Velocity peak in articulation) are also adjusted by HP since GM and GPO velocities are not equivalent.

-like accents are given both a 1345

velocity peak and a Controller #1-based peak. An receives a max velocity accent value of 127, and an of 115. Once Velocities have been optimized, HP processes hairpins (or flat dynamics if any) using Controller #1 throughout sustaining instruments. Note that the setting for this option can be overwritten with a Technique. • Optimize Attacks • Base Value. When Controller #1 is used for dynamic changes, Velocity for attacks must be adjusted because its meaning differs from GM completely. This option is on by default, with a base value set to 80. • Solo/Accompaniment Balance. Move this slider right to increase the volume of the solo compared with the accompaniment. Move this slider left to decrease the volume of the solo compared with the accompaniment. This slider tells HP how much solo instruments and passages should be emphasized. Note that HP has a comprehensive list of solo values for different situations, based on this fundamental value. • Base Value for Instrument Volume. Enter a value in this text box to specify the volume you want Human Playback to use for notes without dynamic adjustments. See Also: Human Playback Preferences Human Playback Preferences - Instrument Techniques and Effects Human Playback Preferences - MIDI Data Human Playback Preferences - Glissandi & Bends Human Playback Preferences - Ornaments & Tremolos Human Playback Preferences - Tempo Variations Human Playback Preferences - Garritan Specials

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Human Playback Preferences Instrument Techniques & Effects dialog box

How to get there From the Window menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls. Click Instruments Techniques & Effects.

What it does These settings allow you to customize performance techniques, such as pizzicato or fluttertougue. They also provide a way to take advantage of a 1347

given sound library, and allow you to specify settings for an individual playback device. For example, if GPO and SoftSynth are both used in the same document, different Human Playback Instrument Techniques can (and should) be used to accommodate for the unique properties of the playback device. This is particularly the case while using combinations of other sound sample libraries (e.g. Full GPO, Garritan Jazz & Big Band and EWQL). Using these settings Human Playback is capable of detailed changes to the playback, and can take full advantage of any combination of sound devices. • [Instrument Techniques and Effects] window. All available Instrument Techniques and Effects are listed in this window. Each definition listed includes the name, action, and Apply Only text. • Name. This column displays the available techniques. You can use this text box to name the current technique. When you click Save and Close, the technique will be added to the list above. • Instrument. This drop-down menu lists instrument categories and individual instruments that have special techniques generally available in sound libraries. • Technique. The techniques listed here depend on the Instr. drop-down selection, and correspond to the type of techniques possible for the selected instrument. The technique chosen is enabled by the notation, whether it be articulations, expressions, smart shapes, or by the musical context (e.g. a détaché passage). Choose Custom, and then enter text in the “Apply Only” text box to use specific expression text to trigger a technique. • Action 1 • Action 2 • Action 3. Using these drop-down menus, you can pinpoint specific properties (such as keyswitch or controller data) for the chosen technique. The drop-down menus to the right are values for the specific actions, depending on the kind of action. • Apply Only. Choose an item from this drop-down menu to apply an additional filter for the technique. Enter text into the text box to the right to specify a specific variable. For example, you might apply a technique only if the playback device’s name includes GPO. • Use this Technique. Check this box to activate the selected technique. • Show/Hide Details. Click this button to display the advanced options where you can edit or create your own custom techniques and effects. • New Technique. Click this button to add a new technique to the selected folder. • New Folder. Click this button to create a new folder in the Techniques window. • Duplicate. Click this button to duplicate the current technique. Using Duplicate is a convenient way to begin designing new techniques if only some items require changing. 1348

• Delete. Click this button to delete the selected technique. • Up • Down. Use these buttons to move techniques up or down in the list window.

Working with Instrument Techniques and Effects Click the "Use this technique" checkbox or press the Space Bar to enable or disable a technique line. Click a line to select a technique for editing. Let’s take the Pizzicato as an example:

The first popup is the kind of instrument. It can vary from instrument type or family, to isolate instruments:

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Not all instruments are listed here, only the ones that have special techniques generally available from sample libraries. The subsequent Technique dropdown menu depends on the type of instrument. The technique or effect is enabled by the notation - articulations, expressions, smart shapes, or simply by the musical context (détaché passage for instance). A similar technique will be applied by priority to each individual instrument. For instance, if “pizz” is defined twice, first for “Strings” and then for “Violin”, the “Violin” pizz will be applied by priority to violin staves, ignoring the “Strings” pizz. For the strings, the following techniques are available:

The subsequent 3 action lines basically count fewer and fewer items. In our example, we have:

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Action 1

Action 2

Action 3 The other drop-down menus to the right are values for the specific actions, depending on the kind of action. Also, the last drop-down menu with an attached text box provides an additional, even more precise, text-based filter:

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This last filter is particularly important. In our case, the pizz, as defined here, will be applied only for slots (AU, VST, external through MIDI Setup) which name contains “Garritan”. You’ll find some more details about the filter below. So to abstract our Garritan pizz: • Any strings • Keyswitch note# F-2 • Use Velocity • Search device with name containing “Garritan”. In Vienna Symphonic Library, for instance, (packaged with Kontatk2 software), for the KS sample Violin Ens 14 (All X) would be different: violin only, keyswitch note# F#0, use CC#1, device name containing “kontatk2”. In the case of GM (bottom of the current list) we have:

It’s the standard program change #46. It applies only to devices not containing “GPO” or “Garritan”, so it can be either in the context of SoftSynth, of for 1352

external MIDI playback. At that point it is important to emphasize that HP scans all playback devices available automatically, whether they are AU- or VST-based, or SoftSynth, or External playback (MIDI setup), but always leaving the choice of customization.

Types of Actions Refering to the Action 1 drop-down menu...

Many other items are available in addition to keyswitches. Controller has 2 parameters: the controller# and the value. Controllers are generally used for any type of sound and tone change, it really depends on the sound library context. Use CC#1… Use CC#11+Velocity have no parameter. They simply tell Human Playback to force a particular dynamic approach. In first position (action 1), this is only used for the technique “Dynamic Controller” which, in conjunction with the filter text box, may override the global setting (see Human Playback Preferences - Dynamics & Volume) for some specific channels, staves, or devices. In action 2 or 3, this is used for the Pizz to specify the type of dynamic approach, locally. Timpani rolls are another example: timpani hits are velocity based, but rolls are generally CC#1-based (in EWQL SO), so both approaches must be able to coexist within the same notation context. Channel Change has one pararameter, the expected MIDI (1-based, up to 128) channel. Channel change is often used by certain users for changing sample, instead of KeySwitches. Staff’s Channel. This means to go back to the original staff’s channel. This is generally used for “Ordinario” or “Standard” types of technique. Staff’s Channel Relative. The corresponding popup is from –16 to +16. This is particularly useful because it does not depend on absolute channel #, and 1353

some prefer to always organize their sample the same way (arco=#n, pizz=#n+1, tremolo=#n+2, as an example). Staff’s Patch. Goes back to the original staff patch, for patch-based (a la GM) samples. Bank 0+Prg Change, Bank 32+Prog Chnge, Progr Chnge+Progr Chnge. Additional types of actions include: Add Pitch (for use with percussion rolls for instance), Set to absolute pitch, Apply to these notes only, and Base Volume.

The filter text is meant to be case-, space-, and punctuation- independent (dots, dash, accents. …). Different items may be separate by commas. If playback device name contains. As seen above in the example, the device name can be from AU or VST slots, or MIDI setup slots, or “SoftSynth”, or “QuickTime”. Example: “garritan” will filter devices “Garritan Instruments for Finale”, “Garritan Personal Orchestra” or “Garritan Jazz”. If device name doesn’t contain. Well, same thing, but works negatively. If staff name contains. Filters staff names, rather than device names. Example: “flute, piccolo, recorder” will filter staves named “Flute 1”, “Flute 2 / Piccolo solo” or “Alto Recorder”. If MIDI channel # is. Human Playback expects channel numbers here (1based). Example “1-16, 20, 126”. Channels or channel ranges must be separated by commas. If text expression contains. Here, you can specify text that will be tracked amongst non-playback defined expressions (it also works for smart shapes and measure-attached text). For instance, for a Penderecki effect, you might define a new expressions “Behind the bridge” that will trigger channel #45, with keyswitch C1. Different wording may be separated with comas (e.g. “behind the bridge, penderecki”). Note that a custom expression effect will override any 1354

predefined Human Playback expression. For instance, you may change the way “pizz” is taken into account making your own. On SoftSynth. Effect will apply only for SoftSynth playback. This is the same as putting “softsynth” when “If Playback Device Name Contains” is selected. On SoftSynth or External Playback. Effect will apply only on SoftSynth or MIDI Setup playback. This is the same as putting “softsynth, external” with “If Playback Device Name Contains”. Additional filter items include: Library Name, Patch Name, and Filter Multiple. Multiple allows you to move, duplicate, delete, and edit multiple techniques at once. You can filter techniques for specific library and patch names - #library# and #patch#respectively. For example: "#library#FinaleGPO #patch#Viola KS". Here are some details on how the filter works:

Technique Types per Instrument When "Any" is selected from the Instrument drop-down menu, only one item appears in the Technique list :

This is most commonly used in conjunction with an “If text expression contains” type of filter.

Sustaining instruments techniques:

Legato is enabled with slurs and ornaments; GPO, for instance, uses CC#68 for the legato effect, but some other sample libraries have devoted patches (QLegato in EWQL, True Legato in Vienna, …).

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Staccato can be enabled for series of shorts notes, whether it comes from the notation (staccato articulations) or from the user MIDI stop time value. What “short” means for Human Playback is hard-wired. Trills are normally created by Human Playback as actual “virtual” notes, but some sample libraries do offer sampled trills. Keep in mind, however, that those sampled trills generally have fixed speed. Sampled trills, if defined in list, will be used only in strictly monophonic context; otherwise, regular triggered Human Playback trills are used. Dynamic Controller is to be used in conjunction with Use CC#1… Use CC#11+Velocity, Velocity Only types of action (see Types of Actions). It may override the global Dynamic & Volume / Controller for Sustaining Instruments option, for any particular device slot, staff or MIDI channel.

Strings family techniques - any specific string instrument:

Due to the quantity of string techniques, the terminology Human Playback uses does not always match the academic vocabulary, but rather a "sample library minded" compromise. Spiccato, for Human Playback, means very short staccato, whether from actual notation (accidentals) or from user MIDI stop time edits. Martelé (Martellato) means heavily accentuated, relatively short, non slurred, notes. From notation or user MIDI data. Détaché means non-slurred, normally accentuated, notes, alternating up and down bows. No special notation required. Tremolo is non-measured tremolo. Notated with 3-mark tremolo diddle (or 2mark on 8th notes, 1-mark on 16th notes and shorter).

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Sul ponticello (text) is playing near the bridge. Canceled by “ordinario” type of expression. Sul tasto (text) is playing near the fingerboard. Canceled by “ordinario”. Flautando (text) is a flute-like tone, by slightly touching the string with the edge of the bow. Canceled with “ordinario”. Bartok Pizz. Snap pizzicato. In Finale, they are notated as a shape-based articulation. Col legno. Played with the wood of the bow. HP currently makes no difference between bowed or stroke col legno, but the user could, using the text filter. Harmonics. To be used in conjunction with HP regular harmonic playback. Note that HP now supports natural harmonic playback, using the little “o” on the note (don’t confuse with “0” which means open string). Certain techniques can be mixed if the samples are available: Tremolo+mute Ponticello+mute Trills+mute As an example, when sul ponticello is encountered, Human Playback scans backward to determine whether a con sordino preceeds, but only if there exists a technique definition (= a technique line) for the combination Ponticello+Mute, and for this peculiar instrument; otherwise, the plain (= no mute) Ponticello definition is used (if available of course). It works the same for Tremolo and sampled trills.

Woodwind techniques (including saxophone):

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Fluttertongue (notated like a strings tremolo). Note that JABB and GPO have different way of enabling fluttertongue (in GPO, this is a KS, in JABB CC#18). Both are supported by the default preferences set, and altogether. Brass techniques

Cup, Harmon, Bucket mutes (text). Those are found in JABB, enabled by various wording. Harp techniques:

Timpani techniques:

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See Also: Human Playback Human Playback Preferences Human Playback Preferences - Dynamics and Volume Human Playback Preferences - MIDI Data Human Playback Preferences - Glissandi & Bends Human Playback Preferences - Ornaments & Tremolos Human Playback Preferences - Tempo Variations Human Playback Preferences - Garritan Specials

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Human Playback Preferences Garritan Specials dialog box

How to get there From the Window menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls. Click Garritan Specials.

What it does Use these settings to optimize Human Playback when using Garritan Personal Orchestra sounds. • Enhanced Jazz Feel Using Automatic Tonguing. A common basic jazz articulation is for players to tongue offbeat eighth notes and slur onbeat 1360

eighth notes. It is also customary to play consecutive eighth notes more evenly than anticipations, which are usually delayed. Selecting this option causes Human Playback to automatically apply this tonguing pattern and swing feel. Note that Swing must be turned on in the Playback Controls for this feature to take effect. • Enhanced Percussion Rolls using Contr. #22 and 23. Select this option to instruct Human Playback to manipulate the "Var. 1" and "Var. 2" controls to humanize percussion rolls. (This effect is applied in addition to "Humanize Rolls and Trills," if that option is also selected.) • Enhanced Winds and Strings Trills Using Contr. #21. Selecting this option causes Human Playback to apply MIDI Controller #21 (Length) to humanize wind and string trills. (This effect is applied in addition to "Humanize Rolls and Trills," if that option is also selected.) • Apply Garritan special effect also to Kontakt 2 Slots. Finale is not able to automatically detect which libraries have been loaded by Kontakt 2 (full version, not the Kontakt Player). When this box is checked, Finale will assume that all instruments loaded by Kontakt 2 are Garritan instruments. • Solo String Series Specifics (Stradivari, Gofriller): Optimize Performance (Velocity, Attack, Glissandi) • Enable Automatic Vibrato. For users of the Garritan Stradivari Solo Violin library and the upcoming Gofriller Solo Cello library. These libraries are very different from the solo strings included in Garritan Instruments for Finale and Full GPO. Selecting these two options enables Human Playback support for these libraries. See Also: Human Playback Preferences Human Playback Preferences - Instrument Techniques and Effects Human Playback Preferences - Dynamics and Volume Human Playback Preferences - MIDI Data Human Playback Preferences - Glissandi & Bends Human Playback Preferences - Ornaments & Tremolos Human Playback Preferences - Tempo Variations

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Human Playback Preferences Glissandi & Bends dialog box

How to get there From the Window menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls. Click Glissandi & Bends. Choose Glissandi & Bends.

What it does You can use these settings to control the playback style of glissandi and pitch bends.

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• Type • Automatic • Always Use Pitch Bend • Always Chromatic • Always Diatonic. Click this drop-down menu and choose one of the options to define how Human Playback interprets glissandos and bends. Choose Automatic to instruct Human Playback to decide which type of glissando/bend effect to apply. Note that the Always Use Pitch Bend option does not apply to piano, harp, or other percussive/plucked instrument staff. • Curve • Automatic • Cubic • Quadratic • Linear. From this drop-down menu, choose the desired playback effect for glissandos and bends. Choose Automatic to let HP decide the method to used based on the context of the music. A pitch bend or glissando assigned to a Cubic curve sweeps dramatically towards the end of the note. A Quadratic curve also reserves the most dramatic pitch bend effect for the end of the note, but at a more measured rate. Cubic and Quadratic would represent a common performance of a trombone gliss (for example). A pitch bend or glissando assigned to Linear ascends or descends in pitch at the same rate throughout the effect. Linear would be more appropriate for a chromatic glissando performed by a piano or other chromatic (or diatonic) instrument. • 1/2 Tone Pitch Bend Range: None...24. Use this drop-down menu to select the number of semitones to apply to 1/2 tone pitch bends. Garritan Instruments for Finale Pitch Bend Range is 12 semi-tones. Garritan Instruments for Finale can take full advantage of HP's bends and glissandi. For GPO version 1 and 2 users, pitch bend range is adjustable in HP, but the effect is uncertain because instruments have different actual pitch bend ranges (for example, violin=1 whole tone, flute=1 half-tone). Default is 12. • Delay if Possible. Check this box if you want the effect to be tempered by the context of the situation. For example, a crescendo shouldn't start right on the attack if a slow string patch is used, otherwise the patch never plays at full volume. See Also: Human Playback Preferences Human Playback Preferences - Instrument Techniques and Effects Human Playback Preferences - Dynamics and Volume Human Playback Preferences - MIDI Data Human Playback Preferences - Ornaments & Tremolos Human Playback Preferences - Tempo Variations Human Playback Preferences - Garritan Specials

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Human Playback Preferences - MIDI Data dialog box

How to get there From the Window menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls. Click HP Preferences. Choose MIDI Data.

What it does You can use these settings to combine custom MIDI data, such as edits made with the MIDI Tool, with Human Playback’s interpretation.

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• Continuous Data • Velocity • Start/Stop Time • Tempo. Here, you can specify whether you want Human Playback to ignore, incorporate, or use MIDI data you have deliberately applied to the score with the MIDI Tool, Expression Tool, or Tempo Tool. Click the drop-down menu next to a MIDI data type and choose HP (Ignore Data) to use Human Playback’s interpretation for that type of MIDI data. Choose HP (Incorporate Data) to instruct Human Playback to use existing MIDI data of that type in the interpretation (existing MIDI data of that type will influence Human Playback). Choose No HP Effect to instruct Human Playback to disregard that type of MIDI data while processing the score (that type of MIDI data will playback as if Human Playback was set to None). All four of these settings apply to any MIDI data added to the score. For example, the Continuous Data setting applies to all continuous data, whether defined with an expression, or the MIDI Tool. To apply MIDI data to your score manually, see MIDI Tool, Tempo Tool, and To define an expression for playback. • Anticipate Continuous Data By_Milliseconds. Some sound devices, in particular software synths, have a long latency, resulting in a gap in volume, pitch bend and other continuous data. This option anticipates the data sent to Finale, taking even slight tempo changes exactly into account. Default is 15 ms (for SmartMusic SoftSynth, GPO, and hardware sound devices). Suggested value for QuickTime is 200. See Also: Human Playback Preferences Human Playback Preferences - Instrument Techniques and Effects Human Playback Preferences - Dynamics and Volume Human Playback Preferences - Glissandi & Bends Human Playback Preferences - Ornaments & Tremolos Human Playback Preferences - Tempo Variations Human Playback Preferences - Garritan Specials

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Human Playback Preferences Ornaments & Tremolos dialog box

How to get there From the Window menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls. Click HP Preferences. Choose Ornaments and Tremolos.

What it does Use these settings to customize the playback style of ornaments and tremolos. • Minimum Speed of: Trill/Orniment:_Notes/Second • Tremolo:_Notes/Second. Enter a value in this text box to specify the 1366

minimum number of notes per second Human Playback should perform for trills and tremolos. The trill might speed up depending on the context. • Humanize Rolls and Trills: With this option selected, special GPO controller effects are applied to tremolos and ornaments to give them a more human feel. • Use Pitch Bend Variations (vs. Triggered Notes). Check this box to use pitch bend MIDI data to execute the shake instead of MIDI pitches. See Also: Human Playback Preferences Human Playback Preferences - Instrument Techniques and Effects Human Playback Preferences - Dynamics and Volume Human Playback Preferences - MIDI Data Human Playback Preferences - Glissandi & Bends Human Playback Preferences - Tempo Variations Human Playback Preferences - Garritan Specials

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Human Playback Preferences Tempo Variations dialog box

How to get there From the Window menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls. Click HP Preferences. Choose Tempo Variations.

What it does Use these settings to define how Human Playback interprets changes in tempo. 1368

• Minimum Duration: _Seconds • Ritardando Before. Enter a value in this text box to specify the minimum number of seconds Human Playback should hold a fermata in addition to the note’s original duration. Check Ritardando Before to gradually reduce the tempo prior to fermatas (highly dependent on the context). • Don’t Randomize (Exact Timing). Check this box to ensure Human Playback does not invoke any random variations in tempo from performance to performance. See Also: Human Playback Preferences Human Playback Preferences - Instrument Techniques and Effects Human Playback Preferences - Dynamics and Volume Human Playback Preferences - MIDI Data Human Playback Preferences - Glissandi & Bends Human Playback Preferences - Ornaments & Tremolos Human Playback Preferences - Garritan Specials

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Hyperlink

How to get there Click the Text Tool . Double-click the page to create a text block. Highlight the text, then, from the Text menu, choose Hyperlink.

What it does This dialog box allows you to define the display text and URL for a hyperlink. • Display Text. Here, enter the text you want to display on the page. • Link Address. Here, enter the URL. Finale adds http:// if necessary. To test the link, click outside the text block, then Ctrl-click the handle. Also, you can click the Selection Tool and Ctrl-click the handle to test the link. Finale opens the website using the system's default Internet browser. • OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score without creating a hyperlink.

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HyperScribe dialog box

How to get there Click the HyperScribe Tool. From the HyperScribe menu, choose HyperScribe Options. Check Show HyperScribe Dialog, then click OK. Click a measure in the score.

What it does When you transcribe a real-time performance with HyperScribe with the HyperScribe dialog box showing, the two large "buffer boxes" in the HyperScribe dialog box begin to fill up with black dots—left to right, top to bottom. Each time you play a note, a dot appears in the right buffer box. Each time you tap (a key, a pedal, or whatever you’ve specified as your tempo reference tap), two dots appear in the left buffer box. In general, these buffers simply act as a gauge for you to see if your computer is keeping up with all the MIDI information you’re generating. If either of the buffer boxes becomes completely filled with dots, that’s your warning that the computer can’t transcribe the notes as fast as you’re playing them; if you don’t slow down, Finale will begin skipping measures (leaving them empty) in an attempt to catch up with you. • Duration. This indicator reminds you which rhythmic value you told Finale you’d be tapping on a key or pedal (with the Tap command [HyperScribe menu]). The displayed number is in EDUs, 1024 per quarter note. (A value of 512 signifies eighth-note taps; 2048 indicates cut-time, or half-note, taps.) • Smallest Note. This indicator reminds you of the smallest note value you specified in the Quantization Settings dialog box (Document menu). For more instructions on the use of HyperScribe, see Quantization Settings dialog box. See Also: HyperScribe Options HyperScribe menu

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Quantization Settings HyperScribe Tool

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HyperScribe Options dialog box

How to get there Click the HyperScribe Tool HyperScribe menu.

. Choose HyperScribe Options from the

What it does This dialog box contains some specialized settings to help you get the most accurate possible HyperScribe transcription. For example, you can tell Finale what MIDI channels to transcribe or whether the program should devote computer power to keeping the screen display up to date. You also have access to global quantization settings by clicking the Quant Settings button. • Tie Across Barlines. If you anticipate that you’ll be holding keys down (for notes tied over from one measure to another), select this option (so that a check mark appears). If not, leave this option unselected. With this option off, Finale will never tie notes over barlines. Tip: If you are having problems getting clean notation using this option, increase Remove Notes Smaller than __ EDUs in the More Quantization Settings dialog box to 60 EDUs. See More Quantization Settings dialog box for more information. • Refresh Screen. If you’re playing too many notes, or too quickly, for the computer to keep up with you, de-select Refresh Screen and try the transcription again. By relieving the computer of the task of redrawing the screen, you let it give more of its processing capacity to transcribing your music.

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• Show HyperScribe Dialog. Select this option to display the HyperScribe dialog box which displays the selected options for smallest note and duration. See HyperScribe dialog box. • Receive On All Channels • Only Channel: ___ . If you’re using HyperScribe to transcribe a sequence being played by an external sequencer, you can specify that only one MIDI channel be transcribed at a time, making it easier for you to transcribe one staff at a time. If that’s the case, select Only Channel, and enter the MIDI Channel number in the text box. Otherwise, select All Channels; HyperScribe will transcribe the music it’s receiving on all MIDI channels. • Quant Settings. Click this button to display the Quantization Settings dialog box where you can set you quantization type, smallest duration, and other options. See Quantization Settings dialog box. • Cancel • OK. Click OK to confirm, or Cancel to discard, the changes you’ve made in this dialog box; you return to the score. Tip: check "Tie across barlines" if you will need notation that uses ties across barlines frequently. Note that you will want to release notes on time at the end of the measure so that an incorrect tie does not appear. See Also: HyperScribe menu HyperScribe Tool

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Implode Music dialog box

How to get there Click the Selection Tool , and select a region of measures. From the Utilities menu, choose Implode Music. You can also use a Selection Tool Metatool: press the 1 key with selected measures. Or, hold down I while dragging selected measures to a destination.

What it does When you implode music, Finale condenses the music on the selected staves onto a single staff, a feature useful for creating piano reductions, for example. This dialog box lets you specify where you want Finale to place the imploded music. • New Staves Added to Bottom of Score. Select New if you want Finale to place the imploded music on a new staff at the bottom of the score. • Top Staff of Selection. Select Top if you want Finale to replace the music on the top selected staff with the imploded music. • Quant Settings. Click this button to display the Quantization Settings dialog box. The settings in this dialog box and the More Quantization Settings dialog box affect how Finale implodes your music. If you are not satisfied with the results of Implode music, check these settings. Options like Include Voice Two and Grace Note settings are used during the Implode Music process. See Quantization Settings dialog box and More Quantization Settings dialog box. • OK • Cancel. Click OK to proceed. Click Cancel to return to the score without imploding music. Note: If you place the music into the top staff, the music in the selected region for that staff will be lost. 1375

See Also: Utilities menu

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Import MIDI from Clipboard dialog box

How to get there Place some MIDI data on the clipboard (from Finale or another sequencing program). Click the Selection Tool or any other tool with regional selection. Select a region of music. Choose Import MIDI from Clipboard from the Edit menu.

What it does Use the Import MIDI from Clipboard dialog box to change quantization settings and other options when you’re importing a MIDI file from the clipboard. The options are the same as those in the Import MIDI File dialog box, except Convert Markers is not available. For an explanation of these settings, see Import MIDI file Options dialog box and Quantization Settings dialog box. To use the current settings in the Import MIDI from Clipboard dialog box (without displaying the dialog box on the screen), press shift when you choose Import MIDI from Clipboard from the Edit menu.

See Also: Quantization Settings Selection Tool

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Import MIDI File Options dialog box

How to get there Choose Import MIDI File Options from the MIDI/Audio menu. The Import MIDI File Options dialog box appears. Or, Choose Open from the File menu and click MIDI file (from the File Type dropdown list).(or click the file-type icon until MIDI File is selected). Double-click the name of the MIDI file you want to transcribe.

What it does When you tell Finale to "open" a MIDI file, you’re essentially telling it to transcribe the file. The options in this dialog box are very similar to those you encounter when you’re transcribing real-time performances in a Finale document quantization and split point options, key and time signature settings, and commands to "capture" MIDI data (such as pedaling and key velocity information).

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You also use this dialog box to tell Finale how you want the tracks of the sequencer file translated into Finale staves. For example, you can specify that each track simply become one staff, or that the contents of each MIDI channel become one staff. However, you can also enter other dialog boxes from within this one, where you can specify much more elaborate track-to-staff configurations. Follow your sequencer’s instructions for creating a standard MIDI file. • Tracks Become Staves. Click this button if you want Finale simply to notate the contents of each sequencer track on one staff. Finale will select the treble or bass clef for each staff, based on the register of the music in each track. In fact, if the notes have such a wide range that it wouldn’t be appropriate to place them all on one staff, Finale splits the track into two staves with different clefs. Technical note: Finale selects a clef as follows. If all the notes of the track are above MIDI key number 47 (that’s B a ninth below middle C), it selects the treble clef. If all notes are below key 72 (C above middle C), it selects the bass clef. If the notes in the track don’t fall into either category, Finale transcribes them onto two staves, splitting them into treble- and bass-clef staves using F below middle C as a split point. • Channels Become Staves. Click this button if you want the contents of each MIDI channel (regardless of its track assignments) transcribed onto a single Finale staff. Once again, Finale attempts to make intelligent decisions regarding the selection of a clef for each staff. • Set Track-to-Staff List; Select. If you click this button, Finale will display the Track/Channel Mapping for Staves dialog box when you open a MIDI file, where you can specify a number of track, MIDI channel, and staff configurations. You can specify the top-to-bottom order of the resulting Finale staves, as well as staff transpositions, clefs, and the distance between staves in the resultant Finale document. The Select button is only displayed when you are importing a file and do not have Don’t show this during File Open selected. If you have selected Set Track-to-Staff List and Don’t show this during File Open while in the MIDI/Audio menu, the Track/Channel Mapping to Staves dialog box will appear when you open a MIDI file instead of the Import MIDI File Options dialog box. See Track/Channel Mapping to Staves dialog box for full details. • Key Signature: Use the File’s. Click this button if you want Finale to notate the transcription with the key signature specified by the MIDI file (if it was created by a sequencer that lets you specify one). • Key Signature: Infer from the File. Click this button if you want Finale to attempt to deduce the correct key signature by examining the notes in the sequencer file. Finale will analyze the music, measure by measure, placing key changes where it considers them necessary. You won’t see the results 1379

of Finale’s intelligent guesses until it’s finished transcribing the file into standard notation. • Key Signature: Infer, Ask me first. Click this button if you want Finale to attempt to deduce the correct key signature by examining the notes in the sequencer file, but to let you confirm its guesses. When you click the OK button to begin the transcription, Finale will display the key signature dialog box at each measure in which it detects a key change, letting you confirm or cancel its decision. • Key Signature: Set Key Signature. Click this button if you simply want to tell Finale what key the file is in. Finale displays the Key Signature dialog box, where you can scroll to the correct key signature and click OK. • Time Signature: Use the File’s. Click this button if you want Finale to notate the transcription with the time signature specified by the MIDI file (if it was created by a sequencer that lets you specify one). • Time Signature: Set the Time Signature. Click this button if you simply want to tell Finale what time signature the file is in. Finale displays the Time Signature dialog box, where you can set the correct time signature and click OK. (See Time Signature dialog box if you need help in setting the time signature.) • Tempo Changes • Continuous Data • Convert Markers. These options tell Finale to remember the precise "feel" of the original sequence, and to keep this data handy for playback once it’s been transcribed. (These are the same as Save Tempo Changes, and Save Continuous Data checkboxes in the Transcription window.) If you don’t choose these options, then when you play back the transcribed music from the score, Finale will simply play the "sheet music"—the notated version, which will be rhythmically precise but expressionless and "square"—instead of an exact re-creation of the original sequence. (Important note: To play back your music with these captured nuances, be sure you’ve selected all four data types for playback (see Playback/Record Options dialog box). Tempo Changes information describes changes in the actual tempo, such as ritards and accelerandi. • Continuous Data is controller data (MIDI signals generated by pedals, patch changes, and so on) and wheels (like the pitch wheel). • Convert Markers defaults to on. Click it if you do not want the sequencer markers converted to Finale bookmarks • Create Instruments from Initial Patches • Use General MIDI Patch Names. Use these settings to import patch information into Finale’s instrument list. • Quant Settings. Click this button to display the Quantization Settings dialog box where you can set more options regarding the type of quantization, smallest allowed value, whether to capture Key Velocities and Note Duration, etc. See Quantization Settings dialog box. 1380

• Create Percussion Staves: Channel • Clef • Percussion Layout. Check this box to have Finale create and configure percussion staves from the MIDI file. Enter the playback channel in the Channel text box. Finale will suggest channel 10, the default percussion channel for General MIDI. Next to Clef, Finale will display the selected clef for percussion staves. Click Select to choose a different clef. The Percussion Layout text box indicates which Percussion Layout will be used to adjust the display of percussion noteheads and placement. Click the Select button to choose a different percussion layout. See Percussion. • Don’t show this during File Open. Select this option if you wish to use the current settings in the Import MIDI File options next time you import a MIDI file. The Import MIDI File Options dialog box will not be displayed when you import a MIIDI file, only when Import MIDI File Options is selected from the MIDI/Audio menu. Deselect this checkbox to again display the Import MIDI File Options dialog box when importing MIDI files. If you have selected Set Track-to-Staff List and Don’t show this during File Open, Finale will display the Track/Channel Mapping to Staves dialog box without first going through the Import MIDI File Options dialog box. See Track/Channel Mapping to Staves dialog box. • OK • Cancel. Click OK to proceed with the transcription. After a moment, Finale displays the transcribed score. If you discover that your settings weren’t quite right, you can close the new Finale document and try again— the original MIDI file is unaffected by Finale’s transcription efforts. Click Cancel if you decide not to transcribe the MIDI file. See Also: Track/Channel Mapping Track/Channel Mapping to Staves Quantization Settings

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Import Score Files - Options dialog box

How to get there From the File menu, choose Import, then Score. Select a file or files and click Open.

What it does In this dialog box, specify the page size and orientation as well as the method for choosing file order upon conversion. • [Page sizes] • Width: • Height: • Portrait • Landscape. Select the desired page size from the drop-down list or type in the desired Width and Height (custom will be displayed in the drop-down list). Select Portrait or Landscape as well. • Specify File Order • Let Finale Determine File Order. If you initially select more than one file for conversion, these options will be available. Each Score file will consist of either a single page of the score, or a part of the page. Because of this, it is often necessary to import many score files at once for conversion into a single Finale document. Choose Specify File Order to select the order of the files and page breaks. With this option selected, clicking OK will open the Import Score Files - Order dialog box where you can make these settings. Choose Let Finale Determine File Order to let Finale use standard Score naming con-ventions 1382

(Name01.pag...Name02.pag, or Name001a.mus...Name001b.mus etc.) to order the files and assign page breaks. • OK • Cancel. Click OK (or press enter) to generate the Finale file. If Specify File Order is chosen, clicking OK will open the Import Score Files - Order dialog box. Click Cancel to return to the score without generating a Finale document. See Also: Import Score Files - Order File menu

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Import Score Files - Order dialog box

How to get there From the File menu, choose Import, then Score. Navigate to a folder containing score files, then hold down the Shift key and click to select more than one file. Click Open. In the Import Score Files - Options dialog box, choose Specify File Order and click OK.

What it does In this dialog box, specify the order and page break information for conversion into a Finale document. • Up Arrow • Down Arrow. Click the up arrow to move the selected file or page up in the file order. Click the down arrow to move the selected file or page down in the file order. • Add Page • Remove Page. Click Add Page to add a page break above the selected file. Click Remove Page to remove a selected page. • OK • Cancel. Click OK (or press enter) to generate the Finale file. Click Cancel to return to the score without generating a Finale document. See Also: Import Score Files - Options

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File menu

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Insert Blank Pages dialog box

How to get there Click the Page Layout Tool Layout menu.

. Choose Insert Blank Pages from the Page

What it does This dialog box provides a quick, easy way for you to add blank pages at any point in your score. Blank pages contain no music. When you insert blank pages, any items such as titles or text blocks that were assigned to that particular page will be shifted to the next page. • Insert __ Blank Page(s). Enter the number of blank pages you want to add to the piece. • In: Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all parts and the score. • Before Page • After Page • At End of Document. Select Before Page and enter a page number to insert blank pages before the specified page, select After Page and enter a page number to insert pages after the specified page, or select At End of Document to add pages at the end of the piece. Tip: When you’re working with Facing Pages with different left and right page margins, inserting two pages at 1386

a time will maintain the correct margins. • OK • Cancel. Click OK to insert blank pages into the score, or click Cancel to return to the score without inserting blank pages. See Also: Page layout Page Layout menu Page Layout Tool

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Insert Staff Systems dialog box

How to get there Click the Page Layout Tool Staff Systems.

. From the Page Layout menu, choose Insert

What it does Use this dialog box to insert a system or systems into your music while keeping the rest of your systems intact or reflowing measures across systems and pages. • Insert __ system(s) with __ measures each. Specify how many systems you want to insert, made up of how many measures. • Insert new system(s) before system __. Finale will insert the new systems before the system number you enter into this text box. • Space Systems Evenly. Check this box to have Finale re-calculate evenly spaced systems after inserting the new systems. See Space Systems Evenly dialog box. • OK • Cancel. Click OK to insert the system of measures according to your selections. Click Cancel to ignore any changes made in this dialog box. See Also: Systems Page Layout menu Page Layout Tool

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Instrument Definition dialog box

How to get there Choose Instrument List from the Window menu, if it isn’t already selected. The Instrument List window appears on your screen. Choose New Instrument from the instrument drop-down list (with View by Staves selected), or click the New Instrument button (with View by Instruments selected). To change the definition of an existing instrument, select the instrument in the Instrument List window, then click the Edit Instrument button. Or, click the Bank (B) column or ctrl-click the Channel (Chan.), Bank (B), Program Change (Prog.), or Instrument Name (Instrument) columns.

What it does Use this dialog box to create new instruments and edit existing instruments, as well as to specify or modify channel, bank, and program change information for an instrument. • Instrument Name. Enter a name for a new instrument, or change the name of an existing instrument. • Channel. Enter the number of the MIDI channel the selected instrument will use for playback. Any layers or staves assigned to this instrument will automatically play back using that MIDI channel. • Patch: Program Change • Bank Select 0, Bank Select 32, Program Change • Bank Select 0, Program Change • Bank Select 32, Program Change • Program Change, Program Change. This drop-down list lists the types of bank and program changes available in Finale. Finale supports bank changes according to the MIDI Specification and to the implementations of several manufacturers. Choose the method which 1389

matches your MIDI gear. (Check your manuals to see if the manufacturer of your MIDI gear supports banks, and if so, which method is supported. Or, refer to the Appendix-Bank Select, which provides a list of MIDI instruments and the bank select method they use.) The first option corresponds to the simple program change. The remaining options provide bank support. "Bank Select 0, Bank Select 32, Program Change" is the standard method of doing bank select; first controller 0 (C0), then controller 32 (C32) are sent with their respective values (these two controllers determine the bank), then a program change (PC) is sent. The next two drop-down list selections are variations on the standard. In both cases, only one of the controllers is sent with its value. The last case, Program Change, Program Change, is bank select done by two standard program changes. • Bank Select 0. This text box may be disabled depending on the selection in the Patch drop-down list. If available, enter the value of the bank you want selected. • Bank Select 32. This text box may be disabled depending on the selection in the Patch drop-down list. If available, enter the value of the bank you want selected. • Program Change. Enter the number of the program change (the number of the instrument sound) that you want Finale to send. Note: If you prefer, you can directly enter the program change number into the Instrument List’s "Prog." (program change) column, instead of entering it here. • General MIDI. Select the General MIDI patch from this drop-down list to automatically set up the Banks and Program Change for the selected instrument. • Perc. MIDI Map. From this drop-down menu, choose the desired Percussion MIDI Map for playback. See Percussion MIDI Maps. • OK • Cancel. Click OK to confirm or Cancel to disregard your changes. See Also: Instrument List General MIDI Patch Numbers and Names

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Instrument Junction dialog box

How to get there From the File menu, choose Score Merger. Add files with different instrumentations. Click on Merge These Files into One File. In the Score Merger dialog box, check Edit Instrument Junction Between Files. Click Merge.

What it does This dialog box allows you to specify how the Score Merger deals with instruments that do not match perfectly while merging files horizontally. For example, while merging movements, if an Oboe appears on the top staff in one file, and an English Horn for the top staff of the next, use this dialog box to specify whether you want to place the Oboe and English Horn on separate staves and in which order, or join them into the same staff. The title bar of this dialog box specifies the file at hand. Instruments to the left are from the file that is about to be merged, and instruments to the right are from the merge result file in its current state. (Note that instruments, such as a piano or other keyboard instruments, can include more than one staff). On the right side lists what the result will be for a given instrument when the files are merged. Here, the Bassoon from source file is going to be inserted below the existing Oboe staff in target, because there is probably no bassoon in the target. 1391

Also notice the instrument "Piano" is mapped to a similar instrument also called "Piano." We don't necessarily need know how many staves are used for the piano in source and target files; a 3-staff piano might be mapped onto a 2staff piano, and Score Merger will add the missing 3rd staff in target file accordingly. Generally speaking, an instrument from the source can be inserted below, above, mapped exactly onto (joined), or just skipped. Double-clicking or pressing Edit Selected Line opens the Choose Junction for Staff dialog box where you can edit the relative position of a merged staff. • Edit Selected Line. Choose Junction for Staff dialog box where you can specify whether you want to join, separate, or insert staves (above or below). See . Choose Junction for Staff dialog box • Don't Show This Dialog Box Again. Check this box to bypass the Junction dialog for the remaining files. • Cancel Merge • Continue. Click Cancel Merge to close the Instrument junction dialog box and cancel the merge. Click Continue to advance to the next file to be merged. See Also: Score Merger dialog box

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Instrument List dialog box

How to get there Choose Instrument List from the Window menu.

What it does The Instrument List provides a quick and convenient way to manage the playback of the various staves in your score. For example, you can silence a staff with a single click, or you can "solo" a staff with a click, muting all other staves. If your MIDI instrument is multi-timbral—capable of playing more than one instrument sound at once—the Instrument List also lets you assign a MIDI channel and patch (program information and optional bank change information which act together to provide an instrument sound) to each staff—and, in fact, to each layer of each staff. The Instrument List also lets you create Instrument assignments for each staff and each layer of a staff. An Instrument is a MIDI channel/patch setting. For example, you might create an Instrument named Strings which will be mapped to your MIDI keyboard’s channel three, and will have the patch set to change your keyboard to its second bank of sounds and use the Strings program on that bank. Then, it’s a simple matter to assign each of the string staves in your score to this same Instrument, saving you the trouble of assigning a channel and patch to each staff individually. Instead of mapping multiple staves into one Instrument, you can also do the reverse—map a single staff into multiple Instruments—by setting a staff’s layers to play on different MIDI channels with different patches.

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The Instrument List window also affects recording with HyperScribe. Two columns in the Instrument List, R and RChan (R always appears; RChan only appears for multitrack recording), identify which staves or layers of staves Finale will record into, and from which channels, during HyperScribe recording. These settings appear only when View by Staves is selected. The Instrument List, by the way, is a standard Finale floating window. You can move it by dragging the title bar at the top, close it by clicking the control-menu box in the upper-left corner, click the Maximize button in the upper-right corner to make it fill your screen, or make it taller or shorter by dragging the resizable frame. (You can also hide the Instrument List window by choosing its name a second time from the Window menu.) • R (Record). A Record (R) column that specifies which staves or layers will be recorded into, with the HyperScribe Tool, always appears. When the Record column is blank, no staves (or layers) of staves are selected to record into. Click in the R column next to the staff you want Finale to record into. A black triangle appears in the R column, indicating that Finale will record into the active layer of that staff. You can also record into a particular layer of a staff. First expand the staff by clicking the down arrow next to the staff name; Layer 1 through Layer 4 appears. If the staff is selected to record into (a black triangle appears in the R column for the staff name), a small triangle in parentheses indicates the current layer that will be recorded into. If you change the current layer using the Layer Controls in the Document window, the small triangle moves to reflect the current layer that will be recorded into. To specify a particular layer to record into, click in the R column next to the layer of the staff you want Finale to record into. Note that you cannot record chords or expressions in an expanded staff; Finale will ignore any clicks in the R column for chords and expressions. If you’re not multitrack recording (Record into One Staff or Split into Two Staves is selected in the Record Mode submenu of the HyperScribe menu), you don’t need to use the Instrument List to specify which staff to record into; simply click the staff in the score that you want to record into. If, however, you prefer to use the Playback Control’s Record button (instead of clicking a measure in the score), then you must use the Instrument List’s R column to indicate the staff or layer to record into. Click in the R column next to the staff or layer you want Finale to record into. Click on a different staff or layer to select it instead. The triangle moves to the staff or layer you clicked. If you are multitrack recording (Multitrack Record is selected in the Record Mode submenu of the HyperScribe menu), click in the R column next to the staff or layer you want Finale to record into. Click the R column to select additional staves or layers to record into. Click again to remove the triangle (so Finale won’t record into the staff or layer). 1394

In an expanded staff list, a triangle in parentheses shows the default layer that Finale will record into. If you specify one or more layers of a staff to record into (for multitrack recording only), a striped triangle will appear in the R column for the staff name to indicate that one or more layers will be recorded into for the staff. The striped triangle also appears in a collapsed list so you can immediately see, without expanding the staff, that one or more layers will be recorded into. • RChan. The Record Channel (RChan.) column only appears for multitrack recording (Multitrack Record is selected in the Record Mode submenu of the HyperScribe menu). RChan indicates what channel(s) will be recorded into the staves (or layers). Enter the channel number(s) that you want Finale to record from for each staff or layer. By default, Finale records from channel 1 (RChan is set to 1). If you specify more than one channel for layers of an expanded staff, Finale displays the word Mixed in the RChan column for the staff (next to the striped triangle in the R column) to indicate that several incoming channels will record into this staff. Note: If you’re using multitrack recording, you must set up the Instrument List window’s R and RChan columns for each staff (or layer) you want to record into. Note: When you’re not multitrack recording (Record into One Staff or Record into Two Staves is selected in the Record Mode submenu of the HyperScribe menu), the RChan column does not appear. In fact, you don’t need to set up the Instrument List window at all; use the Receive On channel in the HyperScribe Options dialog box to indicate what channel will be recorded for the staff (or layer). Click the measure of the staff you want to record into. (Finale uses the Instrument List’s R column to determine which staff to record into only if you click the Record button on Playback Controls.) • Staff Name • [Arrows]. In the Instrument List, you see the staves in your score. (If you haven’t named the staves, they appear numbered.) Using the controls in this staff’s row (Play, Solo, and so on), you establish its various playback features. 1395

When the small arrow next to the staff name points down, each setting you make affects all layers of the staff. If you want to give different playback settings to each of the four transparent layers of each staff, click the arrow. It turns to point upward, and six new rows appear in the Instrument List, one for each layer, plus one each for Chords and Expressions. At this point you can change the Play, Solo, Channel, and other parameters for each individual layer. Click the arrow a second time to "collapse" the layer rows into a single staff row again. If there are too many rows to see in the window, use the vertical scroll bar to adjust your view. • Layer 1 • Layer 2 • Layer 3 • Layer 4 • Chord • Expression. These rows of information only appear when you click the downward arrow next to a staff name. Using these subdivisions of a staff, you can assign an Instrument, MIDI channel, or patch to each of these playback elements— allowing the music on each layer, for example, to have its own sound. Chords refers to the chord symbol you’ve placed in a staff; they can actually play back over their own patch and channel, if you wish. (If you don’t want chord symbols to play back, route them to an unused MIDI channel, or deselect chords from the Play column.) You can also specify patch and channel settings for the Expressions of a staff. Unless you plan to connect the computer to a MIDI-controlled mixing or lighting board—in the event that you’ve created expressions that control these external devices—you can leave the expression assignments alone. • M (Mute). In this column, a black square appears across from the name of each staff that you want to mute when you play your score. By clicking in this column across from a certain staff, you make the square disappearturn white, indicating that the staff will sound when you play the score. If you’ve expanded a staff to view its individual layer assignments, and you turn on the Mute setting for some layers but not others, the square in the Mute column will appear striped. That is your signal that the individual layers of the staff have mixed settings in the Mute column. Note that the Playback checkbox in Document Options-Layers provides the same function. • S (Solo). When you click in the Solo column across from a staff name, a black circle appears, and the black-square Play indicators for all other staves turn white. In other words, you’ve just isolated a staff so that only it will play back, and all the other staves are silent. (You could achieve the same effect by clicking in the Play column for all other staves, so that their Play squares each turn white—but that would take much more time and effort.) You can solo more than one staff, if you wish—for example, you can solo two or three staves, and all the others will be silent. In fact, you can solo all staves, although there wouldn’t be much point, since you may as well solo none of them. 1396

• Vol. You can use this text box specify an exact volume value, 0-127, for a staff, and all other staves set to the same channel. This setting is dynamically linked to the Volume sliders in the Mixer and Staff Controls. • Pan. Use this text box to specify an exact pan value, 0-127, for a staff, and all other staves set to the same channel. A higher value pans right, a lower value pans left. Playback volume will be weighted to the left or right speaker accordingly. 64 is center. This setting is dynamically linked to the Volume sliders in the Mixer and Staff Controls. • Instrument. By clicking on the word Instrument, you produce a drop-down list containing all of created instruments, as well as, the New Instrument command. This command brings up the Instrument definition dialog box, where you can define the MIDI channel, program change, and bank change assignment for a new virtual Instrument (see Instrument Definition dialog box), whose name will now appear in this column. Once you’ve defined and named one or more Instruments of your own, their names appear in the Instrument drop-down list across from each staff name. Now you can start to save time when it comes to assigning patches and channels to other staves or layers—simply choose one of your Instrument names from the Instrument drop-down list, and the staff you’re working with will automatically get the same MIDI channel, program, and bank settings as other staves with that Instrument. Here’s an example. Suppose you have a piano part with two staves. Across from the top piano staff, choose New Instrument from the Instrument drop-down list, and create an Instrument called Pno Sound, that plays on MIDI channel 4, program 22. Now, for the bottom piano staff, simply choose Pno Sound from the Instrument drop-down list. Finale automatically gives it MIDI channel 4, program 22—and if you change the program or channel for either staff, the other staff’s program or channel will change to match. To edit an Instrument name or delete an Instrument, select View by Instruments (see below). • Chan. This column displays the MIDI channel assignment for each staff (or layer), from 1 to 64 (or 32, if your MIDI interface is a 32 bit card). To change this number, double-click, and type a new channel. If you’ve assigned several staves to the same Instrument, by the way, remember that they’re all linked to the same MIDI channel. Therefore, if you edit the Chan. assignment for any one of these staves, the Chan. for all of them will change to match, because any given Instrument can only have one channel assignment. (If you truly want a staff to have an independent MIDI channel, first assign it to a new Instrument.)

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• B. The Bank column (B) appears between the channel and program columns in the Instrument List. If you set up a simple patch assignment by entering a program change number with no bank information in the Instrument List, nothing appears in the bank column. However, if you enter a bank change and a program change number for an instrument, Finale places a "B" in the bank column for that instrument. To set up a bank change, click or ctrl -click the bank column to display the Instrument Definition dialog box. For details, see Instrument Definition dialog box. • Prog. The number in this column identifies the program (synthesizer sound) number assigned to each staff (or layer). To edit it, just double-click the number and type a new one. If you’ve assigned several staves to the same Instrument, once again remember that they’re all linked to the same Program. Therefore, if you edit the Program assignment for any one of these staves, the Program for all of them will change. If you prefer to set up your MIDI instruments so that their programs are already selected for each MIDI channel, you can ignore the Prog. settings in the Instrument List. Finale will only transmit these Program settings to the MIDI instruments if Send Patches Before Play is selected in the Instrument List window. • GM. This column displays the General MIDI descriptive name of the Program number. By clicking on the name, you produce a drop-down list containing all of the names. Select the desired GM name to have Finale fill in the matching Program Number. • Perc. MIDI Map. From this drop-down menu, choose the desired Percussion MIDI Map for playback. See Percussion MIDI Maps. • View by Staves • View by Instruments. When View by Staves is selected, the information in the Instrument List is organized by staves, as they appear in the score. You can also re-organize the list so it’s displayed by Instrument (by selecting View by Instruments). By doing so, you can see which staves and layers have been assigned to each Instrument. • Play All • Play None. These buttons turn the squares in the Play column for all staves (and layers) on or off, respectively. • Solo All • No Solos. These buttons turn the black circles in the Solo column for all staves (and layers) on or off, respectively. • Edit Instrument. Select an instrument and click the Edit Instrument button, or ctrl-click in the Chan., B, Prog., or Instrument columns to display the

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Instrument Definition dialog box, where you can change all aspects of an instrument’s definition, including the bank or program change information. • New Instrument. To create a new Instrument, click this button. The Instrument Definition dialog box appears. Here you can create the new instrument name, as well as define the instrument’s channel and Patch information. Note, this button only appears when View by Instruments is selected in the Instrument List window. • Delete Instrument. To delete an Instrument, select an Instrument name in the left column, and then click Delete Instrument. The Instrument is removed from the list. This button is only available when View by Instruments is selected in the Instrument List window. • Send Patches Before Play. Select this option if you want Finale, just before it begins playback, to transmit any patch information specified in the Instrument List to your MIDI instruments. You probably won’t want to select this option, however, if you prefer to assign programs to MIDI channels on your MIDI instrument before you begin playback, instead of letting Finale do it. If you select Send Patches Before Play, Finale will wipe out any MIDI channel/patch configurations you’ve set on your MIDI instrument, and use the information defined in the Instrument List window for playback. • Auto-create Instrument. This checkbox only appears when View by Staves is selected. If this checkbox is selected, Finale will automatically create a new Instrument for each new staff created. You can rename them or change their channel and patch assignments by clicking View by Instruments and editing the various boxes. If this box isn’t selected, then Finale will assign every staff in your score to the same Instrument, channel, and patch (until you change them by creating new Instruments). Note: To have this function take effect, you must first select the checkbox, then create new staves. If you create new staves then select this button, all the staves will be assigned to the same instrument. Note: If a dot appears in the Solo column, only the soloed staves (or instruments) will play back. See Also: Instrument Definition Window menu

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Instrument Name Assignments dialog box

How to get there From the File menu, choose Scanning: SmartScore Lite > Scan and Import. Scan and import the file. In the SmartScore Lite 5 dialog box, click Final Scan. Prepare the your settings and then click Begin Recognition. Finale prompts you with this dialog box. Or, from the File menu, choose Scanning: SmartScore Lite > Import and Existing TIFF File. Then, add a TIFF graphic and click Begin Recognition. Before opening the file, Finale prompts you with this dialog box.

What it does This dialog box allows you to select instruments for scanned staves so that Finale applies the correct staff name and instrument transposition when the staves are converted into a Finale document. • Part Name. Here, a drop-down list appears for each staff. Choose the instrument that most closely matches the desired instrument staff, minding the listed transposition. You can type a new instrument name and then press enter to add it to the list. If you type a new staff name, the new entry will continue to use the same key listed in the parentheses. • Abbr. Enter the desired abbreviated staff name for each staff here. • MIDI Instrument. From this drop-down list, choose the desired General MIDI instrument. Your choice here will be represented in the Instrument List. • OK • Cancel. Click OK to finish translating the file. Finale will apply the staff name, instrument transposition, abbreviated staff name, and MIDI 1400

Instrument when the document is finished converting. Click Cancel to finish translation without setting up the staves. See Scanning

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Intelligent Accompaniment dialog box

How to get there From the Utilities menu, choose Add SmartMusic Markers. Select Intelligent Accompaniment from the marker list on the left and click Add. Or, select an existing Intelligent Accompaniment marker from the Marker window and click Edit.

What it does Use the settings in this dialog box to control the Intelligent Accompaniment level, and the measure assignment, for the SmartMusic Marker you are adding or editing. • Rehearsal Mark • Bar • Beat • Repeat. Choose a rehearsal mark, repeat, or specify a bar and beat to add an Intelligent Accompaniment marker. • Intelligent Accompaniment Slider. Move the slider to the right to increase the Intelligent Accompaniment level, or to the left to decrease the Intelligent Accompaniment level. 0 = No Intelligent Accompaniment (soloist follows accompaniment entirely), 10 = full intelligent accompaniment (accompaniment follows soloist completely). Click the Set button to set the selected marker to the level indicated on the slider. • OK • Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic Markers dialog box without making changes. 1402

Interval dialog box

How to get there Click the Selection Tool , and select a region of music. From the Utilities menu, choose Transpose. From the Interval drop-down list, choose Other.

What it does If, when you’re transposing some music, none of the intervals listed in the Interval drop-down list represent what you want, you can use this dialog box to specify any other interval. • Interval • Alteration. In the Interval text box, enter the number of diatonic (scale degree) steps—and in the Alteration box, enter the number of chromatic steps—by which you want the selection transposed. For example, to transpose something up or down a tritone (so a C would become F sharp, for example), enter 4 as the Interval, and 1 as the Alteration (4 diatonic steps, plus one chromatic step). If you’ve selected Diatonically in the Transposition dialog box, the Alteration box is dimmed. • OK • Cancel. Click OK to confirm, or Cancel to discard, your interval setting and return to the Transposition dialog box. See Also: Transposition Staff Transpositions

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Items to Snap to Grid dialog box

How to get there Choose Grid/Guide Options from the View menu. Or, from the Document menu, choose Document Options and select Grids and Guides. Click on Items to Snap to Grid.

What it does Use the Items to Snap dialog boxes to select the types of items that will be affected by the snapping function. • Brackets • Chords • Expressions • Fretboards • Graphics Move • Graphics Sizing • Measure Numbers • Repeats • Special Tools Items • Staff Names • Staves • Text Block Move • Text Block Sizing. Select any number of these items to be affected by snapping when it is implemented. Note: only Optimized Staves will snap when dragging the lower optimized handle. • All • None. Use these buttons as shortcuts to select or deselected all the items at once. • OK • Cancel. Click OK to save new settings and return to the Grid/Guide Options dialog box, or click Cancel to cancel any changes you made to the settings. See Also: Grids and Guides Document Options-Grids and Guides View menu

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Items to Snap to Guide dialog box

How to get there Choose Grid/Guide Options from the View menu. Or, from the Document menu, choose Document Options and select grids and Guides. Click on Items to Snap to Guide.

What it does Use the Items to Snap dialog boxes to select the types of items that will be affected by the snapping function. • Brackets • Chords • Expressions • Fretboards • Graphics Move • Graphics Sizing • Measure Numbers • Repeats • Special Tools Items • Staff Names • Staves • Text Block Move • Text Block Sizing. Select any number of these items to be affected by snapping when it is implemented. Note: only Optimized Staves will snap when dragging the lower optimized handle. • All • None. Use these buttons as shortcuts to select or deselected all the items at once. • OK • Cancel. Click OK to save new settings and return to the Grid/Guide Options dialog box, or click Cancel to cancel any changes you made to the settings. Tip: Create a Guide by double clicking in the ruler area while in Page view. See Also: Grids and Guides Document Options-Grids and Guides

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View menu

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Key Signature dialog box

How to get there Click the Key Signature Tool , and double-click the measure at which you want the key to change. (There are a variety of other ways to access this dialog box; you can arrive at it from any dialog box or menu with a Set Key or Change Key command.)

What it does This dialog box contains a scrolling list of key signatures from which you can select a key (to change keys in your document, or for a variety of other purposes). You can also specify whether or not you want the notes transposed into the new key, and what range of measures you want to affect Finale will default to the key of C Major in the few cases where Finale needs a default setting. This dialog box also provides a gateway to Finale’s nonstandard key signature capabilities. • [Scrolling key display]. Click the top scroll bar arrow to add sharps (or subtract flats) from the displayed key signature. Click the bottom arrow to 1407

add flats (or subtract sharps). As you scroll through the Circle of Fifths, the key name is identified in the lower-left corner ("C major," and so on). • Major Key • Minor Key • Nonstandard Key. Using this drop-down list, you can specify which key system you want to use. Finale treats major and minor keys differently—notably in its treatment of accidentals (when transcribing a performance) and in handling chord symbols, where the root of the A minor scale, for example, is called scale degree 1 (instead of scale degree 6, as it would be in the key of C major). A nonstandard key signature is any key signature or key system that doesn’t adhere to the traditional, Western, circle-of-fifths key system. See Nonstandard Key Signature dialog box for details. • Measure Region: Measure ___ Through ___ • Measure ___ Through End of Piece • Measure ___ To Next Key Change. Using these controls, specify what range of measures you want to affect with this key change. Click Measure ___ Through ___ if you want the new key to affect all measures up to (and including) a later measure. If you want the new key to remain in force from the measure you clicked to the end of the piece, click the middle option. If you want the new key until the next measure of a different key, click the lower option. In all of the text boxes, Finale proposes the number of the measure you originally clicked through the end of the piece; in other words, if you click OK without changing any numbers, the key changes through the end of the piece from the measure you clicked. • Transpose Notes: Up • Down. If you select this option, Finale will transpose any existing notes (and chord symbols) in the score into the new key, in the direction you select from the drop-down list. • Hold Notes to Original Pitches: Chromatically • Enharmonically. Click this option if you want the pitches to remain the same as they were before you changed the key—in other words, you’re just changing the key signature without affecting the existing notes at all. If you choose Chromatically, the notes maintain their original spelling. If you choose Enharmonically, the existing notes will be renotated according to the new key. A G sharp in the key of E will become an A flat in the key of E flat.) • Hold Notes to Same Staff Lines (Modally). Click this option if you want the music to remain modal—in other words, if you want each note to remain on the same line or space without adding any accidentals. An F in the key of C will become an F sharp in the key of D, because there’s an F sharp in the key signature—but no new accidental will appear. • Transpose All Keys Proportionally. Select this option if you want Finale to preserve the relationships between any existing key-signature changes. Each key signature (in the range of measures you’ve specified) will be transposed up or down by the same interval as the measure you originally clicked. (If you don’t select this option, Finale will wipe out any key changes, and will notate all the specified measures in the key signature you’ve specified at the top of the dialog box.) 1408

• Wrap Keys if Necessary. Use this option to prevent unintended and unnecessarily complex key changes. This option defaults to checked and is only available when Transpose All Keys Proportionally is selected. Finale remembers this setting for the rest of the session. When checked, Wrap Keys if Necessary prevents keys with double sharps and flats such as A sharp major (10 sharps) from occurring during proportional key changes. By default you’ll get B flat instead of A sharp. • OK • Cancel. Click OK to confirm your choice of new key and return to the score, where the key changes according to your specifications. Click Cancel to return to the score without changing the key. Tip: Select Transpose All Keys Proportionally to maintain the modulations as you change the key. See Also: Key signatures Key Signature Tool Utilities menu

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Key Step Map dialog box

How to get there Click the Key Signature Tool , and double-click the measure in which you want the key to change. The Key Signature dialog box appears. (There are a variety of other ways to access this dialog box.) Choose Nonstandard from the drop-down list. Click Next twice, then click the KeyMap icon. (You clicked Next twice because this dialog box doesn’t appear if Linear Key Format 0 or 1 is selected; these key formats are predefined as the standard major and minor key systems, respectively.)

What it does This dialog box concerns the creation of linear key formats and nonlinear key signatures; see Nonstandard Key Signature dialog box for a more complete discussion. In brief, Finale lets you create nonstandard key systems and key signatures, based on scales with any number of steps, and with accidentals placed anywhere you want. In this dialog box, you specify how many notes will constitute an "octave" (it’s twelve notes in the traditional system). You also specify how many of these are "diatonic" (seven in the traditional system), and where the "chromatic" steps occur in the scale. (In the traditional system, the chromatic steps occur between every pair of diatonic steps except steps 3 and 4 and steps 7 and 8.) If you’re creating a linear key format, note that your work in this dialog box must follow certain rules in order to meet the definition of a linear key format. The total diatonic steps, for example, must be an odd number. Furthermore, the bottom and top halves of the scale must contain the identical arrangement of diatonic and chromatic steps. These principles ensure that there is a 1410

progression of keys, although it may not be a circle of fifths as there is in traditional key structures. (Finale will correctly interpret, transcribe, and play back music in a format that hasn’t been constructed according to these rules. The format, however, won’t be technically and musically correct; you may get unexpected results when you transpose or add chord symbols to music in such a key system.) You may wonder what the relationship is between your MIDI keyboard and the unusual key maps you can construct in this dialog box. The principle is simple: each key on your keyboard always corresponds to a note in your key map. If you’ve established a quarter-tone key system, for example, you’d have to drastically alter your playing style in order to input a simple C scale, because Finale now thinks that the first four notes on your keyboard are C, C-quartersharp, C-sharp, and C-three-quarter-sharp. You’d have to play the C, E, and G sharp "keys" on your keyboard to notate the C, D, and E on the screen. (You can, if you want, tell Finale to maintain the one-to-one relationship of your keyboard keys to the "main" scale degrees in your nontraditional scale by editing the Go To Unit number in the Special Key Signature Attributes dialog box. You won’t be able to input quarter steps, for example, from your keyboard, but your diatonic and half-steps will be notated and played correctly. See Special Key Signature Attributes dialog box.) • Total Steps. This indicator, which you can increase or decrease by using the scroll bar, keeps track of how many total scale degrees (up to 100) you’ve created in your scale. • Diatonic Steps. This indicator keeps track of the number of diatonic steps you’ve created in your scale. You increase or decrease this number by clicking the numbered squares, making more (or fewer) "white keys" (diatonic steps) or "black keys" (chromatic steps). • Display Keyboard. Select this option to display the "keyboard" layout you’ve created, displaying chromatic steps as black keys. The white keys on this imaginary keyboard, if it existed, would play the recognizable "diatonic" steps of the scale, just as the white keys on a real keyboard do in the key of C, although you can separate these "white keys" by any number of "black keys" (chromatic steps) you want. • New. Click New to remove the highlighting from all of the numbered squares. You are, in effect, creating an all-diatonic scale, so that you can start over in specifying which steps are chromatic. • Delete. Click Delete to restore the pattern of chromatic and diatonic steps to that of the standard key system (but retain the number of Total Steps). • OK • Cancel. Click OK to confirm, or Cancel to discard, the new key map you’ve created. If you click OK, Finale asks if you want to save changes. You return to the Nonstandard Key Signature dialog box. See Also: 1411

Nonstandard Key Signature Key Signature Tool

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Last Recorded Tempo dialog box

How to get there From the View menu, choose Studio View. Select the HyperScribe Tool and click on the TempoTap Staff. Record a tempo change and click the score.

What it does This dialog box displays the final tempo recorded in a TempoTap session. After recording a tempo change, the tempo listed in this dialog box is applied to all subsequent measures until the next tempo change is encountered. • Last Tempo. This is the tempo (number of beats per minute) Finale last recorded in a TempoTap session. Subsequent masures are assigned this tempo until the next tempo change is encountered. • OK • Cancel. Click OK to confirm, or Cancel to discard, your TempoTap recording and return to the score.

See Also: TempoTap HyperScribe Tool

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Launch Window

How to get there From the File menu, choose Launch Window. This window also appears when you first launch Finale.

What it does Choose this command to open the Launch Window where you can choose from a number of options related to starting new files and opening existing ones. From here, you can also access reference material like the QuickStart Videos and User Manual. • Setup Wizard. Choose this option to open the Document Setup which guides you through setting up your Finale document with a title, instrument staves, and other musical elements. • Default Document. Choose this option to open a new default document. Finale’s default document, named "Maestro Font Default.ftm" and located in the Component Files folder, is a single staff document with 31 measures.

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• Templates. Select Templates to choose from a collection of new empty documents already setup for a variety of instruments, ensembles, and educational formats. • Scanning. Choose Scanning to Aquire a document from your scanner using Finale’s TWAIN support. • Exercise Wizard. The Exercise Wizard guides you through the process of creating your own customized exercises including scales, intervals, and arpeggios. • Open. Choose Open to locate and open an existing Finale document. • Open Recent File. Click this drop-down list to select a recent file and click Open Recent File to open it. • Import File. Click this drop-down list to select a file type and click Import File to locate and open a file of that type. • Program Options. Choose Program Options to open the Program Options dialog box where you can configure program-wide settings to match your working preferences. • QuickStart Videos. Click this button to launch the QuickStart Video Tips where you can view video demonstrations of several of Finale’s features. • User Manual. Click this button to open the User Manual you are reading now. You will see the Table of Contents. • Tutorial Guide. Click this button to open the electronic version of the Finale Installation and Tutorials manual. • Creating SmartMusic® Files. Choose this command to open SmartMusic topic of the User Manual, which explains how to create and save SmartMusic Accompaniments. See SmartMusic. • Close. Click Close to exit the Launch Window. See Also: File menu

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Limit - Continuous Data dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Continuous Data from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Limit from the MIDI Tool menu.

What it does This dialog box allows you to limit the values of the continuous data to within a specified range of values. • Minimum of ____ • Maximum of ____. In these text boxes, enter the minimum and maximum values permissible for the specified MIDI data type within the selected region. Any existing data values below the minimum value you specify will be boosted to that minimum value; any existing values above the maximum value will be clipped down to that maximum value. The numbers you enter in the maximum and minimum boxes pertain to the controller you’ve specified (on a scale from 0 to 127). For example— although it doesn’t make much musical sense—you could limit the patch numbers in the selected region to within a certain range. More practically, you could limit the amount of monophonic aftertouch within a selected region to a certain maximum value—so that you’ll never hear more than a certain amount of vibrato on any note, for example. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also:

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Limit - Key Velocities dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Key Velocity from the MIDI Tool menu. If you’re in the MIDI Tool splitwindow, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Limit from the MIDI Tool menu.

What it does This dialog box allows you to limit the values of the Key Velocities to within a specified range of values. For example, you can specify that no note in the selected region should be played back with volume above an dynamic level by limiting the notes in the region to a maximum MIDI velocity value of, say, 90. (MIDI velocity is measured on a scale of zero, which is silent, to 127, which is very loud.) • Minimum of ____ • Maximum of ____. In these text boxes, enter the minimum and maximum values permissible for the key velocities within the selected region. Any existing data values below the minimum value you specify will be boosted to that minimum value; any existing values above the maximum value will be clipped down to that maximum value. The numbers in these text boxes represent MIDI velocity values (which range from 0 to 127); using the maximum and minimum text boxes, you can confine the playback of all notes in the selected region to a certain dynamic range. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: 1418


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Limit - Note Durations dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Note Durations from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Limit from the MIDI Tool menu.

What it does This dialog box allows you to limit the values of the note durations to within a specified range of values. • Minimum of ____ • Maximum of ____. In these text boxes, enter the minimum and maximum values permissible for the note durations within the selected region. Any existing data values below the minimum value you specify will be boosted to that minimum value; any existing values above the maximum value will be clipped down to that maximum value. The maximum and minimum values you specify are Start and Stop Times. The Start Time is the difference between the notated, or quantized, starting point of a note and the moment you actually struck the note in your performance. The Stop Time is the difference between the notated release of the note and the moment you actually released the note. In this case, then, the values you’re limiting to a maximum or minimum value are the Start and Stop Times, measured in EDUs (1024 per quarter note). If you enter zero in both text boxes, Finale will adjust the attacks and releases of the notes in the selected region so that they’re perfectly "quantized" with their notated values; when you play them back, they’ll sound rhythmically perfect. If you enter positive or negative numbers in either text box, you limit both Start and Stop Times to the specified number of EDUs from the notated durations.

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• OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). Tip: Enter "0" to hear the notated values; enter positive or negative numbers to move the attack or release from the notated values. See Also: MIDI Tool menu MIDI Tool

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Limit - Tempo dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Tempo from the MIDI Tool menu. If you’re in the MIDI Tool splitwindow, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Limit from the MIDI Tool menu.

What it does This dialog box allows you to limit the number of beats per minute to within a specified range of values. • Minimum of ____ • Maximum of ____. In these text boxes, enter the minimum and maximum number of beats per minute within the selected region. Any existing data values below the minimum value you specify will be boosted to that minimum value; any existing values above the maximum value will be clipped down to that maximum value. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). Tip: Enter "0" to hear the notated values; enter positive or negative numbers to move the attack or release from the notated values. See Also: MIDI Tool menu MIDI Tool

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Line Spacing dialog box

How to get there Click the Text Tool the Text menu.

. Select a text block handle. Choose Line Spacing from

What it does Use the Line Spacing dialog box to specify the exact line spacing (singlespaced, double-spaced, or any other spacing) you want Finale to apply to all the text in a text block. • Automatic: Single (100%) • 1 1/2 (150%) • Double (200%) • Other; ___%. Click Automatic if you want Finale to automatically calculate the line spacing, depending on the font size you selected. If you’re using a very large font in a text block, there will be more space between those lines than in a text block of 10-point text, although you might have specified single line spacing for both cases. Choose Single for single spacing, 1 1/2 if you want the equivalent of 1 1/2 spaces between lines, or Double for double spacing. If you prefer to enter a value for any other amount of spacing, type a number in the percentage text box. For example, a value of 300% results in triple spacing. The drop-down list automatically changes to Other if a percentage other than 100, 150 or 200 is entered. • Absolute: EVPUs • Inches • Centimeters • Points • Picas • Spaces. Click Absolute if you want to set your own spacing instead of having Finale calculate it automatically. Choose a measurement unit from the drop-down list (there are 288 EVPUs per inch), then enter the exact amount of vertical space you want between the lines of your text, measured from one baseline to the next. • OK • Cancel. Click OK to confirm your line spacing settings and return to the score. Click Cancel to return to the score without changing any line spacing settings. See Also: Text menu 1423

Text Tool

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Line Thickness dialog box

How to get there Enter the Shape Designer (see Shape Designer dialog box). Choose Other from the Line Thickness submenu of the Shape Designer menu.

What it does When you’re creating a shape in the Shape Designer, you can specify that the next line you draw (dashed or solid) is to have a different thickness, using the Line Thickness command. Several common line thicknesses are already listed in the Line Thickness submenu, but the Other command lets you specify any thickness not listed in the submenu. When this dialog box appears, you can specify the thickness of the next line you draw (and all subsequent lines, until you reset the line thickness again). • Line Thickness. The number in this text box specifies the thickness of the selected line or object—or, if nothing is selected, the thickness of the next line you draw. The default thickness is one point, or 1/72 inch. • Inches [etc.]. From this drop-down list, choose the units of measurement you want to work in within this dialog box. • OK • Cancel. Click OK to confirm your line thickness specifications. If a line or shape was already selected, it now appears with the new line thickness. If nothing was selected, the next line (dashed or solid) you create (with the Line, Rectangle, Ellipse, Curve, Multiline, or Polygon Tools) will have the selected thickness. All lines (dashed or solid) you draw will have that thickness, until you choose a different thickness from the Line Thickness submenu of the Shape Designer menu. Click Cancel to return to the Shape Designer without changing the line thickness. See Also: Shape Designer Expression Designer Expression Tool 1425

Listen dialog box

How to get there Click any Listen button in any MIDI-related dialog box.

What it does Instead of making you type in MIDI codes, Finale often displays a Listen button so that you can play the MIDI note, pedal, or chord you’re supposed to input. When you click Listen, this alert box appears. It disappears either when you play a note, pedal, or controller on your MIDI instrument, or when you click Cancel. • Cancel. If your MIDI system isn’t working, or if you change your mind, click Cancel to return to the previous dialog box. See Also: HyperScribe Tool MIDI Tool

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Listen to Tempo dialog box

How to get there Click the HyperScribe Tool . From the Beat Source submenu of the HyperScribe menu, choose Playback. Click the Tempo Listen button.

What it does When you choose to have Finale provide a metronome click while you play a piece that you want HyperScribe to notate, the easiest way to indicate the click tempo is to click the Listen button. This dialog box lets you know that Finale is listening; while it’s on the screen, tap any key or tap your mouse on the dialog box in rhythm. Finale will compute (and display) the average tempo of your taps. • OK • Cancel. When you’re finished tapping to teach Finale the tempo you want, either click Cancel (to undo the tempo-setting you’ve just done) or OK (to confirm it) and return to the Playback and/or Click dialog box. See Also: HyperScribe Tool

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Lowest Fret dialog box

How to get there With the Selection Tool

, drag copy standard notation into a TAB staff.

What it does Use this dialog box to specify the lowest fret for a region while copying to a TAB staff. • Use Staff’s Default Lowest Fret. Select this option to use the Default Lowest Fret specified in the Tablature Staff Attributes dialog box. • Specify Lowest Fret. Enter a fret number to tell Finale to recalculate the string placement of the fret numbers to appear no lower than a certain fret. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your transposition selection. If you click OK, Finale performs the transposition. See Also: Guitar notation Selection Tool

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Manage Parts dialog box

How to get there From the Documents menu, choose Manage Parts.

What it does Use this dialog box to add, remove, or customize parts. Here you can generate parts from existing staves in the score document, rename parts, add or remove staves from parts, and customize the voicing for multi-voice score staves. The left column lists all parts. The center column lists all staves included in the selected part (a part may include any number of staves from the score). The right column lists the instruments and staves available in the score for inclusion in the part. (You can click the + to show individual staves of multi-staff instruments, such as piano, harp, etc.) Parts can be generated or modified at any time. In fact, parts could be generated from the score after the score has been completed. A score includes parts automatically if "Generate Linked Parts" was checked in the Setup Wizard when the score (or a staff) was created. Parts can also be deleted at or edited at any time. See To create linked parts.

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• Generate Parts. Click this button to generate a part for each instrument in the score. Finale recognizes instruments that contain more than one staff, such as Piano, and creates a single part accordingly. • New Part. Click this button to create a new part. The new part can be comprised of one or more of the existing score instruments. The new part appears beneath the currently highlighted part. • Delete Part. Click this button to delete the selected part. When you do this the part definition disappears, but score staves are untouched. • Part Creation Preferences. Click this button to open the Part Creation Preferences dialog box where you can control additional part settings. See Part Creation Preferences dialog box. • Edit/Hide Part Definitions. Click this button to expand this dialog box for additional part options. Click this button again to minimize this dialog box. • Edit Part Name. Click this button to open the Edit Text dialog box where you can edit the name of the part. Note that font, size, and style settings do not apply here. However, tracking, baseline shift, and superscript settings do. (To edit the size of a part name, add it as a text Insert, select it and choose Text > Edit Text. Size/style changes here will apply to all part names.) • Specify Voicing. Check this box to open the Voicing for Staff in Part dialog box where you can define the voicing for multiple-voice instrument staves in the score, such as an instrument staff that contains more than one instrument (e.g. Flute 1 and 2). See Voicing for Staff in Part dialog box. • Add to Part. Click this button to add the selected staff/group from right list (of score staves) to the part definition. A part can contain any number of instruments from the score, or even a single staff from a mult-staff instrument (such as piano). • Remove from Part. Click this button to remove the selected staff/group from the part list. • Move Up • Move Up. Click Move Up to move the selected staff up in the order of part staves. Click Move Down to move the selected staff down in the order of part staves. • OK • Cancel. Click OK to confirm your part settings and return to the active document. Click cancel to discard your changes and return to the active document. See Also: 1430

Linked parts Document menu

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Manage VST Plug-ins

How to get there From the MIDI/Audio menu, choose Device Setup > Manage VST Plug-ins

What it does Finale allows you to use any VST plug-in for playback. This dialog box allows you to view, activate, or deactivate the VST plug-ins installed on your computer. VST instrument and effects plug-ins are available for selection in theVST Instruments dialog box. • Make Active · Make Inactive. Select a VST plug-in and then use these buttons to activate or deactivate them. The plug-ins move to the Active/Inactive Plug-ins list accordingly. • Refresh Plug-in Lists. Use this button to load plug-ins from folders added to the folder list since the beginning of the current Finale session. • Add · Remove. Choose Add to open the Browse for Folder dialog box where you can specify the VST plug-in's folder. 1432

• Close. Click close (or press enter) to confirm the changes you’ve made, if any, and return to the score. See Also: MIDI/Audio/Device Setup submenu

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Measure Assignment for Ossia Measure dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Ossia Tool . In Page View, double-click the measure to which you want it attached (or doubleclick if there’s already a floating measure attached to it). The Ossia Designer dialog box appears. Click Attach to Measure; click OK. Or, in Scroll View, click the measure, then click OK in the Ossia Designer dialog box. Or, if Ossia is already in the score, click the measure to which it’s assigned and shift-double-click its handle.

What it does There are two distinctly different kinds of "ossia" measures. One kind of floating measure (called a page-assigned ossia measure, which you can create only in Page View) is attached permanently to a particular place on the page, where it will remain even if the "real" music around it is repositioned. The other, called a measure-assigned ossia measure, has a position that remains fixed relative to the measure to which it is attached, even if the measure’s position on the page changes. In this dialog box, you specify a measureassigned floating measure’s precise positioning in relation to the "real" measure to which it’s attached. • Distance from Beginning of Measure: H: • V:. The numbers in these text boxes determine the precise position of the floating measure in relation to the "real" measure to which it’s attached. A positive H: (horizontal) number moves the measure to the right; a positive V: (vertical) number moves the measure upward. (Keep in mind, however, that you can also move the floating measure into position in the score by dragging its handle.) If H: and V: were both set at zero, the floating measure would be squarely superimposed over the "real" measure. • OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box; you return to the score.

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See Also: Ossia Ossia Measure Designer Ossia Tool

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Measure Attributes dialog box

How to get there Click the Measure Tool , and double-click the measure you want to edit. Some measure attributes require that you select more than one measure before double-clicking.

What it does Each measure in Finale can have a number of specific attributes, including its barline type, barline-to-barline width, whether or not it should display the key and time signature, and so on. In this dialog box, you can specify all of these variables for the measure you clicked. Once you’ve specified this information, you can use the Selection Tool to copy some of this information to other measures (namely, measure widths and positioning mode). You’ll rarely need to use the Position Notes: options, which govern how the notes in the selected measure are positioned—particularly if you’re in the habit of using the Music Spacing command to neatly respace the notes in your scores. 1436

• Measure Attributes for Measure__(through__). You can enter the number of the measure you want to edit or use the arrows to select another measure. Or, if more than one measure is selected, you can specify a range of measures. • Barlines • Left Barlines: Normal • Double • Final • Solid • Dashed • Invisible • Tick • Custom: Select. Click the barline icon you want for the right or left barline of the measure. Or, double-click to select the barline and exit the dialog box. Finale automatically updates the display options when you select a barline style. When you select the Dashed, Invisible, Tick, or Custom barline, Finale deselects Break a Multimeasure Rest and Override Group Barlines. When you select the Double, Solid or Final barline, Finale automatically selects Break a Multimeasure Rest and Override Group Barlines. When you select the Invisible barline icon to hide a measure’s barlines, Finale also hides repeat bars assigned to that measure. Select Custom to use a defined shape as a barline. Click on Select to select which shape is used. • Change Width. If you want to change the width of all the measures in the selected measure region, make sure this checkbox is selected. Enter the new width in the text box. The number in this text box specifies the barlineto-barline width of the measure. If you want to specify an extremely precise width value, you can enter it here. It’s much easier, however, to drag the handle on the measure’s right barline to the right or left (when you exit this dialog box). When you drag the barline to change the measure width, Finale automatically enters the correct value in the Width text box. • Add to Width. Select this text box to add the specified amount to each measure in the selected measure region. • Extra Space at Beginning • Extra Space at End. Enter a value after Extra Space at Begin ning to specify the amount of space before music in the measure (between the left barline and the first note). Enter a value after Extra Space at End to specify the amount of space after music in the measure (between the last note and the right barline). • Key Signature: Show if Needed • Always Show • Always Hide. If you choose Always Show from this drop-down list, you force the key signature to appear in this measure, even if the measure doesn’t fall at the beginning of a system or a key change. On the other hand, Always Hide means that the current key signature won’t appear, even if it appears at the beginning of a new system or at a key change. Show if Needed is the usual setting— the key signature will only appear in the measure at the beginning of a system, or at a key change. • Time Signature: Show if Needed • Always Show • Always Hide. Choose Always Show from this drop-down list to force the time signature to appear in this measure. Always Hide means that the current time signature won’t appear, even if it appears at the beginning of a new system or a meter

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change. Show if Needed is the usual setting—the time signature will only appear in the measure at the beginning of a system, or at a meter change. • Position Notes: According to the Time Signature • Manually (by Dragging) • Using Beat-Chart Spacing. These options govern the way Finale spaces notes within the measure you’re editing. According to the Time Signature is the default mode; Finale uses proportional spacing to place the notes in the measure. In linear spacing, a whole note, for example, is allotted exactly as much width as four quarter notes. When music engravers prepare music for publication, however, they generally use non-proportional spacing, where longer values are allotted only as much space as they need, which gives the music a more compact, professional appearance. Select Manually (by Dragging) if you want to drag each note in the measure into place, one by one. When you exit this dialog box, Finale superimposes all of the notes at the left end of the measure; to drag them into place, click the Speedy Entry Tool and click the measure. Drag the notes into place. The Use Beat-Chart Spacing positioning mode works much like According to the Time Signature. However, when you return to the score, you’ll notice a difference: when the Measure Tool is selected, every barline of a measure whose positioning has been set in this way displays two handles at the bottom. (Measures in which you’ve respaced the music using the Music Spacing command also display two handles, because those commands automatically turn on Use Beat-Chart Spacing for the selected measures.) When you click the bottom of the two barline handles, a beat chart appears above the measure, displaying vertically aligned pairs of handles. The top row of handles indicates the positions of the beats according to linear spacing (where a whole note gets exactly as much space as four quarter notes). By dragging a handle on the bottom row, you can reposition a beat in all staves at once. • Change Every ___ Measures. This option is shown only when a range of measures is selected. You can enter the number to specify which measures change. For example, entering 8 would change every eighth barline to the specified type. • Allow Horizontal Split Points. If a measure is very long, you may want to split it, so that the second half of the measure appears at the beginning of a new system. If so, select this option. When you return to the score, you’ll notice a new small square handle at the bottom of the measure’s right barline. Click this handle; a long, thin, horizontal, rectangular strip appears above the measure. Wherever you double-click within this special strip, a small square handle appears. You can drag this handle horizontally (or delete by selecting it and pressing delete). This handle marks a permissible split point; add as many split points as you want by double-clicking in the split point strip. Finale will split the measure at one of them only if necessary for layout purposes. Note, too, that if you’ve specified permissible split points in this way, you can force Finale to split a measure using the Selection Tool in Page View. Click the Selection Tool, then click 1438

the measure to be split. If the measure begins a system, press the up arrow to move the first part of the measure up to the previous system. If the measure is at the end of a line, press the down arrow key to move all but the first part of the measure down to the next system. • Begin a New Staff System. Select this option if you want the measure you’re editing to appear at the beginning of a new system (a new line of music on the page). Note, however, that forcing such a system break may result in peculiar spacing of the measure or measures preceding the edited measure, depending on the measure layout. When Begin a New Staff symbol will appear in Page View to indicate System is checked, a that the measure must appear at the start of a system. • Break a Multimeasure Rest. This checkbox has an important effect when you extract parts. If the measures surrounding the one you’re editing are empty, they’ll appear in the extracted part as multimeasure rests (or "block rests"). If Break a Multimeasure Rest is on, however, the right barline of this measure will break such a multimeasure rest into two block rests, one on each side of it. (Such block rests automatically break for key and time changes, clef changes, and so on.) • Break Smart Word Extensions. Check this box to break Smart Word Extensions on the right barline of a highlighted measure. This option is particularly useful if you want to eliminate a word extension that extends through the first ending of a repeat. • Hide Cautionary Clefs, Key and Time Signatures. Select this option if you want Finale to hide any cautionary changes that appear at the end of the measure. • Include in Measure Numbering. Uncheck this box if you want Finale to disregard a measure or region of measures for numbering purposes. Selected measures will be skipped, and finale well resume numbering consecutively at the next measure. • Override Group Barlines. Check this option if you want the barline selected in this dialog box to appear at the end of this measure (for all staves). When selected, this option overrides settings for Use Alternate Group Barlines defined in the Group Attributes dialog box. For more information, see Group Attributes dialog box. • Position Notes Evenly Across Measure. Select this option if the measure you’re editing contains more or fewer beats than are allowed by the time signature; Finale responds by spacing all notes evenly within the measure, no matter how few or how many. This is a useful option if, for example, you’re creating a cadenza whose note values add up to far more than the four beats specified by the measure’s 4/4 meter. • OK • Cancel. Click OK to confirm, or Cancel to discard, your measure attributes settings and return to the score.

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See Also: Measures Measure Tool Measure menu

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Measure Number dialog box

How to get there Click the Measure Tool . Then, from the Measure menu, choose Edit Measure Number Regions. Or, from the Document menu, choose Edit Measure Number Regions.

What it does Here, you can define measure numbering for your score and parts. You can create new measure number regions, cycle through each region in your score, 1441

and display and change settings for regions. It’s easy to set up measure numbers, edit their appearance, hide or show them, and position them in the score (see Measure Numbers). A drop-down list provides common measure numbering styles—1, 2, 3….a, b, c…, and so on—without requiring you to type in several settings to define the style; and if you prefer, you can create your own style. Options for selecting enclosures are available, and you can select common enclosure shapes from a drop-down list. • Region. To display the settings for a region of measure numbers in your score, select the desired region from the dialog box. • Includes Measure ___Through ___. Enter the numbers of the first and last measures of the specific region. These are the actual measures in the piece, regardless of what number you want displayed on them. For example, you’d enter 1 through 49 here to tell Finale that measures 1 through 49 belong to the region, but you might use a completely different numbering scheme for the same measures in your score (see First Measure in Region below). • Viewable In: All Views • Page View Only • Scroll and Studio Views (onscreen) Only. Use these options to specify in which views the selected measure number region will be visible. • Delete • Add • Sort. Click Delete to remove the currently selected measure number region. Click Add to create a new measure number region after the selected region. Finale will copy the settings of the currently selected measure number region into the newly created region. Click Sort to sort all measure number regions in the order they’ll appear in the score. • Starting Number. Enter a value for the measure number on the first measure in the region. If you selected a numeric style for your measure numbers, enter the first number that you want to appear in the region (1, or 2, or 3, and so on). If you selected a letter style, enter a number that corresponds to the position or order of the letter in the alphabet, such as 1 for A, 2 for B, 3 for C, and so on. • Style. Choose the numeric style (1, 2, 3, 4…), one of four alpha styles (a, b, c...aa, bb, cc…; A, B, C...AA, BB, CC…; a, b, c...aa, ab, ac…; A, B, C...AA, AB, AC…), or Time from the Style popup menu. If you’d rather define your own measure numbering style, choose Other, then set up your own style in the Measure Number Style dialog box. If you choose Time, Finale displays the Time Style dialog box where you can specify the format of the time to be displayed in the score. The time is based on Finale’s playback taking into account tempo changes applied with the MIDI Tool, Tempo Tool, and Expressions. (Time markers do not take into account tempo changes applied with Human Playback.) See Measure Number Style dialog box. For some of the examples above, you may need to check Double Up in the Measure Number Style dialog box.

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• Prefix • Suffix. Enter a number, letter, or symbol in the Prefix text box that you want Finale to display before every measure in the region. Similarly, any number, letter, or symbol entered in the Suffix text box will be displayed after every measure in the region. • [Linked Parts]. Click this tab to show the measure number settings for links parts. The options for measure numbers in linked parts are identical to those for the full score. • Use Score Settings [available when the Linked Parts tab is selected]. When this option is checked, your measure numbers settings are identical in both the score and all linked parts. Uncheck this option to enable the settings under the Linked Parts tab, which displays identical measure numbering options for linked parts, so that measure number settings for parts can be configured independently from the score. • Show on: Top Staff • Bottom Staff • Exclude Other Staves. Select Top (or Bottom) Staff to tell Finale to always show a measure number on the top or bottom staff of each system, regardless of which staff happens to be at the top (or bottom) of the system. Check Exclude Other Staves to show measure numbers on the top and/or bottom staves of systems only (depending on which of these options is checked). Tip: Select one of the options above if you’ve optimized your score so that all resting staves are removed from the staff systems in Page View. That way, if you want a measure number to appear in the score above the top staff, or on the bottom staff, one will always appear, even if measure numbers are normally turned off for that staff in the Staff Attributes dialog box. • Show Measure Numbers at Start of Each Staff System. Select Show Measure Numbers at Start of Each Staff System if you want measure numbers to appear at the beginning of every line. When this option is selected, a measure number appears to the upper left of each system's leftmost measure. If this option is not checked, measure numbers added to the leftmost measure of a system (manually or using the Show On Every option) will likely appear to the right of the clef and key signature (depending on settings made in the Position Measure Number dialog box). • Enclosure: None • Square • Circle • Ellipse • Triangle • Rectangle • Pentagon • Hexagon • Septagon • Octagon • Other • Edit. Use this Enclosure Shape drop-down list to choose the geometric shape of the enclosures that you want to appear on measure numbers that appear at the start of each staff system. Choose None if you want no shape displayed 1443

with the numbers. Choose Other to display the Enclosure Designer dialog box, where you can edit a shape. For more information, see Enclosure Designer dialog box. Click Edit to display the Enclosure Designer dialog box, where you can edit the settings of the currently selected shape. • Hide First Measure Number in Region. When this option is selected, Finale will not display the first measure number in the region for measure numbers assigned with "Show on Start of Staff System." For example, many copyists hide the measure number on the first measure in the score. When the option is not selected, Finale displays the measure number. • Set Font • Position. Click Set Font to select the font Finale will use for the measure numbers at the start of each staff system. The font that is currently selected appears next to this button.Click Position to display the Position Measure Number dialog box, where you specify the default position of measure numbers in the score for this region. For more information, see Position Measure Number dialog box. • Show Every ___ Measures Beginning with Measure ___. To display the measure number on every measure or on every few measures (every 5 measures, for example), starting at a particular measure number, select Show Every ___ Measures Beginning with Measure ___, then enter values for the measure number and the display interval. When "Show Measure Numbers at Start of Each Staff System" is checked above, and a measure number happens to appear on the leftmost measure of a staff system based on this setting, Finale defers to the font and positioning settings defined for "Show Measure Numbers at Start of Each Staff System" and does not display this (duplicate) measure number. • Enclosure: None • Square • Circle • Ellipse • Triangle • Rectangle • Pentagon • Hexagon • Septagon • Octagon • Other • Edit. Use this Enclosure Shape drop-down list to choose the geometric shape of the enclosures that you want to appear on measure numbers that appear according to your "Show Every" settings defined directly above. Choose None if you want no shape displayed with the numbers. Choose Other to display the Enclosure Designer dialog box, where you can edit a shape. For more information, see Enclosure Designer dialog box. Click Edit to display the Enclosure Designer dialog box, where you can edit the settings of the currently selected shape. • Break Multimeasure Rests. Check this box to indicate that you want measure numbers that appear based on your "Show On Every" settings to interrupt multimeasure rests in parts. With this option checked, barlines that include measure numbers will always appear, separating multimeasure rests into two (or more) multimeasure rest measures. • Set Font • Position. Click Set Font to select the font Finale will use for the measure numbers that appear based on your "Show On Every" settings. The font that is currently selected appears next to this button. Click Position to display the Position Measure Number dialog box, where you specify the 1444

default position of measure numbers in the score for this region. For more information, see Position Measure Number dialog box. • Show on Multimeasure Rests. Check this box to display measure numbers on all multimeasure rests. • Show Measure Ranges on Multimeasure Rests • Range Bracket Left/Right. Select this option to display measure ranges instead of a single measure number for multimeasure rests. When this box is checked, you can enter the character to use for left or right brackets, such as parentheses or square brackets. Leave the Left/Right boxes blank for no bracket.

Note that if "Show On Every" is checked, and an enclosure is defined for those measure numbers, Finale will display both the enclosed measure number and the measure number ranges on multimeasure rests. If an enclosure is not defined, Finale will defer to the multimeasure rest range only. To hide an extra enclosed measure number, right-click the number's handle and choose Always Hide Number. • Set Font • Position [for multimeasure rest ranges]. Click Set Font to select the font Finale will use for the measure numbers that appear based on your measure number ranges for multimeasure rest settings. The font that is currently selected appears next to this button. Click Position to display the Position Measure Number dialog box, where you specify the default position of multimeasure rest measure numbers in the score for this region. For more information, see Position Measure Number dialog box. • OK • Cancel. Click Cancel to return to the score without changing the measure number settings. Click OK to confirm your settings and return to the score. The measure numbers appear, according to your specifications. See Also: Measure numbers Measure Number Style Enclosure Designer Position Measure Number Measure Tool 1445

Measure Number Style dialog box

How to get there Click the Measure Tool . From the Measure menu, choose Edit Measure Number Regions. Choose Other from the Style drop-down list in the Measure Number dialog box.

What it does This dialog allows you to set up a customized measure numbering style, other than those preset in the Measure Number dialog box. • Numbering Base. Enter a number to use as the base for the measure numbering scheme in the current region. Use Base 10 for the standard numeric system (1, 2, 3, 4…). Finale will use the characters 0 through 9 before adding another digit to the measure numbers. If you’re using a lettering scheme, such as the English alphabet, enter 26 here. Finale goes through the 26 letters of the alphabet before adding another letter to the number (A to Z, AA to ZZ, AAA to ZZZ, and so on). • Starting Character. If you enter a number, letter, or symbol in the text box, Finale will use this character to begin sequentially numbering or lettering the specified measures in the region. If you click Starting Character instead of entering a character, Finale displays the Symbol Selection dialog box for the selected font, and you can then choose a letter, number, or symbol from the palette that appears. • Count From One. Select this option if you’re beginning the measure numbers with number 1 (which is the second character if the Starting Character is 0). If you’re using letters instead of numbers, or if the first measure is a pickup measure that you don’t want numbered, make sure this option is not selected. • No Zeros. Select this option only if you’re using letters instead of numbers. No Zeros refers to the number or letter in the "tens" place once Finale 1446

reaches the end of the alphabet or set of single digit numbers. This setting tells Finale whether to use the Starting Character in the "tens" place for the next measure number. Note: Although you’re not prevented from selecting this option when you’re using the standard numbering scheme, you might not get the results you expect, as Finale will label the measures 00, 01, 02, 03… instead of 10, 11, 12, 13… and so on. • Double Up. Select this option if you’re using lettering instead of numbering and you want Finale to start "doubling up" the letters after one complete pass through the alphabet. If selected, Finale labels the subsequent measures AA, BB, CC, and so on. If not selected, the measures will be labeled AA, AB, AC… and so on. Note: Although you’re not prevented from selecting this option when you’re using the standard numbering scheme, you might not get the results you expect, as Finale will label the measures 00, 11, 22… instead of 10, 11, 12… and so on. • OK • Cancel. Click Cancel to discard any changes you made to the settings. Click OK to confirm the settings you’ve made and return to the score. See Also: Measure numbers Measure Number Measure Tool Measure menu

1447

Mid-Measure Clef dialog box

How to get there Click the Clef Tool . Ctrl-click the mid-measure clef’s handle (or select the handle and press Enter). Or, highlight the handle of the mid-measure clef and press Enter.

What it does You can use the Clef Tool to create a clef change anywhere in a staff; unless you choose Create a Movable Mid-measure Clef in the Clef dialog box, however, the clef change always occurs at a barline and lasts for at least one measure. A mid-measure clef, however, can be placed anywhere in a measure—you can even drag it back and forth among the notes of the measure to see which placement would be easiest for the player to sight-read. As you drag the clef, the notes before and after it renotate themselves accordingly. You can have more than one mid-measure clef in a measure; in fact, another mid-measure clef appears each time you double-click a measure in which one already appears.

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After placing a mid-measure clef, you can access this dialog box to change the clef, choose its size, and specify its placement. Note: To convert a mid-measure clef to a standard clef change (before the barline), click and drag it across the left barline. • Clef Selection. The Clef display identifies which clef you want to appear. (Each Finale document offers eighteen clefs, which you can edit or rearrange with the Clef Designer.) To select a different clef click the one you want, or double-click to select the clef and exit the dialog box. • Clef Size. It’s customary for any new clef within a piece to be sized slightly smaller than the original starting clef. In each Finale document, this reduced size (expressed as a percentage of full size) is set globally in the Clefs category of the Document Options dialog box under the Document menu (see Document Options-Clefs). If you want to specify a different degree of reduction to this particular clef, enter the desired reduction percentage in this text box. This new percentage you enter overrides the default percentage set in the Document Options. • Allow Vertical Drag. Select this checkbox to allow the mid-measure clef to be moved vertically as well as horizontally. • Show Clef: When Needed • Never • Always. Select When Needed to display the mid-measure clef as usual. Select Never to change the clef, but not display the clef in the music. Select Always to change the clef and force it to display. Tip: Use Never at the end of a first ending repeat to set the clef for the second ending without displaying it. • Distance from Beginning of Measure: H: • Horizontal Offset • V: • Beats • EDUs • Place After Barline. The numbers in the text boxes specify the position of the new clef’s handle in the measure. The H: (horizontal) number indicates the beat in which the clef appears. The V: (vertical) number measures the distance from the top line of the staff (a negative number moves the clef downward). Use the drop-down list for the H: text box to specify the musical position of the clef in the measure. For example, in 4/4 you could position a clef in Beat 1, or if you prefer EDUs, 1024 EDUs. Use the Horizontal Offset to determine the space between the mid-measure clef and the next entry. You can position the clef by entering numbers in these text boxes, but it’s easier to position it simply by dragging it once it’s in the score. 1449

Click on the Place Clef After Barline checkbox to display the clef immediately to the right of the barline when H is set to zero. Note: Horizontal clef positioning can also be governed by the Music Spacing Options. (To enable or disable automatic clef placement, from the Document menu, choose Document Options and then choose Music Spacing. Under Avoid Collision Of, check or uncheck Clefs.) • Revert to Single Clef. If you decide not to place the clef in the middle of the measure, click this button to turn it back into a "single" clef (one that appears just before the barline and affects a full measure at a time). You return to the Change Clef dialog box. • OK • Cancel. Click OK to save changes to the new clef and return to the score. The clef appears with a handle, which you can drag horizontally or vertically to position the clef. As you drag it horizontally, the notes before and after the new clef renotate themselves accordingly, letting you experiment to find the most logical placement for sight-reading purposes. You can also experiment with your choice of the clef itself. Double-click its handle; on the second click, hold the button down and drag the clef left or right. The clef itself cycles through the eighteen available clefs as you drag it horizontally. Click Cancel to tell Finale not to save changes to the new clef. You return to the score. Tip: Apply Note Spacing with the Selection Tool to avoid collision of clef changes. See Also: Clefs Change Clef Clef Tool

1450

MIDI Event dialog box

How to get there Click the HyperScribe Tool . From the Beat Source submenu of the HyperScribe menu, choose Tap or Playback and/or Click. In the dialog box that appears, click Other (or choose Other from the Start Signal for Recording dropdown list).

What it does When you’re preparing for a HyperScribe recording, Finale needs to know what MIDI signal will serve as the tempo reference (or the metronome "trigger"). This dialog box lets you choose a MIDI signal not already listed in the dialog box. • [Code text boxes] • Listen. Unless you’re a MIDI programmer, ignore the codes. Instead, click Listen; Finale will ask you to play the MIDI signal, and it will enter the codes automatically. • OK • Cancel. Click OK to confirm, or Cancel to discard, your specifications of a MIDI signal. You return to the previous dialog box. See Also: Recording with HyperScribe Playback and/or Click Tap Source HyperScribe Tool

1451

MIDI Input Filter dialog box

How to get there Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe menu. Click a measure. When the Transcription window appears, choose Input Filter from the Transcription menu.

What it does This dialog box lets you specify which kinds of MIDI information you want recorded from your performance. A MIDI event is any MIDI signal—a note, a press of the sustain pedal, a patch change, and so on. (When you use the pitch wheel, you may generate a stream of hundreds of MIDI events.) Finale gives you the option of "filtering out" certain kinds of MIDI data. If you’re interested only in producing notation, for example, you may not want Finale to consume memory and disk space by recording pedaling, patch changes, and so on. In this dialog box, you tell Finale which kinds of MIDI data you want recorded. • Notes. Select this checkbox if you want the notes of your performance recorded. • Pitch Bends. Select this checkbox if you want Finale to record pitch bend information during your performance. • Program Changes. Select this checkbox if you want Finale to record program (patch) changes during your performance.

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• Listen. Click Listen if you want to select the appropriate items in this dialog box (including entering controller numbers in the text boxes) simply by playing your music. As you play, Finale will automatically select the information types it "hears" during your performance. • Controllers: All • Only. Controllers include pedals, the modulation wheel, and so on (except the pitch wheel, which has its own button). If you want Finale to record every kind of controller information generated during your performance, select the Controllers checkbox and the All button. If you only want to record the data generated by certain controllers, select the Controllers checkbox and click Only, then enter the controllers’ numbers, if you know them, into the four text boxes. If you don’t know a controller’s number, click in a text box, click the Listen checkbox, and "play" the controller in question. Finale will enter its number in the text box automatically. • OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box and return to the Transcription window. See Also: Transcription HyperScribe Tool

1453

MIDI Setup dialog box

How to get there From the MIDI/Audio menu, choose Device Setup MIDISetup.

What it does In the MIDI Setup dialog box you can edit a number of settings pertaining to your MIDI interface setup. • MIDI System: CoreMIDI • None. Use this popup menu to select the MIDI system you plan to use for communication within your MIDI setup. Choose CoreMIDI to use Apple’s built-in MIDI System. • Finale Channel: 1-16 • 17-32 • 33-48 • 49-64. There are 64 Finale channels available for MIDI note entry and playback. They are grouped into four 16-channel banks. Each bank represents one or more MIDI devices and their 16 available MIDI channels, depending on your MIDI setup. For example, each bank of Finale channels could be mapped as follows: Finale channels


1-16

Device One 1-16

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17-32

Device Two 1-16

33-48

Device Three 1-16

49-64

Device Four 1-16

65-80

Device Five 1-16

81-96

Device Six 1-16

97-112

Device Seven 1-16

113-128

Device Eight 1-16

• MIDI In Device • MIDI Out Device. Use the MIDI In and MIDI Out settings to tell Finale which MIDI drivers you’d like to use. You can specify up to 8 slots (using one or more MIDI drivers) to receive and send MIDI information. You can specify different configurations for MIDI In and MIDI Out (see Advanced below). Under MIDI In, select the MIDI In device for your computer (for example, SoundBlaster MIDI Input). Under MIDI Out, select a device where you’d like to hear the music played back. To use an external MIDI device, choose a driver with “MIDI Out” or “MPU 401” in its name. To use your computer’s speakers connected to your soundcard, choose a driver with “Synth” or “Synthesizer” in it. By default, Finale uses “SmartMusic SoftSynth,” which is Finale’s own General MIDI SoundFont (with additional marching percussion sounds). Since this option does not use your sound card’s synthesizer, playback will sound the same on other computers as long as SoftSynth is selected for the MIDI Out device (and the “Synthgms.sf2” file hasn’t been replaced by a different SoundFont in the Finale/Component files folder). Select SoftSynth Settings to fine tune SoundFont playback. See SoftSynth dialog box. • Base Channel. You can specify the initial MIDI channel number for each MIDI driver selected. This number indicates the first of 16 channels. Finale supports 64 MIDI channels through different MIDI drivers. • Sync Master MIDI Sync. Click in this column if you want Finale to transmit MIDI Sync signals any time it plays back your score through the corresponding MIDI driver and MIDI channels (specified by the Base Channel for that driver). Only one device at a time can send MIDI Sync signals. If you have connected your computer to an external sequencer, drum machine, or another computer that has been configured to interpret this kind of MIDI message, it will wait in "pause" mode until Finale begins playback, at which point the two will play together in perfect synchronization. • Match On/Off. This check box controls how Finale handles simultaneous MIDI messages of the same pitch on the same channel. When this box is checked, Finale attempts to ‘match’ each simultaneous note on message with a corresponding note off message. For example, in a measure containing a whole note on middle C and a half note on middle C, the note 1455

off message at the conclusion of the half note applies only to the half note and the whole note continues for the full duration. If the MIDI output device supports matching on/offs, this option should be checked so that note off messages do not interrupt playback of the longer of two or more unisons on the same channel. If the MIDI device does not support matching note on/off messages, this option should be unchecked. Tip: To test if your MIDI output device supports matching note on/off messages, open a new default document. Enter a whole note middle C in the first measure in layer 1. Switch to layer 2, and then in the same measure, enter a half note on middle C and then a half note on D. Play the measure back. If the whole note C gets cut off with the half note C (you can’t hear the C against the D), the MIDI device does not support matching, but Finale thinks it does - uncheck Match On/Off. If the whole note C continues to play over the barline, the MIDI device supports matching, but Finale thinks it doesn’t - check Match On/Off. If you can hear the C against the D, and they both cut off at the same time, Finale is setup correctly.Advanced. Click the Advanced button to expand the dialog box for more than one device. • Enable MIDI Sync • MTC. These two boxes allow you to synchronize Finale playback with another MIDI or MTC-compatible device. Check a box under the MIDI Sync column if you want Finale to transmit MIDI Sync signals any time it plays back your document through the corresponding MIDI driver and MIDI channels (specified by the Base Channel for that driver). Only one device at a time can send MIDI Sync signals. If you have connected your computer to an external sequencer, drum machine, or another computer that has been configured to interpret this kind of MIDI message, it will wait in “pause” mode until Finale begins playback, at which point the two will play together in perfect synchronization. • Check a box under the “MTC” column to send MIDI Time Code messages in order to sync with another device that is capable of receiving MTC. • Percussion Input Maps. Click this button to open the Percussion Input Maps dialog box where you can properly configure an external MIDI device for percussion input. See Percussion Input Maps dialog box. • SoftSynth Settings. Click this button to open the SoftSynth dialog box where you can select the software synthesizer you want to use for output, and change the volume. Changes in this dialog box apply to audio files created using the Export to Audio File feature under the File menu. • Reset MIDI Out. This option sends a “Key off” message to all notes, on all channels when the port is made inactive. This check box should only be unchecked (disabled) if your MIDI device(s) are responding with a “MIDI Buffer Overflow” or “MIDI Communication Error” when receiving such a command. 1456

• MIDI In Latency. Enter a value in this text box to delay Finale’s translation of MIDI information for entry in HyperScribe. The MIDI latency value compensates for the short delay it sometimes takes for MIDI information to travel from an external MIDI device into the computer. • OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the MIDI settings in this dialog box.

Tip: Refer to the beginning pages of the Finale Tutorials to assist you in connecting your MIDI instrument to Finale. See Also: MIDI MIDI/Audio menu

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MIDI Thru dialog box

How to get there Choose MIDI Thru from the MIDI/Audio menu. The MIDI Thru dialog box appears.

What it does MIDI Thru is the MIDI configuration whereby you play the MIDI notes (or another controller) on a MIDI device, the MIDI signal travels to your computer, and the computer in turn sends the signal to a second MIDI output device—the one that actually produces the sound. If you have such a setup, you must turn on MIDI Thru to tell Finale to pass incoming MIDI signals along to the next MIDI device. Use the MIDI Thru dialog box to choose how you want MIDI Thru to work when you use Finale. The choices are to turn MIDI Thru off, map all channels to a single fixed channel, use Smart MIDI Thru (for recording with HyperScribe or editing with Speedy Entry), map each channel directly to the channel that is being played, or use an editable table of channels where you explicitly map each incoming channel to the outgoing channel you specify. • Off. Click this option if you don’t want to use MIDI Thru at all. When selected, no routing takes place. • Fixed Channel. Click this option if you want to route all incoming channels to the single channel you specify. Enter the number of the channel that you want all channels mapped to. • Smart. Click this option if you want to hear the channel and patch assigned to a staff while you’re recording with HyperScribe or editing with Speedy Entry. When selected, Finale looks at the Instrument List to see what instrument sound is set for the staff, and routes all incoming signals to the channel defined for that instrument. Note, however, that if you’re just playing your MIDI keyboard and not recording with HyperScribe or editing 1458

with Speedy Entry, Finale continues to use the last active "smart" channel (i.e., the last edited staff’s channel). • Direct. Click this option if you want Finale to map the outgoing channels directly to the incoming channels that are being played. (This is the same as choosing Table and leaving the MIDI Thru Table at its default mapping, in which the outgoing channel is the same as the incoming channel.) • Table • Edit. Click this option if you want to map incoming channels to different outgoing channels on a channel-by-channel basis. Click Edit to display the MIDI Thru Table dialog box where you can remap each incoming channel by entering a channel number in each text box. • OK • Cancel. Click OK to confirm the MIDI Thru setting, or click Cancel to discard any changes you’ve made to the dialog box and return to the score. If you selected a MIDI Thru mode, MIDI Thru will be checked in the MIDI/Audio menu. If you selected Off, MIDI Thru will not be checked, indicating that no MIDI Thru mode is in use. See Also: MIDI/Audio menu

1459

MIDI Thru Table dialog box

How to get there Choose MIDI Thru from the MIDI/Audio menu. Click Table, then click Edit.

What it does Midi Thru is the MIDI configuration whereby you play the keys on a controller keyboard, the MIDI signal travels to your computer, and the computer in turn sends the signal to another MIDI keyboard—the one that actually produces the sound. In this dialog box, you can route the signals coming from your controller keyboard to other MIDI channels, giving you control over which channels are received by your sound module. • 1—128. The fixed number on the left indicates the channel of the incoming MIDI signal. Enter into the text box the number of the desired output channel for producing the sound. The default setting for each input and output channel is one-to-one. 1460

• Reset. Click this button to restore all settings to the original one-to-one channel mapping. • OK • Cancel. Click OK to confirm the MIDI Thru Table settings, or click Cancel to discard any changes you have made to the dialog box and return to the MIDI Thru dialog box. See Also: MIDI/Audio menu

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MIDI File Status dialog box This status box appears when Finale is transcribing the MIDI File you opened. It allows you to see that the file is being successfully imported into Finale.

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MIDI Tool window dialog box

How to get there From the Window menu, choose Advanced Tools palette. Click the MIDI Tool . Click to select one measure, shift-click to select additional measures, drag-enclose to select several on-screen measures, or click to the left of the staff to select the entire staff. Double-click the selected region.

What it does The MIDI Tool window provides a graphic display of the three kinds of captured MIDI data you can edit: key velocities, note durations (Start and Stop Times), and continuous data, which includes controllers (use of the pedals, patch changes, aftertouch) and wheels (pitch wheel, and so on). Because the window displays not only a graphic representation of these values for each note but also the notes themselves, you can get an immediate picture of the relationship between the two. Furthermore, the MIDI Tool split-window offers you an option not available when you use the MIDI Tool commands without opening this window—you can edit specific notes, even if they’re nonadjacent or buried within chords. (For a 1463

full discussion of the kinds of data you can edit with the MIDI Tool and an explanation of the commands available, see MIDI Tool menu.) When you edit MIDI data in the MIDI Tool split-window, the changes you make apply to the selected layer (as indicated by the Layer push buttons on the bottom of the document window) and only to the top staff you are viewing. To edit a different staff, use the vertical scroll bar to move up and down through the staves. Use the horizontal scroll bars to move through your score as you normally would. There are several ways to select specific notes in the MIDI Tool split-window. To select one, click its handle; to select additional notes, shift-click their handles. You can also drag-enclose several handles to select them, or shift– drag-enclose to select additional groups. You can also select all notes within a certain region by dragging through the graph area (above the displayed notes); Finale responds by highlighting the handles of all notes within the region you select. (To select an additional region of notes in this way, shift-drag through the graph area.) To "deselect" a selected handle, shift-click it. • Key Velocities. Choose this item from the MIDI Tool menu to tell Finale that you want to edit the key velocities of the notes displayed in the window (a graph of how hard each note was struck). The display becomes a graph; thin vertical lines represent the relative velocities of the notes displayed at the bottom of the window, and a "velocity ruler"— with notches from zero (silence) to 127 (very loud)—appears along the left edge. If you’ve entered music with the Simple or Speedy Entry tools, the velocity of every note is 64. (64 is Finale’s default note velocity setting, which you can change by clicking the speaker icon in the Playback Controls, clicking the expand arrow, and entering a new value in the Base Key Velocity text box.) If you’ve captured the key velocity (performance) data from a realtime HyperScribe performance, however, you’ll see those varying velocities displayed in this graph notation. To edit the velocity of a particular note, double-click its handle. The Set To dialog box appears, in which you can enter a new velocity value. To edit the velocities of several notes, select them with any of the methods described above, then choose the appropriate command from the MIDI Tool menu (see MIDI Tool menu). To restore selected notes to their default velocity values, press backspace or use the Selection Tool to erase Performance Data. Technical note: Finale stores the captured velocity values as the difference between the actual velocity with which you struck the notes and the default velocity, as determined by the Base Key Velocity text box in the Playback Controls. If you increase or 1464

decrease this Base Key Velocity value, therefore, you instantly increase or decrease the playback velocity of every note in the piece, even though their velocity values remain the same in proportion to one another. • Note Durations. Choose this item from the MIDI Tool menu to tell Finale that you want to edit the Start and Stop Times of the notes—the slight deviations from the beat that create swing feel, rolled chords, and so on— displayed in the window. The display becomes a graph; thin horizontal lines represent the relative note durations of the notes displayed at the bottom of the window, and a piano keyboard appears at the left edge to help you identify their pitches. Drag this keyboard up or down if you want to view higher or lower notes. If you’ve entered music with the Simple or Speedy Entry tools, the Start and Stop Times of every note are zero, because the definitions of Start and Stop Times are the differences between the notated attack and release points of the notes and the actual (performed) attack and release points. The graph of a note whose Start Time is zero is perfectly flush with the vertical gridline representing its notated attack point, and that of a note whose Stop Time is zero stops neatly at the gridline representing its notated release point, as shown:

The notes displayed in the MIDI Tool split-window were entered with one of Finale’s step-time entry tools. Therefore, each note’s Start Time and Stop Time is zero, as you can see from the fact that each horizontal line (representing a note’s duration) ends flush with one of the dotted vertical lines. (The vertical lines represent the notated, or quantized, attack and release points of the notes.) 1465

If you’ve captured the Start and Stop Time (performance) data from a realtime HyperScribe performance, however, you’ll see horizontal lines that don’t begin and end nearly so precisely at the vertical gridlines. For example, the graph of a note you held down slightly beyond the beginning of the next beat appears to extend just to the right of the vertical gridline (and has a positive Stop Time). The graph of a note you struck a fraction of a second early begins just before a vertical gridline (and has a negative Start Time). To edit the Start and Stop Time of a particular note, double-click its handle; the Set To dialog box appears, in which you can enter a new value. To edit the Start and Stop Times of several notes, select them with any of the methods described above, then choose the appropriate command from the MIDI Tool menu (see MIDI Tool menu). To set the Start and Stop Times of selected notes to zero (so that they play back with "quantized" rhythmic perfection), press backspace or use the Selection Tool to clear Continuous Data. • Continuous Data. Choose this item from the MIDI Tool menu to tell Finale that you want to edit the continuous MIDI data—pedals, wheels, patch changes, and other non-note data—for the music displayed in the window. The View Continuous Data dialog box appears, allowing you to specify the controller data type you want to edit. (Patch Changes, Monophonic Aftertouch, and Pitch Wheel are dimmed, because these data have icons of their own in the MIDI Tool window [see below].) See View Continuous Data dialog box for descriptions of the elements of this dialog box. When you return to the MIDI Tool split-window, the display becomes a graph; the highlighted area represents the specified controller’s value over time. A "value ruler" appears at the left edge, with notches from 0 to 127. This scale measures different qualities, depending on the controller you’ve selected. To edit the controller setting for a particular region, drag through the region so that it’s highlighted (black areas become white, and vice versa). Choose the appropriate command from the MIDI Tool menu to add to, subtract from, or otherwise change the controller’s setting during the selected region (see MIDI Tool menu for a list of the available commands). To set the controller to its default value or "at rest" position in the selected region, press backspace or use the Selection Tool to clear Continuous Data. Technical note: Continuous data is independent of the notes themselves. Therefore, no handles appear on the notes in the MIDI Tool split-window when you’re editing continuous data; you must select a region by dragging through the "graph" area rather than 1466

by selecting note handles. Note, too, that continuous data is displayed as a continuous horizontal "area graph," even if the controller is an eventoriented one, such as a patch change or usage of the pedal. • Patch Change. Choose this item from the MIDI Tool menu to tell Finale that you want to add or remove patch changes in the music displayed in the window. When you return to the MIDI Tool split-window, the display becomes a graph; Finale tells you which patch has been set (in each region) by the height of the highlighted area. A "value ruler"—with notches that indicate patch numbers 1 to 128—helps you identify the patch that’s selected for each region, as shown in the figure below.

When you’re editing patch changes in the MIDI Tool split-window, the black bars indicate the current patch at each patch change. To insert a patch change, click in the "graph area" at the location where you want it to occur, and drag to the right. It doesn’t matter whether you select a large region by dragging or only a tiny vertical sliver—all Finale needs to know is where the beginning of the selection falls, because that’s where it will insert the patch change. Choose Set To from the MIDI Tool menu, and enter the patch number you want to change to. (You can also use the other commands from the MIDI Tool menu to change the patch 1467

numbers in a selected region, although most of these other commands [Scale, Limit, and so on] have little musical relevance to patch numbers.) To remove patch changes from a selected region, press backspace or use the Selection Tool to clear Continuous Data. If a bank change is part of a patch setting, Finale displays a "B" in the MIDI Tool split-window within the graphic display of the patch change. No letter appears above the graph if a simple patch change was used. • Channel Pressure. Choose this item from the MIDI Tool menu to tell Finale that you want edit channel pressure data (monophonic aftertouch— the pressure you apply to a key while it’s being pressed down) in the music displayed in the window. When you return to the MIDI Tool split-window, the display becomes a graph; the highlighted area represents the aftertouch value over time. A "value ruler"—with notches from zero (no aftertouch) to 127 (maximum aftertouch)—appears at the left edge. To edit the channel pressure value for a particular region, drag through the region so that it’s highlighted (black areas become white, and vice versa). Choose the appropriate command from the MIDI Tool menu to add, subtract, or otherwise change the aftertouch value during the selected region (see MIDI Tool menu for a list of the available commands). To set the aftertouch values to zero for the entire selected region, press backspace or use the Selection Tool to clear Continuous Data. • Pitch Wheel. From the MIDI Tool menu, choose Edit Continuous Data, select Pitch Wheel and click OK to tell Finale that you want to edit pitch wheel data for the music displayed in the window. When you return to the MIDI Tool split-window, the display becomes a graph; the highlighted area represents the position of the pitch wheel over time. A "value ruler" appears at the left edge with notches from -8191 (pitch wheel all the way down) to 8192 (pitch wheel all the way up). Bear in mind that the pitch wheel’s value is 0 when it’s at rest (neither up nor down). To edit the pitch wheel setting for a particular region, drag through the region so that it’s highlighted (black areas become white, and vice versa). Choose the appropriate command from the MIDI Tool menu to add to, subtract from, or otherwise change the pitch wheel setting during the selected region (see MIDI Tool menu for a list of the available commands). You may find the Scale command to be the most useful for creating pitch bends, because it creates smooth gradations from one pitch wheel setting to another. Be sure to use one of the MIDI Tool menu commands again later in the music to return the pitch wheel to its "at rest" 1468

position, however, or your synthesizer will believe that the pitch wheel is "stuck" in its transposed position for the remainder of the piece Tip: When Note Durations is selected in the MIDI Tool menu, the vertical "ruler," which appears on the left side of the screen, displays pitches according to the pitch representation setting in Program Options-View (From the Edit menu, choose Program Options, then View). Pitches are either represented as MIDI note numbers (60 = middle C), or as pitches where C4 (or C3 or C5) indicates middle C. Handles appear for each note in the current staff, and a horizontal line indicates the duration (Start and Stop Time) of each note. Tip: When Continuous Data is selected in the MIDI Tool menu, the vertical "ruler," which appears on the left side of the screen, displays values between 1-128. Many controllers (a type of continuous data) are either on (128) or off (1). Handles do not appear on notes, because continuous data is assigned to measures. A program change is also a type of continuous data. If a bank change is part of the program change message, a B appears above the program change display. See Also: MIDI Tool menu MIDI Tool

1469

Mirror Attributes dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Mirror Tool . Click an empty measure; use the Tilting Mirror dialog box, as necessary, to compose a composite mirror (see Tilting Mirror dialog box); click OK. Any mirrored measure you’ve already created using either the Mirror Tool or the Selection Tool will display a Mirror icon the next time you select the Mirror Tool. You can also access this dialog box by shift-clicking any measure marked with this Mirror icon. Finally, this dialog box appears when you create a mirror using the Selection Tool. Choose Mirror from the Mass Edit menu. Select a region of measures; drag the first source measure so that it’s superimposed on the first destination measure.

What it does A mirror is an intelligent copy of an existing (or "source") measure in the score. When you edit the source measure in any way, all mirrors created from it are instantly updated to reflect the change. In this dialog box, you can specify certain ways in which you want the mirror to differ from the source measure. For example, you could specify that it be transposed up an octave (if, say, it’s doubling another instrument in the score). You can also specify stem direction, 1470

beaming, and whether or not you want various other elements (lyrics, chord symbols, and so on) to appear in the copy. The advantage of all this control is that you can link the mirror to the source music, but the original and the copy need not be utterly identical. You copy only those elements you want to copy. • Mirror Attributes for Frame (#). This indicator identifies, by number, the frame (a single measure on a single staff) in which the mirror occurs. • Transposition. When you select this option, Finale displays the Transposition dialog box so that you can specify an interval by which you want the mirror transposed in relation to its source measure or measures. See Transposition dialog box. • Don’t Draw:. The next group of checkboxes let you specify elements of the source music you don’t want to appear in the copy. Select as many as you want. Checkbox Name

Musical elements affected

Notehead and Percentage Alterations

Changes to the note shape or size you’ve made with the Special Tools Tool or the Resize Tool

Articulations and Expressions

Note-attached marks created with the Articulation Tool or the Expression Tool

Slurs Attached to Notes

Note-attached slurs that start and end in the affected region.

Lyrics

Lyrics of any type

Beam Extensions

Extended beams created with the Special Tools Tool

Secondary Beam Breaks

Breaks in the beams of sixteenth notes (and smaller values) created with the Special Tools Tool


Modifications to stem length and shape, or to beam angles, created with the Special Tools Tool

Entries in Other Staves

Cross-staff notes (refers not to the notes themselves, but whether their cross-staff status should be 1471

preserved) Reverse Stems

Reverse stemming created with the Special Tools Tool

Double or Split Stems

Double or split stemming created with the Special Tools Tool

Chords

Chord symbols

• Freeze Stems: up/down. If you want all the stems in the mirror to be frozen either up or down, click Freeze Stems and select the "up" or "down" radio button. • Rebeam. When you build a composite mirror by choosing fragments of music from several different source measures, the result may not be beamed correctly (since you may have chosen a single eighth note from one measure, two from another, and so on). You can solve this problem (or even change the beaming pattern on a normal, full-measure mirror) by selecting Rebeam, which makes the following two rebeaming options available: • Rebeam to Time Signature. If you select this radio button, the notes in the mirror measure are beamed according to the current time signature, as though its music had been entered in the usual way. • Rebeam to Beam Chart. If you select this radio button, Finale displays the Beaming Chart dialog box. This graphic window displays a handle for each eighth note (or smaller value). You break a beam to a note (from the previous note) by clicking its handle. Any notes whose handles you haven’t selected will be beamed together. (If you want all notes beamed together, select the first handle in the measure.) When you return to the Mirror Attributes dialog box, the Rebeam to Beam Chart radio button is selected. (See Beaming Chart dialog box.) • Selective Mirror ID. An intelligent copy of a full measure is called a mirror; a measure composed of selected notes from several measures is called a composite mirror. There may be times, however, when you want to display only selected notes from a mirror or composite mirror. For example, you might want to pick out a single melody line from a chordal right-hand piano part. For this purpose, Finale offers you the ability to choose individual notes from a mirror or composite mirror; the result is a selective mirror. To create one, click the words Selective Mirror ID; Finale displays the Selective Mirror dialog box. In this graphic window, you can click the handles of the notes you want include in the selective mirror. You can pick individual notes out of a chord 1472

or, by drag-enclosing several handles, you can select groups of notes within chords. If the selective mirror omits notes that fall on certain beats (when you choose only the first and third quarter notes of a melody, for example), Finale will provide rests in place of the omitted notes. Click Prev and Next to scroll through other selective mirrors you’ve created from the main mirror. When you’re finished, click OK; Finale automatically enters the number of the selective mirror in the text box. See Selective Mirror dialog box. • Hide Others. This option, and those below it, apply only to the selective mirror identified in the text box. Click this radio button if you want the omitted notes to be hidden completely (instead of appearing as rests). • Hide Voice 2. Select this option if you want Finale to hide any Voice 2 notes you omitted when creating your selective mirror. If you don’t select this option, Finale will substitute rests for these omitted notes. • Show Others as Rests. With this button selected, when you create a selective mirror, Finale substitutes rests for any notes you didn’t select. • Use Rest Level. If you want to specify where rests should appear in the selective mirror, select this radio button and enter a number in the text box. This number represents the distance between the center of the rest and the line or space of the root scale tone (which is numbered 0), measured in lines and spaces; a higher number moves the rest upward. • Float Rest. Select this option if you want rests in the selective mirror positioned normally (usually on the middle staff line). • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box. You return to the score, where the new or edited mirror appears. Click Cancel to return to the score without creating or editing any mirrors. See Also: Mirror menu Selection Tool Mirror Tool Tilting Mirror

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Mixer

How to get there From the Window menu, choose Mixer. Or, from the View menu, choose Studio View.

What it does The Mixer contains two parts, a master set of controls and a set of controls for each staff in the score. The master controls can be used to adjust the volume and reverb of the overall output much like the master controls on a conventional mixer. The set of controls for each staff can be used to adjust the volume and pan value relative to other staves in the score much like the volume sliders and panning wheels for tracks on a conventional mixer. All settings defined in the mixer are post-processed and applied over the top of MIDI data that already exists in the score score including MIDI Tool data, Human Playback data and/or expressions and articulations defined for playback. In other words the mixer doesn’t change the contour of the playback, only the overall output or the staff relationship. Note: Although the mixer displays separate controls for each staff, only staves of unique channels can be adjusted independantly. For example, if your brass quintet contains two trumpet staves, both set to channel 1, all mixer adjustment to one trumpet 1474

staff will apply to both. If you want to assign a staff a unique channel you can do so by defining a "New Instrument" in the Instrument List. (To do so, in the Instrument List choose View by Instruments and click New Instrument. Choose the same instrument sound (patch) for your new instrument and assign it a different channel). Settings applied to staves in the Mixer are dynamically linked to both the Staff Controls and the Instrument List. For example, an increase to the volume for one staff changes the volume setting in the Instrument List and Staff Controls uniformely. The same is true for the other settings. • [Pan dial]. Use this dial to control the pan value for each channel. Click and drag this dial clockwise to pan the channel right or counterclockwise to pan the channel left. Playback volume will be weighted to the left or right speaker accordingly. • M (Mute). Click this button to indicate you want the channel to be silent when you play the score. • S (Solo). When you click in the Solo button, you instruct Finale to mute all other staves. In other words, you’ve just isolated a staff so that only it will play back, and all the other staves are silent. (You could achieve the same effect by clicking in the Mute button for all other staves). You can solo more than one staff, if you wish—for example, you can solo two or three staves, and all the others will be silent. In fact, you can solo all staves, although there wouldn’t be much point, since you may as well solo none of them. • R (Record). Use these buttons to specifiy which staves wyou would like to record into with HyperScribe. If you’re not multitrack recording (Record into One Staff or Split into Two Staves is selected in the Record Mode submenu of the HyperScribe menu), you don’t need to use the Mixer to specify which staff to record into; simply click the staff in the score that you want to record into. If, however, you prefer to use the Playback Control’s Record button (instead of clicking a measure in the score), then you must use the Mixer’s (or Instrument List’s) R parameter to indicate the staves in which you would like to record. (Note you can use the Instrument List to specify individual layers for recording. See Instrument List). If you would like to record into two or more staves simultaneously, first, from the HyperScribe menu, choose Record Mode, and then Multitrack 1475

Record. Then click the R button for all staves you would like to record into. The buttons turn yellow, indicating that Finale will record into those staves. Click the Record button in the Playback Controls to begin recording. (Also, when you click the HyperScribe Tool, the HyperScribe frame appears on the selected staves.) • [Volume Slider]. Use this slider to adjust the volume for this staff (and all other staves set to the same channel). Note you can enter a specific volume value for each channel in the Instrument List. • PC [Program Change]. This indicator displays the MIDI program number selected for this staff. You can click this drop-down menu to Visit the SoftSynth dialog box where you can modify Finale’s Sound Font output, the Instrument Definition dialog box where you can change the name, channel, patch, and bank for the instrumnet, or, choose a new GM instrument for this staff. If you’ve assigned several staves to the same Instrument, once again remember that they’re all linked to the same Program. Therefore, if you edit the Program assignment for any one of these staves, the Program for all of them will change. • [Channel]. This region displays the MIDI channel assignment for each staff, from 1 to 128. To change this number, double-click, and type a new channel. If you’ve assigned several staves to the same Instrument, by the way, remember that they’re all linked to the same MIDI channel. Therefore, if you edit the Chan. assignment for any one of these staves, the Chan. for all of them will change to match, because any given Instrument can only have one channel assignment. (If you truly want a staff to have an independent MIDI channel, first assign it to a new Instrument.) • Instrument. This is the name of the instrument assigned to the staff (as shown in the Instruemnt List). You can edit this name (or define a new instrument) in the Instrument Definition dialog box. • Reverb Level. The reverb dial controls the overall amount of decay, or length of time a sound persists after released. This dial applies to the overall output. Click and drag this dial clockwise to increase the reverb effect, or counterclockwise to decrease the reverb effect. • Room Size. This setting has the effect of simulating a room size to make your music sound as though it is being performed in a small room, concert hall, or anything in between. Click and drag the dial clockwise to increase the ‘size’ of the room. • Master Mute. Click this button to mute all staves. When you do so, the Mute button is activated in all Staff Controls and staff Mixer controls. You 1476

might use the Master Mute button if you plan to mute most staves and audition only a select few. • Master Solo. Click this button to solo all staves. When you do so, the Solo button is activated in all Staff Controls and staff Mixer controls. • Master Volume. Click and drag this slider up to increase the volume of the overall output, or down to decrease the overall volume. • Instrument List. Click this button to open the Instrument List where you can define new instruments, and make additional volume and pan settings for individual layers and chords. See Instrument List. See Also: Playback Instrument List Staff Controls

1477

More Settings dialog box

How to get there Select a region of your document with the Selection Tool. From the Plug-ins menu, choose Playback, and then Apply Human Playback. Check Apply Specific Elements, then click Select.

What it does In this dialog box, you can specify custom Human Playback settings for MIDI data applied with the Apply Human Playback plug-in. These options are the same as those found in the Human Playback Custom Style dialog box. • % Reverb. Move this slider right to increase or left to decrease the degree to which reverb is applied to the performance. Reverb (reverberation) is the persistence of sound after the source has been stopped, such as the echo effect apparent in a large room or auditorium. • % Mood. Move the Mood slider right to increase, or left to decrease a slight degree of randomness in the performance. Virtually all items interpreted by HP are effected by the position of the mood slider. • Swing: Set to None...Dotted 8th, 16th. This control allows you to apply a swing feel to the Human Playback style. Click on the Swing Values dropdown menu to select from several levels of swing. Or, choose Current to use the current setting in the Playback Settings dialog box. • Automatic Expression. Check Automatic Expression to allow Human Playback to automatically add expressions (temporarily) to passages where

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there are none. For example, in a section, wind and string instruments will be assigned a delicate and realistic attack. • Detection of Solo Instrument. Check Detection of Solo Instrument to tell Human Playback to recognize a solo instrument staff (usually at the top of the score) in order to apply appropriate settings (Such as Soften Accompaniment). Note that the balance between the solo and others can be adjusted in the Human Playback Preferences dialog box. (It uses Volume controller for balancing, and also effects how the solo part is placed in the orchestral space (Automatic Panning). • Automatic Panning. Check Automatic Panning to tell Human Playback to intelligently distribute instrument channels to simulate a live performance (using Pan MIDI controller 10). For example, this option can isolate a solo instrument on one speaker and the orchestra on the other. It covers many instrumental configurations, from a solo instrument to a symphonic orchestra. Although default panning always exists, the better the notation, the more accurate the effect. • Baroque Style for Ornaments. Check Baroque Style for Ornaments to perform mordents, trills and other ornaments in a Baroque style (i.e. trills start on upper note, appoggiaturas are slow, etc.). • Short Syncopations/Off Beats. This option makes jazz music sound more realistic by emphasizing off beats and short syncopations. The effect is applied with Key Velocity. • Viennese Waltz Feel. Gives a Viennese feel to 3/4 (and also 3/8) based scores. Rubato dependent and uses Start/Stop times to create the effect. A Viennese Waltz is characteristically performed in a ‘fast three’ with an accentuated first beat in the bass. • Play drum rolls exactly. With this checked, tremolo diddles are played precisely (not unmeasured). Used in Marching Band style. • Adjust Dotted 8th+16th/Triplet · Longer · Shorter. Check Adjust Dotted 8th+16th/Triplet, and then choose Longer to increase the duration of the sixteenth note in dotted eighth-sixteenth figures (relative to a quarter and eighth eighth-note triplet). Choose Shorter to decrease the duration of the sixteenth note in dotted eighth-sixteenth figures (relative to a quarter and eighth eighth-note triplet). • Soften Accompaniments. Detects and softens accompaniment figures (such as Alberti basses, arpeggios, etc), to emphasize melodies. Key velocity is used to apply this effect. • Auto Piano Pedaling. Complementary to the Pedal Marking feature, this options creates a pedal effect automatically (using MIDI controller 64). It analyzes harmonic progressions for changes and avoids note confusion as much as possible. It is inactive in passages that contain pedal markings that have been added manually.

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• Chord Balance. Check Chord Balance to highlight melodies by balancing notes within chords appropriately by adjusting key velocities. This is especially useful for piano music. • Soften Basses. Check Soften Basses to decrease the volume of the lowest note in chords. • String Harmonics. Creates harmonic effect for strings (violin, etc) and harp, using standard notation. • Strum Plucked String Chords. Check Strum Plucked String Chords to apply a strummed feel to entries containing multiple notes on fretted instrument staves (slightly offset the entrance of each note in a chord from the previous). • Match Harmonic Cadences. Check Match Harmonic Cadences to tell Human Playback to analyze the harmonic progression of the document and automatically decrease the tempo slightly for perfect and semi cadences. • OK · Cancel. Click Cancel to return to the Apply Human Playback dialog box without making any changes. Click OK (or press enter) to confirm your settings and return to the Apply Human Playback dialog box.

1480

More Quantization Settings dialog box

How to get there Choose Quantization Settings from the MIDI menu. Or, click the Quant Settings button in a number of related dialog boxes. Click More Settings in the Quantization Settings dialog box.

What it does The More Quantization Settings dialog box provides more detailed control over how your MIDI input will be transcribed. • Retain Key Velocities • Retain Note Durations. These options tell Finale to remember the precise "feel" of your performance, and to keep this data handy for playback once it’s been transcribed. If you don’t select these options, then when you play back the transcribed music from the score, Finale will simply play the "sheet music"—the notated version, which will be 1481

rhythmically precise but expressionless and "square"—instead of an exact re-creation of the original sequence. Key Velocity is the MIDI information that describes how hard you struck each key; in other words, it’s used mostly to re-create your dynamics when you play the piece back. Note Durations refers to Start and Stop Time Data—small rhythmic deviations from the beat that result in musical "feels" such as swing, rushing, rolled chords, and so on. If you select both of these options, Finale’s playback of your transcription will very closely resemble your original performance (but your document will be slightly larger when saved). Tip: Retaining Key Velocity will allow you to automatically apply dynamics to your score using Auto-Dynamic Placement plug-in. Retaining Note Durations will allow you to further edit your MIDI information if you wish. • Include Voice Two. If there’s an inner voice in the music you’ll be transcribing, select this option; Finale will accurately transcribe the sequence into two independent voices per staff, one stems-up and one stems-down. (You can edit the two voices using the Voice 1/Voice 2 mechanism.) If there are few places where you’ll be needing an inner voice, however, don’t select this option. This will prevent Finale from creating secondary voices where you didn’t intend them—for example, where two successive notes were accidentally overlapped in the sequence. The status of this option can have a dramatic effect on the "cleanness" of your transcriptions. Use the Retranscribe function in the MIDI/Audio menu to correctly place Voice 1 and Voice Two in the few places you want them. • Allow Dotted Rests in Simple Meters • Allow Dotted Rests in Compound Meters. Usually Finale writes out all rests instead of notating dotted rests. Check these boxes if you want Finale to notate dotted rests when copying, transcribing your MIDI file, or during a HyperScribe or Transcription Mode performance. Check Allow Dotted Rests in Simple Meters to apply this setting to all portions of your score in a simple meter (e.g. 2/4, 4/4, 2/2, etc). Check Allow Dotted Rests in Compound Meters to apply this setting to all portions of your score in a compound meter (e.g. 6/8, 9/8, 5/8, etc). When this option is selected Finale notates a quarter rest followed by an eighth rest as a dotted quarter rest. When copying and pasting, if it is necessary to rebar the music (see Rebarring Music), these settings apply to the target region. For example, if 1482

Allow Dotted Rests in Compound Meters is checked, Finale will combine quarter rest/eighth rest figures into dotted quarter rests when music is copied into a region with a compound meter and rebar music is applied. • Soften Syncopations. This option affects the way syncopations are transcribed by the HyperScribe Tool and Transcription Mode. Finale decides how to notate syncopation based on two factors—the time signature and whether or not this option is selected—but you must select this option before transcribing. • Remove Notes Smaller than ____ EDUs. Before converting any notes to grace notes, you may want to ensure that small glitches in the performance are not transcribed at all. If you want to ensure that every note is transcribed exactly as it was captured, change this value to 0. This function is done before any other quantization is applied by Finale. • Allow Grace Notes. If you select this option, any note in the file that’s shorter than the quantization value will appear as a grace note in the score. • Remove Grace Notes. When this option is selected, any note in the file that’s shorter than the quantization value will be removed. • Convert to Real Notes. Finale automatically lengthens any notes in the MIDI file whose durations were less than the quantization value you’ve specified. • Minimize Number of Rests. Select this checkbox to prevent Finale from quantizing your rests as small as your notes. Finale will fill out the notes through the rests (unless there is a rest on beat 1), so if you have stopped slightly short of you intended half note, you will not get a sixteenth note rest. You will still be able to enter sixteenth notes without any problems at all. • Sensitivity Level. Click the checkbox to enable this option. The number in this text box represents the finest quantization level Finale will use. Remember, Finale may "stretch" the notes in your performance as though the keys were pressed until the beginning of the next beat—in effect, creating a coarser (larger) quantization level. But the Sensitivity value indicates the smallest rhythmic value Finale will notate. The Sensitivity is measured in EDUs (1024 per quarter note). To change the Sensitivity value, you can either enter a new number in the text box, or choose a value from the drop-down list. For many situations, the default Sensitivity value (Sixteenth Note) works well. If, however, you’re using HyperScribe to transcribe small tuplets (like quintuplets) and you discover that Finale isn’t notating note values as fine as you’d like, or that it’s creating many grace notes, you need to choose the next smaller Sensitivity value, and try the transcription again.

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• OK • Cancel. When you click OK, Finale will change your Quantization Settings and return to the score. Click Cancel to return to the score without making any changes. See Also: Quantization Quantization Settings

1484

Move Groups dialog box

How to get there From the Plug-ins menu, choose Scoring and Arranging, then Update Groups and Brackets. Click Move.

What it does While managing brackets on optimized systems using the Update Groups and Brackets plug-in, use this dialog box to move several group names and/or brackets in uniform. This dialog box will make changes to all systems checked in the Group Scope List of the Update Groups and Brackets dialog box. • H · V. Enter a value or use the spinner arrows to specify a horizontal (H) or vertical (V) amount to move the selected group name(s) and/or bracket(s) (depending on the current selection under the Item(s) to Move drop-down menu). The units of measurement are whatever you’ve selected using the Units drop-down menu at the bottom of this dialog box. • Items to Move; Bracket and Name · Bracket Only · Name Only · Full Name Only · Abbreviated Name Only. From this drop-down menu, select the part of the group style you would like to move. • Units. From this drop-down menu, choose the measurement units you would like to use for moving group names and/or brackets. See Measurement Units. • Distances are Absolute. With this box checked, the absolute distance specified is used, and any modifications to the page and system reduction (see Resize Tool) are ignored. • OK · Cancel. Click Cancel to return to the Update Groups and Brackets dialog box without moving group names or brackets. Click OK (or press enter) to confirm your settings and return to the Update Groups and Brackets plug-in. 1485

Move/Copy Layers dialog box

How to get there Click the Selection Tool , and select a region of measures. Choose Move/Copy Layers from the Edit menu.

What it does The Move/Copy Layers command provides a way to move music from one layer to another. You can even swap the music between layers—if, for example, you mistakenly entered several stems-down notes in Layer 1, which you intended to use only for stems-up (upper) voices. You can also copy layers while leaving the original notes intact. • Move • Copy. Choose Move to convert notes in one layer to another. Choose Copy to convert notes in one layer to another and leave the original notes in place. When Copy in chosen, notes in the new layer are superimposed on the original notes. Tip: To display and work with (mass copy etc.) layers individually, activate the layer you want to copy, and then, from the Document menu, choose Show Active Layer Only. • Move Contents of Layer [#] into: Layer 1 • Layer 2 • Layer 3 • Layer 4. Using these controls, you can specify how you want to move the selected music among the four transparent staff layers. Select the first two checkboxes, for example, and set up the drop-down lists as shown above, to swap the contents of Layers 1 and 2. Be careful, however. If there’s 1486

already music in the layer you choose from the drop-down lists, it will be replaced by the music you’re transferring. (Finale will warn you if you’re about to lose music that’s already in the destination layer.) Note: If you set up these controls so that the contents of more than one layer get moved into the same other layer, Finale will only move the highest-numbered layer’s contents. For example, if you indicate that you want the contents of Layers 2, 3, and 4 moved into Layer 1, only Layer 4’s music will actually be moved. • OK • Cancel. Click OK to make the transfer and return to the score. Click Cancel to tell Finale to leave the layers as they were. You return to the score. See Also: Multiple voices Utilities menu

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Movie Window

How to get there From the Window menu, choose Movie Window. What it does Finale’s integrated Movie Window allows you to view a QuickTime or Windows Media video while working with your Finale project. This is a convenient alternative to using SMPTE to synchronize Finale with a separate video device. In this window, you can choose to lock the movie and Finale in sync with each other, or turn off synchronization to simply watch the movie without playing the Finale file. If you like, you can associate a movie with any Finale document. • [Play • Pause • Progress Bar • Beginning • End]. These controls are the same as those you would find in a standard media player. Click these button to play, pause, move to the beginning and move to the end. You can also click and drag the progress bar to navigate to a specific point in the movie. • Select. Click this button to navigate and select a movie file. Finale supports QuickTime and WMV movie formats.

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• Sync. Check this box to synchronize Finale playback with movie playback. When Sync is checked, Finale’s Playback Controls also apply to movie playback. Similarly, the playback controls in the Movie Window apply to Finale playback. When Syncronized, Finale and the Movie Window are linked using MIDI Time Code information. • Size; Actual • Half • Double • Other. Use these controls to adjust the size of the Movie Window viewer area. • Time. The time indicator lists the present time of the movie indicated in: hours|minutes|seconds|milliseconds.

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Moving Split Point dialog box

How to get there Click the HyperScribe Tool, and select Transcription Mode from the HyperScribe menu. Click a measure. You enter the Transcription window; choose Moving from the Split Point submenu of the Transcription menu.

What it does The Moving Split option tells Finale to transcribe your performance onto two staves. To decide which music to put on each staff, Finale splits the performance into "right-hand" and "left-hand" parts according to the widest interval you spanned with one hand during your performance, based on the number you enter into this dialog box. The advantage of this method of splitting your performance into right- and left-hand parts (as compared with the Fixed split point option) is that Finale will be able to follow your hands as they move up and down the keyboard, provided there’s a wide enough interval between them for it to discern which hand is which. • Current Right Hand Position • Current Left Hand Position. These indicators let you know where Finale believes your right and left hands to be as it transcribes the music you’ve recorded. The default right hand position is 65, and the default left hand position is 48; these numbers correspond to synthesizer keys in the MIDI key numbering system (middle C is key number 60). If you’ve transcribed any part of your performance, these indicators change to tell you where Finale believes your hands to have been at the end of the transcribed portion. To reset these numbers to the default values (65 and 48), click Reset. • Hand Width. In this text box, enter the widest interval, in half steps, played by either hand during your performance. Instead of calculating the number of half steps, you can click Listen to MIDI, which allows you simply to play the interval.

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• Listen. Click this checkbox to let Finale know you’re about to play an interval representing your hand width. With one hand (anywhere on the synthesizer), play the widest interval played by either hand during your performance. The alert is no longer displayed, and the Hand Width text box displays a number corresponding to the width interval. • Reset. Click this button to set the current left and right hand positions back to their default MIDI note values of 65 and 48, respectively. • OK • Cancel. Click OK to confirm, or Cancel to discard, the hand-width settings you’ve just made. You exit the dialog box. Tip: middle C=60=C4. See Also: Transcription menu HyperScribe Tool

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Multimeasure Rest dialog box

How to get there Click the Measure Tool , select a multimeasure rest in Page View, then click on the Edit menu and choose Multimeasure Rests, then Edit.

What it does Use the Multimeasure Rest dialog box to define how Finale will display an existing multimeasure rest. These settings are almost identical to those in Document Options-Multimeasure Rests. You can choose between using a shape or Finale’s alternate style of notation for multimeasure rests. The alternate method combines whole and double-whole rests to represent block rests of different lengths, commonly those of eight or less measures. To select the default measurement units, click on the Edit menu, then Measurement Units, then select the desired units. To define the appearence of Multimeasure rests througout your document, see Document Options-Multimeasure Rest. • Select. The shape for the multimeasure rest itself is identified by the number in the text box next to the Select button. If a number other than zero appears in the text box, a rest has already been selected. If a zero appears in the text box, click Select to enter the Shape Selection dialog box, which contains the shapes available in this file. Click Select if you want to select an exist-ing rest shape. If you want to create your own shape, click Create in the Shape Selection dia-log box to enter the Shape Designer. • Adjust Start Point • Adjust End Point. Use these values to adjust the start and end points of the shape used for the multimeasure rest. Changing 1492

these values lengthens or shortens the shape. You usually won’t need to change these settings, but you may find them useful if you have a cautionary clef sign that appears in the multimeasure rest grouping. Enter positive values to shift the shape’s start or end point to the right; enter negative values to shift the start or end point to the left. • Number Adjustment: H: • V:. Set the horizontal and vertical position of the rest number by entering values (in measurement units) in the Number Adjustment fields. Enter a positive value in H: to move the number to the right. Enter a positive value in V: to raise the rest number higher on the staff. • Select. The shape for the multimeasure rest itself is identified by the number in the text box next to the Select button. If a number other than zero appears in the text box, a rest has already been selected. If a zero appears in the text box, click Select to enter the Shape Selection dialog box, which contains the shapes available in this file. Click Select if you want to select an exist-ing rest shape. If you want to create your own shape, click Create in the Shape Selection dialog box to enter the Shape Designer. • Adjust Start Point • Adjust End Point. Use these values to adjust the start and end points of the shape used for the multimeasure rest. Changing these values lengthens or shortens the shape. You usually won’t need to change these settings, but you may find them useful if you have a cautionary clef sign that appears in the multimeasure rest grouping. Enter positive val-ues to shift the shape’s start or end point to the right; enter negative values to shift the start or end point to the left. • Number Adjustment: H: • V:. Set the horizontal and vertical position of the rest number by entering values (in measurement units) in the Number Adjustment fields. Enter a positive value in H: to move the number to the right. Enter a positive value in V: to raise the rest number higher on the staff. See Also: Multimeasure rests Measure menu

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Sample List for Executable Shape dialog box

How to get there Click the Expression Tool , and double-click a note or measure. Click the desired expression in the selection box, and click Edit; then click the Playback tab. Click Execute Shape, and then Select; in the selection box that appears, either click an existing Executable Shape and click Edit, or click Create. In the Executable Shape Designer box, click the Use List check box. If the expression already appears in the score, double-click its handle, then click the Playback tab, Execute Shape, Select, Create, and then Use List.

What it does An Executable Shape is a line whose contours Finale "reads" as it plays back your music in order to produce changes over time of some musical aspect: tempo or volume, for example. You draw the Executable Shape itself in the Shape Designer. Normally, Finale samples (consults the contour of) an Executable Shape at regular intervals. For example, Finale might sample the shape you’ve drawn for a rallentando every eighth note, so that the tempo decreases with each passing eighth note. If you want Finale’s playback to respond only to specific samples (instead of every sample), select Use List. This technical dialog box appears, where you can enter a series of numbers, one in each text box, to tell Finale which samples provided by the Executable Shape you want it to register for playback. See Executable Shape Designer dialog box for more information. • [Text boxes]. The numbers in these text boxes specify which of the samples generated by the Executable Shape you want Finale to "notice" (respond to) in creating the playback effect. Enter the sample numbers, in sequence, in the successive text boxes. Use the right and left arrow buttons to scroll the display to the right or left by one text box at a time; you can have up to six specified sample numbers. 1494

• << >> [buttons]. Click the right or left arrow button to scroll through the six text boxes. • Clear. Click Clear to reset the numbers in all the text boxes to 0. If you click OK at this point, Finale removes the X, if any, from the Use List checkbox, and will sample the Executable Shape at regular intervals in the usual way (every eighth note if the Time Scale is 1:1). • OK • Cancel. Click OK to return to the Executable Shape Designer dialog box, where Finale puts an X in the Use List checkbox. The sequence of samples you entered will now repeat in an endless loop for as long as the Executable Shape (or the music it affects) lasts. (Endless, that is, unless you also select Quit at End of Sample List, in which case Finale only plays through your list once). Click Cancel to return to the Executable Shape Designer dialog box without changing the Sample List. (If you didn’t put numbers in any of the boxes, Finale doesn’t put an X in the Use List checkbox.) See Also: Executable Shape Designer

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Multiple Splits dialog box

How to get there Choose Open from the File menu, and select MIDI File from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI File Options dialog box, click the Set Track-to-Staff List radio button. In the Track/Channel Mapping for Staves dialog box, click the top unassigned row of track information. Click Multiple.

What it does This dialog box works much the same as the Explode Music dialog box in the Finale program itself, but you use it when you’re transcribing a standard MIDI sequencer file. In essence, it lets you strip a chordal passage (from the combined sequencer tracks you’ve specified) into individual single-line melodies on separate staves. This is a good technique for separating single musical lines—for string parts, for example—into individual staves. Before it will "explode" the specified tracks, however, Finale needs you to tell it, in this dialog box, how many resultant staves you want and how Finale should handle cases where there are more notes in a chord than there are staves to put them on. • Split into __ Staves. In this text box, enter the number of staves you want to result from this separation process. Finale takes the top note on each beat and places it in the top new staff; the second note on the second staff, and so on. • Overload Order. The Overload Order is the order in which "extra" notes are assigned to the resultant staves. For example, if you’re splitting the music from a chordal sequencer track into three staves, and one of the chords contains five notes, where should Finale put the extra two notes? You indicate the order in which you want extra notes distributed among the staves by entering a series of staff numbers in this text box. If, in this example, you entered 12345678 in this text box, Finale would distribute "extra" notes from the original five-note chord sequentially among the resultant staves. That is, it would notate the top two notes on 1496

the first exploded staff, the next two on the second staff, and the fifth (bottom) note on the third exploded staff. If the Overload Order was 11111111, however, Finale would place all the "extra" notes (the top three of the original five-note chord) on the top exploded staff; the remaining staves would receive one note apiece. • OK • Cancel. Click OK to confirm your split setup, or Cancel to discard it, and return to the Track/Channel Mapping dialog box, where None will appear in the Split column for the row you clicked. See Also: Track/Channel Mapping

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New Category dialog box

How to get there From the Document menu, choose Category Designer. Click Duplicate.

What it does This dialog box allows you to name the new expression category you are creating. • New Category Name. In this text box, enter a name for the new expression category. • OK · Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made. You return to the Category Designer dialog box. See Also: Category Designer dialog box Expressions

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New Staves dialog box

How to get there Click the Staff Tool . Choose New Staves from the Staff menu to add staves to the bottom of your score. Or, click the Staff Tool, then click a staff handle. Choose Add Staves from the Staff menu to insert staves before the selected staff or staves in your score.

What it does The New Staves dialog box contains settings for the number of new blank staves to be added below the bottom-most staff, or inserted above a selected staff, as well as how far apart they should be placed. • Number of Staves. Enter the number of new blank staves you want added below the existing staves or inserted above the selected staff in the score. • Topline to Topline Distance. This is the distance between the new staves (in currently selected measurement units), measured from the top line of one staff to the top line of the next. Enter a value to place the new staves closer or farther apart than they already are in the score. You’ll usually want to enter a negative number, because you’re measuring down from the top line of the previous staff. Note: Finale always measures Topline to Topline Distance from the top line of a standard, 5-line staff. To locate Finale’s "Topline" position on staves with fewer than five lines (such as percussion staves), look for the staff handle; it always indicates the top line position. • OK • Cancel. Click Cancel to return to the score without adding staves. Click OK to add staves and return to the score.

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Hint: Set the distance you want between the new staves. Use negative numbers to add staves beneath the existing staves. See Also: Staff menu Staff Tool

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Nonstandard Key Signature dialog box

How to get there Click the Key Signature Tool , and double-click the measure at which you want the key to change. The Key Signature dialog box appears. From the drop-down list, choose Nonstandard.

What it does Most music is written with one of the "standard" key signatures. This traditional system is based on a scale of twelve half steps and a harmonic scheme in which keys are arranged around the circle of fifths, and the addition of each new accidental marks an increment in that circle. In certain modern music schemes, however, these traditional key signature practices don’t apply. A piece may be based on the quarter-tone scale, for example, in which there are three chromatic steps between C and D instead of one; in these contexts, a "chromatic step" doesn’t necessarily mean a half step. In this dialog box, you can create your own key signatures in any format, based on scales with any number of chromatic steps between one note and the next. Using the five dialog boxes accessed by this one, you can create up to 128 linear key formats (systems of related key signatures) or nonlinear key 1501

signatures (key signatures with any configuration of sharps or flats, and which are unrelated to any other key signature) per document. These key formats or key signatures are then available at any time within the document (or, if you save them as a Key Signatures library, in other documents as well). • [Scroll bar]. Use this scroll bar to scroll from one key to another in a linear key format. The standard key system is a linear key format—thus you can use the scroll bars to scroll from C to F to B flat, and so on around the circle of fifths. Note: This scroll bar is inactive if you’ve specified a nonlinear key signature. By definition, a non-linear key signature is not part of a key system. Instead, it’s a key signature unto itself, so there’s no purpose served by the scroll bar. • Tone Center: (#) • Altered: (#). These indicators identify the tone center— the root of the key. The Tone Center and Altered indicators are always related to C, which is Tone Center zero. The Tone Center number tells you how many diatonic steps away from C the currently displayed key is; the Altered number tells you how many additional chromatic steps away it is. If the key signature for G major is displayed, then, the Tone Center is 4, because G is the fourth diatonic step away from C. (The Altered amount— the amount of chromatic alteration—is zero.) If the key signature is E flat, however, the Tone Center is 2, but the Altered amount is –1. (E flat is two diatonic steps away from C, but it’s been lowered by one chromatic step.) These indicators, as well as the Number of Accidentals (see below) and the key signature display, change as you scroll up or down through the key signatures. • Number of Accidentals: (#). This indicator tells you how many accidentals appear in the currently displayed key signature. The number can range from –127 (signifying 127 flats) to 127 (signifying 127 sharps). • Linear Key Format. A linear key format is one whose scale is composed of a repeating sequence of diatonic and chromatic steps. The normal major scale, for example, is a linear key format—in Finale, it’s called Linear Key Format 0. (Linear Key Format 1, which you can choose by clicking the Next button, is the standard natural minor scale format; if a key signature with no sharps or flats has been set to this key format, Finale considers A, not C, to be the first note of the scale. Because these two formats have been predefined, you’ll find that only the ClefOrd and Attribute icons are operational. Once you’ve selected Key Format 2 or higher [which haven’t been predefined], all five icons are active.) 1502

A linear key format, however, need not proceed around the circle of fifths. You could create a system that proceeds around a circle of sixths, for example. As long as (1) the total number of diatonic steps is an odd number, (2) the scale in each "key" is formed by the same sequence of whole and half steps, and (3) both halves of the scale are formed by the same sequence of whole and half steps (like the tetrachords in a standard scale), it’s considered a linear key format, and sharps and flats may therefore be progressively added to the key signatures as they are in the standard key system. You specify how many notes are to comprise an octave by clicking the KeyMap icon; the order in which accidentals appear in each sequential key signature by clicking the AOrdAmt icon; the relationship of the new "key" (tone center) to the appearance of new accidentals by clicking the ToneCnt icon; the octave in which each of the accidentals appears (on the staff) by clicking the ClefOrd icon; and the font and character to be used in place of the normal sharps and flats (if you want) by clicking the Attributes icon. You can define 64 such linear key formats, and scroll through them using the Prev and Next buttons. The scroll bar, on the other hand, lets you move through the different keys within a single key format system. • Nonlinear Key Signature. A nonlinear key signature is one for which there’s no "circle of fifths"; in fact, there’s no sequence of keys at all. Whereas a linear key format is a system of related keys and key signatures, a nonlinear key signature is a single key signature unto itself, unrelated in any way to any other key signature. A nonlinear key signature can contain one sharp and one flat, for example, on any notes of the scale, and there need not be any logic to their positions. Because a nonlinear key signature has no related progressions to other keys, you’ll discover that the scroll bar is inactive if you’ve selected the Nonlinear Key Signature button. • KeyMap. Click this icon to display the Key Step Map dialog box, in which you specify how many steps you want in an octave, as well as which steps are "diatonic" and which "chromatic." See Key Step Map dialog box. • AOrdAmt. Click this icon to display the Accidental Order and Amount dialog box, in which you specify which accidentals you want to appear with each progression to a new key (if you’re in a linear key format), and which lines or spaces they should appear on. See Accidental Order and Amount dialog box. • ToneCnt. Click this icon to display the Tone Center(s) dialog box, where you can specify the tone center, or "root," of each key, as specified by each appearance of a new accidental in the key signature. See Tone Center(s) dialog box. 1503

• ClefOrd. Click this icon to display the Accidental Octave Placement dialog box, where you can specify the octave in which you want each accidental to appear, based on each individual clef. See Accidental Octave Placement dialog box. • Attribute. Click this icon to display the Special Key Signature Attributes dialog box, in which you can specify a number of miscellaneous attributes for the key format you’re creating. For example, you can specify nonstandard symbols to be used instead of the normal sharps and flats in the key signature. See Special Key Signature Attributes dialog box. • Next • Previous. Click these buttons to scroll from one linear key format (or nonlinear key signature) to another. Remember that linear key formats 0 and 1 have been predefined as the standard major and (natural) minor key systems, respectively. • OK • Cancel. Click OK to tell Finale that you want to proceed with your key signature selection. You proceed to the next dialog box. Click Cancel to return to the score without changing the key signature. Any key signatures you’ve already created or modified in the Nonstandard Key Signature dialog box, however, will be preserved. Tip: Treble Clef=0; Bass Clef=3. See Also: Key Signature Key Signature Tool

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Notehead Settings dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Special Tools Tool , and click a measure containing notes. Click the Note Shape Tool; handles appear on each notehead. Right-click the handle on the notehead and choose Edit.

What it does The Notehead Settings dialog box allows you to specify the horizontal and vertical positioning of a notehead, relative to the default position; change the size of the notehead; and choose an alternate character or font for the notehead, and choose Edit. • Positioning: Horizontal • Vertical • Allow Vertical Positioning. Enter the precise amount to offset the notehead. Positive numbers will move the notehead to the right; negative numbers will move the notehead to the left. This dialog box will use the same measurement units found in the Edit menu, Measurement Units submenu. Check the Allow Vertical Positioning box to access the Vertical text box. • Size: Resize To __ %. This text box specifies how much you want to resize the notehead, expressed as a percentage of the original full size. • Font: Use Default Accidental Font • Set Font • [Font]. Check this box to use the default font in the Select Default Fonts dialog box for noteheads. To select a different font, click Set Font. Underneath the Set Font button, Finale will display the currently selected font for noteheads. 1505

• Alternate Character: Select. Click Select to display the Symbol Selection dialog box, where you can select a font character to replace the selected notehead. • OK • Cancel. Click OK to return to the score, where you’ll see the effects of your notehead changes. The handle you clicked remains selected to remind you that you’ve modified it. Click Cancel to return to the score without changing any noteheads. See Also: Special Tools Tool

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Note Shapes dialog box

How to get there Click the Staff Tool , and double-click a staff whose note shapes you want to modify. Select Note Shapes from the Notation Style drop-down list, and then click Select.

What it does The Special Tools Tool lets you change normal noteheads to X noteheads, diamond noteheads, and so on, on a case-by-case basis. There may be times, however, when you need every occurrence of a certain pitch to have a certain shape. "Shape-note" gospel music uses such a system, for example, as do many drum parts. This dialog box not only lets you specify a different note shape for every note of the scale, but even a different note shape for every rhythmic value for every note of the scale. See also Staff Styles. You can also use this feature for creating rhythm part slashes by using the slash mark instead of a notehead. • Replace: Double Whole • Half • Quarter. Using this drop-down list, select the traditional notehead shape you want to change. The default notehead , for Whole is , for Half is , and for Quarter (and for Double Whole is smaller values) is . Bear in mind that you can specify a different notehead shape for each of these noteheads for each step of the scale. • Noteheads on Scale Degree ___ • [Arrow controls]. Either type, or click the arrow controls to select, the scale degree number for which you want to change the selected notehead shapes. For example, to change every occurrence of G to an X-notehead in the key of C, enter 5 in this text box, since G is the fifth note of the scale. • With This Symbol: ___ • Select. The character displayed in this text box is the alphabetic equivalent of the particular notehead shape you’re specifying; it appears in the system font, regardless of what it looks like in the music font. For example, even if you’ve selected an X notehead in the 1507

Maestro music font, you’ll see an upside-down question mark in this text box. Instead of having to look up the alphabetic equivalent for the music symbol you want, simply click Select. Finale displays a palette containing every symbol in the music font; double-click the shape you want to use as the replacement notehead. When you return to the dialog box, Finale enters the symbol’s alphabetic system font equivalent in the text box automatically. • Use Note Shapes. This checkbox, which only appears if you’ve chosen Note Shapes from Document Options - Notes and Rests, is the master switch for the settings you’ve made in this dialog box. When it’s selected, the document displays your new notehead shapes; deselect this checkbox to restore normal noteheads (until you re-select it). • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, any changes in the note shape scheme you’ve established and dismiss the dialog box. See Also: Staff Styles Staff Attributes

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Open File dialog box

How to get there This dialog box appears when you use Finale's File menu to open or save files. It appears when you choose Place Graphics from the Graphics menu (or when you click in the Shape Designer's drawing area when the Graphics Tool is selected). Use this dialog box to open an existing Finale or MIDI file that you want to work on in Finale. Or, use it to open Finale libraries which contain music markings that you can use in your score. Or, use it to place graphics that you want to place directly onto the score, such as a company logo, or place graphics into the Shape Designer to use as an articulation or an expression. You can also use this dialog box to save the current score that you're working in Finale. Or, use it to save Finale libraries which contain the current set of music markings present in your score. This dialog box works the same as any standard Windows Open or Save dialog box. The only difference is the File Type.

What it does In this dialog box, you can specify what kind of file you want to save or open. List Files of Type Choose the file type you want to open or save from the drop-down list, or choose All Files to display all the files in the current directory regardless of file type. Choose Finale Notation File (.MUS) to display "regular" Finale files. Choose MIDI File to display Standard MIDI Files created in Finale or a sequencer program. Choose Coda Template File (.FTM) to display Finale files saved as templates. These files open as "Untitled," but contain all the custom 1509

score settings contained in the template file. Choose Lesson File (.LSN) to open a lesson created in the Exercise Wizard. In the Load Library dialog box, choose Library File (.LIB) to display the available Finale libraries (sets of musical markings such as Articulations and Expressions). In the Place Graphic dialog box, choose TIFF File (.TIF), Windows Metafile (.WMF), or Encapsulated PostScript Listing (.EPS), or one of the other available formats to display the files of the selected type in the scrolling list. Choose All Files to display files of all types in the scrolling list. See Also: File menu

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Optional Octave Region dialog box

How to get there From the Utilities menu, choose Add SmartMusic Markers. Select Optional Octave from the marker list on the left and click add. Or, select an existing optional octave marker from the Marker window and click Edit.

What it does Use the settings in this dialog box to control the measure assignment for the Optional Octave SmartMusic Marker you are adding or editing. • Rehearsal Mark • Bar • Note • Repeat. Choose a rehearsal mark, repeat, or specify a bar and note to add an Optional Octave marker. Use the From and To rows of options to specify the region. • Up • Down. Choose Up to recognize a performance that sounds an octave higher than writtern. Choose down to recognize a performance that sounds an octave lower than written. • OK • Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic Markers dialog box without making changes.

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Ossia Measure Designer dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Ossia Tool . If you’re in Page View, double-click the location on the page to which you want to attach the "floating measure." If you’re in Scroll View, click the measure to which you want it attached (or click again if there’s already a floating measure attached to it). Or, to edit an existing floating measure, double-click its handle.

What it does An "ossia" measure is a floating measure, unattached to the score itself, that you can place anywhere in the score (for use as an explication of a trill, for example). The contents of such a measure are created and edited in an actual measure, called the "source measure," which you can later hide. This dialog box lets you specify the source measure on which you’re basing the floating one, as well as several visual aspects of the floating measure.

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There are two kinds of ossia measures. A measure-assigned ossia measure, which you create in Scroll View or Page View, remains attached to its measure in the score, even if that measure’s position in the score changes. A pageassigned ossia measure, which you create in Page View, remains fixed to a given place on the page, regardless of any repositioning of the music around it. • Attach to: Measure • Page. Click on Measure to have the ossia move with the measure listed. Click on Page to have the ossia only appear on the page listed. If you entered the dialog box from Scroll View, you will only have Attach to Measure as a choice. Once created, you cannot edit the attachment. • Source Staff. From this drop-down menu, choose the staff in which the source measure is found. Finale automatically enters the nearest staff for the Source Staff. • Source Measure. In this text box, enter the number of the source measure. In Scroll View, Finale automatically enters the nearest measure for the Source Measure. • Bracket Group • Select. If you wish, you can provide the Ossia measure with its own brace or bracket. (If you want to bracket the floating measure together with staves in the score, remember that you can always drag one end of a normal staff bracket until it’s long enough to enclose the floating measure.) To specify a bracket for a floating measure, click Select; the Bracket dialog box appears, in which you can select a bracket and specify its positioning. See Bracket dialog box. • Barline. Click the barline icon that you want to be the floating measure’s right barline. For a more complete discussion of these options, see Measure Attributes dialog box. • Clef • Select • Key Signature • Time Signature. Click Select to set the floating measure’s clef (double-click your selection from the Clef palette that appears). Click the Key Signature or Time Signature button to set the floating measure’s key or time signature. (Otherwise, the floating measure uses the same default key and time settings of the source measure.) • Items to Display: Endings and Text Repeats • Measure Attached Expressions • Left Line • Staff • Key Signature • Time Signature • Clefs. Deselect the appropriate checkbox for any of these musical elements you don’t want drawn in the floating measure (assuming they were present in the source measure). Staff refers to the staff lines; Endings and Text Repeats refers to any repeat barline or text repeats you’ve created using the Repeat Tool. Left Line is the left barline. • Scale to __ %. The number in this text box determines how large or small the floating measure will be (as a percentage of normal size). (Many music 1513

publishers print such annotative music at a smaller size than the rest of the music.) • Top Margin. The number in this text box sets the distance between the top line of the floating measure and the floating measure’s handle. A positive number moves the floating measure upward in relation to its handle; a negative number moves it downward (but it’s easier to position the measure by dragging its handle once you’ve returned to the score). • Left Margin • Right Offset. When you create a measure-assigned floating measure (in Scroll View), its initial width setting is determined by the width of the measure you assigned it to (by clicking). By changing the number in the Left Margin and Right Offset text boxes, however, you can change the floating measure’s width. (These parameters also adjust the width of a page-assigned floating measure, but are less necessary, because you specify the width of a page-assigned floating measure in another dialog box.) A positive Left Margin value moves the left barline to the right (making the measure narrower), and a positive Right Offset value moves the right barline to the right (making the measure wider). • Center Pull. The number in this text box moves the music within the floating measure. A positive number moves the music farther to the right (away from the clef and key signature); a negative number moves it to the left (closer to the clef and key signature). • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and proceed to the next dialog box—or return to the score. Click Cancel to tell Finale to ignore any changes you made in this dialog box. You return to the score, and no floating measure appears (unless you were editing an existing floating measure). See Also: Ossia Ossia Tool

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Page Assignment for Ossia Measure dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Ossia Tool . In Page View double-click the location on the page to which you want to attach the "floating measure." The Ossia Designer dialog box appears; click OK. Or, if an Ossia is already in the score, shift-double-click its handle (Page View only).

What it does There are two distinctly different kinds of "ossia" measures. One kind of floating measure, called measure-assigned Ossia has a position that remains fixed relative to the measure to which it is attached. The other, called pageassigned Ossia, can be created only in Page View, and is attached permanently to a particular spot on the page, where it will remain even if the "real" music around it changes position. In this dialog box, you specify a pageassigned floating measure’s precise positioning in relation to the page to which it’s attached. • Distance from Top of Page: H: • V:. The numbers in these text boxes determine the precise position of the floating measure in relation to the margins of the page to which it’s attached. A positive H: (horizontal) number moves the measure to the right; a positive V: (vertical) number moves the measure upward. (Keep in mind, however, that you can also move the floating measure into position in the score by dragging its handle.) If H: and V: were both zero, the floating measure would be squarely superimposed on the intersection of the top and left page margins. • Measure Width. The number in this text box determines the horizontal width of the floating measure. (The Left and Right Offset values are measured in relation to this master width measurement.)

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• OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box. You return to the score. See Also: Ossia Measure Designer Ossia Tool

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How to get there From the Page Format submenu of the Document menu, choose Parts. Or, choose Extract Parts from the File menu. Click Page Format to access the Page Format for Parts dialog box.

What it does The text boxes in the Page Format for Parts dialog box let you globally define various page layout aspects for your document: parameters for margins, page size, and music size. Settings in the Page Format for Parts dialog box let you define page formats separately for new left and right pages in your score. You can also position the first page’s top margin and the first staff system. The Page Format for Parts dialog box affects the page layout settings for the parts you create, instead of the full score. • Page Size: Height • Width • Portrait • Landscape. The numbers in the height and width text boxes specify the default size for new pages yet to be created. The default page size is 8.5 by 11 inches. The Portrait and Landscape radio buttons lets you determine your score’s orientation. You

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can also choose from the page sizes in the drop-down menu, which displays your choices from your pagesizes.txt file. • System Scaling: Staff Height • And Scale System • Resulting System Scaling. Set the staff height, then apply a percentage to the value. The static text is the cumulative effect for all staves in the score. Tip: the absolute staff height is 96 EVPUs or .3333 inches or .8467 cm. • Scale Page to:. You can change the number in this text box to specify the percentage of enlargement or reduction you want applied to the music on all pages, expressed as a percentage of normal size. • Staff System Margins: Top • Left • Bottom • Right • Distance Between Systems. The System Margins represent the distance from the edge of each system to the Page margins (Right and Left), or the distance between one system and the one above it (Top), or the extra space between the bottom of one system and the top of the next (Bottom). The distance between the bottom of one system and top of the following system is the distance between systems. • First Staff System Margins: Top • Left • Distance from Top. Use these controls to make room for the title on the first page of your score. Enter a value in the Top text box to tell Finale how far down the page to place the first system, measured down from the top page margin. The Left value specifies how far you want Finale to indent the first system on the first page. Enter a value for the distance from the page margin. • Left Page Margins: Top • Bottom • Left • Right. The settings in this group box apply to newly created left pages when you’ve selected Facing Pages. All even-numbered pages are considered left pages (as Finale numbers them in Page View). When Facing Pages is not selected, these settings apply to all newly created pages. • Facing Pages. When this checkbox is selected, Finale automatically uses the settings in both the Left and Right Page Margins group boxes for new left and right pages in your score. Select this option if you want different formats or margins for your left and right pages. To Finale, all even pages are left-facing pages, and all odd pages are right-facing pages (as Finale numbers them at the bottom of the window in Page View). If Facing Pages is not selected, Finale uses the Left Page Margins settings for every page. • Right Page Margins: Top • Bottom • Left • Right. These settings apply to newly created right pages when Facing Pages is selected. All oddnumbered pages are considered right pages (as Finale numbers them in Page View). When Facing Pages is not selected, Finale does not use these settings. • First Page Top Margin. Check this box to use a different value for the first page than the default for other pages. This value sets the position of the top 1518

page margin on the first page of your music. Enter a value to specify where, measured from the top of the page, Finale should place the music. • Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. Select the measurement unit for the values in this dialog box only. • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score. Click Cancel to tell Finale to ignore any changes you made in this dialog box. You return to the score. See Also: Extract Parts Document menu

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How to get there From the Document menu, choose Page Format > Parts or Score.

What it does The text boxes in the Page Format for Score dialog box let you globally define various page layout aspects for your document: parameters for margins, page size, and music size. Settings in the Page Format for Score dialog box let you define page formats separately for new left and right pages in your score. You can also position the first page’s top margin and the first staff system. Once you’ve changed any of the page layout variables, Finale will only apply the changed format to any new pages it creates—not the pages already created. You can use this trait to your advantage, since it allows you to use several different page layout schemes within a single document, if you wish. To update staff margins and page margins of pages that are already in the score, you’ll use the Page Layout menu’s Redefine Pages submenu, which allows you to update all existing pages in your piece, just the left pages, or just the right pages. You can also easily insert and delete blank pages in your score. 1520

• Page Size: Height • Width • Portrait • Landscape. The numbers in the height and width text boxes specify the default size for new pages yet to be created. The default page size is 8.5 by 11 inches. The Portrait and Landscape radio buttons lets you determine your score’s orientation. You can also choose from the page sizes in the drop-down menu, which displays your choices from your pagesizes.txt file. • System Scaling: Staff Height • And Scale System • Resulting System Scaling. Set the staff height, then apply a percentage to the value. The static text is the cumulative effect for all staves in the score. Tip: the absolute staff height is 96 EVPUs or .3333 inches or .8467 cm. • Scale Page to:. You can change the number in this text box to specify the percentage of enlargement or reduction you want applied to the music on all pages, expressed as a percentage of normal size. • Staff System Margins: Top • Left • Bottom • Right • Distance Between Systems. The System Margins represent the distance from the edge of each system to the Page margins (Right and Left), or the distance between one system and the one above it (Top), or the extra space between the bottom of one system and the top of the next (Bottom). The distance between the bottom of one system and top of the following system is the distance between systems. • First Staff System Margins: Top • Left • Distance from Top. Use these controls to make room for the title on the first page of your score. Enter a value in the Top text box to tell Finale how far down the page to place the first system, measured down from the top page margin. The Left value specifies how far you want Finale to indent the first system on the first page. Enter a value for the distance from the page margin. • Left Page Margins: Top • Bottom • Left • Right. The settings in this group box apply to newly created left pages when you’ve selected Facing Pages. All even-numbered pages are considered left pages (as Finale numbers them in Page View). When Facing Pages is not selected, these settings apply to all newly created pages. • Facing Pages. When this checkbox is selected, Finale automatically uses the settings in both the Left and Right Page Margins group boxes for new left and right pages in your score. Select this option if you want different formats or margins for your left and right pages. To Finale, all even pages are left-facing pages, and all odd pages are right-facing pages (as Finale numbers them at the bottom of the window in Page View). If Facing Pages is not selected, Finale uses the Left Page Margins settings for every page. • Right Page Margins: Top • Bottom • Left • Right. These settings apply to newly created right pages when Facing Pages is selected. All oddnumbered pages are considered right pages (as Finale numbers them in 1521

Page View). When Facing Pages is not selected, Finale does not use these settings. • First Page Top Margin. Check this box to use a different value for the first page than the default for other pages. This value sets the position of the top page margin on the first page of your music. Enter a value to specify where, measured from the top of the page, Finale should place the music. • Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. Select the measurement unit for the values in this dialog box only. • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score. Click Cancel to tell Finale to ignore any changes you made in this dialog box. You return to the score. See Also: Document menu Page Layout Tool

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Page Offset dialog box

How to get there Click the Text Tool . Select a page number insert in a text block then select Edit Page Offset from the Text menu.

What it does The Page Offset dialog box allows you to enter a number to add to Finale’s current page number. Select a page number insert in a text block, then choose this command. The Page Offset dialog box appears, where you can enter a number to add to Finale’s current page number. • Add to Current Page Number. If you start a movement in a new file, you might want to start numbering the first page of the new file at page 5; in this case enter 4 in the text box (page 1 of the current file, plus 4 pages offset). To number pages using the current page number (Finale’s page number), do not change the Page Offset number (it should be zero). • OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score. See Also: Text menu Text Tool

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Page Setup dialog box

How to get there Choose Page Setup from the File menu.

What it does In this dialog box, you can specify which paper size you want to print on, but note that the page size of your score itself is completely independent of the page size you specify here. (Use the Page Layout Tool to set the actual printed image size.) To ensure that no music will be chopped off when you print, the size of the page as set by the Page Layout Tool should be equal to or smaller than that specified in the Page Setup dialog box. Finally, you can specify your choice of orientation (Portrait or Landscape) in this dialog box.

See Also: Printing File menu

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Page Size dialog box

How to get there From the File menu, choose Printer Page Setup.

What it does Use this dialog box to change the size or orientation of the specified pages. • [Page sizes] • Width: • Height: • Portrait • Landscape. Select the desired page size from the drop-down list or type in the desired Width and Height (custom will be displayed in the drop-down list). Select Portrait or Landscape as well. • Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all parts and the score. • Change: Page __ only • All Pages • Left Pages • Right Pages • Page Range: From • To. Use these options to select the pages you would like affected by the page size settings you have made. • OK • Cancel. Click OK to execute the selected changes. Click Cancel to return to the Page Layout window without any changes. See Also: Page Layout Page Layout menu 1525

Page Layout Tool

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Part Creation Preferences dialog box

How to get there From the Documents menu, choose Manage Parts. Click Part Creation Preferences.

What it does Use this dialog box to specify properties of newly generated linked parts including multimeasure rests, music spacing, and measure layout. These settings only apply to newly created parts or staves added or removed from an existing part. • Create Mulitmeasure Rests; Multimeasure Rests. Check this box to specify you want to automatically replace consecutive empty measures (containing only default whole rests) with multimeasure rests while generating parts. Note: If this box is checked while creating a part from an empty instrument staff, that instrument’s part will display as a single multimeasure rest. Click Multimeasure Rests to open Document OptionsMultimeasure Rests to edit multimeasure rest options. • Apply Beat Spacing • Apply Note Spacing • Apply Time Signature Spacing • Copy Spacing From Score. Choose one of these options to specify the type of music spacing to use in newly generated parts. For a description of Beat, Note, and Time Signature spacing. Choose Copy 1527

Spacing From Score to use the same measure widths from the score in new parts. Click Music Spacing Options to open Document Options-Music Spacing for more music spacing options. • Fit ___ Measures per System • Treat Multimeasure Rests as One Measure. The Measures per System option lets you specify how many measures per line you want for new parts. You may optionally treat multimeasure rests as one measure (when checked) or count each measure inside the multi-measure rest individually (when unchecked). • Space Systems Evenly. Check this box to instruct Finale to place systems evenly spaced on the page vertically, to make maximum use of the page. See Space Systems Evenly dialog box. • Page Format for Parts. Choose this option to open the Page Format for Parts dialog box where you can establish the default values for the page layout of new parts. See Page Format for Score and Page Format for Parts dialog boxes. • OK • Cancel. Click OK to confirm your part settings and return to the active document. Click cancel to discard your changes and dismiss the dialog box.

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Paste Multiple dialog box

How to get there Click the Selection Tool , and select a region of measures. From the Edit menu, choose Cut or Copy (or press Ctrl-C or Ctrl-X). Highlight the first measure of the desired destination region, and from the Edit menu, choose Paste Multiple (or press Ctrl-Alt-V).

What it does When you copy music using the Paste Multiple command, Finale offers you the chance to create multiple copies, placed one after another. For example, if you want a one-measure bass figure to repeat three times, you need only enter it once (in the first measure); then you can use the Selection Tool to copy it into the second measure using the Paste Multiple command. This dialog box appears, asking how many times you want it copied; for example, enter 3 for Paste Horizontally and click OK. Finale will copy the selected measure into measures 2, 3, and 4. • Paste Horizontally; To the End of the Score. In this text box, enter the number of times you want the selected music copied horizontally (towards the end of the score). If you enter a number higher than 1, Finale will place the additional copies after the first copy, on the same set of staves. Choose To the End of the Score to replicate the source material throughout all subsequent measures in the score. • Paste Vertically; To the Bottom of the Score. In this text box, enter the number of times you want the selected music copied vertically (towards the bottom of the score). If you enter a number higher than 1, Finale will place the additional copies beneath the first copy, on subsequent staves of the system. Choose To the Bottom of the Score to replicate the source material throughout all subsequent staves in the score. • OK • Cancel. Click OK to proceed with, or Cancel to abort, the copying process. You return to the score. 1529

See Also: Copying Music Selection Tool

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Partial Measure Selection dialog box

This alert appears when you select only part of a measure, but then choose a command that works only on full measures. To view this dialog box, click the Selection Tool. Select a region containing partial measures. Choose one of the following Utilities menu commands, which can only be applied to increments of a full measure: Check Ties, Convert Mirrors, Explode Music, Implode Music; Music Spacing submenu: Apply Beat Spacing, Apply Note Spacing, Apply Time Signature Spacing; Fit Measures; Move/Copy Layers.

See Also: Edit menu

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Percent Alteration-Continuous Data dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. (If you’re editing only a single staff, double-click the highlighted area to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Continuous Data from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Percent Alter from the MIDI Tool menu.

What it does This dialog box’s function is to change the continuous data value of every note in the selected region by a percentage of its current value. Because it changes the data of every selected note by a percentage, the Percent Alter command preserves the relative proportions of the existing values. • ___ percent of current value. In this text box, enter the percentage by which you want the MIDI controller settings changed for the selected notes. This value can be any number above zero—you can enter 300%, for example, to make a particular value three times its current value. (The absolute value of MIDI controllers can’t exceed 127, however.) When you select Continuous Data from the MIDI Tool menu, a dialog box appears in which you can specify the MIDI controller or wheel data you want to edit—pedaling, patch changes, pitch wheel, and so on. In this case, the number in the Percent Alteration text box specifies a percentage by which you want that controller’s values multiplied for all the selected music. The Percent Alter command isn’t relevant if you’ve specified a noncontinuous controller such as the sustain pedal or a patch change; it may be useful, however, if you want to increase the degree of pitch bend or monophonic aftertouch by a uniform amount for every note in the selected region. 1532

• OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool menu MIDI Tool

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Percent Alteration Key Velocities dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. (If you’re editing only a single staff, double-click the highlighted area to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Key Velocities from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Percent Alter from the MIDI Tool menu.

What it does This dialog box’s function is to change the key velocity of every note in the selected region by a percentage of its current value. Because it changes the data of every selected note by a percentage, the Percent Alter command preserves the relative proportions of the existing values. For example, you can specify that each note in a selected region should be played back with half its volume by entering 50 (%) in the text box. • ___ percent of current value. In this text box, enter the percentage by which you want the key velocities changed for the selected notes. This value can be any number above zero—you can enter 300%, for example, to make a particular value three times its current value. (The absolute value of key velocities can’t exceed 127, however.) The number in this text box represents a percentage of each note’s current MIDI velocity level; MIDI key velocity is measured on a scale from zero, which is silent, to 127, which is very loud. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: 1534


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Percent Alteration Tempo dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. (If you’re editing only a single staff, double-click the highlighted area to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Tempo from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Percent Alter from the MIDI Tool menu.

What it does This dialog box’s function is to change the tempo of every note in the selected region by a percentage of its current value. Because it changes the data of every selected note by a percentage, the Percent Alter command preserves the relative proportions of the existing values. For example, you can specify that each note in a selected region should be played back at half the number of beats per minute by entering 50 (%) in the text box. • ___ percent of current value. In this text box, enter the percentage by which you want the number of beats per minute to be changed for the selected notes. This value can be any number above zero—you can enter 300%, for example, to make a particular value three times its current value. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool menu MIDI Tool

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Percent Alteration Note Durations dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. (If you’re editing only a single staff, double-click the highlighted area to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Note Durations from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Percent Alter from the MIDI Tool menu.

What it does This dialog box’s function is to change the duration of every note in the selected region by a percentage of its current value. Because it changes the data of every selected note by a percentage, the Percent Alter command preserves the relative proportions of the existing values. • ___ percent of current value. In this text box, enter the percentage by which you want the note durations changed for the selected notes. This value can be any number above zero—you can enter 300%, for example, to make a particular value three times its current value. The number in this text box represents the amount by which you want to shorten or lengthen the playback durations of all selected notes (regardless of their notated durations). Note that this is the only MIDI Tool command that directly modifies the durations of existing notes (the other commands modify the notes’ durations indirectly, by manipulating their Start and Stop Times). For example, if you want a region of eighth notes and quarter notes to play back staccato, enter 50 (%) in this box; the notes will be sustained for only half their original durations. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

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See Also: MIDI Tool menu MIDI Tool

1538

Percussion Layout Designer dialog box

How to get there Click the Staff Tool . Double-click a staff to open the Staff Attributes dialog box. Select Percussion from the Notation Style drop-down list if it’s not already selected. Click Select. Click Edit or Create in the Percussion Layout Selection dialog box.

What it does Use the Percussion Layout Designer dialog box to create or edit a layout for percussion notation. Each note definition you create or edit for a percussion instrument (such as a hi-hat, bass drum, snare drum, and so on) has a particular notehead shape and occupies a specific space or line on the staff. Finale automatically applies these settings whenever that note is entered on the staff. For example, you might follow the common convention of notating hihat cymbals with X noteheads that always appear above the top line of a staff. After defined here, when you enter, Finale knows to display it as an open or

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closed (depending on the note’s duration) X notehead above the top line of the staff, without any further action on your part. To make it easy for you to set up a percussion staff, percussion layouts are defined for staves automatically when you begin a new score with the Document Setup Wizard. You can use the layouts as they are, or customize them for your percussion staves. • Layout Name. Enter a name for the percussion layout. You can use this layout for any staff in your score. • [Note Type/Noteheads preview]. This drop-down menu displays all the note definitions for the current percussion layout. Click an item in this list and then modify the settings to the right to edit the note's definition. To set up a new note, click the + (plus) button to the lower left. Select an item in this list and click the - (minus) key to delete it. Use the up arrow to move the selected item up in the list. Use the down arrow to move the selected item down in the list. • Go to Note. Instead of scrolling to the note that you want to edit in the list box, click the Go to Note button and play the desired note on your MIDI instrument. Finale selects the corresponding item in the list box. • Note Type: Snare drum...Custom. From this drop-down menu, select a percussion instrument (snare drum, bass drum, cymbal, and so on) that the note represents. You will find a large number of choices from these menus and submenus. Choose custom to define a new note type. All of these note types are defined in the "PercNoteTypes.txt" file located in the Finale/Resources folder. • Staff Position. This text box shows the line or space on the staff on which the notehead is placed, measured (in lines and spaces) from the first ledger line below the staff. Positive values place the notehead above the ledger line, and negative values place it below. Enter a new value or drag the handle in the notehead display area to change the note’s position. • Notehead Display Area. Drag the handle up or down to raise or lower the noteheads. Open and closed noteheads are placed on the same line or space. Finale updates the Staff Position value as you drag, increasing it as you drag the handle up, and decreasing it as you drag the handle down. The Staff Position list box item is updated to reflect your changes. • Closed Notehead • Half Notehead • Whole Notehead • Double-Whole Notehead • Select. Enter the character that you want to use for the note in the list box. Or, click Select to display the Symbol Selection dialog box, which shows all the characters in the notehead font in a graphical palette. Finale supports open and closed noteheads on each staff line. The type of notehead used depends on the duration of the note. Closed noteheads are used for quarter notes or smaller, and open noteheads for half notes. By default, the closed and open noteheads for each entry in the list box use

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the standard quarter and half noteheads. The list box changes to reflect your selections. • OK • Cancel. Click OK to accept or Cancel to disregard your changes and return to the Percussion Layout Selection dialog box.

See Also: Percussion Percussion Map Selection Staff Attributes Staff Tool

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Percussion Layout Selection dialog box

How to get there Click the Staff Tool. Double-click a staff. Choose Percussion from the Notation Style drop-down list if it’s not already selected. Click Select.

What it does The Percussion Layout Selection dialog box displays the percussion layouts available in this document. Finale’s default percussion layouts (which were saved in Finale’s percussion layouts library) appear in this dialog box, as well as any percussion layouts you create or edit. Use this dialog box to edit, create, and delete percussion layouts (that can be used for any staff), and to select the current map that Finale will use with the current staff.

Note: To load a percussion layouts library, which can contain one or more predefined percussion layouts, choose the Load Library command from the File menu and select the 1542

library you want to open. To save a percussion library, choose Save Library from the File menu. Finale saves all the percussion layouts listed in the Percussion Layouts Selection dialog box into one library. • Edit. Click a percussion layout in the list, then click Edit to display the Percussion Layout Designer dialog box, where you can modify the note definitions and change which notes are used for the current staff. Note: Changes made to a percussion layout apply to all staves that use that particular percussion layout. • Create. Click Create to create a new layout. Finale displays the Percussion Layout Designer dialog box, where you can set up the note definitions and specify which notes are used for the current staff. Note: Rather than create new layouts, you may find it easier to edit the percussion layouts contained in Finale’s default percussion library. • Duplicate. Click this button to create a duplicate copy of the selected percussion layout. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Delete. Click this button to delete the currently selected percussion layout from the list. If the map is selected for the current staff or any other staff in the piece, you must choose an alternate percussion layout for those staves before you can delete the percussion layout. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shiftclick to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Select. Click the percussion layout that you want to use for this staff, then click this button to return to the Staff Attributes dialog box. Finale will use the selected percussion layout for this staff until you select a different layout, reset the staff to standard notation, or choose another option from the Notation Style drop-down list in the Staff Attributes dialog box. • Cancel. Click this button if you decide not to change the percussion layout used by this staff. The percussion layout selected when you entered the 1543

dialog box will be saved. All other changes that you made using the Edit, Create or Delete buttons are also saved.

Note: Changes made to a percussion layout apply to all staves that use that particular percussion layout. See Also: Percussion Selection Overview Staff Attributes Staff Tool

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Percussion Input Maps dialog box

How to get there From the MIDI/Audio menu, choose Device Setup Percussion Input Maps.

What it does Different MIDI devices (like Finale's SmartMusic Softsynth, TapSpace Drumline sounds, and external MIDI devices like MIDI keyboards) include various percussion instrument patches (sound banks), each with its own instrument mapping. On each patch, every non-pitched percussion instrument is assigned to a specific MIDI note, and the same instrument may be assigned to different MIDI notes depending on the patch chosen. For example, while the bass drum sound on one patch may be assigned to MIDI note C2, the bass drum on a different patch (or different external MIDI device) may be assigned to F2. When entering non-pitched percussion, choose the MIDI Input Map for your device and the patch you are using in this dialog box. (To hear Finale's interpretation of MIDI pitches entered from an external MIDI device, check MIDI Thru under the MIDI/Audio > Device Setup submenu). • Finale Channel. This equates to the bank of channels represented for MIDI Input in the MIDI Setup dialog box. • Percussion Input Map. From this drop-down menu, choose the device and the specific patch you are using for entry to properly configure percussion MIDI input. Match Input Map to Output Map is selected by default. With this

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option selected, Finale will automatically use the Percussion MIDI Map chosen for playback for the staff as assigned in the Instrument List. • OK • Cancel. Click OK to confirm the MIDI Input Map settings and return to the MIDI Setup dialog box. Click Cancel to discard any changes and return to the MIDI Setup dialog box. If you would like to configure an external MIDI device so that its percussion MIDI mapping is used for input and/or playback, you can define the MIDI notes yourself in the Percussion MIDI Map Editor dialog box. If you converted your document from an older version of Finale, and you find that the note types assigned to a converted percussion layout do not represent your desired sounds, use the Change Note Types dialog box to reconvert note types based on a different mapping.

See Also: MIDI Setup dialog box Configuring Percussion Playback

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Percussion MIDI Map Editor dialog box

How to get there From the MIDI/Audio menu, choose Device Setup > Edit Percussion MIDI Maps.

What it does Use this dialog box to edit Percussion MIDI Maps, which are used to assign instrument sounds to MIDI note numbers. See Percussion MIDI Maps. Each percussion note is assigned to a MIDI note behinds the scenes, which allows Finale to accommodate any playback device (whose MIDI notes may be mapped to different instruments) easily by selecting the appropriate Percussion MIDI Map from the Instrument List. See Configuring Percussion Playback. When you click or type percussion into the score Finale assigns the MIDI note properly. But, if you want Finale to use a different percussion instrument for playback throughout your score (e.g. the "electric snare" sound instead of the "acoustic snare"), or, if you would like to configure percussion sounds for input 1547

with a particular external MIDI device, you can assign your own MIDI notes to percussion instruments in this dialog box. (A Percussion MIDI Map configured for input from an external MIDI device can be selected in the Percussion Input Maps dialog box.) Note that the same percussion MIDI map can be used, and often is, for both MIDI input and playback. Choose MIDI Thru under MIDI/Audio menu > Device Setup to audition the percussion sounds Finale interprets if you want to use your MIDI keyboard for input and not for playback. • Map. Click this drop-down menu to choose the percussion MIDI map you would like to edit. • Name. Click in this text box to rename the selected percussion MIDI map. Do this, for example, if you would like to define a new map for input, overwriting one of Finale's included maps that you do not intend to use. • Add Note Type. From this drop-down menu, select the note type you would like to add. After you select it, click Add Note Type to insert it in the list. • [Note Type List • MIDI Note List]. All percussion instruments in the selected percussion MIDI map are displayed here, along with their corresponding MIDI pitches. Select one of these instruments and play a note on your MIDI keyboard to assign that MIDI pitch to the selected instrument, or click under the MIDI Note column and type to specify a MIDI note. • Remove Note Type. Select a percussion instrument and choose Remove Note Type to delete the instrument from the list. • OK • Cancel. Click OK to confirm your changes and return to the score. Click cancel to dismiss this dialog box without making changes to your MIDI maps.

See Also: Percussion Selection Overview Staff Attributes Staff Tool

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Pickup Measure dialog box

How to get there From the Document menu, choose Pickup Measure.

What it does Use this dialog box if the first measure of your score is a pickup measure; Finale will automatically add blank "count-off beats" before the pickup itself and adjust the measure numbers. You can enter an EDU value yourself (1024 per quarter note); a simpler route is to click on the palette of note values. Click the value of the pickup and click OK. Finale fills in the text box for you. When you return to the score, Finale will have created invisible "rests" at the beginning of the measure for a duration long enough to fill the measure and still leave room for the pickup value you specified. Any notes you now enter will appear after these invisible rests. This method is only effective if the pickup measure is the first measure of the document. • [Note durations]. Click on a note that equals the sum of your pickup notes. • EDUs. Click in the EDUs text box and enter an EDU value (1024 per quarter note) for your pickup notes. This text box will display the EDU equivalent for the selected note duration. • Clear Pickup. Click on Clear Pickups to remove a pickup and restore the measure to a normal, non-pickup, measure. • OK • Cancel. Click Cancel to dismiss the dialog box without changing any pickup settings. Click OK to confirm your pickup settings and return to the score. See Also: Pickup measures Document menu

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Playback and/or Click dialog box

How to get there Click the HyperScribe Tool . Choose Playback and/or Click from the Beat Source submenu of the HyperScribe menu.

What it does Use the Playback and/or Click dialog box to set the recording tempo, to define a start signal for recording, and to select whether staves play back while Finale records your performance. • MIDI Input Tempo; Use Playback Tempo • Use This Tempo • Listen. Select Use Playback Tempo to record using the same tempo assigned to the playback - including expressions and/or the tempo setting in the Playback Controls. (See Playback). When you select Use This Tempo, Finale will use the specified tempo for all HyperScribe record modes. Type the tempo into the text box, or click Listen and the Listen to Tempo dialog box appears; then tap the tempo on your MIDI keyboard or in the dialog box with your mouse. Finale will fill in the tempo for you. See Listen to Tempo dialog box. • Beat equals • EDUs. Click the note duration you would like to use for your beat. Type in the number of EDUs for any duration that is not available from the palette. Note: Finale will not play back staves if either Tap or External MIDI Sync is selected in the Beat Source submenu. • Start Signal for Recording: None (Record Immediately) • Any MIDI Data • Standard Sustain Pedal • Nonstandard Sustain Pedal • Current 1550

Metronome Sound • Other. Choose None (Record Immediately) for Finale to start recording without waiting for any signal to begin. Choose one of the other options to have Finale start recording upon input of any MIDI data; when you press a standard (or a nonstandard) sustain pedal; or when the current metronome click is played, respectively. To define a start signal that is not listed, choose Other; the MIDI Event dialog box appears, where you can enter values for the MIDI event. Or, click Listen, then play the MIDI signal; Finale will enter the settings for you. See MIDI Event dialog box. Note: The Start Signal for Recording setting is used only when you’re recording (and Playback and/or Click is selected in the Beat Source submenu), not when you’re playing back your music. • Play Staves While Recording. Select this option if you want staves selected in the Instrument List to play back. Playback and/or Click must be selected in the Beat Source submenu. See Instrument List window. • Click and Countoff. Click this button to display the Click and Countoff dialog box where you can set various options for the metronome click. See Click and Countoff dialog box. • Cancel • OK. Click OK to confirm the new settings, or click Cancel to discard any changes you made. You return to the score. Tip: Record at a slower tempo if you don’t warm up on Chopin Nocturnes. Start Signal for Recording can be identified from a list of MIDI events or none at all (when you click in the measure Finale will be counting off). See Also HyperScribe menu Click and Countoff HyperScribe Tool

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Placeholder dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Mirror Tool . Click a measure with notes in it. (Or, if you’ve already created a Placeholder— and its Placeholder icon is visible—click the measure.)

What it does This dialog box creates pickup measures. In other words, it creates an invisible "placeholder" of a rhythmic duration you specify at the beginning of the measure. Any existing notes in the measure slide to the right side of the measure, thus becoming pickup notes. (Finale provides a second method of creating a pickup measure if it’s the first measure in your score. See Pickup Measure) • Placeholder for Frame (#). This indicator identifies the frame (one measure on one staff) you clicked. • Rest for __. Finale multiplies the number in this text box by whatever durational value you’ve selected (see below). At the beginning of the measure, Finale inserts "placeholders" (hidden rests) of the resulting duration, pushing any existing notes to the right (to become pickup notes). For example, if you want to create a pickup in 4/4 consisting of three eighth notes, you need to create a "rest" the equivalent of five eighth notes to precede them. Enter 5 in the text box and select Eighth(s) from the list of durations (see below). • Half(s) • Dotted Quarter(s) • Quarter(s) • etc. Select one of these durational values, which is then multiplied by the number in the Rest for text 1552

box. In this way you indicate how many placeholders of the specified duration you want Finale to insert before the pickup notes. • Delete. If you entered this dialog box by clicking an existing pickup measure (identified by a Placeholder icon), you can restore it to "normal" measure status by clicking Delete. • OK • Cancel. Click OK to confirm your placeholder definition. If you’re creating a new placeholder, another dialog box appears, asking whether this is to be a pickup measure in every staff, or just the staff you clicked. Click the appropriate response. You then return to the score, where Finale displays a Placeholder icon on the pickup measure to help you identify it. Click Cancel if you decide not to create (or change) a pickup measure. You can modify your placeholder settings at any time by clicking any measure displaying a placeholder icon. See Also: Mirror Tool

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Playback Controls dialog box

How to get there Choose Playback Controls from the Window menu.

What it does Playback Controls is a docked toolbar or floating window that give you tapedeck–like buttons for controlling the playback of your score. Click on the Playback Settings button to open the Playback Settings dialog box where you can specify a number of playback options, such as the tempo, range of measures to be played, overall volume level, and so on. Also, Playback Settings give access to the Playback Options dialog box, where you can further specify Finale’s playback behavior. Playback Controls supports Finale’s HyperScribe recording and playback functions as well. To start recording, you can click Record in Playback Controls after selecting “R” for a staff in the Mixer, Staff Controls or Instrument List. • Rewind to Beginning . Click this button to enter the number 1 into the Measure text box, which indicates where playback will begin. If the music is already playing back when you click this button, Finale will stop playback for a moment, jump to the beginning of the score, and resume playback from there. • Rewind . Click this button and hold the button down to make the number in the Measure text box decrease rapidly. If the music is already playing back and you want to hear something again, click this button for a moment, then release; playback will resume from the measure number (that you just changed) in the Measure box. • Stop • Play • Pause. Click Stop to halt playback and reset the Measure text box to its original value (or, rather, to the value indicated by the Play From controls; see below). Click Play to begin playback. While the music is playing, the Measure text box shows you the measure being played. If you click Pause playback will stop and the Measure text box will show the measure you stopped at. After you click Pause, click Play to resume playback from the place you stopped. • Record . Click Record to start recording when HyperScribe is the selected tool. Be sure that you have specified a staff for recording into in the Instrument List window. Based on your settings in the Click and 1554

Countoff dialog box, Finale will either start recording immediately, or after playing the indicated number of countoff measures. Unless you’re tapping to provide the beat (Tap is checked in HyperScribe’s Beat Source submenu), Finale will wait for the start signal you selected in the Playback and/or Click dialog box before playing the countoff measures and recording your performance. Note: As a shortcut you can click a measure in your score to start recording, instead of using the Record button. Finale will start recording into the measure you clicked, according to the click and countoff settings, just as if you clicked the Record button. If Multitrack Record is selected in HyperScribe’s Record Mode submenu, you must set up the Instrument List to specify the recording information (which staves or layers to record into, and which channels to receive from). • Fast Forward . This button makes the number in the Measure text box advance rapidly. If the music is already playing back and you want to skip ahead, click this button for a moment, then release; playback will resume from the measure number (that you just changed) in the Measure text box. • Fast Forward to End . When you click this button, the Measure text box shows the number of the last measure in the score. If the music is already playing back when you click this button, Finale will stop playback for a moment, play the last measure of the score, and stop. • Measure__ • Time. This text box has two functions. Before you begin playback, it indicates the first measure and beat to be played. And while playback is underway, it changes to show you the current playback location and EDU. If Current Counter Setting is selected in the Playback Settings dialog box, you can click the up and down arrows to adjust the measure. To specify a start point within the measure, simply enter the desired measure, beat, and EDU separated by “|”s [measure]|[beat]|[EDU]. (See Equivalents for an explanation of EDUs). Note that when you do this, the beat and EDU may temporarily disappear from the display.

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• Playback Settings icon. Most of the time, the controls described above are adequate for controlling playback. If you want to use some of Finale’s more powerful options, click the Playback Settings button. The Playback Settings dialog box opens to reveal several other controls and options. See Playback Settings dialog box. • Tempo: Whole Note • Half Note • Quarter Note • [etc.]. The Playback Tempo is used for playback only. The tempo used for recording is set in the Playback and/or Click dialog box. The Playback tempo controls let you establish the playback tempo for your piece. Of course, if you’ve set up the tempo in other ways—by recording tempo changes played into the Transcription Mode of HyperScribe, for example, or by placing tempo markings into the score—then this tempo setting will have no effect. See Playback and/or Click dialog box. Not every tempo is measured in quarter notes per minute, of course, so you can select the basic unit of the tempo pulse (Half Note, Dotted Quarter Note, and so on) from the Tempo drop-down list. To set the number of beats per minute—the actual tempo—either type a new number into the text box, or click the arrows to increase or decrease the displayed number. See Also: Playback Playback/Record Options Click and Countoff HyperScribe Tool

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Playback Data Dump dialog box

How to get there Click the Expression Tool , and double-click a note or measure. Click Create (or click an existing marking and click Edit). Click the Playback tab to expand the dialog box; choose Dump from the Type drop-down list. If the expression is already in the score, double-click its handle; click the Playback tab; from the Type drop-down list, choose Dump.

What it does This option requires an in-depth understanding of the MIDI protocol. This dialog box offers several data-dump functions, one of these is its ability to enable multiple MIDI channels for the staff in which it appears. You can also use it to transmit System Exclusive MIDI data or a sequencer Start message. • Number of Units. The number in this text box tells Finale how long the MIDI message transmitted by the expression will be, in bytes. If you’re creating an expression whose function is to send a staff’s music over additional MIDI channels, enter 2 or 3 (depending on whether you want the staff’s playback routed to 1 or 2 additional MIDI channels). A staff can play up to three MIDI channels, including the primary MIDI channel you’ve established for the staff. • Data. Enter the codes you want Finale to transmit when it plays back the expression you’re defining for playback. If you prefer, you can enter standard (decimal) notation directly into these boxes (but delete the "$00" first); Finale will automatically convert each number into hexadecimal MIDI notation. If you’re creating an expression that tells Finale to begin sending a staff’s output to additional MIDI channels, enter $FF in the first of these three text 1557

boxes. In the next boxes, enter one or two numbers, corresponding to the MIDI channels you want the staff’s playback routed to minus one. In other words, if you want the staff to play over channels 5 and 6 (in addition to its primary MIDI channel), enter 4 in the second Data box and 5 in the third, because you need to subtract one from each MIDI channel number. Technical note: Here are some other codes you may find useful if you plan to make extensive use of the Data Dump feature. If, at some point in the staff, you want to change only one of the additional two MIDI channels you’ve specified, create another expression whose playback definition is a Data Dump. But in the Data text box that originally displayed the MIDI channel that you don’t want to change at this point, enter the code $FE. Example: Your first Data Dump expression added channels 5 and 6 to the staff’s playback; its Data boxes displayed $FF, 4, and 5. You want the additional channels now to be 5 and 12, so you create a new Data Dump expression; its Data boxes should display $FF, $FE, and 11. Finally, you can "turn off" any additional MIDI channels you’ve specified with a Data Dump expression by entering $FF in the appropriate Data box. Example: Your first Data Dump expression added channels 5 and 6 to the staff’s playback; its Data boxes displayed $FF, 4, and 5. You now want channel 5 to drop out, so you create a new Data Dump expression; its Data boxes should display $FF, $FF, and $FE (because $FE, remember, is the "don’t change this channel" command). • OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box and return to the Expression Designer dialog box. See Also: Expression Designer Expression Selection

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How to get there From the Document menu, choose Playback/Record Options. Or, choose Playback Controls from the Window menu. Click the Playback Settings button; then click Playback/Record Options.

What it does In this dialog box, you can define Finale’s handling of a number of playback variables, for real-time playback, MIDI files and Audio Files. For example, you can specify whether or not it should scan the music and "chase" expression markings that occur before the measure you click (if you’re starting playback in mid-piece); and whether or not Finale should use the tempo, pedaling, and velocity information from your original real-time performance (if your piece is a transcription created with the HyperScribe Tool). • Play Recorded Key Velocities • Play Recorded Note Durations • Play Recorded Continuous Data • Play Recorded Tempo Changes. There are four kinds of playback data Finale stores invisibly with the notes in your score. Key Velocity data describes how hard each note was struck, which usually determines how loudly it plays back. Note Durations means Start and Stop Time data, the small rhythmic deviations from the beat that give a performance a certain rhythmic feel; swing, rolled chords, and rushing the beat are all products of Note Duration data. Continuous data is data generated by the pitch wheel, patch changes, and controllers such as the pedal. And tempo changes, in this case, are tempo changes you created using the Transcription Mode of HyperScribe and adding Time Tags. All of this MIDI information is generated when you record a live performance using HyperScribe. To capture this information in the 1559

Transcription Mode, select the two corresponding checkboxes in the lower-left corner of the Transcription window before transcribing your performance. To record key velocity and Note Duration information using HyperScribe, choose Quantization Settings from the MIDI/Audio menu, then More Quantization Settings before recording, and check Record Key Velocities and Record Note Durations. You can also create this data directly in the score using the MIDI Tool (except for tempo changes, which you can create with the Tempo Tool). Of course, you can place articulation or expression markings into the score that produce similar playback effects. If you select all four checkboxes, then, you’ll hear a playback that precisely duplicates your original performance—complete with pedaling, subtle dynamics, ritards and accelerandi, and uneven rhythms—even if the resulting notated version looks considerably different. If you don’t select any of these checkboxes, Finale will sight-read your notated score exactly as it appears on the screen—which will be a rhythmically square, expressionless playback with no dynamics and no tempo fluctuations. • Ignore Repeats. Select this checkbox if you want Finale to play through your piece, ignoring any repeat barlines or text repeats as though they didn’t exist. • Reset Repeats. Select this checkbox if you want Finale to treat any repeat barlines (or text repeats) it encounters as though it’s reaching them for the first time. If you don’t specify Reset Repeats, Finale will remember how many times it’s encountered each repeat sign each time you stop playback, and—when you start again—it will continue playing your piece as though you’d never stopped. If you’re proofreading a score by playing a section at a time, you probably won’t want to select this option; Finale will "remember its place" as you play each section. • Dynamics and Markings: Reset • Use Current Settings • Chase from First Measure. If you choose Chase from First Measure from this dropdown list, Finale will take a moment to read through, or "chase," any expressions, and patch changes that occur between the beginning of your piece and the first measure you’ve selected to play back. In so doing, Finale can take into account changes in tempo, volume, and patch settings that occurred earlier in the piece so that all MIDI variables will be at the correct current settings. (The "chasing" process may take awhile before playback begins, depending on how far you are from the beginning of the piece.) Choose Reset, on the other hand, if you don’t want Finale to "chase" those tempo, volume, and other markings from the first measure before beginning playback in the middle of a piece. (Instead, Finale will begin playback using the Tempo and Base Key Velocity you’ve indicated in

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Playback Controls and Playback Settings, until it encounters any other expression markings while playing back.) But if you plan to play your piece a section at a time, you may want Finale to simply remember the tempo, volume, and controller settings at the end of each passage you play, so that it will be ready to continue with the next measure. If you select Use Current Settings, Finale doesn’t have to "chase" these expressions from the beginning of the piece each time you continue playback; it remembers them. • Duration of Grace Notes _ EDUs • Set Duration. Enter a value in the EDUs text box to specify the grace note duration (there are 1024 EDUs in one quarter note), or click Set Duration. If you choose Set Duration, the Set Duration dialog box appears and you can choose a duration value from the note palette. Finale will automatically enter the corresponding EDU value in the text box. Grace notes on any given note will play back according to the duration that you specify. • OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box. Finale will use the option settings you’ve just made whenever it plays back your score. Click Cancel to exit the dialog box without changing any settings. See Also: Playback Controls Document menu

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Playback Settings dialog box

How to get there From the Windows menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls.

What it does In this dialog box, you can define Finale’s handling of a number of playback variables, for real-time playback and exported MIDI and Audio files. • Play Mode: Non-Scrolling • Non-Scrolling (Pre-Scan Music) • Scrolling. Choose Non-Scrolling to play back your music without showing a pointer on the music as it plays back. Choose Non-Scrolling (Pre-Scan Music) if you want Finale to pre-process the music before it plays back; no pointer is shown when the music plays back. Choose Scrolling if you want Finale to show a pointer as the music plays back. Finale will automatically pre-scan the music before playing; when the pointer reaches the edge of the window, Finale advances to the next screen of music.

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• Human Playback Style: From this drop-down list, you can choose a playback style such as romantic, jazz, blues, or classical. Finale uses the style chosen to emulate a human performance during playback. Adjustments to the MIDI performance data in tempo, note duration, key velocity, and other MIDI attributes are applied throughout Finale’s performance. When any Human Playback Style is chosen, all other MIDI data deliberately applied to the document ,including data added with the MIDI and Expression Tool, is ignored in favor of theHuman Playback settings. The Human Playback performace will include existing expressions, smart shapes,and other markings in its interpretation based on the style chosen. These settings also apply to saved MIDI files (*.MID) and SmartMusic Accompaniment files (*.SMP). You can turn off human Playback by choosing None from this list. Choose Custom to open the Human Playback Custom Style dialog box where you can configure custom Human Playback Settings. • HP Preferences. Click this button to open the Human Playback Preferences dialog box where you can control how Human Playback deals with existing MIDI data and make additional set tings. • Swing: Swing Values. This control allows you to apply a swing feel to the entire piece. If you’ve created an Expression with a Swing effect, the expression will override this control. Click on the Swing Values drop-down list to select from several levels of swing or type the percentage of swing in the text box (0% = no swing, 100% = standard swing). For more details, see Swing Playback. • Base Key Velocity. This number, on a scale from 0 (silent) to 127 (very loud), establishes the overall key velocity setting for the playback of your piece. (Key velocity is usually equated with volume, but not always. Finale calculates the effect of dynamic markings (expressions) based on this number. In other words, you can make the piece generally softer by decreasing this number (but individual dynamics within the piece will still override the playback control settings). • Always Start at: Measure ___ • Leftmost Measure • Current Counter Setting. Using these options, specify where you want Finale to begin playback; the default settings tell Finale to play from Measure__. Enter a number into the text box (or click the arrows to change the number). Alternatively, you can select the Leftmost Measure displayed on the screen or the current measure displayed in the counter setting box of the Playback Controls. Using the Start and Stop options, you can even tell Finale to play measures that aren’t on the screen. Or, by entering a small range and repeatedly clicking the Play button, you can, in effect, "loop" through a certain segment.

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• Stop at: End of Piece • Measure ___. These controls let you specify where playback should stop. The default setting tells Finale to play to the end of the piece, but you can enter a number into the Measure text box—or click the arrows—to specify a certain stopping point. • Observe Playback Region when saving to a MIDI or audio file. Check this option to limit the duration of MIDI and audio files to the region of measures specified in the options above. • Display Time As: Hours:Minutes:Seconds:Milliseconds • Frames. Here, choose the desired format for time to be displayed on the Playabck Controls. Choose Frames when writing to picture in order to see the MIDI Time Code equivalent, which is the format most likely used in an external media player synched to Finale. • Click and Countoff. Click this button to display the Click and Countoff dialog box, where you can set what will be played for a metronome click, whether a countoff will play and for how long, and when a metronome click will be heard. For information about setting the options for click and countoff in your music, see Click and Countoff dialog box. • Playback Options. Click this button to display the Playback/Record Options dialog box where you can specify how Finale plays back your score. See Playback Options dialog box. • OK • Cancel. Click Cancel to return to your score without making any changes to the dialog box. Click OK (or press enter) to confirm your playback settings and return to the score. See Also: Playback Controls

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Position dialog box

How to get there To set the global position for all full or abbreviated group names in your score, click the Staff Tool. Choose Full Group Name or Abbreviated Group Name from the Set Default Name Positions submenu of the Staff menu. The Position Full Group Name--Default or Position Abbreviated Group Name--Default dialog box appears. To individually position a full or abbreviated group name, click the Staff Tool. Select a group handle. Choose Full Group Name or Abbreviated Group Name from the Position Names submenu of the Staff menu. Or, choose Edit Group Attributes from the Staff menu, then click the Group Name (or Abbr. Group Name) Position button in the Group Attributes dialog box. Or, ctrl-shift-click a group handle. The Position Full Group Name or Position Abbreviated Group Name dialog box appears. To set the position of a custom line text, click the Smart Shape Tool. Choose Smart Shape Options from the Smart Shape menu. Click Select next to Smart Line Style, then Create or Edit. Click Position. The Position Smart Line Text dialog box appears.

What it does Use these dialog boxes to adjust the position of group names in relation to the group of staves—either globally or group-by-group; adjust either the full group name or its abbreviated name; or set the position of custom line text relative to the line. By default, Finale vertically centers all group names between the first 1565

and last staff in the group (the top line of the first staff and the bottom line of the bottom staff). A horizontal line indicates the center of the group. Once you’re in this dialog box, you see the default group or staff name or custom line text displayed in the font and style you’ve selected as the initial font. Drag anywhere in the display area to move the text; place the text wherever you want it in relation to the beginning of the staff or line. Note that Finale measures the vertical distance from the top of the text. • Display area. Drag in the display area to adjust the position of the text relative to the staves or line. • Alignment: Left • Right • Center. From this drop-down list, choose how you want the text aligned, relative to the group of staves or line. The group handle that appears in the score will be placed on the left, right, or center of the name, depending on the alignment you select. When you change the alignment of a group name, Finale automatically updates the Justification drop-down list selection to match your selection. Since group names are most often single line names, you would generally want the justification (the placement of the text within a frame) to match the alignment (used for positioning and handle placement) you select.

These staff names are left-aligned (and left-justified).

These staff names ar e right aligned (and right-justifi ed).

• H: • V:. In these text boxes, you can precisely position the handle for the group names (or the individual group name), relative to the group of staves. The left barline of the staves is the point where H: is zero, so this value will almost always be a negative number. Finale automatically centers group names vertically between staves so the center is the point where V: is zero; the center is also indicated by the horizontal line between the staves in the display area. • Justification: Left • Right • Center • Full • Forced Full. This setting generally matches the Alignment setting (Left, Right or Center) for the group name, however, it’s provided for multi-line group names. (Position Smart Line Style Text does not have this option.)

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From this drop-down list, choose how you want multi-line group names (or individual group names) justified. The longest line of text determines the width of the invisible text frame that surrounds group names. Choose Left, Right, Center, Full, or Forced Full from the Justification submenu to select how you want the text positioned in a frame. Choose Left or Right to place the text on the left or right edge of the frame, or choose Center to center the text between the left and right edges. If you want full justification, choose Forced Full to spread the text evenly between the left and right edges of the frame, including the last line if it contains two or more words. (Choosing Full for group names will left-justify each line, because each line is treated as the last line of a paragraph; choose Forced Full instead.) Remember that Finale will automatically update the Justification dropdown list selection when you choose an option from the Alignment dropdown list. • Expand Single Word. Expand Single Word works with the full justification commands only; it affects the appearance of lines of text containing only one word. It currently has no effect for group names when you choose Full justification, since each line is treated like the last line of a paragraph. However, when Expand Single Word is selected and you choose Forced Full, Finale spreads the letters of single words on lines evenly between the left and right edges of the invisible frame. When Expand Single Word is not selected, all lines containing a single word are left-justified. (Position Smart Line Text does not have this option.) When Expand Single Word is selected and you choose Forced Full justification, Finale spreads the text evenly between the left and right edges of the frame. In lines of text containing only one word, Finale spreads the letters of that word evenly between the left and right edges of the frame. When Expand Single Word is not selected, all lines containing a single word are left-justified. • Cancel • OK. Click OK to confirm the new position of the group names, or click Cancel to discard any changes you made to the group name positions. You return to the Group Attributes dialog box or to the score. See Also: Staff Tool Smart Shape Tool

1567

Position Groups dialog box

How to get there From the Plug-ins menu, choose scoring and arranging, then Update Groups and Brackets. Position.

What it does While managing brackets on optimized systems using the Update Groups and Brackets plug-in, use this dialog box to make detailed changes to group positioning. This dialog box will make changes to all systems checked in the Group Scope List of the Update Groups and Brackets dialog box. Full/Abbreviated Group Name: • Alignment: Left · Right · Center. From this drop-down list, choose how you want group names aligned, relative to the Distance from Staff setting. 1568

The group name handle that appears in the document will be placed to the left, right or center of the name depending on the alignment you select. When you change the alignment of a group name, Finale automatically updates the Justification drop-down list selection to match your selection. Since group names are most often single line names, you would generally want the justification (the placement of the text within a frame) to match the alignment (used for positioning and handle placement) you select. • Justification: Left · Right · Center · Full · Forced Full. This setting generally matches the Alignment setting (Left, Right or Center) for the group name, however, it’s provided for multi-line group names such as trumpet From this drop-down list, choose how you want multi-line group names justified. The longest line of text determines the width of the invisible text frame that surrounds the group names. Choose Left, Right, Center, Full, or Forced Full from the Justification submenu to select how you want the text positioned in a frame. Choose Left or Right to place the text on the left or right edge of the frame, or choose Center to center the text between the left and right edges. If you want full justification, choose Forced Full to spread the text evenly between the left and right edges of the frame, including the last line if it contains two or more words. (Choosing Full for group names will left-justify each line, because each line is treated as the last line of a paragraph; choose Forced Full instead.) Remember that Finale will automatically update the Justification dropdown list selection when you choose an option from the Alignment dropdown list menu. • Distance from Staff: H: · V:. In these text boxes, you can precisely position where the handle for the group name should be placed relative to the staff. The top-left corner of the staff is the point where H: and V: are both zero, so both of the coordinates will almost always be negative numbers. • Expand Single Word. Expand Single Word works with the full justification commands only; it affects the appearance of lines of text containing only one word. It currently has no effect for group names when you choose Full justification, since each line is treated like the last line of a paragraph. However, when Expand Single Word is selected and you choose Forced Full, Finale spreads the letters of single words on lines evenly between the left and right edges of the invisible frame. When Expand Single Word is not selected, all lines containing a single word are left-justified. When Expand Single Word is selected and you choose Forced Full justification, Finale spreads the text evenly between the left and right edges of the frame. In lines of text containing only one word, Finale spreads the letters of that word evenly between the left and right edges of the frame. When 1569

Expand Single Word is not selected, all lines containing a single word are leftjustified. Bracket: • Distance from Left of Staff. Here specify, as a negative value, the distance from the left edge of the staff. • Vertical Adjust (Top of Bracket). Here, you can adjust the positioning of the top of the bracket. The bracket resizes so that the top meets the specified position. The bottom of the bracket remains stationary. (Measured from the top staff line of the top staff in the group). • Vertical Adjust (Bottom of Bracket). Here, you can adjust the positioning of the bottom of the bracket. The bracket resizes so that the bottom meets the specified position. The top of the bracket remains stationary. (Measured from the bottom staff line of the bottom staff in the group). • Units. From this drop-down, choose the measurement units you would like to use for moving group names and/or brackets. See Measurement Units.

1570

Position Measure Number dialog box

How to get there Click the Measure Tool and select Edit Region from the Measure Numbers submenu of the Measure menu. Click Position.

What it does This small graphic display lets you position your measure numbers (relative to the staff) by dragging it within a mock-up of a staff. You don’t have to drag the 0 (the stand-in for a measure number) itself. Instead, drag anywhere in this graphic box; the 0 moves as you drag. • Align: Left • Right • Center. The options in this drop-down list specify the alignment of measure numbers relative to the left and right barlines (closer to one or the other, or centered between them). Your choice here affects the point from which the numbers in the H: and V: text boxes are measured. • Distance from Staff: H: • V:. The numbers in these text boxes specify the exact default position of the number within the measure. As always, a positive H: measurement moves the measure number to the right, and a positive V: measurement moves it upward. • OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made in the measure number’s position. You return to the Measure Number dialog box. See Also: 1571

Measure Number Measure Tool

1572

Preset Arrowhead Selection dialog box

How to get there Click the Smart Shape Tool . Choose Smart Shape Options from the Smart Shape menu. Choose Custom Line from the Smart Line drop-down list. Click Select, then Create or Edit. Click Select next to Preset Arrowhead.

What it does The Preset Arrowhead Selection dialog box allows you to select from a number of shapes to use for your arrowhead.

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• Cancel. Click Cancel to return to the Smart Line Designer dialog box without selecting a preset arrowhead. • Select. After clicking the arrowhead you want to use, click Select. You return to the Smart Line Designer dialog box. Instead of using the Select button, you can simply double-click the desired arrowhead. See Also: Smart Shape Tool

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Print dialog box

How to get there Choose Print from the File menu.

What it does This dialog box lists several printing options, which vary depending on your printer. You can specify, for example, which pages of the score you want to print, and how many copies. You can control whether just odd or even pages print, and you can control how the pages print—in reverse order, or collated, or tiled. These options appear when you print your score by choosing Print or Print Parts from the File menu. You can also print ranges of pages, include registration and crop marks on each page, and print one, two, or four pages of music on one printed page. • [Score/parts list]. Check the box to the left of the parts you want to print. Check Score if you would like to print the score. Click the number to the 1575

right of an option to specify the number of copies for that part (or the score). See Printing linked parts. • Check All. Click this button to check every item listed in the score/parts list. • Check None. Click this button to uncheck every item in the score/parts list. • Check Current. Click this button to check the selected items in the score/parts list. • Print Range: All • From: ___ Through: ___. Specify the page range that you want to print. Click All to print your entire score, or click From:___ Through: ___ to specify a particular range. If you want to print a discontinuous range of pages, See the Page Ranges text box (below). • Right & Left • Right Only • Left Only. Select Left & Right to print both the left and right pages in the specified page range. Select Left Only or Right Only to print only the left or right pages, respectively, in the specified page range. For example, to print a document on both sides of the paper, print the right pages first, then print the left pages. Be sure to load the pages in the correct order! Tip: Keep in mind that Finale numbers its pages consecutively in Page View regardless of which page number you choose to display in the footer; it is the number Finale displays in Page View that you should enter. • Page Ranges. Enter the pages you want printed, separated by commas. You can also specify a range of pages by typing a hyphen. For example, enter “2, 5, 7-10, 16” to print pages 2, 5, 7, 8, 9, 10, and 16 of your document. • Print to File. Select this checkbox to print to a file instead of the printer. • Print Quality. Choose the resolution setting you want from this drop-down list. • 1-up • 2-up • 4-up. We’ve provided these options in case your printer driver does not offer them. When 1-up is selected, a single page of music will appear on the printed page. Check Fit to Page to automatically scale the music to fit on the chosen page size. Select 2-up to print two pages of music side-by-side; Finale automatically scales the music to fit on the printed page. If you select 2-up, make sure to select Landscape when you print, or the two pages of music will be placed in the upper half of the printed page. (If you would like to print 2-up in landscape orientation, you must uncheck Use Finale’s Page Orientation Instead of the Printer’s Page Orientation in Program Options-Save. This setting is checked by default so the orientation in Page Setup will be ignored which is convenient for normal 1-up printing). Select 4-up to print four pages of music on one page; Finale automatically scales the music to fit on the printed page. 1576

•

Fit to Page. Check Fit to Page to automatically scale the music to fit on the chosen page size.

• Ignore Printer Margins For N-up Printing. Select this option if you have already accounted for the non-printable area of your printer, and you prefer these margins to Finale resizing the page for you. Note that your score may be cut off by the printer if you have not taken the printer margins into account correctly. • Reverse Order • Tile Pages • Tile Overlap. Select these options to print the pages in the reverse order—from the last page to the first page, or if you want Finale to print a page of music on more than one page of paper (to accommodate a large score). This option is useful for oversized scores, and works the same as the Tile Pages option in the Compile PostScript Listing dialog box. For more information, see Compile PostScript Listing dialog box and Tiling pages for printing. To specify the amount of overlap, type the amount in the Tile Overlap text box (using the units specified by the Measurement Units submenu of the Edit menu). • Crop Marks • Display Colors • Registration Marks • Registration Filename. Select Crop Marks or Registration Marks if you want crop and registration marks to appear on the printed page. Crop marks identify the finished page size of the document, and registration marks help align overlapping pages or plates for printing purposes. Check Display Colors to print the colors used by Finale to identify the different score elements (see Program Options-Display Colors). Note that if you do not have a color printer, this will only print in shades of gray. Registration and crop marks appear on a printed page when the page is larger than the document size. When this option is selected, Finale automatically centers the music on the page. If you select Registration Filename, Finale will print the filename outside the page margins with the crop and registration marks. • Setup. Choose your printer or change your print settings from within the Page Setup dialog box. Click the Setup button to display the Page Setup dialog box. • Print • Cancel. Click Print (or press enter) to print. Click Cancel to dismiss the dialog box without printing. See Also: Page Setup File menu

1577

Program Options dialog box

How to get there From the Edit menu, choose Program Options.

What it does The Program Options dialog box lets you configure Finale’s program-wide settings. Click a category on the left to see its corresponding options appear on the right side of this dialog box. For example, click the Save category to specify whether to save your preferences automatically when you exit Finale, or only when you explicitly use the Save Preferences command. You can make as many changes as you like before returning to your score by pressing the Apply button when you have finished changing the settings for any category. The settings in this dialog box are saved in the Finale.INI file (in your Finale folder). • OK • Cancel • Apply. Click OK (or press enter) to save the new settings and return to the document. Click cancel and you will be prompted to save 1578

or discard unapplied changes. Click Apply to save the selected changes in your dialog box and keep the Program Options box open. See: Program Options-New Program Options-Open Program Options-Save Program Options-View Program Options-Edit Program Options-Folders Program Options-Display Colors Program Options-Palettes and Backgrounds

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Program Options-Display Colors dialog box

How to get there From the Edit menu, then Program Options and select Display Colors. Or, choose Select Display Colors from the View menu.

What it does The Display Colors options allow you to assign colors to different layers as well as to different elements in your scor such as articulations, Text Blocks and Smart Shapes. This is useful for differentiating between various objects in order to easily identify which tools created them, or to which layer they belong. Display colors can be printed. Select Print Display Colors in the Print dialog box. The color display settings are Program Options that are daved when Finale saves your preferences in the Finale.INI. 1580

• Color Unlinked Items. With this box checked, items that have been broken in a linked part change color (to orange). The item in the score also changes color indicating this item is broken in one or more parts. For example, if an expression is repositioned in a linked part, it will change color in the part indicating future score edits to the positioning will not apply to that item in the part (see Linked Parts). • Use Score Colors. Select this checkbox if you want Finale to display musical items in color. If it is not selected, color is not used for musical items, but is still used for the interface elements. To print using the display colors, this checkbox must be selected. • Layer Colors Apply to All Layer Items. Select this checkbox if you want Finale to set all items in layers 1–4 to the specified colors for each layer, including items such as expressions, chords and lyrics. • Musical Elements: Layer 1 • Layer 2 • Layer 3 • Layer 4 . . . Expressions. A number of items in your score can be assigned different colors. Click on any item button to choose a color for the item. The color specified for Staff Names will be used for all staff names in the score—both full and abbreviated names and the default, non-printing names. The color specified for Group Items will be used for all group names in the score— both full and abbreviated names and the default, non-printing names. It will also be used for the brackets and alternate barlines for the group of staves. • Interface Colors: Selected Notes • Playback Cursor • Staff Style Bar • Selected Staff Style Bars. Some items in Finale appear only in the display to help you see how Finale is functioning behind the scenes. You can control the color of the interface items listed here. Click on any item button to choose a color for the item. Selected Notes refers to control-clicking a note in Simple Entry. The Playback Cursor appears during Scrolling Playback. Staff Style Bars appear when Show Staff Styles is selected in the Staff menu. See Also: Print Staff Styles Finale 2010 menu/Program Options

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Program Options-Edit dialog box

How to get there From the Edit menu, choose Program Options and select Edit.

What it does Here, specify undo settings, settings for movable items and font annotation. • Measurement Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. In a number of Finale dialog boxes, you’re asked to specify a measurement: the margins of each page, for example, or the thickness of eighth-note beams. Using the submenu of the Measurement Units command, you can select the measurement unit you want Finale to understand—and display—in all of its dialog boxes. You’re already familiar with inches and centimeters. Points and picas are typographical measurements; there are 72 points per inch, and 12 points in a pica. EVPU stands for ENIGMA Virtual Page Unit, of which there are 288 per inch.

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Select spaces when you want Finale to display spaces as the measurement unit in all the dialog boxes. Although one space is defined as the distance between staff lines, in Finale one space is equal to 24 EVPUs (which is Finale’s default distance between staff lines). Note also that one half-space equals one step, which is one line or space in a staff. You can override your global choice on a case-by-case basis, however. Just include the units, or their abbreviation, when you type any measurement number into Finale. For example, suppose you’ve selected Inches as your global unit of measurement. When you’re telling Finale how thick you’d like your slurs to be, however, inches may be slightly unwieldy for such a fine adjustment. Therefore, you might type “2 pt.” Finale will automatically convert what you’ve entered into inches. • Allow Undo. You can undo almost any Finale operation by choosing Undo from the Edit menu. After extensive Utility menu operations, however, you may discover that it takes Finale a long time to "catch up with you" when you click a different tool. If so, you might want to deselect this checkbox before you perform an extensive editing procedure (such as copying or pasting a large section of music). Finale will not only recover from large operations faster, but won’t require the disk space necessary to store the score’s pre-operation condition. Warning: Deselecting this checkbox will throw away the undo list. You CANNOT use this option to pick and choose which actions to record in the undo list. • Allow Undo Past Save. Select this option to undo even past actions you have saved. If this option is not selected Finale will throw away your undo transactions after every save. • Maximum Undo Levels. Set the number of Undo levels to allow or how far "back" you will be able to undo your edits. Setting this option to 0 will allow an unlimited number of undo levels. • Reflow Measures: Do Not Reflow. Selecting this option from the dropdown menu will update your layout without affecting the layout or the size of your existing measures. • Reflow Measures: Only Within Systems. Selecting this option from the drop-down menu allows Finale to update the spacing of the measures only within systems. When selected, Finale will respace the measures without changing what systems the measures appear in. • Reflow Measures: Across Systems (Maintain System Locks). Selecting this option from the popup menu allows Finale to reflow measures into different staff systems, based on the measure width. When this option is selected, Finale calculates how many measures will fit on each system, and 1583

moves measures to new staff systems as needed. Locked systems are created when you use the up and down arrows to move measures with the Selection Tool, or when you choose Fit Measures or Lock Systems from the Utilities menu. When this option is selected, Finale will maintain any system locks, but will reflow any ungrouped measures into other staff systems as needed. • Reflow Measures: Across Systems (Remove System Locks). Selecting this option from the drop-down menu allows Finale to reflow measures into different staff systems and removes all system locks. (Pressing shift while choosing Update Layout removes the system locks as well.) • Reflow Systems Across Pages. This option determines whether Finale reflows staff systems into different pages. When this option is selected, Finale calculates how many staff systems will fit on each page, and moves systems to new pages as needed. If you prefer to maintain the current layout of systems in pages, make sure that this option is not selected. • Automatic Update Layout. This option has no effect in Scroll View. In Page View, this option determines whether Finale will update the layout each time it redraws the screen. When this option is selected, Finale will update the layout each time it redraws the screen (it will take a little extra time to perform the additional task). Finale actually updates the layout for the current page and discards the layout for all subsequent pages, although it doesn’t take the time to update the layout until you display the subsequent pages. When Automatic Update Layout is not selected, Finale will still, on occasion, update the layout. For instance, if you adjust the position of a staff or add staves, Finale will update the layout. Checking this option also checks Automatic Update Layout under the Edit menu. •Automatic Music Spacing. Select this option to have your music automatically spaced as you enter it—at the end of a Speedy Entry measure, at the end of a HyperScribe session, or after each note in Simple Entry. The music spacing applied is based on the currently loaded spacing width library. See Music Spacing. • Use Fonts and Resolution from: Screen • Printer. These options account for the differences between the screen and printer resolution. Choose Printer to ensure that the computations use printer fonts and resolution from the currently selected printer. • Arrow Keys Nudge Items by. Enter a value to specify the number of pixels Finale should move a selected Special Tools element, such as a dot or an accidental, each time you press a nudge key. For even finer adjustments, you can choose a larger view percentage in the View menu. For example, to move an element such as a stem length by one space, set the nudge amount in the Movable Items dialog box to six pixels (six pixels are equivalent to one space, which is the distance between staff lines). When you press the nudge key, if the scale view is 100%, the element is adjusted by six pixels (or one space). At 200% scale view, Finale still 1584

moves the element by six pixels when you press the nudge key. However, at 200%, six pixels are equal to one half-space, giving you twice as much control over the placement of the element. Note: The nudge "amount" only applies when you’re working with certain tools. When you use the nudge keys at other times, Finale adjusts the element by one pixel each time you press the nudge key. • Automatically Constrain Dragging. Auto-constrain is off by default. When it’s not selected, elements can be moved in any direction in the score. To temporarily constrain dragging in the initial direction of your drag, press shift. If you prefer that dragging is automatically constrained, select this option. Dragging will then be constrained in the initial direction of your drag. To temporarily allow dragging in any direction, press shift. Think of shift as "reversing" the setting of this checkbox. Note: Constrained dragging is temporarily disabled while slurs are being edited. Use Shift to enable it while editing slurs. • Anchor Indicator Lines when Dragging or Nudging (press Alt to temporarily disable). Check this box to restrain expression attachment point regardless how far the expression is moved from its origin. When this command is not checked, the attachment point of expressions is updated while dragged or nudged (and Alt can be used to temporarily fix the attachment point while dragging). • When Pasting Between a Percussion Staff and a Pitched Staff: Retain Staff Position • Retain MIDI Pitches. Choose Retain Staff Position to keep the notes you are copying affixed to the same staff positions while reassigning the MIDI note when you copy from a percussion to a normal staff or vise versa. Choose Retain MIDI Pitches to remove the staff positioning in favor of retaining the MIDI pitch information. The Percussion MIDI Map used for each staff is listed in the Instrument List. The MIDI Pitch of percussion staves can be referenced in the Percussion MIDI Map Editor dialog box. Orange notes in a percussion staff indicate the note is not assigned to a particular Note Type in the Percussion Layout Designer dialog box. A "percussion staff" is any staff defined to use "Percussion" as the Notation Style in the Staff Attributes dialog box. • Chime When Edit Complete. Deselect this checkbox to prevent Finale from notifying you after a long edit action is complete. • Font Annotation. Click this button to open the Font Annotation dialog box, where you can fine-tune the selection area for font characters. For more information on annotating fonts, see Font Annotation. Warning: Deselecting the Allow Undo checkbox will throw away the undo 1585

list. You CANNOT use this option to pick and choose which actions to record in the undo list. See Also: Edit menu Font Annotation Finale 2010 menu/Program Options

1586

Program Options-Folders dialog box

How to get there From the Edit menu, choose Program Options and select Folders.

What it does In this category, you can specify different folders to store your files in. • Folders: Music • Backup • Auto Save • Templates • Libraries • Plug-ins • User Manual • Component Files • Font Annotations • Temporary Files ; Browse. You can specify different folders to store your files in. When Finale saves or opens music or library files, it looks in the specified folders. Note that Finale will use the settings from the Maestro Font Default file, if the default file is stored in the music folder. If you do not enter alternate folders for the temp files, libraries and music files, Finale will store those files in the current folder. To select a new folder, type in the path and folder name, or use the Browse button for the folder you are changing. 1587

See Also: File menu-Save File menu-Open Finale 2010 menu/Program Options

1588

Program Options-New dialog box

How to get there From the Edit menu, chose Program Options and select New.

What it does Choose New to make settings related to opening new documents. Change the default file name, select the type of document to open when launching Finale and specify how to view any new document when it first opens. • Default Document Name; Browse. Type in the name of the Template you want to use for your default file or use the Browse button to search for the file. Finale's included default document, Maestro Font Default.ftm, is located in the Component Files folder.

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• Default New Operation • Setup Wizard • Default Document. Select one of these options to set the keyboard shortcut for New (ctrl-N) to the default document or Setup Wizard. • Startup Action: Finale Launch Window • Document Setup Wizard • New Default Document • New Document with Template • Open Document • No Action. Select which item from the New submenu of the File menu will be your preferred startup action. Document Setup Wizard will take you through the Setup Wizard on startup. New Default Document will open a new document based on your selected default file. New Document with Template will allow you to select a template to open as the basis of your file. Open document will allow you to open any document. No Action will just allow Finale to start and not open any document on startup. • Display Setup Wizard When Opening a Template. Check this box to indicate that you would like to open the "Score Information" and "Score Settings" pages of the Setup Wizard to customize templates prior to opening them. These pages appear after choosing the File menu > New > Document From Template and opening a template file. Uncheck this box to indicate that you would like Finale to open templates without prompting you with these pages of the Setup Wizard. SeeSetup Wizard. • View Percent. Select the View percentage new documents should display when opened. • View: Scroll View • Page View • Page View Style • Studio View. Select which view, Scroll View or Page View, new documents should display when opened. From the Page View Style drop-down menu, choose the desired Page View Style. See View/ Page View Style. • Maximize. Select this checkbox to allow new documents to open with a maximized window. • Show Rulers. Select this option if you want Finale to display rulers in new windows when they are created. This setting affects the initial setting of the Show Rulers command in the View menu. To show or hide rulers in an individual window without affecting the program options, use the Show Rulers command. See Also: File menu-New Edit menu/Program Options Finale 2010 menu/Program Options

1590

Program Options-Open dialog box

How to get there From the Edit menu, choose Program Options and select Open.

What it does Use the Open category to specify how Finale treats various types of files while opening them. • Open Older Documents As "Untitled". This option is checked by default. When this option is checked, Finale opens a file created with an earlier version of Finale as an untitled document, requiring you to enter a name before it can be saved. This is done to protect you from inadvertently overwriting your older file, making it unreadable in an earlier version of Finale. • Require Confirmation After Conversion of Older Documents. This option is checked by default. Finale presents a conversion warning 1591

message after reading and converting an older file. This message requires you to click OK before proceeding. The reason for this is to ensure you are aware that the file has been converted from a previous version. However, there are times when you are aware or unconcerned that a file has been converted, such as when converting many old files at once via drag-anddrop (when you already have a backup of the original versions). In these cases, having to click OK after each file is tedious. By deselecting this checkbox, the warning message will still appear during the file conversion, but will disappear without requiring confirmation. Use this feature with caution! • Open Templates As "Untitled". This option is checked by default. When this option is checked, Finale opens a template file as an untitled document, requiring you to enter a name before it can be saved. This is done to protect you from inadvertently overwriting the template when you actually wish to save it as a new document. However, there are times (such as when making modifications to the template files themselves) when you would prefer to open templates with their original names, allowing you to overwrite them without prompting. This can be done by deselecting this checkbox. Use this feature with caution! • Playback: Set Human playback for Finale Notation Files Created Prior to Finale 2004. Choose this option to automatically enable Human Playback while opening files created in earlier Finale versions (pre-Finale 2004). See Playback Settings dialog box. • Automatically Convert Text In Files From Other Operating Systems • Show Dialog On Automatic Conversion. Check to Automatically Convert to translate upper-ASCII characters (such as è, ö and hard spaces) into the appropriate character on the current system. If Finale was unable to translate the character, it will display the problem character as a question mark. Finale will only check text fonts, as defined in the MacSymbolFonts.txt file, not music or symbol fonts. See Configuring Macsymbolfonts.txt. Check "Show Dialog on Automatic Conversion" to display a list of text items checked, items converted and other information about the conversion process. • Number Of Recent Files In File menu. By changing this option you can control how many files appear in the list of recently used files in the File menu. • Tie Conversion: PostScript • Screen • Ask When Converting. These options are used when converting files previous to Finale 97 for determining how to handle ties. In versions before Finale 97 ties were represented differently on the screen than when they were printed on a PostScript printer. Since Finale 97 and later versions no longer have this difference, older files can be converted either using the screen representation of ties, or using PostScript settings of ties. You can also 1592

have Finale ask about converting ties during the conversion process by selecting the Ask When Converting checkbox. See Also: File menu-Open Edit menu/Program Options Finale 2010 menu/Program Options

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Program Options-Palettes and Backgrounds dialog box

How to get there From the Edit menu, choose Program Options and select Palettes and Backgrounds

What it does This category allows you to customize the appearance of all of Finale’s palettes as well as customize the background color. You can change the size and style of all the tool palettes and menu bars, as well as when you want them to appear based on the tool selected. • Size: Large • Medium • Small. You may want to change the size of your palettes from the default size to better fit within the area of your screen. You may also want to specify larger tool icons for higher quality graphics. 1594

Choose large for the highest quality graphics, which will display tool icons at 32x32 pixels. Choose medium for medium quality tool graphics, which will display at 26x26 pixels. Choose Small to specify the smallest tool size with minimal graphic quality. The small palette size will display the tool icons as they appeared in versions of Finale prior to Finale 2003. You must restart Finale before these new settings take effect. Note: After changing palette size and restarting Finale, you may notice the palette configuration has reset on your screen. You will need to reconfigure the palettes so they fit optimally on your screen after resizing them in the Program Options. • Style. Click this drop-down arrow to choose from a variety of styles for your tool palettes. The number of options available in this drop-down list depends on the tool palette size selected. For example, the Traditional palette style is only available in the Small size. • Close Subsidiary Palettes When Leaving Tool. If this item is selected, Finale will close the Smart Shape Palette and Special Tools Palette whenever you change to another tool. If you prefer to leave the palettes displayed, deselect this checkbox. • Close Simple Entry Palette When Leaving Tool. When this item is selected. Finale will close the Simple Entry Palette whenever you change to another tool. • Show Rest Palette for Simple Entry. Select this option to display the rest palette for Simple Entry. • Document Window Background: Graphic File; Select • Default • Tile • Stretch • Solid Color; Select. Click the Select button for Graphic File to choose one of Finale's backgrounds to place behind the score, or to choose your own background graphic. Choose Tile to tile the background graphic. Choose Stretch to automatically stretch the graphic to fit the background area. Click the Select button for Solid Color to choose a solid color for your background. • Manuscript Texture: Graphic File; Select • Default • Tile • Stretch • Solid Color; Select. Click the Select button for Graphic File to choose one of Finale’s manuscript backgrounds to place behind the music, or to choose your own manuscript graphic. Click Default to use Finale’s default manuscript background. Choose Tile to tile the manuscript graphic. Choose Stretch to automatically stretch the graphic to fit the page area. Click the Select button for Solid Color to choose a solid color for your background. See Also: Finale 2010 menu/Program Options 1595

Program Options-Save dialog box

How to get there From the Edit menu, choose Program Options and select Save

What it does In this category, set Finale to save automatically at regular intervals, make backups while saving or save preferences while quitting Finale. • Auto Save File(s) Every ___ Minutes. If you tend to forget to save your work to your hard disk every so often (by choosing Save from the File menu), Finale’s Auto Save command is a good safety net. When this feature is on, Finale will update a second copy (not the one you’re working on) at regular intervals. This second copy of your file is stored in the folder specified in the Folders page of the Document Options dialog box. Select this checkbox; in the text box, specify how often Finale should save your 1596

work to the duplicate copy of the file you have open. After the number of minutes you specified have passed, a message will appear, letting you know that Finale is saving your work. (This feature does not save your changes when you exit from Finale, however. Be sure to save changes to your primary file when you exit.) • Make Backups When Saving Files. If this option is selected, Finale will automatically save a backup copy of your file in the Backup folder specified in the Folders group box. If no folder is specified, the backup files are stored in the Music folder. Although the concept of a backup seems simple enough, it does warrant a little explanation. The first time you save a file, you have to give the file a name. All subsequent times you save this file, you are automatically replacing an earlier version of the file with the same name. When you turn the Make Backups When Saving Files feature on, and perform a Save command, this earlier version of the file is preserved as a backup. Therefore the backup is always one version behind your current file (in case you just saved something you shouldn't have). Keep in mind that the first time you save a file, no backup is made, since there isn't a previous version to preserve. Similarly, no backup is made when you perform a Save As function. • Save Preferences When Exiting Finale. This option is selected by default. When selected, Finale automatically saves your preferences each time you exit the application. However, if you prefer that Finale saves your preferences only on command, make sure this option is not selected. If that’s the case, Finale will only save your preferences when you choose the Save Preferences command from the File menu. See Also: File menu-Save Finale 2010 menu/Program Options

1597

Program Options-View dialog box

How to get there From the Edit menu, choose Program Options and select View

What it does Make settings regarding appearance of certain items program wide. • Show Tools menu. Select this checkbox to display the Tools menu where you can select Tools from the menu instead of the Main Tool Palette. • Show All Messages. Select this option to re-enable all messages that have a "Don’t Show This Again" checkbox. • Save Window States When Exiting Finale. If this item is selected, Finale will save the position of the palettes and windows when you exit Finale. To make the most use of these settings, position your palettes and the document window, make sure this item is selected, and then exit Finale. The next time you use Finale, click this item to select it, and make sure that Save Window States When Exiting Finale is selected.

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• Load Window States When Starting Finale. If this item is selected, Finale will load the last saved position of the palettes and windows when you start Finale. •Custom Zoom 1 • Custom Zoom 2 • Custom Zoom 3. Enter custom zoom percentages as you wish them to appear in the Zoom submenu of the View menu. See View menu. • Pitch Representation: MIDI Note Number • Pitch. Choose how you want Finale to represent MIDI notes throughout the application—by note number (middle C is always 60) or by pitch (C1, D1, E1, and so on). Click MIDI Note Number to display MIDI pitches by their MIDI note number. Click Pitch if you want Finale to spell out the pitch. Your choice is reflected in any dialog box that displays MIDI pitch, such as the MIDI Tool split-window. You can choose to enter a MIDI pitch value in a dialog box as a pitch or as a MIDI note number. If the first character you type is a number, Finale assumes you’re entering a MIDI note number. Otherwise it’s assumed that you’ve entered a pitch, and Finale will match the pitch representation. The next time you enter the dialog box, the edit field displays the MIDI pitch value as a number or pitch, according to your program options selection. This setting is saved with program preferences. • Pitch Representation: Middle C = C3 • C4 • C5. Use this drop-down list to choose whether you want Finale to spell middle C as C3, C4 or C5. MIDI manufacturers use various representations for middle C, so you can now change the display in Finale to match your MIDI gear. This setting is saved with program preferences. • Measure Number: Display Defined Measure Numbers • Display Actual Measure Numbers. Select one of these options to control whether Finale will display the measure numbers that you defined in the Measure Number dialog box, or the actual measure numbers in the document. Finale counts actual measure numbers consecutively from 1, starting with the first measure in the document even if it is a pickup measure. This option is saved with your preferences. Depending on your selection, the "actual" or "defined" measure numbers are displayed in the Document Window’s Measure Control, and in edit boxes in any dialog boxes that display measure numbers (such as the Measure Attributes, Key and Time Signature, and Select Region dialog boxes). When "defined" measure numbers are displayed, and a measure number is defined in more than one measure number region (for example, in a document with several movements, each defined by a region), type the region number followed by a colon (:), then enter the measure number that you want to use. For example, if you have three measure number regions defined for a threemovement piece, with each region starting at measure 1, type 1:1 to jump to the start of the first movement (region 1), type 2:1 to jump to the start of the second movement (region 2), and type: 3:1 to jump to measure 1 of the third movement (defined by region 3). To specify Finale’s actual measure numbers when "defined" measure numbers are displayed, type #, the 1599

number sign (shift-3), followed by the "actual" measure number. When entering Finale’s "actual" measure numbers, remember that Finale always considers the first measure of the document to be measure number 1 even if it is a pickup measure. • Smart Hyphens and Word Extensions: Update Automatically • Update Manually. Choose Update Automatically to recalculate hyphens and word extensions as you edit the score. Updates are based on settings in the Word Extensions dialog box. Choose Update Manually to recalculate when you choose Update Smart Word Extensions and Hyphens from the Utilities menu. • Handles: Handle Size • Transparent Handles. Resize the handles by entering the desired number of pixels for handles in this text box. Check Transparent Handles to use use handles that allow you to see musical elements behind the handle as you edit. Transparent handles are especially useful when entering staccatos, accents, and other small markings that may be covered up by opaque handles. • Hidden Object Shading. In this text box, enter the shade percent age for hidden expressions (100% = hidden completely, 0% = no shading). • Smooth Staff Lines • Smooth Barlines. Finale’s display includes font smoothing technology which enhanced the on-screen display for most items. However, smoothing produces what many report to be an undesireable ‘fuzzy’ effect for staff lines and barlines. Therefore, smoothing for staff lines and barlines has been turned off by default. Use these check boxes to enable smoothing for staff lines and/or barlines. See Also: View menu Finale 2010 menu/Program Options

1600

Punch In PreRoll dialog box

How to get there Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe menu. Click a measure to enter the Transcription window. Choose Punch In PreRoll from the Transcription menu.

What it does If you’re recording a real-time performance in the Transcription window and make a mistake, you don’t have to rerecord the entire sequence. You can, instead, punch in and out, meaning that you can rerecord only those few seconds of the original performance that need replacing. You’ll probably want Finale to play a few seconds of the music just before the spot you want to rerecord, however, so you can hear the desired spot in context and in tempo. This dialog box allows you to specify how many seconds of the existing music you want Finale to play before switching into record mode (at which point you should begin to play the new music). • Play the note file for __ second(s). In this text box, enter the number of seconds of music you want Finale to play just before the punch-in point. (Enter zero if you don’t want any "preroll" at all.) • OK • Cancel. Click OK to exit this dialog box and return to the Transcription window. When you click Start, Finale plays the music preceding the punchin point for the number of seconds you specified, then begins recording your new performance. Click Cancel to disregard any changes and return to the Transcription window. See Also: Transcription Transcription menu HyperScribe Tool

1601

Quantization Settings dialog box

How to get there Choose Quantization Settings from the MIDI menu. Or, click the Quant Settings button in a number of related dialog boxes.

What it does The Quantization Settings dialog box allows you to specify the smallest note value Finale will quantize input to and the type of quantization it will perform such as allowing or ignoring tuplets. If you want more detailed quantization settings, click More Settings and the More Quantization Settings dialog box will appear. See More Quantization Settings dialog box. Keep in mind that in Finale, the term Quantization refers to something slightly different than it does in sequencing software. In sequencers, when you Quantize a note, you shorten or lengthen the start/stop times of the notes so that they are aligned more precisely with the pulse. In short, you change how the notes sound. If you quantize a measure of 16th notes to a 1/4 note quantization, you will subsequently only hear four quarter notes (probably chords) in this measure. In Finale, on the other hand, the quantization affects how the notes appear rather than how they sound. Quantizing the same measure of 16th notes in Finale by a 1/4 note will cause four 1/4 note chords to appear BUT may still play back the 16th note run. 1602

Although you can instruct Finale to play the music literally as it appears on the page, by default when you import a midi file or input in real time using Finale's HyperScribe Tool, Finale will retain how the music sounds separately from how it looks (rhythms are expected to look differently than the sound in swing music, for example). See Playback/Record Options dialog box for more details.

Note: To update your Finale.INI file with the new settings you made (and all other current settings), remember that you must choose the Save Preferences command (File menu) unless you selected Save Preferences When Exiting Finale in Program Options-Save. See Program OptionsSave. • Smallest Note Value. Select the smallest note value you expect to play from the palette displayed. If the value is not available, type the EDU value in the text box. Remember that eighth note triplets are shorter than regular eighth notes. If you want to have triplets for eighth notes, either use sixteenth notes as your smallest note value or enter 341 in the EDUs text box (One quarter note = 1024 EDUs, so an eighth note triplet is 1024 divided by 3 or 341. • No Tuplets. This option tells Finale that there will be no triplets (or any other tuplets) in your transcription. You’re telling Finale to assume that all small rhythmic values are sixteenth notes, 32nd notes, and so on—but never tuplets. • Mix Rhythms. This option tries to distinguish between tuplet and non-tuplet rhythms, based on the timing of the notes within the beat. A Mix Rhythms setting requires that you play accurately enough for the computer to make such distinctions. You may need to play slightly slower to achieve good results with this option. • Space Notes Evenly in Beat. This option tells Finale to count how many notes you played during a certain beat, and to notate them on that basis. If you played three notes, no matter how unevenly, they’ll be transcribed as a triplet; four notes will appear as sixteenth notes, and so on. These characteristics make Space Notes Evenly in Beat a good setting for swing tunes, because triplets are perfectly transcribed, and all the swung eighth notes are transcribed as normal eighth notes—which is the correct notation for swing (provided you write "Swing" above the first measure, as a performance indication). If you played only two sixteenths and one eighth note, the notes will be transcribed as a triplet. • More Settings. Click this button to display the More Quantization Settings dialog box. This dialog box contains detailed options for transcribing your 1603

files such as allowing voice two and capturing Key Velocities. See More Quantization Settings dialog box. • OK • Cancel. When you click OK, Finale will change your Quantization Settings and return to the score. Click Cancel to return to the score without making any changes. See Also: MIDI/Audio menu HyperScribe Tool

1604

Randomize Key Velocities dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing Key Velocities from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Randomize from the MIDI Tool menu.

What it does In this dialog box, you can direct Finale to alter the velocity for all selected notes at random. This can be a useful option if you want to give your playback a more imperfect, "human" feeling. (The Randomize command isn’t available if you’ve selected Continuous Data from the MIDI Tool menu.) • Randomize the Key Velocities but Limit the Change to ___. In this text box, enter the maximum amount by which you want Finale to randomly vary the key velocity values of the notes in the selected region. The number in this text box represents MIDI velocity units, which are on a scale from zero, which is silent, to 127, which is very loud. You’ll probably find that a number between 10 and 20 produces satisfactory results (a more human "feel") without introducing obvious accents. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). Tip: Enter values between 5-20 to achieve a more "human" feel. See Also: MIDI Tool menu MIDI Tool 1605

Randomize Note Durations dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing Note Durations from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Randomize from the MIDI Tool menu.

What it does In this dialog box, you can direct Finale to alter the duration values for all selected notes at random. This can be a useful option if you want to give your playback a more imperfect, "human" feeling; or, by very slightly randomizing the Start Times of the notes in your piece, you can alleviate MIDI playback problems caused by too much note information being sent at the same instant to your MIDI instrument. (The Randomize command isn’t available if you’ve selected Continuous Data from the MIDI Tool menu.) • Start Times limited to ___ • Stop Times limited to ___. The numbers in these text boxes represent the amount by which you want to randomly vary the attack or release points of all selected notes’ playback (regardless of their notated durations). You’re specifying the maximum number of EDUs, of which there are 1024 per quarter note, you want added to (or subtracted from) the Start or Stop Times of the selected notes (see Start and Stop Times for a discussion of Start and Stop Times). You might enter an EDU value of 1/16 (or less) of the predominant rhythmic values in the music, unless you want to produce unpredictable, strange rhythmic effects. To subtly soften the rhythmic precision of an eighth note (512 EDUs) passage, for example, you might type 32 into the Start and Stop Times boxes.

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• OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool menu MIDI Tools

1607

Rebar Options dialog box

How to get there Click the Selection Tool ; select a region. From the Rebar submenu of the Utilities menu, choose Rebar Options.

What it does When you change the time signature of a score, use the Rebar command, or add too many notes to a measure, Finale can automatically redistribute the notes in your score so that each measure contains the proper number of beats. In this dialog box, you can specify how far you want Finale to go with this rebarring—all the way to the end of the piece, only to the next major section, and so on. (In the process, Finale adds or deletes measures as necessary. If there aren’t enough notes to fill the last measure before the stopping point, Finale adds enough rests to round out the measure.) • The End of the Region. If you select this checkbox, Finale will only rebar music to the end of the selected region. No music after that point will be affected. • Key Signature Changes • Time Signature Changes • Special or Repeat Barlines, or Forward Repeats. If you select these checkboxes, Finale’s rebarring process won’t proceed past the next key or time signature change. A "special barline" is a double, solid, dotted, or other unusual barline; a repeat barline is one you’ve created using the Repeat Tool. • Empty Frames. A frame is one measure of one staff. Therefore, if you select this option, Finale will only rebar music as far as the next empty measure.

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• Rebeam. If this checkbox is selected, Finale will also rebeam eighth notes (and smaller values) as necessary, in the process correcting any irregular beaming patterns introduced by the rebarring. • OK • Cancel. Click OK to confirm, or Cancel to discard, your rebarring stopping-point selections. Note: If you didn’t select any of the checkboxes, Finale will rebar your score all the way to the end of the piece whenever it’s asked to rebar (when you change the time signature, insert a partial measure, use the Rebar command, and so on). See Also: Rebarring music Time Signature

1609

Rebeam to Lyrics dialog box

How to get there Click the Selection Tool , and select a region of measures. From the Rebeam submenu of the Utilities menu, choose Rebeam to Lyrics.

What it does A convention used in opera or art song notation is beaming to lyrics. In this scheme, eighth, sixteenth, and shorter notes are never beamed together in the vocal line except when a syllable is sustained through more than one note (as a melisma). This dialog box lets you specify the lyrics you want rebeamed in this way. • Break Beams at Each Syllable in: All Lyrics • All Verses • All Choruses • All Sections. When the first radio button is selected the drop-down list allowing you to select All Lyrics, All Verses, All Choruses, and All Sections is used. With this menu you can instruct Finale to impose word-by-word beaming for a certain lyric type, such as Verses or Sections. (Verses, Choruses, and Sections are functionally identical; they just give you a convenient method of subdividing your lyrics.) • Verse • Chorus • Section ___ . When the second radio button is selected, this drop-down list and the associated text box are used. With this dropdown list you can select a specific set of lyrics whose notes you want to rebeam. Choose the lyric type from the drop-down list, then type the lyric number (Verse 1, for example) into the text box. • Also Break Beams at Each Beat in the Time Signature. Select this checkbox if you want the beams in melismatic passages (where a single syllable is sustained through more than one note) broken at the beginning of each beat, as they would be if they were beamed normally, according to the time signature. If you don’t select this option, Finale will beam together all notes in a melismatic passage, even if it results in (for example) all eight eighth notes in a 4/4 measure being beamed together.

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• OK • Cancel. Click OK to confirm the settings you’ve made; you return to the score, where Finale performs the rebeaming operation. Click Cancel if you decide not to do any rebeaming. You return to the score. See Also: Rebeam to Time Signature

1611

Rebeam to Time Signature

How to get there Click the Selection Tool , and select a region of measures. From the Rebeam submenu of the Utilities menu, choose Rebeam to Time Signature.

What it does Finale normally beams the eighth notes (and smaller values) in your piece according to the time signature. In other words, if the meter is 3/4, Finale groups eighth notes together in quarter-note groups (two to a beam). To specify a certain beaming pattern before you enter music, be sure to change the time signature accordingly. If you need to change the beaming of your piece after you’ve already entered the music, however, you can do so in this dialog box, which looks identical to the one in which you set the time signature. You can even rebeam your piece in asymmetrical groupings—3+3 eighth notes in 3/4, for example. The basic rhythmic value you use to define the "meter" in this window defines the new beaming patterns. For example, you can create 6/8 as six individual eighth notes (no beaming), as two dotted quarter notes (notes beamed in groups of three), and so on. • Composite. Click this button to display the Composite Time Signature dialog box, where you can create a "beaming" signature that includes asymmetrical groupings of notes on each beam (3+3/8, for example, to group eighth notes into groups of 3 and 3 in 3/4). See Composite Time Signature dialog box. • Number of Beats. Using this scroll bar, you can increase or decrease the top number of the new "beaming signature." Watch the display, which shows you the groupings your newly rebeamed notes will fall into. 1612

• Beat Duration. Using this scroll bar, you can increase or decrease the bottom number of the new "beaming signature." • OK • Cancel. Click OK to return to the score; Finale rebeams the selected measures according to your specifications. Click Cancel to tell Finale to exit the dialog box without rebeaming anything. See Also: Rebeam to Lyrics Utilities menu

1613

Record Continuous Data dialog box

How to get there Click the HyperScribe Tool. From the HyperScribe menu, choose Record Continuous Data. To include recorded continuous data in playback, set Human Playback to None. From the MIDI/Audio menu, choose Human Playback > None.

What it does With this dialog box, you can choose to Record continuous data during HyperScribe sessions, and specify the type of continuous data you want to record. To hear results of recorded continuous data, you must first set Human Playback to None in the Playback Controls. • Record Continuous Data in HyperScribe. Check this box to record the continuous data specified in this dialog box during your HyperScribe recording sessions. • Channel Pressure. Check this box to record channel pressure (also called Monophonic Aftertouch) during HyperScribe sessions. • Controllers • All • Only. Choose All to record all MIDI controller continuous data. Choose Only to specify up to four types of continuous data you want to record.

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• Patch Changes. Check this box to record patch changes during HyperScribe sessions. • Pitch Bends. Check this box to record pitch bends (pitch wheel data) during HyperScribe sessions. • Listen. Click Listen, and then play up to four types of continuous data (sustain pedal, modulation wheel, etc.) to instruct Finale to only record those types of continuous data with HyperScribe. If you specify more than four types of continuous data, Finale will record all continuous data. In addition to the four types, pitch wheel, channel pressure, and patch changes can be triggered here. • Cancel • OK. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made in this dialog box; you return to the score. See Also: Recording with HyperScribe_Ref1791382708 Listen

1615

Redefine Pages dialog box

This alert appears after you choose Current Page, All Pages, Left Page or Right Page from the Page Layout menu/Redefine Pages submenu. It warns you that any individual edits to the pages will be lost if you proceed. To view this dialog box, choose Redefine Selected pages from the Redefine Pages submenu of the Page Layout menu while the Page Layout Tool is selected. Once you click O.K, the alert will appear.

See Also: Page Format for Score Redefine Pages menu Page Layout menu Page Layout Tool

1616

Redefine Selected Pages dialog box

How to get there Click the Page Layout Tool . Choose Selected Pages from the Redefine Pages submenu in the Page Layout menu.

What it does Use this dialog box to redefine the pages you specify according to the settings in the Page Format for Score dialog box. • Redefine: Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to redefine the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you can choose to redefine any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all parts and the score. • Page Range: Page___Through__. Specify whether you want to redefine the settings for all pages, or only the pages you specify. Enter the page numbers that define the page range you want. • Include Pages: Left Pages • Right Pages • Left and Right Pages. Specify whether you want to change only the left (even-numbered) or the right (odd-numbered) pages or both left and right pages in the specified page range. Note that Facing Pages does not need to be selected in the Page Format for Score dialog box to change only the left or right pages in the score. • OK • Cancel. Click OK to redefine pages according to your selections. Click Cancel to ignore any changes made in this dialog box. 1617

See Also: Page Format for Score Redefine Pages menu Page Layout menu Page Layout Tool

1618

Rehearsal Mark dialog box (in Add SmartMusic Markers)

How to get there From the Utilities menu, choose Add SmartMusic Markers. Select Rehearsal Mark from the marker list on the left and click Add. Or, select an existing rehearsal mark marker from the Marker window and click Edit.

What it does Use the settings in this dialog box to control the measure assignment for the Rehearsal Mark SmartMusic Marker you are adding or editing • Rehearsal Mark • Bar. Choose a rehearsal mark or specify the bar you want to add a repeat marker. • Repeat Type. From this drop-down menu, select the type of repeat marker you want to add. • Repeat Number. Specify the (chronological) number of the repeat. For example, if this is the second repeated section in the document (regardless of the repeat marker you are adding), enter 2 here. • Repeat Iteration. Enter the pass you want this repeat marker to apply. For example, if this is the second time through, and you are defining the “To Coda” sign for a “D.S. al Coda”, enter 2 here. • Active on Pass. Here, you can enter the pass on which this repeat marker should apply. This setting refers to the absolute number of passes, and only differs from the Repeat Iteration setting if there are nested repeats in the document (repeats within repeats). • OK • Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and return to the Add SmartMusic Markers dialog

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box. Click Cancel to return to the Add SmartMusic Markers dialog box without making changes.

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Rehearsal Mark Sequence dialog box

How to get there Right-click a rehearsal mark's handle and choose Edit Rehearsal Mark Sequence. (It must be a rehearsal mark set to Use Auto-Sequencing Style in the Expression Designer dialog box).

What it does Use the Rehearsal Mark Sequence dialog box to specify the new number or letter to use when restarting a rehearsal mark sequence. • Continue Sequence. Choose this radio button to continue the sequence from the previous rehearsal mark in the document. • Restart Sequence At _. Specify the number or letter you would like to use to restart a new rehearsal mark sequence. • OK • Cancel. Click OK to reset the rehearsal mark numbering. Click Cancel to dismiss the dialog box and return to the score without making changes. See Also: To restart rehearsal mark numbering

1621

Remove Staff dialog box

How to get there Click on the Page Layout Tool. From the Page Layout menu, choose Optimize Staff Systems. Check Optimize Staff Systems, Remove Empty Staves, and Ask Before Removing Staves. Click OK.

What it does Use this dialog box to control whether an empty staff is removed from a staff system during the optimization process. • Yes • Yes All • No • No All. Click Yes to remove the staff listed in the system listed only. Click Yes All to remove the staff listed in all systems where the staff is empty. Click No to leave the staff listed in the system listed only. Click No All to leave the staff in all systems. • Cancel. Click Cancel to stop the optimization process without removing any staves. See Also: Page Layout menu Page Layout Tool

1622

Repeat Designer dialog box

How to get there Click the Repeat Tool , and click a measure. (If there’s already a graphic repeat sign or text repeat in the measure, double-click the measure.) When the Repeat Selection dialog box appears, click Create. If you’ve placed a text repeat in the score, you can also enter this dialog box by double-clicking its handle.

What it does In this dialog you can create a text repeat which will function as a fully operational repeat marking, such as "To Coda," "D.S. al Coda," and "D.C." Here you write your own text and specify the font and justification for the repeat. If you used the Document Setup Wizard, one of the included templates, or a new Default Document to start your score, repeats are already available for you. If you’ve started a document that does not already include text repeats, you can use predefined text repeats in the Text Repeats Library (Text Repeats.LIB) provided with Finale. Note that this dialog box defines only the text itself and appearance of the text repeat (font and positioning specifications); to define its playback effects, you have to access the Text Repeat Assignment dialog box (see Text Repeat Assignment dialg box). • Repeat Text. Enter the text for the repeat marking itself in this text box. The characters in this text box are displayed in the System font, regardless of the actual font you’ve chosen. • Set Font. Click this button to display the Font, dialog box in which you can set the font for your text repeat. 1623

• Replace ‘#’ with: Number of Times Played • Text Repeat ID in Target • Measure Number in Target. When you type #, (or shift-3) in the Repeat Text text box, the ‘#’ sign is a stand-in for the number of times played, text repeat ID in target, or measure number in target which are all specified in the Text Repeat Assignment dialog box. When the text repeat appears in the score, Finale will display the selected value instead of the # symbol. For example, you might want your text repeat to say "Jump to Coda #th Time Only"; when the mark appears in the score, it will read "Jump to Coda 4th Time Only" (substituting the number you’ve indicated in the Play Section_Times text box of the Text Repeat Assignment dialog box). • Use This Font. If you select this option, the entire text repeat you’re designing will appear in the font you’ve selected (by clicking the Set Font button). If you don’t select this option, however, the Mark-defined text repeat you’re incorporating into this text repeat will appear in its own font, regardless of the font you’ve set for the text repeat you’re designing. • Enclose Repeat. When you click this checkbox, the Enclosure Designer dialog box appears, in which you can choose a geometric shape to enclose your text repeat.. • Justification: Left • Right • Centered. Click the radio button corresponding to your choice of the text repeat’s alignment in the measure: flush with the left barline, flush with the right barline, or centered between the barlines. • OK • Cancel. Click OK (or press enter) to confirm the creation of your new text repeat. You return to the score, or to the Repeat Selection dialog box, where the new text repeat appears in the list. Click Cancel to return to the Repeat Selection dialog box (or to the score) without creating or editing a text repeat. See Also: Repeats (barlines and text indications) Repeat Assignment Repeat Selection Repeat Tool

1624

Repeat Endings dialog box

How to get there From the Document menu, choose Document Options and select Repeats. Then click Repeat Endings.

What it does The Repeat options increase your control over how Finale places ending repeat brackets and numbers in your score. You can specify global values for the bracket height, the length of the hook, the thickness of the bracket line, the distance to indent the bracket, and the position of the bracket number. • Height of Bracket. Enter a value in the current measurement units to set the height of the horizontal line of ending repeat brackets, measured from the top line of the staff. As the value increases, so does the bracket’s distance from the top staff line. • Length of Front Hook • Length of Back Hook. Enter a value in the current measurement units for the length of the ending repeat bracket’s front and back hooks (the short vertical line of the bracket). As the value increases, so does the length of the hook. • Line Thickness. Enter a value in measurement units to set the thickness of the ending repeat bracket lines. • Inset for Start of Bracket. This setting measures the distance between the start of the bracket (in measurement units) and the first barline in a measure. The default starting inset is zero, which positions the bracket at the first barline of the measure. Enter a positive value to move the start inset to the right. This shortens the bracket. Enter a negative value to move

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the start inset to the left. This stretches the bracket, extending it into the preceding measures. • Inset for End of Bracket. This setting measures the distance between the end of the bracket (in measurement units) and the ending repeat symbol. The bracket’s default ending inset is zero, which positions the end of the bracket at the ending repeat. Enter a positive value to move the end inset to the left. This shortens the bracket. Enter a negative value to move the end of the bracket to the right of the ending repeat, lengthening the bracket and extending it into the following measures. • Ending Repeat Text: Horizontal • Vertical. These settings determine where Finale places the text for an ending repeat, measured horizontally from the bracket hook, and vertically from the end of the bracket hook. Enter a positive value (in measurement units) in the Horizontal text box to set the text’s horizontal distance from the start of the bracket. As the value increases, Finale moves the text further to the right. As the value decreases, the text moves further to the left. Enter a positive value in the Vertical text box to set the text’s vertical distance from the end of the bracket hook (in measurement units). As the value increases, Finale moves the text higher. As the value decreases, the text is lowered. This setting affects the appearance of all ending repeats already in the score, as well as those yet to be placed in the score. • Reset • Cancel • OK. Click Reset to restore the built-in Finale default settings, or click OK to save new settings and return to the Document Options dialog box. See Also: Repeats (barlines and text indications) Document Options-Repeats

1626

Repeat Marker dialog box

How to get there From the Utilities menu, choose Add SmartMusic Markers. Select Repeats from the marker list on the left and click add. Or, select an existing repeat marker from the Marker window and click Edit. It is recommended that you scan the document to define all repeat markers automatically by selecting Create/Update Repeat Markers in the Add SmartMusic Markers dialog box. Then, edit these parameters if necessary.

What it does Use the settings in this dialog box to control the type and measure assignment for the Repeat Marker you are adding or editing. • Distance from Beginning of Measure: H: • V:. The numbers in these text boxes determine the precise position of the floating measure in relation to the "real" measure to which it’s attached. A positive H: (horizontal) number moves the measure to the right; a positive V: (vertical) number moves the measure upward. (Keep in mind, however, that you can also move the floating measure into position in the score by dragging its handle.) If H: and V: were both set at zero, the floating measure would be squarely superimposed over the "real" measure. • OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box; you return to the score. See Also: 1627

Repeats (barlines and text indications)

1628

Repeat Selection dialog box

How to get there Click the Repeat Tool , and click a measure in the score. (If the measure already has a repeat, click it again.)

What it does In this dialog box, you can choose either a repeat barline or a text repeat you want to insert in the score. You can select one of the four repeat barlines pictured in the window. • [The four graphic repeat icons]. The first icon, the Forward Repeat, is a purely graphic repeat barline. Normally, a musician relies upon such a barline to indicate the beginning of the repetition (the target measure). In Finale, however, this barline type has no playback functions of its own; that’s because you specify both the beginning and ending measures of the repeated section when you create the ending barline.

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The second icon, the Backward Repeat, can have a playback effect assigned to it: in other words, it can operate in the way you’d expect—by directing the playback flow back to an earlier measure. Note, however, that like any of Finale’s repeats, it doesn’t have to direct playback to an earlier measure; you could define it to direct the playback to a later measure, if necessary. The third icon, the Backward Repeat with Bracket, is identical to the Backward Repeat, except it has an adjustable bracket. You might use this barline to create a first ending, for example. The fourth (rightmost) icon, the Multiple Ending Repeat bracket, offers a bracket alone. You can use this repeat bracket as the first measure of a two-measure first ending, or drag the rightmost handle toward the staff to create a final ending. This repeat bracket has one significant difference from the other two functional graphic repeats. The two graphic Backward Repeats which contain barlines, jump to the specified target when the end of the measure is reached. In a measure containing a Multiple Ending Repeat Bracket, however, the playback jumps to the target when it reaches the beginning of the measure—once again, making this repeat bracket appropriate for the first measure of a first ending that’s several measures long. To select one of these graphic repeats, double-click its icon. If you selected the first icon, you return to the score. If you selected either of the middle icons, you proceed to the Backward Repeat Bar Assignment dialog box. If you selected the rightmost icon, you go to the Ending Repeat Bar Assignment dialog box. See Backward Repeat Bar Assignment dialog box and Ending Repeat Bar Assignment dialog box for more information. • [Text Repeats]. In the scrolling display area of this dialog box, Finale lists any text repeats you’ve created in (or loaded into) your document. (To load a predefined Text Repeats Library into your document, see Load Library under the File menu.) A text repeat is a piece of text, such as "To Coda," that functions as a fully operational repeat marking, just like a repeat barline. To create a new one, click Create; the Repeat Designer dialog box appears, where you can enter the text and define the appearance of the new text repeat. (You don’t define its playback effects until you actually place it in the score by double-clicking it in the Text Repeats list, whereupon the Repeat Assignment dialog box appears.) 1630

For a more complete discussion of the options available when you’re creating a text repeat, see Repeat Designer dialog box. For details on defining the playback of a text repeat you’ve already created, see Repeat Assignment dialog box. • Edit. To edit an existing text repeat, click it once and then click Edit. The Repeat Designer dialog box appears, where you can change any aspect of the appearance of the text repeat. (Note that when you edit any text repeat, the changes apply to every occurrence of it in the score.) • Create. Click Create to design a new text repeat; the Repeat Designer dialog box appears. See Repeat Designer dialog box. • Duplicate. Click this button to create a duplicate of the selected Repeat Text Expression with the selected settings and attributes. • Delete. After clicking a text repeat, click this button to remove it from the list of available text repeats. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrlclick to select only a specific additional item in the list. (You can’t remove it from the list if the repeat is in use in your score.) • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. • Cancel. Click Cancel to exit this dialog box without adding a repeat to your score. • Select. Instead of double-clicking a repeat icon (or a text repeat), you can click it once and then click this button. You proceed to the score or to the next dialog box. See Also: Repeats (barlines and text indications) Repeat Assignment Repeat Designer Repeat Tool

1631

Reposition Guide dialog box

How to get there Right-click on a guide and select Reposition Guide from the contextual menu.

What it does Use the Reposition Guide dialog boxes to numerically adjust or nudge a guide into a specific position on the page. • Guide Location. Enter the specific location for the guide in this text box in the units specified in the drop-down list. • Nudge Guide. Select this option to nudge the selected guide the specified number of pixels. • OK • Cancel. Click OK to move the guide and return to the score, or click Cancel to cancel any changes you made. Tip: Create a Guide by double clicking in the ruler area while in Page view. See Also: Document Options-Grids and Guides View menu

1632

Reset Measure Marker dialog box

How to get there From the Utilities menu, choose Add SmartMusic Markers. Select Reset Meas. Counter from the marker list on the left and click Add. Or, select an existing Reset Measure marker from the Marker window and click Edit.

What it does Use the settings in this dialog box to control the measure assignment for the Reset Measure Counter marker you are adding. • Rehearsal Mark • Bar • Beat. Choose a rehearsal mark or specify a bar and beat to add a Reset Measure Counter marker. • OK • Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic Markers dialog box without making changes.

1633

Reset Tempo Marker dialog box

How to get there From the Utilities menu, choose Add SmartMusic Markers. Select Reset Tempo from the marker list on the left and click Add. Or, select an existing Reset Tempo marker from the Marker window and click Edit.

What it does Use the settings in this dialog box to control the measure assignment for the Reset Tempo marker you are adding or editing. The Reset Tempo marker eliminates slowing/speeding effects due to the intelligent accompaniment. • Distance from Beginning of Measure: H: • V:. The numbers in these text boxes determine the precise position of the floating measure in relation to the "real" measure to which it’s attached. A positive H: (horizontal) number moves the measure to the right; a positive V: (vertical) number moves the measure upward. (Keep in mind, however, that you can also move the floating measure into position in the score by dragging its handle.) If H: and V: were both set at zero, the floating measure would be squarely superimposed over the "real" measure. • OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box; you return to the score.

1634

Resize Note dialog box

How to get there Click the Resize Tool . Click on a note stem. For beamed notes, click on the first note of the beamed group. To restore a note group (a chord or beamed group) to its normal size, you need to click again where the normal-size notehead or stem would be, or else the Resize dialog box may not appear.

What it does The Resize Note dialog box lets you specify how much you want to reduce or enlarge a note, chord, or beamed group of notes. • Resize Note to ___%. This text box specifies how much you want to resize the note group, expressed as a percentage of the original full size. When you click on a note stem, you actually resize the note group. If you click the stem of a quarter note or a flagged eighth note, only that note is resized; if you click the stem of a beamed group, such as eighths or 16ths, the entire group is resized. • Cancel • OK. Click OK to proceed with the note resizing, or Cancel if you decide not to resize anything. You return to the score. Tip: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it. Note: If you want to resize a note group in Voice 2, you must press shift as you click. See Also: Resize Tool

1635

Resize Notehead dialog box

How to get there Click the Resize Tool . Click on a notehead. To restore a notehead to its normal size, you need to click again where the normal-size notehead or stem would be, or else the Resize dialog box may not appear.

What it does The Resize Notehead dialog box lets you change the size of a single notehead. • Resize Notehead to ___%. This text box specifies how much you want to resize the notehead, expressed as a percentage of the original full size. • Cancel • OK. Click OK to proceed with the note resizing, or Cancel if you decide not to resize anything. You return to the score. Tip: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it. Note: If you want to resize a note group in Voice 2, you must press shift as you click. See Also: Resize Tool

1636

Resize Page dialog box

How to get there Click the Resize Tool . In Page View, click the upper-left corner of a page (or anywhere completely outside a staff system). Or, click on the Page Layout Tool. From the Page Layout menu, choose Resize Pages.

What it does This dialog box lets you specify how much you want to reduce or enlarge all the music (as well as text and expressions) on a page of your score (or many pages); if you wish, you can also change the actual page dimensions in the process. • Resize Page to ___%. The number in this text box specifies how much you want to resize the page, expressed as a percentage of the original full size. • Hold Margins. If you select this item, you won’t actually change the dimensions of the page itself, only the music itself. The result is that a different amount of music will fit on a page. (Be sure to choose Update Layout from the Edit menu when you’re finished, so you can see the effects of your resizing on the number of measures that fit on a line.) See Resize Staff System dialog box for an illustration. • Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All 1637

Parts and Score to apply changes to the full project - all parts and the score. • Page ___ Through ___ • Page ___ Through End of Piece. These options let you specify what range of pages you want to resize. • Update Page Format. When selected, Finale automatically updates the page size percentage in the Page Format for Score dialog box (Document menu) to the current setting in the Resize Page dialog box. • Cancel • OK. Click OK to confirm, or Cancel to discard, your reduction or enlargement specifications. You return to the score. (If you clicked OK, be sure to choose Update Layout from the Edit menu to correct any uneven measure spacing introduced by the resizing.) Tip: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it. See Also: Resize Tool Page Layout menu

1638

Resize Staff dialog box

How to get there Click the Resize Tool

. In Page View, click directly on a staff.

What it does This dialog box lets you specify the percentage of enlargement or reduction you want applied to a staff. • Resize Staff to ___%. This number specifies how much you want to resize the staff, expressed as a percentage of the original full size. • System ___ Through ___ • System ___ Through End of Piece. These options let you specify the range of systems in which you want to resize the staff. • OK • Cancel. Click OK to proceed with the staff resizing, or Cancel if you decide note to resize anything. You return to the score. Tip: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it. See Also: Resize Tool

1639

Resize Staff System dialog box

How to get there Click the Resize Tool . In Page View, click between two staves that are part of the same system. Or, click on the Page Layout Tool. From the Page Layout menu, choose Resize Staff Systems.

What it does This dialog box lets you specify the percentage of enlargement or reduction you want applied to a staff system. • Staff Sizing: Staff Height • Units • And Resize System • Resulting System Scaling. Set the staff height, then apply a percentage to the value. The Resulting System Scaling is the cumulative effect for all staves in the system. Tip: the absolute staff height is 96 EVPUs or .3333 inches or .8467 cm. Select the measurement unit for the values in this dialog box only.

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• Hold Margins. This item offers you the chance to resize the system without actually resizing its image on the page proportionally—in other words, to maintain the current margins. The result is that the music is resized, so a different amount of it fits on a line. (Be sure to choose Update Layout from the Edit menu when you’re finished, so you can see the effects of your resizing on the number of measures that fit on a line.) If you reduce a system with Hold Margins and Resize Vertical Space selected, the music gets smaller, but the system still stretches from margin to margin, and the space between it and the following system is reduced proportionally (left). If neither option is selected, the system shrinks in every direction, including horizontally, but the space between it and the next system doesn’t change (right). • Resize Vertical Space. This item lets you proportionally resize the space between the system you’re changing and the next system. If you didn’t select this option before reducing a system, you may discover that there’s too much space between the reduced system and the next; and if you’ve enlarged a system, you might find that there’s too little space between the enlarged system and the next. • Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all parts and the score. • System ___ Through ___ • System ___ Through End of Piece. These options let you specify what range of systems you want to resize. To resize only the system you clicked, leave the numbers (that Finale proposes) alone. • Update Page Format. When selected, Finale automatically updates the staff sizing in the Page Format for Score dialog box (Document menu) to the current setting in the Resize Staff System dialog box. • OK • Cancel. Click OK to confirm your reduction or enlargement specifications. You return to the score. Be sure to choose Update Layout from the Edit menu to correct any uneven measure spacing introduced by the resizing. Click Cancel if you decide not to resize anything. You return to the score. Tip: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it. See Also: 1641

Resize Tool Page Layout menu

1642

Respace Staves dialog box

How to get there Click the Staff Tool

, and select Respace Staves from the Staff menu.

What it does The Respace function adjusts the vertical spacing of all the staves in your document. It can either space them evenly, or—if your staves aren’t evenly spaced to begin with—it can preserve the gaps between staves, but make all gaps proportionally larger or smaller.

• Respace Staves In: Choose Current Part or Score to apply changes to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all parts and the score. • Top Staff Position: Keep Current Position. Leave this option selected if you don’t want to move the top staff. • Top Staff Position: Set to ___ . If you want to place the top staff a certain distance from the top of the screen, select this option and enter the distance in the text box. • Top Staff Position: Scale to ___ %. If you want to adjust the top staff’s position by a percentage of its current position, select this option. For example, to place it twice as far down from the top of the screen, you’d enter 200 (%) in the text box. You’d usually use this option only if you’re also adjusting the other staves by a percentage. 1643

• Distance Between Staves: Set to ___ . This option lets you specify a fixed amount of space between staves in the score; in the text box, enter the distance you want between staves. • Distance Between Staves: Scale to ___ %. If you don’t want all staves to be equidistant, but simply want to place them all closer together or farther apart, select this option, which preserves their relative distances. For example, if you’ve created a larger-than-usual gap between the woodwind staves and the strings, you could enter 50% in this text box. There would still be extra space—but both the gap and the distances between staves within the woodwind or string sections would all be half as large. • OK • Cancel. Click OK to confirm, or Cancel to discard, your new spacing settings. Tip: If your score has different distances between groups (such as between woodwinds and brass), use Scale to a percentage to maintain those unique distances. See Also: Staff Tool

1644

Rulers and Grid dialog box

How to get there Enter the Shape Designer (see Shape Designer dialog box). Choose Rulers and Grid from the Shape Designer menu.

What it does This command lets you establish the units of measurement you want to use while creating a graphic shape in the Shape Designer. It also lets you specify how frequently you want grid points to appear (when Grid is selected in the Show submenu of the Shape Designer menu). When this visual background grid is visible, you can use it for helping you draw straight lines, or for gauging the size of an object you’re manipulating. The grid doesn’t appear in printouts, and lines you draw don’t "snap to" it; it’s purely an on-screen visual aid. • Inches • Centimeters • Picas • Points • EVPUs • Eighth Notes. Select the units of measurement you want Finale to use in displaying rulers and grids (and in displaying position coordinates in the H: and V: text boxes. (The Eighth Notes choice is primarily useful for creating Executable Shapes, for use in creating a playback effect.) • Grid Points Every ___ . Enter the distance you want between grid points in the visual grid. If you’re designing an Executable Shape, the imaginary horizontal gridlines don’t represent a unit of spatial measurement. Instead, each time your Executable Shape crosses a horizontal gridline, it generates a new playback value, representing an increase or decrease in the playback variable's value (one beat per minute, one unit of MIDI velocity, and so on). 1645

• OK • Cancel. Click OK to confirm, or Cancel to undo, the changes you’ve made to the ruler and grid setup, and return to the Shape Designer window. See Also: Shape Designer

1646

Save As Audio File dialog box

How to get there From the File menu, choose Save Special, then Export to Audio File.

What it does In this dialog box you can specify what kind of audio file you want to create (Standard or Compressed), and which folder the computer should put it in. • Save In. From this drop-down list select the folder in which you want to save your file. • File Name. In this text box, enter a name for a new file. If there’s already a file with the same name in this folder, Finale will ask you if you want to replace it with the new file. If you do not provide an extension after the name, Finale automatically adds one to correspond to the selected File Type. • Save as Type: Audio File. From this drop-down menu, choose Audio files to show only audio files in the window above. Choose All files to show all file sin the current folder. To specify the type of audio file you want to save, choose one of the radio buttons below or click Advanced. • Standard Audio File • Compressed Wave File. Choose Standard Audio File to save as an uncompressed audio file. Standard Audio files are large in file size and generally used for burning audio CDs. Choose Compressed MP3 File to save a compressed Audio file in MP3 format. Compressed 1647

Wave files are a fraction of the size of Standard Wave files and are the preferred format for storing on a computer, or transferring over the Internet. Compressed audio files are not supported while recording with VST as the playback device. • Save • Cancel. Click Save (or press enter) to create a new file of the title and type you’ve specified in this dialog box. Click Cancel to return to the score without creating a new file. See Also: Audio File menu

1648

Save Library dialog box

How to get there Choose Save Library from the File menu. Or, from the Document menu, choose Document Options and click the Save Library button.

What it does In the course of working on scores, you may create your own markings and symbols. Finale allows you to save these musical elements (articulations, chord symbols, and so on) into separate files called libraries. These sets of musical elements may then be "loaded into" any document. This dialog box lets you specify which elements of your document you want to save into a library. • [Library Types]: A summary of the options listed in this dialog box appears below. Click the radio button of the element of the currently open document you want to save separately. Articulations: One-character articulation or other musical markings (accent, fermata, and so on) created with the Articulation Tool._Ref1322012588_Ref-1322012588

Chords & Fretboards: Chord suffixes you’ve created or edited with the Chord Tool, including chords you’ve "taught" Finale to recognize. This library also saves any custom fretboards you’ve created. Finale will check for duplicate suffixes and only load new unique chord suffixes. Clefs: Eighteen clefs, which you can edit in the Clef Designer. Clef libraries include accidental placements for major and minor keys. 1649

Default Fonts: Font choices for many aspects of the score, as found in Document Options-Fonts (from the Document menu, choose Document Options, then Fonts). Document Options: Finale settings having to do with the active document, including almost every setting in the Document menu (such as clefs, music characters, PostScript settings, line widths, and so on). Executable Shapes: Any Executable Shapes you’ve created with the Shape Designer and Executable Shape Designer. Fretboard Styles: Settings that determine how Finale draws custom fretboards, such as number of frets, string spacing, and fret number font. See Fretboard Styles dialog box. Instruments: A set of staff-to-MIDI channel relationships for your particular MIDI setup, as established in the Instrument List Window. Key Signatures: Any nonstandard key signatures you create with the Key Signature Tool. Music Spacing: Saves settings from Document Options-Music Spacing dialog box. Page Format: Saves settings from the Page Format for Score and Page Format for Parts dialog boxes. Percussion Maps: Maps you’ve created with the Staff Tool in the Percussion Map Designer. Shapes: Anything you’ve drawn in the Shape Designer, including multimeasure rests, custom stem shapes, fonts, as well as the "raw shapes" that form the basis of Shape Expressions and Executable Shapes. Shape Expressions: Expressions consisting of a shape drawn in the Expression Designer (and a related playback definition). Smart Lines: Custom Smart Shapes defined in the Smart Line Style dialog box. Staff Styles: Staff Styles, such as slash notation or transpositions, created with the Staff Tool. Stem Connections: Adjustments to how the stem attaches to specific noteheads. See Stem Connection Editor dialog box. Text Expressions: Expressions consisting of text (and a related playback definition): "Allegro," "ritard," and so on in the Expression Designer. Text Repeats: Text repeats, such as "To Coda," created with the Repeat Tool. • OK • Cancel. Once you’ve chosen the element of your piece for which you want to create a library, click OK. Finale asks you to title the new library; the next time you’re working on a piece that requires the contents of that

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library, you can simply load it using the Load Library command. Click Cancel if you decide not to create a new library. You return to the score. See Also: File menu

1651

Save Tempo Changes dialog box

How to get there Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe menu. Click a measure. Record a performance and add Time Tags in the usual way. Click Save Tempo Changes.

What it does When you record a performance in the Transcription Mode, Finale offers you the option of preserving any tempo changes so that you can hear them later applied to the finished transcription. (To calculate this information, Finale compares the evenness of your Time Tags with real time; if your Time Tags grow farther apart, for example, Finale infers a decrease in tempo.) In this dialog box, you can specify how you want the tempo information captured. • Do Not Save Tempo Changes. Click this radio button if you do not wish to save any tempo changes. • Save Tempo Changes as an Absolute Tempo. Click this radio button if you want Finale to remember each tiny tempo change as an absolute tempo change. In other words, Finale might think to itself: "60 beats per minute...65...70." Any expression you place in the score (whose playback definition has been set to affect tempo) will have no effect on the playback tempo. Similarly, you can’t affect the playback tempo by adjusting the Tempo parameter on the Playback Controls. This is the most precise method of preserving your tempo fluctuations. • Save Tempo Changes as a Percent Alteration. Click this button if you want Finale to remember each tiny tempo change as percentage of the tempo that preceded it. In other words, Finale might think to itself: "60 beats per minute…8% faster…10% faster." While this kind of tempo information is slightly less precise than the Absolute type, it allows you to change the starting tempo (with an expression, or by changing the Tempo in the Playback Controls) without destroying the relative tempo changes from moment to moment. 1652

• Save Tempo Changes as a Percent Alteration with an End-of Measure Reset. Click this button if you want Finale to remember each tiny tempo change as percentage of the tempo that preceded it (see "% Alteration," below)—but to remember it in one-measure segments. Finale keeps track of the tempo at the beginning of each new measure, therefore, making it easier for you to edit the tempo for a specific measure with the Tempo Tool. • OK • Cancel. Click OK (or press enter) to retain tempo information, or click Cancel if you decide you don’t want to retain tempo information with your transcription. You return to the Transcription window. See Also: Transcription HyperScribe Tool

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Scale Continuous Data dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing Continuous Data from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Scale from the MIDI Tool menu.

What it does This dialog box’s function is to let you scale the values of the continuous data gradually from one value to another. • from ___ to ___. In these text boxes, enter the beginning and ending values of the gradual change you want Finale to effect over the selected region. The numbers you enter in the From and To boxes pertain to the controller you’ve specified (on a scale from -8192 to 8192). For example, you could create a smooth pitch bend by scaling the pitch wheel data for a selected region from 0 (the pitch wheel’s at rest value) to 8192. (Be sure you then scale it back down to 0 later in the piece, or your synthesizer will think that its pitch wheel is "stuck," and all notes your synthesizer plays will be transposed.) • Absolute • Percent of Original. When Finale scales the selected MIDI data from the value in one text box to the value in the other, it needs to know whether these specified values are the actual absolute values or percentages of the existing values. For example, if you click Absolute when creating a crescendo, the crescendo will be perfect; any subtle variations in key velocity among the notes of the selected passage (recorded from your original performance) will be lost. If you clicked Percent of Original, however, you could scale key velocities from, say, 50% to 200% of all

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notes’ current velocities, thus preserving individual dynamic fluctuations within the passage while still creating an effective crescendo. • in Increments of ___. This text box has no effect unless you’ve selected Absolute (see above). It lets you specify the increments by which you want Finale to scale the specified data type. For example, if you scale the pitch wheel from -8192 to 0 in increments of one, the pitch bend will be extremely smooth. But such a pitch bend will also take Finale a long time to calculate, and the storage of such large amounts of data will increase the amount of disk space consumed by your document. If you create the same pitch bend in increments of five or ten, however, Finale has far fewer calculations to make, but the pitch bend may sound less smooth. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool menu MIDI Tool

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Scale Key Velocities dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing Key Velocities from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Scale from the MIDI Tool menu.

What it does This dialog box’s function is to let you scale the Key Velocity values gradually from one value to another. For example, you can create a smooth crescendo by scaling the key velocities of the notes in the region from 10 to 90. (MIDI velocity is measured on a scale from zero, which is very quiet, to 127, which is very loud.) • from ___ to ___. In these text boxes, enter the beginning and ending values of the gradual change you want Finale to effect over the selected region. The numbers in these text boxes represent either MIDI velocity values or percentages of the existing key velocity values, depending on whether you’ve selected Absolute or Percent of Original (see below). (MIDI key velocity values range from 0 [very quiet] to 127 [very loud]). If you enter a larger value in the first text box, the result will be a decrescendo; if you enter a larger value in the second box, the result will be a crescendo. • Absolute • Percent of Original. When Finale scales the selected MIDI data from the value in one text box to the value in the other, it needs to know whether these specified values are the actual absolute values (from 0 to 127 for Key Velocities, for example) or percentages of the existing values. For example, if you click Absolute when creating a crescendo, the crescendo will be perfect; any subtle variations in key velocity among the notes of the selected passage (recorded from your original performance) will be lost. If you clicked Percent of Original, however, you could scale key velocities from, say, 50% to 200% of all notes’ current velocities, thus 1656

preserving individual dynamic fluctuations within the passage while still creating an effective crescendo. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool menu MIDI Tool

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Scale Note Durations dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing Note Durations from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Scale from the MIDI Tool menu.

What it does This dialog box’s function is to let you scale the values of the specified MIDI data type gradually from one value to another. • Start Times • Stop Times. These two radio buttons let you specify which MIDI data type you want to scale from one value to another—either the Start Time (the difference between the notated attack of a note and the time you actually played it) or the Stop Time (the difference between the notated release of a note and the time you actually released it). • from ___ to ___. In these text boxes, enter the beginning and ending values of the gradual change you want Finale to effect over the selected region (for the selected MIDI data type). The values you’re scaling are Start Times or Stop Times. The Start Time is the difference between the notated, or quantized, attack of a note and the moment you actually struck the note in your performance. The Stop Time is the difference between the notated release of the note and the moment you actually released the note. The Start and Stop Times are measured in EDUs (1024 per quarter note). Therefore, by scaling the Start Times from, say, zero to –512 over a specific range, the notes will sound as though they’re being struck more and more before the beat, until they’re an entire eighth note (512 EDUs) early. If you scale the Stop Times from, say, 1024 to zero, the notes will sound as though they’re being sustained for shorter and shorter amounts of time beyond their notated values.

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• OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool menu MIDI Tool

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Scale - Tempo dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing Tempo from the MIDI Tool menu. If you’re in the MIDI Tool splitwindow, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Scale from the MIDI Tool menu.

What it does This dialog box’s function is to let you scale the tempo gradually from one value to another. For example, you can create a smooth accellerando by scaling the tempo from 40 beats per minute to 60 beats per minute. • From ___ to ___. In these text boxes, enter the beginning and ending values of the gradual change you want Finale to effect over the selected region. The numbers in these text boxes represent the number of beats per minute. • In Increments of ___. This text box only appears if you’re editing Continuous Data or Tempo, and it has no effect unless you’ve selected Absolute (see above). It lets you specify the increments by which you want Finale to scale the specified data type (Continuous Data) or number of beats per minute (Tempo). • Absolute • Percent of Original. When Finale scales the selected MIDI data from the value in one text box to the value in the other, it needs to know whether these specified values are the actual absolute values (from 0 to 127 for Key Velocities, for example) or percentages of the existing values. For example, if you click Absolute when creating a crescendo, the crescendo will be perfect; any subtle variations in key velocity among the notes of the selected passage (recorded from your original performance) will be lost. If you clicked Percent of Original, however, you could scale key 1660

velocities from, say, 50% to 200% of all notes’ current velocities, thus preserving individual dynamic fluctuations within the passage while still creating an effective crescendo. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool menu MIDI Tool

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Score Merger dialog box

How to get there From the File menu, choose Score Merger.

What it does Finale's Score Merger allows you to combine several files into one. This can be done horizontally, with files appended after each other, such as different movements of a symphony or a collection of songs. Or, it can be done vertically, consolidating individual parts into a full conductors score. • Add Files • Remove File • Move Up • Move Down. Click Add Files to open the "Select the files to merge" dialog box where you can navigate and select the files you would like to merge. Click Remove File to remove the selected file. Click Move up to nudge the selected file up in the list. Click Move down to nudge the selected file down in the list.

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• Merge These Files Into One File • Append to Current Document • Insert at Current Selection. Choose this option if you would like to merge scores horizontally, one file after another as you would in movements of a score. Check Append to Current Document to add the selected files, one after another, to the end of the active document. Check Insert at Current Selection to add the selected files starting at the region selected in the active document. The selected region must include a full measure. • Treat as Independent Movements • Insert Blank Pages to Maintain Left/Right Layout. Check this box to tell Finale you would like to treat each merged file as a separate movement. Finale will adjust the page breaks and final bars for you automatically. Check Insert Blank Pages to Maintain Left/Right Layout to automatically insert blank pages where necessary to correct situations where pagination doesn't match at connecting files. (If this option is not checked, Score Merger will adapt left/right page layout depending on context). • Keep Each File’s Measure Numbering. Choose this option to use the measure numbering specified in the merged files rather than consecutively from the beginning of the merged score. • Edit Instrument Junction between Files. If checked, the Instrument Junction dialog box appears for each file, which allows you to edit the proposed instrument linkage. See Instrument Junction dialog box. • Merge These Parts Into One Score. Check this box to merge scores “vertically” in order to, for example, combine a collection of part documents into a full conductor's score. • Adjust Systems to Fit Page. Check this box to tell Score Merger to automatically adjust systems to fit page after merging vertically. • Optimize MIDI Channels. This adjusts for duplicates in the GM MIDI channel and instrument setup, for both vertical and horizontal merges. • Generate Report • View Last Report. Check this box to tell Score Merger to log any errors that occur while merging files. Click View Last Report to view Score Merger's most recently generated report. See Also: File menu To combine files with Score Merger

1663

Search and Replace dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Note Mover Tool , then click a measure. Select the handles of the notes you want to indicate as the subject of a search-and-replace operation; select a single note by clicking its handle, additional notes by shift-clicking, several notes by dragenclosing them, or all notes in the measure by choosing Select All from the Edit menu. Choose Search and Replace from the Note Mover menu.

What it does When you perform a Search and Replace operation, you can search for a pitch, a specific pitch-and-rhythm combination, or even an entire motif anywhere in a score and modify every occurrence of it in one of several ways. For example, you can flip every G flat to its enharmonic equivalent (F sharp), or change two of the notes in a recurrent theme. In this dialog box, you tell Finale whether it should search for occurrences of the selected motif in other octave registers or just the original register. You also tell Finale whether to confine its search to note patterns whose rhythmic values match those of the selected motif. All of these options take key changes into account when searching. For example, if you’re searching for a motif that begins on C in the key of C, one that begins on C in the key of F won’t be considered a match. Instead, Finale will look for the same motif beginning on F in the key of F. When you click any of these four buttons, you proceed to the Alteration for Slot dialog box, where you tell Finale how you want to modify each occurrence of the motif; see Alteration for Slot dialog box. • In All Octaves. Click this button if you want Finale to search your file for occurrences of the selected notes in any octave.

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• In Selected Octave Only. Click this button if you want Finale to search your document for occurrences of the selected notes but in the original octave. • Match Durations. Place a check mark in Match Durations to confine the search-and-replace process to notes with the same pitches and rhythmic values as the selected notes, regardless of the octave. For example, if you’ve selected a C-D-E pattern whose rhythm is quarter half quarter, Finale won’t locate a C-D-E pattern whose rhythm is quarter quarter eighth—only notes, in any key, whose scale degrees and durations exactly match the selected notes. • OK • Cancel. Click OK to confirm your search criteria and display the Alteration for Slot dialog box in which you specify the transpositions. Click Cancel to return to the score without making any changes. See Also: Note Mover Tool

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Secondary Beam Break Selection dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Special Tools Tool , and click a measure containing beamed sixteenth notes (or smaller values). Click the Secondary Beam Break Tool; handles appear above each beamed note. Double-click the handle above the note after the desired beam break.

What it does The Secondary Beam Break Tool lets you create breaks in the inner beams of sixteenth notes and smaller values. (To break eighth note beams, click the measure with the Speedy Entry Tool (or choose the Simple Entry Tool), click the note after the desired beam break, and press the slash key [/].) In this dialog box, you can specify which beams you want to break. • Break Through. Select this radio button if you want all beams broken to a certain level. When you specify the level (by clicking one of the rhythmic value checkboxes, below), the level you clicked and all smaller values are automatically selected.

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• Break Only. If you only want selected (not necessarily adjacent) beams to be broken, select this radio button, then select the checkboxes of the duration values whose beams you want broken. • 16th • 32nd • 64th… 4096th. These checkboxes identify the beams you want broken, as shown above. Note: Some of these duration values are smaller than you can enter with the Speedy Entry Tool (the 4096th note, for example). You can create such a note by setting the duration manually in the Edit Frame dialog box or through the Change Note Durations command in the Utilities menu. See Edit Frame dialog box or Change Note Durations dialog box.. • OK • Reset • Cancel. Click OK to return to the score, where you’ll see the effects of your beam breaking. The handle you clicked remains selected to remind you that you’ve modified it. Click Reset to restore the beaming to normal or double-click the handle after returning to the score. Click Cancel to return to the score without changing any beaming. See Also: Special Tools Tool

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Select Region dialog box

How to get there Choose Select Region from the Edit menu. (Used with the Selection Tool, Staff Tool, Measure Tool, Clef Tool, Time Signature Tool, Key Signature Tool and MIDI Tool.)

What it does When you want to select a region of measures to edit, erase, or copy, you normally click to select one measure, shift-click to select additional measures, drag-enclose to select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit menu to select the entire document. However, many of these methods require that the measures you’re selecting be visible on the screen. With this dialog box, however, you can select large or small sections of your score without scrolling; in fact, if you’re viewing measure 200, you can even select measures 1 through 10 remotely (without actually clicking any measures) from this dialog box. Finale will select the specified measures, even if you can’t see them. This dialog box even lets you select a certain range of beats within the measures. • From Staff: ___ • Measure: ___ • Beat. Using these controls, specify the staff name and measure number, respectively, of the first measure of the region you want selected. Choose the staff name from the drop-down list, and type a number into the Measure text box. If you select any measures before you choose Select Region from the Edit menu, Finale identifies the first selected measure’s number and staff name in these boxes automatically. That’s useful to remember if the first measure of the desired region is visible on the screen—then, when you 1668

arrive at this dialog box, you only have to specify the ending measure of the region (see below), which saves you several steps. With the beat selection you can specify which beat in the measure you want to begin the selection. Type it into the text box at the right side of the dialog box. For example, if the fourth beat of the measure is supposed to begin the selected region, type a 4 into the box. Alternatively, you can choose EDUs from this drop-down list, and enter an EDU value (1024 per quarter note) to specify a starting point with high precision. • Through Staff: ___ • Measure: ___ • Beat. Using these controls, specify the staff name and measure number, respectively, of the last measure of the region you want selected. Choose the staff name from the drop-down list, and type a number into the Measure text box. Again, if you select any measures before you choose Select Region from the Edit menu, Finale enters the last selected measure’s number and staff name (or number) in these boxes automatically. That’s useful to remember if the last measure of the desired region is visible on the screen—then, when you arrive at this dialog box, you only have to specify the beginning measure of the region (see above). And here, too, you can also specify which beat in the measure you want to end the selection by typing a beat number into the text box at the right side of the dialog box. Alternatively, you can choose EDUs from this dropdown list, and enter an EDU value (1024 per quarter note) to specify an ending point. • OK • Cancel. Click OK to return to the document, where Finale selects (highlights) the measures in the region you specified. Click Cancel dismiss the dialog box without selecting any measures. See Also: Selection Tool Edit menu

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Select Staff Systems dialog box

How to get there Click the Page Layout Tool . From the Page Layout menu, choose Systems, then Select Staff System Range.

What it does Use this dialog box to specify which staff systems you want updated when you adjust a single staff system in the score (such as indenting it, dragging it up or down, and so on) • System __ Through __. Enter the numbers that define the staff system range you want. • OK • Cancel. Click OK to return to the score where any adjustments will affect the selected range of staff systems. Click Cancel to return to the score without making any changes. See Also: Page Layout Tool

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Selection Overview The following dialog boxes are very similar. Click a dialog box name for specific information.

Articulation Selection Chord Suffix Selection Copy Fretboards from Suffix Custom Arrowhead Selection Executable Shape Selection Expression Selection Fretboard Selection Fretboard Shape Selection Percussion Map Selection Preset Arrowhead Selection Smart Line Selection Shape Selection Stem Connections Symbol Selection

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Selective Mirror dialog box

How to get there Click the Mirror Tool . After creating a mirror with the Mirror Tool: From the Window menu, choose Advanced Tools. Shift-click the mirror measure (which displays the Mirror icon). Click Selective Mirror ID. When creating a composite mirror: From the Window menu, choose Advanced Tools. Click the Mirror Tool. Click an empty measure; the Tilting Mirror dialog box appears. Create a composite mirror in the usual way, ending by clicking Yes. Click Selective Mirror ID.

What it does An intelligent copy of a full measure is called a mirror; a measure composed of selected notes from several different measures is called a composite mirror. There may be times, however, when you want to display only selected notes from a mirror or composite mirror. For example, you might want a certain measure to display only a single monophonic musical line distilled from the chordal right-hand piano part from which it was mirrored. For this purpose, Finale offers you the ability to choose individual notes from a mirror or composite mirror; the result is a selective mirror. In this graphic window, you can click the handles of the notes you want to include in the selective mirror. You can pick individual notes out of a chord or, by drag-enclosing several handles, you can select groups of notes within chords. Finale will automatically provide rests to replace any notes you don’t select.

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Click Prev and Next to scroll through other mirror measures. When you’re finished, click OK; Finale automatically enters the number of the selective mirror in the text box. • ID:. This indicator identifies the selective mirror by number. Finale assigns each new selective mirror a sequential ID number. If the number in the Selective Mirror ID text box was 0, Finale knows you’re creating a new selective mirror, and this indicator says NEW. If you entered a number in the Selective Mirror ID text box, Finale displays the selective mirror assigned to that number, so that you can edit it. • OK • Cancel. When you’ve chosen all the notes you want included in your selective mirror by clicking their handles, click OK. You return to the Mirror Attributes dialog box, where Finale places an X in the Selective Mirror checkbox and displays the new selective mirror’s number in the text box. Click Cancel to return to the previous dialog box without creating (or editing) a selective mirror. • Prev • Next. If you’ve created more than one selective mirror, click Prev and Next to scroll through them. See Also: Mirror Tool

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Send MIDI Value dialog box

How to get there Choose Send MIDI Value from the MIDI/Audio menu.

What it does This dialog box simply provides a convenient way to transmit any MIDI message directly to your MIDI device. You might send a "note off" message on all channels in the event of MIDI lock (the same function as the All Notes Off command–see MIDI menu); you might use it to change the patch setting of one of your keyboards; or you could reset a MIDI keyboard’s sustain pedal or pitch wheel that’s become "stuck" in the down position, for example. The permissible range of values in any of the text boxes is zero to 127. To send bank and program changes immediately, enter the program change and bank select values into the Send MIDI Value dialog box. Sending controller data is simple. To choose a controller, click Controller, then choose the name of the controller, such as 64:Sustain Pedal, from the Controller dropdown list.

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• All MIDI Channels • Only MIDI Channel ___. With these controls, you specify the MIDI channel on which you want Finale to transmit the specified MIDI data. If you select All MIDI Channels, Finale transmits the specified data on all sixteen MIDI channels (from both ports). If you select Only MIDI Channel ___, Finale only transmits the data on the MIDI channel whose number you enter in the text box. • Key Off • Key On. Click one of these buttons if you want Finale to transmit a Key Off ("release the key") or Key On ("play the key") message to the key whose number you’ve entered in the first text box. (MIDI key numbers increase sequentially as you move to the right on the keyboard; middle C is key number 60.) In the second text box, enter the key velocity value with which you want the note struck (or released, for synthesizers that respond to key off velocity data). • Controller. Click this button and place the controller number in the first text box (or select the desired controller from the drop-down list). In the second text box, enter the value you want sent for the controller whose number you’ve entered in the first text box. • Patch. Click this button to make a Patch change. From the drop-down list choose whether you want to make a simple program change, or a bank and program change; then use the Bank Select and Program Change text boxes to make the changes. Or just select the instrument you desire from the General MIDI drop down list and the Bank Select and Program Change will be set for you automatically. • Pitch Wheel • Channel Pressure. Click one of these buttons if you want Finale to transmit the pitch wheel or channel pressure (monophonic aftertouch) value you’ve specified in the text box. • Other. If you’re very familiar with the MIDI protocol, you can use this button and set of text boxes to transmit other kinds of MIDI data—system exclusive data, for example. The first text box contains the highest portion of the status byte. The contents of the remaining text boxes depend upon that status byte. • Done • Send. Click Send to transmit the data you’ve specified. Click Done to exit the dialog box. See Also: MIDI/Audio menu

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Set Distances dialog box

How to get there Choose Open from the File menu, and Select MIDI from the File Type dropdown list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI File Options dialog box, click the Set Track-to-Staff List radio button. Define track-to-staff mappings for the desired tracks by clicking each row of information (see Track/Channel Mapping dialog box). When you’re finished, click Set Dist.

What it does In this dialog box, you can specify a uniform distance between staves in the Finale document that results from your MIDI file transcription, as well as the distance between the top staff and the top page margin. Note that you can override these settings on a staff-by-staff basis by clicking the staff name and changing the Distance number in the Track/Channel Mapping dialog box. • Distance to Top Staff. The number in this text box specifies the distance between the top line of the first staff and the top of the window in Scroll View (the default is –.28 inches, because it’s being measured down from the top of the window). You can think of this distance as the distance between systems. • Distance Between Staves. The number in this text box specifies the distance from the top line of one staff to the top line of the next. The default is –.83 inches, because each successive staff is placed below the previous one in the system. • OK • Cancel. Click OK to confirm your staff placement settings and return to the Track/Channel Mapping to Staves dialog box. Your distance settings will be reflected in the Distances column. Click Cancel to return to the Track/Channel Mapping to Staves dialog box without specifying a uniform distance between staves and systems. See Also: Track/Channel Mapping Import MIDI File Options 1676

Set Duration dialog box

How to get there This graphic palette of rhythmic values appears any time you’re asked to specify a rhythmic value by clicking (for example) a Set Duration button in a Finale dialog box.

What it does The Set Duration dialog box is available almost any time Finale asks you to specify a rhythmic value for a note. You usually have the option of entering a number in a text box to specify the duration —in EDUs (1024 per quarter note)—but the dialog box provides a quicker and more visual method of selecting a rhythmic value. If you select a rhythmic value using this dialog box, Finale automatically enters the appropriate EDU value in the text box. • [duration icons]. Click the icon representing the rhythmic value you want to select. You can only select one note icon at a time • OK • Cancel. Click OK to confirm, or Cancel to discard, your note duration selection. See Also: Document Options-Music Spacings

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Set Patch To dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Continuous Data from the MIDI Tool menu, then check Patch Changes. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Set To from the MIDI Tool menu.

What it does This dialog box’s function is to allow you to set the patch values of the selected region. • Patch • Bank Select 0 • Bank Select 32 • Program Change • General MIDI. To enter bank and program change data from the MIDI Tool, follow the procedure for entering simple patch changes, then enter the program change and bank select values into the Set Patch To dialog box that appears. You can also select the instrument you want from the General MIDI drop down list to automatically set up the Bank Selects and Program Change required. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool

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Set Placeholder dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Mirror Tool and click any measure that contains notes. The Placeholder dialog box appears, letting you specify how many "blank" beats you want (for use in creating a pickup measure). Make a selection and click OK.

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What it does If your piece has more than one staff, Finale is asking whether the pickup measure only occurs in the staff you clicked, or in all staves. • Change This Staff Only. Click this button if you want the "placeholder" beats (invisible beats at the beginning of a pickup measure) to occur only in the staff you clicked. • Change All Staves. Click this button if you want the "placeholder" beats to occur in every staff. • OK • Cancel. Click OK to confirm, or Cancel to discard your set placeholder selection. See Also: Mirror Tool

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Set Swing Ratio dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Tempo Tool Click a measure, then click Set Swing.

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What it does The Tempo Tool offers a method for creating a swing playback feel in your music. You’ll rarely need to use this method, however, because you can use the MIDI Tool much more directly and easily to produce a true swing feel. In this dialog box, you can specify the degree of swing you want applied to your music. • Percent. The number you type in this text box indicates the amount of swing you want. Briefly, the higher the number, the later the second eighth note in a swing pair. (A value of 200 produces perfect, triplet-feel swing.) Because of the method the Tempo Tool uses to create the swing effect, the overall tempo of your piece also drops. Note that you’ll also hear erratic results when Finale attempts to apply Tempo to a triplet. For these reasons, you’ll probably want to use the MIDI Tool (instead of the Tempo Tool) to create a true, quick and easy swing effect that preserves the overall tempo of the piece and plays triplets correctly. Technical note: The Tempo Tool creates swing by actually slowing the tempo while playing the first eighth note of each pair. The number in the Percent box is the reciprocal of the amount by which Finale first slows the tempo. Thus if the value is 200%, the tempo drops to half its speed. If the Percent is 300%, the tempo drops to 1/3 its speed. (The second eighth note is always played at the regular tempo. But because the tempo during the first 1680

eighth note was much slower, the effect is that the second eighth note sounds delayed.) The higher the Percent, the more a pair of eighth notes sound like a dotted-eighth-andsixteenth pair. • Duration. The number in this text box specifies the durational value of the notes to which you’re applying swing, in EDUs (1024 per quarter note). For standard eighth-note swing, for example, this number should be 512. (This text box is provided in case you want to swing your sixteenth notes, for example, or any other value.) Instead of having to calculate the EDU equivalent for the rhythmic value you want to specify, you can click Duration. Finale displays a palette of note durations; click the one you want to select and click OK. • OK • Cancel. Click OK to confirm the swing setting you’ve made and return to the Tempo Adjustment dialog box, where Finale has filled in the text boxes according to your swing specifications. Cancel tells Finale to ignore any changes you made to the swing setting. You return to the Tempo Adjustment dialog box. Tip: An easier method to add swing can be found in the Playback Controls or the Expression Tool. Tip: The higher the number, the later the second note in a swing pair and the heavier the swing. See Also: MIDI Tool Tempo Tool

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Set To - Continuous Data dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Continuous Data from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Set To from the MIDI Tool menu.

What it does This dialog box’s function is to allow you to set the values of the selected MIDI data type to a specified value. • Set Continuous Data to ____. In the text box, enter the value to which you want to set the continuous data within the selected region. The number you enter in the text box pertains to the controller you’ve specified (on a scale from 0 to 127). For example, the sustain pedal (controller 64) only has two possible values: 127 (pedal down) and zero (pedal up). Therefore, to insert a "pedal down" message, click in the "graph area" of the MIDI Tool splitwindow at the location where you want it to occur and drag to the right. (It doesn’t matter whether you select a large region by dragging or only a tiny vertical sliver—all Finale needs to know is where the beginning of the selection falls, because that’s where it will insert the "pedal down" message.) Choose Set To from the MIDI Tool menu, and enter the 127 in the text box. (Be sure to use the Set To command again later in the passage to set the sustain pedal’s value to zero, or Finale will play back your piece as though the sustain pedal was never released.) • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool menu MIDI Tool 1682

Set To - Key Velocities dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Key Velocities from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Set To from the MIDI Tool menu.

What it does This dialog box’s wording changes to reflect your MIDI data type selection (key velocities, note durations, or continuous data). Its function is to allow you to set the values of the selected MIDI data type to a specified value. For example, if you’ve selected Key Velocities, you can specify that all notes in the selected region should be played back with the same volume by setting their velocity values to a single MIDI velocity value. (MIDI velocity is measured on a scale of zero, silent, to 127, very loud.) • Set Key Velocities to ____. The numbers in these text boxes represent MIDI velocity values (which range from 0 to 127); Finale will set all notes in the selected region to the key velocity value you enter in the text box. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool menu MIDI Tool

1683

Set To - Start/Stop Times dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Key Velocities, Note Durations, or Continuous Data from the MIDI Tool menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Set To from the MIDI Tool menu.

What it does This dialog box’s wording changes to reflect your MIDI data type selection (key velocities, note durations, or continuous data). Its function is to allow you to set the values of the selected MIDI data type to a specified value. For example, if you’ve selected Key Velocities, you can specify that all notes in the selected region should be played back with the same volume by setting their velocity values to a single MIDI velocity value. (MIDI velocity is measured on a scale of zero, silent, to 127, very loud.) • Start Time • Stop Time. The Start Time is the difference between the notated, or quantized, attack of a note and the moment you actually struck the note in your performance. The Stop Time is the difference between the notated release of the note and the moment you actually released the note. In this case, then, you’re setting the Start and Stop Times of all notes in the selected region to a certain number of EDUs (1024 per quarter note). If you enter zero in both text boxes (and select both checkboxes), Finale will adjust the attacks and releases of the notes in the selected region so that they’re perfectly "quantized" with their notated values; when you play them back, they’ll sound rhythmically perfect. If you click Stop Times and enter 512 in the text box, for example, Finale will sustain every note in the selected region one eighth note’s time beyond its notated value. • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). 1684

See Also: MIDI Tool menu MIDI Tool

1685

Set To - Tempo dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Tempo from the MIDI Tool menu. If you’re in the MIDI Tool splitwindow, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Set To from the MIDI Tool menu.

What it does This dialog box’s wording changes to reflect your MIDI data type selection (key velocities, note durations, continuous data, or tempo). Its function is to allow you to set the values of the selected MIDI data type to a specified value. For example, if you’ve selected Key Velocities, you can specify that all notes in the selected region should be played back with the same volume by setting their velocity values to a single MIDI velocity value. (MIDI velocity is measured on a scale of zero, silent, to 127, very loud.) • Set Tempo to ____. The number in these text boxes represent the number of beats per minute (main beat as specified by the time signature). • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score). See Also: MIDI Tool menu MIDI Tool

1686

Setup Wizard

How to get there From the File menu, choose New, then Document with Setup Wizard. Or, in the Launch Window, select Setup Wizard.

What it does The Setup Wizard will help you to setup a Finale project with your own custom instrumentation, a title, composer, and other file information. It also offers a selection of document styles that allow you to automatically begin with libraries of musical elements suited to a specific type of score. • Select an Ensemble List Box. If you would like to begin using a pre-set ensemble, choose one from this list. Note that if you choose one of these ensembles you will be able to edit the instrumentation later in this wizard. If you would like to begin with a either a single staff or define a custom ensemble from scratch, select None. • Select a Document Style List Box. From this list select the desired Document Style. A Document Style includes elements such as articulations, expressions, chord symbols and other musical elements 1687

pertaining to a particular style of music. For example, the Jazz Band Document Style includes shakes and other jazz articulations you might see in a jazz band score. Document styles also include the default music font (e.g. Maestro or Jazz) and page size. An asterisk (*) next to a Document Style indicates the style is the default for the selected ensemble. You can click Always Use This Document Style with the Selected Ensemble to set the selected ensemble to the selected Document Style. When you select an ensemble, the default Document Style is selected automatically. See Document Styles. • Always Use This Document Style with the Selected Ensemble. Click this button to assign the currently selected document style as the default for the currently selected ensemble. The default Document Style for the selected ensemble is adorned with an asterisk (*). When an ensemble is chosen in the Ensemble List Box, its default Document Style is automatically selected. If you move or delete a Document Style the association is lost and an error message warns you accordingly when selecting the ensemble. The associations can be changed at any time. • Score Page Size · Part Page Size; Portrait · Landscape. Use the Select Score Page Size drop-down menu to choose the page size you want to use for the score; use the subsequent radio buttons to specify whether the score will be in portrait or landscape orientation. Use the identical Part Page Size controls to specify these settings for linked parts (see Linked Parts). The page size information is stored in the text file pagesizes.txt and can be edited to your specifications. See Configuring Pagesizes.txt in the Appendix. • Cancel · Next. Click Cancel to exit out of the Setup Wizard and return to Finale without creating a new document. Click Next to continue on to the next dialog box in the Setup Wizard.

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• Instrument Set. From this drop-down menu, choose an instrument set optimized for playback using one of the sound libraries. For example, if you select Garritan Instruments for Finale 2010, choices in the lists below update to instrument staves designed for playback using Finale’s built-in GPO sounds. If you choose Tapspace Instruments for Finale 2010, Finale displays the Tapspace drumline instruments. To assign VST instruments, use the VST Instruments dialog box. See VST Instruments dialog box. • Families · Parts: Add · Remove. Select a certain instrumental family, and add the part selected from the Parts column. The parts that are selected will be displayed in the list on the right. Parts will be added in Score order. If you want to Remove a part from the list on the right, highlight the part and click remove. The family and part information is stored in the text file Instrument.txt and can be edited to your specifications. See Configuring Instrument.txt in the Appendix. • Add Vertical Space. Click this option to insert extra vertical space between instruments (above the currently selected instrument). A dashed line appears indicating extra space. These extra space indicators can be moved up and down using the Score Order arrows just like regular instruments. The amount of extra space is specified in Document Options-Staves. • Score Order · [Arrows]. You can choose to have your parts listed in Orchestral order or other standard order. If you prefer to have the parts in 1689

your score listed in a different order, use the arrows to move the highlighted part up or down in the list on the right. The Score Order information is stored in the text file Instrument.txt and can be edited to your specifications. See Configuring Instrument.txt in the Appendix. • Use a separate channel for each staff. Check this box to automatically assign each instrument to its own unique channel. Instruments will be assigned to channels ascending from the top staff down starting with channel 1. This allows each staff to be set to a different MIDI patch or GPO instrument sound. • Generate Parts. Check this box to automatically create a linked part for each instrument chosen here. If your score does not require parts, uncheck this box to minimize file size. See Linked Parts. • Save Current Ensemble · Save As New Ensemble. Click Save Current Ensemble to redefine the current ensemble to include the instrumentation selected. Click Save As New Ensemble to open the Save Ensemble dialog box where you can choose a name for the new ensemble. The Save Ensemble dialog box appears where you can enter a name for the new ensemble based on the current instrumentation. (Ensembles are recorded in the ensembles.txt file located in the Finale/Component Files folder. See Configuring Ensembles.txt.) • Cancel · Back · Next. Click Cancel to exit out of the Setup Wizard without creating a new document. Click Back to return to the first page of the Setup Wizard. Click Next to continue to the next page of the Setup Wizard.

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• Title · Subtitle · Composer · Arranger · Lyricist · Copyright. Enter the Title, Subtitle, Composer, Arranger, Lyricist and Copyright information for your piece here and Finale will automatically enter them into the document for you. Finale is using text inserts to accomplish this (a copyright symbol is added for you automatically). If you want to change any of this later, the information is kept in the File Info dialog box. See File Info dialog box for more information. Note that all of these text inserts allow line breaks except the Title insert. • Cancel · Back · Next. Click Cancel to exit out of the Setup Wizard without creating a new document. Click Back to return to the second page of the Setup Wizard. Click Next to continue to the last page of the Setup Wizard.

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• Select a Time Signature. Select a time signature from several common time signatures. Click on the ?/? button to create more unusual time signatures. • Select a Concert Key Signature. Use the scroll bar to select a key. Click the up arrow to add sharps or subtract flats; click the down arrow to add flats or subtract sharps. Use the drop down menu to specify major or minor. • Specify Initial Tempo Marking. Check this box to have Finale place a tempo marking on the first measure. Type any tempo indication in the text field, such as “Allegro”, “Vivace”, etc. This Expression will affect the playback tempo. Click the quarter note to change the main beat duration and type a number in the text box to specify the number of beats per minute. To edit the tempo marking later, see Expressions. • Specify Pickup Measures. Check this box to have Finale create a pickup measure before measure 1. Click on the note corresponding to the sum of the pickup note or notes. • Number of Measures. Here, specify the number of measures for the new score. You can specify up to 1000 measures here (not including pickup measures). New measures can be added or deleted at any time (See Edit menu).

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• Cancel · Back · Finish. Click Cancel to exit out of the Setup Wizard without creating a new document. Click Back to return to the third page of the Wizard. Click Finish and Finale will create your document based on your choices and the default file.

1693

Shape Designer dialog box

How to get there Click the Expression Tool , and double-click a note or measure. Click Shape. To create a new Shape Expression, click Create, Select, then Create (or, to edit an existing Shape Expression, click it and then click Edit, then Edit again). Enter zero in the Select text box and click Select, then click Create. You can also enter the Shape Designer dialog box when you’re choosing a multimeasure rest; a custom stem shape (Special Tools Tool); a Custom Frame for the Text Tool; an Executable Shape as part of the playback definition for an expression; custom barline; custom arrowheads for Smart Shapes, or articulation shapes.

What it does The Shape Designer is Finale’s built-in graphics designer. You might create, for example, a harp pedaling diagram, or a custom barline. You can also design rectangles to use as frames when you’re creating text blocks, block rests to serve as multimeasure rests in extracted parts, and special shapes for use as custom stems. 1694

There are a number of drawing tools at the top of the screen; to create a shape, you click the tool you want to use, then click or drag in the blank display area. Each time you do so, you create a separate, movable, resizable, reshapable object. Objects may be grouped together, sent behind or in front of other objects, copied or pasted. Using the Shape Designer menu, you can display a background grid, change the shading and line thickness of objects, and specify Font for text objects; see Shape Designer menu. To reshape an object, click it using the Selection Tool, so that its handles appear. Drag these handles to resize the object—or, if it’s a curve, slur, bracket, multiline or polygon shape, double-click to reveal a number of individually-adjustable control point handles. For more precision, you can also select a single control point handle and reposition it by typing numbers into the H: and V: boxes. These numbers are like plane geometry coordinates (horizontal and vertical, respectively). (After entering a number, press tab to see the change reflected in the display.) At the top of the window are the drawing tools. Here’s a summary:

• Selection Tool. Use this tool for selecting, re-shaping, and moving objects. Click an existing object to make its handles appear; shift-click to select multiple objects. Drag a handle to re-shape the object, drag the object to move it, or press delete to remove it. Double-click a polygon, multiline shape, curve, or bracket to display its control handles. • Hand Grabber Tool. This tool works just like the Hand Grabber Tool in Finale’s main tool palette; it lets you adjust the drawing’s position in the window. Drag in the drawing area to shift the entire drawing in any direction. • Text Tool. Use this tool to create and edit text blocks, or text objects. Click in the drawing area, and then type. You change the Font using the Select 1695

Font command in the Shape Designer menu—either by first clicking in the text block just before the text you want to change, or by first selecting the entire text block with the Selection Tool. Click an existing text block to position it. Click the mouse to exit the text block. Text doesn’t wrap automatically within a text object; as you type, therefore, you need to press enter to create a new line within a text block. • Line Tool. Use this tool to draw single straight lines, anchored at the point of your first click, by dragging in the drawing area. Describe the line’s thickness, shading, and dashed quality using the Shape Designer menu, before creating it or when it’s selected. Press shift while dragging to create a perfect horizontal, vertical, or 45-degree line. • Rectangle Tool. To draw a square or rectangle anchored at the point of your first click, drag diagonally in the drawing area. Press shift while dragging to create a perfect square. Describe the rectangle’s thickness, shading, and dashed quality using the Shape Designer menu, before creating it or when it’s selected. • Ellipse Tool. Drag diagonally in the drawing area to draw an oval, anchored at the point of your first click. Press shift while dragging to create a perfect circle. Describe its thickness, and shading using the Shape Designer menu, before creating it or when it’s selected. • Curve Tool. Drag in a straight line to create a shallow Bézier, non-tapered (reshapable) curve, anchored at the point of your first click, that bows away from the imaginary line. You determine the direction of the arc by the direction you drag: drag to the right to produce an upward arc, drag upward to produce a leftward arc, and so on. Describe the curve’s thickness and dashed quality using the Shape Designer menu, before creating it or when it’s selected. Using the Selection Tool, click a curve to see its bounding handles, which you can drag to resize the curve; double-click a bounding handle to display its control points, which you can use to reshape the arc. • Slur Tool. Drag in a straight line to create a shallow solid or dashed Bézier (reshapable) tapered slur, anchored at the point of your first click. As with the Curve Tool, you determine the direction of the arc by the direction you drag: drag to the right to produce an upward arc, drag upward to produce a leftward arc, and so on. The Shape Designer menu’s line settings don’t affect a slur. Using the Selection Tool, click a slur to see its bounding handles, which you can drag to resize the curve; drag-select a bounding handle (by, for example, clicking to the upper left of the slur and dragging to the lower right) to display its control points, which you can use to reshape the arc. • Multiline Tool. This tool creates shapes with more than one line segment. Drag to create the first line segment, and then click to specify each additional point (an additional line segment is drawn with each click). Describe the shape’s thickness and dashed quality using the Shape Designer menu, before creating it or when it’s selected. Using the Selection 1696

Tool, click a multiline shape to see its bounding handles, which you can drag to resize the object; double-click a bounding handle to display its control points, which you can use to reshape the individual segments. • Polygon Tool. This tool lets you create fully-enclosed shapes composed of multiple line segments. Drag to create the first line segment, and then click to specify the next point. An additional line segment is drawn with each additional click. Double-click to close the shape (by drawing a final line back to the starting point). Describe the shape’s thickness, shading, and dashed quality using the Shape Designer menu, before creating it or when it’s selected. Using the Selection Tool, click a polygon to see its bounding handles, which you can drag to resize the object; double-click a bounding handle to display its control points, which you can use to reshape the sides of the shape. • Bracket Tool. Select a bracket style by choosing Bracket Style from the Shape Designer menu. To draw the bracket, click once in the drawing area; a full-fledged bracket appears. To resize it, click the Selection Tool; click the bracket and drag one of its bounding handles. Drag-select (by, for example, clicking to the upper left of the bracket and dragging to the lower right) to display its control point handles, which you can drag to reshape a curly piano brace. • Graphics Tool. This tool allows you to place and export graphics using Finale’s Graphics Tool. (See Graphics Tool.) • View. This drop-down list lets you select a percentage of actual size at which you want your shape displayed. Use it if you want to "zoom in" on a very small shape, or "zoom out" to see all of a very large shape. You can also specify a degree of magnification not listed in the drop-down list by typing a number directly into the text box. Press tab after typing the number in the text box to display the change immediately. • Positioning: H: • V:. These text boxes display the horizontal and vertical coordinates, respectively, of your cursor as you move it around the screen. If you click a handle of an object, these boxes show the handle’s coordinates—which you can edit, and then when you press enter, tab, or click outside the number box, the handle will jump to the new coordinates. A positive number in the H: box indicates a position to the right of the origin (the small white circle that anchors your shape), and a negative number indicates a position to the left. A positive number in the V: box indicates a position above the origin, and a negative number indicates a position below it. • OK • Cancel. When you’re finished creating the shape, click OK to return to the previous dialog box; your shape is now ready for use. Click Cancel to return to the previous dialog box without creating or editing a shape. See Also: Shape Selection 1697

Expression Designer

1698

Shape Selection dialog box

How to get there Click the Expression Tool , and double-click a note or measure. Click Shape. To create a new Shape Expression, click Create (or, to edit an existing Shape Expression, click it and then click Edit). Enter zero in the Select text box, and click Select. This dialog box also appears when you’re choosing a multimeasure rest; a custom stem shape (Special Tools Tool); or an Executable Shape as part of the playback definition for an expression.

What it does When you’re editing or creating a new Shape Expression, custom stem, Executable Shape, or multimeasure rest, this selection box lets you choose the shape on which to base it. If the Maestro Font Default file isn’t in place, and you haven’t loaded a Shape Expression Library or created any new shapes yourself, this selection box will contain only the hard-wired multimeasure rest shape. 1699

• Edit. After clicking a raw shape, click Edit to enter the Shape Designer, where you can edit it. (For a discussion of creating your own shapes, see Shape Designer.) • Create. Click Create to enter the Shape Designer, where you can "draw" your own shape. See Shape Designer. • Duplicate. Click Duplicate to make a duplicate copy of the highlighted expression. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Delete. Click Delete to remove a shape from the selection box. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. You can’t delete any shape that’s already being used (as a Shape Expression or Executable Shape, for example). • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shiftclick to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • [Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it. • Cancel. Click Cancel to return to the previous dialog box without specifying a shape. • Select. After clicking one of the raw shapes in the selection box, click Select. You return to the previous dialog box. Note that you can simply double-click a shape instead of clicking it and clicking Select. See Also: Selection Overview

1700

Shift Lyrics dialog box


. Choose Shift Lyrics from the Lyrics menu.

What it does When you’re working with lyrics, you may occasionally need to push all the syllables in the music to the right or left by one note. For example, suppose you enter the lyrics in the Edit Lyrics window but forget to anticipate a melismatic passage (where one syllable is sustained over several melody notes) in the melody. When you use the Click Assignment feature to place the lyrics into the score, Finale will assign a syllable to each note of the melisma, and no subsequent syllables will align with their correct notes for the rest of the melody. You can use the Shift Lyrics feature to shift all the syllables simultaneously so that they’re aligned with the correct melody notes. In this dialog box, you have several options for shifting the lyric syllables. You can specify that you want them shifted forward, backward, all the way to the beginning (or ending) of the score, or only as far as the next melody note without a syllable. • Shift Lyrics to the Left • Right. From the drop-down list, choose the direction in which you want Finale to slide the lyric syllables, relative to the notes. If you choose Left, then when you return to the score, click within the staff lines at the position of the note just to the left of the first syllable you want moved; Finale will move that syllable (and subsequent syllables) to the left by one melody note, automatically skipping over rests and tied notes. Click again (in the staff lines at the position of the note just before the first syllable) for each additional one-note shift.

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If you choose Right, click within the staff lines at the position of first syllable you want moved; Finale will push that syllable (and subsequent syllables) to the right by one melody note, automatically skipping over rests and tied notes. Click again (in the staff lines above the first syllable) or each additional one-note shift. • Shift Syllables by One Note, to the End of the Lyric • Shift Syllables by One Note, to the Next Open Note. Finale needs to know what range of syllables you want it to shift. If you click the first option, Finale will slide every syllable (from the one you click) all the way to the end of the lyric. (See Specify Current Lyric dialog box for a full description of Finale’s three lyric types.) If you click the second option, Finale will only shift syllables from the one you click through the next note that has no syllable attached to it. • Rotate Syllables. This option is only useful if you’ve created a set of lyrics with more syllables than there are notes to attach them to. Select this option on those rare occasions when you want to replace the syllable on each note with the syllable to its right or left—but without changing which notes have lyrics. • OK • Cancel. Click OK to return to the score. If you selected To The Right, click in the staff above the first syllable you want to shift to the right. If you selected To The Left, click in the staff at the position of the note just before the first syllable you want shifted to the left. Click Cancel to return to the score. Finale won’t shift any lyrics if you click the staff. See Also: Lyrics Lyrics Tool

1702

Simple Entry Options dialog box

How to get there Click the Simple Entry Tool Entry Options.

. Then, from the Simple menu, choose Simple

What it does This dialog box controls the behavior of Simple entry. • Check for Extra Notes. This command is selected by default. When selected, Finale checks each note you enter, and will not allow you to enter extra notes in the measure. If you try to add too many notes for the measure, or extend the duration of an existing note too far, Finale will beep to warn you, and won't allow you to enter the note in the measure. When Check for Extra Notes is not selected, you can enter as many notes in a measure as you'd like. Remember that any extra notes will extend past the barline of the measure, unless you choose Position Notes Evenly Across Measure in the Measure Attributes dialog box. • Create New Measures. When this item is checked, Finale automatically creates a new blank measure at the end the piece if you advance the caret beyond the last existing measure. In other words, if you fill the last measure of the document using the Simple Entry Caret, Finale adds a new one. • Fill With Rests at End of Measure. When this item is selected, Finale will add rests to complete the measure whenever you finish working in a measure.

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• Launch Layer Mid-Measure. With this option selected, when you change layers, the simple entry caret prompts you to begin entering in the new layer on the same beat. Entry PaletteIf you begin entering atSimple a beat other than 1, Finale will add hidden rests to fill the previous beats in the measure automatically. • Playback Notes on Entry. When this item is selected, every time you enter or change the pitch of a note, you will hear the new pitch, and any other pitch in the chord, played through your MIDI device. Deselect this item to turn off playback of pitches. This command is linked to the Playback during Drag option in the Speedy menu. If you change the selection here, it will also change in the Speedy Entry Tool and vice versa. • Use Simple Entry Caret. Select this item to display the Simple Entry Caret, which indicates the beat to which the next note entered will appear. • Select Notes on Mouse Entry. This option is available when Use Simple Entry Caret is unchecked. When this item is selected, you can immediately use keyboard shortcuts to modify the note that was just entered. Note that selection is cleared after leaving the Simple Entry Tool. Note: While using the Simple Entry Caret, you can always immediately use keyboard shortcuts to modify the note that was just entered. • Select Tab Notes on Mouse Entry. This option is available when Use Simple Entry Caret is unchecked. When this item is selected, you can immediately use keyboard shortcuts to modify the last fret number added to a tablature staff. Note that selection is cleared after leaving the Simple Entry Tool. Note: While using the Simple Entry Caret, you can always immediately use keyboard shortcuts to modify the note that was just entered. • Edit Keyboard Shortcuts. Click this button to open the Keyboard Shortcuts dialog box where you can edit the keystrokes used for simple entry commands. • OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to these settings. You return to the score. See Also: Simple Entry Simple menu 1704

Simple Entry Tool Edit Keyboard Shortcuts

1705

Simple Entry Tuplet Definition dialog box

How to get there Click the Simple Entry Tool . On the Simple Entry Tool Palette, click the Simple Tuplet Tool, then shift-click the first note to include in the tuplet group.

What it does In this dialog box you can define the rhythmic aspects of a tuplet grouping—the number of eighth notes that are to be played in the time of a quarter note, for example. Use this dialog box to define any tuplet more complicated than a triplet in the current duration. For more complex adjustments to tuplets, see Tuplet Tool. Note that you can predefine the default visual aspects of the tuplets in your score, so that every tuplet you create automatically appears with a neatly positioned bracket (for example). To do so, ctrl-click the Tuplet Tool (in the Main Tool Palette, not the Simple Entry Palette). Finale displays Document Options-Tuplets where you can specify these parameters. (See Document Options-Tuplets for a more complete discussion.) • __ ____in the space of __ _____ • Half(s) • Dotted Quarter(s) • Quarter(s) (etc.). Define the rhythmic qualities (temporal definition) of the tuplet by entering numbers in these two text boxes (to specify how many) and selecting the rhythmic-value from the drop-down list (to specify "of what value"). • Save as default Simple Entry tuplet definition. Check this box to always use the tuplet definition defined above. For example, you could set the Simple Entry Tuplet Definition to 3 Eighths in the space of 2 Eighths and check Save if you wanted to enter a long series of eighth note triplets. This is especially useful if the eighth note triplet sometimes start with a quarter note. • OK • Cancel. Click OK to confirm, or Cancel to discard, the tuplet appearance you’ve created. You return to the score. 1706

See Also: Simple Entry Tool

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Size dialog box

How to get there Click the Text Tool menu.

. Select Other from the Size submenu of the Text

What it does The Size dialog box allows you to select any point size for your text. You can also specify Fixed Size to display the text at the specified point size, regardless of any reductions that would otherwise resize the text. • Point Size. Enter the point size for your text. • Fixed Size. Select Fixed Size if you want to display the text at the specified point size, regardless of any reductions that would otherwise resize the text. • OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score. See Also: Text menu Text Tool

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Slur Contour dialog box

How to get there Click the Smart Shape Tool menu.

. Choose Slur Contour from the Smart Shape

What it does Use the Slur Contour dialog box to define the general shape Finale will automatically give to all new slurs when they’re created. Slurs already in the score aren’t affected by changing Slur Contour settings. If you want to change the look of individual slurs that are already in the score, use the Smart Shape Tool to make your adjustments. In general, slurs have varying heights, depending on the length of the slur. Settings in the Slur Contour dialog box specify a flexible range of heights that Finale automatically applies as you create a slur. With this feature, most of the slurs you create will require no extra editing. Of course you still have the ability to edit each slur individually for those circumstances that require special consideration. Slur height settings are arranged according to slur length — short, medium, long and extra long:

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Type

Length

Finale’s default height setting

Short

1/8th inch or less

.04861 inch

Medium

1 inch

.14583 inch

Long

3 inches

.25 inch

Extra Long

4 inches or more

.25 inch

As you create a slur, Finale senses the length of the slur and automatically applies an appropriate height from among these settings.

When the length of the slur falls somewhere between short and medium, or between medium and long, Finale finds a proportional height somewhere between the respective settings. When the slur’s length is less than the short or greater than the extra long slur lengths, Finale simply applies the height from the short or extra long setting, respectively. The Slur Contour dialog box focuses on slur height, but you can also set an inset value for each slur length to control the amount of "bow" or "hook" at the ends of the slur. The amount of inset you choose for your slurs is a matter of style, and it might even be the same for each of the three slur lengths in the Slur Contour dialog box. As you create a slur, Finale determines the inset value in the same way it determines the height, sensing the length of the slur and automatically applying an appropriate inset based on the settings. The height and inset values combine to form a control point, which is positioned in relationship to the start of the slur. When a slur is drawn, its arc approaches, but does not actually reach, the height of the control point. So the visual height of the slur itself is actually somewhat less than the height of the control point. • Active display area. This area shows a slur that you can edit. Drag the control point handle beside the slur to adjust the default height and inset. 1710

• Staff display area. This display area simply shows the slur in proportion to other elements in your score. • Control Points for: Short Span • Medium Span • Long Span • Extra Long Span. Each slur length (short, medium, long and extra long) has its own height and inset values. Choose the slur length for which you want to change height and inset settings. • Height. This is the vertical height of the slur’s arc; see the explanation earlier in this section. • Inset. Changing the default inset value affects the look of the ends of the slur. The slur ends are more rounded when the inset is a low number. They take on a flatter look when the inset is a high number. The inset is a percentage of the length of the slur. • Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. The first time you enter the Slur Contour dialog box, the measurement drop-down list defaults to the current unit selected in the Measurement Units submenu of the Edit menu. Choose an alternate measurement unit if you prefer to work in other units. • Reset • OK • Cancel. Click Reset to restore the built-in Finale default settings. Click Cancel to cancel any changes you made to the settings, or click OK to save any new settings and return to the score. Important: Remember that whenever you create a slur, Finale uses the current Slur Contour settings. However, the settings are never applied to manually edited slurs already in the score. See Also: Slurs Smart Shape Tool

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Smart Line Designer dialog box

How to get there Click the Smart Shape Tool . Choose Smart Shape Options from the Smart Shape menu. Click Select next to Smart Line Style. Or, ctrl-click the Custom Line Tool in the Smart Shape palette.

What it does The Smart Line Style dialog box allows you to create or edit the Smart Line Style you would like to use. • Line Style: Solid • Dashed • Character. Select the line style to be used for this item. 1712

• Horizontal. Select this option to ensure that the Smart Shape you are defining can only be placed horizontally, not diagonally. • Line Adjustments: Start H • After Text • Cont H • After Text • End H • Before Text • V. Use these settings to adjust where you lines start, continue and end, how high above or below your click point they appear, and whether the lines start, continue and end before or after any starting or ending text. • Thickness. Use this setting to modify the thickness of the dashed or solid line. This option is only available when Solid or Dashed is select from the Line Style drop-down list. • Dash Length • Space. Use these options to modify the type of dashed line being used. These options are only available when Dashed is selected from the Line Style drop-down list. • Character • Select • V(EMs) • Set Font. Set the character and the font for the item. Click Set Font to display the Font dialog box where you can select the font type, size and style. Set the vertical positioning of the baseline in Em’s (these are point size independent units). Click Select to select the actual character to use from the specified font. See Font dialog box and Symbol Selection dialog box. These options are only available when Character is selected from the Line Style drop-down list. • End Point Style: Start • End: None • Preset Arrowhead; Select • Custom Arrowhead; Select • Hook. Set the starting and ending style of the line using an arrowhead or a hook if desired. Specify the hook length in the Hook text box. • Text: Left Start • Left Continuation • Right End • Center Full • Center Abbr.; Edit • Position. Use these items to set up text combinations for the left, right and center of your custom Smart Shape. Click Edit to display the Text Edit window where you can edit you text. Click Position to set the position of the text relative to the selected line style. See Edit Text window and Position dialog box. • OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the custom Smart Shapes. You return to the score. See Also: Smart Shape Tool Smart Shape menu

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Smart Line Selection dialog box

How to get there Click the Smart Shape Tool . Choose Smart Shape Options from the Smart Shape menu. Click Select next to Smart Line Style. Or, ctrl-click the Custom Line Tool in the Smart Shape palette.

What it does The Smart Line Selection dialog box allows you to select from a number of user-defined Lines styles to place in your score. • Edit. After selecting an existing Smart Line Style by clicking it, click Edit to enter the Smart Line Style dialog box. You can change any aspect of the selected Smart Line Style, however, keep in mind that when you edit a Smart Line Style, your editing affects every occurrence of it in the score. See Smart Line Designer dialog box. • Create. Click Create to enter the Smart Line Style dialog box, where you can design a new Smart Line Style. 1714

• Duplicate. Click Duplicate to create a copy of the selected Smart Line Style to modify. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Delete. After selecting an existing Smart Line Style by clicking it, click Delete to remove it from the Smart Line Selection dialog box. You can select more than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shiftclick to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. • [Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it. • Cancel. Click Cancel to return to the score without placing a Smart Line Style in the score. • Select. After clicking the Smart Line Style you want to place in the score, click Select. You return to the score, and can then place the Smart Line Style. Instead of using the Select button, you can simply double-click the desired Smart Line Style. See Also: Smart Shape Tool Smart Line Style Selection Overview

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Smart Shape Options dialog box

How to get there Click the Smart Shape Tool Smart Shape menu.

. Choose Smart Shape Options from the

What it does If you find yourself adjusting the shape of every new Smart Shape crescendo in the same way—for example, decreasing the opening of every crescendo mark—you can define a default opening width for the crescendo/decrescendo shape using this dialog box. Then, your Smart Shapes will have the appearance you specified. (You can always adjust them after they’re placed in the score, of course.) You can choose a different character and font for any Smart Shape that uses a symbol from a font. Fonts and symbols can be set for Octave Up (8va), Octave Down (8vb), Two Octaves Up (15ma), Two Octaves Down (15mb), Trill (tr), Trill Extension (~), glissando and custom line. You can also make fine adjustments to the line width for Crescendo and Decrescendo markings, and set the exact length of hooks on single and double hooked Smart Shapes. Note: Most changes you make to the Smart Shape Options settings affect all existing Smart Shapes in the score, except manually edited shapes. Changes made to the Make Horizontal checkbox affect only future crescendos or decrescendos. 1716

• Symbols: Octave Up (8va) • Octave Down (8vb) • Two Octaves Up (15ma) • Two Octaves Down (15mb) • Trill (tr) • Trill Extension (wavy line ~); Select; Set Font. Choose the Smart Shape symbol you want to change from the drop-down list. Click Select to display the Symbol Selection dialog box. Select a new symbol, then click Select to return to the Smart Shape Options dialog box. Finale will use the new symbols for shapes created with the Smart Shape Tool. Click Set Font to display the Font dialog box, where you can choose a different font for the currently selected symbol. Note: The Trill Extension settings affect the wavy line by itself and the wavy line with the "tr" marking. • Show Octave Symbols as Text. Select this option to use only numbers 8 or 15, instead of Maestro’s octave symbols. When selected, Finale displays 8 for the octave up (8va) and octave down (8vb) markings, and 15 for the two octaves up (15ma) and two octaves down (15mb) markings. The numbers are displayed in the font set for the particular symbol, so if you prefer a font other than Maestro, be sure to change it for each octave symbol. • Smart Lines: Glissando • Tab Slide • Custom Line • Guitar Bend; Line Style Number • Select. Select the type of Glissando, Tab Slide or Custom Line you would like to use with the palette using this drop-down list. The line style selection you’ve made will be displayed in the Line Style Number text box next to the drop-down list. To change your selection, or edit or create your line styles click Select and the Smart Line Selection dialog box will appear. See Smart Line Selection dialog box. • Line Thickness. This text box lets you specify how thick you want Smart Shape straight lines to be—the lines you draw using any of the straight-line bracket tools, for example. Custom lines have their own thickness settings. This setting, as well as the dash settings, apply to all Smart Shapes in the document, meaning that the ones you’ve already created will change to reflect the new settings (except custom lines). • Dash Length • Dash Space. These text boxes govern the "dashedness" of dotted (dashed) lines. The Dash Length governs the length of each dash, and the Dash Space is the length of the gap between dashes, drawn by any of the dashed Smart Shape tools. Custom lines have their own dash settings. • Hook Length. Enter a value in measurement units for the length of hooks on lines with a single hook, lines with a hook at both ends, and lines on the octave and two octaves up and down shapes. A larger value lengthens the

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hook and a smaller value shortens it. Custom lines have their own hook length settings. • Crescendo/Decrescendo: Opening Width. In this text box, enter the width, in current measurement units, you want the open end of all new crescendo or decrescendo hairpin shapes to have. • Crescendo/Decrescendo: Line Thickness. Enter a value in measurement units to alter the line thickness of all hairpin markings in the score. As the value increases, the lines become thicker; as the value decreases, the lines become thinner. Note: This setting affects line thicknesses of crescendo and decrescendo markings only. Line thickness for all other Smart Shape lines in the piece is defined by the other Line Thickness setting in this dialog box or in the Smart Line Designer dialog box for custom lines. • Crescendo/Decrescendo: Make Horizontal. Check this box to draw all future hairpins along a horizontal line. Uncheck this box to allow hairpins to draw at an angle. You can also use the contextual menu to turn horizontal settings on or off on individual hairpins and other Smart Shapes. • OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the Smart Shapes. You return to the score. See Also: Smart Shape Tool Slurs

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Smart Shape Placement dialog box

How to get there Click the Smart Shape Tool Smart Shape menu.

. Choose Smart Shape Placement from the

What it does and how it works Settings in the Smart Shape Placement dialog box let you control with precision how slurs, bends and glissandos attach to notes or noteheads in a score, by defining their position relative to the top center or bottom center of a note or the tip of a stem. This guarantees exact positioning and consistent placement by Finale that would be time-consuming and difficult to achieve if you had to manually adjust each Smart Shapes yourself. Any changes you make to a particular type of Smart Shapes in the Smart Shape Placement dialog box will affect the corresponding end points of similar Smart Shapes in the score, except for any end points that have been manually adjusted. The horizontal and vertical positions of a slur or bend end are measured from a reference point that is different for slurs attached to noteheads and those attached to stems.

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For slurs or bends attached to noteheads, the reference point is the top center or bottom center of the notehead. When the horizontal and vertical offsets are zero, the slur or bend end will touch the reference point on the notehead as illustrated below.

For slurs or bends attached to stems, the reference point is the end of the stem. When the horizontal and vertical offsets are zero, the slur or bend end will touch the end of the stem.

Important: Remember that whenever you create a slur, bend, slide or glissando, Finale uses the current Smart Shape Placement settings. Changes to these settings also apply to corresponding end points that haven’t been manually adjusted in existing Smart Shapes. However, end points that you’ve manually adjusted are never affected by Smart Shape Placement settings.

• Slur • Tab Slide • Glissando • Guitar Bend. Select the type of Smart Shape you would like to set placement options for from the drop-down list. The appropriate list box is displayed for each type. • Slur List box. The different notational contexts upon which the attachment of slurs and bends is based are modeled in the list box. The general placement of slurs and bends is based upon standard music notational practice. However, the precise placement is entirely up to you. Finale makes intelligent decisions about a slur or bend’s direction and end position based on the stem positions of notes, as well as conditions of 1720

voicing and beaming. The slurs in the list box represent the rules that Finale automatically follows. Although there are a limited number of examples in the list box, they cover most of the contexts for controlling how note-attached slurs will connect to noteheads and/or stems. In the first slur model shown in the list box above, you have control over two separate connections, even though they appear in the same example. • The start of a slur or bend where a normal stem-down note begins a slur or bend (i.e., the stem is not frozen downward), and • The end of a slur or bend where a normal stem-down note ends a slur or bend. The examples shown in the list box are meant to be general; the above example controls all similar situations of normal stem-down notes, not merely notes that begin and end on the same pitch. When you want to change how slurs and bends are attached in specific contexts, select the specific model and edit its Start Point and End Point. You can edit the settings by dragging the slur ends in the display area (or by typing new values in the text boxes). Important: These changes are global. In other words, changes to the Smart Shape Placement settings affect all the existing and yet-to-be-entered slurs and bends in your score, unless you’ve manually adjusted the end points of a particular slur or bend; Finale won’t change any slur or bend you've deliberately edited. Note that any settings that refer to up-stem or down-stem layers also apply to Voice 1 and Voice 2 notes, as well as stems frozen using the flip stems utility, Special Tools or Speedy Entry tools. The list box slur models (contexts) are shown below, with an explanation of how each slur connects to its start and end notes (Remember that since bends are just a special case of a slur, they are affected by these settings as well):

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Starting Connection

Over notehead. Applies to a down-stem note at the beginning of a down-stem or mixed stem context. Under notehead. Applies to a note at the beginning of an up-stem context. Over stem. Applies to an up-stem note at the beginning of a mixed stem context. Over stem. Applies to a note at the beginning of an up-stem layer context.

Context

Ending Connection

Down-Stem Notes

Over notehead. Applies to a downstem note at the end of a down-stem or mixed stem context.

Under notehead. Applies to a note at the end of an upstem context. Up-Stem Notes

Mixed Stem Notes

Over stem. Applies to an upstem note at the end of a mixed-stem context.

Over stem. Applies to a note at the end of an upstem layer context. Up-Stem Layer

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Under stem. Applies to a note at the beginning of a down-stem layer context. Over flagged stem. Applies to a flagged stem at the beginning of a mixedstem context. Over flagged stem. Applies to a flagged stem at the beginning of an up-stem layer context. Under flagged stem. Applies to a flagged stem at the beginning of a down-stem layer context. Over stem. Applies to an up-stem note in a beamed group, unless it’s the last note in the group (so it’s treated as a stemmed note). Context may be mixed-

Under stem. Applies to a note at the end of a downstem layer context. Down-Stem Layer

Mixed-Stem Notes With Flag

Up-Stem Layer With Flag

Can’t be set for this style. (Uses the connection from the over mixedstem notes context.)

Can’t be set for this style. (Uses the connection from the up-stem layer context.)

Can’t be set for this style. (Uses the connection from the down-stem layer context.) Down-Stem Layer With Flag

Over Beams

Over stem. Applies to an upstem note in a beamed group, unless it’s the first note in the group. Context may be mixed-stem or an up-stem layer.

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stems or an up-stem layer

Under stem. Applies to a down-stem note in a beamed group, unless it’s the last note in the group (so it’s treated as a stemmed note). Context is a down-stem layer. Under notehead. Applies to an up-stem grace note that precedes a down-stem principal note. Over stem. Applies to a grace note in an up-stem layer. Under stem. Applies to a grace note in a down-stem layer.

Under Beams

Mixed-Stem Grace Note (down-stem principal)

Under stem. Applies to a downstem note in a beamed group, unless it’s the first note in the group. Context is a downstem layer.

Under stem side of notehead. Applies to a downstem principal note that follows an upstem grace note.

Over stem. Applies to a principal note in an up-stem layer. Grace Note in Up-Stem Layer

Grace Note in Down-Stem

Under stem. Applies to a principal note in a down-stem layer.

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Layer

Over fret number. Applies to fret numbers in a TAB staff.

Over fret number. Applies to fret numbers in a TAB staff. Fret numbers in a TAB staff

Under fret numbers with stems. Applies to fret numbers with stems in a TAB staff.

Under fret numbers with stems. Applies to fret numbers with stems in a TAB staff. Fret numbers in a TAB staff with stems

As you’d expect, there are exceptions to these rules, and these exceptions allow you more flexibility. If you freeze note stems (for example, when you’re working with two layers or voices or using the Selection Tool, Finale may automatically flip the slur. You can also override individual slur or bend directions by using the Direction submenu in the Smart Shape menu. Collision avoidance in Engraver slurs can also override Smart Slur Placement settings. • Tab Slide List box. The different notational contexts upon which the attachment of tab slides is based are modeled in the list box. Finale makes intelligent decisions about a tab slides’s direction and end position based on the positions of notes, as well as the pitch direction. The slides in the list box represent the rules that Finale automatically follows. When you want to change how tab slides are attached in specific contexts, select the model from the list box and edit its Start Point and End Point. You can edit the settings by dragging the slide ends in the display area (or by typing new values in the text boxes).

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Important: These changes are global. In other words, changes to the Slide Placement settings affect all the existing and yet-to-be-entered slides in your score, unless you’ve manually adjusted the end points of a particular slide; Finale won’t change any slide you've deliberately edited. The slide list box models are shown below, with an explanation of how each slide connects to its start and end notes:

Starting Connection

Notehead on line. Applies to a note on a line where the pitch is increasing to the next note on a different staff line. Notehead on space. Applies to a note on a space where the pitch is increasing to the next note on a different staff space.

Context

Different V, Lines, Increasing Pitch

Different V, Spaces, Increasing Pitch

Ending Connection

Notehead on line. Applies to a note on a line where the pitch is increasing from the previous note on a different staff line.

Notehead on space. Applies to a note on a space where the pitch is increasing from the previous note on a different staff space.

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Notehead on line. Applies to a note on a line where the pitch is decreasing to the next note on a different staff line. Notehead on space. Applies to a note on a space where the pitch is decreasing to the next note on a different staff space. Notehead on line. Applies to a note on a line where the pitch is increasing to the next note on the same staff line. Notehead on space. Applies to a note on a space where the pitch is increasing to the next note on the same staff space.

Different V, Lines, Decreasing Pitch

Different V, Spaces, Decreasing Pitch

Same V, Lines, Increasing Pitch

Same V, Spaces, Increasing Pitch

Notehead on line. Applies to a note on a line where the pitch is decreasing from the previous note on a different staff line.

Notehead on space. Applies to a note on a space where the pitch is decreasing from the previous note on a different staff space.

Notehead on line. Applies to a note on a line where the pitch is increasing from the previous note on the same staff line.

Notehead on space. Applies to a note on a space where the pitch is increasing from the previous note on the same staff space.

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Notehead on line. Applies to a note on a line where the pitch is decreasing to the next note on the same staff line. Notehead on space. Applies to a note on a space where the pitch is decreasing to the next note on the same staff space. Notehead on a space or line. Applies to a note on a space or line where the pitch is the same to the next note on the same staff space or line.

Same V, Lines, Decreasing Pitch

Same V, Spaces, Decreasing Pitch

Same V, Same Pitch

Notehead on line. Applies to a note on a line where the pitch is decreasing from the previous note on the same staff line.

Notehead on space. Applies to a note on a space where the pitch is decreasing from the previous note on the same staff space.

Notehead on a space or line. Applies to a note on a space or line where the pitch is the same from the previous note on the same staff space or line.

• Glissando List box. When you want to change how glissandos are attached edit its Start Point and End Point. You can edit the settings by dragging the glissando ends in the display area (or by typing new values in the text boxes). Important: These changes are global. In other words, changes to the Glissando Placement settings affect all the existing and yet-to-be-entered glissandos in your score, unless 1728

you’ve manually adjusted the end points of a particular glissando; Finale won’t change any glissando you've deliberately edited. Active display area. Use the Active display area to alter the Smart Shape model selected in the list box. Simply drag the Smart Shape’s end points to adjust where they’re placed relative to the notehead or stem. Note that the values for the Start and End Points are updated as you drag. Changes you make to the Smart Shape’s end points will apply to all Smart Shapes of this type that you create. These changes will also apply to end points that haven’t been manually adjusted in all similar Smart Shapes in the score.

Starting Connection

Notehead. Applies to all notes that begin a glissando.

Context


Ending Connection

Notehead. Applies to all notes at the termination of a glissando.

• Guitar Bend List box. There are three figures Finale defaults to while creating Guitar Bend Smart Shapes, Bend (top option), Release, (second option) and Quarter Bend (third option). Choose the figure you want to edit from the list on the left. Then, use the preview window to make desired edits to its default appearance. Important: These changes are global. In other words, changes to the Guitar Bend Placement settings affect all the existing and yet-to-be-entered guitar bends in your score, unless you’ve manually adjusted the end points of a particular guitar bend; Finale won’t change any guitar bend you've deliberately edited. Starting Connection

Context

Ending Connection

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Bend. Applies to a fret number on any line but the top.

Release. Applies to a fret number on any line but the top one on a TAB staff.

Quarter Bend. Applies to a fret number on any line but the top one on a TAB staff.

Bend on top line. Applies to a fret number on the top line of a TAB staff.


Different V, Spaces, Increasing Pitch

Different V, Lines, Decreasing Pitch

Different V, Spaces, Decreasing Pitch

Arrowhead. Applies to the default arrowhead placement. Further discreet adjustments can be made to each guitar bend arrowhead in the score. Arrowhead. Applies to the default arrowhead placement. Further discreet adjustments can be made to each guitar bend arrowhead in the score. Arrowhead. Applies to the default arrowhead placement. Further discreet adjustments can be made to each guitar bend arrowhead in the score. Arrowhead. Applies to the default arrowhead placement. Further discreet adjustments can be made to each guitar bend arrowhead in the score.

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Release on top line. Applies to a fret number on the top line of a TAB staff.

Quarter Bend on top line. Applies to a fret number on the top line of a TAB staff.

Same V, Lines, Increasing Pitch

Same V, Spaces, Increasing Pitch

Arrowhead. Applies to the default arrowhead placement. Further discreet adjustments can be made to each guitar bend arrowhead in the score. Arrowhead. Applies to the default arrowhead placement. Further discreet adjustments can be made to each guitar bend arrowhead in the score.

• Start Point H: • Start Point V: These settings define the horizontal and vertical positions of the Smart Shape in relation to its start point. The Smart Shape initially attaches to the note stem or to the center top (or bottom) of the notehead, depending on the rule. Drag the cursor to the left or right to change the Smart Shape’s horizontal position. As you move to the left, the H: text box changes from zero (the initial setting) to a negative number. As you drag the cursor to the right, the H: text box becomes a positive number. To change the vertical distance or angle between the Smart Shape and the note, drag the Smart Shape up or down as far as you need. Drag the cursor up or down to change the vertical offset. The further you move the Smart Shape up from its initial setting, the positive number in the V: text box increases. If you drag the Smart Shape downward, the number becomes negative. • End Point H: • End Point V: These settings show the horizontal and vertical positions of the Smart Shape in relation to its end point. The Smart Shape initially attaches to the note stem or to the center top (or bottom) of the notehead, depending on the rule. Drag the cursor to the left or right to change the Smart Shape’s horizontal position. As you move to the left, the H text box changes from zero (the 1731

initial setting) to a negative number. As you drag the cursor to the right, the H text box becomes a positive number. To change the vertical distance or angle between the Smart Shape and the note, drag the Smart Shape up or down as far as you need. Drag the cursor up or down to change the vertical offset. The further you move the Smart Shape up from its initial setting, the positive number in the V: text box increases. If you drag the Smart Shape downward, the number becomes negative. • Units: EVPUs • Inches • Centimeters • Points • Picas. The first time you enter the Smart Shape Placement dialog box, the measurement drop-down list defaults to the current unit selected in the Measurement Units submenu of the Edit menu. Choose an alternate measurement unit if you prefer to work in other units. • Reset • Cancel • OK. Click Reset to restore the built-in Finale default settings. Click Cancel to cancel any changes you made to the settings, or click OK to save any new settings and return to the score. See Also: Smart Shape Tool Slurs

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Smart Slur Options dialog box

How to get there Click the Smart Shape Tool Shape menu.

. Choose Smart Slur Options from the Smart

What it does The Smart Slur Options dialog box allows you to specify how your slurs will appear in Finale. The dialog box gives you access to Engraver slurs, where slurs will avoid collisions with other items. You can decide how much to move the Engraver slur to avoid other objects, such as articulations or note stems. Other settings determine the limits of how far the Engraver slurs will distort to avoid a collision. Finale lets you provide placement options for slurs and bends that break over systems, and lets you control the thickness of all Smart Shape slurs in your piece. Slur Thickness is the desired thickness of the solid slur lines for every slur in your score. You can specify exactly where slurs and bends will end horizontally on a staff line and at what point horizontally they will start on the next staff line within a system break. You can also specify slurs’ and bends’ distances from the staff 1733

lines. Finale automatically breaks all slurs and bends according to the current Slur System Breaks settings. Note: Most changes you make to the Smart Slur Options settings affect existing Smart Slurs in the score, except slurs that have been manually edited. Slur thickness and tip width changes affect all slurs. • Use Engraver Slurs. Check this box to have slurs avoid collisions with other items, such as stems, beams and noteheads. If this box is checked, Finale will use the settings below to deter-mine how Engraver Slurs should reshape to avoid collisions. Any manual edit to an Engraver slur will make it immune to Engraver slur settings. It will still be marked as an Engraver slur in the contextual menu, but will be frozen. When frozen, Engraver slurs will no longer reshape to changes in the notes. Remove Manual Adjustments in the contextual menu or the Selection Tool Utilities will revert the slur to behaving like an Engraver slur or unfreeze the slur. Note: Engraver slurs make extensive use of font annotation, to determine the size of other musical items in collision avoidance. If you are using a music font not supplied by Coda, we strongly recommend you annotate the font for improved performance in Engraver slurs. • Maximum Slur Angle In Degrees. Enter a value between 0 and 90 to restrict the angle of a slur. Note: settings made in the Slur Contour dialog box will be ignored if this value is small. • Slur Symmetry Percentage. Enter a percent value (between 0 and 100) to influence slur symmetry. This slur symmetry value controls the tendency toward symmetry for the slur, although other factors may override it. For example, on a flat baseline with 100% symmetry, the slur will tend to be symmetrical. However, if the slur’s baseline is not horizontally flat with 100% symmetry, the slur will reflect the skewed baseline symmetrically. • Space Around Objects. Enter a value for how much space Engraver slurs should leave to avoid collisions with other objects. • Avoid Accidentals. Check this box to have Engraver slurs take accidentals into account for collision avoidance. • Space Around Accidentals. Enter a value for how much space Engraver slurs should leave to avoid collisions with accidentals.

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• Initial Adjustment: Stretch. Choose this options to tell Finale to stretch the curve of engraver slurs vertically and leave the endpoints anchored. • Initial Adjustment:Maximum Stretch, As Percentage of Slur Length • Fixed Amount. Enter a percentage or fixed amount to control the maximum amount of vertical stretch allowed for engraver slurs. • Initial Adjustment: Maximum Lift. Enter a value to restrict the lift of a slur. Engraver slurs use lift to move the entire slur to avoid collisions with other objects. • Slur System Breaks: Avoid Staff Lines by at Least. This is the distance (in the current measurement unit) between slurs and bends, and the top or bottom staff line. • Slur System Breaks: System Start Adjustment • System End Adjustment. These text boxes contain the horizontal start and end points (in the current measurement unit) of slurs and bends continuing over system breaks. They default to zero. Enter a positive number for the System Start Adjustment to move the start point to the right (into the staff system) for slurs and bends that continue over a system break. Enter a negative number for the System End Adjustment to specify the horizontal distance from the end of a staff system to the end of a slur or bend on that system. Distances are in current measurement units. The System Start and End Adjustments control only the location of the slur or bend ends located at the end of one staff and the beginning of the next, not the placement of the very beginning and end of the whole slur or bend. • Slur Thickness: Left • Right • H• V. The Slur Thickness text boxes contain values for how thick you want Finale to draw slurs (in the current measurement unit). Each slur is composed of two curves, an inner curve and an outer curve. These settings determine the relationship between the curves - how fat the slur is, how fast it tapers and whether one side is thicker than the other (for a "hand drawn" look). The V setting determines the general thickness of the slur. Equal values give a balanced slur; unequal values make it thicker on one end than the other. The H settings can make the slur taper more or less quickly: a positive value on the left (mirrored by the opposite value on the right) will make it appear to taper more quickly, a negative value less quickly. • Slur Tip Width. Enter the desired width for the slur tip. Tip: Slur Tip Width for Shape Designer Slurs is set in Document OptionsLines and Curves. • Slur Tips Avoid Staff Lines. Check this box to have the ends of slurs shift to avoid staff lines. • Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. Select the measurement unit for the values in this dialog box only. 1735

• Reset. Click Reset to restore the settings to the defaults. • OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the default Smart Slurs. You return to the score. See Also: Smart Shape Tool Font Annotation Smart Shape Placement Document Options-Lines and Curves Slurs

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SmartScore Lite dialog box How to get there From the File menu, choose Scanning: SmartScore Scanning Lite, and then TIFF Import.

What it does From this dialog box, you can open and transcribe a scanned TIFF file. • Add Files to List · Remove Files from List. Click Add Files to List to bring a scanned file into the file list for translation. Click Remove from List to remove the highlighted file from the file list. • Move Up · Move Down. Click Move Up to move the highlighted file name up one in the file list. Click Move Down to move the highlighted file name down one in the file list. • Save As. Click Save As. to save the untranslated TIFF file. • About SmartScore Lite. Click this button to view additional information about SmartScore Lite and other scanning products developed by Musitek. • Auto Preview. Check this box to display a preview of the highlighted file in the window on the left side of this box. • Begin Recognition. Click this button to begin translating the TIFF files into a Finale document. The Instrument Name Assignments dialog box appears where you can assign a staff name, transposition, and MIDI instrument to each staff. • Join Offset Voices: Never...Within 3/4 of a notehead. Often you will see notes belonging to different voices appear horizontally offset, even though they sound at the same time. It is necessary for the SmartScore Lite to decide which notes to join and which notes not to join to a "vertical event.” When notes and/or rests of different voices are aligned vertically, they are grouped into what is referred to as a “vertically-aligned event”. Normally, offset notes belonging to different voices have no more than 1/4 of a notehead’s space between them. If your music has offset voices which regularly exceed this distance, choose another distance. Distance is determined by the white space between noteheads. If your music has dense polyphonic texture, like that found in solo guitar music or tightly-spaced orchestral passages, it may be necessary to “tighten up” the allowable distance between offset voices. In these case, choose a distance less than 1/4 of a notehead.

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• Triplets · Heavy Beams. Check triplets to tell SmartScore Lite to recognize and import triplets. Check Heavy Beams to prevent thick eighth beams from being classified as 16th beams. • Cancel. Click Cancel to dismiss the dialog box without transcribing a scanned file. See also: Scanning

1738

SmartFind and Paint dialog box

How to get there Select a region with the Selection Tool . From the Edit menu, choose SmartFind and Paint > Set SmartFind Source Region. Then, from the Edit menu, choose SmartFind and Paint > Apply SmartFind and Paint.

What it does This dialog box allows you to copy items, such as articulations, expressions, slurs, and other Smart Shapes, to other rhythmically identical regions, leaving the pitches intact. Use the checkboxes to control what markings to copy or paint onto the target measures. • Slurs • Articulations • Smart Shapes • Expressions. Check the items Finale should create in the target measures. Check Slurs to paint slurs created with the Smart Shape Tool. Check Articulations to paint articulations created with the Articulation Tool. Check Smart Shapes to paint any non-slur Smart Shapes created with the Smart Shape Tool. Check Expressions to paint markings created with the Expression Tool. • Delete Target Markings Before Paint. Check this box to erase markings of any type selected in the target region before painting new markings. To preserve markings in the target region, uncheck this box. Note that checking this option will only erase markings checked to paint. For example, if all markings to paint were checked except articulations, SmartFind would erase markings in the target but leave articulations untouched. The checked marking types will be deleted regardless of whether the markings appear in the source region. • Find • Find Next. Click the Find button to search for the first rhythmic pattern match. After finding the first match, the button will change to Find Next. Finale will search in the following order: first measure of the top staff in the selected region to the last measure of the top staff of the region, layers one to four and finally, down through the rest of the staves. 1739

SmartFind and Paint ignores grace notes, Voice 2 notes, and mirrors. Only rhythms and markings in the current layer of the source region are used for the pattern matching and painting process. Patterns in all layers of the target region are considered for matches. • Paint. Click the Paint button to copy the source markings into the measure found by SmartFind and Paint. Only the markings on the first note of a group of tied notes are painted to the target measures. • Paint All. Click the Paint All button to copy the source markings into all measures found by SmartFind and Paint. Clicking Paint All after clicking Find/Find Next paints the current and all remaining matches. Measures skipped before clicking Paint All are left untouched. • Close • Cancel. Click Close or Cancel to tell Finale you’re done. You return to the score. See Also: Edit menu

1740

SmartMusic Accompaniment File Compatibility

How to get there From the File menu, choose Export to SmartMusic. After completing the export procedure, if the file contains notation elements incompatible with SmartMusic, this dialog box will appear.

What it does Some aspects of notation that can be created in Finale are not fully compatible with SmartMusic. Some of these detract from assessment accuracy, others cause problems with navigation in SmartMusic, others are not supported by SmartMusic altogether. If, while exporting a SmartMusic accompaniment, your file includes any item not fully compatible with SmartMusic, this dialog box appears identifying the conflicts. You can resolve the incompatible items while viewing this dialog box.

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• [Conflict window]. All incompatible elements are listed in this window. You can click an item to show a more detailed description of the conflict to the right. The severe items are listed in red. Finale allows you to save the SmartMusic Accompaniment without resolving all conflicts. Review the SmartMusic Compatibility Guideline or the description on the right side of this dialog box for details regarding the effects of each conflict. • Edit · Continue · Cancel. Click Edit to restore focus to the document window where you can resolve the conflicts listed. Click Continue to save the SmartMusic file without resolving all conflicts. Click Cancel to return to the score without making changes. • Check Again · Done. Click Check Again to update the list of conflicts based on the current state of the document. Click Done to return to the score, then from the File menu, choose Export to SmartMusic again to save as a SmartMusic Accompaniment. See Also: SmartMusic

1742

SoftSynth Settings dialog box

How to get there From the MIDI/Audio menu, choose MIDI Setup, and then select SoftSynth Settings.

What it does Here, select the software synthesizer you want to use for output and adjust the volume controls and output level. Changes in this dialog box apply to standard playback as well as audio files created using the Export to Audio File feature under the File menu. • Output Level. Adjust this slider to control the output volume. This setting also changes the output volume for Wave in your systems’s volume controls. • Output Source. This drop-down list displays each device available for Sound Font playback. Choose the sound driver you want to use for Sound Font playback. Your selection here applies to standard playback, as well as audio files generated with Export to Audio File feature. • Microsoft® Volume Controls: Output • Input. These buttons open the Volume Controls of your Windows operating system. • Current Sound Font: Select. Click select to choose a SoundFont to use for playback. Then, in the MIDI Setup dialog box, choose SmartMusic SoftSynth to use the selected SoundFont. The name of the currently selected SoundFont is listed in this dialog box. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your settings and return to the score. 1743

See Also: MIDI/Audio menu MIDI Setup dialog box

1744

Space Systems Evenly dialog box

How to get there Click the Page Layout Tool Systems Evenly.

. From the Page Layout menu, choose Space

What it does The Space Systems Evenly command, which displays this dialog box, lets you specify which pages to space evenly, whether to allow systems to move from one page to another, and when to skip spacing a partially-empty page. Finale will move the systems so that they are evenly spaced between the top and bottom margins of the page. • Space Systems Evenly on: Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all parts and the score. • Space Systems Evenly on: Page _ only • All Pages • Page Range: From __ Through __. Select Page only to space that page only. Click All 1745

Pages to space every page in the document. In the Page Range boxes, specify the range of pages you want spaced. • Place_Systems on Each Page. Enter the number of systems you want Finale to place on each page. • Place Maximum Number of Systems on Each Page. Choose this option to tell Finale to automatically adjust systems from page to page in order to fit each page with the maximum number of systems while spacing them evenly. • Do Not Change the Number of Systems on Each Page. Choose this option to leave the same number of systems on each page and space them evenly. • Space Pages More than __% Full. Enter a percentage in the text box to control when Finale will space systems. When the systems take up less space, Finale will leave the systems alone, so you don’t end up with two systems and a vast white space between them. • OK • Cancel. Click OK (or press enter) to return to the score where any adjustments will affect the selected range of staff systems. Click Cancel to return to the score without making any changes. See Also: Page Layout menu Page Layout Tool

1746

Spacing Widths dialog box

How to get there From the Document menu, choose Document Options, then select Music Spacing. Click Spacing Widths.

What it does In this dialog box, enter width durations and scaling for music spacing, either using a Width Table or entering specific values. • Use Spacing Width Table; Widths. Select Use Spacing Width Table to use the spacing set-ting in the currently loaded Spacing Table. Click the Widths button to enter the Spacing Widths dialog box, where you can view or change the actual pairings of rhythmic values to width allotments. • Use These Values: Reference Duration; Duration • Reference Width • Scaling Factor. Use These Values to use a spacing ratio for all values instead of setting individual values using the Spacing Table. The Reference Duration is the selected note to base the spacing on, such as the quarter note or whole note. Click Duration to bring up the Set Duration dialog box to select from a palette instead of typing in the EDU for the specified duration. See Set Duration. The Reference Width tells Finale the amount of space to allocate to the Reference Duration. The Scaling Factor (a number from 1.0 to 2.0) determines the spacing relationship between the Reference Duration and other durations in the document. For example, if a quarter note has a Reference Width of 72 EVPUs and the Scaling Factor is set to 2.0, the half note will receive 144 EVPUs (or twice as much) space. Conversely, a Scaling Factor of 1.0 will give the same amount of space to every note. The Scaling Factor for Fibonacci Spacing, a commonly used relationship in many fields, not just music spacing, is 1.618.

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• Use Default Width If Duration Not In Table. In each of the Spacing Width Libraries Finale uses to calculate the appropriate spacing to give each note, there are width allotments assigned to each of two dozen note values. For example, Finale knows precisely how much space to give a quarter note, an eighth note, and so on. Sometimes, however, Finale will encounter a note in your score for which it doesn’t have a predetermined width value—a quintuplet sixteenth note, for example. If you leave Use Default Width unselected, Finale will automatically consult its Spacing Library to find out the widths assigned to the nearest note values—a sixteenth note and a 32nd note, in the quintuplet example—and interpolates a new value automatically. This intelligent method will always give you the most professional results. If you select Use Default Width, Finale will assign all unknown note values to a single default catch-all width value. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made in this dialog box. You return to the Document Options dialog box. See Also: Music Spacing Document Options-Music Spacing

1748

Special Key Signature Attributes dialog box

How to get there Click the Key Signature Tool , and double-click the measure in which you want the key to change. The Key Signature dialog box appears. (There are a variety of other ways to access this dialog box.) Choose Nonstandard from the drop-down list. Click the Attribute icon.

What it does This dialog box concerns the creation of linear key formats and nonlinear key signatures; see Nonstandard Key Signature dialog box for a more complete discussion. In brief, Finale lets you create nonstandard key systems and key signatures, based on scales with any number of steps, and with accidentals placed in any order you want. For any such key system you create, you can specify a number of special attributes, such as the symbols you want to use in the key signature (instead of the flat and sharp symbols). • Harmonic Reference. The number in this text box identifies the note that all other dialog boxes in Finale’s key system will consider to be the C, or fundamental root tone. Enter zero for C, 1 for D, 2 for E, and so on. There’s little reason ever to change the default setting in this text box (zero, or C). • Middle Key Number. The number in this text box specifies the MIDI key number that corresponds to the Harmonic Reference number. (In the MIDI key numbering system, the keys on a synthesizer are numbered sequentially from bottom to top. Middle C is note 60, C sharp is 61, and so on.)

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You can use this parameter to good advantage if you want to transform your synthesizer into a transposing synthesizer (as far as Finale is concerned). For example, if you set the Middle Key Number to 48 (C below middle C), Finale will interpret every note you play as a note an octave higher; likewise, when Finale plays back a score, it will play notes on your synthesizer an octave lower than written. • Symbol Font. The number in this text box corresponds to the font which has the symbols you want to use for accidentals. To choose a new font, click Symbol Font; Finale displays the Font dialog box, from which you can choose the new font. • Symbol List ID. The number in this text box identifies a symbol list you’ve created— an array of accidental Amounts (where one sharp has an Amount of 1, one flat has an Amount of –1, and so on) and corresponding characters you want to appear in the key signature to represent them. To create a symbol list, click Symbol List ID; the Symbol List dialog box appears, in which you can define the character you want to appear in place of the usual sharp, flat, double-sharp, or other standard symbol. (See Symbol List dialog box.) • Go to Key Unit. Enter a number in this text box to specify the number of scale steps Finale should consider to be between each pair of keys on your MIDI keyboard. In other words, if you’ve specified a quarter-tone scale, tell Finale that the Key Unit is 2—there are two scale tones, not one, between one synthesizer key and the next. (If your synthesizer can produce quarter tones, however, leave the Key Unit at 1, so that Finale will correctly play back your quarter-tone score.) If you’ve specified the correct Key Unit value, Finale will transcribe and play any music performed in the usual way correctly. If you created a quarter-tone scale without changing the Key Unit, by contrast, you’d have to drastically modify your playing style. • Delete. Click Delete to restore all the settings in this dialog box back to their default "traditional" values. • OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box. You return to the Nonstandard Key Signature dialog box. See Also: Nonstandard Key Signatures Key Signature Tool

1750

Specify Current Lyric dialog box


. Choose Specify Current Lyric from the Lyrics menu.

What it does Your lyrics can include up to 512 of each of Finale’s three lyric types: Verse, Chorus, and Section. There’s no technical distinction between these three types—the lyrics you enter as a Verse can be used in the chorus of your song, and vice versa. They’re only there to help you keep track of your lyrics, and to make it easy to change the font or style for a large chunk of lyrics at once (you can specify different fonts for Verses, Choruses, and Sections in Document Options-Fonts). In this dialog box, you can specify the lyric type you want to edit (in the Edit Lyrics window), insert into the score (using the Click Assignment or Type Into Score commands, or copy (using the Clone command). In the text box, you can also specify by number which Verse, Chorus, or Section you want to edit. • Verse • Chorus • Section. Click the radio button corresponding to the lyric type you want to select. • Number. The number in this text box identifies the specific Verse, Chorus, or Section that’s currently selected. • OK • Cancel. Click OK to return to the score. Now you’re ready to edit, type (with Type Into Score), or "click-assign" the lyric you specified. Click Cancel to return to the score without changing the lyric type or number. Tip: To Scroll through Lyrics in the score while in Type Into Score mode, use Ctrl -Up and Down arrows. See Also: Lyrics Tool

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Speedy Options dialog box

How to get there Click the Speedy Tool

. From the Speedy menu, choose Speedy Options.

What it does When you click on a measure with the Speedy Entry tool, an editing frame is drawn around the measure clicked. The Speedy Options dialog box allows you to control the size of this editing frame. You can also change other functions of the Speedy Frame in this dialog box. In the bottom of the dialog box, you can specify how Finale responds to your MIDI keyboard. • Speedy Frame: Size to Staff • Minimum Percentage • Maximum Percentage. Select this radio button to adjust the size of the Speedy Frame based on a combination of the view percentage and the size of the staff. Use the Minimum and Maximum text boxes to keep the Speedy Frame within reasonable limits. • Speedy Frame: Use Fixed Scaling of. Select this radio button to set the size of the Speedy Frame to a specific percentage. Enter a percentage of the original staff in the text box. The Speedy Frame will be displayed in the selected percentage. 1752

• Fill With Rests when Leaving Measure. Check this box to have Finale add enough rests to make a full measure upon exiting the measure. • Auto Launch Speedy Frame. With this option checked, selecting the Speedy Entry Tool will open a measure for editing. No mouse click is needed. • Use MIDI Keyboard for Input • Use MIDI Modifier Keys when in MIDI Input Mode. The Use MIDI Keyboard for Input checkbox mirrors the Use MIDI Keyboard for Input item in the Speedy menu. When Use MIDI Modifiers is checked, Finale will respond to MIDI signals to set the duration, tie notes and other functions, as specified in the selected Key Map. • MIDI Modifier Assignments: [Key Map list] • Create Key Map • Edit Key Map • Delete Key Map. Select a map of MIDI keys from the drop-down list to use, edit, or delete. To create a new map, click Create Key Map. Select a map and click Edit Key Map to modify the selected map. See Edit MIDI Modifiers dialog box. To remove a map, select it then click Delete Key Map. • OK • Cancel. Click OK to confirm, or Cancel to discard, your speedy frame settings and return to the score. See Also: Speedy Entry Tool

1753

Staff Attributes dialog box

How to get there Click the Staff Tool . Choose Edit Staff Attributes from the Staff menu. Or, double-click a staff handle, or a staff name handle.

What it does In the Staff Attributes dialog box, you can specify dozens of staff-specific traits for the staff whose handle you clicked, including its name, transposition, and clef. You can also tell Finale whether or not certain musical elements should appear in this staff—measure numbers, default whole rests, time signatures, and repeat ending brackets, to name a few. 1754

You can create and edit full and abbreviated staff names mixing fonts and styles. You can also allow or prevent optimization of the current staff. • Staff Attributes for: Arrow controls. These arrows appear to the right of the staff name drop-down list, making it easy for you to move consecutively through the staves to select staff attributes. Click the arrows to change staves instead of choosing a new staff name from the drop-down list. • Full Name • Edit; Abbr. Name • Edit. The full or abbreviated names you enter for the staff appear in a regular text font. Click the Edit button to display the Edit Text window, where you can enter or edit the full or abbreviated staff name and set fonts and text styles. See Edit Text window. • Full Name • Position. It’s important to understand that you establish the position for staff names globally using the Set Default Name Position command in the Staff menu. Use the Position button here only to override the global position for this particular staff. To do so, click the Position checkbox, then click Position, to display the Position Full Staff Name dialog box (see Position dialog box.) • Abbr. Name • Position. Here, too, you should realize that you set the global position for staff-name abbreviations using the Set Default Name Position command. Use the Position checkbox and button here only to override the global position for this particular staff. • First Clef • Select. This display identifies the clef that will appear at the beginning of the staff. To change this clef, click Select. The Clef Selection dialog box appears, displaying Finale’s eighteen default clefs. Double-click the one you want; you return to the Staff Attributes dialog box, where Finale displays the clef you clicked. • Alternate Notation • Select. Use this checkbox and select button to set alternate notation for the entire staff. See Alternate Notation dialog box. • Transposition • Select. If the instrument whose staff you’re establishing is a transposing instrument (such as a trumpet or clarinet), select Transposition, then click the Select button. The Staff Transpositions dialog box appears, in which you can specify the interval by which you want the music on the staff to be automatically transposed. See Staff Transpositions dialog box. To make the staff non-transposing again, click the checkbox again to deselect it. Once you’ve established the transposing instruments’ staves, you can tell Finale to display the full score either in its transposed form or in its untransposed (concert pitch) form. Choose Display in Concert Pitch from the Document menu to show the score untransposed. The staves in the full score always print out exactly as they appear on the screen (whether transposed or in concert pitch); when you extract parts, however, the resultant parts are always printed in their transposed form. (The exception is the Special Part Extraction method of extracting parts, 1755

which will print staves transposed or not according to your Display score in concert pitch setting.) • Staff: Standard 5-line • 1-line with Full Barline • 1-line with Short Barline• 0-line with Full Barline • Other. Choose from four commonlyused staves, or choose Other to display the Staff Setup dialog box, in which you can specify a custom staff. See Staff Setup dialog box. • Allow Optimization. Use this option to control whether Finale will remove the staff during the optimization process. (When you optimize a score using the Page Layout Tool, Finale hides resting instruments on each staff system.) Click to select this checkbox if you want to allow Finale to hide this staff (if it contains no music) in optimized staff systems. Deselect the checkbox to prevent Finale from hiding the staff; the staff will appear, even if it contains no music. For example, select this option for the Treble and Bass staves of piano staves, since scores usually display both staves of piano parts, even when other parts drop out. • Break barlines between staves • Break repeat barlines between staves. Normally, when you group some staves together, the barlines are drawn continuously through them (including the blank spaces between them). Select "Break Barlines Between Staves" if you want barlines—both normal and repeat barlines—not to continue through to the next staff above this one. (If this staff isn’t part of a staff group, you won’t notice any difference. You group staves by selecting their handles with the Staff Tool and double-clicking one of the selected handles.) Select "Break Repeat Barlines Between Staves" if you want to break repeat barlines that would normally continue through to the next staff above this one. This option doesn’t affect normal barlines. • Display rests in empty measures. To save you time, Finale normally draws a default whole rest in every blank measure. Deselect this checkbox if you don’t want Finale to draw these "false" whole rests for this staff. You might wish to suppress them if, for example, you simply want to print out blank score paper. • Flat Beams. Select this option to force all the beams in the staff to draw flat instead of at an angle. • Hide Staff. Select this option to hide the current staff. Use this control when you want to hide a staff used for ossia measure source staves, or if you’ve created a staff that contains playback effects such as written out trills or tremolos. The word "(hidden)" appears in Staff Lists next to the staff name for any staves that are hidden. • Ignore Key Signatures. Finale retains this setting for compatibility with older version files. Select this option if you want Finale to transpose all the notes in the staff to the key of C for the entire piece, regardless of any key changes that occur. 1756

• Independent Elements: Key Signature • Time Signature • Notehead Font; Select. "Independent" means that these elements are allowed to vary from staff to staff. These options let you specify key signatures, time signatures, music font, or notehead shapes for each staff independently. For example, click Key Signature or Time Signature if you want this staff to be in a different key or meter than the other staves in the piece. When you click the Key Signature or Time Signature Tool, a handle appears on every barline of each staff for which you’ve selected Key Signature or Time Signature. Click the handle to access the Key Signature or Time Signature dialog box for that staff alone. You can choose any font for your noteheads without affecting flags, rests, and accidentals on the notes in the staff. When the Notehead Font checkbox is selected, Finale uses the font you select for the current staff. When this checkbox is not selected, Finale uses the font specified in the Select Default Fonts dialog box. Click Select to display the Font dialog box. The Maestro Percussion font included with Finale contains noteheads for use on percussion staves, as well as noteheads to use for hymnals requiring shape notes. • Items to Display: Augmentation Dots • Barlines • Clefs • Endings and Text Repeats • KeySignatures • Expressions • Measure Numbers • Repeat Bars • Rests • Staff These checkboxes specify which musical elements will appear in this staff. For example, you probably wouldn’t want measure numbers to appear in both staves of a piano part; to omit them from the bass-clef staff, you’d deselect the Measure • Name in Score • Staff Name in Part • Stems;Select • Time Signatures.Numbers checkbox. Click the Select button to the right of the Stem check box to customize your stem settings. See Staff Stem Settings dialog box. Tip: If you don’t want barlines to appear in a particular measure in all the staves in your piece, select the "Invisible" barline in the Measure Tool. Or, if you don’t want barlines to appear in your entire score, deselect Display All Barlines in Document Options-Barlines. • Notation Style: Standard • Percussion • Note Shapes • Tablature; Select. Choose a notation style, then click the Select button to display the dialog box for that style. See Percussion Map Designer for detailed information about setting up a percussion staff. Refer to Document OptionsNotes and Rests and Tablature Staff Attributes if you selected either of those options. 1757

• Color Noteheads • Define. Check this box to use color noteheads in the staff. Finale's colored noteheads were designed for use with Boomwhacker® methods. Click Define to open Document Options-Notes and Rests where you can customize the color of each pitch. • OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box and return to the score. See Also: Staff Tool Staff Setup Percussion Layout Selection Percussion Layout Designer Note Shapes Tablature

1758

Staff Controls

How to get there From the View menu, choose Studio View. The Staff Controls appear to the left of the score containing separate controls for each staff.

What it does In Studio View, a Staff Control module appears to the left of each staff. Flowing down the left side of the screen, and spaced adjacent to its corresponding staff, each set of controls is basically a miniature mixer, and one method you can use to view and adjust Finale’s Mixer settings. They include the standard volume, pan, program change, and Solo/Mute/Record buttons. These controls are dynamically linked to the Mixer and Instrument List, so changes to any 1759

setting apply to all uniformely. As such, Staff Control settings can be adjusted in real-time during playback and apply to saved MIDI files, audio files, and .SMP (SmartMusic Public Accompaniment) files. These staff/channel-specific controls are mirrored in the mixer. For a detailed description of each parameter, see Mixer.

See Also: Instrument List View/Studio View

1760

Score Lists and Staff List dialog box

How to get there Score Lists (expressions): From the Document menu, choose Category Designer. Choose a category that supports Score Lists, such as Tempo Markings, Tempo Alterations, or Rehearsal Marks and click Edit. Staff List (Repeats): Click the Repeat Tool, click a measure, then double-click one of the two middle graphic repeat icons (both of which are backward repeat barlines). Or, if a backward repeat barline is already in the score, double-click its handle, or right -click its handle and select Edit Repeat Bar Assignment. From the Staff List drop-down list, select New Staff List, or select an existing Staff List then click Edit. The Staff List dialog box that appears for repeats looks a bit different (see below), but the functionality is basically the same.

What it does The Score Lists and Staff List dialog boxes provide control over creating and editing Score Lists and Staff Lists, which are both used to identify the staves a marking is to appear. Score Lists and Staff Lists are only available for markings that apply to the full score, such as tempo and rehearsal mark expressions and repeat indications.

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To assign an expression that applies to a single staff (such as a dynamic) to multiple staves, use the Assign drop-down menu in the Expression Selection dialog box.

Expressions: • Edit. From this list, choose the Expression category Score List you would like to edit. • Name. The name of the currently selected Score List appears here. You can change the names of all 8 available Score Lists by typing a new name into this text box. • Score • Part • Staves. The name of each staff in the score appears in the Staves column. Checks in the Score and Parts columns for each staff indicate whether expressions for the staff should appear. Click in the Score or Parts column to set the Score and Parts entries for a staff. Choose Bottom staff to display the expression on the lowest staff visible in the score. Click Check All Staves to indicate you want to display the expression on all staves. • OK • Cancel. Click Cancel to return to the Category Designer dialog box without choosing any Score List for the expression you’re adding or editing. Click OK to confirm your selection of a Score List for the expression you’re adding or editing. If an expression is assigned to display on a staff that is hidden due to optimization, Finale will place the expression on the next highest Score Listed in the Score List dialog box that is visible. Expressions assigned to Score Lists can be moved independently, or uniformly. See To move expressions assigned to Score Lists. Repeats:

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• Staff List. Choose the Staff List you want to edit from the drop-down list, or click the up or down arrow control to cycle through the Staff List names. Information about the currently selected Staff List appears in the dialog box. • List Name. The name of the currently selected Staff List appears here. If you’re adding a new Staff List, change the name that appears in the text box, then click Add. The names of the Staff Lists appear in alphabetical order. • Add • Delete. Click Add to add a new Staff List after you’ve entered the name of the new list. The new list will be added to the drop-down list in alphabetical order. You can create over 1000 staff lists (1023 to be exact). Click Delete to remove the currently selected Staff List. Finale removes the Staff List from the drop-down list. • Staves • Score • Parts. The name of each staff in the score appears in the Staves column. Entries in the Score and Parts columns for each staff indicate whether repeat endings for the staff should appear. Click in the Score or Parts column to set the Score and Parts entries for a staff. The Score and Parts columns cycle between three states as you click: hide repeat text for the staff (the column is blank), show repeat text (an "X" appears in the column), or force repeat text to always appear (an "F" appears in the column). When an "F" appears, the repeat text will always appear in that staff, even if you’ve elected to hide repeat endings for the staff in the Staff Attributes dialog box.

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• Set Score • Clear Score • Set Parts • Clear Parts. Use these buttons to control all the settings in the Score or Parts columns at once. Click Clear Score (or Clear Parts) to remove "X" or "F" from every staff in the Score or Parts column. Click Set Score (or Set Parts) to add an "X" to every staff in the Score or Parts column. • OK • Cancel. Click Cancel to return to the Repeat Assignment dialog box without choosing any Staff List for the repeat indication you’re adding or editing. Click OK to confirm your selection of a Staff List for the repeat indication you’re adding or editing. See Also: Expressions Expression Assignment Expression Selection Expression Tool Backward Repeat Bar Assignment

1764

Staff Setup dialog box

How to get there Click the Staff Tool drop-down list.

, then double-click a staff. Choose Other from the Staff

What it does In the Staff Setup dialog box you define the number of lines in the current staff, set the length of barlines, the placement of rests, and the point on a staff at which Finale will flip stem direction automatically. • Custom Staff. When Custom Staff is selected, you can create a staff with up to 27 lines. Simply click the handles to show or hide staff lines. Finale automatically adjusts barlines to enclose the staff lines. The arrow indicates Finale’s reference staff line, above which you can add up to 11 staff lines, and below which you can add up to 15 lines. This is the line from which Finale infers musical information and measures the placement of items such as clefs and the default placement of rests.

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• Staff Lines. Click Staff Lines if you want to create a staff with up to 100 lines. This value shows the number of staff lines that will appear in your score. The arrow indicates Finale’s reference staff line, which is the top staff line of the default 5-line staff. This is the line from which Finale infers musical information and measures the placement of items such as clefs and the default placement of rests. All staff lines are added below the 5-line staff. Finale automatically adjusts the barlines to enclose the staff lines. • Reset Staff to: • Standard 5-line • 1-line with Full Barline • 1-line with Short Barline. Use this drop-down list to reset the staff to a standard fiveline or common one-line staff (with a full or short barline). If you specify a single-line staff with full barline, Finale draws the barline the length of a five-line staff and centers it on the selected line. • Line Spacing. Here, enter the space between each staff line. The value you enter will automatically round to an even number of EVPUs (or equivalent). • Top Barline • Bottom Barline. These offsets allow you to extend the upper and lower parts of a barline beyond the outer staff lines. To lengthen or shorten the barlines, enter new values in the text boxes. Enter a positive value to move the endpoint up, and a negative value to move an endpoint down. These values default to zero, so that the barlines automatically enclose the staff lines. • Units. Click the drop-down list to select the measurement unit you want Finale to understand and display in the Settings section of this dialog box. • Default Rest Placement: Double Whole Rests • Whole Rests • Half Rests • Other Rests. Enter values, in steps, for where you want Finale to place each rest. The value is measured from Finale’s reference staff line. Enter a positive value to move the rest higher, and a negative value to move the rest lower. Note that Finale displays the default whole rest at the same position as the whole rest you enter. • Stem Reversal. The Stem Reversal value, which is measured in lines and spaces, controls the point in a staff at which Finale will flip stems up or down. Enter -4 to set the center line in a regular 5-line staff as the point to use for flipping stems. Enter a positive value to specify a line above the reference line, and a negative value if you want to specify a line below the reference line. • Show Top Repeat Dot • Show Bottom Repeat Dot. Use these options to control whether Finale draws repeat dots on any repeat bars on a custom staff. These options are selected by default so Finale displays both dots. If you do not like where Finale displays the dots, deselect these options to hide the repeat dots on the staff. If you prefer only one dot (e.g. for a tablature staff) then deselect either Show Top Repeat Dot or Show Bottom Repeat Dot.

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• OK • Cancel. Click OK to save the new settings, or click Cancel to discard any changes you made to the settings. You return to the Staff Attributes dialog box. Tip: Enter -4 to set the center line in a regular 5-line staff as the point to use for flipping stems. See Also: Staff Tool Percussion Layout Designer

1767

Staff Styles dialog box


. Choose Define Staff Styles from the Staff menu.

What it does Use the Staff Styles dialog box to create, edit and delete various sets of staff attributes that can be applied to sections of the staff. You can use staff styles to set up instrument doubling, cutaway scores, partial measure alternate notation, and other items. 1768

• Available Styles • Style Name • New • Delete. This drop-down list contains all the currently available staff styles. Select one from the list to edit or delete. You can also view the drop-down list using the arrows next to the list. Select New to create a new staff style. Type the new staff style name in the edit window. • Copyable. Check this box to copy the staff style when the measure is copied with the Selection Tool. • Display in Context menu. Check this box to have the Staff Style listed when you right-click a staff region. • Remaining Settings. The remaining settings are the same as in the Staff Attributes dialog box except that these settings allow you to select, deselect or remain "as is" or grayed out so that whatever setting is already used remains unchanged. The drop-down list have an additional (no change) setting as well. See Staff Attributes dialog box. • OK • Cancel. Click Cancel to return to the score without making changes. Click OK to confirm your changes and return to the score. Tip: To apply a Staff Style, select a measure of a staff and choose Apply Staff Style from the Staff menu. Tip: If you want the Staff Style to copy when the measure is copied, check Copyable. See Also: Staff styles Apply Staff Style Staff Tool

1769

Staff Stem Settings dialog box

How to get there Click the Staff Tool button in the Items

, and double-click any staff. Click the Stem Settings

to Display subsection.

What it does In this dialog box, specify the direction, staff offset and beam offset for stems in a staff. These settings are particularly useful for TAB notation. • Stem Direction: Default Direction • Always Up • Always Down. Choose Default Direction to use the document’s default stem direction as defined in Layer options (see Document Options-Layers). Choose Always Up to freeze all steps in the staff up. Choose Always down to freeze all stems in the staff down.

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• Horizontal Stem Offsets: Up Stem • Down Stem. Enter a value in the Up Stem or Down Stem text box to specify the horizontal gap between the notehead (or fret number) and the up and/or down stems in a staff. • Use Vertical Offset For NoteHead End of Stems • Offset from Notehead(s) • Offset from Staff • Up Stem • Down Stem. With Offset from Notehead selected, specify a value in the Up Stem or Down Stem text box to define a specific vertical gap between the notehead (or fret number) and the start (notehead end) of up and/or down stems in a staff. With Offset from Staff selected, specify a value in the Up Stem or Down Stem text box to define the absolute vertical position of the notehead end of up and/or down stems relative to the staff. • Use Vertical Offset for Beam End Of Stems (Offset From Staff) • Up Stem • Down Stem. Check this box, and enter a value in the Up Stem and/or Down Stem text box to define an absolute vertical position, relative to the staff, for the stem endpoints (beam end of the stem). • Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. When you enter the Staff Stem Settings dialog box, Units defaults to the current measurement unit selected in the Measurement Units submenu of the Document menu. If you prefer, choose a different measure-ment unit for beaming from the drop-down list. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your stem settings and return to the Staff Attributes dialog box. See Also: Stems Staff Attributes Document Options-Stems Document Options-Layers

1771

System Space Before/After Music dialog box

How to get there Click the Page Layout Tool. Right-click a staff system and choose System Space Before/After Music. Or, select a system or region of systems, and then from the Page Layout menu, choose Systems > System Space Before/After Music.

What it does Use this dialog box to specify additional space and the beginning or end of a staff system or region of systems. Enter values in the unit of measurement specified in the Measurement Units submenu of the Edit menu. • System___Through___. Enter the system numbers that define the range of systems you want to change. • Extra Space At Beginning of System. The value entered here controls the distance between the end of the measure header (the left barline, clef, key, or time signatures) and the first note or rest for the first (leftmost) measure of selected systems. (in the measurement unit specified in the Measurement Units submenu of the Edit menu). • Extra Space At End of System. This value controls the distance between the last note or rest and the end (right edge) of the system or region of systems. • Before Barline. Check this box to place the extra space before the barline when adding space to the end of a system. (In other words, the extra space will be added to the end of the last measure in the system.) If this box is not checked, space will be added after the rightmost bar line in the system. • OK • Cancel. Click OK (or press enter return ) to execute the selected changes. Click Cancel to return to the score without any changes.

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See Also: Page Layout Tool

1773

Staff System Optimization dialog box

How to get there Click the Page Layout Tool Page Layout menu.

. Choose Optimize Staff Systems from the

What it does In published full scores, it’s customary to omit from a system any staves that consist of entirely of rests. The result is a more compact and readable score. In Finale, this process of suppressing the printing of empty staves within each system is called optimizing systems. Use this dialog box to place or remove optimization on the specified staff systems. Optimizing can perform two functions: it always makes the staves in the staff systems independently adjustable in Page View for a single staff system; and—depending on your settings—it removes empty staves from the staff systems. Using this dialog box, you can specify the systems you want optimized—all of them, for example. Finale redraws your score (in Page View), omitting blank staves from the specified systems; you’ll find that your score now fits on fewer pages.

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Optimizing systems in Finale has another important benefit: it permits staves within staff systems to be independently movable in Page View. Under normal circumstances, when you move, respace, or rearrange staves using the Staff Tool all staff systems are affected. Post-optimization, however, you’ll find that the Staff Tool now allows you to vary the positioning and spacing of staves for a single staff system. Furthermore, again using the Staff Tool, you can create a new grouping of staves which will affect only that staff system, letting you change the way in which your staves are bracketed. With groups, you can also tell Finale to optimize staves together for instruments that require more than one staff, such as piano and harp. Finale locks in this staff configuration. If, for example, you return to Scroll View after optimizing systems, and add some music to a staff which no longer appears in Page View (because the system has been optimized), the staff won’t reappear. If you want to edit, reformat, enlarge, or reduce your music, remove optimization before you do it (by choosing the Optimize Staff Systems command again and selecting Remove System Optimization), and later reapply optimization. For this reason, it’s best to make optimization the last thing you do before printing, after the piece has been formatted, proofread, and ready to be given its final layout. See Staff Attributes dialog box. A measure with a "real" whole rest—one you’ve entered with the Simple Entry or Speedy Entry Tool—is not considered empty. If you notice that an apparently empty staff won’t disappear from its system, it probably contains a "real" whole rest, which you must remove before reapplying the Optimize All Staff Systems command. Note that you can tell Finale to ask you before removing each empty staff from the system, which means you can leave certain blank staves in place, if you want (the same result you get by inserting "real" whole rests). After optimizing a staff system, Finale will display a non-printing Optimization icon in Page View to the right of the system. • Optimize Staff System(s). Select this button if you want Finale to hide empty staves from the systems specified in the Staff System(s) __ through __ boxes. In Page View and in printouts, the empty staves won’t appear in the affected systems. If you optimize a completely empty staff system, Finale will still display the top staff, even though it’s blank. • Remove Empty Staves. This option determines whether Finale will remove empty staves from the staff system. When this option is selected, Finale optimizes and removes empty staves from the staff system. When this option is not selected, Finale optimizes the staff systems, but keeps all staves—even if they’re empty. • Ask Before Removing Staves. Finale uses this option only when Remove Empty Staves is selected. When Ask Before Removing Staves is selected and Finale finds an empty staff in the staff system, Finale asks you to 1775

confirm that you want the staff removed for that system. You can click on Yes All or No All to skip the remaining confirmations for all staves in all systems. When this option is not selected, Finale removes any empty staves from the staff system automatically. • Keep At Least One Staff. This option is used only when Remove Empty Staves is selected. It determines whether at least one staff will remain in an optimized staff system—even if all staves are empty. • Remove Staff System Optimization. Select this button if you want to restore all empty staves to the systems specified in the Staff System(s) __ through __ boxes. You might wish to remove optimization, for example, if the page layout has shifted, or you’ve added music in a previously empty measure, such that some of your music now doesn’t appear (because it falls on an optimized staff). Once you’ve made such staves reappear with this command, reoptimize the score to ensure that only truly empty staves are omitted. • All Systems of Current Part/Score • System(s) __ Through __. Click on All Systems of Current Part/Score to optimize the entire document. In the System text boxes, specify the range of systems you want optimized. These numbers are inclusive; Finale optimizes the systems whose numbers appear in the text boxes and all systems in between. Leave the second box empty if you want to optimize to the end of the score. • OK • Cancel. Click OK to return to the score, where Finale has hidden (or restored) the empty staves in the systems you specified. Click Cancel to return to the score without affecting optimization. See Also: Page Layout Tool

1776

Staff Transpositions dialog box

How to get there In the score: Click the Staff Tool . Click the staff handle you want to set as a transposing instrument, then choose Edit Staff Attributes from the Staff menu. In the Staff Attributes dialog box, click Transposition, then click Select. Transcribing a MIDI file: Choose Open from the File menu, and choose MIDI File from the List Files of Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI File dialog box, click the Set Track-to-Staff List radio button. In the Track/Channel Mapping for Staves dialog box, click the topmost unassigned row of track information. Click Transposition.

What it does You can define any staff in Finale to have any instrument transposition; for example, a trumpet staff can be notated up a whole step, yet Finale will still play back the music at concert pitch. While you’re working on the score, you can view the instrumental staves in either their transposed or concert-pitch forms.

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In this dialog box, you can specify one of several common transpositions, or you can create your own. You can also tell Finale that it should use a different clef for this instrument when the staff is displayed in its transposed form. (Finale will use the normal clef you’ve specified as the First Clef for the untransposed staff.) You can set up a staff to transpose chromatically, moving notes on a staff without changing the key signature. You can also direct Finale not to transpose the staff at all by choosing None from either the Key Signature or Chromatic drop-down list. The Set to Clef option lets you simply click on a graphic display containing all the clef choices to select a clef. • Key Signature. The Key Signature transposition drop-down list shows the most common transpositions that you might want to use. Make an appropriate selection from the choices. In this list, M = major, m = minor, P = Perfect, and the numbers represent intervals (for example, 6 = sixth). Choose None to deactivate all transposition settings in this dialog box, except Set to Clef. Choose Other if you prefer to make your own transposition settings for less common instruments. If you choose Other, be sure to enter values into the Interval and Key Alter text boxes (see below). Finale will use these and the Set to Clef settings when transposing the staff. For this instrument…

Choose this transposition

None

Create Set to Clef transposition

A instrument (e.g. A clarinet)

(A) Up m3, Add 3 flats

B flat instrument (e.g. clarinet, trumpet)

(Bb) Up M2, Add 2 sharps

B flat instrument-treble (e.g. tenor sax, bass clarinet)

(Bb) Up M9, Add 2 sharps

D instrument (e.g. trumpet)

(D) Down M2, Add 2 flats

E flat instrument (e.g. E flat clarinet)

(Eb) Down m3, Add 3 sharps

E flat instrument (e.g. alto sax)

(Eb) Up M6, Add 3 sharps

E flat instrument-treble (e.g. baritone sax)

(Eb treble clef) Up M6+Octave, Add 3 sharps

F instrument (e.g. French Horn)

(F) Up P5, Add 1 sharp

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G instrument (e.g. alto flute)

(G) Up P4, Add 1 flat

Instrument (e.g. contrabass)

Up Octave

Instrument (e.g. piccolo)

Down Octave

Other

Create your own transposition settings

• Simplify Key. If checked, Finale examines the key produced by a transposition and determines if an enharmonic spelling would result in fewer sharps or flats. For example, a passage in B Major for B flat trumpet, when unchecked, would be notated in C sharp Major (which has 7 sharps). When checked, the passage is notated in D flat Major instead (with 5 flats). This checkbox is checked by default, and can be changed for each staff. • Interval. Enter a number for the desired degree of diatonic transposition. A positive number notates the part higher than the instrument’s sound, and a negative number makes it lower. A value of zero indicates that no transposition will take place, 1 raises the part one step (an interval of a second), 2 raises it a third, and so on. Negative numbers lower the part. To lower a part one octave, for example, you’d enter -7. • Key Alter. Use the Key Alter text box to tell Finale how to modify the key signature. A positive number in this text box adds sharps to the key signature (or subtracts flats), and a negative number subtracts sharps (or adds flats). • Chromatic. The Chromatic transposition drop-down list contains the same options as the Key Signature drop-down list, except for the key change settings. Instead, Finale will show the appropriate accidental on each transposed note without affecting the key signature. Choose None to deactivate all transposition settings in this dialog box, except Set to Clef. Choose Other if you prefer to make your own transposition settings for less common instruments. If you choose Other, the Interval dialog box appears. Finale will use the Interval settings and the Set to Clef settings when transposing the staff. For this instrument…

Choose this transposition

None

Create Set to Clef transposition

A instrument (e.g. A clarinet)

(A) Up m3

B flat instrument (e.g. clarinet, trumpet)

(Bb) Up M2

B flat instrument-treble (e.g. tenor

(Bb treble clef) Up M9

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sax, bass clarinet) D instrument (e.g. trumpet)

(D) Down M2

E flat instrument (e.g. E flat clarinet)

(Eb) Down m3

E flat instrument (e.g. alto sax)

(Eb) Up M6

E flat instrument-treble (e.g. baritone sax)

(Eb treble clef) Up M6+Octave

F instrument (e.g. French Horn)

(F) Up P5

G instrument (e.g. alto flute)

(G) Up P4

Instrument (e.g. piccolo)

Down Octave

Instrument (e.g. contrabass)

Up Octave

Other

Create your own transposition settings

• Set to Clef. To change the clef for a transposed staff (such as a treble clef baritone part), select this checkbox, then click the clef that you want displayed for the staff in its transposed form. If you don’t want Finale to use a different clef than the clef specified in the Staff Attributes dialog box, deselect Set to Clef. Note: When Set to Clef is selected, Finale displays the selected clef regardless of any other clef changes in the staff (unless you have Display Score in Concert Pitch" selected in the Document menu). If you want all clef changes to appear for a staff, make sure that Set to Clef is not selected in this dialog box, then choose the proper clef in the Staff Attributes dialog box. • OK • Cancel. Click Cancel to return to the Staff Attributes dialog box without changing the transposition settings. Click OK to confirm the transposition settings for the staff and return to the Staff Attributes dialog box. Finale selects the Transposition checkbox. Note: When Set to Clef is selected for a staff, no clef changes will appear on the 1780

score. If you want clef changes to appear for the staff, deselect Set to Clef, then specify the Starting Clef in the Staff Attributes dialog box instead.

See Also: Staff Tool Staff Attributes Track/Channel Mapping to Staves

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Staff Usage List dialog box


. Choose Staff Usage from the Staff menu.

What it does Use the Staff Usage List dialog box to specify the exact vertical position of a selected staff, measured from the top of the window in Scroll View, and to verify which staves in the score will be affected by your positioning changes. • Staff Usage List: Global • Special Part Extraction • Staff System (plus the current system number). Finale displays which staff systems will be affected when you position a staff or staves. Finale has three ways of displaying information in Page View. The first is the default, or "Global", view. Finale can temporarily display the page formatting in two other ways: during Special Part Extraction, and when a staff system or systems are "optimized" to remove resting parts. The Staff Usage List indicator lets you know whether the positioning changes you make affect the "Global" view, or whether they only affect the temporary formatting during Special Part Extraction or optimization. When "Global" appears, dragging a staff or changing its Distance From Top value will alter its position in every staff system in Page View, and its position in Scroll View. When "Special Part Extraction" appears, dragging a staff or changing its Distance From Top value in Page View will affect its position in each staff system, but won’t change its position in Scroll View. Dragging a staff in Scroll View will affect the staff’s position in Scroll View, but won’t change its position in Page View until Special Part Extraction is turned off (no checkmark appears next to the Special Part Extraction command in the Document menu). "Staff System" (plus the current staff system number) appears when the selected staff system has been optimized using the Page Layout Tool.

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Any positioning change in Page View will affect the current staff system only. • Staff Number • Prev • Next. This number shows Finale’s internal number for the current staff (Finale numbers staves in the order that they’re created). There is usually no reason to enter a different number for a staff. However, if you enter a new staff number, Finale will change the contents of a staff to match the contents of an existing staff (it will not change the staff’s order in the score). When two staves share the same ID number, their contents are identical and dynamically linked, so that any change you make in one will appear in the other. Click Prev and Next to move through the staves. Remember that Finale numbers staves as you create them, so if you’ve rearranged or deleted staves, they might not be numbered sequentially in the score. • Distance From Top. This number sets the distance from the top line of the staff to the top of the window in Scroll View. Enter a negative value (in measurement units) to adjust the vertical position of the staff down from the top of the window. If you enter the same number for two staves, Finale will superimpose the staves. Tip: Finale uses this value as a starting point for positioning a staff; staff positions in Page View and printouts are also affected by any resizing you do with the Resize Tool. • OK • Cancel. Click Cancel to return to the score without changing the staff’s position. Click OK to confirm your changes and return to the score. See Also: Staff Tool

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Standard Frame dialog box

How to get there Click the Text Tool from the Text menu.

. Click a text block handle. Choose Standard Frame

What it does Use the Standard Frame dialog box to specify whether a border appears around the text block, and to specify the thickness of the border. Also specify the amount, in measurement units, to indent the text from the frame. This setting affects the text block both on-screen and on printed music. • Show Border. Use this option to determine whether a border will appear around the text block. When this option is selected, Finale displays a border around the text block using the line thickness specified in this dialog box. When this option is not selected, the text block will appear without a border. • Expand Horizontally • Expand Vertically. These options control how text typed into the score will flow into an editing frame. Sometimes you will want the frame to remain a fixed size, while other times you’ll want it to expand as you type. To have the frame automatically expand as you type, doubleclick a location in the score and start entering text without dragging to create a frame; or, display the Frame Attributes dialog box for a text block already in the score and select the Expand Horizontally option. The edge of the frame will expand left or right—depending on its horizontal alignment— as long as you enter text, until you press enter (type a carriage return) to start a new line. To allow an unlimited number of lines of text in a frame, double-click a location in the score and start entering text without dragging to create a frame; or, display the Frame Attributes dialog box for a text block already in the score and select the Expand Vertically option. The edge of the frame will expand up or down—depending on its vertical alignment—as long as you enter text. 1784

Neither of these options will be selected if you create a text block by double-clicking and dragging to create the size frame that you want the text to flow into. Dragging the frame on-screen to adjust the text block’s width or height will also deselect these settings. Make sure that Expand Horizontally is not selected if you want the text to wrap when it reaches the edge of the frame, and that Expand Vertically is not selected if you want the text to flow into the height of the existing frame. The sides of the frame show a single line on-screen to indicate that the frame will expand horizontally or vertically. A double line indicates that the frame is a fixed size; drag the side of the frame to resize it. • Line Thickness. Enter the line thickness, in current measurement units, for the border. • Inset Text. Enter the distance, in measurement units, that you want the text to be inset from the border or the frame shape. This value is always used, even if you don’t show the border or shape. • OK • Cancel. Click Cancel to return to the score without changing the settings for the frame that the text flows into. Click OK to confirm your settings and return to the score. See Also: Text Tool Custom Frame

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Stem Connection Editor dialog box

How to get there From the Document menu, choose Document Options and select Stems. Click the Stem Connections button. Then, click Edit to edit an existing stem connection for a notehead, or click Create to create a new stem connection.

What it does Use this dialog box to graphically adjust where stems connect to every occurrence of a notehead, such as an X or a diamond, in your score. You can adjust how upstems and downstems connect to noteheads by entering values in the dialog box; or you can drag and precisely position stems on the notehead that appears in the display area. • Display area. This area displays the alternate notehead shape with its upstem and downstem. Adjust how the stems connect to this notehead in the score by dragging the stems vertically and horizontally. Drag the upstem and downstem to adjust their connections to the notehead. As you drag, the values in the Upstem and Downstem H: and V: text boxes change to match the new stem positioning. • Connection. Up to 128 stem connections for alternate noteheads (such as X noteheads, diamonds, and so on) may be defined in a single document. The number of the currently displayed connection (1 through 128) appears in the text box; this number matches the slot number of the connection in 1786

the Stem Connections dialog box. To move forward or backward through the list of stem connections in the current Finale document, just click on the spin controls, or type the number of the connection you want to adjust. • Notehead: Select • Set Font. Click Select to choose the notehead whose stem connections you want to adjust. The alphabetic equivalent of the notehead character appears in the notehead text box. Note that this character always appears in a regular text font, regardless of the music or text font you selected for the notehead shape. Click Set Font to tell Finale which font to use for the notehead. The Font dialog box appears; make your selection and click OK. The notehead symbol in the font that you’ve selected appears in the display area. • Stem Adjustments: • Upstem: H: • V: Downstem: H: • V: • Reset. Instead of dragging the stems in the display area, you can adjust the stems by typing values. Enter new values in the H: and V: text boxes, in the current measurement unit, to adjust the horizontal and vertical positioning of the upstems and downstems in relation to the notehead. A positive number in the Upstem or Downstem H: text box moves the downstem or upstem to the right, and a negative number moves it to the left. A positive number in the Upstem or Downstem V: text box moves the stem’s base (where the stem connects to the notehead) up; a negative number in a V: checkbox moves the base of the stem down, at a resolution of 1/64s of an EVPU. Click Reset to reset all H: and V: settings to zero (the default value). • View. For more precise control over positioning of stems, you can enlarge the view of the notehead from its actual size (100%) up to over 32,000%. Type a value for the percentage into the checkbox, or select a percentage from the drop-down list. • OK • Cancel. Click Cancel to return to the Stem Connections dialog box without changing any settings for the currently displayed stem connection. Click OK to confirm your stem connection settings and return to the Stem Connections dialog box. See Also: Stem Connections

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Stem Connections dialog box

How to get there From the Document menu, choose Document Options and select Stems. Then, click the Stem Connections button.

What it does Use the Stem Connections dialog box to control whether special stem connections are used in your score. Create new stem connections and edit or remove stem connections for the custom noteheads in your score. The available stem connections in the Stem Connections dialog box support 128 custom noteheads. The adjustments are measured in 1/64ths of an EVPU. • Edit • Create. Click Edit or Create to display the Stem Connection Editor dialog box, where you edit an existing stem connection or create a new one. Each newly created stem connection appears at the end of the list. • Duplicate. Click Duplicate to make a copy of the selected stem connection. The new item appears at the end of the list. You can then edit it to change the notehead. 1788

• Delete. Click Delete to remove the currently selected stem connection from the list. • Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. • [Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it. • Cancel. Click Cancel to return to the score discarding any changes to the Stem Connections dialog box. • Done. Click Done to return to the score. Any changes made in the Stem Connections dialog box, including any change to the Use Stem Connections option (that indicates whether Finale will use the special stem connections), will take effect. See Also: Selection Overview

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Staff Stem Settings dialog box

How to get there Click the Staff Tool button in the Items

, and double-click any staff. Click the Stem Settings

to Display subsection.

What it does In this dialog box, specify the direction, staff offset and beam offset for stems in a staff. These settings are particularly useful for TAB notation. • Stem Direction: Default Direction • Always Up • Always Down. Choose Default Direction to use the document’s default stem direction as defined in Layer options (see Document Options-Layers). Choose Always Up to freeze all steps in the staff up. Choose Always down to freeze all stems in the staff down.

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• Horizontal Stem Offsets: Up Stem • Down Stem. Enter a value in the Up Stem or Down Stem text box to specify the horizontal gap between the notehead (or fret number) and the up and/or down stems in a staff. • Use Vertical Offset For NoteHead End of Stems • Offset from Notehead(s) • Offset from Staff • Up Stem • Down Stem. With Offset from Notehead selected, specify a value in the Up Stem or Down Stem text box to define a specific vertical gap between the notehead (or fret number) and the start (notehead end) of up and/or down stems in a staff. With Offset from Staff selected, specify a value in the Up Stem or Down Stem text box to define the absolute vertical position of the notehead end of up and/or down stems relative to the staff. • Use Vertical Offset for Beam End Of Stems (Offset From Staff) • Up Stem • Down Stem. Check this box, and enter a value in the Up Stem and/or Down Stem text box to define an absolute vertical position, relative to the staff, for the stem endpoints (beam end of the stem). • Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. When you enter the Staff Stem Settings dialog box, Units defaults to the current measurement unit selected in the Measurement Units submenu of the Document menu. If you prefer, choose a different measure-ment unit for beaming from the drop-down list. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your stem settings and return to the Staff Attributes dialog box. See Also: Stems Staff Attributes Document Options-Stems Document Options-Layers

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Suffix Keynumber Offsets dialog box

How to get there Click the Chord Tool . Choose Manual Input from the Chord menu. Click a note (if it already has a handle, double-click the handle). Click Advanced. If the Suffix ID text is zero, click Select, click a suffix, click Edit, and click Set Play. Otherwise, click Suffix Edit and click Set Play.

What it does In this dialog box, you can define the voicing you want Finale to use when it plays back the chord suffix you clicked. Each note of the chord is identified by a number that represents its interval, in half steps, from the root; this number is called the keynumber offset. Either enter each keynumber offset in a text box and click the right and left arrows to scroll the display, or—more efficiently— click Listen and play the chord in whatever voicing you prefer (see Listen dialog box); you can build a suffix of up to sixteen notes. A negative number specifies a note that’s been played below the root of the chord, and a positive number specifies one above. Every time Finale encounters a chord symbol with that suffix in playback, it will use the voicing you specified. Because the notes of the playback definition you’re creating are measured from the root, a given suffix will always play back correctly, no matter what the root of the chord—in other words, a minor ninth will always sound like a minor ninth. Technical note: This dialog box is also where Finale stores its knowledge of chord symbols; when you play a Cm7, Finale consults the information in this dialog box to decide which chord symbol to display (when you’re using one of its automatic-chord input features). Technically, you could edit Finale’s associations of chord suffix to a group of notes (and their intervals from the root) in this dialog box, so that Finale would display Csus4 when you played a Cm9 (if you really wanted it to), for example. However, if your aim is to teach Finale to recognize unusual or complex chords, you’ll find Finale’s learned chords feature to be a far more convenient method. See Chord Symbols.

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• << >>. Click these arrow buttons to scroll to the right or left through the series of sixteen keynumber offset values. • Clear. Click Clear to set all the text boxes to zeros, removing the chord’s playback definition. • Listen. Instead of typing in half-step values, you can enter the appropriate numbers in all of the text boxes at once simply by playing the complete chord on your MIDI keyboard. Click Listen; Finale displays a message asking you to first play the root of the chord, so it will have a point of reference from which to compute the keynumber offsets. Now Finale prompts you to play the suffix itself (without the root). Finale enters the appropriate numbers in the text boxes. Remember that even though you just played a specific root and suffix voicing, Finale will remember this suffix voicing no matter what its root—so, for example, you can define all your major seventh chords at once. • OK • Cancel. Click OK to confirm the playback definition for the chord suffix and return to the Chord Suffix Editor dialog box. Click Cancel to return to the Chord Suffix Editor dialog box without modifying the suffix’s playback definition. Tip: Each number or offset represents the interval, in half steps, from the root. Clear sets the numbers in all the text boxes to zero, removing the chord's playback definition. Press Listen to let you play the chord on your MIDI keyboard and have Finale automatically enters the offsets for you. See Also: Chord Suffix Editor Chord Tool

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Superscript dialog box


. Select Superscript from the Text menu.

What it does The Superscript dialog box allows you to adjust the vertical position of the text, adjusting the spacing between lines by the same amount. • Amount. Enter the amount (in measurement units) that Finale should shift the selected text characters vertically above or below the baseline. A positive value raises the text (making it superscript), and a negative value lowers the text (making it subscript). • OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score. See Also: Text menu Text Tool

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Sweep For Channels Present In A Track dialog box

How to get there Choose Open from the File menu, and Select MIDI from the File Type dropdown list. Double-click the name of a MIDI file you want to transcribe. In the Import MIDI File Options dialog box, click the Set Track-to-Staff List radio button. Click Sweep.

What it does This dialog box is a reference feature; it helps you identify the tracks of the MIDI file you’re transcribing by showing you which MIDI channels contain recorded data. • Sweep Track. Enter the number of the sequencer track you want to scan for information in this text box. • Key On/Key Off. When you click Sweep, Finale places an X in this row for each MIDI channel in which you recorded notes (Finale searches for "note on" and "note off" data). • Controller • Patch Change • Pitch Wheel. When you click Sweep, Finale places an X in these rows for each MIDI channel in which you recorded MIDI controller (pedaling, for example), patch change, and pitch wheel information, respectively. • Sweep. Click this button to tell Finale to display an X in the column for each MIDI channel number in which one of the four data types was recorded on the specified track. This process has no effect on your data; it’s strictly an indicator to help you identify the track you’re working with. • Done. Click this button to return to the Track/Channel Mapping to Staves dialog box.

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See Also: Import MIDI File Options Track/Channel Mapping to Staves

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Swing Playback To create swing playback (for the entire piece) This method is for generating swing feel from an otherwise “straight” score. (If you’ve used HyperScribe to record a performance, you can “capture” the swing feel. Make sure Retain Note Durations is checked in More Quantization Settings and Play Recorded Note Durations is checked in Playback/Record Options (see Document menu). When you playback, you’ll hear the music with your original feel, including swing, played back.) Note that you can also apply a Swing feel using the Jazz Human Playback Style which can be configured in the Playback Settings dialog box. Swing is not available with all Human Playback styles. 1. From the Window menu, choose Playback Controls. Playback Controls appears. 2. Click the Playback Settings button. The Playback Settings dialog box appears Controls expands, offering additional controls. 3. From the Swing drop-down list, choose Standard. 4. Click on Play.

To create swing playback (for sections of the piece) Use the Apply Human Playback plug-in to apply Human Playback’s swing interpretation to a region of your score. To define swing manually with the Selection Tool, do the following: 1. Choose the Selection Tool . 2. Select a region of measures. 3. From the Plug-ins menu, choose Playback, then Apply Human Playback. The Apply Human Playback dialog box appears. 4. From the Apply a Defined Style, choose Jazz (or another style that incorporates swing). 5. Choose Apply Specific Elements and click the Select button. The More Settings dialog box appears. 6. From the Swing drop-down menu, select the desired swing percentage. 7. Click OK and then Apply. Swing playback has been applied to the selected region. Playback the score to review the results.

To create swing playback (for sections of the piece) Expression Tool method 1797

Note: In order to apply swing playback with an expression, Human Playback must be set to None. 1. Click the Expression Tool . If you haven’t yet placed the marking in the score, double-click any note or measure. When the Expression Selection dialog box appears, click the desired marking, click Edit, and then skip to the instruction marked by the asterisk (*). 2. Click the measure or note to which the tempo marking was attached. Its handle appears. 3. Ddouble-click the handle. The Expression Designer dialog box appears. 4. Click the Playback/Record Options. The playback options appear. 5. From the Type drop-down list, choose Swing; then enter a number in the Set to Value box or select a choice from the Swing drop-down list. The number you type into the box indicates a percentage of swing. The larger the percentage of swing, the more delay before the second note. 6. Click OK (or press enter). Any time Finale encounters the expression you’ve just defined when it plays back your score, the playback will change to reflect the expression’s swing definition.

To create swing playback (for sections of the piece) MIDI Tool method Note: In order to apply swing playback with the MIDI Tool, Human Playback must be set to None. 1. Click the MIDI Tool . Select the region where you want the playback to have a swing feel. You can select one measure by clicking, additional measures by shift-clicking, a screenful by drag-enclosing, an entire staff by clicking to the left of it, or the entire piece by choosing Select All from the Edit menu. 2. From the MIDI Tool menu, choose Note Durations. 3. From the MIDI Tool menu, choose Alter Feel. Type 171 into the Backbeats By” text box. If you enter a number larger than 171, your swing effect approaches a dotted-eighth/sixteenth feel, which is useful in slower swing tempos; if you enter a number smaller than 171, the swing effect approaches an even-eighth-note feel, which might be better at faster tempos. 4. Click OK (or press enter). When you play back the selected region, you’ll hear genuine swing—Finale is playing the second eighth note of every eighth-note pair slightly late, just as a jazz player would. 1798

Note: These instructions assume that the time signature is 2/4, 3/4, or 4/4; the “backbeats” that Finale delays are, therefore, every other eighth note. If the meter is 2/2, however, the backbeats are every quarter note, so the swing playback you get may seem erratic if you were expecting traditional eighthnote swing. To solve the problem, change the time signature to a quarter-note– based one before using the MIDI Tool. Note: Do not use both MIDI Tool Swing and Swing from the Playback Controls, as these effects are additive.

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Symbol List dialog box

How to get there Click the Key Signature Tool , and click the measure in which you want the key to change. The Key Signature dialog box appears. From the drop-down list, choose Nonstandard. Click the Attribute icon, then click Symbol List ID.

What it does In this dialog box, you can specify a different character (or set of characters) you want to be used in place of each kind of accidental that appears in a key signature. For example, if you’re creating a quarter-tone scale, you’ll need to create a system for labeling the notes between C and C sharp and between C sharp and D. • Symbol List (#). This indicator identifies, by number, the set of accidental/symbol pairings you’re defining here. • List Element (#). This indicator identifies, by number, the currently displayed pairing of an accidental (as identified by the Alter Amount, below—sharp, flat, or quarter-sharp, for example) with the symbol you want to represent it. • Alter Amount. The number in this text box identifies the amount of chromatic alteration for which you’re defining a new symbol. For example, in the normal scale, the amount of alteration for F sharp is 1; in a quartertone scale, however, the amount of alteration for F sharp is 2, because there’s an intermediate alteration step (F quarter-sharp). A negative number indicates a downward chromatic alteration (in the "flat" direction). • Characters. In this text box, type the character (or characters) that represent the symbol (or symbols) you want to use for the displayed degree of chromatic alteration. The characters in this text box are the system equivalent of the actual symbols, regardless of the actual font you’ve chosen in the previous dialog box. For example, you’ll see a lower-case b 1800

in this text box if you’re using the Maestro music font and specifying a flat symbol. Note that you can use more than one character to represent a particular accidental—up to eight, in fact. In the quarter-tone scale, for example, you might want to use a pair of symbols—such as s$—to indicate the third quarter-step (between C sharp and D, for example). (This third quarterstep would have an Alteration value of 3.) • Insert. Once you’ve created an accidental/symbol pairing, click this button to store it and add it to the Symbol List. Even though it may appear that you’ve replaced a set of existing pairing data (by typing over them), Finale saves both the old and new information. • Delete. Click Delete to remove the currently displayed accidental/symbol pairing from the Symbol List. • Prev • Next. Click Prev or Next to view the previous or next accidental/symbol pairing in the Symbol List. • OK • Cancel. Click OK to confirm, or Cancel to discard, the accidental/ symbol pairing changes you’ve made. You return to the Special Key Signature Attributes dialog box. Tip: enter a lower case b for a flat and a # (Sh+3) for a sharp. See Also: Nonstandard Key Signature Key Signature Tool

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Symbol Selection dialog box

How to get there You can access this dialog box by clicking a Symbol button anywhere it appears in the program, such as the, Chord Suffix Editor, Clef Designer, Note Shape Assignment, and Stem Connection dialog boxes. You can also access this dialog box by clicking on the Main and Flipped buttons in the Symbols section of the Articulation Definition dialog box.

What it does From this dialog box you can choose any letter, number, or symbol in the selected font by double-clicking it. The currently selected font for the element appears in this dialog box. • Font. The currently selected font is displayed • [Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the lower right corner of the dialog box and drag to resize it.

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• Select. Instead of double-clicking any character, you can click it once and then click Select. You return to the previous dialog box. • Cancel. Click Cancel to return to the previous dialog box without selecting a character. See Also: Articulation Tool Chord Tool Clef Tool Selection Overview

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Sync and Video Options dialog box

How to get there From the Document menu, choose Sync and Video Options.

What it does Use settings in this dialog box to control how Finale handles MIDI Sync and SMPTE MTC synchronization with other devices and the movie window. This dialog box allows you to, for example, adjust the base time and MTC frame rate. • Internal Sync. Choose Internal Sync to specify you want Finale to be the sync master. Choose this option when you intend to configure another device to recieve Finale’s MTC timing for synchronization. • MIDI Sync. If your computer is connected to an external drum machine or other sequencer, and you want Finale to be the "slave" device for synchronization purposes, select this box. Finale won’t begin playback until it receives a MIDI Sync signal from the external device. Note that when Wait for MIDI Sync is selected, the start measure displayed in Playback Controls is considered to be measure 1. For example, if the Playback Controls’ start measure is measure 10, and the master sends sync information to go to measure 5, Finale will advance 5 measures to measure 15. • Send Patch Changes During MIDI Sync • Send Continuous Data During MIDI Sync. These technical options are only available if you’ve

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selected Wait for MIDI Sync (and your computer is connected to an external sequencer). In the event that the external sequencer is playing a sequence of its own, there’s a danger that your synthesizer will be confused by duplicate MIDI data being generated by Finale and the sequencer. Using these options, you can specify what kinds of MIDI data you want Finale to transmit, so that you can avoid simultaneous transmissions of the same kinds of data to the same synthesizer. Choose Send Patch Changes During MIDI Sync if you want Finale to transmit any patch changes you’ve created in your score as it plays back. Choose Send Continuous Data During MIDI Sync if you want Finale to transmit continuous data (use of the pedals, pitch or modulation wheels, aftertouch, and so on). • SMPTE Frame Rate. The Frame Rate is the number of frames per second. When writing to picture, this setting much match the Frame Rate of the movie, whether played within the internal movie window or in a piece of external software/hardware. • SMPTE Start Time. This is the MTC time Finale sends at the beginning of measure 1 while playing back the Finale file (in hours|minutes|seconds|milliseconds). This feature is useful if your Finale score begins anywhere but the beginning of the accompanying video, or if the external hardware/software begins at hour 1 rather than 0. • Movie Window; Video Starts at _ in Score • Video Starts at_ in Video. These settings only apply to Finale’s integrated Movie Window. Enter a time for Video Starts at _ in Score to tell Finale to leave the Movie Window blank until reaching that time during playback of the document. Enter a time for Video Starts at _ in Video to the Video will start at this time at the beginning of the score. The format is: hours|minutes|seconds|milliseconds. • OK • Cancel. Click OK (or press enter) to confirm the settings you’ve made in this dialog box. Finale will use the option settings you’ve just made whenever it plays back in this document. Click Cancel to leave the dialog box without changing any settings.

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Tablature MIDI Channels dialog box

How to get there From the MIDI/Audio menu, choose Device Setup > Tablature MIDI Channels.

What it does While using a MIDI guitar for entry, each string will use an independent MIDI channel for transcription into the score. This allows Finale to transcribe the correct fret number while recording into a tablature staff with HyperScribe. • Map MIDI Channels To Tablature Staff Strings. Check this box to use independent channels for each string in a Tablature Staff. • Listen for String #. Click in the text box under the channel column of the string you want to assign. Then, click the Listen For String button. Play the string on the MIDI guitar to send Finale the MIDI channel information. To configure the channels sent the your MIDI guitar, refer to the instructions that came with the guitar to MIDI interface. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your settings and return to the score. See Also: MIDI/Audio menu

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Tablature Staff Attributes dialog box

How to get there Click the Staff Tool , and double-click any staff. From the Notation Style drop-down list choose Tablature, then click Select.

What it does Use this dialog box to make custom settings for a TAB staff including string tuning. You can use Finale to create tablature notation (for guitar or banjo, for example), where small numbers appear on a special "staff" to indicate fret numbers. • Instrument: Standard Guitar • Lute; Edit Instrument. Select the type of tablature staff you want to create from this drop-down list. Click the Edit Instrument button to define a dif-ferent fretboard instrument. See Fretboard Instrument Definition. • Default Lowest Fret. Type in this text box to indicate the lowest fret to use in the staff by default. • Capo Position. Type a fret number in this text box to indicate the location of a capo. • Show Tuplets. Check this box to display tuplet definitions in the TAB staff.

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• Show Clef Only On First Measure. Check this box to display the TAB clef on the first mea-sure only, and not at the beginning of subsequent systems. • Vertical Offset. Use this field to specify the vertical offset for the positioning of fret numbers on the strings of the staff. Click the drop-down list to specify a different measurement unit. • Font; Set Font. Indicates the current fret number font. To change the font, size and style, click the Set Font button. The Font dialog box appears. See Font Dialog box for more infor-mation. • Use Letters. Check this box to use fret letters in the TAB staff instead of numbers. • Break Tablature Lines At Numbers. Select this option to have space between the tablature lines and the tablature numbers. • On "OK", Reset Staff’s Attributes To Tablature Defaults. Check this box to revert to Finale’s default TAB staff settings. • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your tablature set-tings. You return to the Staff Attributes dialog box. If you clicked OK, Tablature will be selected in the Notation Style drop-down list. See Also: Tablature Staff Attributes Staff Tool

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Tap Source dialog box

How to get there Click the HyperScribe Tool , and choose Tap from the Beat Source submenu of the HyperScribe menu.

What it does When you use HyperScribe to transcribe a real-time performance, Finale needs to know where the beats fall in relation to the music you’re playing. One of the easiest ways to provide a tempo reference is to tap in time with your own playing by either playing a note on a MIDI keyboard or using a foot pedal. As long as your taps and your playing are synchronized, with this option, you can speed up or slow down and Finale will still transcribe the performance correctly. In this dialog box, you tell Finale what key, pedal, or controller you’ll be tapping to provide a tempo reference as you play. • Standard Sustain Pedal • Nonstandard Sustain Pedal • MIDI Note: • Channel: • Listen. If you’ll be needing both hands for your performance, you might opt to tap the foot pedal to provide a tempo reference. Standard Sustain Pedal is the standard MIDI instrument sustain pedal (Controller #64). Nonstandard Sustain Pedal refers to Yamaha sustain pedals and a few others, whose pedal down/pedal up polarity is reversed (relative to most pedals).

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If you’ll only be playing with one hand, you can use the other to tap a key to serve as the tempo reference. Click MIDI Note. Then type a key number into the MIDI Note text box (middle C = 60) and the Channel text box. Instead of typing numbers, you can let Finale fill in these text boxes automatically—click Listen, whereupon Finale will prompt you to play a key. Finale will enter the correct information. (If Finale doesn’t respond when you play a key or pedal, then your MIDI system may not be connected properly.) See Listen dialog box. • Other • Select. If the beat reference will be neither a pedal nor a key, click Other. Then click Select to display the MIDI Event dialog box, where you can specify any other MIDI signal to serve as the beat reference. See MIDI Event dialog box. • Beat equals • EDUs. Click the note duration you would like to use for your tap beat. Type in the number of EDUs for any duration that is not available from the palette. • Tap States • Select. If there’s a meter or tempo change in the piece you intend to play, you can switch beat and quantization setups in midstream using Tap States. Click Select to enter the Tap States dialog box; see Tap States dialog box for a full description. To return to a single tap/quantization setup, deselect the Tap States checkbox. • OK • Cancel. Click OK to confirm, or Cancel to discard, your selection of tap signal and return to the score. See Also: HyperScribe menu HyperScribe Tool

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Tap States dialog box

How to get there Click the HyperScribe Tool . From the Beat Source submenu of the HyperScribe menu, choose Tap; click the Tap States Select button.

What it does Every now and then, you may need to transcribe a piece in which the meter or the "feel" changes. Instead of making you interrupt your transcription to change the tap equals and smallest note settings, Finale lets you preprogram three additional settings, allowing you to switch freely from one to the next in the middle of your performance. You create these settings, or states, in this dialog box. • Tap States __. The number identifies which of the three extra HyperScribe "setups" you’re going to be editing. Click the small up or down arrow buttons to cycle between states 1, 2, or 3. • Tap Equals; Select • Smallest Note; Select • MIDI Trigger; Listen. In the first text box, enter the rhythmic duration of the each tap, in EDUs (1024 per quarter note). Or simply click Select; the Set Durations dialog box appears. Click the desired tap value and click OK; Finale fills in the Tap Equals text box for you. The Smallest Note is your quantization value. This is the smallest note you will be playing. Click Select and the Set Duration dialog box appears where you can select the note duration (including a dot if needed). Finale fills in the Smallest Note text box for you. See Set Duration dialog box for more information. The three MIDI Trigger text boxes display MIDI codes identifying the trigger that will make Finale switch to the next Tap State you’ve defined. The quickest way to enter these values is to click Listen, then simply play the key or pedal you want to designate as a trigger. Note that in order to 1811

switch to a different Tap State setup, you don’t start tapping a different key or pedal—you continue to use the same tap device. Just tap the desired Tap State’s trigger once to tell Finale you’re changing the meter or "feel"; then continue playing (and tapping the same tap device). Note: You can specify the three Tap States in addition to the "main" duration/division setup you establish in the Tap Source dialog box. As you play, you can switch freely among Tap States 1, 2, and 3, as described above. However, you can’t switch back to the "main" duration/division setup while you’re playing. • OK • Cancel. Click OK to confirm, or Cancel to discard, the Tap State settings you’ve made and return to the Tap Source dialog box. See Also: HyperScribe menu HyperScribe Tool

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Tempo Adjustment dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Tempo Tool and click a measure.

,

What it does The Tempo Tool lets you edit tiny, moment-by-moment tempo fluctuations within the playback of a piece. You’ll rarely need to know about the fairly technical concept of the Tempo Tool; nonetheless, you can use it to create certain unique temporal effects. You can use it, for example, to create a swing effect, although the Playback Controls provide a much more efficient and effective method of creating swing. In the Tempo Adjustment dialog box, "beats" refers to the beat in the current time signature, rather than assuming a quarter note is the beat. The measure range defaults to this measure only (instead of through the end of the piece). Most tempo adjustments, except for "swing", should be placed only at the beginning of the area they are supposed to affect. Tempo data is what you "capture" in Transcription Mode from your real-time performance (by clicking Save Tempo) so that Finale can recreate your tempo changes when it plays back the transcription. In this dialog box, however, you can directly edit the Tempo data for the measure you clicked. • Unit (#). You can change the tempo as many times as you want within a single measure. Each tempo change is called a Unit; this indicator specifies

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the Unit whose data is displayed in the dialog box. Scroll among the Units you’ve created by clicking the small up and down arrow buttons. • Starting Time in Measure: Beat • EDUs. This drop-down list and text box allow you to specify the precise moment in the measure where you want the tempo to change. You can enter any beat or EDU value, even one that corresponds to a point in the measure where no note is being struck. For example, in a 4/4 measure (even an empty one), you can specify a tempo change on the third beat by setting these controls to say Beat 3.

• Set to ___ Beats Per Minute. Click this option if you want Finale to store each tiny tempo change as an absolute tempo change. In other words, Finale might think to itself, over the course of a single measure: "60 beats per minute… 65… 70." This is the most precise method of tempo programming. Enter the metronomic tempo marking in the text box (120, for example, for 120 beats per minute). • Change by ___ %. Use this option if you want Finale to establish a new tempo as a percentage of the tempo that preceded it. In other words, Finale might think to itself: "60 beats per minute... 8% faster than that... 10% faster than that." Enter the amount of tempo change into the text box. While this kind of tempo change is slightly less precise than the Set To kind, it lets you change the starting tempo (with an expression, for example), while still preserving the relative tempo changes over the course of the piece. • Set Swing. Click this button to display the Set Swing dialog box, where you can specify a degree of swing for the measures. For standard triplet-feel, eighth-note swing, just click OK. (See Set Swing Ratio dialog box.) • Measure ___ Through ___ • Measure ___ Through End of Piece. Using these controls, specify what range of measures you want to affect with this tempo change. The change you specified will be repeated in each measure of the range. • OK • Cancel. Click OK to confirm, or Cancel to discard, your tempo settings and return to the score. See Also: Tempo Tool 1814

Set Swing Ratio

1815

Expression Designer-Main dialog box

How to get there Click the Expression Tool , and double-click a note or measure. Click Create, or click an expression and then click Edit.

What it does There are two kinds of Expressions: Text Expressions, composed of words or symbols you can type (Allegro, ritard, dynamic markings, and so on), and Shape Expressions, composed of shapes you’ve created in the Shape Designer. Either can be defined for playback. In this dialog box, you can create a new Expression or edit an existing one. This dialog box is separated into three tabs, each responsible for different 1816

attributes of the expression. Use options under the Main tab to edit the spelling, font, or description, options under the Playback tab to edit how the expression affects playback, such as volume or tempo, and options under the Positioning tab to specify precise positioning of the expression relative to its corresponding note or measure. • Description. You can use this text box to label each expression for reference later. The description entered here displays near the bottom of the expression in the Expression Selection dialog box. The description can be particularly helpful if you have a number of expressions that do not contain any text, such as expressions defined only to modify the playback. • Text • Shape. Choose the Text radio button to define or edit a Text Expression and the Shape radio button to define or edit a Shape Expression. Important note: Slurs, phrase markings, and hairpin crescendos should be entered with the Smart Shape Tool. • [Text box]. This text box is where you type the expression text itself. • Use _ Category Fonts. Check this box to use the font, size, and style defined for this category. Fonts for each category can be defined in the Category Designer dialog box. Uncheck this box to display additional font, size, and style options that allow you to define these settings for this specific expression only (see Expression Designer-Positioning). • Font. Use this drop-down menu to switch between entering text and musical symbols. The text and music font can be defined for each category of expressions. The text and/or music font for a category can be changed in the Category Designer dialog box. Uncheck Use Category Fonts to display additional font options that you can use to apply to this particular expression (independent from the category). • Hidden. Select this checkbox to prevent the expression from printing. Hidden expressions will continue to display on-screen at the Hidden Object Shading percentage specified in Program Options-View. • Enclosure: Shape • Edit. If you want your expression framed by a geometric enclosure, click this drop-down menu to choose the desired shape. Click Edit to open the Enclosure Designer dialog box, where you can specify the shape, size, and line thickness of the enclosure. (See Enclosure Designerfor more information.) You might use this feature, for example, when creating rehearsal marks—you can enclose each letter in a neat rectangle. • Use Auto-Sequencing Style • A, B, C...Measure Number. [Available for rehearsal marks only]. Check this box and choose a rehearsal mark style from the adjacent drop-down menu to use this expression for a series of automatically incrementing rehearsal marks that retain their consecutive 1817

sequence whether added, reordered, or deleted in the score. See Rehearsal marks. Choose Measure Number to use the style defined in the Measure Number dialog box. If there is no measure number region defined, Finale will use the “real” measure numbers for rehearsal marks and use the defined measure number style. If there is more than 1 measure region present, Finale will use the measure numbers as defined by the first measure number region. If auto-sequenced rehearsal marks are already in the score and this option is unchecked, Finale will leave the existing rehearsal mark expressions intact, but remove each auto-sequenced number or letter, leaving empty placeholders. If you wish to remove auto-sequenced rehearsal mark expressions you can delete them individually in the score (see To erase expressions from a region), or delete the definition directly from the Expression Designer dialog box (by selecting the expression's box, clicking Delete, and choosing "Delete element from both selection palette and score"). • Hide Measure numbers. [Available for rehearsal marks only]. With this box checked, rehearsal marks automatically take the place of measure numbers on the measures added. In other words, measure numbers are hidden in favor of rehearsal marks. If the rehearsal mark is subsequently deleted or moved to a different measure, the measure number reappears automatically (if assigned to show in the Measure Number dialog box). • Edit • Create • Select. Click Edit or Create to open the Shape Designer where you can edit the selected shape expression or create a new one. Click Select to choose an existing Shape Expression. • Allow Horizontal Stretching. When Finale creates the image of a page of your score in Page View, it tends to stretch each measure by a small amount in order to justify each system neatly to the page margins. In many cases you’ll want any Shape Expressions to stretch along with the measures in which they occur. In such cases, select this item. Deselect this checkbox if you don’t want to permit a shape to be stretched horizontally— for example, you might prefer that a harp pedaling diagram retain its original dimensions. • Hidden. Select this checkbox to prevent the shape expression from printing. Hidden expressions will continue to display on-screen at the Hidden Object Shading percentage specified in Program Options-View.

Tip: Set an opaque enclosure to have the Text Expression cut away other items underneath it in the score.

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To apply playback settings to the expression, click the Playback tab. See Expression Designer-Playback. To set the default positioning, click the Positioning tab. See Expression Designer-Positioning.

See Also: Expressions Expression Selection General MIDI Patch Numbers & Names Enclosure Designer Playback Data Dump Expression Tool

1819

Text Repeat Assignment dialog box

How to get there Click the Repeat Tool , and double-click a measure. When the Repeat Selection dialog box appears, double-click one of the displayed text repeats (if any). (If none appear, click Create to create your own, type the repeat text; click OK, then double-click the new text repeat.) If you’ve placed a text repeat in the score, you can also double-click its handle (or right-click its handle and choose Edit Repeat Assignment) to enter this dialog box.

What it does A text repeat is a piece of text that functions as a fully operational repeat marking, such as "To Coda," "D.S. al Coda," and "D.C." You can either design your own or use the ones in the Text Repeats Library provided with Finale, which you can load into your piece by choosing Load Library from the File menu. Once you’ve selected a text repeat by double-clicking it, this dialog box appears, where you can define its playback effect and positioning. If you simply want it to appear as a graphic marking (with no playback function), just click OK without changing anything in the dialog box. • Text Repeat ID: (#). This indicator identifies the text repeat by number. 1820

• Never Jump. Choose this radio button to specify that this repeat indication does not direct playback anywhere. • Always Jump. Choose this radio button to always jump to the target on every pass. A Jumper directs playback to another measure or to another repeat defined as a Mark—for example, to the coda. • Jump on Passes. Choose this radio button to specify the pass(es) you want playback to jump to the defined target. To indicate multiple passes, separate the pass numbers with commas, or indicate a range with a hyphen (e.g. "2-4"). • Play Section_Times. Choose this radio button and in the text box to the right, enter the number of times you want the defined repeated section to play. • Reset on Repeat Action. Once Finale has played the music the number of times specified in the Jump on Pass(es) or Play Section _Times text boxes—and thus performed the Repeat Action—it will, if you wish, reset its internal "counter" back to zero and begin counting toward the Total Passes number again. This option could be useful if you’re creating nested repeats, and want an inner repeat to be fully executed with each pass of the larger repeated region. • Stop on Pass_. Choose this radio button, and enter a number to indicate the pass you want Finale to stop playback. • Jump if Ignoring Repeats. Select this option if you want a text repeat to jump to its target even if "Ignore Repeats" is checked in the Playback/Record Options dialog box. (To tell Finale to ignore repeats, from the Document menu, choose Playback/Record Options, and then check Ignore Repeats.) • Target. The number in this text box is used to direct the flow of playback to another measure, a Mark-defined text repeat, forward a number of measures, or backward a number of measures, depending on what is selected under the drop-down list. Each text repeat in the repeat selection dialog box is assigned an ID number. If you want a text repeat to jump to another text repeat, select Text Repeat ID from the drop-down list and indicate the ID number of the text repeat to which you want playback to jump. When Measure # is selected, this text box indicates the measure number to which the text repeat should direct playback. When Backward is selected, Finale directs playback backward the number of measures entered. When Forward is selected, Finale directs playback forward the specified number of measures. • Auto Update Target. If this option is checked, the target will update to accommodate measures in the repeated section that have been added, deleted, or inserted.

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• Allow Individual Edits Per Staff. Finale usually places a text repeat in the same place in every staff. Check Allow Individual Edits Per Staff to allow each staff’s text repeat to be independently movable. • Horizontal Offset • Vertical Offset. In these text boxes, specify the horizontal and vertical positioning from the top staff line, left barline of the measure. If you are creating a new Text Repeat, these values indicate where you originally clicked. • Show On: All Staves • This Staff Only. Select All Staves to show the text repeat on every staff in the score and parts. All Staves is selected by default. Select This Staff Only to assign the text repeat to the current staff only. Use the This Staff Only option if you want a text repeat to appear only in the current staff. • Staff List: New Staff List • (All defined Staff Lists); Edit. Select New Staff List to display the Staff List dialog box, where you define which staves will display text repeats. To select a Staff List already created for use in the score, choose its name from the drop-down list. Click Edit to display the Staff List dialog box for the selected Staff List, and change which staves the text repeat should appear in. • OK • Cancel. Click OK (or press enter) to confirm the settings you’ve made in this dialog box and place the new (or modified) text repeat in the score. Click Cancel to tell Finale to ignore any changes you made in this dialog box. You return to the score. See Also: Repeats (barlines and text indications) Repeat Designer Repeat Selection Repeat Tool

1822

Text Search and Replace dialog box

How to get there From the Edit menu, choose Text Search and Replace.

What it does With this plug-in, search and replace text in the form of Text Expressions, Lyrics, Text Blocks, Repeat Text, File Info, Smart Shapes, Staff/Group Names, and Style Names. • Search this text. Enter existing text you want to search for in this text box. • Replace with this text. Enter the new text in this text box. • Use Style. Click Use Style to open the Font dialog box where you can change the font, size, and style for existing, or replaced text. • Replace All. Click Replace All to search for every occurrence of the text entered in the Search this text box, and replace it with the text entered in the Replace with this text box. • [Expansion arrow]. Click the expansion arrow in the lower left to display the following options. • Search Everywhere. Check Search Everywhere to search all text in the document. More Options: • Search in: Text Expressions · File Info · Staff Names · Staff style names · Group Names · Articulations · Smart Shapes · Lyrics · Text 1823

Blocks · Repeat texts. Check these boxes to specify the type of text to search. Note that Search and Replace for Articulations supports single characters only or a style-only search (with nothing specified in the'Search for' and 'Replace with' text boxes). Note: All Text Search and Replace features are also available in FinaleScript. • Match Case. Check Match Case to only find a match for text that matches the case of the word entered in the Search for this text box. • Whole Words Only. Check Whole Words Only to only search for the precise word entered in the Search this text box, and ignore longer words containing the same text. • All Open Documents. Check to search and replace text in all open documents.

Text Search and Replace Syntax The following syntax may be used in 'Search for' and 'Replace with' for specific matches: • ^l = line feed • ^t = tab • ^© = copyright symbol insert • ^c = copyright text • ^C = composer insert • ^T = title insert • ^d = file description • ^# (or ^s) = sharp insert • ^b = flat insert • ^n = natural insert • ^S = double sharp insert • ^B = double flat insert • ^^ = caret character • <65> ASCII character

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There Are Too Many Beats In This Measure

How to get there Click the Speedy Entry Tool . Make sure Check for Extra Notes is checked in the Speedy menu. Click a measure, if needed, and enter more notes than are permissible according to the time signature (five quarter notes in a 4/4 measure, for example). (If the dialog box doesn’t appear immediately, you’ve turned off the Jump to Next Measure feature in the Speedy menu; click the screen or press zero to exit the editing frame, and the dialog box will appear.)

What it does This dialog box lets you know you’ve put too many beats into a measure, and asks how you want to handle the extra beats. If you’re in the middle of editing a measure, you can tell Finale to wait until you exit the measure before determining whether or not to display. Exit the editing frame by pressing zero, and choose Jump to Next Measure from the Speedy menu, so that there’s no longer a check mark beside it. The dialog box will now appear only when you try to exit the editing frame (with check extra notes selected) of a measure with too many beats. Note: As in any dialog box, you don’t have to click the radio button itself to select one of the following options; you can also click anywhere on the words themselves that label the radio button. • Leave the measure alone. Click this option to exit the editing frame, leaving the extra beats where they were. (You’d want to select this option if you were creating a cadenza, for example, which typically has more beats than the time signature would normally allow.) However, until you adjust the 1825

positions of the notes in the measure, you may see the extra notes "floating over" into the next measure. • Delete the extra notes. Click this option if you want Finale to eliminate the extra notes or rests from the end of the measure, even if it means truncating the value of the last note or rest. • Move the extra notes to the next measure. Click this option if you want Finale to cut the extra notes or rests from the end of the measure and notate them in the following measure. This could result in the last note being tied over the barline. • Keep moving the extra notes until all measures contain the correct number of beats. Click this option if you want Finale to cut the extra notes or rests from the end of the measure and notate them in the following measure; if that measure then has too many beats, Finale cuts the extra notes from the end and puts them in the third measure, and so on until every measure contains the proper number of beats. In effect, this option rebars the music, redistributing the notes until every measure has the proper number of beats, according to the time signature. • OK. Click OK to exit the dialog box—and the Speedy editing frame—and process the extra beats as you specified. See Also: Speedy Entry Tool

1826

Tie Alterations dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure containing ties to edit. Click the Tie Tool. Three handles appear on each tie in the measure. Double-click the starting or ending handle of a tie you want to edit. The Tie Alterations dialog box appears.

What it does Use the Tie Alterations dialog box to change the appearance and placement of individual ties in the score. Settings in the Tie Alterations dialog box for an individual tie override the global tie settings in Document Options-Ties and Tie Contour dialog boxes. To edit all the ties in your document on a global basis, from the Document menu, choose Document Options and select Ties. See Document Options-Ties and Tie Contour dialog box for details. Note: Instead of changing settings in the dialog box, you can drag individual ties by their handles to change their placement and shape onscreen as well as flip ties using ctrl-F. As the tie’s position changes, Finale updates the Tie Direction, Start and End, Height, and Inset settings in the Tie Alterations dialog box to match your adjustments. • Tie Placement: Start • H: • V: • End • H: • V:. Enter a value (in measurement units) into the Start H: text box for the tie’s distance horizontally from the inside edge of the first note tied note. A larger number

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moves the tie to the right, farther away from the note. A smaller number moves the tie to the left, closer to the note. Enter a value (in measurement units) into the Start V: text box for the vertical distance of the tie’s left end over or under the first tied note. A larger number moves the tie up and a smaller number moves the tie down. Enter a value (in measurement units) into the End H: text box for the tie’s distance horizontally from the inside edge of the second tied note. A smaller number moves the tie to the left, farther away from the note. A larger number moves the tie to the right, closer to the note. Enter a value (in measurement units) into the End V: text box for the vertical distance of the tie’s right end over or under the second tied note. A larger number moves the tie up and a smaller number moves the tie down. • Tie Contour: Height • Left • Right. Height is not the actual height of the tie, but of its left and right control points (imaginary points above the tie’s arc that Finale uses, along with the Inset setting, to calculate the height and curve of the arc). When a tie is drawn, its arc approaches, but does not actually reach, the height of the control points. Enter a value (in measurement units) into the Height text boxes to set the height of the left and right control point of the tie. A larger number increases the height of the arc. A smaller number decreases the height. • Tie Contour: Inset: Left • Right %. The Inset value determines the amount of "hook" or "flatness" of the tie ends. When Inset percent is the selected Inset Style, enter values into the Left and Right Inset text boxes to set the amount of "hook" of the left and right tie ends for each span. Inset is a percentage of the span (tie length). Enter a lower percentage to hook the tie end more, curving it more sharply. A higher percentage will flatten the tie end. When Inset Fixed is the selected Inset Style, enter a value (in measurement units) into the Inset text box. Inset is a fixed number that applies to the three spans. The tie ends are always hooked by this amount, regardless of the tie length. Enter a lower number to hook the tie end more, curving it more sharply. Enter a higher number to hook the tie end less, flattening it. • Tie Direction: Automatic • Over • Under. Set the direction for the tie as frozen under, frozen over or use Automatic to let Finale decide which direction the tie should go based on your settings in Document OptionsTies. You can also use ctrl-F to flip the tie without even entering the Tie Alterations dialog box.

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• Break for Time Signature: Default • On • Off. Choose an option from the drop-down list to specify whether the tie breaks or continues at a time signature change. Default is the initial setting. When Default is selected, Finale uses the global Break for Time Signature setting in Document Options-Ties. Choose On to always break the tie at a time signature change and continue it immediately after the signature change, regardless of the global setting. Choose Off to draw the tie through the time signature without any break. • Break for Key Signature: Default • On • Off. Choose an option from the drop-down list to specify whether the tie breaks or continues at a key signature change. Default is the initial setting. When Default is selected, Finale uses the global Break for Key Signature setting in Document Options-Ties. Choose On to always break the tie at a key signature change and continue it immediately after the signature change, regardless of the global setting. Choose Off to draw the tie through the key signature without any break. • Outer Placement: Default • On • Off. Choose and option from the dropdown list to specify whether the tie uses Outer Placement settings or not. (Note that if the tie is an inside tie of a chord the Inner Placement settings will still be used.) Choose On to use separate settings for ties with outer placement. Choose Off to use the inner placement settings for all ties. • Avoid Staff Lines. When the checkbox is selected, Finale uses the Avoid Staff Lines By: setting in the Tie Contour dialog box to determine whether to modify the position of the peak of the arc in relation to staff lines. When not checked, Finale does not avoid staff lines. • Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. To position the selected tie using a different measurement unit than the current unit, make a selection from the drop-down list. • OK • Reset • Cancel. Click OK to save your new settings and return to the score. Click Reset to restore the original settings, and Click Cancel to return to the score without saving any changes. See Also: Ties Document menu Special Tools Tool Document Options-Ties

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Tie Contour dialog box

How to get there From the Document menu, choose Document Options and select Ties. Click the Tie Contour button.

What it does Use the Tie Contour dialog box to define global settings for the length, height, and overall shape and appearance of ties. Ties are identified by their spans—short, medium, and long. Each span has its own settings for appearance and shape. The height of a tie varies, depending on the span and other settings in the Tie Contour dialog box. Finale uses the Height settings in the Tie Contour dialog box to calculate the curve of the arc when a tie is drawn. Separate Height settings for the left and right sides of the arc allow very precise control over the curve. Note that the "height" setting is not the tie’s actual height, but the height of the tie’s control points, which Finale uses (along with the Inset setting) to calculate the curve of the arc. When a tie is drawn, its height does not quite reach the control point height. Combined with the Height and Span settings, the Inset setting determines a tie’s overall shape. Inset controls the amount of "hook" at tie’s endpoints.

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Changes to these settings affect all ties to be added to the score as well as ties already in the score (note that you can override some settings for individual ties—see Tie Alterations dialog box). • Span: Short • Medium • Long. Enter a value (in measurement units) into each text box to specify a length for each tie span (Short, Medium, and Long). Finale uses the Span settings to size ties proportionally. • Style: Short • Medium • Long • Tie Ends. This drop-down list allows you to have different settings for your ties depending on the length of the tie. The Height and Inset shown are for the style selected in this drop-down list. • Use Tie End Style. This checkbox is provided for compatibility with previous versions of Finale. Files created in Finale 97 should not use this checkbox. • Height: Left • Right. Height is not the actual height of the tie, but of its left and right control points (imaginary points above the tie’s arc that Finale uses, along with the Inset setting, to calculate the height and curve of the arc). When a tie is drawn, its arc approaches, but does not actually reach, the height of the control points. Enter a value (in measurement units) into the Left and Right Height text boxes to set the height of the left and right control points of the tie. A larger number increases the height of the arc. A smaller number decreases the height. • Inset Percent: Left • Right. The Inset value determines the amount of "hook" or "flatness" of the tie ends. When Inset Percent is the selected Inset Style, enter values into the Left and Right Inset text boxes to set the amount of "hook" of the left and right ends of the tie for each span. Inset is a percentage of the span (tie length). Enter a lower percentage to hook the end of the tie more, curving it more sharply. A higher percentage will flatten the end of the tie. You can inset all spans by the same percentage to give them the same look, or use a different percentage for each span so each has a different appearance. • Inset Fixed: Left • Right. When Inset Fixed is the selected Inset Style, enter a value (in measurement units) into the text box. Inset is a fixed number that applies to the three spans. The left and right ends of the tie are always hooked by this amount, regardless of the tie length. Enter a lower number to hook the end of the tie more, curving it more sharply. Enter a higher number to hook the end of the tie less, flattening it. • Inset Style: Inset percent • Inset Fixed. Select an inset style to specify how you want Finale to interpret the Inset value. Click Inset percent to make Inset a percentage of the tie span. When selected, the Left and Right Inset (Percent) text boxes appear for each tie span and you can enter a percentage. Click Inset Fixed to make Inset a fixed amount, regardless of the tie span. When selected, the Inset (Fixed) text box appears, and you can enter a fixed amount that applies for all three spans.

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• Interpolate height between short and long span. Click to select. When selected, Finale automatically calculates a proportional height for ties that fall somewhere between the short and medium, or the medium and long span lengths and their defined heights. • Use medium height between short and long span. Click to select. When selected, all ties whose lengths fall somewhere between the specified short and long span lengths, are set to the defined height of medium span ties. This can provide a consistent looking tie height across your score. • Avoid Staff Lines By ___ • In Staff Only. To always draw the peak of an arc so it avoids a staff line, check Avoid staff lines by and enter the desired distance from the staff line (in measurement units) into the text box. If you only want this behavior in the staff select In Staff Only. Note: This setting only affects ties already in the score when Avoid Staff Lines is selected in the Tie Alterations dialog box for a tie. See Tie Alterations dialog box. • Tie Thickness: Left • Right. Enter a value (in measurement units) into the Left text box to set the thickness of the arc on the left side of a tie. Enter a value (in measurement units) into the Right text box to set the thickness of the arc on the right side of a tie. Larger numbers make the arc thicker, smaller numbers make it less pronounced. • Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. The first time you enter the Tie Options dialog box for the selected tie type, Units defaults to the current measurement unit selected in the Measurement Units submenu of the Edit menu. If you prefer, choose a different measurement unit for ties from the drop-down list. • OK • Reset • Cancel. Click Reset to restore the original settings, and Click Cancel to return to the Tie options without making any changes. Click OK to save your changes and return to the Tie options. See Also: Tie Alterations Edit menu Document Options-Ties

1832

Time Style dialog box

How to get there Click the Measure Tool and select Edit Regions from the Measure Numbers submenu of the Measure menu. Or, shift-double-click on the Measure Tool. Then, from the Style drop-down menu, choose Time. What it does Use these settings to control the appearence of measure number time indicators added to the score. • Include Hours. Check this box to display hours in time indicator measure numbers. • Display as; Whole Seconds • Tenths of a Second • Hundredths of a Second • Thousandths of a Second • Frames. From this drop-down menu, choose the desired granularity of time to be displayed for the time indicator measure numbers in this measure region. Frames refers to the SMPTE frame rate. • OK • Cancel. Click Cancel to discard any changes you made to the settings. Click OK to confirm the settings you’ve made and return to the Measure Number dialog box. See Also: Measure Number Measure menu

1833

Tilting Mirror dialog box

How to get there From the Window menu, choose Advanced Tools. Click the Mirror Tool , and click an empty measure (to create a new composite mirror) or a measure with a Mirror icon (to edit a composite mirror).

What it does The Tilting Mirror is so named because you can maneuver this one-measure "window" around the score, copying individual notes from various measures. The result is a composite mirror, each note of which is dynamically linked to the note from which it was mirrored. The Tilting Mirror initially appears blank, because you’re viewing the measure you originally clicked (which, you’ll recall, was empty). Click the up, down, left, and right arrows to move from measure to measure in the score; the contents of each measure appear in this window. To specify several notes of a measure you want included in your composite mirror, click the arrow buttons until the source measure appears in the window. Then drag the handle at the top of each cut bar—the dotted vertical lines—until the cut bars enclose the notes you want included in your composite mirror. Click Prev, Next, Insert, or OK; Finale asks you if you’re sure you want to add the selected notes—hereafter called a mirror fragment—to the composite mirror. • Prev • Next. Click these buttons to scroll among the mirror fragments you’ve already assembled in the measure. If the music displayed between the two dotted-line cut bars is a fragment you haven’t yet selected for inclusion in this composite mirror, click Prev or Next to select it.

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• Delete. Click Delete to remove the fragment you’re viewing from this mirrored measure. • Insert. Click Insert if you want to place a new mirror fragment just before the one you’re viewing. Finale returns the cut bars to the ends of the display window so that you can choose a new musical fragment (click the arrow buttons if necessary). Click OK, Prev, Next, or Insert again in the usual way. This time, however, Finale inserts the fragment instead of adding it to the end of the composite mirror. • Layer: 1 • 2 • 3 • 4. This drop-down list identifies the layer (of the source measure) whose contents you’re viewing. Switch to a different layer by choosing its name. (Your composite mirror fragment can include notes from all layers.) • [Up, down, left, and right arrow buttons]. These arrows let you change your view of the source measure. Click the up arrow to view the measure in the staff immediately above, the right arrow to view the next measure, and so on. As you proceed, you’ll see the contents of each measure you view, adjusted for the mirror measure’s clef. (If you move your "view" to another mirrored measure, it will appear blank in this window.) • Cancel. Click Cancel to return to the score without creating a mirror (or, if you’ve been editing an existing mirror, without saving your changes). • OK. Click OK to conclude your assembly of the composite mirror measure. (If the music displayed between the two dotted-line cut bars is a fragment you haven’t yet selected for inclusion in this composite mirror, Finale asks if you want to save changes.) If you’ve just created a new composite mirror, the Mirror Attributes dialog box appears, in which you can specify a number of additional characteristics for the composite mirror. See Mirror Attributes dialog box. See Also: Mirror Tool

1835

Time Signature dialog box

How to get there Click the Time Signature Tool

, and double-click a measure.

What it does In this dialog box you can specify a new meter for the measure you clicked (and following measures), including composite meters (3+2+2/8, for example). You can also create one time signature that controls beaming of eighth notes, and a separate one that appears in the score. The Time Signature dialog box contains an Options button which, when clicked, makes the dialog box expand so that it reveals some additional options. Finale will default to a time signature of 4/4 in the few cases where Finale needs a default setting. • Composite. Click this button if you want to create a composite (complex) time signature, such as 3+2+2/8. The Composite Time Signature dialog box appears; see Composite Time Signature dialog box. • Options. Click this button to make the dialog box expand, revealing a lower portion containing display options. At that point, click Options again to restore the dialog box to its compact form. • Number of Beats • Beat Duration. Use the upper scroll bar to specify the upper number of the time signature—the number of beats in each measure. Use the lower scroll bar to specify the lower number of the time signature— the rhythmic value of each beat. For greatest control, click the right and left arrow buttons to change the number one increment at a time.

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The way that you define your meter is very important, because it also governs beaming in the affected region. In the case of cut time, for example, you should set the scroll bars so that the display shows two half notes. This way, the eighth notes will be beamed together in groups of four. Even if you want Finale to display a completely different time signature in the score (by using the options described below), you still need to create an appropriate time signature using these primary scroll bars to govern the beaming of your piece. • Measure ___ Through ___. Click this option, and then specify the range of measures you want to be affected by this new time signature by entering their numbers in these text boxes. Finale will display the measures numbers for any region you have drag-selected in these text boxes. • Measure ___ Through End of Piece. If you want the meter to be changed from the measure you clicked all the way to the end of the document, click this option. (In the text box, Finale proposes the measure you originally clicked.) • Measure ___ To Next Time Change. If you want the meter to be changed from the measure you clicked until the next measure with a different time signature, click this option. (In the text box, Finale proposes the measure you originally clicked.) • OK • Cancel. Click OK to exit this dialog box and change the time signature in the specified measures. Click Cancel to exit this dialog box without changing the meter. • Use a Different Time Signature for Display. This option, which only appears after you click Options, gives you complete control over beaming. Here’s how it works: Using the primary time signature scroll bars (described above), create a meter that will produce the beaming pattern you want. For example, suppose you want a time signature of 3/4, but you want eighth notes beamed together automatically in groups of three. In such a case, you could use the primary scroll bars to create a 6/8 time signature. But since you want 3/4 to appear in the printed score, click Use a Different Time Signature for Display, and set up the lower pair of scroll bars to display 3/4 time. See Document Options-Time Signatures. • Composite • Number of Beats • Beat Duration. These elements, which only appear after you click Options, duplicate the functions of the Composite, Number of Beats, and Beat Duration controls in the unexpanded dialog box. These, however, only affect the time signature that will appear in the score, and don’t affect beaming.

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• Rebar Music. Use the Rebar Music checkbox to control whether Finale rebars (rebeams) the music when changing the time signature. When selected, Finale rebars the music according to the time signature. When deselected, Finale leaves the beaming of the notes as it currently appears in the score. • Abbreviate. Use the Abbreviate checkbox to specify whether to abbreviate ( ) or not (4/4) in a particular occurrence of a time signature. The initial setting of the Abbreviate checkbox (checked if the time signature is abbreviated, unchecked if non-abbreviated) matches the global settings for Abbreviate common time and Abbreviate cut time in the Time Signature Options dialog box. You can decide whether or not to use the symbols ( or ) each time a cut or common time signature appears in your music. This capability lets you easily mix and 4/4 (or and 2/2) in one piece. You use a simple option, the Abbreviate checkbox in the expanded Time Signature dialog box. Here’s an example. Perhaps you normally use the symbols for common and cut time in a piece, but you occasionally need to use 4/4 or 2/2 in the same piece. First, make sure that you have chosen the Abbreviate cut time to and Abbreviate common time to options in the Time Signature Options dialog box. (These global settings control the appearance of the time signatures in your piece.) Next, edit the time signatures in the measure where you want to change their appearance, and choose the appropriate option in the expanded Time Signature dialog box. See Document Options-Time Signatures for more information. See Also: Time signatures Time Signature Tool Composite Time Signature

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Tone Center(s) dialog box

How to get there Click the Key Signature Tool , and double-click the measure in which you want the key to change. Choose Nonstandard from the drop-down list. Click Next twice, then click the ToneCnt icon. (You clicked Next twice because this dialog box doesn’t appear if Linear Key Format 0 or 1 is selected; these key formats are predefined as the standard major and minor key systems, respectively.)

What it does This dialog box concerns the creation of linear key formats and nonlinear key signatures; see Nonstandard Key Signature dialog box for a more complete discussion. In brief, Finale lets you create nonstandard key systems and key signatures, based on scales with any number of steps, and with accidentals placed in any order you want. In this dialog box, you specify the relationship between the number of accidentals in a key signature and the tone center of the key so defined. (You can think of the tone center as the root scale degree. You establish this relationship for every key in your linear key format. (In the case of nonlinear key signatures, there’s no particular relationship between one and another; each nonlinear key signature is a special situation.) You’ll see the effects of these settings any time Finale needs to associate the notes in your piece to the "root" of the scale (the tone center). For example, if these relationships haven’t been constructed properly, you may notice strange effects when you create chord symbols or perform transpositions. • Unit (#). A Unit is an accidental that appears in the key signature. The Units are numbered in the order in which they appear; thus, in a standard key signature system, the first accidental to appear (the F sharp in the key of G) would be Unit 1; the second (the C sharp in the key of D) would be Unit 2; and so on. Flats are labeled with negative Unit numbers: the first flat 1839

to appear (the B flat in the key of F) would be Unit –1 (in the standard key system), the next (E flat in the key of B flat) would be Unit –2; and so on. This indicator identifies the Unit, or accidental, for which you’re changing the relative tone center. In the standard key system, if the Unit is 3 (signifying the appearance of the third sharp), you’d set the tone center to be A. Click the Previous and Next buttons at the bottom of the dialog box to change the Unit indicator. • Step Level. The number in this text box specifies the tone center—the key you’re in—that corresponds to the appearance of the accidental identified by the Unit (above). It’s always measured in scale degrees from C, which is considered scale degree zero. For example, in the traditional key system, Unit –1 refers to the first flat to appear—B flat (in the key of F, as it happens). For the key identified by the appearance of the B flat, you’d specify a Step Level of 3, because the Tone Center (or key) is F, which is three diatonic steps above C (remember, C is considered scale degree zero). • Delete. Click Delete to restore all Tone Center settings back to their default "traditional" values. • Previous • Next. Click these buttons to decrease or increase the displayed Unit number. (These buttons are dimmed if Nonlinear Key Signature is selected, because there are no other key signatures you can scroll to.) • OK • Cancel. Click OK to confirm, or Cancel to discard, the tone center settings you’ve made. (If you click OK, Finale asks you if you want to save your changes.) You return to the Nonstandard Key Signature dialog box. See Also: Nonstandard Key Signature Key Signature Tool

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Track/Channel Mapping dialog box

How to get there Choose Open from the File menu, and Select MIDI from the File Type dropdown list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI File Options dialog box, click the Set Track-to-Staff List radio button. In the Track/Channel Mapping for Staves dialog box, click the topmost unassigned row of track information.

What it does This dialog box offers you a great deal of control over the way in which your sequencer-file tracks are transformed into Finale staves. For example, you can tell Finale to create up to eight staves out of a single sequencer track. You can also tell Finale to create one Finale staff from up to four sequencer tracks—to transcribe several woodwind tracks onto a single staff, for example. Furthermore, you can create four staves from four tracks, but without necessarily having a track-to-staff correspondence; for example, you can tell 1841

Finale to treat the notes in all four tracks as if they came from a single track, and then to split them into Finale staves by register—the highest notes into one staff, and so on. This dialog box also lets you specify the staff name, clef, transposition, and spacing of each resultant Finale staff. You can also select a Percussion Layout which adjusts the percussion notehead, placement and alternate playback. • Track/Channel Mapping for Slot (#). This number indicates which "slot" or row of track information you’re creating or editing. • Track/Channel. There are four pairs of text boxes at the top of the screen, letting you specify the track number (and, within that track, the MIDI channel number) of each sequencer track whose music you want included in the staves you’re about to create. To create a single staff from a single track, enter the track’s number and the MIDI channel from which it was recorded in one pair of the Track/Channel boxes. Note: You normally don’t have to enter anything in the MIDI Channel text box (the second text box of each pair). Enter a MIDI channel value only if you want to specify that a single MIDI channel’s data be transcribed from a track containing music recorded from several MIDI channels. Next, enter a staff name, transposition, clef, and so on. Of the Split options, leave None selected—otherwise, you’ll transcribe the selected track onto more than one staff. To create a single staff from multiple sequencer tracks, enter up to four track/MIDI channel number pairings in the text boxes. (Note again that you can leave the MIDI Channel boxes blank—or enter zero—if each track was only recorded from a single channel, or if it’s OK for Finale to notate the contents of all channels in the track onto one Finale staff.) Once again, enter a staff name, and leave the None radio button selected—or, if you want to include on the resultant staff only the notes within certain pitch ranges, click Filter (see below). To create several staves from either a single sequencer track or several tracks, enter the track and channel numbers in the text boxes, as before. This time, however, you must specify one of the Split options (see below). As far as Finale is concerned, the music on all the tracks you’ve specified in the text boxes are part of a single "source" track, which you can then split, by register, into as many as eight staves. • Split: None. If this radio button is selected, Finale will place the music from all the tracks you’ve specified in a single staff, instead of splitting it into separate staves. • Fixed. When you click this radio button, Finale displays a special Split Point dialog box, in which you can specify up to four split points for the music in 1842

the specified tracks. In each pair of text boxes, you enter a low and a high key number; in this way, you can specify up to four registers, each of which will be notated on its own staff (in the same top-to-bottom order as the text box pairs) in the resultant Finale document. (Middle C is key number 60, and the numbers increase sequentially as you move up the keyboard. But you don’t have to type in these numbers; you can enter them simply by clicking the Listen button and then playing the notes. Finale will enter their key numbers in the text boxes automatically. See Fixed Split dialog box for a more complete discussion.) • Multiple. Click this button to display the Multiple Splits dialog box, where you can "explode" all the music on the specified tracks onto as many as eight staves. The advantage of this method is that notes are "separated out" in order from top to bottom, instead of by register; in other words, this would be a more appropriate way to separate single musical lines—for string parts, for example—into individual staves. This dialog box works in much the same way as the Explode Music command in the Utilities menu, letting you specify the number of resultant staves as well as the Overload Order. For a more complete discussion, see Multiple Splits dialog box. • Hand Width. Click this radio button to display the Hand Width Split dialog box, which lets you transcribe the contents of the sequencer tracks you’ve specified onto two staves, splitting the notes by tracking the positions of your hands on the keyboard. Finale follows your hands as they move up and down the keyboard, eliminating the need to specify a single, fixed split point—provided there’s always enough distance between the hands for Finale to tell which hand is which. For a more detailed discussion of this dialog box, see Hand Width Split dialog box. • Filter. Click this radio button to display the Filter Channels dialog box. With this option, you can specify certain ranges of notes from each of several tracks that you want to be merged onto a single Finale staff. See Filter Channels dialog box for more information. • Staff Names. In these text boxes, enter staff names for the Finale staves you’re creating. • Transpose. Click the appropriate Transpose checkbox to display the Staff Transpositions dialog box, in which you can specify an instrumental transposition (for a trumpet or clarinet, for example). This is the same dialog box that appears when you click Transposition in the Staff Attributes dialog box; see Staff Transpositions dialog box for a complete description of the options. • Clef • Select. This text box identifies, by number, the staff’s starting clef. Finale offers eighteen standard clefs, numbered 0 through 15.

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Enter the number in each Clef text box corresponding to the clef you want to designate as the starting clef for the resultant Finale staff. You can also click Select to choose from a graphic of each available clef. • Distance. The number in this text box specifies the distance, between the top line of the staff you’re defining and the top of the Finale window (in Scroll View). It’s a negative number, because this staff appears below the top of the window. Note that if you want all your staves evenly spaced, you don’t have to enter numbers in these boxes; instead, when you return to the Track/Channel Mapping to Staves dialog box, click Set Dist. A dialog box appears, in which you can enter a global staff distance measurement. (See Set Distances dialog box.) • Percussion Layout • Select. The number in this text box specifies which Percussion Layout you’ve selected for this staff. Click the Select button to open the Percussion Layout Selection dialog box, where you can select from any Percussion Layouts available in the default file. See Percussion Layout Selection dialog box. • OK • Cancel. Click OK to confirm, or Cancel to discard, the track-to-staff configurations you’ve created. You return to the Track/Channel Mapping to Staves dialog box. See Also: Fixed Split Multiple Splits Hand Width Split Filter Channels Import MIDI File Options Track/Channel Mapping to Staves

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Track/Channel Mapping to Staves dialog box

How to get there Choose Open from the File menu, and select MIDI File from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI File Options dialog box, click the Set Track-to-Staff List radio button. If you have already selected Set Track-to-Staff List and Don’t show this during File Open, Finale will display the Track/Channel Mapping to Staves dialog box without first going through the Import MIDI File Options dialog box.

What it does The easiest way to translate the "tracks" from your MIDI sequencer file into notated Finale staves is to leave the default option, Tracks Become Staves, selected. When you do, each track from your sequencer file is transcribed onto its own staff in Finale. If you want more flexibility, however, you can display this dialog box, in which you can specify a number of track, MIDI channel, and staff configurations. You can specify the top-to-bottom order of the resulting Finale staves, as well as staff transpositions, clefs, and the distance between staves in the resultant Finale document. • AutoSet to Tracks • AutoSet to Channels. Click these buttons to create a Finale staff for each sequencer track or MIDI channel, respectively. You’ll notice that these are exactly the same as the Tracks Become Staves and 1845

Channels Become Staves options in the previous (Import MIDI File Options) dialog box. The difference is that after clicking one of these buttons, you can then modify the assignments that appear in this dialog box. For example, you can set the staves’ clefs, transpositions, names, and so on—options that aren’t available when you click the Tracks Become Staves or Channels Become Staves buttons. • Track/Channel • Split • Name • Trans • Clef • Distance • Perc. The largest part of this dialog box is devoted to this display, which is a scrolling list of the 128 possible staves you can create in any Finale document. In the Track/Channel column, you see the name of each track and the MIDI channel to which it was assigned in the original sequencer file. In the Split column, Finale displays the split option, if you’ve specified one (for example, you might want the track split into two staves—for a piano part, for example). The Name column displays the staff name; Trans is the transposition, if any (for a transposing instrument such as a trumpet or clarinet); Clef indicates the clef, by number (0 through 15); and Distance indicates the distance between the top line of the staff and the top line of the one above it. The Perc column indicates which Percussion Layout will be used to adjust the display of percussion noteheads and placement. Each row of information represents one Finale staff. To specify all of the variables mentioned above, click anywhere in a row (but define the rows from top to bottom). The Track/Channel Mapping dialog box appears, where you can split the sequencer track you clicked into as many as eight Finale staves. You can base this split on MIDI channel, the range of notes (like the Split Point and Hand Width options in the Transcription Mode, or the top-to-bottom order of notes in each chord (like the Explode Music command in the Utilities menu). See Track/Channel Mapping dialog box for more information. • Load • Save. Once you’ve created a mapping setup, you needn’t re-create it the next time you want to transcribe a similarly configured MIDI file. Instead, after creating the mapping by working through this dialog box, click Save; Finale asks you to title this "TrackMap file." Later, if you want to transcribe the same MIDI file—or a similarly configured one—click Load. Double-click the TrackMap File’s title in the list box that appears; the Track/Channel Mapping dialog box fills itself out automatically. • Set Dist. Click this button to display the Set Distances dialog box, in which you can specify a uniform distance between staves in the resultant Finale document, as well as the distance between the top staff and the top page margin. See Set Distances dialog box for details. • Sweep. This button lets you find out which MIDI channels were assigned to a given track. Click the button; the Sweep For Channels Present In A Track dialog box appears. In the text box, enter the number of the track you want scanned, then click Sweep. In the display, Finale places an X below each 1846

MIDI channel number on which you recorded data in this track. Finale displays this information for each of four data types; see Sweep For Channels dialog box. • OK • Cancel. Click OK to confirm your track-to-staff mapping and return to the Import MIDI File Options dialog box. Click Cancel to return to the Import MIDI File Options dialog box without changing the track-to-staff mapping. See Also: Track/Channel Mapping Import MIDI File Options

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Tracking dialog box


. Select Tracking from the Text menu.

What it does The Tracking dialog box allows you to control the amount of horizontal space, in em’s, that Finale should leave between characters for the selected text. • Amount. Enter the amount (in em’s) of horizontal space, in em’s, that Finale should leave between characters for the selected text. One em is equivalent to 1/1000 of the point size. Em’s are proportional measurement units; if you increase or decrease the point size of the text, Finale adjusts the distance between characters accordingly, keeping the same proportional distance, relative to the new font size. • OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score. See Also: Text menu Text Tool

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Transcription dialog box

How to get there Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe menu. Click a measure.

What it does In this window, you can record and play back your performances, "punch in and out," and record and edit both notes and Time Tags. In creating the transcription, you can also capture certain rhythmic and dynamic elements of your performance pertaining to its "feel," which Finale can re-create when it plays back the transcribed notation. When you record a performance, the notes you played appear as thin horizontal lines in the Keyboard display area (the lower part of the display area, marked at the left edge by a piano keyboard). The length of each line corresponds to its duration, and its vertical position corresponds to the "keys" of the on-screen piano keyboard. You can edit these notes graphically,

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changing their durations, inserting new notes, or deleting notes from selected areas. See Keyboard, below. Once you’ve recorded your performance, Finale needs to know where the beats and barlines fall in relation to the notes you played. To provide this information, you can tap along with your music (on a key or pedal) as it plays back, providing Finale with a tempo reference. These taps are called Time Tags. They appear as small quarter notes (or whatever note value you specified before recording) in the top half-inch or so of the screen—the Time Tag display area—marked at the left side by a metronome. Note that you can save a Transcription window recording of your performance into a separate file, called a Note File, by choosing Save As from the File menu. The file you create has a unique extension (*.NOT) and is completely independent of the normal Finale document (consisting of notation) you have open. Choose Open from the File menu to open an existing Note File. Choose New from the File menu to create a new, empty Transcription window. Because the File menu’s New, Open, and Save As commands—when you’re in the Transcription window—only apply to performances you’ve recorded, you can think of the Transcription window as a completely independent miniprogram. You can flip back and forth between the actual score and the Transcription window: click the Cancel button to return to the score (your recorded performance is preserved), and click any measure to return to the Transcription window. You can even close your Finale document and open a different one; when you enter the Transcription window, your most recently recorded performance will still be there. Finally, in addition to the two display areas in the graphic part of the window, there are two sets of radio buttons on the right side of the screen. They’re labeled Keyboard and Time Tag. By making sure the correct radio button is selected before you click Start (or Wait Till), you can tell Finale exactly what you’re about to record (or listen to). For example, to record Time Tags, you’d want the Play radio button selected in the Keyboard section, because you’ll want to hear your performance playing back so you can tap along with it. You’d want the Record radio button selected in the Time Tag section, to tell Finale to interpret your key taps as beat indications. • Keyboard. The word Keyboard (on the right side of the window) has two purposes. First, it identifies the three radio button options beneath it (see below). Note that it’s possible to have no radio buttons selected; click a selected button again to "deselect" it. Second, you can click the word Keyboard to highlight it; by doing so, you’ve just indicated to Finale that you’ll be editing the recorded notes directly. To delete notes, drag through their starting point and press Delete. To insert a new note, double-click in the Keyboard area. When 1850

you double-click, a new note appears, whose pitch is determined by the location of your click; use the piano keyboard at the left side of the screen as a guide. The note’s default duration is 1.5 seconds. If you keep the mouse button pressed after your second click, you can drag backward to increase the duration of the note. You can also make existing notes longer or shorter—just double-click the beginning or ending of a line; on the second click, keep the mouse button pressed and drag left or right. (You can magnify the Keyboard display area if you find the "notes" too small to manipulate; just choose View Resolution from the Transcription menu. In the dialog box that appears, enter a smaller value—20, for example—to enlarge the display. Click OK.) Technical note: When you double-click to create a new note, its default duration is actually 15 units, where a unit is determined by the number in the View Resolution dialog box (choose View Resolution from the Transcription menu). In other words, if the View Resolution is 100 (thousandths of a second), the note produced by a double-click is 1500 thousandths of a second long—which is 1.5 seconds. • Record at End. When this radio button is selected, Finale starts recording any new music you play at the end of the music you’ve already recorded, if any. (If there’s none, Finale simply records your new music at the beginning of the Transcription window.) Click Start or Wait Till to begin recording. • Punch In/Out. When this radio button is selected, Finale records over a region of music; you specify the region by setting the In: and Out: counters in the lower right corner of the screen. (Note that you can also set these counters simply by dragging through [highlighting] the music you want to record over in the display area.) This feature allows you to rerecord only part of a performance that was otherwise perfect, for example. (By clicking the Keyboard Play radio button and the Time Tag Record radio button, you can also rerecord Time Tags for a certain passage.) You can tell Finale to play a "countoff" measure or so of music before switching to "record" mode, if you want; choose Set Punch PreRoll from the Transcription menu, and enter the number of seconds of music you want to hear before Finale starts recording. Click Start or Wait Till to begin recording. • Play (Keyboard section). When this radio button is selected, Finale plays the selected music when you click Start. You select music by dragging through it in the display area, so that it’s highlighted. To select the entire performance, choose Select All from the Edit menu. • Time Tag. The label Time Tag (on the right side of the window) has two purposes. First, it identifies the three radio button options beneath it (see below). Note that it’s possible not to have any of the radio buttons selected; click a selected button again to "deselect" it. 1851

Second, you can click the words Time Tag to highlight them; by doing so, you’ve just indicated to Finale that you’ll be editing the Time Tags directly. To insert a new Time Tag, double-click in the Time Tag display area; its duration (Half, Quarter, Eighth, Sixteenth) and its type (Time Tag, Measure Tag, or Beat Tag) are determined by the appropriate settings in the Time Tag menu. (You can’t insert Measure or Beat Tags until after you’ve entered standard Time Tags.) To move a Time Tag, drag its notehead. If you select a group of tags (by dragging through them or by choosing Select All from the Edit menu), drag any one notehead to move them all. To change the duration of a tag, double-click its notehead—but on the second click, hold the button down. Drag left or right. As you drag the Time Tags, they cycle through the durational values: sixteenths, eighths, quarters, and so on. Drag to the right for larger values, to the left for smaller values. If you select a range of tags (by dragging through them or by choosing Select All from the Edit menu), you can use this technique to effectively renotate an entire piece at once—change a 4/4 piece to 2/4 time, for example, or vice versa—because you’re effectively telling Finale that every quarter note is now an eighth note (in this example). If you try this, however, don’t forget to choose Assign Measure Tags again from the Time Tag menu before clicking Transcribe. You can magnify the display area if you find the Time Tags too close together to manipulate; just choose View Resolution from the Transcription menu. In the dialog box that appears, enter a smaller value—20, for example—to enlarge the display. Click OK. • Record. When this radio button is selected, Finale will interpret a tap on any key (on MIDI channel 1) as a Time Tag. You can specify which kind of Time Tag—and what its rhythmic value is—by choosing the appropriate commands from the Time Tag menu. (See Time Tag menu for a complete description of the commands.) You’ll usually want to select the Play radio button in the Keyboard section while you do this, in order to hear your performance playing back so you can tap along with it. Note, however, that you can record Time Tags and a performance simultaneously—if you want to tap the pedal as you play (as in HyperScribe), for example; or if you’re recording a sequence being played by an external sequencer (one that can provide its own click as it plays). In these cases, select Record At End (Keyboard section) and Record (Time Tag section), after first letting Finale know which signal to interpret as the Time Tags by choosing Click Input from the Time Tag menu. (See Click Input dialog box.) Click Start to begin recording immediately, or click Wait Till, which will make Finale wait, in pause mode, until your first tap. Your first tap is recorded. 1852

• Play [Time Tag section]. Select this radio button if you want Finale to play the Time Tags you’ve already recorded. You might use this feature as a metronome, for example. To specify the note (or other MIDI signal) you want Finale to use as the "click" sound, choose Click Output from the Time Tag menu. (See Click Output Type dialog box.) • Set to. Instead of recording Time Tags by tapping along as your performance plays back, you can enter evenly spaced Time Tags automatically. This feature is most useful if you create these Time Tags before you record your performance. Finale will play them as you record, serving as a metronome or click track for you to play along with. The number you enter in the text box is the metronome setting (beat notes per minute) at which you want Time Tags placed. (You define "beat" by your selection from the Time Tag menu: Half, Quarter, Eighth, or Sixteenth.) Finale places these evenly spaced tags only in the region specified by the In: and Out: counters (see below) in the lower-right corner of the screen. Finally, to record your performance while Finale provides the click, click Record at End (Keyboard section); click Start or Wait Till, and begin. • Wait Till. Click this button to put Finale in "pause" mode. Only when you produce any MIDI signal—play a note or tap a pedal, for example—does Finale begin to record or play, according to your radio button selections. Note that the first MIDI signal you produce isn’t merely a trigger; it’s actually the first event recorded. For example, if you want to record Time Tags by tapping a key, your first key tap not only starts Finale recording but also serves as the first Time Tag (if Wait Till is selected). To stop recording or playing, click anywhere except on a button. • Start. Click Start if you want Finale to begin recording or playing immediately, according to your radio button selections in the Keyboard and Time Tag sections. To stop, click anywhere except on a button. • Now:. This indicator displays the precise temporal position of the cursor as you move it through the display area, expressed in the Hours:Minutes:Seconds:Thousandths of a second format. (Until the music is converted into standard notation, Finale refers to points in your performance in terms of real time.) • In: [Counter] • Out: [Counter]. These indicators specify the starting and ending points of the selected region, expressed in the Hours:Minutes:Seconds:Thousandths of a second format. To edit these numbers directly, click the word In or Out and change the numbers by typing new values. You may find it easier, however, to select a region by simply dragging through a section of the display area. These counters 1853

change automatically to reflect your selection. You can also set either indicator by clicking—click the word In: or Out:, then click in the display area. To select the entire recorded performance, choose Select All from the Edit menu. Double-click the word In or Out to scroll the display area so that the beginning or ending point you’ve specified scrolls into view. • Start: [Counter]. This counter tells Finale at what point it should begin playing the background file (see Background File, below). The counter displays real time, in the Hours:Minutes:Seconds:Thousandths of a second format. To edit these numbers directly, click the word Start and change the numbers by typing new values (or by clicking in the display area). • Reset Counters. Occasionally, you may record a few moments of silence at the beginning of a performance you recorded. Click this button if you want Finale’s counters (Now, In, Out, and Start) to consider your first note their "zero" point (instead of the beginning of the silence). • Save Tempo Changes • Save Continuous Data. These options tell Finale to remember the precise "feel" of your original performance, and to keep this data handy for playback once you return to the score. If you don’t choose these options, then when you play back the transcribed music from the score, Finale will simply play the "sheet music"—the notated version, which will be rhythmically precise but expressionless and "square"—instead of an exact re-creation of your original performance. (Important note: To play back your music with these captured nuances, make sure the corresponding checkboxes are selected in the Playback Options dialog box; see Playback/Record Options dialog box and the Save Tempo Changes dialog box) There are four kinds of playback data Finale stores invisibly with the notes in your score. Key Velocity data describes how hard each note was struck, which usually determines how loudly it plays back. Note Durations means Start and Stop Time data, the small rhythmic deviations from the beat that give a performance a certain rhythmic feel; swing, rolled chords, and rushing the beat. Continuous Data is data generated by the pitch wheel, patch changes, and controllers such as pedaling. And Tempo Changes, in this case, are tempo changes you created by using the Transcription Mode and adding Time Tags. To capture this information with the Transcription Mode, select the four corresponding checkboxes before transcribing your performance. Continuous Data and Tempo Changes are available in the Transcription window. Key Velocity and Note Durations options are accessed through the Quantization Settings dialog box in the More Quantization Settings dialog box as part of Finale’s global quantization settings. See More Quantization Settings dialog box. • Background File. In a true sequencer program, you can record one track while listening to a previously recorded track. You achieve this effect in 1854

Finale by transcribing the first track, creating a playback file from it, then reentering the Transcription Mode; Finale plays the playback file in the "background" while you record the new track. After you’ve created a playback file (consisting of the tracks you’ve already transcribed), Finale automatically loads it into the "background" of the Transcription window, ready to play back when you record a new track. To let you know that it’s prepared to do so, it displays an X in the Background File checkbox. If you don’t want to hear the previously transcribed tracks while you make a new recording, click Background File, then Cancel. If you want to load a different playback file, click Background File. An Open dialog box appears, displaying any such files you’ve created; double-click the one you want to hear in the "background." Note that you can also specify where you want the Background File to begin its playback by entering the precise time in the Start: counter (see below). Note, too, that once you’ve recorded a new track, you don’t have to reenter Time Tags manually—you can tell Finale to use the Time Tags you entered in the earlier tracks. To do so, select the region for which you want Time Tags inserted (or choose Select All from the Edit menu), then choose Create Tags From Background File. (See Time Tag menu.) You still need to insert Measure Tags, however, so choose Assign Measure Tags from the Time Tag menu. • Transcribe in Measures. In some situations, you may not want your performance transcribed entirely onto a single staff. If you’re orchestrating, for example, you might want the first few measures of the transcription to appear in one staff, and the next few on another staff. If so, select this option. When you return to the score, Finale won’t transcribe anything until you click a measure, into which Finale then transcribes the first measure of your performance. Click another measure (in any staff) to transcribe the next measure, and so on. Because you usually click a measure to enter the Transcription window, you need to ctrl-click a measure to do so if you’re in Transcribe in Measures mode. • Quant Settings. Click this button to display the Quantization Settings dialog box. In this dialog box and the More Quantization Settings dialog box, you can set various options that affect quantization in Finale including the Transcription Mode. See Quantization Settings dialog box and More Quantization Settings dialog box for more information. • Transcribe. After recording your performance, adding Time Tags, adding Measure Tags, editing the tags and notes as desired, and setting the quantization and split point parameters from the Transcription menu, you’re 1855

ready to have Finale transcribe the performance. Make sure the music you want transcribed is selected (highlighted). Click Transcribe. Finale begins to notate the transcription on the measure you clicked (to enter the Transcription window) and continues on subsequent measures. If you’ve specified a Split option, Finale notates the transcription on the staff you clicked and the one just below it. • Cancel. Click Cancel to return to the score without transcribing your performance. Your performance, however, is preserved in its current state, along with any Time Tags and menu settings you’ve made. To return to it, click the Transcription Mode and click any measure. See Also: Quantization Settings Click and Countoff Transcription menu HyperScribe menu HyperScribe Tool

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Transcription Filters dialog box

How to get there Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe menu. Click a measure. Choose Transcription Filter from the Transcription menu.

What it does In this dialog box, you can specify certain MIDI channels and ranges of notes you want to include or exclude from the transcription. You could, for example, specify that only the notes within a certain octave range to be transcribed, even though your performance included notes all over the keyboard. If you’ve just played a multichannel sequence into the Transcription window (from an external sequencer), for example, you’ll probably want the notes from each MIDI channel to be transcribed onto their own Finale staff. In this dialog box, you can specify a single MIDI channel at a time for transcription, or as many as four channels. Similarly, if you just entered a keyboard performance that you want transcribed by register—for example, you want to transcribe only the notes above middle C—you can use this dialog box to specify a range of notes for transcription. • Channel. In this column of text boxes, you can specify up to four MIDI channels you want transcribed from the recorded performance. Suppose, for example, you’ve just played a sixteen-channel sequence from an external sequencer into the Transcription window, and you want the contents of each channel to appear on its own Finale staff. Choose Transcription Filter from the Transcription menu, and enter 1 in the first Channel text box. In the Low and High text boxes, enter 1 and 200— 1857

unless you only want to include a certain range of notes in the transcription (see Key Range: Low/High, below). Proceed with the transcription in the usual way; Finale will notate only the music it received from channel 1 of the original sequence. Repeat the process with the other MIDI channels (transcribing one at a time onto different staves). • Key Range: Low • High • Listen. In each pair of Low/High text boxes, enter a low and a high key number to specify the range of notes you want to transcribe. (Middle C is key number 60, and the numbers increase sequentially as you move up the keyboard.) Note that you don’t have to calculate the key numbers and type them in manually. An easier method is to click the Listen button beside each pair of text boxes, and play the notes—the lowest, then the highest; Finale enters their key numbers in the text boxes automatically. In this way you can specify up to four different ranges of notes you want transcribed from your performance. You can use these text boxes to exclude notes from the transcription, too, by entering a higher value in the Low text box than the value in the High text box. If you want to transcribe all notes except for middle C, for example, enter 61 in the Low text box and 59 in the High text box (middle C is key number 60). • Use Filters • No Filters. Click Use Filters to confirm (or No Filters to discard) your MIDI channel and note range selections. You return to the Transcription window. A check mark appears beside the Transcription Filter command in the Transcription menu when the filters are in use. See Also: Transcription menu HyperScribe Tool

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Transposition dialog box

How to get there Click the Selection Tool , and select a region of measures. Choose Transpose from the Utilities menu. Or, with any tool that supports measure selection selected (see Selecting music), hold down the Ctrl and Shift key and press 6, 7, 8, or 9 to open this dialog box (to program a transposition metatool).

Note: Use the following metatool key commands to quickly transpose a selected region of music: -6 = Down M2, -7 = Up M2, -8 = Down octave, -9 = Up Octave. These are Finale's default settings, but can be changed by reassigning the metatool definition.

What it does In this dialog box you can specify a transposition of any interval, from a half step to many octaves, you want to be applied to the selected measures (or to the mirror, or to a note in the selected motif). This kind of transposition has nothing to do with the key signature; it merely transposes the selected music up or down by the interval you specify, adding or subtracting accidentals as necessary. • Up • Down. Choose the direction of the transposition relative to the existing notes.

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• Diatonically • Chromatically. Specify what kind of transposition you want—a diatonic one (that moves notes up and down the scale) or a chromatic one (that can move notes by half steps). • Interval: • Perfect Unison • minor second […etc.] • Perfect Octave • Other. From this drop-down list, choose the interval by which you want the selected music transposed. To transpose an interval greater than an octave, you can add one octave (or several) to the selected interval by entering a number in the Plus __ octaves text box (see below). If you choose Other, the Interval dialog box appears, so that you can specify an interval not listed in the drop-down list. (See Interval dialog box.) • Plus ____ Octaves. If you enter a number in this text box, Finale will add that number of octaves to the radio-button interval you’ve specified. (You can enter a negative number if you want to transpose the selected music by that number of octaves in the opposite direction from the radio-button interval you’ve specified.) • Preserve Original Notes. Select this option when you want to keep the original line of music when transposing notes to a selected interval. In effect, you’re doubling the notes in your score. When this option is not selected, Finale transposes the existing line of notes without keeping the original line. • OK • Cancel. Click OK to confirm, or Cancel to discard, your transposition selection. If you click OK, Finale performs the transposition.

See Also: Utilities menu

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Tuplet Definition dialog box

How to get there To display the Tuplet Definition dialog box, click the Tuplet Tool, then click the first note to include in the tuplet group, or click the first note of a tuplet, then double-click one of its handles. Or, click the Speedy Entry Tool, click a measure to display the editing frame, then press ctrl-1 to define the tuplet you want to enter.

What it does In this dialog box you can define both the rhythmic and visual aspects of a tuplet grouping—the number of eighth notes that are to be played in the time of a quarter note, for example—and whether or not a bracket or slur should appear, and so on. Note that you can predefine the default visual aspects of the tuplets in your score, so that every tuplet you create automatically appears with a neatly positioned bracket (for example). To do so, ctrl-click the Tuplet Tool; Finale 1861

displays Document Options-Tuplets, where you can specify these parameters. (See Document Options-Tuplets for a more complete discussion—although its contents are identical to almost all of this dialog box.) Note also that you can store tuplet "definitions"—the settings you make in this dialog box—in a tuplet Metatool, so that you can instantly transform non-tuplet notes into tuplet notes (having the tuplet definition you prefer) with the press of a key. In fact, you can assign a different set of Tuplet Definition settings to each of the number and letter keys on your keyboard. When you create a new tuplet, Finale usually places a number over it (such as the 3 above a triplet). In this dialog box, you can change the tuplet notation for each individual notation; for example, you could tell Finale to display a slur or bracket in addition to the number. • __ ____in the space of __ _____ • Half(s) • Dotted Quarter(s) • Quarter(s) (etc.). Define the rhythmic qualities (temporal definition) of the tuplet by entering numbers in these two text boxes (to specify how many) and selecting the rhythmic-value from the drop-down list (to specify "of what value"). For example, suppose you want to create an eighth-note triplet. In the score, click the Tuplet Tool, and click the first of the three normal eighth notes you want to transform into triplets. When this dialog box appears, enter 3 and 2 in the text boxes ("3 in the space of 2"); choose eighths from the drop-down list: 3 eighths in the space of 2 eighths. (Alternatively, you could create an eighth-note triplet by specifying 3 eighths in the space of 1 quarter.) These text boxes apply only to the tuplet you’re currently placing in the score. • Number: Nothing • Number • Ratio. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet. • Shape: Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered ends). Placement: • Manual • Stem/Beam Side • Note Side • Above • Below. When Manual is selected in this dropdown list, Finale uses the settings from the Document Options-Tuplets to position the tuplet on the notes in the score. Drag to reposition the tuplet in the score. When Beam Side is selected and you create a tuplet on beamed notes, Finale automatically places the tuplet on the beam side and matches the beam angle. If Beam Side is selected and you create a tuplet on unbeamed notes, Finale places the tuplet using the 1862

Document Options-Tuplets settings. You can then drag to adjust the tuplet in your score. Choose Above to place the tuplet above the staff by default. Choose Below to place the tuplet below the staff by default. • Engraver Tuplets. Check this box to enable Engraver Tuplets. Engraver Tuplets automatically reposition to account for raised or lowered notes in the staff. They also update to avoid rests and staff lines. Bracket placement and slope for Engraver Tuplets is determined by the stem direction of the majority of stems in the tuplet (rather than the first stem in the tuplet as is the case when this box is not checked). • Avoid Staff. Check this option to instruct Finale to always place tuplet brackets above the top line, or below the bottom line of the staff. • Allow Horizontal Drag. Check this box to enable the ability to drag tuplet markings horizontally in the score. If this box is not checked, tuplets can only be adjusted vertically in the score. • Use Bottom Note. If the first note in the tuplet group is a chord, the numbers in the Position text boxes are generally measured from the top note; if you transpose that note up or down, the entire tuplet moves with it. Select this option, however, if you want these numbers measured from the bottom note instead. Appearance: • Number: Nothing • Number • X:Y, X:Yq, Xq:Yq. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet. If you choose, for example X:Y, Finale will display "3:2" for triplet numbers. If you choose Xq:Yq for a quarter note triplet, Finale will display "3?:2?". Finale does not display X or Y values of 1. If durations are different (i.e. 3 quarter in the space of one half) X:Yq will display as Xq:Yq. • Shape: Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered ends). • Break Slur or Bracket. If you’ve chosen a slur as the shape for the tuplet, then select Break Slur or Bracket, to have Finale break a slur or bracket to allow for a number to be placed there. • Always Use Specified Shape • Bracket Unbeamed Notes Only • Never Bracket Beamed Notes on Beam Side. Choose Always Use Specified Shape to place a bracket (of the shape defined above) on all tuplets. Choose Bracket Unbeamed Notes Only to instruct Finale to place brackets on unbeamed groups of notes only. Choose Never Bracket Beamed Notes on Beam Side to instruct Finale to place brackets on tuplets defined to appear on the note side of the staff (for example, if the beam appears above notes tuplets will only contain brackets if placed below the staff).

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Position: • Number: Horizontal • Vertical. Enter values (in measurement units) to adjust the horizontal and vertical position of the tuplet number displayed in the score. • Center Number Using Duration. Check this box to position tuplet numbers based on the rhythmic center of the tuplet (rather than equidistant from the first and last note/rest of the tuplet). • Ignore Horizontal Number Offset. If you have specified a global sideways shift for the numbers in your tuplets, select this option if you don’t want it to apply to this tuplet. • Shape: Horizontal • Vertical. Enter values here to specify the horizontal and vertical adjustments for placing the shape (slur or bracket) in relation to the tuplet number. Enter a smaller or larger value for H: to change the position of the entire shape in relation to the notes. To move the shape closer to or further away vertically from the note, enter a smaller or larger value for V:. • Always Flat. Check this box to instruct Finale to always use flat brackets for tuplets. • Bracket full duration. Check this option to extend the right edge of the bracket to enclose the full duration of the tuplet. • Match Length of Hooks. Check this box to always use same length for left and right hooks. If the values for Hook Length are different, Finale uses the smallest value for both hooks. • Left Hook • Right Hook. These options replace the Left Offset and Right Offset text boxes that controlled the length of the left and right hooks on horizontal brackets in previous versions of Finale. Enter a negative value (in measurement units) in Left Hook or Right Hook to set the length of the left-most or right-most hook. The value is negative because Finale measures down from the bracket. If Match Length of Hooks is selected, Finale updates the Right Hook text box with the new Left Hook value. If Match Length of Hooks is not selected, you can enter different values in each text box. • Left Extension • Right Extension. By default, Finale initially creates a tuplet that surrounds the position of notes in the measures. However, in some cases it’s easier for a musician to interpret the music if the tuplet can encompass the visual space of the beat instead of just surrounding the notes. You can accomplish this by using these settings to specify how far the bracket or slur should extend beyond the notes. Enter a larger value to lengthen the bracket or slur. • Manual Slope adjustment. Enter a positive value to specify the maximum angle of brackets or slurs when the right side is higher than the left. Enter a

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negative value to specify the maximum angle when the right side of the tuplet lower than the left. • OK • Cancel • Set Default • Reset. Click OK (or press enter) to confirm, or Cancel to discard, the tuplet appearance you’ve created. Click Set Default to lock the current settings for all new tuplets you create (existing tuplets will not change). Choose Reset to rever to this session’s original settings. Tip: Enter a smaller value for Horizontal of the Shape to change the position of the entire shape in relation to the notes. Enter a smaller Vertical of the Shape to move the Shape closer to the note. Hook is defined as the small lines at the end of the bracket while Extension are the longer lines of the bracket. See Also: Tuplets Tuplet Tool Document Options-Tuplets Change Tuplets

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Undo/Redo Lists dialog box

How to get there Choose Undo/Redo Lists from the Edit menu.

What it does Choosing Undo/Redo Lists displays the Undo/Redo Lists dialog box from which you can select a point in the list of past actions in which to undo all the actions down to and including that point or redo all the actions up to and including a specified point. • Select Edit(s) to Undo. Click on an action in this list to undo all the action down to and including that action. • Select Edit(s) to Redo. Click on an action in this list to redo all the actions up to and including that action. • OK • Cancel. Click OK to perform the undo or redo, or Cancel to dismiss the dialog box without making changes. See Also: Edit menu 1866

Unknown Chord Suffix dialog box

How to get there Click the Chord Tool . Choose one of the three Chord Analysis Options from the Chord menu (MIDI Input, One-Staff Analysis, or Two-Staff Analysis). Click a chord in the score, or click a note and play a chord on your MIDI keyboard, whose suffix hasn’t been loaded into, or created in, this piece.

What it does When Finale encounters a chord it doesn’t recognize, this dialog box appears, asking how to handle the situation. (You can dramatically decrease the number of times this box appears if you load a Chord Suffix Library into your piece—or if you have the Maestro Font Default file in place, which already has a Chord Suffix Library loaded.) • I’ll do it. If you click this button, you enter the Chord Suffix Editor dialog box, where you can construct the chord yourself, including its suffix (see Chord Definition dialog box). If the chord you played was one that Finale doesn’t usually understand (such as a major sixth chord or a "V–11" chord like F/G), clicking the I’ll Do It button also means "I’ll teach it to you." Once you’ve created the chord symbol, Finale will recognize this chord in any inversion and register (but only if it’s built on the same root), and will correctly identify it the next time it occurs. • Let Finale do it. Click this button if you want Finale to do its best to identify the chord. Finale always identifies a chord correctly—but it doesn’t always label it the same way you would, particularly in the case of very complex chords, or ones from which some tones are missing. • Cancel. Click Cancel to return to the score, where you can re-enter the chord. See Also: Chord Definition Edit Learned Chords 1867

Chord Tool

1868

Unknown Font dialog box

How to get there From the File menu, choose Load Library. Double-click the name of a library that was created with a font that’s no longer installed on your System.

What it does You’ll encounter this dialog box when you try to open a library of symbols or expressions that were created with fonts that are no longer installed, or a library that was created on someone else’s computer (with a different set of fonts installed). Finale gives you two options for handling the missing fonts. You can either select a new font to replace the missing one, or you can tell Finale to go ahead and load the library, substituting the System font for the missing fonts until you later install the missing font into your Windows Font folder. At that point, the library elements will reappear in their original fonts. • Add the Font to the Font List. Click this button (or press return) if you want Finale to display the library element in the system font until such time as the missing font is reinstalled. Finale doesn’t actually install a font in your system when you click Add. Instead, it adds the missing font’s name to its font selection boxes; it will appear dimmed (like the names of any other missing fonts). When you later install the missing font in your System, its name will no longer be dimmed, and the library elements in question will reappear in their original fonts (instead of the substitute font). • Select Another Font. Click this button if you want to substitute a different font for the one that’s missing. Finale responds by displaying the Font dialog box, in which you can select the new font. If there are other fonts that were used to create the library (that are now missing), Finale displays the Font dialog box again so that you can repeat the process. 1869

• OK • Cancel. Click OK to do the selected action. Click Cancel to return to the score without making any changes. See Also: Font

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Update Available dialog box

How to get there From the Help menu, choose Check for Finale Updates in a version of Finale not current with the latest maintenance update.

What it does This dialog box allows you to update your version of Finale. • Update Now. Click this button to download and install the latest maintenance update. • Update Later. Click this button to dismiss the dialog box and return to the score. • Settings. Click this button to open the Automatic Check for Updates dialog box where you can set the frequency for automatic update checks. See Also: Help menu

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View Continuous Data dialog box

How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool and select a region of measures in a staff. Double-click the selected region to enter the MIDI Tool split-window, if you want. Choose Edit Continuous Data from the MIDI Tool menu.

What it does The MIDI Tool allows you to edit the values of any MIDI continuous data (controllers, wheels, and so on). In this dialog box, you specify the controller whose data you want to edit. • Controller ___. [Controller drop-down list] In this text box you can specify a controller by entering its number, or use the drop-down list to see a list of standard controller messages with a brief description. Here are some common controllers and their numbers: Controller number

Controller

Controller number

Controller

1

Modulation wheel or lever

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Sustain pedal

2

Breath Controller

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Portamento

4

Foot Controller

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Sostenuto

7

Main volume

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Soft Pedal

10

Pan

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• Patch Changes • Channel Pressure • Pitch Wheel. Select the data you want to view and edit. When you click OK, you’ll be able to edit the specified data type. For instructions on editing these data types, see MIDI Tool window. • Listen. If you’re not sure of the number or name of the MIDI controller type whose data you want to edit, click Listen. Finale goes into listening mode until you "play" the controller; it then enters the correct controller number in the text box. • OK • Cancel. Click OK to confirm, or Cancel to discard, your controller selections. You return to the MIDI Tool split-window or the score. See Also: MIDI Tool menu MIDI Tool

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View Resolution dialog box

How to get there Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe menu. Click a measure. Record some music. Choose View Resolution from the Transcription menu.

What it does In this dialog box, you can specify the amount by which you want to "zoom in" to the display area—for example, in order to have better manual editing control over the tiny Time Tags. A smaller number in this dialog box magnifies the display area; in any case, Finale only magnifies your view horizontally, so that the thin lines representing the notes you played are stretched horizontally, but still align correctly with the keyboard at the left side of the screen. The View Resolution also determines the initial duration of any new note you create by double-clicking in the keyboard display area (the bottom threequarters of the display window). Its default duration is 15 units, where a unit is equal to the number in this text box. In other words, if the View Resolution is 100 (thousandths of a second—that is, one-tenth of a second), the note produced by a double-click is 1500 thousandths of a second long, which is 1.5 seconds. See Transcription window for further details on editing notes and Time Tags. • Each unit in the viewing area equals __ /1000th(s) of a second. In this text box, enter the number, in thousandths of a second, you want to be represented by a single screen dot (pixel) in the display area of the Transcription window. Enter a small number (15 or 20) to "zoom in" on the notes and Time Tags so you can manipulate them at a higher resolution. Enter a high number (200 or 400) to "zoom out" so that you can see a larger portion of your recorded performance. Technical note: The number in the View Resolution text box actually specifies the time, in thousandths of a second, represented by a single dot (pixel) on the screen. Suppose the View Resolution is set to 1000 (thousandths of a second); when you move a Time Tag one pixel to the right, you’ve just shifted it one second in real time. 1874

• OK • Cancel. Click OK to confirm, or Cancel to discard, your change in view resolution. You return to the Transcription window. See Also: Transcription menu HyperScribe Tool

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Voicing for Staff in Part dialog box

How to get there From the Documents menu, choose Manage Parts. Click Edit Part Definition to expand the dialog box. In the middle column, choose the staff that you would like to change and click Edit Voicing.

What it does This dialog box allows you to display select notes on individual instrument staves. For score staves that contain multiple parts (e.g. "Flutes 1 &2"), Flute 1 could be assigned to its own part, containing only the Flute 1 notes; likewise for the Flute 2 part. Layers or individual notes from chords (of the same layer) can be assigned to a part while other notes are hidden. To divide a multi-part score staff into two or more parts, first add the staff to different parts. Once the multi-part staff appears in two (or more) parts, use this dialog box to specify which notes to show for each part. • All notes in Layer _ only. Choose this option and select a layer to display the selected layer only for this staff. 1876

• Selected notes from one or more layer(s). Choose this option to use the settings below to identify which notes within chords of the same layer should be displayed in the selected staff. • In All Measures Containing a Single Layer, Use: All notes • Top Note • Bottom Note • Selected Note(s); 1st Note • 2nd Note • 3rd Note • 4th Note • 5th Note. Use these options to specify which notes should be displayed in chords of the same layer. Choose All Notes to show every note in measures containing a single layer. Choose Top Note to hide all but the top note in entries containing multiple notes (chords). Choose Bottom Note to hide all but the bottom note in entries containing multiple notes. Choose Selected Notes, and then the desired check box below to specify which note to use in the case of chords. • Count Notes: From the Top • From the Bottom. These options are available when the Selected Note(s) option is chosen and control the direction Finale counts from when choosing the part voicing. For example, with "2nd Note" and "From the Top" selected, Finale hides all but the second note from the top of chords in the same layer. • Include Single Note Passages. Check this box to also include monophonic passages in the voice you are defining. • In Measures Containing Multiple Layers, Display Layer _. If the score contains multiple layers in one or more sections, from this drop-down menu, choose the layer you want to show. See Also: Document menu

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VST Instruments dialog box

How to get there From the MIDI/Audio menu, choose Instrument Setup > VST Instruments.

What it does With this dialog box, choose a desired VST Instrument for use with Finale. Finale includes the Aria Player, which is designed to use Finale as its host sequencer and includes an accompanying library of Garritan Personal Orchestra sounds. You can use this dialog box to load any other VST instrument library, select and edit VST effects, and adjust the volume for each VST selection. • Finale Channel • VST Instrument • Edit. Each one of these drop-down menus displays all the sound libraries installed on your computer. The Aria Player is included with Finale. Choose "Instruments for Finale 2010" to load the Garritan instruments included with Finale 2010. Click the adjacent button to open the selected player where you can add instruments and make other changes. • FX. Each one of these drop-down menus displays the VST effects installed on your computer. Click the adjacent button to open the selected effects interface where you can make adjustments to them. Finale includes the Ambience Reverb VST effect. Choose this option to apply Finale's included reverb effect to playback of VST sounds. To adjust reverb settings, click the Edit button. VST FX plug-ins are installed as dll files that usually appear in the same folders as the VST Instruments. If you do not see the one you are looking 1878

for, you can identify any VST plug-in installed on your system by choosing it from the Manage VST Plugins dialog box. • Bypass. Check this box to bypass the chosen effect. • Volume • Clip. This volume slider applies to the volume of the selected bank of channels and their selected VST selection and effect(s). Finale illuminates the Clip indicator if clipping is detected. Clipping is detected if the signal goes beyond the bounds of a standard range. Click the clip indicator light to reset it. • Master FX • Master Volume. Use these options to apply effects and volume to the master mix. Changes to this section apply to all VST instruments • Close. Click Close to apply your settings.

See Also: MIDI/Audio menu

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Wait for End of Note dialog box

How to get there From the Utilities menu, choose Add SmartMusic Markers. Select Wait for End of Note from the marker list on the left and click Add. Or, select an existing Wait for End of Note marker from the Marker window and click Edit.

What it does Use the settings in this dialog box to control the type and measure assignment for the Wait for End of Note marker you are adding or editing. Place this marker on a held note in the solo line to instruct SmartMusic to listen for the end of the soloist’s note (e.g. a fermata). A Resume marker is added automatically just before the accompaniment begins. • Rehearsal Mark • Bar • Note • Repeat. Choose a rehearsal mark, repeat, or specify a bar and note to add a Wait for End of Note marker. • Reset Tempo on Resume. Check this box to add a Reset Tempo marker after the Resume marker. This resets the tempo to the previous value. • OK • Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic Markers dialog box without making changes.

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Wait For Foot Pedal dialog box

How to get there From the Utilities menu, choose Add SmartMusic Markers. Select Wait for Foot Pedal from the marker list on the left and click add. Or, select an existing Wait for Foot Pedal marker from the Marker window and click Edit.

What it does Use the settings in this dialog box to control the type and measure assignment for the Wait for Foot Pedal marker you are adding or editing. For Start Waiting At, specify the point you want SmartMusic to pause the accompaniment. For Resume At, specify the note point at which the accompaniment should resume (upon pressing the foot pedal). • Start Waiting At: Rehearsal Mark • Bar • Note • Repeat. Choose a rehearsal mark, repeat, or specify a bar and note to add a Wait for Foot Pedal marker. • Resume At: Rehearsal Mark • Bar • Beat • Repeat. Choose a rehearsal mark, repeat, or specify a bar and note to add a Resume marker. • Reset Tempo on Resume. Check this box to add a Reset Tempo marker after the Resume marker. This resets the tempo to the previous value. • OK • Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic Markers dialog box without making changes.

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Wait for Note dialog box

How to get there From the Utilities menu, choose Add SmartMusic Markers. Select Wait for Note On from the marker list on the left and click Add. Or, select an existing Wait for Note marker from the Marker window and click Edit.

What it does Use the settings in this dialog box to control the type and measure assignment for the Wait for Note marker you are adding or editing. Using the Rehearsal Mark or Bar and Note setting, specify the placement of this marker. Use this dialog to place the marker on the note you want to resume the accompaniment. SmartMusic will resume its performance upon hearing this note. (A resume marker is added for you automatically. See SmartMusic Performance Markers for more information).

Note: If your note falls in a repeated section, repeat options appear in the repeat field. You can select the note the first time through a repeat, second time, and so on. Choose the repeat option you want to use from the Repeat drop-down menu. You will have to place a marker twice if you want the pause to occur both times through a repeated section (unless Every Time is selected under the Repeat drop-down menu). • Rehearsal Mark • Bar • Beat • Repeat. Choose a rehearsal mark, repeat, or specify a bar and note to add a Wait for Note marker. 1882

• Reset Tempo on Resume. Check this box to add a Reset Tempo marker after the Resume marker. This resets the tempo to the previous value. • OK • Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic Markers dialog box without making changes.

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Word Extensions dialog box

How to get there From the Document menu, choose Document Options, and then select Lyrics. Click Word Extensions.

What it does In this dialog box, you can adjust the behavior of Smart Word Extensions, and well as their visual appearance. • Use Smart Word Extensions. Check this box to enable Smart Word Extensions. Smart Word Extensions appear automatically as lyrics are entered in the score, and can me modified using the options in this dialog box. With this box unchecked, word extensions act as they did in Finale version 2003 and earlier. • Create Automatically When Notes Follow Without Lyrics. Choose this option to tell Finale to create word extensions automatically when appropriate as lyrics are being entered. While using Type Into Score, word extensions appear after switching out of Type Into Score mode, or after changing tools. To define word extensions on certain lyrics only, uncheck this option, and then enter an underscore (_) after typing a syllable to specify a word extension on that syllable. • Minimum Length. In this text box, you can specify the minimum length for word extensions. Finale will not create a word extension automatically in 1884

the score if there is not enough space between lyrics to accommodate the length entered here. • System Break Alignment: System Start • System End. Enter a value for System Start to adjust the alignment of the start of a word extension that extends over a system with the start of the system. Enter a value for System End to adjust the alignment of the end of a word extension that extends over a system with the end of the system. • Align to Notehead: Plain Notehead • Dotted Notehead. Enter a value for Plain Notehead to specify the distance between a non-dotted note and the word extension’s end point. Enter avalue for Dotted Notehead to specify the distance between a dotted note and the word extension’s end point. • Stretch to Note Duration • Offset. Choose this option to extend word extensions for the duration of the note. Enter a value for Offset to adjust the extension’s endpoint relative to the endpoint of the note duration. • Lyric Allignment: Vertical Offset from Baseline • Horizontal Offset from Syllable. Enter a value for Vertical Offset from Baseline to adjust the vertical distance between the baseline of the lyrics and the word extension. Enter a value for Horizontal Offset from Syllable to adjust the horizontal space between the end of the syllable and the beginning of the word extension. • Line Thickness. This option sets the line thickness for word extensions in your score. Enter a value for the line thickness. • OK • Cancel. Click OK (or press enter) to confirm the settings you’ve made in this dialog box and return to Document Options - Lyrics. Click Cancel to tell Finale to ignore any changes you made in this dialog box and return to Document Options-Lyrics. See Also: Document Options-Lyrics Lyrics menu

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Zoom dialog box

How to get there From the Zoom submenu of the View menu, choose Other (or type ctrl-0).

What it does In this dialog box, you can specify the size at which you want the score displayed on your screen, expressed as a percentage of its actual size—in other words, you can "zoom in" to magnify fine details of your score or "zoom out" if you want to see many staves at once. Note that this screen display size has nothing to do with the actual (printed) size of the music. • Scale View to: ___ %. In this text box, enter the percentage by which you want the screen display enlarged or reduced. Type 200, for example, to "zoom in" so that the music is displayed at twice its normal size. • OK • Cancel. Click OK to return to the score, where Finale displays the music at the size you specified—or Cancel to return to the score without changing the display size. Tip: numbers larger than 100 will increase the size. Tip: To change the size of the printed music, use the Resize Tool See Also: View menu

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Interface Changes Use this information to identify the location of commands and options that have been renamed or whose locations have changed since a previous Finale version (back to Finale 2007).

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Finale 2010 Interface Changes Finale 2010 includes the following interface changes since Finale 2009a.

Transparent handles Finale's transparent handles can be modified or turned off in the Program Options-View dialog box.

Percussion Maps Percussion Maps as they appeared in Finale 2009 no longer exist in Finale 2010. Functionality of Finale's former Percussion Maps has been split between Percussion Layouts and Percussion MIDI Maps.

Percussion Layouts Percussion Layouts allow you to assign percussion instruments to staff positions and noteheads. These features, which previously existed in the Percussion Map Designer dialog box, are now available in the Percussion Layout Designer dialog box.

Percussion MIDI Maps The MIDI mapping of percussion notation is now handled automatically during entry. If you change the playback device under the MIDI menu, and the MIDI notes no longer match the desired percussion sounds, simply select the percussion MIDI map for that playback device for that staff, which is available in the Instrument List. See also To setup playback for a percussion staff.

Percussion entry If you are using an external MIDI device for percussion input, you can select a Percussion Input Map for your device and patch to ensure the desired percussive instruments are entered onto the staff on the appropriate MIDI notes. Percussion Input Maps are available in the MIDI Setup dialog box. See Percussion MIDI Maps dialog box.

Resize Fretboards The former Resize Fretboards option under the Chord menu and the Resize Fretboards dialog box have been removed. You can resize Fretboards globally in Document Options-Chords. To resize fretboards by region, use the Change Chord Assignments dialog box.

Broadway Copyist Font Finale's default handwritten font in now the new Broadway Copyist font.

Menu Changes The following menu items have been removed or changed: 1888

• Chord/Type Into Score has been removed. All type into score functionality has been added to Chord/Manual Input. See To type-in chord symbols. • Chord/MIDI Input is now called Chord/Allow MIDI Input. Select this menu item to play-in chords while using Manual Input. See To play-in chord symbols.

The following plug-ins have been removed • Extract Lyrics plug-in. Removed in favor of the new Export Lyrics option under the Lyrics menu. • Easy Measure Numbers. Removed in favor if Finale's integrated measure number functionality. • MiBAC Jazz Rhythm Section Generator.

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Finale 2009a Interface Changes Finale 2009a includes some interface changes related to expressions and font handling.

Score Lists for Expressions Staff Lists for expressions have been renamed Score Lists. See Category designer dialog box. The number of available score lists has been increased from 4 to 8, and they can now be renamed. See Score List dialog box.

Staff Assignment for Expressions Staff assignment functionality has been introduced for expressions not eligible for Score Lists. See Expression Selection dialog box and Assign to Staff dialog box. Keyboard shortcuts have been added to allow easy assignment to adjacent and/or all staves. See Keyboard Shortcuts - Expression Tool.

Font Utilities dialog box Font-related commands under the Data Check submenu, including: "Check Document Fonts Against System Fonts," "Swap One Font for Another," Scale Fonts," and "Convert Text for Windows." have been consolidated into the new Font Utilities dialog box. Two new functions related to symbol fonts have been added: "Reset Symbol Fonts List to Default" and "Sync Document to Symbol Fonts List." See Font Utilities dialog box.

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Finale 2009 Interface Changes Finale 2009 includes some interface changes that provide a more intuitive workflow environment, particularly in areas related to expression entry and management.

Measure Expressions and Score Lists (If you are not familiar with measure expressions and staff lists (now called Score Lists) in Finale 2008 and earlier, disregard this information and refer to Expressions and Score Lists.) The definition of the Finale term "expression" has changed in Finale 2009 to facilitate organization, editing flexibility, and ease of entry. In Finale 2008 and earlier, "measure expressions" were assigned and positioned relative to a measure. They always applied to all staves, and could be "turned off" in some staves using a Score List (or by selecting a radio button in the former Measure Expression Assignment dialog box). For example, the measure expression could have been set to "this staff only," or "all staves," or (in the Score List dialog box) "top staff only," and so on. Each measure expression essentially included its own Score List and positioning settings, and only one expression's settings could be changed at a time (e.g. the option to change the font of all dynamics was not an option). Furthermore, when the expression was copied across documents, its Score List would be copied with it, which could result in a multitude of Score Lists assigned in a document. In Finale 2008 and earlier, "note expressions" were assigned and positioned relative to a single note. They had a completely different set of positioning options that could be used to change the positioning of the expression relative to the note. Like measure expressions, each note expression also included its own positioning settings, and only one could be changed at a time. In Finale 2009, "note expressions" and "measure expressions" have been merged, and any expression can have properties of either. The major distinction between expression types is now based on their score function. Specifically, expressions have been separated into six categories, each with its own font, positioning, and Score List settings (see Expressions). Changes to these settings can be applied to all expressions in that category (both in the library and in the score). (These settings can also be assigned individually, independent from the category when required - see Expression Designer). Score List definitions are now defined for categories rather than individual expressions, and are only available in categories that benefit from their usage. To understand the benefits of this new model, it is important to recognize that all expressions are classified in one of two ways:

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• Expressions that apply to the entire score (all staves). These include tempo markings, tempo alterations, and rehearsal marks. These expressions will generally appear on all parts, but only once, or a few times, in the score. • Expressions that apply to a single staff. These include dynamics, expressive text, style markings,and technique text. Although more than one staff/part may require the same expression at the same measure, each of these types of expressions apply to their respective staff only. The first type includes all expressions that can possibly benefit from Score Lists because it is standard practice in scorewriting to assign certain types of markings (e.g. tempo marks) in a consistent fashion throughout the duration of the score (e.g. above the top staff of each instrumental section). Therefore, the need for many Score List definitions was replaced with four (Score List 1, Score List 2, etc.). You can make changes to these Score Lists in the Score List dialog box. Changes to a category's positioning, font, or Score Lists can be made in the Category Designer dialog box. When you begin a new score with the Setup Wizard, Finale automatically assigns expressions to the Score List 1, which places expressions above the top staff and above the top staff in each instrumental section. If, in previous Finale versions, you used measure expressions and Score Lists to add dynamic markings (and expressive/technique text), you may miss the ability to apply many dynamics at once. If this is the case, use metatools and "drag-apply" to enter dynamic expressions onto multiple staves quickly and easily. See Expressions.

Expression Editing Changes • An attachment indicator line displays each expression's attachment point. As you drag horizontally the attachment point adjusts by beat or measure. • Hold down Alt to drag an expression without adjusting the attachment point. • Drag an expression over a staff to snap the attachment point to that staff. • Double-clicking an expression (or selecting its handle and pressing Enter) now opens the Expression Selection dialog box, where you can doubleclick to easily swap it for another expression, edit the expression, or move it to a different category. • A single Expression Assignment dialog box replaces the Note Expression Assignment and Measure Expression Assignment dialog boxes. This dialog box does not appear automatically after entering an expression (as in Finale 2008). To access it, Shift-double-click an expression's handle. In addition to positioning and playback, you can use this dialog box to assign expressions to individual layers or only the score, only the parts, or both score and parts (for files converted from previous versions).

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• An expression that is assigned to a Score List requires a stack selection to be copied.

Copying and pasting expressions across documents When you copy a region of music including expressions of a category that does not exist in the target document, or if the same category contains different settings, Finale will create the new category in the target document automatically and insert the new expression into that category.

Finale 2008 to Finale 2010 menu Reference Chart Use the following key to identify any commands that have moved or changed names since Finale 2008. (Commands that do not appear in this list have not changed since Finale 2008.) New commands, menus, and submenus are marked with an asterisk (*). "" means the menu item's name has not changed.

Finale 2008 menu Command Name Save as SmartMusic Accompaniment Save as Audio File Save Preferences -

Finale 2008 menu File/Save Special File/Save Special File/Save Special -

Finale 2010 menu

Finale 2010 menu Command Name File Export to SmartMusic File Export to Audio File File "" View Page View Submenu Document Category Designer* MIDI/Audio/Instrument Setup VST Instruments MIDI/Audio/Instrument Setup "" (now duplicated under the MIDI/Audio menu) MIDI/Audio Human Playback submenu MIDI/Audio Device Setup submenu MIDI/Audio/Device Setup "" MIDI/Audio/Device Setup Manage VST Plugins* MIDI/Audio/Device Setup "" MIDI/Audio/Device Setup "" MIDI/Audio/Device Setup ""

VST Setup Instrument List

MIDI/Audio Window (only)

-

-

-

-

Audio Setup -

MIDI/Audio -

MIDI Setup MIDI Thru Tablature MIDI Channels Send MIDI Sync Send MTC -

MIDI/Audio MIDI/Audio MIDI/Audio

Import MIDI File Options Export MIDI File Options -

MIDI/Audio

MIDI/Audio/Device Setup "" MIDI/Audio/Device Setup "" MIDI/Audio/MIDI File Options MIDI File Options submenu* MIDI/Audio/MIDI File Options ""

MIDI/Audio

MIDI/Audio/MIDI File Options ""

-

MIDI/Audio/MIDI Clipboard

MIDI/Audio MIDI/Audio

MIDI Clipboard 1893

Import MIDI from Clipboard Export MIDI to Clipboard Internal Speaker Playback Off

MIDI/Audio


submenu* ""

MIDI/Audio


""

MIDI/Audio

MIDI/Audio/Device Setup

MIDI/Internal Speaker Playback -

MIDI/Audio/Internal Speaker Playback QuickTime Playback MIDI/Audio/Internal Speaker Playback SmartMusic SoftSynth Playback

MIDI/Audio/Internal Speaker Playback

MIDI Setup dialog box (choose MIDI System) MIDI Setup dialog box (choose QuickTime Playback) MIDI Setup dialog box (choose SmartMusic SoftSynth)

-

Commands and Dialog Boxed Removed in Finale 2009 • Measure Expression Assignment (replaced with Expression Assignment) • Note Expression Assignment (replaced with Expression Assignment)

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Finale 2008 Interface Changes Finale 2008 included several interface changes that provide a more intuitive and streamlined workflow environment. These changes included the consolidation of functions into fewer tools and menus, and as a result, some commands were moved, added, renamed, and/or moved to different locations. If you have upgraded to Finale 2010 from Finale 2007, use the information here to reference the new location of these commands.

The New Selection Tool The Selection Tool has inherited all functions previously encompassed by the Mass Edit Tool. Select regions of measures, copy, and edit music, apply plugins and make other changes to score regions (or the full score)with the Selection Tool. Most commands previously under the Mass Edit menu have been moved to the Edit menu and the new Utilities menu. Others now also appear in the MIDI menu (now called the MIDI/Audio menu) and Mirror menu. See the Finale 2007 to Finale 2010 Menu Reference Chart below for details. There are some notable changes regarding selection, copying, and filtering:

The Select Partial Measures command has been removed Finale always allows you to select full or partial measures without requiring a menu selection. See Selecting Music for more details. • Double-click to expand a selection including partial measures to include full measures. Or, double click full measures or unselected measures to select a full measure stack (full measures, all staves). • Hold down Shift and use the left and right arrow keys to expand or retract the selection note-by-note (or measure-by-measure for empty measures). Or, hold down Shift and click to expand/retract the selected region. • Hold down Shift and press the End, Home, PageUp, or Page Down keys to expand selection to the end, beginning, top staff, or bottom staff of the score (respectfully).

Copy, paste, or insert measure settings by selecting a "stack" In Finale 2007 and earlier a measure could be selected in, for example, four horn parts of an orchestral score. Inserting this music elsewhere would add the measure in all staves, filling only the target selection with the source horn music (the inserted measure in all other staves would be empty). Now, to insert full measures, the source and target must include full measures, and all staves, called stacks.

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In a stack selection, highlighting extends between all staves (vertically) of a selected region. Double-click full measures to select the measure stack. For details, see Copying Music. • Stacks can include extra measure information such as key signatures, measure widths, and barline styles. For a list of items that can only be copied with a stack selection, see Edit Filter dialog box. • A stack selection is required to delete a full measure and all their attributes in all staves. Without a stack selected, the Delete key always clears music from the region. • A stack selection is required to insert a full measure in all staves. • A stack can only be inserted or pasted to another region that qualifies as a stack. Pasting always replaces existing music. • Eligible regions to paste or insert a stack are indicated with a green border or insertion bar respectfully when drag-copying or draginserting.

Copy and Insert/Copy and Replace In Finale 2007 and earlier, drag-copying either inserted or replaced entries depending on a setting under the Mass Edit menu. Now, selected regions can be easily inserted or pasted (replacing entries) by dragging or using the clipboard (see Copying Music). All musical elements in a region, including measure-attached items, can be copied, pasted, and inserted with all methods of copying - within the same document or across documents. • Clipboard-copying and pasting (e.g. Ctrl-C/Ctrl-V), clipboard inserting (Ctrl-I), drag-copying, and drag-inserting now always yield identical results. • Clipboard-copying and pasting (e.g. Ctrl-C/Ctrl-V) now always yields identical results to drag-copying and pasting. Press Ctrl-I to insert material copied to the clipboard. • Finale now always uses the "Copy and Replace" behavior (now called "Paste") when drag-copying unless the Insert modifier (Alt) is used.

Filtering In Finale 2007, musical elements were excluded from target regions while pasting using the Items to Copy dialog box. Finale 2010's equivalent is the Edit Filter dialog box. The Measure Settings can be either inserted or pasted, but only if the source is a stack selection. Using the clipboard to copy, paste, and insert now always includes the same elements whether drag-copying, dragpasting, and drag-inserting. In other words, the same mechanism is now used for clipboard-copying as drag-copying.

Modeless Editing Commands 1896

The following changes mean less switching tools and more universal controls.

New Utilities menu

The Utilities menu was introduced in Finale 2008 and includes many commands that previously existed under Finale 2007's Mass Edit menu and submenus. Commands that apply to the entire document, such as Update Layout, are always available. Editing commands that require a regional selection are available whenever any measure region is selected (with the Selection Tool or any other tool that supports regional selection). See Utilities menu.

Copy and edit with any tool that allows regional selection Right-click a measure region with the Selection Tool or Measure Tool selected to access a new expanded context menu. Now, to insert full measures, the source and target must include full measures, and all staves, called stacks. Cut, copy, paste, insert, and apply any command under the Edit and Utilities menus whenever a region is selected. The following tools allow regional selection: • Selection Tool • Staff Tool • Measure Tool • Key Signature Tool • Time Signature Tool • MIDI Tool • Clef Tool • Repeat Tool • Mirror Tool The Backspace and Delete keys now clears or deletes measures in the above tools.

Staff Tool: • To Clear Staff Styles, use the context menu (right-click) or the main menu, or click the Staff Style Bar and press Delete. • To Delete Staves, the Staff handles must be selected and there must be no measure highlighting. 1897

Repeat Tool: • To Clear Repeats, highlight the handles only and press Delete or use the Repeat context menu. MIDI Tool: • With a measure region selected, use the "Clear" item in the MIDI Tool to delete the MIDI Data checked in the MIDI Tool menu.

Some commands are accessible in many tools The following commands can be applied with any tool that allows regional measure selection. A single-key alternative is available for some of these commands if the Selection Tool is chosen. (These are similar to previous Mass Edit keyboard shortcuts). • Ctrl-4 = Apply Note Spacing (Selection tool = 4) • Ctrl-5 = Apply Beat Spacing (Selection Tool = 5) • Ctrl-6 thru 9 = applying transposition (Selection Tool = 6-9) • Ctrl-Shift-6 thru 9 = redefining transpositions (was previously Shift+ 6-9) • Ctrl-1,2 and 3 = Custom Zoom percentages (instead of fixed view percentages) • Keystrokes for fixed view percentages (Ctrl-4 for 400%, Ctrl-5 for 50%, Ctrl-7 for 75%) have been removed (except for Ctrl-0 for "Other") in favor of user definable Custom Zoom Keystrokes: Ctrl-1, Ctrl-2 and Ctrl-3. • Keystroke for Check Elapsed Time (5) has been removed. • Ctrl-L to lock measures. Selection Tool = L) • Ctrl-U to unlock measures. (Selection Tool = U) • Edit menu > Add Measures (previously required Measure Tool selection). • Utilities menu > Music Spacing > Apply Music Spacing (previously required Mass Edit Tool selection) • Utilities menu > Fit Measures (previously required Mass Edit Tool/Page Layout Tool selection) • Edit menu > Multimeasure Rests > Create for Parts/Score (previously required Measure Tool selection) • Document menu > Measure Numbers > Edit Regions (previously required Measure Tool selection)

Tool-specific changes

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• The "Create a Movable Mid-Measure Clef" command has been removed from the Change Clef dialog box. The clef tool now accepts partial measure highlighting. To add a mid-measure clef, start the highlighting where you want the clef to appear in the measure. Double-click to open the Change Clef dialog where you can select the new clef. • You can now call dialogs by pressing Enter in addition to double clicking. For example in the Staff Tool, highlight a measure and press Enter to open the Staff Attributes dialog box. • Double clicking the Staff Tool now adds a blank staff to the bottom of the score.

Finale 2007 vs. 2010 menu Reference Chart Use the following key to identify any commands that have moved or changed names since Finale 2007. (Commands that do not appear in this list have not changed since Finale 2007 or are listed in the Finale 2008 to Finale 2010 menu Reference Chart.) New commands, menus, and submenus (as of Finale 2008) are marked with an asterisk (*).

Finale 2007 menu Command Name

Finale 2007 menu

Finale 2010 menu

Finale 2010 menu Command Name

-

-

Edit

*Paste Multiple

-

-

Edit

*Copy All Items

-

-

*Utilities

-

-

-

Edit

*(SmartFind and Paint (submenu)

Add

Measure

Edit

Add Measures

Add Enclosures

Measure/Measure Numbers

Measure

Add Measure Number Enclosures

Apply Articulation

Mass Edit

Utilities

""

1899

Apply Beat Spacing to Current Part/Score

Mass Edit/Music Spacing

Utilities/Music Spacing

""

Apply Note Spacing to Current Part/Score



""

Apply SmartFind and Paint

Mass Edit

Edit/SmartFind and Paint

""

Apply Time Signature Spacing to Current Part/Score



""

Articulation Assignments

Mass Edit/Change

Utilities/Change

Articulations

Automatic Music Spacing

Edit

Program OptionsEdit

""

Automatic Update Layout

Edit

Program OptionsEdit

""

Break

Measure/Multimea sure Rest

Edit/Multimeasure Rest

Change (submenu)

Mass Edit

Utilities

""

Change Lowest Fret

Mass Edit/Utilities

Utilities/Change

Lowest Fret

Check Accidentals

Mass Edit/Utilities

Utilities/Check Notation

""

Check Elapsed

Mass Edit/Utilities

Utilities/Check

""

""

1900

Time

Notation

Check Ties

Mass Edit/Utilities


""

Chord Assignments

Mass Edit/Change

Utilities/Change

Chords

Clear Entries and Smart Shapes

Mass Edit

Edit

Clear All Items

Clear Items

Mass Edit

Edit

Clear Selected Items

Convert Mirrors

Mass Edit/Utilities


""

Create



Create for Parts/Score



Customize Palettes

View

Window

Delete

Measure

Edit

Delete Measure Stack

Deselect SmartFind Source Region

Mass Edit


""

Edit



""

Edit Measure Attributes

Measure

Edit

""

""

""

1901

Edit Measure Number Regions


Document and Measure

""

Explode Music

Mass Edit/Utilities

Utilities

""

Fill With Rests

Mass Edit/Utilities


""

Fit Music

Mass Edit

Utilities

Fit Measures

Freeze Stems Down

Mass Edit/Utilities

Utilities/Check Notation/Stem Direction

Down

Freeze Stems Up

Mass Edit/Utilities


Up

Hide Numbers


Measure

Hide Measure Numbers

Implode Music

Mass Edit/Utilities

Utilities

""

Import MIDI from Clipboard

Edit menu


""

Insert

Measure

Edit

Insert Measure Stack

Items to Copy

Mass Edit

Edit

Edit Filter

Lock Systems

Mass Edit

Utilities

""

Measure Numbers

Measure (submenu)

Measure

(Items loose in menu)

Mirror

Mass Edit

*Mirror

Dragging Copies 1902

Music Dragging Mirrors Music Move/Copy Layers

Mass Edit

Edit

""

Multimeasure Rest (submenu)

Measure

Edit

""

Music Spacing (submenu)

Mass Edit

Utilities

""

Note Durations

Mass Edit/Change

Utilities/Change

""

Note Expression Assignments

Mass Edit/Change

Utilities/Change

Note Expressions

Note Size

Mass Edit/Change

Utilities/Change

""

Noteheads

Mass Edit/Change

Utilities/Change

""

Rebar (submenu)

Mass Edit

Utilities

""

Rebeam (submenu)

Mass Edit

Utilities

""

Remove Manual Slur Adjustments

Mass Edit/Utilities


""

Remove Stem Changes

Mass Edit/Utilities


Use Default Direction

Respell Notes

Mass Edit/Utilities

Utilities

""

Restore Defaults

Measure/Measure

Measure

Restore Measure

1903

Numbers

Number Defaults

Retranscribe

Mass Edit

MIDI/Audio

""

Scale View To

View

View

Zoom

Set SmartFind Source Region

Mass Edit


""

Show Numbers


Measure

Show Measure Numbers

Special Part Extraction

Edit

Document

""

Ties

Mass Edit/Change

Utilities/Change

""

Toolbars

View/Customize Palettes

Window/Toolbars

Customize Toolbars

Transpose

Mass Edit

Utilities

""

Tuplets

Mass Edit/Change

Utilities/Change

""

Unlock Systems

Mass Edit

Utilities

""

Update Layout

Edit

Utilities

""

Update Smart Word Extensions and Hyphens

Edit

Utilities

""

Commands Removed from Finale • Edit/Select Partial Measures. Finale now offers partial measure selection at all times. See Selecting music. 1904

• Mass Edit/Copy and Replace. Finale now always uses the "Copy and Replace" behavior (now called Paste) when drag-copying unless the Insert modifier (Alt) is used. This is identical to copying and pasting using the clipboard. • Mass Edit/Copy and Insert. Finale now always uses the "Copy and Replace" behavior (now called Paste) when drag-copying unless the Insert modifier (Alt) is used. This is identical to copying and inserting using the clipboard. • Home Position. The Home Position menu item has been removed. To easily navigate to the Home Position, press the Home key. • Redraw Options. The Redraw Options menu command and Redraw Options dialog box have been removed. Recent technology and performance improvements have replaced a need for these options

1905

Glossary The following terms are used in the Finale interface and throughout the Finale User Manual.

Aftertouch A MIDI signal transmitted by changing the pressure of a MIDI controller while it's held. (Useful for creating crescendos or decrescendos). There are two types of aftertouch: Channel Pressure (Monophonic Aftertouch) and Key Pressure (Polyphonic Aftertouch).

Alternate Notation Alternate methods of notating music, such as slash notation, which indicate free interpretation or "comping" of passages. Finale also displays one and twobar repeat symbols.

Background File An alternate name for a Finale Playback file which can be played back while recording a new track in the Transcription window.

Baseline An imaginary line used to align the bottom edge of font characters. Finale displays arrows that control the baseline positioning for lyrics and chords.

Beat Chart A set of handles (accessed through the Measure Tool) used to adjust the horizontal position of notes. Handles appear either on the beat (Beat Spacing) or on each note of a measure (Note Spacing). Adjusting the handle for one note or beat will move the notes in all staves at once, keeping them rhythmically aligned.

Bookmark A particular position on the Page (Page View), or a measure (Scroll View) that can be saved and recalled.

Channel MIDI channels are used to transmit and receive MIDI information such as note on and note off messages as well as controller and patch information to your MIDI device(s).

Clip Files A Finale file similar to a Clipboard file that can actually be saved to or loaded from your hard drive to copy or paste into Finale files. They are created by holding the Ctrl key down while choosing Cut or Copy from Finale's Edit menu.

1906

Context-Click To context-click, simply right-click the item you would like to edit. A context menu appears with one or more options. Most items can be context-clicked with the Selection Tool.

Continuous Data Continuous Data is a broad MIDI term which includes both Controller data, such as volume or aftertouch, as well as patch, pedaling, and pitch wheel information. Continuous Data is not associated with particular notes, but is stored with measures.

EDU - Enigma Duration Unit EDUs, or ENIGMA Durational Units, are Finale's high-resolution measurement for the duration of notes and rests. 1024 EDUs = 1 quarter note

EPS - Encapsulated PostScript An EPS file is a high-resolution graphics file format that uses PostScript to define images and text. You can create music examples in Finale and save them as EPS files for use in desktop publishing and word processing programs.

ETF Enigma Transportable File. A file once used to transfer files between Windows and Macintosh for Finale files. ETF files could be saved in Finale versions 2006 and earlier.

EVPU - Enigma Virtual Page Unit EVPUs, or ENIGMA Virtual Page Units, are Finale's flexible measurements used to calculate the size and spacing of your music. You can display the measurements in more common units such as inches, centimeters, points or spaces.

288 EVPUs = 1 inch 24 EVPUs = 1 space

Frame A frame is a layer that contains one measure's worth of music. You can have up to four layers of music per measure, so one measure can contain up to four frames.

FTM 1907

A file format that behaves like a piece of stationary or template in Finale.

Handle A small square which appears on currently "selectable" elements in the score. Handles allow you to select, edit and adjust musical elements in the score.

HyperScribe A patented method of entering music in Finale by transcribing a real-time MIDI performance into notation. It transcribes the music onto one or two staves, even if you alter the tempo as you play.

Icons A visual representation of a file type or tool that can be selected to perform a particular function.

Jazz Font A font that looks like handwritten notation typically seen in Jazz and Studio music.

Key Velocity The volume of a MIDI note.

Keyboard Equivalents A shortcut or alternate method of choosing a menu command, or performing a function. See the Quick Reference Card for a list of keyboard shortcuts.

Landscape Orientation A positioning of the printed page so that it is that is wider than it is tall.

Layers An independent overlay of music in the same measure. The layer selection buttons appear in the lower left corner of your Finale window. In Finale each measure may contain 4 layers of music. Each layer may also contain 2 independent voices.

Learned Chords Chords that Finale has analyzed during chord entry that do not match any chord in it's chord suffix library. When Finale encounters a chord it does not recognize, it lets you define it yourself, or Finale will make its "best guess." You can change the definition or spelling of learned chords.

Libraries Sets of musical symbols, expression markings, and other important musical elements that are stored on your hard drive. They can be loaded into Finale files.

1908

Maestro One of Finale's music character fonts. Both TrueType and PostScript versions are supported.

Metatool A Finale keyboard shortcut that lets you enter markings very quickly. Up to 36 metatools can be programmed for the following items: Articulations, Chord Symbols, Expressions, Key Signatures, Time Signatures, Selection, Repeats, and Tuplets.

MIDI - Musical Instrument Digital Interface MIDI is a standardized protocol by which music applications, computers and MIDI instruments talk to each other.

MIDI File A type of file written in a standardized format that can be understood by music programs from different manufacturers so that one file can be used in several different programs. For example, music created in any sequencer program can be opened by Finale and converted into written notation.

MIDI Time Code A type of signal that is used to synchronize one or more MIDI devices to another MIDI device, which generates the signal. This signal allows the devices to play "in time" with each other.

Mirror(s) Intelligent copies of musical source regions that are dynamically linked: when the source measure is changed, the mirror also changes.

Mus MUS or .mus. A standard Coda notation or music file.

Non-Standard Key Signature A key not based on a 12 tone scale that supports a harmonic scheme around a circle of Fifths. For example, a quarter tone scale.

Note On - Note Off MIDI signals that instruct MIDI instruments to play or stop a note, "turn on" and "turn off," respectively.

Optimization A Finale feature that suppresses any empty staves (in a staff system) from page view and the printed page. The staves will, however, be visible in scroll view.

Patch 1909

Particular instrument sounds within a MIDI channel. Consists of a simple program change or a combination of bank and program changes.

Percussion Layout A percussion layout is a list of defined percussion instruments available for use in a staff. This definition includes staff position, notehead style, and note type (snare drum, cymbols, etc.). Percussion Layouts are defined in the Percussion Layout Designer dialog box.

Percussion MIDI Maps A Percussion MIDI Map is simply a list that matches each percussion instrument in a sound library with a particular MIDI note number (e.g. bass drum = 36, snare drum = 38, etc.). These maps are required to properly assign the same percussion notation to various playback devices, and are also used to accommodate the many different percussion sound banks that can be used for input with an external MIDI device.

Petrucci One of Finale's music character fonts, named for Ottaviano Petrucci, the sixteenth-century Italian who first used movable type for printing polyphonic music. Both TrueType and PostScript versions are supported.

G_Pitch Wheel As you move the pitch wheel up or down (on MIDI keyboards so equipped), the pitch of the entire keyboard shifts up or down by an amount you program on the MIDI keyboard itself. Finale records and plays back pitch bends (the smoothly graduated, continuous shift of pitch that occurs when you use the pitch wheel).

Plug-ins Plug-ins extend abilities to the existing program and are usually written as separate applications by various engineers.

Portrait Orientation A positioning of the printed page so that it is taller than it is wide.

PostScript A page-description language that computers and high-resolution printers use to communicate with each other.

PostScript Listing A special type of text file containing all of a document's printing information. You can send the listing to any PostScript printer directly, without having to run Finale to print your document.

Quantization 1910

A process of rounding off rhythmic values of notes played in a MIDI performance to the nearest selected duration, resulting in a cleaner transcription of the notes.

RAM Random Access Memory, is a computer's internal working memory. This is not the same as the storage capacity of the computer's hard drive.

Shape Expression A graphic expression mark, such as a vertical bracket, grand pause, or hairpin, added to the score with the Expression tools.

Simple Entry Caret The simple entry caret is a vertical line in the score that indicates where the next note entered will appear. The next note entered could be the pitch displayed on the caret (which can be moved using the up and down arrows) – initiated by pressing the Enter/Return key, a note letter typed on the computer keyboard, or a pitch or pitches played on a MIDI device (with Use MIDI Device for Input checked under the Simple menu). To activate the Simple Entry Caret, from the Simple. menu, choose Simple Entry Options, check Use Simple Entry Caret, and click OK.

Smart Shapes Curves and lines that expand and compress if a measure width changes. They also automatically separate if the shape needs to stretch across more than one staff system in Page View.

Score List Score lists are applied to expressions that apply to the full score including tempo marks, tempo alterations, and rehearsal marks. They indicate the staves on which these expressions should appear and can be edited in the Category Designer dialog box.

Staff Set A particular group of staves displayed in Scroll View, using the View menu. They let you display only the staves you need to edit, rather than all the staves in the score.

Tamburo One of Finale's percussion and shape note fonts. Both TrueType and Type 1 PostScript versions are supported

Text Block Text created and edited in the score that is enclosed in a "Standard" rectangular frame for which a border can be displayed, or a "Custom" frame

1911

that you create. They can be placed anywhere in the score, and displayed on a single page or a range of pages.

Text Expression A text marking, such as dynamics or tempo markings, added to the score with the Expression tool.

TIFF Tagged Image File Format—format for storing bitmapped images/graphics. This format is supported on both Macintosh and Windows (.tif extension) and does not require a PostScript printer.

Tiling Pages A way of printing out very large scores (e.g.: 11" by 17") onto several smaller pages that can be taped together. A portion of the full score page appears on each printed page.

Time Tags Points of reference for tempo entered into Finale's Transcription window by the user. They determine how the real-time performance is rhythmically divided for transcription into notated music.

Track A location where one records or plays back a musical message —usually a portion of the total arrangement. Tracks are for convenience; channels are required.

Trigger In Finale, the term "trigger" is used to describe the keyboard shortcut used to display the Waiting for Input dialog box while entering with the Simple Entry Caret. The triggers are * (asterisk) for articulation, x for expression, Alt-C for clef, Alt-T for time signature, and Alt-K for key signature. After the Waiting for Input dialog box appears, a metatool key can be used to enter the figure, or, click select to choose from a selection.

True Type Fonts Scalable fonts used to display and print your Finale documents. These fonts do not require a PostScript printer.

Tuplets The irregular division of notes into a given beat (i.e. 3 into 2). Includes triplets, quintuplets, septuplets, etc.

Type 1 Fonts Refers to PostScript printer fonts. PostScript printers use Type 1 fonts to accurately scale text on the printed page at any resolution. 1912

Voice Independent musical voices that respond with different stem direction depending upon which note(s) the Voice 2 notes were "launched." Only two voices are available per layer.

Word Extension An underline that is used to indicate that a syllable is being sustained through more than one note.

1913

Keyboard Shortcuts and Special Mouse Clicks Commands that are new or have changed in Finale 2010 are marked by a bullet (·). File menu

Graphics Tool

Page Layout Tool

Special Tools Tool

Edit menu

Hand Grabber Tool

Playback

Staff Tool

Window menu

HyperScribe Tool

Repeat Tool

Text Tool

View menu

Transcription Mode

Resize Tool

Tuplet Tool

Utilities menu

Lyrics Tool

Selection Tool

Zoom Tool

Articulation Tool

Measure Tool

Simple Entry Tool

General

Chord Tool

Mirror Tool

Simple Entry Laptop

Clef Tool

Note mover Tool

Smart Shape Tool

Expression Tool

Ossia Tool

Speedy Entry Tool File menu

Command

Keyboard Shortcut or Mouse Click 1914

Launch Window

Ctrl-Shift-N

New (default new action)

Ctrl-N

Open

Ctrl-O

Close

Ctrl-W

Save

Ctrl-S

Print Score

Ctrl-P

Quit

Alt-F4-Q Edit menu

Command

Keyboard Shortcut or Mouse Click

Undo

Ctrl–Z

Redo

Ctrl–Y

Undo/Redo List

Ctrl-shift–Z

Cut

Ctrl–X

Cut to Clip File

Press Ctrl when choosing Cut

Copy (to the Clipboard)

Ctrl–C

Insert

Ctrl–I

Copy to Clip File

Press Ctrl when choosing Copy-C

Insert From Clip File

Press Ctrl when choosing Insert

Insert and Filter

Ctrl-Shift-I

Insert and Filter from Clip File

Press Ctrl-Shift while choosing Insert

Paste

Ctrl-V 1915

Paste Multiple (from the clipboard)

Ctrl-Alt-V

Paste (paste from a Clip file)

Press Ctrl when choosing Paste

Paste Multiple using the one-click method

Highlight the source measures. Press Alt-Ctrl and click the destination measure. The Paste Multiple dialog box appears.

Paste and Filter

Shift-Ctrl-V. The Edit Filter dialog box appears where you can choose which items you would like to paste.

Use Filter

Alt-Ctrl-F

Edit Filter

Shift-Alt-Ctrl-F

Paste and Filter from Clip Files

Press Shift-Ctrl while choosing Paste. The Edit Filter dialog box appears where you can choose which items you would like to paste.


Delete (with a stack selected)

Select All

Ctrl-A

Update Layout and remove measure groupings

Ctrl-Shift-U

Clear All Items

Backspace (Laptops Fn-6)

Set SmartFind Source Region

Ctrl-F

Deselect SmartFind Source Region

Ctrl-F

Apply SmartFind and Paint

Ctrl-Shift-F

1916

Utilities menu

Command


Update Layout

Ctrl-U

Transpose

Ctrl-6 through 9

Program a Transposition

Shift-Ctrl-6 through 9

Lock Systems

Ctrl-L (Or, with the Selection Tool selected, press L to lock Systems).

Unlock Systems

Ctrlco-Shift- U (Or, with the Selection Tool selected, press U to unlock Systems).

Apply Note Spacing

Ctrl-4 (Or, with the Selection Tool selected, press 4)

Apply Beat Spacing

Ctrl-5 (Or, with the Selection Tool selected, press 5)

Fit Measures

Ctrl-M

Implode Music

1 (With Selection Tool selected)

Explode Music


Check Elapsed Time


Window menu

Command


Show/Hide Main Tool Palette

Command–T

Switch between open windows

Ctrl-Tab

1917

Open/Close Mixer

Ctrl-Shift-M View menu

Command


Page View

Ctrl-E (see also Page View)

Scroll View

Ctrl-E

Studio View

Ctrl-Shift-E

End Position

End key

Redraw Screen

Ctrl–D

Zoom In

Ctrl–+ or hold down Ctrl-Shift and right-click

Zoom Out

Ctrl–- (minus) or hold down Ctrl-Shift and right-click

Custom Zoom 2

Ctrl–2

Custom Zoom 1

Ctrl–1

Custom Zoom 3

Ctrl–3

View At X %

Ctrl–0

Fit Width

Ctrl–]

Fit in Window

Ctrl–[

Add Bookmark

Ctrl–B

View At Last Size

Double-right-click on the score

Define a Staff Set

Press Ctrl when choosing Staff Set (in Scroll View or Studio View)

Show/Hide Rulers

Ctrl-R

Change layers

Alt-Shift-layer number (1-4) 1918

General Keyboard Shortcuts

Command


OK all open dialog boxes

Ctrl-click the OK button

Cancel all open dialog boxes

Ctrl-click the Cancel button

Apply a Metatool

Press a number or letter and click the score

Program a Metatool

Press shift-number or shift-letter

Program a keyboard equivalent for a tool

Press shift-Function key (F2-F12)

Switch to a tool you’ve programmed

Press Function key (F2-F12)

Select Yes or No in dialog boxes

Type N for “No” and Y for “Yes”

Show Active Layer Only

Shift-Alt-S

Open Document Options

Ctrl-Alt-A

Move up a full screen (page view)

PageUp

Move down a full screen (page view)

PageDown

Move to previous page (page view)

Ctrl-PageUp

Move to next page (page view)

Ctrl-PageDown

Advance one increment up vertically

Alt-PageUp

Advance on increment down vertically

Alt-PageDown

Move left one screen (page view)

Home

Move right one screen (page

End 1919

view) Move to beginning (page view)

Ctrl-Home

Move to end (page view)

Ctrl-End

Move to the top/left of the leftmost viewable page

Shift-Home

Move to the bottom/right of the rightmost viewable page

Shift-End

Advance one increment right horizontally (page view)

Alt-Home

Advance one increment left horizontally (page view)

Alt-End

Move forward screenfull of measures (scroll view)

Ctrl-PageUp

Move backward screenfull of measures (scroll view)

Ctrl-PageDown

Move to beginning of score (scroll view)

Home

Move to end of score (scroll view)

End

Change layers

Alt-Shift-layer number Articulation Tool

Command


Display the Articulation Selection dialog box

Click on, above, or below a note or rest that doesn’t have an articulation attached, or click on a note whose articulation handles are visible, OR drag-enclose a group of notes with or without articulations.

Select an articulation

Click, or shift-click the handle.

Delete an articulation

Select the handle and press delete, or rightclick the handle and select Delete from the 1920

contextual menu. Drag-enclose a group of notes while holding delete to delete articulations on all the notes. Display the Articulation Designer dialog box

Double-click an articulation handle, or rightclick the handle and select Edit Articulation Definition from the contextual menu.

Highlight the note to which the articulation is assigned

Alt-click and hold a handle of an articulation.

Chord Tool

Command


Display positioning triangles

Click the staff (but not on a note or rest)

Display the Chord Definition dialog box

Click a note with no chord symbol attached (With Manual Input selected in the Chord menu), or doubleclick a chord symbol handle, or right-click the handle and select Edit Chord Definition from the contextual menu.

Delete a chord symbol

Select the handle and press delete, or right-click the handle and select Delete from the contextual menu

Input chord symbols using MIDI keyboard

With Allow MIDI Input checked, click a note and play chord on the MIDI keyboard

Analyze chord in one or two staves

With One- or Two-Staff Analysis selected in the Chord menu, click on a note in the chord.

Select a Suffix (type into score mode)

Type root followed by :0

Clef Tool

Command


Display the Change Clef dialog box

Double-click in a measure)

1921

To change the clef for a region

Select the region (if you want a mid-measure clef, select a part of a measure) and then double click the highlighted region.

To change the clef from a measure to the next clef change

Double-click an unselected measure or a fully selected measure.

Adjust the mid-measure clef position

Drag the handle of the mid-measure clef

Delete a mid-measure clef

Select the handle and press delete, or right-click the handle and select Delete from the contextual menu.

Change a mid-measure clef to another clef

Double-click the mid-measure clef’s handle and drag left or right, or right-click the handle and select Edit Clef Definition. Expression Tool

Command


Display the Expression Selection dialog box

Double-click on, above, or below a measure or note.

Select an expression handle

Click, or shift-click to select multiple handles or press Ctrl-A to select all available handles.

Move selected expression and attachment point

Drag the selected handles

Move the expression without changing the attachment point

Alt-drag the selected handles

Add selected expression to adjacent staff. (Non-Score List expressions only)

Select an expression handle and press CtrlUp arrow or Ctrl-Down arrow to add the expression to the staff above or below (respectively).

Add selected expression to all

Select an expression handle and press Ctrl1922

staves above/below. (Non-Score List expressions only)

Home or Ctrl-End to add the expression to all staves above or below (respectively).

Add selected expression to all staves. (Non-Score List expressions only)

Select an expression handle and press CtrlAlt-Enter to add the expression to all staves.

Delete selected expressions

Press delete, or right-click the handle and select Delete from the contextual menu.

Resize a shape expression

Double-click an expression handle, or rightclick the handle and select Edit Score Shape Expression Graphically from the contextual menu.

Display the Expression Designer dialog box

Double-click an expression handle (text expression), or right-click the handle and select Edit Expression Definition from the contextual menu.

Display the Shape Expression Designer dialog box

Ctrl-double-click an expression handle (shape expression), or right-click the handle and select Edit Shape Expression Definition from the contextual menu.

Display the Expression Assignment dialog box

Shift-double-click an expression handle, or right-control-click the handle and select Edit Expression Assignment from the contextual menu.

Highlight the note/measure to which the expression is attached

Hold down Alt and click the expression’s handle.

To quickly change one expression to another using metatool shortcuts

Highlight the Expression handle and doublepress the metatool key corresponding to the expression you want to switch to

Graphics Tool

1923

Command


Align Left

Ctrl-Shift- [ (left square bracket)

Center Horizontally

Ctrl-Shift- ' (apostrophe)

Align Right

Ctrl-Shift- ] (right square bracket)

Align Top

Ctrl- - (minus)

Center Vertically

Ctrl-Shift- = (equals)

Align Bottom

Ctrl-Shift- - (minus)

Place a graphic in the Shape Designer

Click in the Shape Designer display area, the Place Graphics dialog box appears

Select a graphic or graphics

Click a graphic or drag-enclose graphics, shift-click a graphic

Display the Graphic Attributes dialog box

Ctrl-Shift- T or dDouble-click a graphic

Place a graphic in the score

Double-click in the score, the Place Graphics dialog box appears

Select a region containing the musical example to export

Double-click and drag to enclose a region in Page View

Delete the selected graphics

Press delete for one or more selected graphics

Adjust the graphic’s position in the score

Drag a selected graphic

Resize the graphic horizontally or vertically

Drag a graphic’s bounding handle

1924

Hand Grabber Tool

Command


Temporarily switch to Hand Grabber Tool

Press the right-button (and drag in the score)

HyperScribe Tool

Command


Indicate where to begin transcription

Click a measure

End HyperScribe in the middle of a measure

Ctrl-click anywhere on the score

Transcription Mode

Command


Display the Transcription window

Click a measure or Ctrl-click a measure if you had Transcribe in Measures selected while transcribing

Transcribe a measure at a time

Click a measure with Transcribe in Measures selected

Lyrics Tool

Command


1925

Click Assign lyrics one syllable at a time

Click within the staff lines at the position of the note

Click Assign lyrics all at once

Ctrl-click within the staff lines at the position of the first note

Display a Word Extension handle

Click within the staff lines at the position of the sustained syllable with Edit Word Extension selected from the Lyric menu

Move Syllables

Click within the staff lines at the position of the syllable with Adjust Syllables selected from the Lyric menu

Move to the previous or next verse, chorus or section.

up arrow or down arrow using Type into Score

Left Justify syllable

Ctrl- [ (left square bracket) (with Adjust Syllables Selected)

Right Justify syllable

Ctrl- ] (right square bracket) (with Adjust Syllables Selected)

Center Justify syllable

Ctrl- ' (apostrophe) (with Adjust Syllables Selected)

Align syllable block to the Left


Center syllable block Horizontally


Align syllable block to the Right


Measure Tool

Command


1926

Display the Add Measures dialog box

Ctrl-click the Measure Tool, or right-click the Measure Tool and select Add Measures from the context menu

Add single blank measure to the score

Double-click the Measure Tool, or right-click the Measure Tool and select Add One Measure from the context menu

Display the Measure Attributes dialog box

Double-click the top barline handle or measure, or right-click a handle (or upper handle) and select Edit Measure Attributes from the contextual menu.

Make the Measure wider or narrower

Drag the top barline handle right or left

Display a beat chart

Click the second barline (or middle if there are three) handle, or right-click the handle and select Edit Beat Chart from the contextual menu.

Display a split-point bar

Click the third (bottom) barline handle, or right-click the handle and select Edit Split Points from the contextual menu.

Move a beat horizontally in all staves

Drag one of the lower handles in the beat chart

Move a beat and all subsequent beats horizontally in all staves

Shift-drag one of the lower handles in the beat chart

Add another pair of beat positioning handles

Double-click between two upper handles of a beat chart

Display the Beat Chart Element dialog box

Double-click an upper handle in the beat chart

Delete a beat chart pair from the beat chart

Click on an upper handle to select it and press delete

1927

Change a barline

Right-click the handle and select Barlines, then the desired barline type (Normal, Double, Final, Solid, Dashed, Invisible, Tick) from the contextual menu.

Display a handle on every measure number

Click the Measure Tool

Display the Measure Number dialog box

Shift-double-click on the Measure Tool.

Reset measure number positioning

Press backspace, or right-click the handle and select Restore Default Position from the contextual menu.

Delete a measure number


Move a measure number

Drag the measure number’s handle

Display the Enclosure Designer dialog box

Double-click a measure number’s handle, or right-click the handle and select Edit Enclosure from the contextual menu.

Force a measure number to appear

Ctrl-click a measure without a measure number

Force measure numbers on a measure in all staves of a staff system

Ctrl-shift-click on a measure

Remove a multimeasure rest

right-click the handle and select remove a multimeasure rest from the contextual menu.

Mirror Tool

1928

Command


Display Mirror and Placeholder icons

Click the Mirror Tool

Display the Placeholder dialog box

Highlight a measure with notes or with a Placeholder icon

Display the Tilting Mirror dialog box

Double-click an empty measure or a measure with a Mirror icon

Display the Mirror Attributes dialog box

Shift-double-click a measure with a Mirror icon

Note Mover Tool

Command


Display a handle on every notehead in the measure

Click a measure

Select a handle or handles

Click, shift-click, drag-enclose or shift-dragenclose the handles

Delete selected notes (still in their original measure)


Move or Copy notes to another measure

Drag a note or a group of notes to the end of the measure and the selected action in the Note Mover menu will take place

Copy notes to the beginning of a measure

Drag a note or a group of notes to the beginning of the measure (if the measure isn’t rhythmically full)

Ossia Tool 1929

Command


Display handles on every ossia measure

Click the Ossia Tool in Page View

Display a handle on a measure-assigned ossia measure

Click the Ossia Tool in Scroll View and click the measure to which the Ossia measure is attached

Display the Ossia Measure Designer dialog box

In Page View, double-click anywhere on the document; In Scroll View click a measure with no ossia measure attached, or double-click a measure with an ossia measure attached; Double-click a floating measure’s handle, or right-click the handle and select Edit Ossia Definition from the contextual menu.

Select an ossia measure

Click the ossia measure’s handle

Move a selected ossia measure

Drag the handle

Delete a selected ossia measure


Display the Page Assignment for Ossia Measure dialog box

Shift-double-click a page-assigned floating measure’s handle, or right-click the handle and select Edit Ossia Assignment from the contextual menu (in Page View).

Display the Measure Assignment for Ossia Measure dialog box

Shift-double-click a measure-assigned floating measure’s handle, or right-click the handle and select Edit Ossia Assignment from the contextual menu.

Page Layout Tool

1930

Command


Display Page and System margins

Click the Page Layout Tool

Resize page, margins or system

Drag a handle in Page View

Move a system

Drag the system in Page View

Move a system without moving other systems

Hold down Ctrl and drag the center of a staff system

Select handles

Drag-enclose to select handles

Select all system handles

Ctrl-A

Repeat Tool

Command


Display the Repeat menu

Click the Repeat Tool

Display the Repeat Selection dialog box

Double-click a selected repeat

Delete a text repeat, repeat barline

Click on the handle and press delete, or right-click the handle and select Delete from the contextual menu.

Move a text repeat

Select the handle and drag.

Change the size of a repeat barline’s bracket

Drag the repeat bracket handle up or down, left or right

Display the Repeat Designer dialog box

Double-click a text repeat handle, or rightclick the handle and select Edit Repeat 1931

Definition from the contextual menu. Display the Backward Repeat Bar Assignment dialog box

Double-click a repeat barline handle, or right-click the handle and select Edit Repeat Assignment from the contextual menu.

Display the Ending Repeat Bar Assignment dialog box

Double-click a repeat ending number handle, or right-click the handle and select Edit Repeat Assignment from the contextual menu.

Display the Repeat Assignment dialog box

Shift-double-click a text repeat handle, or right-click the handle and select Edit Repeat Assignment from the contextual menu.

Resize Tool

Command


Reduce or enlarge a notehead

Click on the notehead or right-click and select Resize Notehead from the contextual menu.

Reduce or enlarge an entire note or beam group

Click on the note stem or right-click and select Resize Note or Rest from the contextual menu.

Reduce or enlarge a staff

In Page View, click on the staff or right-click and select Resize Staff from the contextual menu.

Reduce or enlarge a system

In Page View, click between any two staves in the system or right-click and select Resize System from the contextual menu.

Reduce or enlarge a page, or a range of pages

In Page View, click the upper-left corner of the page or right-click and select Resize Page from the contextual menu. 1932

Selection Tool

Command


Switch to Selection Tool

Esc or Ctrl-shift-A

Select an item

Click on the item

Select the appropriate tool to edit item

With item selected, double-click or press enter

Select between overlapping items

Click on the item then press plus or minus to cycle through overlapping items. Or, just clicking the mouse again cycles through the overlapping items.

Display the Fit Measures dialog box

Ctrl- M (Page View only)

Lock currently selected systems

L (or, L with the Selection Tool selected)

Unlock currently selected systems

U (or, U with the Selection Tool selected)

Select a measure or measures

Click to select a full measure. Dragenclose to select a region including partial measures. To contrain to full measures, hold down Shift while dragenclosing.

1933

Extend a partial measure selection to include only full measures.

Extend a selection of measures vertically

Double-click the selected region.

•Press Shift-up arrow to extend selection up or Shift-down arrow to extend selection down. •Double-click a selected measure to include the entire vertical measure “stack” (that measure in all staves); The first double-click selects a single full measure, and the second doubleclick selects the measure stack; Shift-click on a staff above or below a selected region to extend selection to that staff. •Hold down shift and press Page Up to select all staves to the top staff of the system. •Hold down shift and press Page Down to select all staves to the bottom staff of the system.

1934

Extend a selection of measure horizontally

• While holding down Shift, press right arrow or left arrow to extend selection to the next or previous note. • Press Shift-Ctrl and press the right arrow or left arrow to extend the selection by full measures. (Choose to adjust the beginning of the selected region by first pressing Shift left arrow. Choose to adjust the end of the selected region by first pressing Shift right arrow.) If there are no notes in the measure, Finale selects the entire measure. • Hold down Shift and press the End key to select all measures to the end of the score. • Hold down Shift and press the Home key to select all measures to the beginning of the score.

Select a staff or staves

Click to the left of a staff; Shift-click to the left of a staff to extend the selection

1935

Move or copy and paste a selected section of music

Drag the region so it is superimposed on the beginning of another region, which elements to be copied are selected in the Edit menu before you drag (See Edit Filter dialog box). The target region can include a portion of the source region. Or, Ctrl-click the place where the selected elements should be copied or moved to.

Move or copy and insert a selected section of music

Hold down the Alt key and drag the region so a red (or green) Insertion Cursor appears at the beginning of another region. Which elements to be inserted are selected in the Edit menu before you drag (See Edit Filter dialog box). The target region can include a portion of the source region. Inserting pushed subsequent notes in the staff to the right the duration of the inserted material.

Move or copy and paste specific items from a selected section of music

Drag the region so it is superimposed on the beginning of another region, which elements and whether you are moving or copying are selected in the Edit menu 1936

before you drag (See Edit Filter dialog box). The target region can include a portion of the source region. Ctrl-Shift-click the place where the selected elements should be copied or moved to. Choose the items you want to copy and click OK. Move or copy and paste a selected section of music multiple times

Highlight the source region and press CtrlC to copy. Highlight the target and press Alt-Ctrl-V. Enter the number of copies in the Paste Multiple dialog box and click OK.

Select all (measure stack in all measures)

Ctrl-A

Display the Clip dialog box

Press Ctrl or shift while choosing Cut or Copy from the Edit menu

Display the Paste dialog box

Press Ctrl while choosing Paste in the Edit menu

Clear selected music

Select a region of music and press backspace

Delete selected measures

Select a measure stack (double-click) and press backspace

Move selected measures to the previous or next staff system

Up arrow or down arrow

1937

Cancel an operation

Press esc

Implode Music (displays the Implode Music dialog box)

Select the measures you want to affect, then press 1 on your computer keyboard.

Drag-Implode Music for multiple staves (displays the Implode Music dialog box)

Press I while dragging selected measures to their destination.

Drag-Explode Music for multiple staves (displays the Explode Music dialog box)

Hold down E while drag copying to the target region.

· Respace notes, lyrics, and accidentals (Apply Beat Spacing command) using the settings in Document OptionsMusic Spacing

With the Selection Tool, select the measures you want to affect, then press 5 on your computer keyboard. In all tools that allow regional selection, press Ctrl-5.

· Respace notes, lyrics, and accidentals (Apply Note Spacing command) using the settings in Document OptionsMusic Spacing

With the Selection Tool, select the measures you want to affect, then press 4 on your computer keyboard. In all tools that allow regional selection, press Ctrl-4.

· Show elapsed time based on current tempo (displays the Elapsed Time dialog box)

Select the measures you want to affect, then press 3 on your computer keyboard.

· Transpose (programmable)

With the Selection Tool, select the measures you want to affect, then press any number between 6 and 9 on your computer keyboard. (Ctrl-6 through 9 without the Selection 1938

Tool selected. · Program Transpositions

Shift-Ctrl-6 through 9

Select or deselect the SmartFind Source Region

Ctrl-F

Display the Apply SmartFind and Paint dialog box

Ctrl-Shift-F

Simple Entry Tool

Command


Accidental: Double Flat

Shift- - (minus)

Accidental: Double Sharp

Shift- =

Accidental: Flat

-

Accidental: Sharp

=

Accidental: Half Step Up

Numpad +

Accidental: Half Step Down

Numpad -

Accidental: Natural

N

Accidental: Show/Hide courtesy accidental

Ctrl-Shift- - (minus)

Add Interval: Unison through octave above

1 through 8

Add Interval: Ninth above

Ctrl-Shift 9

Add Interval: Second through ninth below

Shift-2 through 9

1939

Add Pitch: A-G

Shift-A through G

Add Pitch: At caret pitch

Ctrl-Enter

Add/Change Items: Articulation

Alt-A or Numpad * (and then the articulation metatool or press the keystroke again to choose articulation)

(trigger articulation entry) Add/Change Items: ArticulationSticky

Ctrl-Alt-Shift-A or Ctrl-Numpad *

Add/Change Items: Clef

Alt-C

(trigger clef entry) Add/Change Items: Key Signature

Alt-K

(trigger key signature entry) Add/Change Items: Time Signature

Alt-T

(trigger time signature entry) Add/Change Items: Expression

X or Alt-X

(trigger expression entry) Change Pitch (caret or selected note): Step Down Diatonically

Down arrow

Change Pitch (caret or selected note): Step Up Diatonically

Up arrow

Change Pitch: Octave Down Diatonically

Alt-Shift-down arrow

Change Pitch: Octave Up Diatonically

Alt-Shift-up arrow

Duration: 12864th through Double

Alt-Numpad 0-8 or Alt 0-8 1940

Whole Duration: Augmentation Dot

. (Decimal point in Numpad) or . (Period)

Duration: Tuplet - Create Default

9 or Numpad 9

Duration: Tuplet - Create UserDefined

Alt-Numpad 9 or Alt-9 (or Shift-click in a measure with the Simple Tuplet Tool chosen)

Enter Note: At Caret Pitch

Enter or Return (with Simple Entry Caret active)

Enter Note: A-G

A-G

Enter Rest

Numpad 0, 0, Alt-Enter, Shift-Enter or Tab

Modify: Beam - Break

/

Modify: Beam - Flat

Alt-/

Modify: Beam - Use Default

Shift-/

Modify: Change Pitch Enharmonically

Alt-E

Modify: Delete

Delete or Shift-Backspace

Modify: Grace Note

Alt-G

Modify: Show/Hide

H

Modify: Stem - Flip

L

Modify: Stem - Use Default

Shift-L

Modify: Tie to Next Note

T or Numpad /

1941

Modify: Tie to Previous Note

Shift-T or Ctrl-Numpad /

Modify: Flip Tie

Ctrl-F

Modify: Move note just entered with caret up diatonically

Alt-up arrow

Modify: Move note just entered with caret down diatonically

Alt-down arrow

Toggle note to rest (selected note or note just entered with caret)

R

Navigation: Caret/Selection Clear

Backspace or Escape

Navigation: Caret - Step Down

Down arrow

Navigation: Caret - Step Up

Up arrow

Navigation: Caret - Octave Down

Shift-Down arrow

Navigation: Caret - Octave Up

Shift-Up arrow

Navigation: Selection - Down

Ctrl-Down arrow

Navigation: Selection - Up

Ctrl-Up arrow

Navigation: Selection - One Entry Left

Left arrow

Navigation: Selection - One Entry Right

Right arrow

Navigation: Selection - One Measure Left

Ctrl-Left arrow

1942

Navigation: Selection: One Measure Right

Ctrl-Right arrow

Navigation: Selection: Select All

Ctrl-A

Navigation: Switch Tool (and clear other selections)

Double-click tool or quickly repeat tool selection keyboard shortcut

Selection: Select a note within a chord without clearing previous selection (in entry)

Ctrl-shift-click the note or rest

Tool: Accidental - Flat

Alt- - (Minus)

Tool: Accidental - Natural

Alt- N[

Tool: Accidental - Sharp

Alt- =

Tool: Augmentation Dot

Ctrl- Numpad . (decimal point) or Shift-. (Period)

Tool: Eraser

Alt-Backspace or Alt-Delete

Tool: Grace Note

Ctr-G

Tool: 64th Note through Double Whole Note

Numpad 1-8 (or Ctrl-Alt-Shift 1-8)

Tool: 128th Note

Ctrl-Alt-Shift 0

Tool: 64th Rest through Double Whole Rest

Ctrl-Numpad 1-8

Tool: Repitch

Shift-‘ (Accent) or Ctrl-R

Tool: Toggle Note/Rest

Alt-R

1943

Tool: Tuplet

Ctrl-9 or Ctrl-Numpad 9

Tool: Tie

Alt-Numpad / or Ctrl-Shift-T

TAB-Add Note on String 1-9

Alt 1-9

TAB-Add Note on String: At Caret Pitch

Ctrl-Enter

TAB-Add Note at Caret String

Enter

TAB-Change Pitch: Increment Fret Number

= or Numpad +

TAB-Change Pitch: Decrement Fret Number

- or Numpad -

TAB-Change String: Down One

Alt-down arrow

TAB-Change String: Up One

Alt-up arrow

TAB-Change to Fret Number: 0-9

Ctrl-Shift 0-9 or Alt-Numpad 0-9 (type two numbers quickly for two digit numbers)

TAB-Duration: 64th through Double Whole

Ctrl-Alt 1-8

TAB-Duration: 128th Note

Ctrl-Alt ‘ (Accent)

TAB-Duration: Augmentation Dot

. (period) or Numpad . (decimal point)

TAB-Duration:Tuplet - Create Default

Alt-0 or Ctrl-Alt 9 or Ctrl-Alt-Numpad 9

TAB-Duration:Tuplet - Create User Defined

Shift-0

1944

TAB-Enter Note on Fret 0-9 or AK

Numpad 0-9 or A-K

TAB-Enter Note on Fret 10-19 or L-U

Ctrl-numpad 0-9 or L-Q

TAB-Enter Rest

Tab or Shift-Enter or Alt-Enter

TAB-Modify: Delete

Delete or Shift-Backspace

TAB-Modify: Grace Note

Alt-G

TAB-Modify:Show/Hide

Ctrl-H

TAB-Modify: Tie to Next Note

T or Numpad /

TAB-Modify: Tie to Previous Note

Shift-T or Ctrl-Numpad /

TAB-Modify: Toggle Note/Rest

R or Shift-Spacebar

TAB-Navigation: Caret/Selection Clear

Backspace

TAB-Navigation: Move caret to string 1-9

1-9

TAB-Navigation: String Up

Up arrow

TAB-Navigation: String Down

Down arrow

TAB-Tool: Augmentation Dot

Ctrl-Numpad . (decimal) or Shift-. (period)

TAB-Tool: Eraser

Alt-Backspace or Alt-Delete

TAB-Tool: Grace Note

Ctrl-G

TAB-Tool: Note - 64th through

Ctrl-Alt-Shift 1-8 or Ctrl-Alt-Numpad 1-8

1945

Double Whole TAB-Tool: Repitch

Ctrl-R or Shift-‘ (Accent)

TAB-Tool: Tie

Ctrl-Shift-T or Alt-Numpad /

TAB-Tool: Toggle Note/Rest

Alt-R

TAB-Tool: Tuplet

0 or Ctrl-Alt-Numpad 0

Simple Entry Laptop Set Laptop users: To use this set, from the Simple menu, choose Simple Entry Options and then click Edit Keyboard Shortcuts. In the Edit Keyboard Shortcuts dialog box, from the Name drop-down menu, choose “Laptop Shortcut Table”.

Command


Accidental: Half Step Up

=

Accidental: Half Step Down

-

Accidental: Natural

N

Accidental: Show/Hide courtesy accidental

Ctrl-Shift--(minus)

Add Interval: 2nd through octave above

F2 through F8

Add Interval: Ninth above

Ctrl-Shift-F9

Add Interval: Second through ninth below

Shift-F2 through F9

Add Interval: Ninth below

Shift-F9

1946

Add Pitch: A-G

Shift-A through G

Add Pitch: At caret pitch

Ctrl-Enter

Add/Change Items: Articulation

‘ (accent)

Add/Change Items: ArticulationSticky

Alt-Shift-‘ (accent)

Add/Change Items: Clef

Alt-C

Add/Change Items: Key Signature

Alt-K

Add/Change Items: Time Signature

Alt-T

Add/Change Items: Expression

Alt-X (or X)

Change Pitch (caret or selected note): Step Down Diatonically

Alt-Down Arrow

Change Pitch (caret or selected note): Step Up Diatonically

Alt-Up Arrow

Change Pitch: Octave Down Diatonically

Alt-Shift-Down arrow

Change Pitch: Octave Up Diatonically

Alt-Shift-Up Arrow

Duration: 128th through Double Whole

Alt-0 through 8

Duration: Augmentation Dot

. (period)

Duration: Tuplet - Create Default

9

1947

Duration: Tuplet - Create UserDefined

Alt-9

Enter Note: At Caret Pitch

Enter

Enter Note: A-G

A through G

Enter Rest

Alt-Enter (or Shift-Enter or Tab)

Modify: Beam - Break

/

Modify: Beam - Flat

Alt-/

Modify: Beam - Use Default

Shift-/

Modify: Change Pitch Enharmonically

Alt-E

Modify: Delete

Delete

Modify: Grace Note

Alt-G

Modify: Show/Hide

H

Modify: Stem - Flip

L

Modify: Stem - Use Default

Shift-L

Modify: Tie to Next Note

T

Modify: Tie to Previous Note

Shift-T

Modify: Flip Tie

Ctrl-Shift-F

Toggle note to rest (selected note or note just entered with caret)

R

1948

Navigation: Caret/Selection Clear

Backspace

Navigation: Caret - Step Down

Down Arrow

Navigation: Caret - Step Up

Up Arrow

Navigation: Caret - Octave Down

Shift-Down Arrow

Navigation: Caret - Octave Up

Shift-Up Arrow

Navigation: Selection - Down

Ctrl-Down Arrow

Navigation: Selection - Up

Ctrl-Up Arrow

Navigation: Selection - One Entry Left

Left Arrow

Navigation: Selection - One Entry Right

Right Arrow

Navigation: Selection: Select All

Ctrl-A

Navigation: Switch Tool (and clear other selections)

Double-click tool or quickly repeat tool selection keyboard shortcut

Selection: Select a note within a chord without clearing previous selection (in entry)

Ctrl-shift-click the note or rest

Tool: Accidental - Flat

Alt-- (minus)

Tool: Accidental - Natural

Alt-N

Tool: Accidental - Sharp

Alt-=

Tool: Augmentation Dot

Shift-.

1949

Tool: Eraser

Alt-Backspace

Tool: Grace Note

Ctrl-G

Tool: 128th Note through Double Whole Note

Ctrl-Alt-Shift 0 through 8 (or with no selection, 0 through 8)

Tool: Repitch

Ctrl-R or Shift-‘ (accent)

Tool: Toggle Note/Rest

Alt-R

Tool: Tie

Ctrl-Shift-T

Smart Shape Tool

Command


Flip a selected Slur or Bend

F

Flip a selected Slur or Bend (reverse linking behavior)

Ctrl-F

Change a selected Slur or Bend back to Automatic

Alt-Shift- F

Display handles on all smart shapes

Click the Smart Shape Tool

Edit or Delete a Smart Shape

Click the handle of the Smart Shape

Select all Smart Shapes on the page

Ctrl-A

Change the slur’s ending or starting note

Drag or nudge an endpoint handle

1950

Change the slur’s arc height

Drag or nudge a center curve handle

Move from any secondary (diamond) handle to another

Tab

Hide secondary handles

Esc

Move between primary SmartShape handles

Tab

Change the slur’s arc height and angle

Shift-drag a center curve handle

Change the slur’s arc and inset asymmetrically

Drag or nudge an inner curve handle

Change the slur’s arc and inset symmetrically

Ctrl-drag an inner curve handle

Create an inverted bracket with the hook pointing away from the staff instead of toward the staff. It will also change the text for an 8va or 15ma below the staff or 8vb or 15mb above the staff

Ctrl-double-click and drag

Display the Smart Line Selection dialog box

Ctrl-click the Custom Line Tool

Add an artificial harmonic (A.H.)

A (Hold down A, then double-click and drag)

Add a bend curve

B (Hold down B, then double-click and drag)

Add a dashed line

D (Hold down D, then double-click and drag)

Add a trill extension

E (Hold down E, then double-click and drag)

Add glissando without text

F (Hold down F, then double-click and drag)

1951

Add a glissando with text

G (Hold down G, then double-click and drag)

Add a Hammer-on (H)

H (Hold down H, then double-click and drag)

Add a Pull-off (P)

3 (Hold down 3, then double-click and drag)

Add a release (R)

R (Hold down R, then double-click and drag)

Add a Bend (B)

U (Hold down U, then double-click and drag)

Add a Hammer-on above slur or tie


Add a solid line

L (Hold down L, then double-click and drag)

Add a Palm Mute (P.M.)

M (Hold down M, then double-click and drag)

Add a Natural Harmonic (N.H.)

N (Hold down N, then double-click and drag)

Add a slur

S (Hold down S, then double-click and drag)

Add a trill

T (Hold down T, then double-click and drag)

Add a dashed slur

V (Hold down V, then double-click and drag)

Add a TAB slide

X (Hold down X, then double-click and drag)

Add a single-hooked dashed line

Y (Hold down Y, then double-click and drag)

Add a double hooked dashed line

Z (Hold down Z, then double-click and drag)

Add a 15ma or 15mb marking


Add a bend hat


1952

Add an 8va or 8vb marking


Add a single hooked line

K (Hold down K, then double-click and drag)

Add a double-hooked line

O (Hold down (letter) O, then double-click and drag)

Add a crescendo

< (Hold down <, then double-click and drag)

Add a pedal down/pedal up marking

P (Hold down P, then double-click and drag)

Add a custom line (as defined)

C (Hold down C, then double-click and drag)

Add a decrescendo

> (Hold down >, then double-click and drag)

Speedy Entry Tool

Command


Display the Edit Frame dialog box

Ctrl-click any measure that contains music

Remove note, rest or chord

delete

Hide/show note or rest

letter O or H

Add or remove accidental parentheses

P

Jump to previous measure

[ (left square bracket) or shift-left arrow

Jump to next measure

] (right square bracket) or shift-right arrow

Flip stem in opposite direction

L

1953

Restore stem direction to “floating” status

Ctrl-L

Change to/from a grace note

; (semicolon) or G

Change to/from a slashed flagged grace note

` (accent) or ; (semicolon) or G

Voice 1/2

' (apostrophe)

Switch to next layer

shift–

Switch layers downward (from 1 to 4)

shift-down arrow

Move editing frame down a staff

shift-down arrow

Move editing frame up a staff

shift-up arrow

Add or change note (64th–double whole note)

1–8

Add or change 128th note

Ctrl-0 (zero)

Insert 64th note–whole note

shift-1 through shift-7 (on keyboard only) (with MIDI, while playing note)

Insert double whole note (without MIDI)

shift–8 (on numeric keypad only)

Insert 128th note (without MIDI)

Ctrl-shift-0 (zero) (in insert mode only)

Add 64th rest–whole rest (with MIDI)

shift-1 through shift-7 without pressing note

Add rest (with or without MIDI)

Ctrl-shift–option-1-7 (on keyboard only)

1954

Add double whole rest (with MIDI)

shift-8 (on numeric keypad only)

Add 128th rest (with MIDI)

Ctrlshift-0 (zero)

Add a rest (with Hands-Free MIDI)

play any three note cluster

Toggle Insert mode

insert (or shift-0 (zero) Num Pad only)

Constrain dragging a note (horizontal/vertical)

shift-drag

Begin a tuplet (duplet–octuplet)

Ctrl-2 through Ctrl-8

Define a tuplet

Ctrl-1

Raise by a half step

+ (plus) or shift-S

Lower by a half step

– (minus) or shift-F

Raise by a half step (for entire measure)

Ctrl- + (plus)

Lower by a half step (for entire measure)

Ctrl- – (minus)

Flat note

F

Sharp note

S

Natural note

N

Double-sharp

X

Double-flat

V

Previous note

Left arrow

1955

Next note

Right arrow

Move to first note or rest in measure

Ctrl-left arrow

Move just beyond last note or rest in measure

Ctrl-right arrow

Down a step

Down arrow

Up a step

Up arrow

Remove note from chord

backspace or shift-delete

Change single note to rest

backspace or shift-delete or R

Tie/untie to next note

= (equals) or T

Tie/untie to previous note

Ctrl = (equals) or shift-T

Flip a tie

Ctrl-F

Restore tie direction to automatic

Ctrl-shift-F

Break/join beam from previous note

/ (backslash) or B

Restore default beaming

Shift-B

Flatten a beam

\ (forward slash) or M

Show/hide any accidental

* (asterisk)

Show/hide a courtesy accidental

A

Restore courtesy accidental to optional status

Ctrl-* (asterisk)

1956

Return a rest to its default position

* (asterisk)

Exit measure and redraw/re-enter measure

0 (zero)

Flip a note to its enharmonic equivalent

9

Flip enharmonic throughout measure

Ctrl-9 (cursor on first note in measure)

Add a dot

. (period)

Add a note to a chord

enter

Change a rest to a note

enter

Specify a pitch, high C–B (without MIDI)

Q-W-E-R-T-Y-U (with Caps Lock)

Specify a pitch, middle C–B (without MIDI)

A-S-D-F-G-H-J (with Caps Lock)

Specify a pitch, low C–B (without MIDI)

Z-X-C-V-B-N-M (with Caps Lock)

Raise all pitch keys an octave

, (comma) (with Caps Lock)

Lower all pitch keys an octave

I (letter I) (with Caps Lock)

Restore all pitch keys to normal register

K (with Caps Lock)

Special Tools Tool

Command

Keyboard Shortcut or Mouse Click 1957

Display handles in the measure

Click the Special Tool you want to use and click on the measure

Select a handle or handles

Click, shift-click or drag-enclose, or Ctrl-A

Reset the note to its original state

Press delete, or backspaceor shift-delete

Move selected items very slightly (nudge)

Use the arrow keys

Flip a selected tie

Ctrl-F

Restore tie direction to automatic

Ctrl-shift-F

Staff Tool

Command


Display the Staff menu and handles

Click the Staff Tool

Select a staff (or staves).

Click a staff or a staff handle, or dragenclose staff handles

Add the staff to the selection. If a staff is already selected, remove the staff from the selection.

Shift-click a staff or a staff handle

Display the Staff Attributes dialog box.

Double-click a staff or a staff handle, or double-click a full or abbreviated staff name handle, or right-click the handle and select Edit Staff Attributes from the contextual menu.

Add a staff without repositioning the lower staves to make room for the new staff.

Double-click in the score (in Scroll View)

1958

Insert a staff between staves, repositioning the lower staves to make room for the new staff.

Shift-double-click below a staff in the score (in Scroll View)

Add a staff to the bottom of the score

Double-click the Staff Tool

Display the Group Attributes dialog box.

Double-click a group handle, or double-click a bracket handle, or right-control-click the group or bracket handle and select Edit Group Attributes from the contextual menu. right-click the staff handle and select Add Group and Bracket from the contextual menu.

Delete the selected staves without repositioning the remaining staves.

Select the staff handle and press shift-delete for selected staves, or right-click the handle and select Delete Staves and Reposition from the contextual menu.

Delete the selected staves and reposition the remaining staves.

Press delete for selected staves, or rightclick the handle and select Delete Staves from the contextual menu.

Adjust the staff’s position only in the current staff system (drag the top handle to adjust the position of the staff in all staff systems in Page View).

Drag the staff’s lower handle in Page View. Note: If a staff system has been optimized using the Page Layout Tool, two handles will appear on each staff in the optimized staff system.

Select a group (or groups).

Click a group handle, or drag-enclose group handles

Add the group to the selection. If a group is already selected, remove the group from the selection.

Shift-click a group handle

Edit a full or abbreviated group name using the Edit Text window.

Ctrl-click a group handle, or right-click the handle and select Edit Full Group Name or Edit Abbreviated Group Name from the

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contextual menu.

Position a group name using the Position Full Group Name or Position Abbreviated Group Name dialog box.

Ctrl-shift-click a group handle, or right-click the handle and select Position Full Group Name or Position Abbreviated Group Name from the contextual menu.

Revert the position of the group names to their default position.

Press backspace for selected groups

Remove the selected group definitions.

Press delete for selected groups, or rightclick the handle and select Delete Group from the contextual menu.

Adjust the position of a group name.

Drag a group handle

Select a staff name (or names).

Click a staff name handle, or drag-enclose staff name handles

Add the staff name to the selection. If a staff name is already selected, remove the staff name from the selection.

Shift-click a full or abbreviated staff name handle

Edit a full or abbreviated staff name using the Edit Text window.

Ctrl-double-click a full or abbreviated staff name handle, or right-click the handle and select Edit Full Staff Name or Edit Abbreviated Staff Name from the contextual menu

Position the selected staff name using the Position Full Staff Name or Position Abbreviated Staff Name dialog box.

Ctrl-shift-click a full or abbreviated staff name handle, or right-control-click the handle and select Position Full Staff Name or Position Abbreviated Staff Name from the contextual menu.

Revert the position of the full or abbreviated staff name to its

Press backspace for a selected staff name handle

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default position. Adjust the position of the selected staff name.

Drag a full or abbreviated staff name handle

Select a bracket (or brackets).

Click a bracket handle, or drag-enclose several bracket handles

Add the bracket to the selection. If a bracket is already selected, remove the bracket from the selection.

Shift-click a bracket handle

Remove the selected brackets.

Press delete for selected brackets, or rightclick the handle and select Delete from the contextual menu.

Revert the selected brackets to their default length.

Press backspace for selected brackets

Make a bracket taller or shorter.

Drag a bracket handle vertically

Move a bracket closer to or away from bracketed staves.

Drag a bracket handle horizontally

Select a clef for the staff.

right-click the staff handle and select Select Clef from the contextual menu.

Remove Staff Styles from selected region.

Click the Staff Style bar and press Delete. Or, Select the measures, right click and choose Clear Staff Styles.

Text Tool

Command


Left Justify text in a text block

Ctrl- [ (left square bracket) 1961

Right Justify text in a text block

Ctrl- ] (right square bracket)

Center Justify text in a text block

Ctrl- ' (apostrophe)

Full Justify text in a text block

Ctrl- ; (semicolon)

Forced Full Justify text in a text block

Ctrl-Shift- ; (semicolon)

Bold

Ctrl-Shift- B

Italic

Ctrl-Shift- I

Underline

Ctrl-Shift- U

Increase Point Size by one

Ctrl-Shift- . (period)

Decrease Point Size by one

Ctrl-Shift- , (comma)

Page Number Text Insert

Ctrl-Shift- P

Sharp sign Text Insert

Ctrl-Shift- S

Flat sign Text Insert

Ctrl-Shift- F

Natural sign Text Insert

Ctrl-Shift- N

Display Character Settings dialog box

Ctrl-T

Display Line Spacing dialog box

Ctrl-Shift-L

Align Text block to the Left


Center Text block Horizontally


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Align Text block to the Right


Align Text block to the Top

Ctrl- - (minus)

Center Text block Vertically

Ctrl-Shift- = (equals)

Align Text block to the Bottom

Ctrl-Shift - (minus)

Display the Standard Frame dialog box

Ctrl- M

Display the Custom Frame dialog box

Ctrl-Shift- M

Display the Frame Attributes dialog box

Ctrl-Shift- T or shift-double-click a text block handle, or right-click the handle and select Edit Frame Attributes from the contextual menu.

Display the Text menu

Click the Text Tool

Display handles on text blocks

Click the Text Tool

Select a text block or text blocks

Click a text block handle or drag-enclose text block handles, shift-click a text block handle

Create an unbounded frame that expands as you enter text

Double-click in the score

Create a bounded, fixed-size frame for text

Double-click and drag in the score

Edit the text block

Double-click a text block handle, or rightclick the handle and select Edit Text from the contextual menu.

Delete the selected text blocks

Press delete for one or more selected text blocks, or right-click the handle and select 1963

Delete from the contextual menu. Adjust the text block’s position in the score

Drag a selected text block handle

Tuplet Tool

Command


Display positioning handles

Click the first note of a tuplet

Position tuplet

Drag a positioning handle

Delete tuplet

Press delete for selected tuplet, or right-click the handle and select Delete from the contextual menu.

Display the Tuplet Definition dialog box

Double-click a positioning handle or the first note in a group that you want to define as tuplets, or right-click the handle and select Edit Tuplet Definition from the contextual menu.

Display the Default Tuplet Visual Definition dialog box

Ctrl-Double-click the Tuplet Tool, or rightclick the Tuplet Tool and select Edit Tuplet Definition from the context menu

Zoom Tool

Command


Zoom in

Click the score or press Ctrl- +

Zoom out

Ctrl-click the score or press Ctrl- -(minus)

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Temporary switch to Zoom Tool: zoom in

Shift-click the right-button

Temporary switch to Zoom Tool: zoom out

Ctrl-Shift-click the right-button

Fill the screen with the selected area

Drag-enclose an area

Playback

Command


Begin/stop playing

Alt-D-P or Alt-D-O

Begin playing (Playback Controls closed) from the measure clicked

Spacebar–click in staff

Begin playing from the clicked measure in the clicked staff only

Shift-spacebar–click in staff

Begin playing from measure one in all staves

Spacebar–click to the left of a staff system

Begin playing from measure 1 for the clicked staff

Spacebar-shift-click to the left of staff

“Scrub” onscreen music - all staves

Ctrl-spacebar (and drag across music)

“Scrub” onscreen music - clicked staff only

Ctrl-Shift-spacebar (and drag across music)

Shape Designer

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Command


Send to Back

Command-B

Send to Front

Command-F

Group

Command-G

Ungroup

Command-U

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Character Sets The following fonts are included with Finale. Each character is listed along with its keystroke. Note you can also review all font characters using your system's character map.

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Engraver Font Engraver Character Set Engraver Extras Character Set-983235997 Engraver Text Character Set Engraver_Time_Character_Set

See Also: Engraver Font: The Alternate Notehead Sets

Engraver Character Set

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1969

1970

1971

1972

1973

1974

1975

1976

1977

1978

1979

1980

Engraver Extras Character Set

1981

1982

1983

1984

1985

1986

1987

Engraver Text Character Set EngraverTextT is shown below. The Engraver Text fonts correspond to the standard fonts used for the text portions of the font: T for Times, H for Helvetica and NCS for New Century Schoolbook.

1988

1989

1990

1991

Engraver Time Character Set

1992

1993

Jazz Font Jazz Character Set Jazz Text Font Character Set Jazz Chord Font Character Set Jazz Perc Font Character Set

Jazz Character Set

1994

1995

1996

1997

1998

1999

2000

2001

2002

2003

2004

2005

2006

Jazz Text Font Character Set

2007

2008

2009

2010

2011

2012

2013

2014

2015

2016

2017

Jazz Chord Font Character Set

2018

2019

2020

2021

2022

2023

2024

2025

2026

2027

2028

2029

2030

Jazz Perc Font Character Set

2031

2032

2033

2034

2035

2036

Broadway Copyist Font Broadway Copyist Character Set Broadway Copyist Text Font Character Set Broadway Copyist Percussion Font Character Set Broadway Copyist Text Extended Font Character Set

Broadway Copyist Character Set

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2038

2039

2040

2041

2042

2043

2044

Broadway Copyist Text Font Character Set

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2046

2047

2048

2049

2050

2051

Broadway Copyist Percussion Font Character Set

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2053

2054

Broadway Copyist Text Extended Font Character Set

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2056

2057

2058

2059

Maestro Font Notes and Augmentation Dot Noteheads Flags Accidentals Rests Dynamics Articulations Smart Shapes Repeats and Alternate Notation Clefs Staves and Barlines Time Signature and Multimeasure Rest numbers Chord Symbols and Harmonics Percussion Notation Other Notation Symbols

Notes and Augmentation Dot

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Noteheads

2061

Flags

2062

Accidentals

2063

Rests

2064

Dynamics

2065

Articulations

2066

2067

Smart Shapes

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Repeats and Alternate Notation

Clefs

2069

Staves and Barlines

Time Signature and Multimeasure Rest numbers

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Chord Symbols and Harmonics

Percussion Notation

2071

Other Notation Symbols

2072

Maestro Times Font To view characters in the Maestro Times font, consult your operating system's Character Map. To access your system's character map, from the Windows Start menu, choose All Programs >Accessories > System Tools > Character Map. (Vista users: Click the Accessories folder, then the System Tools folder to access contents. Also. on some PC's, the Character Map may be in another location under Accessories or the Start menu.

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Chord menu How to get there Click the Chord Tool menu appear.

to make the Chord

What it does Use the chord menu to specify how you want to add, define, or change chord symbols and fretboard diagrams. Manual Input allows you to either type chord symbols directly into the score, or define them manually. Allow MIDI Input allows you to specify chords by playing them on a MIDI keyboard. The three analysis methods allow you to tell Finale to analyze notes that already exist in the score and add the appropriate chord symbols automatically based on the harmonic analysis. You can analyze one, two (e.g. a grand staff), or all staves in the score at a time. Select a command in the Chord Style submenu to change the display style for all your chord symbols. You can choose Standard, German, European, Roman, Nashville, Scandinavian or Solfeggio spelling styles. Use the Substitute Symbols command to enter alterations (sharps or flats) and diminished symbols. If you are entering chord symbols using any of the automatic methods and Finale doesn’t recognize a chord, it will display the Unknown Chord Suffix dialog box. If you click Let Finale Do It, Finale will attempt to create the proper chord suffix and place the chord symbol in the score. For most chord qualities (M, m, Maj7, m7, dim, m7f5, aug, sus4, and so on), Finale will arrive at the right solution. See Unknown Chord Suffix dialog box. For the few chords Finale doesn’t identify correctly, you can “teach” them to Finale as new chords. When you see the Unknown Chord Suffix dialog box, click I’ll Do It to access the Chord Suffix Editor dialog box; then create the chord symbol (and its suffix, if necessary) in the Chord Definition dialog box (see Chord Definition dialog box). The next time you play the chord (in any octave and any voicing), Finale will know what chord symbol to display. (This custom teaching feature is “root-specific,” however; if you only teach Finale to recognize a C major sixth chord in the key of C, it will only recognize major 2074

sixth chords built on C. But it will recognize, for example, a Gmaj6 in the key of G and an Amaj6 in the key of A.) See Unknown Chord Suffix dialog box and Chord Definition dialog box. If you're entering chord symbols using Manual Input, Finale lets you type your chord symbols directly on screen -- or type the chord symbols in the Chord Definition dialog box. If you're typing chord symbols and Finale doesn't recognize a chord, it will give you the option of creating the suffix. If you click OK, Finale will display the Chord Suffix Editor dialog box with the suffix already entered. You can make changes then return to the score with the new suffix placed on the chord symbol. See To type chord symbols into the score for more details.

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Chord/Manual Input When this command is selected: • Click a beat to display the chord entry cursor above the staff in order to type chords into the score. See To type chord symbols into the score. • Double-click a beat that does not already include a chord symbol to display the Chord Definition dialog box, where you can define or edit chord symbols and fretboards prior to adding them to the score. To enter chord symbols directly into your score, click the beat to which you want to attach a chord; a blinking cursor appears above the note. Type the chord’s root, suffix and alternate bass note, if any. When you’ve completed one chord, press the space bar to move quickly to the next note to continue entering chords; Finale displays the fully formatted chord after you enter it. (See the Keystroke table for a summary of the available keystrokes for entering chords and what they do.) When you type chords directly on-screen (or type them in the Chord Definition dialog box), Finale follows some simple conventions to interpret what chord symbol was entered. A chord symbol is made up of one or more of the following parts: root, suffix, and alternate bass. Although you are not required to enter all parts of a chord symbol, Finale interprets the chord symbol’s root, suffix and alternate bass, in that order. First, enter the root with any alterations (sharps or flats). For example, type “Eb”, “F” or “G#” (shift-3) to enter an E , F or G chord, respectively. Second, enter the suffix; Finale will look at the suffix characters you type, if any, and try to find a matching suffix in your document (all suffixes in your document appear in the Chord Suffix Selection dialog box). Last, Finale will check whether the chord should display an alternate note in the bass; enter a slash (/) or an underscore (shift-hyphen) to display the alternate bass next to or below the chord symbol, then enter the alternate bass note with any alterations (sharps or flats). For example, enter an FMaj7 chord simply by typing “Fmaj7”; press the spacebar to enter your chord and move to the next note. Entering chords with alternate bass notes is simple too; add a Cmin7/B chord simply by typing “Cmin7/Bb”. Finale knows that you want a flat when you type a lowercase “b”, and that you’d like an alternate bass note when you type the slash. (Finale also intelligently handles alterations in suffixes.) If you prefer to put the root “over” the alternate bass, type “Cmin7_Bb” instead—Finale intelligently determines the difference and displays the chord the way you want it. Here are more tips:

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• Display and Entry: Finale displays chords in any style you wish, using the Chord Style feature in the Chord menu. For chord entry, though, you need to type your chords using the Standard style convention. For more information on styles, see Chord Style. • Fonts: Finale ignores display fonts when you type chords into your score— in fact, all the characters in your chords will appear in a regular text font as you type them. Finale does care about the keystroke, however; for example, even if your chord suffix mixes music characters and regular text characters, Finale will examine only the keys you press when looking for matches. So, feel free to mix fonts as much as you wish—it won’t affect Finale’s Type Into Score feature. • Alterations: Type a “b” or “#” (shift-3) to tell Finale that the root or alternate bass has a sharp or flat, or that a sharp or flat appears as a character in the suffix. (Just type two or more consecutive characters for other alterations, like double- or triple-sharps.) In rare cases, Finale may not know where an alteration belongs, such as the chords G 9 and G 9. In this case, when you type “Gb9”, Finale normally associates the alteration with the root (and will display G 9). When you want a suffix that begins with an alteration (such as G 9), tell Finale that the alteration isn’t part of the root by typing a comma after the root (in this case, by typing “G,b9”). • Suffixes: When typing suffixes (like those provided in the Maestro Font Default file, or those provided in the chord suffix libraries), type them as you’d read them. Finale looks at the characters in the order they’re entered when it tries to find a match for the suffix (all suffixes in your document appear in the Chord Suffix Selection dialog box); what you type must match the order of the suffix characters exactly. If Finale doesn’t find an exact match, it assumes you want to create a new suffix and displays the Chord Suffix Editor dialog box to let you finish defining the suffix. Tip: When you create your own suffixes, add characters to the suffixes in the order you’d say them out loud— it will make typing chords easier in the long run. Whatever you enter (whether it follows convention or not), Finale will faithfully match the characters in the order you type them with the order they were created in the Chord Suffix Editor dialog box. • Alternate Bass: Type a slash (/), an underscore (shift-hyphen), or a bar symbol (|) to indicate whether an alternate bass note should appear next to, below, or slightly to the right of the chord, respectively. Finale knows that what you type after the slash, underscore or bar is the alternate bass note for the chord. 2077

• Capitalization: Finale displays chords like “F” and “e”, or “IV” and “iii”. When you enter chords, it is case-sensitive. For example, if you type a lowercase “d” in the key of C Major, and Roman is selected as the chord style, Finale will display “ii”, as opposed to “II” if you enter an uppercase “D”. Finale also knows the difference between a lower case “b” chord and the character representing the flat (also a “b”). For example, type a b-flat lowercase chord simply by typing “bb”—Finale knows the first character is the root, but the second is an alteration. Capitalization also matters in suffixes—that’s how Finale distinguishes a “CM7” from “Cm7”. • Special Characters: You can type a “b” for flat and “#” (shift-3) for sharp. Finale also makes other common chord characters available at a keystroke, the diminished “ ” and half-diminished “ ” symbols. Since their key combinations may be difficult to remember, Finale offers easy to remember substitutes: the “o” (lower-case letter o) and “%” (shift-5) keys add diminished and half-diminished symbols respectively. You can turn off this automatic substitution by deselecting the Substitute Symbols command in the Chord menu. These special characters only work with the Arial, Times or JazzText chord libraries. • Shortcuts: In addition to keystroke shortcuts for musical symbols like diminished and sharp, Finale offers a fast entry shortcut for users who know their Finale suffixes well. If you know a particular suffix’s number, enter a chord with a suffix directly by typing the root, a colon (:), and the number, then move to the next note—Finale adds the suffix automatically. If you don’t remember the number, you can type the root, a colon, a zero (such as C:0), then hit the spacebar; before leaving the current note, Finale will display the Chord Suffix Selection dialog where you can choose the suffix you need. For example, when working with the Maestro Font Default file, you can easily enter a “Cm7(s5)” by typing “C:9” instead of all the individual characters, “Cm7(s5). Since the “m7(s5)” suffix appears in slot number 9 in the Chord Suffix Selection dialog box, Finale knows to enter it automatically. If you take a moment to remember the suffixes you use frequently, this shortcut can save you a lot of typing. Use these keys to perform the indicated actions when you type chords into the score: Keystroke

Action

enter

Accept changes to the selected chord

esc

Discard changes to the entered chord

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spacebar, shift- right arrow

Move to next entry

shift-spacebar, shiftleft arrow

Move to previous entry

tab

Move to next measure

shift-tab

Move to previous measure

(up-arrow)

Move to the next chord on the same entry, or get ready to create a new chord

(down-arrow)

Move to the previous chord on the same entry

b

Display flat symbol (f)

# (shift-3)

Display sharp symbol (s)

o (lower-case letter o) †

Display diminished symbol ( )

% (shift-5)†

Display half-diminished symbol (

/

Put alternate bass note next to the chord root

_ (shift-hyphen)

Put alternate bass note below the chord root

| (vertical bar)

Put alternate bass note below and to the right of the chord root

(up-arrow)

Move to previous character in the chord

(down-arrow)

Move to next character in the chord

Letter with and without shift (press shift for uppercase

Display corresponding pitches for the root (A, B, C, D, E, F, G) and alternate bass notes (a, b, c, d, e, f, g)

)

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display) , (comma)

Distinguish the chord root from the suffix

:# (colon number)

Display the chord suffix assigned to a specific slot number in the Chord Suffix Selection dialog box

:0 (colon zero)

Display the Chord Suffix Selection dialog box, where you can choose any suffix

:f#

Display the fretboard assigned to a specific slot number in the Fretboard Selection dialog box (must follow the suffix)

Finale displays the diminished and half diminished symbols only when Substitute Symbols is selected in the Chord menu, and Finale finds a matching chord suffix. For more information, see Substitute Symbols. †

See Also: Chord symbols Chord Tool

2080

Chord/Allow MIDI Input When this option is selected, Finale will add a chord symbol when you play the chord on your synthesizer while entering chord symbols (see To play-in chord symbols). The register of the chord you play doesn't matter, but the inversion does: if you play a C chord with an E on the bottom, Finale will place a C/E chord symbol above the note. If it doesn't recognize the chord, it will display the Unknown Chord Suffix dialog box letting you know. See Unknown Chord Suffix dialog box. To advance the cursor to the next beat (or note), press any MIDI pitch within an octave above middle C; to make the cursor retreat to the left one beat (or note), play any key within one octave below middle C. Play a single note more than an octave above/below middle C to advance/retreat by full measures.

See Also: Chord Tool

2081

Chord/One-Staff Analysis If you select this menu item, Finale will immediately analyze the notes in any chord you click (including notes sustained from an earlier beat). This command only considers notes in the staff you clicked. If it doesn't recognize the chord, it will display the Unknown Chord Suffix dialog box letting you know. See Unknown Chord Suffix dialog box. Use the Chord Analysis Plug-in to analyze any selected region of a staff (or two staves) and add chord symbols automatically. See Chord Analysis Plug-in. All of the analysis methods work best if you've already loaded a Chords & Fretboards Library (by choosing Load Library from the File menu). If your Finale default file is in place in the Finale directory, you don't have to load this library, since the most common chord suffixes and fretboards have been loaded for you already.


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Chord/Two-Staff Analysis If you select this item, Finale will immediately analyze the notes in any chord you click, also taking into account the notes in the next staff down. In other words, it will use the notes struck simultaneously in both staves, as well as sustained notes, to formulate its chord guess, making this a useful option for deriving chord symbols from piano parts. Once again, if Finale doesn't recognize the chord, it will display the Unknown Chord Suffix dialog box letting you know. See Unknown Chord Suffix dialog box. Use the Chord Analysis Plug-in to analyze any selected region of a pair of staves (or single staff) and add chord symbols automatically. See Chord Analysis Plug-in. All of the analysis methods work best if you've already loaded a Chords & Fretboards Library (by choosing Load Library from the File menu). If your Finale default file is in place in the Finale directory, you don't have to load this library, since the most common chord suffixes and fretboards have been loaded already.


2083

Chord/All-Staff Analysis If you select this item, Finale will immediately analyze the notes in any chord you click, taking into account the notes in all staves of the score. In other words, it will use the notes struck simultaneously in all staves, as well as sustained notes, to formulate its chord guess, making this a useful option for deriving chord symbols from piano parts or a larger score containing any number of staves. Use the Chord Analysis Plug-in to analyze any selected region of a staff (or two staves) and add chord symbols automatically. See Chord Analysis Plug-in. Once again, if Finale doesn’t recognize the chord, it will display the Unknown Chord Suffix dialog box letting you know. All of the analysis methods work best if you've already loaded a Chords & Fretboards Library (by choosing Load Library from the File menu). If your Finale default file is in place in the Finale directory, you don't have to load this library, since the most common chord suffixes and fretboards have been loaded already.

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Chord/Chord Style Choose a style for all chord roots and alternate bass notes in the piece. A checkmark appears by the style in use for the piece. The following examples show the available styles.

Standard European German Roman Nashville A Nashville B Solfeggio Scandinavian


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Chord/Left-Align Chords Normally, Finale centers each chord symbol above the note to which it's attached. When this item is selected, however, Finale aligns the leftmost edge of each chord symbol with the note below it. Choose this command a second time to restore chord symbols to their centered position.


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Chord/Italicize Capo Chords If you’ve checked Capo At Fret in the Chord Definition dialog box, select this command to display the capo chord italicized.

See Also: Chord Definition Chord Tool

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Chord/Show Fretboards When this item is selected, Finale displays full-blown fretboard-chart diagrams beneath each chord symbol in the score (or will do so as soon as you add chord symbols). Finale uses the Lowercase setting for the Root Scale Tone in the Chord Definition dialog box to determine whether it will display the corresponding major or minor fretboard diagram. When you don’t specify a particular suffix and Lowercase is selected for the Root Scale Tone, Finale will display a minor fretboard diagram; if Lowercase is not selected, Finale will display a major fretboard diagram. When you choose Show Fretboards a second time, all fretboards disappear. See Fretboard diagrams and Chord Definition dialog box–Show Fretboard for more information.

See Also: Chord Definition Chord Tool

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Chord/Position Chords When Position Chords (or Position Fretboards) is selected in the Chord menu, four small triangles appear at the left side of the screen. These triangles govern the position of the baseline for the chord symbols or diagrams (the imaginary horizontal line against which the bottoms of the chord symbols align). Drag the first (leftmost) triangle up or down to move all the chords in the piece. Drag the second triangle to move the chords up or down in this staff only, regardless of the position of the leftmost triangle. Drag the third triangle, in Page View, to move the chords in this staff in this system only. Dragging the rightmost triangle doesn’t move any existing chord symbols; instead, it sets the position for the next one you enter. You specify whether you want these triangles to adjust the chord symbols themselves or the fretboard diagrams by choosing either Position Chords or Position Fretboards from the Chord menu. (Position Fretboards is dimmed if Show Fretboards isn’t selected in the menu.) See Fretboard diagrams for more information. For information regarding baselines in linked parts, see Baseline Positioning in linked parts.


2089

Chord/Position Fretboards When Position Fretboards (or Position Chords) is selected in the Chord menu, four small triangles appear at the left side of the screen. These triangles govern the position of the baseline for the chord symbols or diagrams (the imaginary horizontal line against which the bottoms of the chord symbols align). Drag the first (leftmost) triangle up or down to move all the chords in the piece. Drag the second triangle to move the chords up or down in this staff only, regardless of the position of the leftmost triangle. Drag the third triangle, in Page View, to move the chords in this staff in this system only. Dragging the rightmost triangle doesn’t move any existing chord symbols; instead, it sets the position for the next one you enter. You specify whether you want these triangles to adjust the chord symbols themselves or the fretboard diagrams by choosing either Position Chords or Position Fretboards from the Chord menu. (Position Fretboards is dimmed if Show Fretboards isn’t selected in the menu.) See Fretboard diagrams for more information. For information regarding baselines in linked parts, see Baseline Positioning in linked parts.


2090

Chord/Simplify Spelling Choose this command to switch between spelling chord roots enharmonically, or spelling chord roots exactly as defined in the Chord Definition dialog box. When selected, Finale spells the root using the "simplest" enharmonic spelling (for example, Finale spells E as F). When this command is not selected, Finale spells the root using the exact root and alteration that appears in the Chord Definition dialog box.


2091

Chord/Substitute Symbols When selected, Finale substitutes the Maestro diminished ( ) and halfdiminished ( ) symbols when you type "o" (lower case letter o) or "%" (Shift5), respectively. When not selected, Finale simply maps the keys directly, without substituting symbols. Deselect this command if you are using a font other than Maestro, and want to use the characters mapped to the o and Shift5 slots in that font. Note: This command is used for chord entry only. Choosing this command will not affect any characters on chords already entered in the document


2092

Chord/Edit Learned Chords Select this command to display the Edit Learned Chords dialog box, where you can teach Finale to recognize new chords (or to label chords it does recognize in different ways), or to "forget" chords you've already taught it. For detailed information, see the Edit Learned Chords dialog box.


2093

Chord/Change Chord Suffix Fonts Choose this command to display the Change Chord Suffix Fonts dialog box, which lets you swap one font and style for another in your chord suffix library. For detailed information, see the Change Chord Suffix Fonts dialog box.


2094

Chord menu/Enable Chord Playback Check this option to include chord definitions in playback. Uncheck this option to remove chord definitions from playback. You can also manage the playback of chord symbols in individual staves by editing the Instrument List. The playback of chord symbols sustain until the end of the measure or the next chord symbol. To interrupt chord playback at any beat/note, type "N.C." (for no chord).

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Document menu How to get there The Document menu is one of Finale’s unchanging menus.

What it does This menu contains the keys to Finale’s notational flexibility. Whatever notational conventions you subscribe to, no matter what publishing specs you prefer, chances are good that a Document menu command will accommodate you. Each command brings up a dialog box that governs some aspect of the way Finale displays the music in the active document—its layout and positioning variables, the fonts, musical symbols, and clefs it uses, for example.

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Document/Edit Score Choose this option to view the full score in Finale’s document window.

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Document/Edit Part Use these commands to navigate through parts. Alternatively, use the accompanying keyboard shortcuts listed in this menu to more conveniently navigate through parts.

Next Part Previous Part Last Viewed Part

2098

Document/Manage Parts Choose this option to open the Manage Parts dialog box where you can add, remove, and customize parts.

See Also: Manage Parts

2099

Document/Page Format From this submenu, choose Score to open the Page Format for Score dialog box where you can edit the format for the score document. Choose Parts open the Page Format for Parts dialog box where you can specify the page format for extracted parts.

See Also: Document/Page Format/Parts Document/Page Format/Score Page Format for Parts Page Format for Score

2100

Document/Special Part Extraction This command provides access to one of Finale's three part-extraction methods. Using Special Part Extraction, you can see the full score in Scroll View, while the extracted part appears, ready for editing and printing, in Page View. Before the Special Part Extraction command will work, you must select a staff (or staves) in Scroll View by clicking the Staff Tool and then selecting their handles. When you choose Special Part Extraction, a dialog box appears, letting you select the multimeasure (block) rest shape you want to use, specify a font for the number to appear above such a rest, and so on. After you've made your settings, click OK. You return to the score. At first you won't notice anything different. But if you look at the Document menu, you'll see that there's now a check mark beside Special Part Extraction, telling you that Page View now contains the extracted part. Choose Page View from the View menu to examine and edit the extracted part. To exit Special Part Extraction mode (and return to viewing the full score in Page View), choose Special Part Extraction again from the Document menu. For detailed information, see the Multimeasure Rest dialog box.

2101

Document/Data Check The Data Check commands performs a variety of "housekeeping" tasks, mostly having to do with fonts and Finale's retention of deleted musical material.

Font Utilities File Maintenance Reconvert Percussion Note Types

2102

Document/Display In Concert Pitch With Finale, any staff that’s had a transposition applied in the Staff Attributes dialog box or with Staff Styles —a trumpet or clarinet part, for example— always prints in its transposed key in parts. However, you also have the option of viewing the music in either its transposed or concert form. Choose this command if you want Finale to display the score or part in concert key. This setting applies to the currently visible score or linked part independently. If this command is not selected, staves will display transposing instruments in their transposed keys. (Music you enter using the Simple or Speedy Entry tools is considered already transposed. In other words, if you play a C on the MIDI keyboard using the MIDI input feature of the Speedy Entry Tool, it appears as a C on the transposed staff, even though it will play back as some other note, because you’ve just entered a written C.)

2103

Document/Display Expressions and Repeats for Parts Choose this option to display expressions and repeats as they will appear on extracted parts (as defined by Score Lists).

See Also: Score List

2104

Document/Show Active Layer Only Each Finale staff is actually four transparent layers, each of which can contain its own rhythmically independent inner voice. Only one layer can be active (frontmost) at a time, however; the active layer is always identified by the push buttons in the lower-left corner of the file window. When this item is selected (displaying a check mark), Finale hides the three inactive layers. Bear in mind that hidden layers are unaffected by almost every tool. For example, the music in a hidden layer won't play back. Nor will it be copied, pasted, or otherwise affected by Selection Tool operations - a useful fact to remember if you want to copy or paste the music of one layer only. Choose this command a second time to make the check mark disappear (and make the other three layers reappear).

2105

Document/Playback/Record Options Choose this command to display the Playback/Record Options dialog box where you define a number of variables that affect how Finale plays back the music. For detailed information, see the Playback/Record Options dialog box.

2106

Document/Sync and Video Options Choose this command to open the Sync and Video Options dialog box where you can adjust SMPTE options such as the frame rate and start time.

See Also: Sync and Video Options

2107

Document/Category Designer Choose this option to open the Category Designer dialog box where you can edit expression categories.

2108

Document menu/Edit Measure Number Regions Choose this menu item to alter how measure numbers appear throughout the document. For more details see Measure Number dialog box. Tip: A measure can have more than one region assigned. This allows for difference series of numbers to appear.

2109

Measure menu/Edit Measure Number Regions Choose this menu item to alter how measure numbers appear throughout the document. For more details see Measure Number dialog box.

Tip: A measure can have more than one region assigned. This allows for difference series of numbers to appear.

2110

Document/Pickup Measure Choose this command to display the Pickup Measure dialog box, where you can define a pickup measure for your score. For detailed information, see the Pickup Measure dialog box.

2111

Document/Set Default Music Font Choose this option to display the Fonts dialog box where you can choose the default music font for the document.

2112

Document/Document Options Choose this option to display the Document Options dialog box where you can change settings for a number of musical items document-wide. See Also: Document Options Document Options-Accidentals Document Options-Alternate Notation Document Options-Augmentation Dots Document Options-Barlines Document Options-Beams Document Options-Chords Document Options-Clefs Document Options-Flags Document Options-Fonts Document Options-Grace Notes Document Options-Grids and Guides Document Options-Key Signatures Document Options-Layers Document Options-Lyrics Document Options-Lines and Curves Document Options-Multimeasure Rests Document Options-Music Spacing Document Options-Notes and Rests Document Options-Piano Braces and Brackets Document Options-Repeats Document Options-Stems Document Options-Staves Document Options-Text 2113

Document Options-Ties Document Options-Time Signatures Document Options-Tuplets

See Also: Document menu

2114

Edit menu How to get there The Edit menu is one of Finale’s unchanging menus.

What it does You can find an assortment of editing commands in the Edit menu. Use the Edit menu to cut, copy and paste music and other items when you’re editing the document. Select a region with any tool that supports measure selection and these commands are available. Additional options can be accessed by pressing the Ctrl or Shift keys before displaying the menu. For example, hold down Ctrlto copy files into the clipboard. The Cut, Copy, Insert and Paste commands change to reflect the action that will occur (e.g. Cut changes to Cut to Clip File). You can filter specific items for copying using the Edit Filter dialog box. Note that some of these commands have keyboard equivalents (which are listed in the menu beside the command names); as you become more familiar with Finale, you may want to start learning these keyboard equivalents.

Edit menu commands: No

Ctrl

modifier Cut

Cut to Clip File

Copy

Copy to Clip File

Insert

Insert from Clip File 2115

Paste

Paste

2116

Edit/Undo All Finale’s document settings can be restored to their previous settings with the “undo” command. After you change a dialog box that contains document settings and click OK to dismiss the dialog box, you can choose Undo from the Edit menu to return to the previous settings. You can also use the Edit menu Toolbar icon to undo any action. Data Check actions are also undoable when you return to the active document. You can undo the settings in all dialog boxes in the Document Options dialog box under the Document menu, and in dialog boxes associated with the tools that contain document settings. These dialog boxes include: the Default Tuplet Visual Definition; and all dialog boxes associated with the Smart Shape menu (Smart Shape Tool). As you edit a file, Finale automatically saves your operations so they can be quickly reversed if you choose Undo from the Edit menu. However, you might occasionally run low on disk space while you’re working in Finale. A quick way to recover space without exiting Finale is to toggle Undo off and on in the Edit section of the Program Options (see Program Options- Edit). This causes Finale to delete and recreate the “undo” files it’s currently maintaining, which frees up space on your hard disk. These files will always be automatically deleted when you exit Finale. See Undo.

Tip: Choose the Undo Tool from the Edit menu Toolbar to perform this action. See Also: Undo/Redo Lists

2117

Edit/Redo Choose Redo to perform the previous undo action. You can also use the Edit menu Toolbar icon to redo any action. If you have performed too many undo actions in a row, use the redo to replace the actions removed. See Undo.

Tip: Choose the Redo Tool from the Edit menu Toolbar to perform this action. See Also: Undo/Redo Lists

2118

Edit/Undo/Redo Lists Choose Undo/Redo Lists to display the Undo/Redo Lists dialog box with a list of your past actions. You can also use the Edit menu Toolbar icon to show this list of actions. You may select a point in this list in which to undo or redo your actions. See Undo/Redo Lists dialog box and Undo.

2119

Edit/Select All You can use this command with a number of tools to select various handles or measures. In many cases, you can exclude (deselect) one handle at a time from the selection by Shift-clicking its handle.

2120

Edit/Select Region When you choose this command, the Select Region dialog box appears, in which you can enter the staff names, beat and measure numbers that define the region you want to select. When you click OK, Finale selects the region you’ve specified—even if none of it is visible on the screen. For more information, see Select Region dialog box.

See Also: Staff Tool

2121

Edit/Cut After selecting a region of music with the Selection Tool, choose Cut to place the selected music on the Clipboard and simultaneously remove the music from the document. If a stack is selected, the measures will be removed. If the measure selection is not a stack, the contents of the selection will be cleared. Once you’ve placed the cut music on the Clipboard, you can paste it to another place in your document or into another Finale document. You can also use the Edit menu Toolbar icon to Cut to the Clipboard. If you like, you can save the cut material into a separate file, called a Clip File, which you can later access for pasting into another document. Press ctrl while choosing Cut; Finale will ask you to give the Clip File a name. In this way, you can create an assortment of musical segments or motifs, each of which you can access with the Insert from Clipfile or Paste from Clipfile commands to paste them into other documents; hold down ctrl and click the Edit menu, then choose Insert from Clipfile or Paste from Clipfile. Items inserted or pasted from a clip file depend on the elements selected in the Edit Filter dialog box. You can also place cut text on the Clipboard from Finale’s Edit Lyrics or Edit Text windows, as well as access the cut menu item itself in either of these windows.

See Also: Text Tool

2122

Edit/Copy After selecting a region of music with the Selection Tool, choose Copy to place a duplicate of the selected music on the Clipboard; you are now ready to paste to another place in your document or another Finale document. (You can’t paste copied Finale music into another program, however; see Graphics Tool for instructions on transferring music graphics.) You can also use the Edit menu Toolbar icon to Copy to the Clipboard. As with the Cut command, you can press ctrl while choosing Copy to save the copied material into a separate Clip File, which you can later access for pasting into another document. Finale will ask you to give the Clip File a title. In this way, you can create an assortment of musical segments or motifs, each of which you can access with the Insert from Clipfile or Paste from Clipfile commands. Items inserted or pasted from a clip file depend on the elements selected in the Edit Filter dialog box. You can also place copied text on the Clipboard from Finale’s Edit Lyrics or Edit Text win¬dows, as well as access the Copy menu item itself in either of these windows.

See Also: Text Tool Copying music

2123

Measure/Insert Choose Insert if you want to insert whatever music you’ve cut or copied to the Clipboard between two existing beats or measures. • If you copied a full measure stack to the clipboard, and would like to insert it, select the a region including the beginning of a measure on the top staff. Then, choose this menu item to insert the copied measures, nudging subsequent measures to the right. • If you copied a region lesser than a full stack, first tell Finale where you want the material inserted by selecting any amount of music just after the desired point of insertion. When you choose this menu item, Finale will shift the subsequent notes to the right, rebarring the piece as necessary, only in the staves you're inserting into. See Rebarring music. See Copying musicEdit Filter dialog box for an illustration. Items inserted depend on the elements selected in the . Hold down Shift and click the Edit menu to change this command to Insert and Filter. When you choose Insert and Filter, the Edit Filter dialog box appears allowing you to choose which items you would like to insert. If you've created Clip Files using the Copy or Cut commands, you can paste any one into the score using the Insert command. Press Ctrl while choosing Insert; the command name changes and Finale displays the Paste dialog box showing the names of any Clip Files on your disk. Double-click the one you want to insert.

2124

Edit/Paste Choose Paste if you want whatever music you've cut or copied to the Clipboard to paste over (replace) the selected music in the target file (first use the Selection Tool to select the destination of the paste). While pasting, the items that appear in the destination region depend on the elements selected in the Edit Filter dialog box. If you've created Clip Files using the Copy or Cut commands (see above), you can paste any one of them into the score using the Paste from Clip File command. Press Ctrl before choosing Paste; the command name changes and Finale displays the Paste dialog box showing the names of any Clip Files on your disk. Double-click the one you want to paste. You can also paste text you've cut or copied to the Clipboard in Finale's Edit Lyrics or Edit Text window, or when editing text on-screen with the Text Tool. Choose Paste from the Edit menu, or use its keyboard equivalent (Ctrl-V) if you want the selected text replaced with whatever text you've cut or copied to the Clipboard.

See Also: Copying music

2125

Edit/Use Filter Use this menu item to specify that you want to use the settings in the Edit Filter dialog box while pasting (rather than pasting everything).

2126

Edit/Paste Multiple Select a target region and then choose this option open the Paste Multiple dialog box where you can paste multiple copies of the source material to the target region. You can replicate the source material as many times as you want either vertically or horizontally.


2127

Edit/Edit Filter When you choose this command, Finale displays the Edit Filter dialog box, listing various score elements (Smart Shapes, articulations, measure widths, MIDI data, and so on) that you can select for copying. For a complete list that includes descriptions of these elements, see Edit Filter dialog box. When this item is selected, your copying actions will only copy the selected items.


2128

Edit/Move/Copy Layers This command provides a way to move music from one of Finale’s transparent staff layers to another. You can even swap the music between layers—if, for example, you mistakenly entered several stems-down notes in Layer 1, which you intended to use only for stems-up (upper) voices. See Move/Copy Layers dialog box this command only affects full-measure selections.

2129

Edit/Clear All Items When you choose Clear All Items, Finale removes the contents of the selected music (whether or not you’ve selected entire measures), leaving equivalent rests behind. (This command performs the same function as highlighting measures and pressing the Backspace key.)

Tip: For more control, choose Clear Selected Items from the Edit menu to selectively delete items from the score.

2130

Edit/Use Filter When you choose this command, Finale displays the Edit Filter dialog box, listing various score elements (Smart Shapes, articulations, measure widths, MIDI data, and so on) that you can select for copying. For a complete list that includes descriptions of these elements, see Items to Copy dialog box. When this item is selected, your copying actions will only copy the selected items. For detailed information, see the Edit Filter dialog box.

2131

Edit/SmartFind and Paint Use these options to copy items, such as articulations, expressions, slurs, and other Smart Shapes, to other rhythmically identical regions throughout the document.

Set SmartFind Source Region Deselect SmartFind Source Region Apply SmartFind and Paint

2132

Edit/Text Search and Replace With this command, search and replace text in the form of text blocks, lyrics, file info, smart shapes, or staff/group names.

2133

Edit/Add Measures Choose this menu item to add measures to the end of your score. For more details see the Add Measures dialog box.

2134

Edit/Insert Measure Stack Choose Insert Measure Stack if you want to insert a stack you've cut or copied to the Clipboard. First tell Finale where you want the material inserted by selecting any amount of music just after the desired point of insertion. This option is only available if you copied a full measure stack to the clipboard. If the music on the Clipboard was copied from ten staves, you don't have to insert the contents of all ten staves in the target score. For example, you can select (highlight) a measure in only four staves of the target score; Finale will insert the measures in all staves.

See Also: Text Tool

2135

Edit/Delete Measure Stack Choose this menu item to delete selected measures from the score. Full measures in all staves (measure stacks) need to be selected in order for this menu item to be available. Also, use the Delete key to delete selected measure stacks.

2136

Edit/Multimeasure Rests Use the Multimeasure Rests submenu to break existing multimeasure rests, create multimeasure rests regardless of whether Special Part Extraction is on, or edit the appearance of a multimeasure rest. Remember that you must be in Page View to change multimeasure rests. Choose Create for Parts/Score to open the Select Parts/Score dialog box. Here you can specify which parts get multimeasure rests. Finale will process each part you select and add multimeasure rests automatically. See Multimeasure Rests in linked parts. Use the commands in this submenu to break existing multimeasure rests, create multimeasure rests regardless of whether Special Part Extraction is on, and edit the appearance of an individual multimeasure rest. You must be in Page View to change multimeasure rests.

Break Create Edit Create for parts/Score

2137

Edit/Edit Measure Attributes Choose this menu item to edit the characteristics of measures. For example, change the barline style, the width of the measure and if Time or Key Signatures will appear in the measure. For more details see the Measure Attributes dialog box.

2138

Edit/Enharmonic Spelling Use the commands in this submenu to control the chromatic spelling of your music when you enter notes using MIDI or use one of Finale's retranscription commands such as the MIDI/Audio menu's Retranscribe or Utilitiy menu's Respell Notes. You can also edit enharmonic spelling tables for major and minor keys, and for modal or chromatic spelling created in the Non-Standard Key Signature dialog box. To determine how to spell diatonic notes (the unaltered pitches within the scale) entered in your music, Finale always uses the key signature. As an example, if the key signature is G major and you play F sharp, it will always be notated as F sharp, not as G flat. When you chromatically alter a note, Finale will use the enharmonic spelling method selected to determine how to notate it. For instance, in the key of C, the half-step between C and D may be notated as C sharp or D flat depending on your enharmonic spelling selection.

Use Default Spelling Favor Sharps Favor Flats Use Spelling Tables Edit Major and Minor Key Spellings Edit Modal or Chromatic Spellings

2139

Edit/Measurement Units In a number of Finale dialog boxes, you’re asked to specify a measurement: the margins of each page, for example, or the thickness of eighth-note beams. Using the submenu of the Measurement Units command, you can select the measurement unit you want Finale to understand—and display—in all of its dialog boxes. You’re already familiar with inches and centimeters. Points and picas are typographical measurements; there are 72 points per inch, and 12 points in a pica. EVPU stands for ENIGMA Virtual Page Unit, of which there are 288 per inch. Select spaces when you want Finale to display spaces as the measurement unit in all the dialog boxes. Although one space is defined as the distance between staff lines, in Finale one space is equal to 24 EVPUs (which is Finale’s default distance between staff lines). Note also that one half-space equals one step, which is one line or space in a staff. You can override your global choice on a case-by-case basis, however. Just include the units, or their abbreviation, when you type any measurement number into Finale. For example, suppose you’ve selected Inches as your global unit of measurement. When you’re telling Finale how thick you’d like your slurs to be, however, inches may be slightly unwieldy for such a fine adjustment. Therefore, you might type “2 pt.” Finale will automatically convert what you’ve entered into inches. You don’t have to type out the word “points,” of course. Here are the abbreviations you can enter into any measurement-oriented dialog box:

To specify these units

Type one of these

EVPUs

EVPUs, evpus, e

inches

inches, inch, in, i, ”

centimeters

centimeters, cm, c

2140

millimeters

millimeters, mm, m

picas

picas, p

points

points, pts, pt

spaces

spaces, sp, s

Note that, when you’re overriding the global setting in this way, you even have a unit option not available in the Units of Measurement dialog box (millimeters). EVPUs Inches Centimeters Points Picas Spaces

2141

Edit/Program Options Choose this option to display the Program Options dialog box where you can configure Finale’s program-wide settings.

See Also: Program Options Program Options-New Program Options-Open Program Options-Save Program Options-View Program Options-Edit Program Options-Folders Program Options-Display Colors Program Options-Palettes and Backgrounds Edit menu

2142

Expression menu How to get there Click the Expression Tool

.

What it does The Expression menu allows you to adjust the baseline for expressions.

2143

Expression menu/Adjust Above Staff Baseline Choose Adjust Above Staff Baseline to adjust the baselines for expressions set to Above Staff Baseline in the Vertical Positioning drop-down menu of the Text/Shape Expression designer dialog box. If neither Adjust Above Staff Baseline OR Adjust Below Staff Baseline is selected, the positioning triangles to the left do not display. You can find the Vertical Positioning drop-down menu under the Measure and Note positioning tabs of the Expression Designer dialog box.

2144

Expression menu/Adjust Below Staff Baseline Choose Adjust Below Staff Baselines to adjust the baselines for expressions set to Below Staff Baseline in the Vertical Positioning drop-down menu of the Expression Designer dialog box. If neither Adjust Above Staff Baseline OR Adjust Below Staff Baseline is selected, the positioning triangles to the left do not display. You can find the Vertical Positioning drop-down menu under the Measure and Note positioning tabs of the Expression Designer dialog box.

2145

Expression/Favor Attachment to Active Layer Expressions can be assigned to any layer. Choose this command to tell Finale to assign expressions to the active layer when more than one layer exists in the measure. If notes exist in the active layer in the measure the expression is added, Finale will assign the expression to that layer. A number of additional conditions apply when this command is selected: • If only one layer exists in the measure, the expression is automatically assigned to that layer. • If there are no notes in the measure, the expression is assigned to "All Layers". • If there are multiple layers in the measure, but the active layer is not one of them, the expression is attached to "All Layers." • If there are multiple layers in the measure, and this command is unchecked, the expression is assigned to "All Layers." • Expressions attached to a barline are assigned to "All Layers."

2146

Expression/Edit Rehearsal Mark Sequence Select an auto-sequenced rehearsal mark, then choose this command to open the Rehearsal Mark Sequence dialog box where you can restart a rehearsal mark sequence. See To add rehearsal marks.

2147

File menu How to get there The File menu is the first of Finale’s unchanging menus.

What it does As in many computer programs, Finale’s File menu contains various commands for opening, closing, saving, and printing documents. The File menu also contains commands for importing and exporting libraries (files containing various symbols, markings, and other musical elements that are stored separately and can be “loaded into” any document). Finally, the File menu contains the Exit command used to exit the program. As in any Windows program, Finale's File menu contains various commands for opening, closing, saving, and printing files. The File menu also contains commands for importing and exporting libraries (files containing various symbols, markings, and other musical elements that are stored separately and can be "loaded into" any file). Finally, the File menu contains the Exit command used to exit the program. 1 · 2 · 3 · 4. Next to these numbers are the names of the four most recently opened files, with number 1 being the most recent. If the file you want to open is one of the four most recently opened files, then selecting it from here saves you the trouble of selecting open and navigating through folders in the open dialog box to find your file. You can also use the File menu Toolbar icon to access and open a file from this list.

2148

File/Launch Window Opens the Launch Window that appears when you first start Finale. From the Launch Window, you can choose from a variety of methods to start a new file, open existing documents, and access reference materials. See Launch Window.

2149

File/New Choose from the following list of ways to begin a new project:

Document With Setup Wizard Default Document ====================== Document From Template Document Without Libraries ====================== Exercise Wizard

Tip: If you already have a file you are working on, choose Open from the File menu. Tip: Choose the New File Tool from the File menu Toolbar to begin a new work as well. See Also: Program Options-New

2150

File/Open When you choose the Open command, the Open dialog box appears, in which there are the kinds of files Finale is capable of opening: Finale Notation File (*.MUS), Standard MIDI File (*.MID), Finale Template File (*.FTM), and Lesson File (*.LSN). Choose All Files (*.*) if you want Finale to display all files in the current folder, regardless of file type. Use shift-click to select more than one file to open. You can also use the File menu Toolbar icon to open a file. A Finale Notation File is the usual notation file you’ve been working with all along. It can be read by either the Macintosh or Windows version of Finale. A MIDI File is a standard music file format that most sequencer programs can read and create. A Lesson File is a text file that contains a collection of exercises for the Exercise Wizard. As you select each of the file types from the File Type drop down list, the names in the File Name list box change to the files with the corresponding extension. The Folder list box works like any Windows Folder list box; doubleclick a folder to see its contents and use the scroll bars if necessary to view more folders. Select a different drive from the “Look in” drop-down list to view the contents of another drive.

See Also: Program Options-Open

2151

File/Close Choose Close to close the active (frontmost) window. If you’re closing the last open window containing a document to which you’ve made changes not yet saved, Finale will ask you if you want to save your changes; click Yes (or press enterreturn) to save your changes, or click No if you don’t want your changes preserved. Click Cancel to return to that document without closing it. (You can also close a document by double-clicking the Control menu in the upper-left corner of the window.)

See Also: Window menu_Ref347562182

2152

File/Close All Choose Close All to close all the open documents. Finale will ask you if you want to save each window that has had any changes; click Yes (or press enter) to save your changes, or click No if you don’t want your changes preserved. Click Cancel to return to that document without closing it.

See Also: Window menu

2153

File/Save Choose Save to store any changes you’ve made to the active document. You can also use the File menu Toolbar icon to save a file. When you’re working on a Finale document (or any computer file), your changes to the file are stored in temporary files that are deleted when you exit the program. As long as you’re in Finale and the computer is on, the computer’s memory retains your editing. If the power fails or a system error occurs, however, all your editing is lost forever, unless you have remembered to save the changes onto a disk by choosing this command. It’s a good idea to save your work fairly often—every ten minutes, perhaps; if you’re the kind of person who forgets, consider using Finale’s automatic backup feature (see Save under Program Options). If you intend to open the file on a machine running Windows, make sure Append File Extensions is checked. Backup files. Finale can automatically save a backup copy of your file in the same folder as the original file. You can also select the folder to save Backup files. See Save (under Program Options). Although the concept of a backup seems simple enough, it does warrant a little explanation. The first time you save a file, you have to give the file a name. All subsequent times you save this file, you are automatically replacing an earlier version of the file with the same name. This earlier version of the file is preserved as a backup. The backup file is saved with the extension .BAK, to help you identify it. Therefore the backup is always one version behind your current file (in case you just saved something you shouldn't have). Keep in mind that the first time you save a file, no backup is made, since there isn't a previous version to preserve. Similarly, no backup is made when you perform a Save As function. Note: The Save command saves only the active document (the one in the frontmost window). Tip: Choose the Save File Tool from the File menu Toolbar to save your work as well. See Also: Program Options-Save

2154

File/Save As This command has two purposes. First, as in many computer programs, the Save As command offers you a chance to create a duplicate of the document you’re working on, with a different name, and—if you wish—in a different folder or on a different disk. (When you choose the command, Finale displays a dialog box and asks you to give the document a new name, which can’t be exactly the same as the current document’s in the same folder.) This command’s second purpose is to let you save the current document as another kind of document—namely, a Finale Template File or a standard MIDI File. After choosing Save As, select the file format you want to use, give the new file a name, and click Save.

See Also: Program Options-Save

2155

File/Extract Parts This command allows you to automatically create individual part documents from the main project document. Open the full-score document, so that it appears on the screen. Choose Extract Parts. The Extract Parts dialog box appears, which lets you specify which staves you want to extract. See Extract Parts dialog box for a more complete discussion of its options. You can format, inspect, and adjust the resultant documents, fixing any awkward page turns, for example, before you print them out. (Of course, linked parts can also be printed directly from the main project document. See Linked Parts).

2156

File/Export to SmartMusic Choose Export to SmartMusic to save a copy of your file in a format that can be opened by the SmartMusic. See SmartMusic. There are three types of SmartMusic Accompaniment files, solo with accompaniment, ensemble (with customizable part playback), and assessment (for use with SmartMusic’s assessment feature.

2157

File/Export to Audio File Choose Export to Audio File to create aWave or MP3 file based on the document’s MIDI performance. When you choose this option, the Export to Audio File dialog box appears. To record these audio files, Finale uses the currently selected SoundFont. See Audio Files.

See Also: Export to Audio File

2158

File/Post at Finale Showcase This command will save your file, then open your browser to place your file on MakeMusic’s website at www.finaleshowcase.com. The file will be freely shared with other Finale users. Please follow the directions on the website.

2159

File/Revert If, in experimenting with a file, you create a hopeless muddle, all is not lost. The Revert command restores your document to whatever condition it was in the last time you saved your work. (This command does the same thing as closing the document without saving it, then reopening it.)

2160

File/ScoreMerger Finale's Score Merger allows you to combine several files into one. This can be done horizontally, with files appended after each other, such as different movements of a symphony or a collection of songs. Or, it can be done vertically, consolidating individual parts into a full conductors score.

See Also: ScoreMerger

2161

File/MusicXML Choose Import to open a MusicXML file. See Import MusicXML. Choose Export to save a Finale document in MusicXML format. MusicXML files can be opened in other music programs as well as earlier versions of Finale. See Export MusicXML.

Note: Finale can open and export compressed MusicXML 2.0 files (.mxl).

Updates to MusicXML in Finale 2009 include: • Graphics are now exported, and imported graphics are now embedded rather than linked. Embedded graphics are exported when saving to a compressed MusicXML 2.0 file. Linked graphics are exported when saving to either a compressed or uncompressed MusicXML 2.0 file. • Two-note tremolos created by Easy Tremolos and TGTools are now exported, and two-note tremolos are now imported in a similar style to how Easy Tremolos work. • Swing tempo metronome marks are supported, using the shape expression that is part of the standard default documents. • Font support is improved, included support for the November, ChordSuf, and Toccata third-party fonts. •

Blank pages and page breaks are now imported.

• Word extension import has been improved to keep some extraneous smart word extensions from appearing after import. • Files created on Windows now export their text more accurately on Mac, and vice versa.

Import Export

2162

File/Scanning SmartScore Lite Choose this command to Import a scanned file from your scanner or open the SmartScore Lite dialog box where you can import a scanned TIFF file for conversion to Finale document.

Scan and Import Import Existing TIFF File

2163

File/Load Library Because you may want to use different kinds of symbols in different kinds of pieces, Finale allows you to save any special symbols you create while working in a document (articulations, chord symbols, and so on) into separate files called libraries. These sets of musical elements may then be “loaded into” any document. See Save Library dialog box. A Finale document with no libraries loaded will seem stripped-down, because each time you open a selection dialog box (to place an articulation or chord symbol, for example), it will be empty. That’s why the Maestro Font Default file has already been loaded with the most commonly used libraries so you can begin work immediately. You can also load additional libraries into any document by choosing Load Library; an Open dialog box appears, letting you double-click the name of the library you want to load. A starter set of libraries is included with your Finale package; they’re in a folder called Libraries. A full description of these libraries and their contents appears in the Appendix (See Finale Libraries).

2164

File/Save Library Saves the specified set of special symbols (or settings) you create while working in a file (articulations, chord symbols, and so on) into a separate file called a library. These sets of musical elements may then be "loaded into" any file. For detailed information, see the Save Library dialog box.

2165

File/File Info This command displays the File Info dialog box which allows you to enter information specific to your document. You can enter information such as Title, Composer and Copyright. This information can be placed automatically in your documents using Text Inserts. See File Info dialog box and Text menu. You can also reach the File Statistics dialog box from the dialog box by clicking on Statistics. This dialog box provides information on the number of pages, measures, etc. that you have used in your document. See File Statistics dialog box. (See also Count Items under Plug-ins.)

2166

File/Page Setup This command displays the standard Windows Page Setup dialog box, which differs depending on the kind of printer you’re using. For example, you can specify the size of paper you want to print on, but note that the page size of your document itself (that is, the size of the printed image) is completely independent of the paper size you specify here. (Use the Page Layout Tool to set the actual page size; see Page size.) To make sure that no music will be chopped off when you print, the size of the page as set by the Page Layout Tool should be equal to or smaller than that specified in the Page Setup dialog box. For a more complete discussion, see Page Setup dialog box.

2167

File/Print Prints the score and/or parts as they appear in Page View. When you choose this command, the standard Print dialog box appears listing additional printing options, which vary depending on your printer. You'll be able to specify, for example, which pages of the score you want to print, and how many copies.

Tip: Choose the Print File Tool from the File menu Toolbar to print the file as well. For detailed information see the Print dialog box.

2168

File/Compile PostScript Listing This command provides options for compiling a PostScript listing - a printer file of your score that Finale can print faster than it can print the score itself. For more detailed information, see the Compile PostScript Listing dialog box.

2169

File/Save Preferences You can customize your Main Tool Palette and the document window to the work environment best suited to your music, so you can get straight to work when you open a file. The Save Preferences command gives you control over when to save these settings. When exiting Finale, preferences set in the application will be automatically saved. If you prefer that they are only saved when you choose the New Save Preferences command, choose Program Options from the Edit menu and choose the Save category. Click Save Preferences When Exiting Finale to uncheck it. You can control when Finale saves the application-wide preferences that you set (for example, rulers, measurement units, the state of Speedy commands), saving them any time in the application. Organize the tools, change the palette size and location, or set menu options such as Use MIDI Device just the way you want them, then choose Save Preferences from the File menu. Finale saves your settings with preferences in the Finale.INI file (in your Finale folder).

See Also: Program Options-Save

2170

File/Exit This command exits Finale and returns to the Desktop. Finale closes all open files automatically, after first asking you if you want to save your changes (if you made any).

2171

Graphics menu How to get there From the Window menu, choose Advanced Tools. Click the Graphics Tool .

What it does Use the Graphics menu to export a selected region of a page, or to export one or more pages, and save them as either EPS (PostScript) or TIFF files. Export full pages or portions of pages as EPS or TIFF files. Place EPS, TIFF or TIFF graphics into your score (in Scroll or Page View), and assign them to a measure, a page, or a range of pages. Use the Check Graphics command to verify that Finale is able to locate the graphics files placed into the document. Once you’ve placed a graphic into the score, you can adjust its placement using the Alignment submenu (for pageassigned graphics) or the Attributes command.

2172

Graphics/Export Selection This command is only available in Page View when a region of music is selected. Choose this command to display the Export Selection dialog box, where you can export the selection on the current page or on a range of pages. When you choose this command, the Export Selection dialog box settings will default to exporting the selection on the current page only; save the graphic as an EPS or TIFF file. For more information, see Export Selection and Export Pages dialog boxes.

See Also: Graphics Tool

2173

Graphics/Export Pages This command is only available in Page View. Choose this command to display the Export Pages dialog box, where you can export a single page, a range of pages, or all pages, as separate graphics files. When you choose this command, the Export Pages dialog box settings will default to exporting the current page. Save the graphic as an EPS or TIFF file. For more information, see Export Selection and Export Pages dialog boxes.

See Also: _Ref1564415445Graphics Tool

2174

Graphics/Place Graphic Choose this command to place an EPS or TIFF file graphic into your score in Scroll View or Page View. The Place Graphic dialog box appears, listing the available graphic formats, as well as the option to display all files. Note: Finale doesn't actually embed the graphics placed into your Finale document. Instead, it places a link to the graphic's location. Use the Check Graphics command for a list of graphics placed into a document; when you copy Finale documents, make sure that you copy all the graphics used in the documents as well. For detailed information, see the Place Graphic dialog box.

See Also: _Ref1564415445Check Graphics

Graphics Tool

2175

Graphics/Alignment You must be in Page View and have a page-assigned graphic selected to use the commands in the Alignment submenu. Otherwise, the commands in the Alignment submenu are not accessible (they will be grayed out). Choose a command to specify how you want the graphic positioned on the page. Checkmarks appear by the alignment settings currently in use for the graphic. When you change the horizontal or vertical alignment of the graphic, Finale clears any manual positioning done in the score, and resets the H: or the V: positioning settings in the Graphic Attributes dialog box to zero. Choose Position from Page Edge or Position from Page Margin to align the selected graphic with the edge of the page or with the page margin, respectively.

Note: This is a useful shortcut for positioning a page-assigned graphic when you’re in Page View. If you prefer, however, you can choose the Attributes command from the Graphics menu and change the Page Alignment settings in the Graphic Attributes dialog box. Left Center Horizontally Right ================ Top (Header) Center Vertically Bottom (Footer) ================ Position from Page Edge Position from Page Margin

See Also: _Ref1564415445Graphic Attributes

2176

Graphics Tool

2177

Graphics/Attributes This command is available when a single graphic is selected. Choose this command to display the Graphic Attributes dialog box for the currently selected page-assigned or measure-assigned graphic. Use this dialog box to change the placement of the graphic in your score, its alignment on the page (left, right or centered), its scaling, and what pages, if applicable, the graphic appears on. For more information, see Graphic Attributes dialog box.

See Also: Graphics Tool

2178

Graphics/Check Graphics Choose this command to display a listing of all the graphics you’ve placed directly into your score or into the Shape Designer. If any graphics files are missing, they are listed with an asterisk next to the name. Use this command to make sure you have all the necessary graphics for your document if you’ll be printing the file on another system. For more information, see Check Graphics dialog box.

See Also: Graphic Attributes Graphics Tool

2179

Graphics/Assign New Graphics to Measure Choose this command to assign new graphics to the closest measure when placing graphics. Graphics attached to a measure will reposition relative to that measure as music spacing changes are made to the document.


2180

Graphics/Assign New Graphics to Page Choose this command to assign new graphics to the page when placing graphics. You must be viewing the document in Page View. Graphics attached to a page will remain on that page regardless of music spacing or layout changes.


2181

Help menu The Help menu lets you view the online help for Finale Dialog boxes, menus and Palettes. You can also display the online help for a particular menu command or dialog box by pressing F1.

2182

Help/User Manual Use this menu command to visit Finale's User Manual, the one you are viewing now.

2183

Help/Finale Tutorials Choose this command to open the electronic version of the Finale Installation and Tutorials guide. The printed and electronic versions accompany all new Finale purchases. Only the electronic version is included with Finale upgrades. When this menu item is selected, Finale opens the Before you Begin topic in your Internet browser.

2184

Help/QuickStart Videos Choose this menu item to launch a separate application that will show you basic functionality in Finale via a video on your computer monitor. The video is narrated and shows how to access tools and menus throughout the programs. If you don't like to read tutorials and manuals, this video is for you.

2185

Help/Shortcuts & Character Maps This submenu includes character sets for all of Finale's included fonts as well as a list of all of Finale's keyboard shortcuts.

2186

Help/Shortcuts & Character Maps/Keyboard Shortcuts Choose this menu item to launch your browser and open the Keyboard Shortcuts topic of the Finale User Manual.

2187

Help/Shortcuts & Character Maps/Engraver Character Map Choose this menu item to launch your browser and open the Engraver Character Map topic of the Finale's User Manual.

See Also: Help menu

2188

Help/Shortcuts & Character Maps/Broadway Copyist Character Map Choose this menu item to launch your browser and open the Broadway Copyist Character Map topic of the Finale's User Manual.

See Also: Help menu

2189

Help/Shortcuts & Character Maps/Maestro Character Map Choose this menu item to launch your browser and open the Maestro Font Character Map file of the Finale User Manual.

See Also: Help menu

2190

Help/Finale Website Choose this menu item to go to the FinaleMusic Website for information about Finale and other products made by MakeMusic.

2191

Help/Authorize Finale Choose this menu item to authorize and register your version of Finale with MakeMusic via the Internet. Registered Users of Finale have access to Technical Support and notification of future updates and upgrades.

2192

Help/Check for Finale Updates Choose this menu item to view the latest updated version of Finale from MakeMusic via the Internet. These updates can be downloaded to registered users.

2193

About Finale This dialog box displays the user's name and serial number along with the current software version number and ways to contact Customer Support.

To view this dialog box, go to theHelp menu and choose About Finale

See Also: Customer Support

2194

HyperScribe menu How to get there Click the HyperScribe Tool menu appears.

. The HyperScribe

What it does Before you transcribe a real-time performance, there are a few things Finale needs to know about the music you’re about to play. For example, you need to tell Finale what rhythmic value you’ll be using for your key or foot taps as you play, and the value to which you want your performance quantized. This menu lets you make these settings, which have a great deal to do with the quality of the resulting transcription. Be sure to see also Recording with HyperScribe, and Finale Tutorials. Use HyperScribe’s Playback and/or Click command in the Beat Source submenu to control what you hear when you use HyperScribe to enter your music. Listen to just a metronome click, or listen to an instant playback of the staves that you’ve selected in the Instrument List. If you prefer, you can also play back staves while an accompanying metronome click provides a beat reference. The Playback and/or Click command supports the click and countoff options for HyperScribe playback and recording. The Record Mode submenu has commands for transcribing a performance into a single staff or two staves, and the multitrack recording command that lets you record simultaneous input from multiple channels into multiple staves or multiple layers of staves.

2195

HyperScribe/Beat Source Using this submenu, you tell Finale what MIDI signal will serve as the tempo reference while you play—and who will provide it (either you or Finale).

Tap Playback and/or Click External MIDI Sync


2196

HyperScribe/Record Mode Use this submenu to tell Finale whether you'll be recording your performance into one staff, or splitting the performance into two staves. If you prefer, you can record into two or more staves -- or layers of a staff at one by using the multitrack record mode.

Record into One Staff Split into Two Staves Multitrack Record


2197

HyperScribe/HyperScribe Options Choose this item to display the HyperScribe Options dialog box, which holds a number of specialized transcription choices such as the incoming channel for the Record into One Staff, or Split Into Two Staves record modes, and whether you want Finale to record key velocities and note durations as you play. For detailed information, see the HyperScribe Options dialog box.


2198

HyperScribe/Record Continuous Data Choose this item to display the Record Continuous Data dialog box where you can choose the type of continuous data you want to record while entering with HyperScribe. For detailed information, see the Record Continuous Data dialog box.


2199

HyperScribe/Transcription Mode Choose this menu item to use Finale’s mini sequencer.

Tip: Once the menu item is checked, click in a measure to open the Transcription window. For more information see Transcription mode


2200

Lyrics menu How to get there Click the Lyrics Tool

.

What it does The Lyrics menu contains all the commands you’ll need to create and edit lyrics, distribute the text in the score, adjust the positions of individual syllables, draw word extensions for syllables that are sustained, and so on. You can have as many sets of lyrics as you want—up to 512 of each of Finale’s three lyric types: Verse, Chorus, and Section. There’s no technical distinction between these three types—the lyrics you enter as a Verse can be used in the chorus of your song, and vice versa. They’re only there to help you keep your lyrics straight, and to make it easy to change the font or style for a large chunk of lyrics at once (you can specify a different font for Verses, Choruses, and Sections by choosing Document Options from the Document menu and selecting Fonts).

2201

Lyrics/Edit Lyrics Choose this command to enter Finale’s text processor. If you have copied lyrics from an external word processor, press ctrl-V here to paste them. Otherwise, you can create lyrics from scratch; just type them in, being sure to insert a hyphen between syllables. (Finale recognizes a space, hyphen, or carriage return as the end of a syllable.) For a full description of the Edit Lyrics window, see Edit Lyrics window.

See Also: Lyrics Tool

2202

Lyrics/Export Lyrics Choose this command to open the Export Lyrics dialog box where you can extract your lyrics and save them as a text file. See Export Lyrics dialog box.

2203

Lyrics/Adjust Syllables This command lets you move an individual syllable anywhere you want it. Click the staff above a syllable; two handles appear. Click a handle to select its syllable; shift-click to select additional syllables attached to the same note. Drag a lower handle to move its syllable (or all selected syllables) to a new position; press backspace to restore a selected syllable to its original position. To remove a selected syllable (or all selected syllables) from the score, press delete. You can also use Adjust Syllables in conjunction with the alignment and justification commands (see below). Click the upper handle to set alignment and justification.


2204

Lyrics/Click Assignment After you’ve typed lyrics into the Edit Lyrics window, choose Click Assignment from the Lyrics menu. The scrolling Click Assignment window appears; (move the Click Assignment window out of the way, if necessary, by dragging its title bar). A syllable from the left end of this window attaches itself to each note you click (or, if the note is in Voice 2, each one you shift-click). If you ctrl-click a note, however, Finale will zip through your entire set of lyrics, intelligently distributing them to the notes in the score skipping rests and tied notes, as well as notes in different layers and voice two, for as many notes as there are syllables. (Click Assignment will stop at default whole rests.) See Click Assignment dialog box for a more complete discussion.


2205

Lyrics/Clone Lyric Use this command when you want to copy the lyrics from one staff (the “source” staff) to another (the “target” staff). This technique, however, only copies one set of lyrics at a time—either the Verse, Chorus, or Section currently specified by the Specify Current Lyric command, or the last lyric you edited. After choosing this command, select the measures containing the source lyrics by clicking, shift-clicking, the same techniques you use with the Selection Tool. Once the source measures are selected, drag the first selected measure so that it’s superimposed on the first target measure. (If the target measure isn’t visible in the same screen, scroll so that you can see it, then ctrl–shift-click it.) Finale will copy the lyrics from the source measures to the target measures. Bear in mind that only notes that fall on the same beats as those in the source measures will receive syllables. (Note, too, that the vertical positions of the baseline-positioning triangles will be the same in the target staff as they were in the source staff.)


2206

Lyrics/Edit Word Extensions A Word Extension is the underline following a syllable sustained beyond the note to which it’s attached. In new documents, or documents that do not contain lyrics created before Finale 2004, these lines are generated automatically as you type lyrics into the score. To edit a Word Extension, choose this command from the Lyrics menu, then click in the staff above the syllable in question. A square handle appears. Drag it to the right as far as you want to draw the Word Extension underline. To remove the Word Extension, click its handle and press Delete. You can edit the default appearance of word extensions for your document in the Word Extensions dialog box.


2207

Lyrics/Shift Lyrics When you choose this command, Finale displays the Shift Lyrics dialog box, where you can specify the direction in which you want all the syllables shifted. For detailed information, see the Shift Lyrics dialog box.


2208

Lyrics/Type Into Score Instead of typing lyrics into the Edit Lyrics window separately, you can enter them directly into the music so that you know at all times where you are relative to the melody. To do so, first specify the lyric type and number for the lyrics you intend to create (by choosing Specify Current Lyric or Edit Lyrics from the Lyrics menu). Choose Type Into Score from the Lyrics menu. A set of four positioning triangles appears at the left edge of the screen. These control the baseline of the lyrics (against which the bottom edges of the words line up). Click on the staff at the position of the first melody note. Don't click the notehead - instead, click in the staff lines. A small blinking cursor - the insertion point - appears beneath the staff where you clicked. Type the lyrics normally; each time you type a space or a hyphen, Finale automatically moves the insertion point to the next note in preparation to enter the next syllable. As you type, Finale automatically scrolls the music so you always know where you are. If you make a mistake, just backspace over it by pressing the backspace key. To change a word you've already typed, click in the staff lines above it so that it's highlighted, then type its replacement. If you encounter a melismatic passage, where one syllable is sustained through several melody notes, skip past each sustained note by pressing the Space bar. Note that as you type, Finale stores each syllable in the Edit Lyrics window the Lyrics Tool's text processor. It's important to understand that the Edit Lyrics window and the lyrics in the score are dynamically linked. If you change a syllable in the Edit Lyrics window, the syllable instantly changes in the score and vice versa.


2209

Lyrics/Alignment These commands, only available when Adjust Syllables is selected in the menu, are similar to the alignment and justification option in the Text tool. They allow you to easily set the horizontal position of your lyrics on a syllable by syllable basis. These commands are useful when you want all the syllables (in several verses) beneath a particular note neatly aligned. You might use this feature to left-justify a specific syllable of each verse under the first note of a hymn, for example. For global settings see Document Options-Lyrics. If you wish to align all lyrics you may do so in Document Options-Lyrics. If you wish to be aligned with a celestial body, you'll have to look further than Finale. Set the alignment and justification by selecting it from the menu, or using the keyboard shortcuts listed in the menu. The handle will move from one side of the syllable to the other depending on which type of justification you have selected.

Default =================== Center Left Right

See Also: Justification Lyrics Tool

2210

Lyrics/Justification Use the following menu items to justify the selected syllables relative to each other. If you wish to justify all lyrics you may do so in Document Options-Lyrics.

Default =================== Center Left Right

See Also: Alignment Lyrics Tool

2211

Lyrics/Specify Current Lyric Choose this command to display the Specify Current Lyric dialog box, where you can specify whether you want to edit, Type Into Score, Clone, or ClickAssign a Verse, Chorus, or Section. In the text box, you can also specify by number which Verse, Chorus, or Section you want to manipulate. You can also switch one lyric type to another in the Edit Lyrics window- for example, if you've just used Click Assignment to place Verse lyrics in the score, but you now want to use the Edit Lyrics window to enter the chorus, choose Chorus from the Lyric drop-down list. For detailed information, see the Specify Current Lyric dialog box.

See Also: Edit Lyrics Lyrics Tool

2212

Lyrics/Adjust Baselines This command displays the Adjust Baselines dialog box, where you can specify the exact vertical location for the baseline of each lyric type and number (the invisible line against which the bottoms of the words align). For detailed information, see the Adjust Baselines dialog box.


2213

Lyrics/Lyric Options Choose this command to display Document Options-Lyrics where you can specify alignment, spacing and line thickness options as well as settings for hyphens and word extensions.


2214

Measure menu How to get there Click the Measure Tool

.

What it does This menu includes options for working with measure numbers, measure number regions, and measure spacing. For information regarding adding, moving, copying, inserting, or deleting measures, see Edit menu.

2215

Document menu/Edit Measure Number Regions Choose this menu item to alter how measure numbers appear throughout the document. For more details see Measure Number dialog box. Tip: A measure can have more than one region assigned. This allows for difference series of numbers to appear. And

2216

Measure menu/Edit Measure Number Regions Choose this menu item to alter how measure numbers appear throughout the document. For more details see Measure Number dialog box.

Tip: A measure can have more than one region assigned. This allows for difference series of numbers to appear.

2217

Measure/Add Measure Number Enclosures Choose this menu item to add a shape around the measure numbers of the selected measures. For more detail, see Enclosure Designer dialog box.

See Also: Measure Tool

2218

Measure/Show Measure Numbers Choose this menu item to force measure numbers to appear in the selected measures.

Tip: If numbers do not appear after choosing this item, choose Edit Region and confirm that the selected measures are within a region. See Also: Measure Tool

2219

Measure/Hide Measure Numbers Choose this menu item to force measure numbers to disappear in the selected measures.


2220

Measure/Restore Measure Number Defaults Choose this menu item to return the measure numbers in the selected measures to settings in the Measure Number dialog box.


2221

Measure/Show Measure Spacing Handles Choose this option to display the measure spacing handles on each measure. With these two handles (on the bottom staff line) you can control the space between the left barline and the first note in the measure and the space between the last note in the measure and the right barline. These values are represented in the Measure Attributes dialog box after “Extra Space at Beginning” and “Extra Space at End”.

2222

MIDI/Audio menu How to get there The MIDI/Audio menu is one of Finale’s unchanging menus.

What it does This menu contains items specific to your MIDI setup and usage.

2223

MIDI/Audio/Play Finale Through VST Check this box to playback using the devices chosen in the VST Instruments dialog box instead of those specified in the MIDI Setup dialog box.

2224

MIDI/Audio/Play Finale Through MIDI Check this box to playback using the devices chosen in the MIDI Setup dialog box.

2225

MIDI/Audio/Instrument Setup Use the following commands to configure VST or MIDI instruments. VST Instruments Instrument List

2226

MIDI/Audio Track Use the commands in this submenu to add audio tracks to your score, load audio into an audio track, and make additional settings relating to imported audio files.

Add Audio Track Load Audio Audio Clip Attributes

2227

MIDI/Audio/Human Playback From this submenu, you can turn off Human Playback, choose a Human Playback Style, or choose to define a custom Human Playback Style.

None Standard Baroque Classical Romantic 21st Century Marching Band Viennese Waltz Light Waltz Funk Jazz Latin Pop Reggae Rock Samba Custom ===================== Human Playback Preferences

See Also: Human Playback

2228

MIDI/Audio/Device Setup Use these options to configure MIDI and VST devices.

Audio Setup Manage VST Plug-ins ===================== MIDI Setup MIDI Thru Tablature MIDI Channels ===================== Edit Percussion MIDI Maps Percussion Input Maps ===================== Send MIDI Sync Send MTC

2229

MIDI/Audio/MIDI File Options Use these commands to adjust settings related to importing and exporting MIDI files.

Import MIDI File Options Export MIDI File Options

2230

MIDI/Audio/MIDI Clipboard Use these commands to manage the MIDI clipboard.

Export MIDI to Clipboard Import MIDI from Clipboard

2231

MIDI/Send MIDI Value When you choose this command, the Send MIDI Value dialog box appears. Using the options in this dialog box, you can send any kind of MIDI data to your synthesizers immediately: a patch change, a "pedal up" command, a "note off" command. For detailed information, see the Send MIDI Value dialog box.

See Also: MIDI Tool

2232

MIDI/All Notes Off From time to time, you may encounter MIDI lock, a rare situation in which a synthesizer sounds as if its keys are "stuck," and it plays continuously as though someone's still pressing them. To send the MIDI signal that tells it to "release the keys," choose this command; after a moment, the synthesizer will be silent. Technically, this command sends a Note Off command to all notes on all channels.

2233

MIDI/Set Panning Choose this command to automatically configure the pan setting for each staff in order to simulate the effect of instruments distributed among the orchestral space. Finale recognizes many instrumental configurations, from solo instrument to symphonic orchestra, and sets Mixer pan dials accordingly (also taking into account solo instruments). These settings are based on Human Playback’s interpretation, formerly known as Automatic Panning (although the configured Mixer/Staff Control settings apply to playback with or without HP).

2234

MIDI/Retranscribe Choose this command to retranscribe the selected region using the quantization settings in the Quantization Settings dialog box. See Quantization Settings dialog box and Retranscription.

Note: When retranscribing, Finale will not change any of the MIDI information in the region. It will, however, remove any markings that were entered in the music. See Also: HyperScribe Tool HyperScribe

2235

MIDI/Click and Countoff Choose this command to display the Click and Countoff dialog box, where you can specify a countoff click for recording with HyperScribe or playing back using the Playback Controls. You can also determine how many measures to count off, and define two separate metronome click sounds for the down beat and other beats in your music. For detailed information, see the Click and Countoff dialog box.


2236

MIDI/Audio/Quantization Settings Choose this menu item to go to the Quantization Settings dialog box where you adjust how MIDI information is interpreted by Finale upon input (such as Importing MIDI files, HyperScribe and Transcribing) For more information, see Quantization Settings dialog box.


2237

MIDI Tool menu How to get there From the Window menu, choose Advanced Tools. Click the MIDI Tool

.

What it does When you record a real-time performance, you can tell Finale to remember the precise feel of your original performance, and to keep this captured MIDI data handy for playback once you return to the document. For full instructions, see Record Continuous Data dialog box and Transcribing a sequence. This captured data includes key velocity information (how hard you struck each key); Note Duration data (minor deviations from the beat that result in swing, rolled chords, rushing the beat, and so on); and Continuous data (MIDI controller information you generated during your performance such as pedal and pitch wheel usage, patch changes, monophonic aftertouch, and so on). Once you’ve transcribed your performance into standard notation, you can listen to it play back in one of three ways. You can listen to Finale’s Human Playback interpretation, play it exactly as it appears in the score— expressionless and rhythmically perfect; or, if you prefer, you can listen to it using the captured MIDI data so that it retains the nuances of your original performance. (See Playback for full instructions on specifying the method of playback you want to use.) The purpose of the MIDI Tool is to edit the captured MIDI data. You can make a passage louder or softer, create a swing feel in one section, edit the pedaling, insert a patch change, modify a pitch bend, and so on. The commands in the MIDI Tool menu let you edit the captured MIDI data in various ways. There are two ways to Edit MIDI data with the MIDI Tool. Click the MIDI Tool. If the region is large, select the measures exactly as you would with the Selection Tool: Click to select one measure, shift-click to select additional measures, drag-enclose to select several on-screen measures, click to the left 2238

of the staff to select the entire staff, or choose Select All from the Edit menu to select the entire document. Then simply choose the appropriate commands from the MIDI Tool menu to affect all the selected measures at once. If the music whose MIDI data you want to edit is a one-staff region that fits on the screen, select it in the usual way, then double-click the highlighted area. You enter the MIDI Tool split-window, where you can see the MIDI data represented graphically. Once in the MIDI Tool split-window you can also specify the MIDI data—the key velocity, for example—of individual notes, even if they’re buried within chords, by selecting their handles; see MIDI Tool splitwindow Once you’ve edited MIDI data (and returned to the score), you can then erase it, or copy it from one passage to another in the same way you’d use the Selection Tool to copy music. Be sure the MIDI data type you want to manipulate is selected in the MIDI Tool menu; select the source measures just as you did before. If the measures to which you want to copy the selected MIDI information are visible on-screen, drag the first selected measure so that it’s superimposed on the first target measure. If the target measures are offscreen, scroll so that you can see the first one; then, while pressing ctrl and shift, click the first target measure. In either case, the Finale copies the MIDI data from the source measures to the target measures. To erase the captured MIDI data from a region, be sure the MIDI data type you want to manipulate is selected in the MIDI Tool menu; select the source measures just as you did before, and press backspace. Only the data type specified in the menu (Key Velocities, Note Durations, or Continuous Data) will be cleared from the selected region.

2239

MIDI Tool/Key Velocities Choose this command to tell Finale that you want the editing commands (Set To, Add, Scale, Percent Alter, Limit, Alter Feel, and Randomize) to affect the key velocity of the selected music. If you select this command while you're in the MIDI Tool split-window, you see the velocities of the notes on the screen represented as a bar graph. After you select this command, a check mark appears beside it in the MIDI Tool menu.

See Also: MIDI Tool

2240

MIDI Tool/Note Durations Choose this command to tell Finale that you want the editing commands to affect the Start Times and Stop Times of the selected music. If you select this option while you’re in the MIDI Tool split-window, you see the durations of the notes on the screen represented graphically as horizontal lines—the longer the line, the longer the note; see MIDI Tool split-window.

2241

MIDI Tool/Continuous Data When you choose this command, the View Continuous Data dialog box appears, in which you can specify which MIDI controller data you want to edit (and view, if you're in the MIDI Tool split-window). Sustain pedal usage, pitch or modulation wheel changes, patch changes, and monophonic aftertouch are a few of the options; if you have other kinds of controllers, you can identify them by number. After you've specified the continuous data type you want to edit, you return to the score (or MIDI Tool split-window); you can now use the MIDI/Audio menu commands to affect the specified controller data. (Note that the "Alter Feel" and "Randomize" commands aren't available if you're editing continuous data.) After you select this command, a check mark appears beside it in the MIDI Tool menu. For detailed information, see the View Continuous Data dialog box.

See Also: MIDI Tool

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MIDI Tool/Set To When you choose this command, the Set To dialog box appears, in which you can set the values of the specified MIDI data type (velocity, durations, or continuous data) for all selected notes to a single value. For example, you could set the key velocities for all selected notes to 100 (on the MIDI velocity scale of 0 to 127). Use this command to create pedaling, after using the Continuous Data command (see below) to specify that you want to edit sustain pedal data. Select the point at which you want the sustain pedal to go down by dragging through a small sliver of the graph area. (The “pedal down” message will occur at the beginning of the selected [highlighted] region.) Choose Set To, and enter 127; when Finale plays back the music, it will push the pedal “down” at the point you specified. Repeat the process at the point where you want the pedal released, but choose Set To and enter zero. See Pedal markings.

Set To - Key Velocities Set To - Note Durations (Start - Stop Times) Set To - Continuous Data Set Patch To Set To - Tempo

See Also: MIDI Tool

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MIDI Tool/Scale When you choose this command, the Scale dialog box appears, in which you can scale the values of the specified MIDI data type (velocity, durations, or continuous data) evenly from one value to another across the selected region. You could scale the velocities of the notes in a selected region, for example, from a low value to a high one; Finale would play the notes back with a smooth crescendo. See Smart Playback Plug-in. This command is also useful for creating pitch bends. You can scale the MIDI velocity values either from one specified absolute value to another, or from one percentage of the original value to another (from 15% to 50% of the original values, for example).

Scale - Key Velocities Scale - Note Durations Scale - Continuous Data Scale - Tempo

See Also: MIDI Tool

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MIDI Tool/Add When you choose this command, the Add dialog box appears, in which you can add a positive or negative amount to the values of the specified MIDI data type (velocity, durations, or continuous data) for all selected notes. You could add a certain amount to the key velocity data for every note, for example, or make a pitch bend less "deep." For detailed information, see the following dialog boxes.

Add - Key Velocities Add - Note Durations Add - Continuous Data Add - Tempo

See Also: MIDI Tool

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MIDI Tool/Percent Alter When you choose this command, the Percent Alteration dialog box appears, in which you can increase or decrease the values of the specified MIDI data type (velocity, durations, or continuous data) for all selected notes by a percentage of their original values. You could make the key velocity for every note twice as high, for example, by specifying an increase of 200%. For detailed information, see the following dialog boxes.

Percent Alteration - Key Velocities Percent Alteration - Note Durations Percent Alteration - Continuous Data Percent Alteration - Tempo

See Also: MIDI Tool

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MIDI Tool/Limit When you choose this command, the Limit dialog box appears, in which you can limit the values of the specified MIDI data type (velocity, durations, or continuous data) for all selected notes to a certain minimum and maximum value. Any notes with values above the maximum you specify will be clipped back to that maximum value; any notes with values below the minimum will be boosted to that minimum value. For example, if you discover that you can't hear any of the guitar notes in your score when the synthesizer keys are "struck" (during playback) with a velocity under 50, you could "limit" the entire guitar staff to a minimum velocity value of 50. For detailed information, see the following dialog boxes.

Limit - Key Velocities Limit - Note Durations Limit - Continuous Data

See Also: MIDI Tool

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MIDI Tool/Alter Feel Like the Add or Percent Alter commands, the Alter Feel command displays a dialog box that lets you add a positive or negative number to the velocities or durations of every note in the selected region. However, in the Alter Feel dialog box, you can target individual beats in each measure to receive the alterations. For example, if you've selected Key Velocities, you can specify that the downbeat of each measure in the selected region should be played back with 50% more volume, while the other beats in the measure are unaffected. In fact, you can specify a different value for Downbeats, Other Beats, and Backbeats. For detailed information, see the following dialog boxes.

Alter Feel - Key Velocities Alter Feel - Note Durations

See Also: MIDI Tool

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MIDI Tool/Randomize When you choose this command, the Randomize dialog box appears, in which you can specify an amount by which you want to randomly alter the velocity or duration values for all selected notes. This can be a useful option if you want to give your playback a more imperfect, "human" feeling. Type a fairly small number into the box - to randomize key velocities, for example, you might enter a number between 10 and 20 (unless you really want some unpredictable, madcap accents). For detailed information, see the following dialog boxes.

Randomize - Key Velocities Randomize - Note Durations

See Also: MIDI Tool

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MIDI Tool/Clear Choose this command to clear all MIDI data within the selected region.

See Also: MIDI Tool

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MIDI Tool/Edit MIDI Note When you choose this command, the Edit MIDI Note dialog box appears, in which you can set the start and stop times, and the key velocity of a note in one place. For more information, see Edit MIDI Note dialog box.

See Also: MIDI Tool

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MIDI Tool/Play This command, available if the MIDI Tool split-window is open, plays the displayed music immediately using the captured MIDI data.

See Also: MIDI Tool

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MIDI Tool/Show Selected Notes This command, only available if the MIDI Tool split-window is open, tells Finale to draw lines in the graph area for only notes whose handles are selected. If you're working with a "notey" score, for example, or if you're trying to work with an inner melody in a chordal passage, choose this option to hide the graph lines for the notes that aren't essential to what you're doing. (Because MIDI controller data isn't associated with individual notes, this command is not available if Continuous Data is selected in the MIDI/Audio menu.)

See Also: MIDI Tool

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MIDI Tool/Dragging Copies Music Check this command to tell Finale to copy music while dragging (as you would with the Selection Tool).

See Also: MIDI Tool

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MIDI Tool/Dragging Copies MIDI Data Check this command to tell Finale to copy MIDI data while dragging.

See Also: MIDI Tool

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Mirror menu How to get there Choose the Mirror Tool top of the screen.

. The Mirror menu appear in the menu bar at the

What it does In this copying mode, the copy you create is an intelligent copy (a mirror) of the source measure or measures. If you edit the notes or expression markings in the source measures, the change is immediately reflected in the mirrored measures. To guarantee the measures stay identical, you are unable to edit or copy anything into a measure which has a mirror applied to it. When you no longer want the measures to be mirrored, choose Dragging Copies Music from the Mirror menu. See also Convert Mirrors. The process is exactly the same as any copying action: Select a source region of complete measures. Drag the first selected measure so that it’s superimposed on the first target measure (or, if the target measure is offscreen, ctrl-shift-click it). Finale displays the Mirror Attributes dialog box, letting you specify a transposition, if you want, and other aspects of the copy. (See Mirror Attributes dialog box.) You can only create this kind of copy if the target measures are originally empty. Note also that you can’t deselect Copy Everything in the Edit menu if you’re creating a mirror; everything in the source measures will be copied to the target measures. (You can, however, tell Finale not to display certain elements of the music by specfiyn i gthemn i theDont’Drawsecto i noftheMriorAtrb i utesda io l gboxthatappears). The result is a copy that’s dynamically linked to the source measures. If you change any aspect of the source measures, the mirror automatically changes too. You can change any settings you made in the Mirror Attributes dialog box as follows: click the Mirror Tool, then shift-click any mirror (identified by a mirror icon). Note, too, that you can copy a mirrored measure in the usual way; if you’ve selected Dragging Mirrors Measures from the Mirror menu, the target measures will themselves be a mirror (of the mirror). If you’ve selected Dragging Copies Music, however, the mirror you’re copying will be turned into normal non-mirrored music.

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Mirror/Dragging Copies Music In this copying mode, the copy you create is not an intelligent copy (a mirror) of the source measure or measures - just the music as if it were copied with the Selection Tool normally.

See Also: Mirroring Mirror Tool Mirror menu

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Mirror/Dragging Mirrors Measures In this copying mode, the copy you create is an intelligent copy (a mirror) of the source measure or measures. If you edit the notes or expression markings in the source measures, the change is immediately reflected in the mirrored measures. The process is exactly the same as any Selection Tool copying action: Select a source region of complete measures. Drag the first selected measure so that it's superimposed on the first target measure. Finale displays the Mirror Attributes dialog box, letting you specify a transposition, if you want, and other aspects of the copy. See Mirror Attributes dialog box. You can only create this kind of copy if the target measures are originally empty. Note also that if you're creating a mirror; everything in the source measures will be copied to the target measures. (You can, however, tell Finale not to display certain elements of the music by specifying them in the Don't Draw section of the Mirror Attributes dialog box that appears). The result is a copy that's dynamically linked to the source measures. If you change any aspect of the source measures, the mirror automatically changes too. You can change any settings you made in the Mirror Attributes dialog box. Note, too, that you can copy a mirrored measure in the usual way; if you've selected Dragging Mirrors Measures from the Mirror menu, the target measures will themselves be a mirror (of the mirror). If you've selected Dragging Copies Music however, the mirror you're copying will be turned into normal non-mirrored music. See Also: Mirroring Mirror Tool

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Note Mover menu How to get there From the Window menu, choose Advanced Tools. Click the Note Mover Tool

.

What it does The Note Mover Tool moves and copies individual notes within a measure from one place to another. You can use it to create cross-staff notes, to correct split-point errors (after using Finale's HyperScribe Tool), or to search for a certain motif or note and replace it with a different motif or note (Search and Replace).

All of the Note Mover actions begin the same way. Click a measure; a handle appears on every notehead. Select the handles of the notes you want to move or copy; select one note by clicking, additional ones by shift-clicking, a group of notes by drag-enclosing their handles, or all notes in the measure by choosing Select All from the Edit menu. Then, after making sure you've chosen the appropriate copying command from the Note Mover menu, drag any one of the selected handles to the staff lines of the target measure.

The first seven items on this menu let you tell Finale what kind of action to take when you drag selected notes (from the "source" measure) to a new place (the "target" measure). When you choose one of these items, nothing appears to happen on the screen, except that a check mark appears next to the menu item. In other words, you choose the action you want Finale to perform before you drag the selected notes to the target measure.

Note that you can also use the Note Mover to copy a note or group of notes within the same measure. If you drag a note to the end of its own measure, you create a copy of it there, after all the existing notes. If you drag a note to the middle or beginning of its own measure, you insert a copy of it at the beginning of the measure. Note, first of all, that you can perform these copying maneuvers within a single measure regardless of the currently selected Note Mover menu command. Second, note that you can only copy notes in this way if the measure is not completely full (based on the current time signature). If the measure is rhythmically full, nothing at all will happen if you drag a note within its own measure. 2259

Note Mover/Copy and Replace If this option is selected, a copy of the selected notes appears in the target measure, occupying the same beats. If your selection omitted notes on certain beats (for example, if you selected only the first and third of four quarter notes), rests will appear in the appropriate positions in the target measure. Note that this command replaces all notes in the target measure (if there are any), no matter how few you selected in the source measure. Therefore, it works best if the target measure is empty.

See Also: Note Mover Tool

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Note Mover/Copy and Merge If this option is selected, a copy of the selected notes appears in the target measure, occupying the same beats - but existing music in the target measure remains, instead of being replaced by the copied notes. In fact, Finale will add a second (inner) voice, if necessary, to preserve the rhythmic integrity of both source and target measures.


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Note Mover/Delete After Replace You can think of this command simply as Move; it replaces all notes in the target measure with a copy of the selected notes, then deletes the notes from the source measure (leaving rests in their places). Once again, if you selected only certain notes from the source measure (for example, if you selected only the first and third of four quarter notes), rests would also appear in the appropriate positions in the target measure. This command, like "Copy and Replace," replaces all notes in the target measure (if there are any), no matter how few you selected in the source measure. Therefore, it works best if the target measure is empty.


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Note Mover/Delete After Merge You can think of this command as another form of Move; a copy of the selected notes appears in the target measure, occupying the same beats - but existing music in the target measure remains instead of being replaced by the copied notes, and the selected notes are deleted from the source measure, replaced by rests. (Compare with the "Copy and Merge" command.) This command can be very useful for moving notes from the treble-clef staff to bass-clef staff of a piano part - for example, to correct split-point errors following a real-time transcription.


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Note Mover/Cross Staff

If you've chosen this command and dragged selected notes to a target staff above or below the source staff, Finale will draw their noteheads in the target measure as cross-staff notes. If the selected notes are beamed to nonselected notes, Finale will preserve the beaming and extend the stems as necessary. (Nothing happens if you drag notes to a target measure that's not above or below the source measure - for example, the next measure on the same staff.) A cross-staff note created in this way still "belongs" to its source staff. It plays back over the source staff's MIDI channel and is affected by the source staff's dynamics. And you can only edit it by clicking the source measure with the Speedy Entry Tool. To restore a cross-staff note to its original staff, click the source measure with the Note Mover Tool ; handles appear on all notes in the measure (including cross-staff notes). Select the cross-staff notes by clicking or drag-enclosing their handles, then press Delete. (You're not deleting the notes, just their cross-staff status.) Note, by the way, that you can tell Finale to display cross-staff notes on their source staves, if you'd find your score easier to edit that way; you can restore them to their cross-staff positions when you're finished. Read the description of the "Display cross-staff notes in original staff" checkbox in Document OptionsNotes and Rests


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Note Mover/Insert Before If you've chosen this command, a copy of the selected notes will appear at the beginning of the target measure, regardless of their positions in the source measure. If the target measure was already full, any extra notes will be deleted from the end of the target measure.


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Note Mover/Append After If you've chosen this command, a copy of the selected notes will appear at the end of the target measure, regardless of their positions in the source measure. If the target measure was already full, the notes you just copied will themselves be deleted from the end of the target measure - in other words, nothing will happen as a result of your copy. Therefore, it's best to use this command when the target measure is empty or only partially full.


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Note Mover/Search and Replace After selecting a note or group of notes, choose this command if you want to perform a search and replace on the selected notes - in other words, to find every occurrence of them in the score and modify each occurrence in some way. For example, you could use the Search and Replace command to change every occurrence of a note to its enharmonic equivalent. You could also use it to renotate all occurrences of a certain recurring motif. The first dialog box to appear is the Search and Replace dialog box, where you can specify whether or not Finale should consider the octave register or the rhythmic pattern of the selected notes in its search for matching motifs. See Search and Replace dialog box. After you click the appropriate button, you see the Alteration for Slot dialog box, which lets you specify how you want to modify each occurrence of the selected motif. You can specify a different transposition for each note in the pattern, if you want; see Alteration for Slot dialog box. When you return to the score, Finale adds a new menu - Search - to the menu bar, containing several commands for conducting the search. For detailed information, see the Search and Replace dialog box.


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Page Layout menu How to get there Click the Page Layout Tool

.

What it does This menu includes reformatting options for the left and right page formats which affect the Page Format for Score dialog box. In Finale, left pages are Finale’s even-numbered pages, and right pages are actually Finale’s odd-numbered pages. Inserting or Deleting Blank Pages, Redefine Pages, Optimize Staff Systems, Space Systems Evenly and Fit Music in this menu are reformatting options that can apply to the entire document at once, or to a smaller selection of pages. You can use the commands in this menu to insert or clear Page Breaks and Insert or Delete Staff Systems in the music.

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Page Layout/Insert Blank Pages Choose this command to display the Insert Blank Pages dialog box in which you can insert blank pages anywhere in your score. For detailed information, see the Insert Blank Pages dialog box.

See Also: Page Layout Page Layout Tool

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Page Layout/Delete Page Break Select a system with a page break, then choose this command to remove a page break and allow the system to float.


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Page Layout/Insert Staff Systems Choose this command opens the Insert Staff Systems dialog box, where you can insert systems into your score without disturbing current systems.

See Also: Page Layout Insert Staff Systems Page Layout Tool

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Page Layout/Delete Staff Systems Choose this command to insert a system or systems of measures while keeping the rest of the systems intact or reflowing measures across systems and pages.


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Page Layout/Redefine Pages Choose which pages Finale should update to the settings in the Page Format for Score dialog box. Note: Redefining Pages will remove all changes made with the Page Layout Tool, including optimization. To update the current page of the part you are editing, choose Current Page of Current Part/Score. To update every page of the current part or score, choose All Pages of Current Part/Score. To update just the left-hand (even) or right-hand (odd) pages of the current part (or score), choose Left Pages of Current Part/Score or Right Pages of Current Part/Score respectively. You can choose Left Pages and Right Pages even if Facing Pages is not selected in the Page Format for Score dialog box. To update a particular page range in your part/score, or pages in multiple parts (or the score), choose Selected Pages of Selected Parts/Score to open the Redefine Selected Pages dialog box where you can choose which page regions and parts you wish redefine. See Redefine Selected Pages dialog box.

Use the commands in this submenu to redefine the pages in the score to the settings in the Page Format for Score dialog box.

Current Page of Current Part/Score All Pages of Current Part/Score Left Pages of Current Part/Score Right Pages of Current Part/Score Selected Pages of Current Part/Score


2273

Page Layout/Optimize Staff Systems In Finale, the process of hiding empty staves within each system is called optimizing systems. Using this command, you can specify the systems you want optimized - all of them, for example. Finale instantly redraws your score (in Page View), omitting blank staves from the specified systems; you'll find that your score now fits on fewer pages. If you optimize a completely empty staff system, Finale will still display the top staff, even though it's blank. Optimizing systems in Finale has another important benefit: it permits staves to be independently movable in Page View. Under normal circumstances, you can only move, respace, or rearrange staves for all systems using the Staff Tool. If you have optimized a system, however, you'll find that the Staff Tool works in Page View as well, letting you vary the positioning and spacing of staves as they'll appear on the printed page. Furthermore, again using the Staff Tool, you can change the staff grouping of staves that have been optimized, letting you change the way in which your staves are bracketed. When you choose this command, the Staff System Optimization dialog box appears, letting you specify the range of systems you want optimized and whether to ask before removing each staff. For detailed information, see the Staff System Optimization dialog box.

See Also: Page Layout Page Layout Tool Staff Tool Brackets Groups Update Groups and Brackets plug-in

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Page Layout/Fit Measures This command displays the Fit Measures dialog box, which lets you specify how many measures you want on a line (in each system). See Fit Measures dialog box.


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Page Layout/Space Systems Evenly Choose this menu item to display the Space Systems Evenly dialog box, where you can tell Finale to place the systems evenly spaced vertically on the page, to make maximum use of the page. You can even tell it to skip pages that are only partially full.


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Page Layout/Avoid Margin Collision If this menu item is selected (that is, if it displays a check mark) in the Page Layout window, Finale won't let you drag a system so that it's superimposed on another system or beyond the page margins; nor will it let you drag the page margins beyond the boundaries of the page. It's a good idea to leave this option selected. Without it, you could accidentally drag a system so that it overlaps the preceding system - or is even off the page completely.


2277

Page Layout/Update Page Format For Score Choose this menu item to have changes you make in the Page Layout tool apply to the Page Format For Score dialog box in the Page Format submenu of the Document menu.

Tip: You can make changes in the Page Format For Score dialog box and then choose Redefine Pages from the Page Layout menu to affect all pages at once. See Also: Page Layout Page Layout Tool

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Page Layout/Systems To edit systems by number, select Edit System Margins. See Edit System Margins dialog box. To adjust the spacing between staves in the selected system, choose Allow Individual Staff Spacing. You can then drag the lower handle with the Staff Tool without affecting the spacing in every system. If Select Staff System Range is selected, Finale updates the staff systems in the range you specify to match the changes made to the staff system you’re editing. You must drag the system by the handle to adjust the Staff System Range; if you drag the system by clicking in the middle of the system, it will affect only that system. To edit space before or after music in a selected system or region of systems choose System Space Before/After Music to open the System Space Before/After Music dialog box.

Edit Margins Allow Individual Staff Spacing System Space Before/After Music ================ Select Staff System Range


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Page Layout/Page Margins To edit page margins by number, select Edit Page Margins. See Edit Page Margins dialog box. When Adjust Current Page Only is selected, Finale adjusts the currently displayed page in your piece. When Adjust All Pages is selected, every change you make to the page size or margins on one page will be applied to all pages in the score. When Adjust Left or Right Pages is selected, Finale adjusts only the left (even) or right (odd) pages or systems on the pages, depending on whether the currently displayed page is a left or right page. When Adjust Page Range is selected, Finale adjusts the pages you specify to match the page you’re editing.

Edit Page Margins ================ Adjust Current Page Only Adjust All Pages Adjust Left Or Right Pages Adjust Page Range


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Page Layout/Page Size Choose this menu item to enter the Page Size dialog box. In this dialog box, you can define the size of paper Finale will allow for the music. Remember that Finale’s page and the page of your Printer can be two different sizes and/or orientations. To view this dialog box, choose the Page Layout Tool, then choose Page Size from the Page Layout menu. For more information, see Page Size dialog box.


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Page Layout/Resize Pages Use this command to display the Resize Page dialog box, where you can change the size of an entire page or pages.

See Also: Page Layout Page Layout Tool Resize Tool

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Page Layout/Resize Staff Systems Use this command to display the Resize Staff System dialog box, where you can change the size of a particular system or systems.

See Also: Page Layout Page Layout Tool Resize Tool

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Plug-ins menu How to get there The Plug-ins menu will display if you have Finale plug-ins available to your system. Finale ships with a number of plug-ins that are installed for you when you install Finale. Unless you have done a custom install, or removed or changed the name of the Plug-ins folder in your Finale folder, you should see the Plug-ins menu.

What it does Finale Plug-ins are small “mini-programs” that you can use to extend Finale’s abilities. We have provided a number of Plug-ins along with Finale for you to use. Plug-ins are placed together in the folder C:\Finale\Plug-ins. A different path can be specified in the Folders section of the Program Options dialog box, reached from the Edit menu. All Plug-ins are accessed from the Plug-ins menu. Finale will look in the specified folder for your Plug-ins and list them in the Plug-ins menu. Plug-ins operate on the entire document or on a specified region. You can select this region with the Selection Tool or with any other tool that supports region selection (such as the Key or Time Signature Tools). Plug-ins that require a selection will notify you if a selection has not been made. If you are interested in writing your own Plug-ins, visit our website (www.finalemusic.com) for more information on how to write a program to work with Finale. Note: You must be familiar with both programming and Finale, or work with someone who is, to be able to write Plug-ins successfully.

Note: Plug-ins are not accessible in linked parts. To apply a plug-in to a part, you might consider extracting the part first. See Extract Parts dialog box.

Configurability The Plug-ins menu can be configured easily into submenus by placing the plug-ins you would like to have grouped together in a folder included in the plug-ins folder. The Plug-ins menu then will use the name of the subfolder as the name of the submenu. We’ve added an empty folder named My Favorite Plug-ins, as well as grouped some of the plug-ins into other folders to provide 2284

examples. For a list of Plug-in filenames, see Plug-in filenames in the Appendix.

My Favorite Plug-ins Most of the plug-ins that appear under Finale’s Plug-ins menu are categorized into submenus such as Expressions, Lyrics, Measures, and others. Each one of these submenus correspond to a folder in the Finale 2010\Plug-ins folder located on your hard drive. You can customize Finale’s Plug-ins menu by navigating to this folder and dragging the plug-in files to the “My Favorite Plug-ins” folder for easy access to frequently used plug-ins. Or, create new folders for additional categories. You can find a list of each plug-in’s filename in the Appendix of the User Manual.

Expressions • Auto-Dynamic Placement. This plug-in allows you to place dynamics automatically based on the MIDI key velocities associated with each dynamic. See Auto-Dynamic Placement Plug-in under the Expression Tool. • Create Tempo Marking. This plug-in allows you to easily create tempo markings as expressions and set their playback features for the selected measures. See Create Tempo Marking Plug-in under Expressions Tool.

FinaleScript • FinaleScript Palette. Choose this option to open the FinaleScript Palette, which allows you to choose, edit, or manage scripts. See FinaleScript Plugin. • Options. Choose this option to open the FinaleScript Options dialog box. • Help. Choose this option to open the FinaleScript plug-in topic of the Finale User Manual. • [Script List]. You can add scripts to this menu for easy access by checking Show In menu in the Script Editor dialog box.

Lyrics •Auto Slur Melismas. This plug-in scans a document for lyric syllables that carry over two or more pitches and adds slurs accordingly. See Auto Slur Melismas Plug-in. •Clear Lyric Positioning. This plug-in allows you to clear any individual positioning of lyrics for the selected lyrics. See Clear Lyric Positioning Plugin under Lyric Tool.

Measures

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Automatic Barlines. This plug-in will automatically add double-barlines before every key change and a final barline at the end of the piece. See Automatic Barlines Plug-in under Measure Tool. Clear Measure # Positioning. This plug-in allows you to clear all individual positioning of measure numbers in the selected region. See Clear Measure # Positioning Plug-in under Measure Tool. Create Coda System. This plug-in allows you to automatically add a gap between measures in order to create an independent coda system on the same line. See Create Coda System Plug-in. Merge Measures. Combine two measures into a single measure automatically. Measure numbering and time signature are updated accordingly. See Merge Measures Plug-in. Mid-measure Repeats. This plug-in is capable of automatically enclosing a region including partial measures with repeat barlines. See Mid-Measure Repeats Plug-in. Number Repeated Measures. This plug-in places small measure attached expression numbers over any repeated measures in the selected region. See Number Repeated Measures Plug-in. Split Measure. This plug-in automates the process of dividing a measure over a system break. Measure numbering is also updated correctly when splitting measures with this plug-in. See Split Measure Plug-in.

Miscellaneous Change Fonts. This plug-in allows you to globally change the font for Text Blocks, Staff Names, Group Names, and Lyrics — all at once, and separately for verse, chorus and section. See Change Fonts Plug-in. Command Line. This plug-in allows note entry from a command line. See Command Line. Count Items. This plug-in displays a count of various items in your document such as measures, notes and articulations. See Count Items Plug-in under File menu.

Note, Beam and Rest Editing Patterson Plug-ins Lite. These plug-ins are a sample of the Patterson Plug-in Collection. They include Patterson Beams, which adjusts both stem length and beam angles based on the staff positions of the notes and the number of notes in the beam, and Beam Over Barlines, which allows for easy beaming across barlines. See Patterson Beams Plug-in, and Beaming across barlines. Cautionary Accidentals. This plug-in allows you to add cautionary accidentals in various forms to your document including having accidentals displayed on all notes. See Cautionary Accidentals.

2286

Change Noteheads. This plug-in allows you to change the notehead for the notes in the selected region. See Change Noteheads. Change to Default Whole Rests. This plug-in allows you to change all the whole rests in the selected region to Default whole rests. See Change to Default Whole Rests. Change to Real Whole Rests. This plug-in allows you to change all the Default whole rests in the selected region to Real whole rests. See Change to Real Whole Rests. Check Region for Durations. This plug-in checks the selected region for any measures that have too many or too few beats. See Check Region for Durations. Classic Eighth Beams. This plug-in allows you to beam eighth notes in the selected region in groups of 4 when in Common Time. See Classic Eighth Beams. Flat Beams. This plug-in allows you to flatten all the beams in the selected region. See Flat Beams. Flat Beams (Remove). This plug-in allows you to restore all beams flattened with Speedy Entry in the selected region. See Flat Beams (remove). Ledger Lines (Hide). This plug-in allows you to hide all the ledger lines in the selected region. See Ledger Lines (Hide). Ledger Lines (Show). This plug-in allows you to restore any hidden ledger lines in the selected region. See Ledger Lines (Show). Midline Stem Direction. This plug-in allows you to change the direction of stem for the note on the center line of the staff to match the stem direction of the previous note. See Midline Stem Direction. Move Rests. This plug-in allows you to move rests in the selected region to a specified location. See Move Rests. Notes and Rests (Hide). This plug-in allows you to hide all the notes and rests in the selected region. See Notes and Rests (Hide). Notes and Rests (Show). This plug-in allows you to show all hidden entries in the selected region. See Notes and Rests (Show). Resize Noteheads. This plug-in can resize specified voices in the selected layer of a multi-voice staff. See Resize Noteheads Plug-in. Rhythmic Subdivisions. This plug-in will subdivide the notes in the selected region by the specified amount, either by a division (such as in half) or to a selected subdivision of the beat such as eighth notes. See Rhythmic Subdivisions. Single Pitch. This plug-in changes all the notes in the selected region to the specified pitch. See Single Pitch.

2287

Slash Flagged Grace Notes. This plug-in allows you to slash all the flagged grace notes in the selected region. See Slash Flagged Grace Notes under the Speedy Entry Tool. Slash Flagged Grace Notes (Remove). This plug-in allows you to remove the slashes of all the flagged grace notes slashed in the selected region. See Slash Flagged Grace Notes (Remove). Voice 2 to Layer. This plug-in allows you to move notes and rests in Voice 2 to the selected layer. See Voice 2 to Layer.

Playback Apply Human Playback. Use this plug-in to apply a Human Playback style, or specific elements of Human Playback to a region of your document. See Apply Human Playback plug-in.

Scoring and Arranging Composer’s Assistant. These plug-ins from OpenMusic provide compositional manipulation of chords and melodies. See Composer’s Assistant plug-ins. Chord Morphing. This plug-in generates a variety of smooth betweenchord transitions. Part of the Composer’s Assistant Plug-ins. See Chord Morphing. Chord Realization. This plug-in generates four-part realizations of a triad based on the major key and scale degree specified. Part of the Composer’s Assistant Plug-ins. See Chord Realization. Chord Reordering. This plug-in finds new placement options for chords. Part of the Composer’s Assistant Plug-ins. See Chord Reordering. Chord Splitting. This plug-in creates subsets of the original chord. Part of the Composer’s Assistant Plug-ins. See Chord Splitting. Common Tone Transposition. This plug-in creates a series of transpositions of the chord where one note is equal to one note of the original chord. Part of the Composer’s Assistant Plug-ins. See Common Tone Transposition. Frequency Modulation Chord Generator. This plug-in generates a series of chords with increasing complexity and texture. Part of the Composer’s Assistant plug-ins. See Frequency Modulation Chord Generator. Melodic Morphing. This plug-in creates a melodic transition from one melody to another. Part of the Composer’s Assistant plug-ins. See Melodic Morphing. Rhythm Generator. This plug-in creates up to six staves of percussion to accompany your document. Part of the Composer’s Assistant Plug-ins. See Rhythm Generator.

2288

Tie Common Notes. This plug-in inserts a tie between any two successive notes if the notes have the same pitch. Part of the Composer’s Assistant plug-ins. See Tie Common Notes. Virtual Fundamental Generator.This plug-in gives you the appropriate “root” for any selected group of chords. Part of the Composer’s Assistant plug-ins. See Virtual Fundamental Generator. Add Cue Notes. This plug-in allows you to easily place cue notes in any number of staves See Add Cue Notes. Band-in-a-Box Auto-Harmonizing. This plug-in takes a selected melody line with chord symbols and outputs a harmonized melody in dozens of musical styles. See Band-in-a-Box Auto-Harmonizing. Canonic Utilities. This plug-in transforms the selected region using inversion, retrograde, transpositions, or a combination of the above. You can also use this plug-in to apply accidentals to all the notes in a selected region, remove accidentals in the selected region, or remove ties in the selected region. See Canonic Utilities. Check Range. This plug-in allows you to verify that the staff you have selected is within the range of a specified instrument or voice. There are different ranges for beginning, intermediate and advanced. See Check Range. Chord Analysis. This plug-in generates chord symbols by analyzing existing notation. This plug-in works much like the One-Staff Analysis and Two-Staff Analysis options under the chord menu, but for any region of measures selected with the Selection Tool. See Chord Analysis Plug-in. Drum Groove. With this plug-in, easily compose unique rhythms and percussion parts. See Drum Groove plug-in. Find Parallel Motion. This plug-in analyzes the selection for parallel fourths, fifths and octaves between voices, layers and staves and offers you the choice to fix them or leave them alone. SeeFind Parallel Motion. Find Range. This-plug-in reports the highest and lowest notes in the selected region. See Find Range. Global Staff Attributes. This plug-in allows you to change the Staff Attributes and Group Attributes for a number of staves or groups at a time, including changing the font for selected Staff and Group names. See Global Staff Attributes Plug-in under the Staff Tool. Latin Percussion. Use this plug-in to automatically create authentic Latin Percussion rhythm section notation, with a variety of styles to choose from. See Latin Percussion plug-in. Piano Reduction. This plug-in condenses the selected staves into a piano grand staff at the bottom of the staff system. See Piano Reduction. Score System Divider. This plug-in automatically adds system separation marks between systems in a score. See Score System Divider plug-in. 2289

Smart Cue Notes. With this plug-in, search for cue note opportunities throughout a document, and add them automatically. See Smart Cue Notes plug-in. Smart Page Turns. Tell Finale to intelligently edit the pagination of an entire part to avoid awkward page turns. See Smart Page Turns. Split Point. This plug-in allows you to change the split point between the two staves of a piano grand staff over the selected region. See Split Point. Update Groups and Brackets. Groups and brackets can now be edited en mass after a document has been optimized. See Update Groups and Brackets plug-in. Vertical Collision Remover. Automatically reformat the vertical positioning of staves, systems, and instrument groups to avoid collision of notes, articulations, smart shapes and other items. See Vertical Collision Remover plug-in.

TG Tools TGTools. These plug-ins are a sample of the TGTools plug-in collection. They include: Align/Move DynamicsModify Rests Plug-in, Process Extracted Parts plug-in, and Smart Playback Plug-in. ,menu Shortcuts Plug-in ,Easy Tremolos Plug-in ,Easy Harmonics Plug-in ,Cross StaffCreate Handbell Used Chart, , See Also: menus

2290

Repeat menu How to get there Click the Repeat Tool appears.

. The Repeat menu

What it does The repeat menu allows you to easily add repeat markings to a selected region of your score and edit existing repeats.

2291

Repeat/Create Simple Repeat Select a region of measures and then select this option to enclose the area in repeat barlines. A forward repeat bar appears at the beginning of the selected region and a backward repeat appears at the end of the selected region.

See Also: Repeats (barlines and text indications)

2292

Repeat/Create First and Second Ending Select the measure(s) you want to include in a first ending and then choose this menu item to create a first and second ending automatically. The first ending appears above the selected region. A backward repeat bar appears at the end of the selected region, and a second ending appear over the measure following the backward repeat bar. This repeat is automatically defined for playback. When playback reaches the backward repeat bar, it will jump back to the nearest forward repeat bar (or the beginning of the score if a forward repeat bar does not exist earlier in the score), and then skip over the first ending to the second ending on the second pass.


2293

Repeat/Create Ending Select a measure and choose this option to open the Create Ending dialog box where you can configure settings for a repeat ending. Click OK to place the ending over the selected measures.


2294

Repeat/Create Forward Repeat Bar Select a measure and choose this option to add a forward repeat bar at the beginning of the measure. Forward repeat bars do not contain any information for playback. They can be used as markers for backward repeat bars and text repeats.


2295

Repeat/Create Backward Repeat Bar Select a measure and choose this option to add a backward repeat at the end of the selected measure. Double-click the handle on the backward repeat bar to open the Backward Repeat Bar Assignment dialog box where you can assign playback attributes for your repeat.

See Also: Repeats (barlines and text indications) Backward Repeat Bar Assignment

2296

Repeat/Align Brackets Select measures containing endings and choose this option to align ending brackets vertically. All brackets in will align to the vertical position of the first ending bracket in the selection.


2297

Repeat/Reset Bracket to Default Select measures containing ending brackets and choose this option to reset brackets to their default settings.


2298

Repeat/Delete Choose this option to delete repeat barlines and text repeats in the selected region.


2299

Repeat/Check Repeats Choose this option to scan the score and view the playback route. The sequence of measures appears in the Check Repeats dialog box.

See Also: Repeats (barlines and text indications) Check Repeats dialog box

2300

Repeat/Repeat Options Choose this option to open the Repeat page of the Document Options where you can make global repeat settings.

See Also: Repeats (barlines and text indications) Document Options-Repeats

2301

Simple menu How to get there Click the Simple Entry Tool

.

What it does This menu controls the behavior of Simple entry, and also displays the available Simple Entry keyboard shortcuts for navigation and editing.

2302

Simple/Simple Entry Options Choose this command to open the Simple Entry Options dialog box where you can customize the behavior of Simple Entry.

See Also: Simple Entry Options dialog box Simple Entry Tool

2303

Simple/Use MIDI Device for Input When this item is selected (displays a check mark in the menu), Finale assumes that you'll be entering notes in conjunction with a MIDI keyboard using the Simple Entry Caret. With the caret active on the staff, play a note (or combination of notes) on your MIDI device to enter the pitch(es) on the staff at the position of the caret. The rhythmic value of the entry is determined by the duration tool (such as quarter note or half note) selected in the Simple Entry Palette.

See Also: Simple Entry Tool Simple Entry Palette

2304

Simple/Simple Edit Commands This submenu lists the Simple Notes Tools commands and their keyboard shortcuts. Select the desired option from the menu, or just use the menu as a reminder for the keyboard shortcut. These commands and their corresponding shortcuts, can be used to edit a selected note, or the note previously entered using the Simple Entry Caret.

Enter Note At Caret Pitch Enter Rest A B C D E F G

Add Interval 9th Above Octave Above 7th Above 6th Above 5th Above 4th Above 3rd Above 2nd Above Unison 2nd Below 2305

3rd Below 4th Below 5th Below 6th Below 7th Below Octave Below 9th Below

Add Pitch At Caret Pitch A B C D E F G

Change Pitch Step Up Diatonically Step Down Diatonically Up Octave Diatonically Down Octave Diatonically

Accidentals Sharp Flat Natural Double Sharp Double Flat Up Half Step Down Half Step 2306

Show/Hide Accidental Parenthesize Accidental

Modify Entry Delete Show/Hide Flip Stem Default Stem Break/Join Beam Default Beam Flat Beam Tie to Next Note Tie to Previous Note Toggle Note to Rest Grace Note

Enharmonic

Add/Change Items Add Articulation Add Articulation (Sticky) Add Expression Change Clef Change Key Signature Change Time Signature

Change Duration Double Whole Whole Half

2307

Quarter Eighth 16th 32nd 64th 128th Augmentation Dot Create Tuplet Create User Defined Tuplet


2308

Simple/Simple Navigation Commands This submenu lists the Simple Notes Tools commands and their keyboard shortcuts. Select the desired option from the menu, or just use the menu as a reminder for the keyboard shortcut.

Caret Up Step Caret Down Step Caret Up Octave Caret Down Octave Selection Left One Entry Selection Right One Entry Selection Left One Measure Selection Rigth One Measure Selection Up Note Selection Down Note Select All Notes in Chord Clear Selection

See Also: Simple menu Simple Entry Tool

2309

Simple/TAB Specific Commands This submenu lists the Simple Notes Tools commands and their keyboard shortcuts to be used while entering tablature notation. Select the desired option from the menu, or just use the menu as a reminder for the keyboard shortcut. These commands and their corresponding shortcuts, can be used to edit a selected note, or the note previously entered using the Simple Entry Caret.

Enter Note on Fret Enter Rest ================== 0 (A) 1 (B) 2 (C) 3 (D) 4 (E) 5 (F) 6 (G) 7 (H) 8 (I) 9 (K) 10 (L) 11 (M) 12 (N) 13 (O) 14 (P) 15 (Q) 16 (R) 17 (S) 18 (T) 2310

19 (U) 20 (V) 21 (W) 22 (X) 23 (Y) 24 (Z) Change To Fret Number 0 (A) 1 (B) 2 (C) 3 (D) 4 (E) 5 (F) 6 (G) 7 (H) 8 (I) 9 (K) 10 (L) 11 (M) 12 (N) 13 (O) 14 (P) 15 (Q) 16 (R) 17 (S) 18 (T) 19 (U) 20 (V) 21 (W) 22 (X) 2311

23 (Y) 24 (Z) Add Note on String At Caret String ================== 1 2 3 4 5 6 7 Move Caret To String 1 2 3 4 5 6 7

See Also: Simple menu Simple Entry Tool

2312

Shape Designer menu How to get there Click the Expression Tool , and double-click a note or measure. Or, with the Text Tool highlight the handle of a text block and select custom frame from the Text menu. Click Shape; Create; Select; Create. You arrive in the Shape Designer, and this menu appears at the top of the dialog box.

What it does The Shape Designer menu contains a number of commands that help you create your own custom musical shapes. For example, it lets you specify how thick a line is, what kind of shading should fill a rectangle, whether a line should be dashed or solid, and so on. It also contains commands for manipulating individual objects in your drawing—for grouping them together, rearranging their front-to-back order, and so on.

2313

Shape Designer/Show Using this submenu, you can make Finale display or hide any of these helpful, nonprinting alignment aids. (A checked item means that it’s being displayed; choose the item a second time to make the check mark—and that onscreen element—disappear.) The Rulers item makes rulers appear at the top and left side of the drawing area, whose units you specify using the Rulers and Grid command. The Grid is a series of individual points that may help you align objects and give you a sense of scale. The spacing and units used by the grid, too, are determined by your Rulers and Grid setting). The origin is a small, white round handle that appears in the center of the drawing area. It anchors your shape, acts as the zero point for the rulers and positioning coordinates (see Shape Designer), and indicates where your shape’s handle will appear once you’ve placed it into the score. The Staff Template displays a picture of the staff in the Shape Designer window which is helpful when designing a custom barline. See also Measure Tool.

Rulers Grid Origin Staff Template

2314

Shape Designer/Send to Back If you’ve created objects that overlap each other, you can rearrange their frontto-back order by using these commands. Begin by clicking the Selection Tool, then clicking the object you want to manipulate. Choose Send to Back to place the selected object “behind” all other objects, so that it’s covered up by them. Choose Bring to Front to place the selected object “in front” of all other objects, so that they’re covered up by it.

2315

Shape Designer/Bring to Front If you’ve created objects that overlap each other, you can rearrange their frontto-back order by using these commands. Begin by clicking the Selection Tool, then clicking the object you want to manipulate. Choose Send to Back to place the selected object “behind” all other objects, so that it’s covered up by them. Choose Bring to Front to place the selected object “in front” of all other objects, so that they’re covered up by it.

2316

Shape Designer/Group Using the (Shape Designer's) Selection Tool, you can shift-click to select any number of objects, and then choose the Group command to bind them together into a single, grouped object. A grouped object behaves just like any normal object: you can change its fill or line thickness, drag its corner handles to resize it, drag it by the middle to move it around on the screen, and so on. You can even group grouped objects into still other groups, creating nested groups. Finale always keeps track of what objects were combined into grouped objects, and can ungroup them in sequence. Select a group by clicking, then choose Ungroup; you’ll see by the appearance of many more corner handles that the grouped object has now been split back into its component single pieces. (Or, if you Ungroup a grouped object, it will split into its component grouped objects.)

2317

Shape Designer/Ungroup Using the (Shape Designer's) Selection Tool, you can shift-click to select any number of objects, and then choose the Group command to bind them together into a single, grouped object. A grouped object behaves just like any normal object: you can change its fill or line thickness, drag its corner handles to resize it, drag it by the middle to move it around on the screen, and so on. You can even group grouped objects into still other groups, creating nested groups. Finale always keeps track of what objects were combined into grouped objects, and can ungroup them in sequence. Select a group by clicking, then choose Ungroup; you’ll see by the appearance of many more corner handles that the grouped object has now been split back into its component single pieces. (Or, if you Ungroup a grouped object, it will split into its component grouped objects.)

2318

Shape Designer/Select Font If you're using the Text Tool to create or edit a text object, choose this command to display the Font dialog box, where you can change the font, size and style of the selected text (or, if your cursor is inside a text object, the text that follows the cursor). If no text object is selected, use this command to specify the font for the next text object you create. For detailed information, see the Font dialog box.

2319

Shape Designer/Line Style If you've selected an object composed of lines (a line, rectangle, polygon, and so on), use this submenu to determine whether its outline (or the line itself) is dashed or solid.

Solid Dashed

2320

Shape Designer/Line Style If you've selected an object composed of lines (a line, rectangle, polygon, and so on), use this submenu to determine whether its outline (or the line itself) is dashed or solid.

Solid Dashed

2321

Shape Designer/Arrowheads Choose this menu item to enter the Arrowheads dialog box and define what kind of arrowhead will appear on the line or curve you have selected.

See Also: Shape Designer Arrowheads dialog box

2322

Shape Designer/Fill If you've selected an object that's an enclosed shape (a rectangle, ellipse, or polygon), use this submenu to determine the shading of the hollow (enclosed) inside area - none (transparent), black, white, or any shade of gray between. If no object is selected, this command specifies the shading of the next enclosed object you draw.

None White 25% 50% 75% Black Other

See Also: Fill dialog box

2323

Shape Designer/Bracket Style Using the Shape Designer's Bracket Tool, you can add a bracket to a custom shape you're drawing with a single click. Choose this command to specify what bracket style you want. For detailed information, see the Bracket Style dialog box.

2324

Shape Designer/Rulers and Grid Choose this command to display the Rulers and Grid dialog box, where you can specify the measurement units used by the grid, rulers, and the H: and V: text boxes. You can also specify how far apart the tick marks on the rulers and grid should be. For detailed information, see the Rulers and Grid dialog box.

2325

Smart Shape menu How to get there Click the Smart Shape Tool

.

What it does The Smart Shape menu gives you control over the appearance and placement of slurs and smart shape lines, as well as control over how elements will appear in the score (such as

).Use the

commands in this menu to tell Finale whether slurs are note-attached or attached to measures. Most of the commands are used to fine-tune slurs' appearance and placement, define their behavior over system breaks, and set their line thickness. When you create a note-attached slur, Finale always draws and places it the way you specified in the slur settings. For a detailed description of how to manipulate each smart shape element see Slur Contour dialog box, Smart Shape Placement dialog box, Smart Shape Options dialog box, Smart Slur Options dialog box, and Guitar Bend Options dialog box.

2326

Smart Shape/Slur Contour This command displays the Slur Contour dialog box where you can specify the default height and contour of measure-based and note-based slurs. Note that these settings only apply to slurs you are about to create. You can change Slur Contour settings at any time without affecting existing slurs. For detailed information, see the Slur Contour dialog box.

See Also: Smart Shape Tool Slurs

2327

Smart Shape/Smart Shape Placement This command displays the Smart Shape Placement dialog box where you can specify how a slur, glissando and Tab slide will appear next to the note. These settings apply to the end points of shapes you are about to create. They will also apply to end points of similar types of shapes in the score, if those end points haven't been manually adjusted. Once you manually adjust an end point of an existing shape, that end point is no longer affected by Smart Shape Placement settings.

Tip: You manually adjust a smart shape end point by clicking on it and dragging. For detailed information, see the Smart Shape Placement dialog box.


2328

Smart Shape/Smart Shape Options This command displays the Smart Shape Options dialog box where you can alter the octave up or octave down symbols, alter the settings for slurs continuing over system breaks, and change the overall appearance of lines, brackets, dashed lines and curves, and so on. You can also define what custom Smart Line will be associated with the Custom Smart Line Icon on the Smart Shape palette For detailed information, see the Smart Shape Options dialog box.


2329

Smart Shape/Smart Slur Options This dialog box allows you to set various parameters regarding slurs. You can select whether to use Engraver slurs, which avoid collisions with notes and some articulations. You can also specify how much distance to allow between slurs and other items, how much slope to allow and other settings. For detailed information, see Smart Slur Options dialog box.


2330

Smart Shape/Guitar Bend Options Choose this command to display the Guitar Bend Options dialog box, where you can customize the appearance of Guitar Bend Smart Shapes. For detailed information, see the Guitar Bend Options dialog box.

See Also: Slurs

2331

Smart Shape/Attach to Measures Choose Attach to Measures to determine whether the next smart shape you create will be attached to measures (no notes or rests need be present).

Note: Not available for Tab Slide smart shapes. See Also: Smart Shape Tool Slurs

2332

Smart Shape/Attach to Notes Choose Attach to Notes to determine whether the next smart shape you create will be attached to notes. When Attach to Notes is checked, Finale creates note-attached smart shapes, automatically drawing and placing it the way you want, according to the smart shape settings.

Note: Only available for slurs, curves, and bends. See Also: Smart Shape Tool Slurs

2333

Smart Shape/Attach to Noteheads Choose Attach to Noteheads to determine whether the next smart shape you create will be attached to noteheads. When Attach to Noteheads is checked, Finale creates notehead-attached smart shapes, automatically drawing and placing it the way you want, according to the smart shape settings.

Note: Only available for Glissando and Tab Slide smart shapes. See Also: Smart Shape Tool Slurs

2334

Smart Shape/Direction Finale makes intelligent decisions about slur or bend direction, based on whether the attached notes are above or below the middle staff line. When you transpose music or change the key, slur directions are automatically changed, without requiring any action on your part. However, there will be times when you’ll probably want to change the direction of individual slurs or bends that are attached to notes. This you can easily do using the Direction submenu. The Direction submenu offers you four choices: flip the currently selected slur or bend, place a selected slur or bend over the entries; place the slur or bend under the entries; or use automatic placement. Automatic placement uses the rules as shown in the Smart Shape Placement dialog box. Over and Under ignore the rules for direction, but still use the attachment values that you set in the Smart Shape Placement dialog box. Flip and Automatic have keyboard shortcuts of ctrl-F and ctrl-shift-F respectively.

Tip: you can set the default direction for all note-attached slurs by selecting the Direction menu item with no slurs or bends selected. These options for direction only apply to note-attached slurs or bends (when Attach to Notes is checked in the Smart Shape menu). When Attach to Notes is unchecked and you’re creating measure-based slurs or bends, Finale automatically senses their direction based on whether you add the slur above or below the middle line of the staff. Press ctrl when you’re creating a measure-based slur or bend if you want the slur or bend to go in the opposite direction. To change an existing slur or bend’s direction, select the slur or bend and drag the middle editing handle up or down to change its direction. To summarize which settings affect which Smart Shapes:

Setting

Affects

Slur Contour

Current slurs and future slurs without manual edits.

Smart Shape

Slurs, bends, and glissandos you’re about to create, plus slurs, bends, and glissandos with end points that haven’t been 2335

Placement

manually adjusted.

Slur Thickness

Future slurs and bends, plus all existing slurs and bends.

Slur System Breaks

Future slurs and bends, plus start and end points (across staves) that haven’t been manually adjusted in existing slurs and bends.

Smart Slur Options

All slurs, both current and future.

Note: For older Finale documents: All files created in Finale 3.2 or older and opened in later versions will retain the measure-attachment of the existing slurs and any editing that you did. If you want the convenience of noteattached slurs for any of these slurs as well, simply delete the old slur and recreate it in the current version of Finale. All files created in Finale 3.5 to Finale 2001 will have Engraver slurs turned off by default when opened in later versions of Finale. If you want the beauty of Engraver slurs, click on the Smart Shape menu, choose Smart Slur Options. In the Smart Slur Options dialog box, check Use Engraver Slurs. All new slurs and slurs that have not been adjusted manually will convert to engraver slurs. To also convert slurs that have been adjusted manually, choose the Selection Tool and then from the Edit menu, choose Select All. Then choose the Utilities > Check Notation > Remove Manual Slur Adjustments. For more information, see Smart Slur Options dialog box.

Flip Automatic Over Under

2336


2337

Special Tools menu How to get there From the Window menu, choose Advanced Tools. Click the Special Tools Tool to make the Special Tools menu appear.

What it does Options in this menu control whether Finale will display or hide the handles of elements in the selected measures, how Finale draws an element when you adjust it, and whether or not Finale shows crosshairs in Special Tools.

2338

Special Tools/Show Handles When Show Handles is selected (a checkmark appears next to the command), Finale displays a small square handle on each note, stem, beam, tie, or dot (depending on which tool you're using). When Show Handles is not selected, the handles are hidden. This can be a useful feature if the handles are obscuring some elements in your score. All the tools work the same way when handles are hidden, except that instead of clicking a handle, you'll have to click at the location where a handle would be if it were visible.

See Also: Special Tools menu Special Tools

2339

Special Tools/Update Normally, Finale draws an element after you drag it. When Update is selected, Finale uses “dynamic drawing” when you drag a handle, letting you see the current position of the element you’re dragging the entire time it’s being dragged. When Update is not selected and you drag a handle to reposition an element, you don’t actually see the attached note (or beam, and so on) moving. Instead, you see thin, dotted-line cross-axes that represent the handle’s position. When you stop dragging, the note (or other element) jumps to its new location.

See Also: Special Tools

2340

Special Tools/Show Crosshairs This option lets you control whether vertical and horizontal lines appear when you drag the handle of a Special Tool object. These lines help you position the element in the score. This option is selected by default, so that you see the crosshairs when adjusting objects. If you prefer to not see the crosshairs, choose Show Crosshairs from the Special Tools menu to deselect it; Finale removes the checkmark from the command.

See Also: Special Tools

2341

Special Tools/Tie Direction Choose Automatic (or press ctrl-shift-F) to have Finale determine the tie’s position over or under tied notes depending on whether the notes appear above or below the middle line of the staff. A checkmark appears next to Automatic. If tied notes appear above the middle staff line and Automatic is selected, Finale always places the tie over the notes; if the tied notes appear below the middle staff line, the tie appears under the notes. If you subsequently change keys or transpose notes, Finale will reverse the tie’s direction as necessary. For more information on all aspect of ties, see Document Options-Ties (under the Document menu).

Flip ================ Automatic Over Under

2342

Speedy menu How to get there Click the Speedy Entry Tool

.

What it does This menu contains settings that govern the music-entry operation of the Speedy Entry Tool.

2343

Speedy/Speedy Options Use the Speedy Options dialog box to control the size of the frame around a measure while editing with Speedy Entry. You can also determine how Finale will accept MIDI signals from your synthesizer to change durations, navigate and other commands.

See Also: Speedy Options Speedy Entry Tool

2344

Speedy/Use MIDI Device for Input When this item is selected (displays a check mark in the menu), Finale assumes that you'll be entering notes in conjunction with a MIDI keyboard. When you press one of the number (rhythmic value) keys on the numeric keypad, Finale creates a rest of that value, unless you were pressing a key on the synthesizer at the time. In that case, Finale displays a note of that pitch (or a chord, if you were pressing more than one key). When Use MIDI Keyboard isn't selected, Finale enters a note of the specified rhythmic value when you press a number key - regardless of whether or not you were pressing a key on the synthesizer (if any). To create a rest, enter a single note of the desired rhythmic value and press Backspace.

See Also: Speedy Entry Tool

2345

Speedy/Playback When this item is selected, every time you move a note up and down in Speedy, you will hear the new pitch played through your MIDI device. You’ll also hear a note when you enter it in non-MIDI. Deselect this item to turn off playback of pitches. This command is linked to the Playback selection in the Simple Entry Options dialog box. If you change the selection here, it will also change in the Simple Entry Tool.


2346

Speedy/Jump to Next Measure When this item is selected (displays a check mark in the menu), Finale automatically moves the editing frame to the next measure as soon as there are enough notes to fill the current measure. Finale also displays the There Are Too Many Beats In This Measure dialog box immediately when you enter a note that puts the total rhythmic values in the measure over the limit allowed by the time signature. If this item isn't selected, Finale doesn't move the editing frame to the next measure when the current one is full; you must press the right bracket (]) key to advance to the next measure. Finale also waits until you exit the current measure before it displays the There Are Too Many Beats In This Measure dialog box. See There Are Too Many Beats In This Measure dialog box.


2347

Speedy/Create New Measures When this item is selected (displays a check mark in the menu), Finale automatically creates a new blank measure at the end the piece if you advance the editing frame beyond the last existing measure. In other words, if you're in the last measure of a piece and press the right bracket (]) key (or if "Jump to Next Measure" is selected and you fill the last measure to its rhythmic capacity), Finale adds a new blank measure and moves the editing frame to this new last measure.


2348

Speedy/Check Beaming When this item is selected (a check mark is displayed in the menu), Finale automatically beams eighth notes (and smaller notes) together as they’re created, according to the time signature. If this item isn’t selected, Finale doesn’t beam any notes together. See Time signatures for a full discussion of the ways in which the time signature affects beaming.


2349

Speedy/Check Accidentals When this item is selected (displays a check mark in the menu), Finale automatically keeps track of the accidentals on a given line or space in the measure, according to the standard rules of accidental notation. For example, if the first E in a measure has a flat, the next E flat in the measure doesn't normally display an accidental too. On the other hand, if the first E in a measure displays a flat, the next E that isn't flatted should display a natural. If this item isn't selected, Finale doesn't keep track of the status of the accidentals on any particular line or space. If you add a new note or change a note's pitch, Finale doesn't update the configuration of accidentals on other notes.


2350

Speedy/Check for Extra Notes When Check for Extra Notes is selected, Finale checks for extra notes when you leave the measure. If you try to add too many notes to a measure, or extend the duration of an existing note beyond the maximum number of beats per measure, Finale displays the There Are Too Many Beats In This Measure dialog box when you leave the measure. When Check for Extra Notes is not selected, you can enter as many notes as you'd like in a measure, and Finale will not display the There Are Too Many Beats In This Measure dialog box. Any extra notes you enter will extend past the barline of the measure, unless you choose Position Notes Evenly Across Measure in the Measure Attributes dialog box.


2351

Speedy/Use Five Line Staff When this item is selected (displays a check mark in the menu), Finale displays the standard five line staff in the editing frame even if the staff uses a different number of lines. If this item isn't selected, Finale displays the number of lines defined for the staff. For example, if you had a single line tablature or percussion staff, Finale would display only one staff line in the editing frame.

Tip: You may prefer to have this item selected for tablature staves, but unselected for percussion staves. See Also: Speedy Entry Tool

2352

Speedy/Edit TAB as Standard Notation When this item is selected (displays a checkmark in the menu), Finale displays the notes instead of fret numbers in the editing frame. This command only affects tablature staves. If this items isn't checked, Finale displays the fret numbers in the editing frame.

See Also: Speedy Entry Tool Tablature

2353

Speedy/Auto Freeze Accidentals When Auto Freeze Accidentals is selected, Finale automatically freezes accidentals when you show or hide them in the Speedy editing frame. Frozen accidentals on notes remain the same until you manually change them, even if Finale checks accidentals in a measure you’re editing (Check Accidentals is selected in the Speedy menu). When Check Accidentals is selected, Finale will scan the measure to determine what accidentals should appear according to general notation rules; Finale then shows or hides the accidentals as needed, unless they are frozen. When Auto Freeze accidentals is not selected, you must use ctrl-* to freeze accidentals.


2354

Speedy/Insert Notes or Rests When Insert Notes or Rests is selected, Finale will insert the note or rest to the left of the cursor. If Use MIDI Keyboard is selected and you are holding down a key on your MIDI keyboard, you will insert a note. Otherwise, you will insert a rest. If Use MIDI Keyboard is not selected, press ctrl-shift and the number (using the keyboard, not the number pad) representing the rest duration you are inserting. To toggle Insert mode on or off, hit Insert or Shift-I0 (zero) on the number keypad. Tip: Remember to turn off this mode, by selecting the item again, when you’re done inserting. See Also: Speedy Entry Tool

2355

Speedy/Speedy Edit Commands Speedy Edit Commands submenu

Command

Keyboard Shortcut

Add Note

enter

Delete Note

backspace or shift-delete

Delete Entry

delete

Show/Hide Entry

O

Raise Half Step

+ (plus)

Lower Half Step

– (minus)

Raise Half Step (entire measure)

ctrl- + (plus)

Lower Half Step (entire measure)

ctrl- – (minus)

Show/Hide Accidental

* (asterisk)

Freeze/Unfreeze Accidental

ctrl-* (asterisk)

Enharmonic

9

Enharmonic [entire measure]

ctrl-9

Add/Remove Accidental Parentheses

P 2356

Flip Stem Direction

L

Set Stem Direction to Automatic

ctrl-L

Break/Join Beam

/

Flat Beam

\

Tie/Untie to Next Note

=

Tie/Untie to Prev Note

ctrl =

Add Dot

. (period)

Grace Note

;

Slash Grace Note

` (accent)

Freeze/Float Rest

* (asterisk)

This submenu lists the Speedy Edit commands and their keyboard shortcuts. Select the desired option from the menu, or just use the menu as a reminder for the keyboard shortcut.

Add Note Delete Note Delete Entry Show/Hide Entry ================ Raise Half Step Lower Half Step Raise Half Step (entire measure) Lower Half Step (entire measure) 2357

================ Show/Hide Accidental Freeze/Unfreeze Accidental Enharmonic Enharmonic (entire measure) Add/Remove Accidental Parentheses ================ Flip Stem Direction Set Stem Direction to Automatic Break/Join Beam Flat Beam ================ Tie/Untie to Next Note Tie/Untie to Prev Note ================ Add Dot Grace Note Slash Flagged Grace Note Freeze/Float Rest


2358

Speedy/Speedy Navigation Speedy Navigation submenu

Command

Keyboard Shortcut

Previous Measure

[ or shift - up arrow

Next Measure

] or shift - ∅

Previous Layer

shift–up arrow

Next Layer

"

Change Voice

' (apostrophe)

Up Staff

shift-up arrow

Down Staff

shift-down arrow

Start of Measure

ctrl - left arrow

End of Measure

ctrl - right arrow

Previous Note

left arrow

Next Note

right arrow

Up Step

up step 2359

Down Step

down step

This submenu lists the Speedy Navigation commands and their keyboard shortcuts. Select the desired option from the menu, or just use the menu as a reminder for the keyboard shortcut.

Previous Measure Next Measure Next Layer Change Voice Up Staff Down Staff Start of Measure End of Measure Previous Note Next Note Up Step Down Step


2360

Speedy/Tie Direction From the Speedy menu choose Tie Direction to access tie controls with the Speedy Entry Tool. Place the cursor on the first note of the tie and then set the direction. Choose ctrl-F to flip the tile or ctrl-Shift-F to set the tie to the automatic direction.

Flip Automatic Over Under


2361

Staff menu How to get there Click the Staff Tool

.

What it does Use the Staff menu to add or insert blank staves, remove existing staves, position staff names, change the settings for a selected staff, adjust staves vertically, redraw barlines and brackets after changing the top-tobottom order of staves, and set the spacing between staves. You can also create groups and define their characteristics, delete groups, choose a bracket and alternate barlines for a group, and change which staves belong to a group.

2362

Staff/New Staves Choose this command to add new blank staves below the existing staves in your score. If you have a staff selected, new blank staves will be inserted above the selected staff. For detailed information, see the New Staves dialog box.


2363

Staff/New (With Setup Wizard) Choose New Staves when no staves are selected to add new blank staves below the existing staves. To insert blank staves above a particular staff, select a staff or staves, then choose New Staves. The New Staves dialog box appears, in which you enter the number of staves to be added or inserted, and how far apart Finale should space them. New Staves (with Setup Wizard) allows you to add new staves using the wizard which will name the staves and set up the instrument patch and transposition as well. Staves can only be added or deleted while viewing the score. Add or delete staves from parts in the Manage Parts dialog box.

Tip: The distance between staves is subject to any resizing you do with the Resize Tool. Note: Although you can choose from the Garritan Personal Orchestra instruments using the New Staves (with Setup Wizard) option, Finale will not load the new instrument sounds automatically when you return to the document. You will need to load them manually in the Aria Player. See Aria Player for Finale. Tip: If no staff is selected, the new staves will be created at the bottom of the score, however, if a staff is selected, the new staves will be inserted above the selected staff. See Also: Staff Tool

2364

Staff/Delete Staves The Delete and Delete Staves and Reposition commands are only available when one or more staves are selected. Select the staff or staves that you want removed, then choose either command. Choose Delete Staves to remove the selected staves and leave the remaining staves in their current positions. Choose Delete Staves and Reposition to remove the selected staves and reposition any staves that were below the deleted staves. Finale moves the remaining staves up to the position of the top staff that was deleted. Staves can only be added or deleted while viewing the score. Add or delete staves from parts in the Manage Parts dialog box.

Note: Only delete staves if you want them permanently removed. To recover deleted staves, immediately choose Undo from the Edit menu. To temporarily remove a staff, such as an ossia staff, hide the staff using the Hide Staves checkbox in the Staff Attributes dialog box. See Hiding Staves—To hide staves for ossia measures or special playback. See Also: Staff Tool

2365

Staff/Delete Staves and Reposition The Delete and Delete Staves and Reposition commands are only available when one or more staves are selected. Select the staff or staves that you want removed, then choose either command. Choose Delete Staves to remove the selected staves and leave the remaining staves in their current positions. Choose Delete Staves and Reposition to remove the selected staves and reposition any staves that were below the deleted staves. Finale moves the remaining staves up to the position of the top staff that was deleted. Staves can only be added or deleted while viewing the score. Add or delete staves from parts in the Manage Parts dialog box.

Note: Only delete staves if you want them permanently removed. To recover deleted staves, immediately choose Undo from the Edit menu. To temporarily remove a staff, such as an ossia staff, hide the staff using the Hide Staves checkbox in the Staff Attributes dialog box. See Hiding Staves—To hide staves for ossia measures or special playback. See Also: Staff Tool

2366

Staff/Edit Staff Attributes Select a staff, then choose this command. Or, choose this command with no staff selected. The Staff Attributes dialog box appears, displaying the attributes for the selected staff or the first staff, respectively. Here you can change the settings for the displayed staff. Shortcut: Double-click the staff. For detailed information, see the Staff Attributes dialog box.


2367

Staff/Respace Staves Choose this command to display the Respace Staves dialog box, in which you can restore all the staves in your score to uniform vertical spacing, or, if they weren't evenly spaced to begin with, you can preserve the gap between staves and make all gaps proportionally larger or smaller. For detailed information, see the Respace Staves dialog box.


2368

Staff/Sort Staves If you've changed the top-to-bottom order of staves in the score by dragging staves, you may notice that the left barline of the score or the brackets sometimes appear to be broken or uneven afterward. Choose this command to restore their appearance based on the new staff order.


2369

Staff/Auto Sort Staves If you change the top-to-bottom order of staves in the score by dragging staves, Finale will automatically resort the staves to correct the left barlines or brackets.


2370

Staff/Staff Usage Choose this command to display the Staff Usage List dialog box, in which you can specify the exact vertical position of a staff or staves in the score. You can also see whether the changes will affect the entire score or, in Page View, whether the change will affect all staff systems or a single staff system. For detailed information, see the Staff Usage List dialog box.


2371

Staff/Define Staff Styles Choose this command to create and edit staff styles in the staff styles dialog box. A staff style is a set of staff attributes that can be saved and applied to parts of a staff at different points. When any of the attributes of the staff style is changed (such as the staff name or transposition) all areas of the document that have that staff style applied are also changed.


2372

Staff/Clear Staff Styles Choose this menu item to remove Staff Styles from staves selected in the score.


2373

Staff/Apply Staff Styles Choose this command to display the Apply Staff Styles dialog box. This dialog box lists all the currently defined staff styles available. Select a staff style to apply to the selected region. See Apply Staff Style dialog box.


2374

Staff/Reset Staff Styles to Score This option is only available while viewing a part. Choose this command to apply staff styles from the score to a selected part region. See also Staff Styles in linked parts.

2375

Staff/Show Staff Styles Choose this command to show (or hide) the staff style markers in the staves. The markers appear as a bar above measures where staff styles have been applied.

Tip: double-click on the marker bar to edit the staff style. Note: A thick line will appear above the staff that has a Staff Style in place. See Also: Staff Tool

2376

Staff/Show Staff Style Names Choose this command to show (or hide) the name of the staff style above the measures where staff styles have been applied. This command is only available when Show Staff Styles is checked.


2377

Staff/Add Group and Bracket Choose this command to display the Group Attributes dialog box, where you can create and control the appearance of groups. Choose which consecutive staves you want included in the group, name the group, choose an alternate barline, and choose a bracket to enclose them. You can also control how barlines appear. For detailed information, see the Group Attributes dialog box.


2378

Staff/Edit Group Attributes Select a handle for a group in the score, then choose this command to display the Group Attributes dialog box, in which you can change which staves belong to the selected group, and choose a different bracket and barline. For detailed information, see the Group Attributes dialog box.


2379

Staff/Remove Group Select a group handle or handles (to delete more than one staff group), then choose this command to remove the selected group definitions from the score.

Tip: Select the groups - then press Delete. See Also: Staff Tool

2380

Staff/Set Default Name Positions Choose Full Staff Names or Abbreviated Staff Names from the Set Default Name Positions submenu to set up the default position and alignment for all full or all abbreviated staff names, respectively. The Position Full Staff Name-Default or Position Abbreviated Staff Name--Default dialog box appears, where you can adjust the position of the staff name, relative to the staff. The default positioning will be used unless you change the position of an individual staff name. For details, see Position Full and Abbreviated Staff Names dialog boxes. Choose Full Group Names or Abbreviated Group Names from the Set Default Name Positions submenu to set up the default position and alignment for all full or all abbreviated group names, respectively. The Position Full Group Name--Default or Position Abbreviated Group Name--Default dialog box appears, where you can set up the default position and alignment for all group names. By default, Finale vertically centers group names between the first and last staves in the group (from the top line of the first staff, to the bottom line of the last). The default positioning will be used unless you change the position of a specific group name.

Full Staff Names Abbreviated Staff Names Full Group Names Abbreviated Group Names


2381

Staff/Position Names To adjust the position of an individual staff name, select the staff name’s handle, then choose Full Staff Names or Abbreviated Staff Names from the Position Names submenu. The Position Full Staff Name or Position Abbreviated Staff Name dialog box appears, where you can adjust the position of the staff name, relative to the staff. Or, simply drag the staff name handle to adjust the position on-screen. For details, see Position Full and Abbreviated Staff Names dialog boxes. To adjust the position of an individual group name, select the group’s handle, then choose Full Group Names or Abbreviated Group Names from the Position Names submenu. The Position Full Group Name or Position Abbreviated Group Name dialog box appears, where you can adjust the position of the group name, which is vertically centered between the first and last staves in the group. Or, simply drag the group handle to adjust the position on-screen.

Note: When you change the individual position of a staff or group name by dragging the name on-screen or by using a Position command, Finale automatically selects the Position checkbox in the Staff Attributes dialog box or the Group Attributes dialog box. This means that the special positioning will apply only to this staff name or group name wherever it appears in the document. To use the global, default positioning for the name, click the Position checkbox in the Staff Attributes dialog box or the Group Attributes dialog box to remove the selection. Or, simply select the staff name handle or group handle onscreen, and press backspace. Full Staff Name Abbreviated Staff Name Full Group Name Abbreviated Group Name 2382


2383

Staff/Show Default Staff Names Determines whether Finale's default staff names and staff name handles for unnamed staves appear on-screen. When selected, the default staff names, and their handles, appear on the screen, enclosed in square brackets. When not selected, default staff names and their handles are hidden on-screen for unnamed staves. Default names can help you identify staff handles. They will not appear in printed copies of the score; only staff names that you enter appear in your printed music.


2384

Staff/Show Default Group Names Determines whether Finale's default names or "group names" for unnamed groups appear on-screen. When selected, the default group names appear on the screen, enclosed in square brackets. When not selected, default group names are hidden on-screen for unnamed groups. Regardless of whether this command is selected, Finale will always show group handles on-screen. Default names can help you identify group handles. They will not appear in printed copies of the score; only group names that you enter appear in your printed music.


2385

Text menu How to get there The Text menu appears when the Text Tool is selected for editing text blocks directly on-screen, or when the Edit Text window appears for editing staff and group names. An abbreviated text menu is also available in the Edit Lyrics, Edit Staff Name, and Text Expression Designer dialog boxes. To create or edit text a block, click the Text Tool , and then double-click in the score, or on the handle of an existing text block. To edit a staff name, click the Staff Tool , click a staff handle, then choose Edit Staff Attributes from the Staff menu. Click Edit next to the full or abbreviated staff name in the Staff Attributes dialog box. (Or, ctrl-click a staff name handle onscreen.) The Edit Text window appears. To edit a group name, click the Staff Tool, click a group handle, and then choose Edit Group Attributes from the Staff menu. Click Edit next to the full or abbreviated group name in the Group Attributes dialog box. (Or, ctrl-click a group handle on-screen.) The Edit Text window appears. To edit Lyrics, choose the Lyrics Tool , and then from the Lyrics menu, choose Edit Lyrics. (You can also use the Edit Lyrics dialog box to enter new lyrics See Lyrics. To create or edit Text Expressions, choose the Expression Tool . Then, double-click in the score to create an expression. Right-click an existing expression and choose Edit Measure/Note Text Expression Definition to edit it. See Expressions.

What it does The Text menu contains options for editing text fonts, sizes, styles, justification and so on, displaying the text as it will appear on the screen and on your printed music. 2386

You can change whether text blocks are assigned to a measure or a page, displayed on one or more pages, or displayed with a border around text in a standard frame, or within a custom frame. You can also use this menu to change whether page-assigned text blocks are positioned from the page edge (or from the page margins), and how they are horizontally and vertically positioned on a page.

2387

Text/Font Choose Font to display the Font dialog box, which lists all the fonts currently installed on your system. Select the font that you want to use. Finale highlights your selection in the Font list. If you want, you can specify other font settings in the Font dialog box. For detailed information, see Font dialog box.

See Also: Text Tool

2388

Text/Size Choose an option from the Size submenu for the font size for your text. Finale places a checkmark next to your selection. Choose Other to display the Size dialog box. See Size dialog box. Select Increase or Decrease (or use the keyboard shortcuts Ctrl-shift-period, and Ctrl-shift-comma.) to change the point size by one. Select Fixed Size to display the text at the specified point size, regardless of any reductions you’ve previously placed on a note, staff, staff system or page using the Resize Tool. (See Resize Tool for information.)

3 pt 6 pt 8 pt 9 pt 10 pt 12 pt 14 pt 18 pt 24 pt 36 pt 48 pt 72 pt Other ============= Increase Decrease ============= Fixed Size

See Also:

2389

Text Tool

2390

Text/Style Choose a type style from the Style submenu. Finale places a checkmark next to your selection and applies the style to the selected text. Choose the command again to remove the checkmark and the style. Choose Plain to remove the checkmark from all other styles. You can choose any combination of styles (such as Bold—Underline, Italic—Bold, or a similar combination) from the submenu.

Note: Outline and Shadow styles do not appear in the Style submenu, since they are not supported in Windows; however, we provide them to provide compatibility across different platforms in the Character Settings and Font dialog boxes. For details see Character Settings dialog box and Font dialog box. Plain Bold Italic Underline Strikeout Hidden

See Also: Text Tool

2391

Text/Baseline Shift Choose this command to display the Baseline Shift dialog box where you can adjust the vertical position of the selected text without affecting the spacing between lines. For detailed information, see the Baseline Shift dialog box.

See Also: Text Tool

2392

Text/Superscript Choose this command to display the Superscript dialog box where you can adjust the vertical position of the selected text. If necessary, the spacing between lines adjusts by the same amount. For detailed information, see the Superscript dialog box.

See Also: Text Tool

2393

Text/Tracking Choose this command to display the Tracking dialog box, where you control the amount of horizontal space, in em’s, that Finale should leave between characters for the selected text. One em is equivalent to 1/1000 of the point size. For detailed information, see the Tracking dialog box.

See Also: Text Tool

2394

Text/Character Settings Choose this command to display the Character Settings dialog box, where you can specify all the settings for the selected text. Change one or more of the following: font, style, size, effects, baseline shift, superscript, and tracking. For detailed information, see the Character Settings dialog box.

See Also: Text Tool

2395

Text/Inserts When you’re creating or editing a text block, choose a command from the Inserts submenu to insert one of these items at the current location of the cursor. Finale pastes the current date, time, page number, or other insert at the insertion point. An outline appears around an insert to remind you of its special function. The following keyboard shortcuts are available for inserts: Insert

Keystroke

Page Number

ctrl-shift-P

Sharp

ctrl-shift-S

Flat

ctrl-shift-F

Natural

ctrl-shift-N

Note: You can change character settings for inserts placed in text blocks (you might underline the date, for example). Simply select an insert you’ve placed in a text block (such as the date), then choose a font or other character setting from the Text menu. Finale changes the entire contents of the insert to the new setting. You cannot, however, select and change the text within inserts. You can change the content of individual Page Number inserts. Choose Edit Page Offset from the Text menu to change the page number that appears for the selected page insert (other page inserts in the document are not changed). Change the text in the File Info dialog box (in the File menu) to change the information for the following inserts: Title, Composer, Copyright and Description. You can also change the content of the following inserts: Sharp, Flat, Natural, Double Sharp, Double Flat. When you change the content of these inserts in Document Options-Text, Finale updates every insert of the same type throughout the document.

2396

If you use a music font other than Maestro, you can change the symbol, font, baseline and tracking settings for the sharp, flat, natural, double sharp, and double flat signs by choosing the Text category of the Document Options dialog box (under the Document menu). The Symbol insert will display the Symbol Selection dialog box allowing you to place the selected character into the text block. See Symbol Selection dialog box. For more information, see Edit Page Offset, Document Options-Text, and File Info dialog box.

Sharp Flat Natural Double Sharp Double Flat ================ Page Number Total Pages ================ Title Subtitle Composer Arranger Lyricist Copyright Symbol (©) Copyright Text Part/Score Name Performance Time Description ================ Filename Current Date 2397

File Date Time ================ Symbol

See Also: Text Tool Document Options-Text

2398

Text/Hyperlink Choose this command to open the Hyperlink dialog box where you can define the display text and URL for a hyperlink. For detailed information, see the Hyperlink dialog box.

2399

Text/Edit Page Offset Select a Page Number insert, then choose this command to display the Page Offset dialog box where you can change the page number displayed in the insert. For detailed information, see the Page Offset dialog box.

See Also: Text Tool

2400

Text/Standard Frame This command is selected by default so that text is surrounded by a rectangle. Choose this command to display the Standard Frame dialog box, where you specify whether a border appears around the frame, the line thickness of the border, and the amount to inset the text from the frame. For more detailed information, see the Standard Frame dialog box. (To add a custom frame, see Custom Frame).

See Also: Text Tool

2401

Text/Custom Frame Choose this command to display the Custom Frame dialog box, where you select the positioning of text within or around a custom frame that you can create in the Shape Designer, and set the amount to indent the text from the frame. A checkmark by this command indicates that you’ve created a custom frame to surround the text.

Note: If you choose Custom Frame, but leave Shape = 0 (no shape is selected) and H: and V:= 0, Standard Frame will be selected when you dismiss the dialog box. For more detailed information, see the Custom Frame dialog box.

See Also: Text Tool

2402

Text/Justification Choose Left, Right, Center, Full, or Forced Full from the Justification submenu to select how you want the text positioned in a frame. Choose Left or Right to place the text on the left or right edge of the frame, or choose Center to center the text between the left and right edges. Choose Full to spread the text evenly between the left and right edges of the frame, except for the last line, which is always left-justified. Choose Forced Full to spread the text evenly between the left and right edges of the frame, including the last line if it contains two or more words. Expand Single Word is selected by default when you choose either Full or Forced-Full justification.

Expand Single Word works with the Full and Forced Full justification commands only. When Expand Single Word is selected and you choose Full justification, Finale spreads the text evenly between the left and right edges of the frame. In lines of text containing only one word (other than the last line), Finale spreads the letters of that word evenly between the left and right edges of the frame; if the last line contains only one word, that word is left-justified. When Expand Single Word is not selected, all lines containing a single word are left-justified. When Expand Single Word is selected and you choose Forced Full justification, Finale spreads the text evenly between the left and right edges of the frame. In lines of text containing only one word, Finale spreads the letters of that word evenly between the left and right edges of the frame. When Expand Single Word is not selected, all lines containing a single word are leftjustified. Full justified text with Expand Single Word selected:

2403

Force full-justified text with Expand Single Word Selected:

Full-justified text without Expand Single Word selected:

Force full-justified text without Expand Single Word selected:

Note: Use the Justification submenu in the Text menu to position text within an editing frame; use the Alignment submenu to align a text block itself on a page (or change the alignment settings in the Frame Attributes dialog box).

2404

Left Right Center Full Forced Full ================ Expand Single Word

See Also: Text Tool

2405

Text/Alignment The commands in this submenu are only available when you're in Page View and have a page-assigned text block selected. Use this submenu to specify how you want the text block positioned on the page. Checkmarks appear by the placement settings currently in use for the text block. You can also set the placement for text blocks in the Frame Attributes dialog box.

Left Center Horizontally Right ================ Top (Header) Center Vertically Bottom (Footer) ================ Position From Page Edge Position From Page Margin

See Also: Frame Attributes Text Tool

2406

Text/Frame Attributes This command is available when a single text block is selected. Choose this command to display the Frame Attributes dialog box for the currently selected page-assigned or measure-assigned text block. Use this dialog box to change the placement of the text block in your score, its placement on the page (left, right or centered), and what pages, if applicable, the text block appears on.

For more detailed information, see the Frame Attributes dialog box.

See Also: Text Tool

2407

Text/Line Spacing Choose this command to display the Line Spacing dialog box, where you specify the exact line spacing (single-spaced, double-spaced, or some other spacing) you want applied to all lines of text in the text block. For detailed information, see the Line Spacing dialog box.

See Also: Text Tool

2408

Text/Word Wrap Deselect this option to disable word wrapping in text blocks.

See Also: Text Tool

2409

Text/Edit Text Choose this command to display the Edit Text window for the currently selected text block. Or, choose this command when no text block handle is selected to cycle through and edit all text blocks in your score, including staff and group names. For more detailed information, see the Edit Text dialog box.

See Also: Text Tool

2410

Text/Assign To Measure These items allow you to specify whether Finale will create a text block that is attached to a particular measure or attached to a particular page. Note that these commands only affect future text blocks. To change the assignment of a text block, see Frame Attributes dialog box. Select Assign to Measure to create Measure Text Blocks that will move with a particular measure. Select Assign to Page to create Page Text Blocks that will stay on a particular page. These features are only accessible while in Page View. In Scroll View, text blocks are always assigned to measures.

Note: When you copy measureattached text blocks with the Selection Tool, they will clone themselves so changes to one will affect all copies. See Also: Text Tool

2411

Text/Assign To Page Use this command to create text blocks that are attached to a particular page by default. Note that this command only affects future text blocks. To change the assignment of a text block, see Frame Attributes dialog box.

See Also: Text Tool

2412

Utilities menu How to get there The Utilities menu is one of Finale's unchanging menus.

What it does The Utilities menu is one of the most versatile menus in Finale. Its commands transform your music in many powerful ways. Its commands work on selected regions as small as a single beat, or as large as the entire score. All the commands described below work on partial or full-measure selections, except as noted otherwise. Select a region with any tool that supports measure selection and these commands are available. Note that commands in the Utilities menu that affect a selected region of music (such as Music Spacing) can be interrupted. Simply press Escape to stop processing the command.

2413

Utilities/Transpose Choose this command to display the Transposition dialog box, which lets you specify how you want the selected music transposed - up an octave, down a third, or whatever interval you specify. You can also keep the original line of music when transposing notes. For detailed information, see the Transposition dialog box.

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Utilities/Respell Notes When you choose Respell Notes, Finale retranscribes the pitches of the selected notes, so they appear as they would when entered for the first time. For example, if a region contains C double sharps, this command will change all of them to D naturals. The Respell notes command respells using the setting in the Enharmonics submenu.

2415

Utilities/Fit Measures This command, only available in Page View, is extremely useful in laying out the measures of your piece - avoiding awkward page turns, placing 4 bars on a line, and so on. Select some measures; when you choose this command, the Fit Measures dialog box appears, in which you can specify that you want all the selected measures placed onto one line. You can also specify a number of measures-per-line you want for the selected region. For detailed information, see the Fit Measures dialog box.

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Utilities/Lock Systems Choose this option to lock the selected systems against reflowing after choosing Update Layout from the Edit menu. The system locks appear as icons on the upper right side of the staff. You can turn the display of these icons on and off using the View menu > Show > Page Layout Icons command.

See Also: Unlock Systems

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Utilities/Unlock Systems Choose this option to unlock the selected systems so they may reflow after choosing Update Layout from the Edit menu. The system locks appear as icons on the upper right side of the staff. You can turn the display of these icons on and off using the View menu command Show (Hide) System Locks.

See Also: Lock Systems

2418

Utilities/Music Spacing These commands, which affect full-measure selections, are unique to Finale. They let you use linear spacing for the notes, or you can space the notes and measures of your score the same way a professional engraver does - by consulting a table of width values for each note, and spacing the notes and measures accordingly. The result is non-proportional spacing, where a whole note isn't allotted four times as much width as a quarter note - it's actually allotted much less space.

This example is spaced with Beat Spacing. Each beat is spaced non-linearly first, then spaced within the beat linearly.

This example is spaced with Note Spacing. Each note is spaced non-linearly.

This example is spaced with Time Signature Spacing. Each note is spaced linearly.

Keep in mind that you can use any of these three music-spacing methods on any measures in your score, mixing and matching as necessary. You can also experiment with a certain selected region, trying first one kind of music spacing and then another; only the most recently-applied spacing will remain.

Apply Beat Spacing Apply Note Spacing Apply Time Signature Spacing

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See Also: Document Options-Music Spacing

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Utilities/Update Layout To speed up its operations, Finale doesn’t constantly recalculate the positioning and page layout of measures within your document. Instead, this recalculation only takes place when you request it by choosing Update Layout from the Utilities menu (Ctrl-U). If you enter Page View without choosing Update Layout, you may discover strange measure spacing if you’ve made any changes to the widths of measures (by using, for example, the Resize Tool, the Music Spacing commands, the Page Layout Tool, or the Measure Tool). Any of these actions can result in very wide or very cramped measures, or duplicated or missing systems on each page. By choosing Update Layout, you tell Finale to lay the measures out again within each system, taking such changes into account, in order to create attractive, neatly justified systems with appropriate measure spacing. To further save you time, when you’re in Page View, Finale only readjusts the measure layout from the page you’re viewing to the end of the document. In other words, if you’re satisfied with the layout of the first five pages, you don’t have to wait for Finale to readjust them; scroll to page six before choosing Update Layout. (Update Layout affects the entire piece if you’re viewing page one, or if you’re in Scroll View.) Update Layout performs another useful function. One way to manually arrange measures on the page is to use Finale’s measure group features (such as the Fit Measures command in the Page Layout menu and the Utilities menu, or the Selection Tool up/down arrow trick). For details on these techniques, see Measure layout. If you ever want to delete such measure groups (and restore all measures to their original “floating” status), press shift while selecting Update Layout from the menu.

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Utilities/Update Smart Word Extensions and Hyphens Choose this option to update Smart Word Extensions and Hyphens based on settings in the Word Extensions dialog box. This option recalculates word extensions and hyphens if Manually is chosen in the Smart Hyphens and Word Extensions portion of Program Options- View. See also Word Extensions dialog box.

See Also: Document Options-Lyrics Word Extensions dialog box

2422

Utilities/Rebar Finale’s Rebar command is useful after you insert or delete notes, halve or double note values, and so on. The command automatically re-distributes the notes of your piece so that each measure contains the correct number of beats, according to the time signature. (Finale automatically rebars the piece each time you change the time signature, unless you turn off this option in the Time Signature dialog box.) When you rebar a region that contains partly-filled measures, Finale does not “pad” the measures with rests. If a measure contains two quarter notes (and no rests) in each of two measures, and you rebar the music, you’ll end up with one measure containing four quarter notes. (You must enter the rests to maintain their positions.) Choose Rebar Options to display the Rebar Options dialog box, where you can decide how far Finale should go with its rebarring: all the way to the end of the piece, only through the next empty measure, and so on. Once you’ve established your preferences in this way, select a region and choose Rebar Music, so Finale actually perform the rebarring. If the results aren't what you expected, choose Undo from the Edit menu, change your Rebar Options, and try the command again. See Rebar Options dialog box.

Rebar Music Rebar Options

2423

Utilities/Rebeam Finale beams eighth notes (and smaller values) automatically, according to the time signature. Using the Rebeam commands, however, you can change the beaming patterns for notes you’ve already added to the score. Rebeam Music simply restores beaming to the patterns dictated by the time signature; you’d use this command after manually changing the beaming. Rebeam to Time Signature, on the other hand, lets you rebeam the selected music into any beaming pattern you wish, even if it’s unrelated to the time signature. Finale displays a variant of the standard Time Signature dialog box, where (by changing the “beaming signature”) you specify any beaming pattern you can dream up. See Time Signature dialog box for details on how the Time Signature controls affect beaming. Beaming to lyrics is a convention used in opera or art song notation. In this scheme, eighth, sixteenth, and shorter notes are never beamed together in the vocal line except when a syllable is sustained through more than one note (melisma). Choose Rebeam to Lyrics to display the Lyric Rebeaming dialog box, in which you can specify the lyrics you want rebeamed in this way. See Rebeam to Lyrics dialog box.

Rebeam Music Rebeam to Time Signature Rebeam to Lyrics

2424

Utilities/Explode Music Finale's Explode Music command strips a chordal passage into individual single-line melodies on separate staves. You could use this feature, for example, to transform a piano reduction into four monophonic-melody staves for a choir. You're not limited to exploding a single staff; you can select several staves for exploding. (Explode Music only affects full-measure selections.) After selecting the region you want to explode, choose this command. The Explode Music dialog box appears, where you can tell Finale how many resultant staves you want, what clefs they should use, and so on. For detailed information, see the Explode Music dialog box.

2425

Utilities/Implode Music When you Implode Music, Finale condenses the music on the selected staves onto a single staff. This command displays a dialog box in which you can specify how you want Finale to implode the music. You’re not limited to exploding a single staff; you can select several staves for imploding. (Explode Music and Implode Music only affect full-measure selections.) There is also a piano reduction Plug-in which requires fewer steps and provides more control. See Piano Reduction Plug-in. See Implode Music dialog box.

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Utilities/SmartMusic Markers Choose this option to open the Add SmartMusic Markers dialog box where you can easily create performance markers such as breath marks, rehearsal marks, repeats indications, and more. When you save the file as a SmartMusic Accompaniment, these markers appear in the SmartMusic interface during the performance.

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Utilities/Apply Articulation This powerful command lets you add a certain articulation mark (a staccato, for example) to every note (or notes of a particular duration) in a selected region at once. For detailed information, see the Apply Articulation dialog box.

See Also: Articulation Tool

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Utilities/Check Notation This submenu offers utilities for checking the notational integrity of several types of elements.

Check Accidentals Check Elapsed Time Check Ties Convert Mirrors Fill With Rests Remove Manual Slur Adjustments

2429

Utilities/Stem Direction By choosing Up or Down you can manually flip a region of stems up or down. Finale normally decides whether a note’s stem should go up or down depending on its vertical position in the staff. If you’ve specified a multiplevoice arrangement—for example, upper voice = stems up, lower voice = stems down—using Document Options-Layers (Document menu), Finale again chooses stem directions automatically. To restore such stems to stems that can flip depending on the notes’ pitches, select the region and choose Use Default Direction. This command also removes any Reverse, Double, or Split Stem editing you’ve done with Special Tools.

Up Down Use Default Direction

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Utilities/Change Use the commands in this submenu to change certain aspects of a selected region all at once.

Articulations Chords Lowest Fret Note Durations Expressions Note Size Noteheads Ties Tuplets

2431

View menu How to get there The View menu is one of Finale’s unchanging menus.

What it does This menu contains commands pertaining to your view of the document. You can never change the document itself with the commands in this menu—only modify the way you see it on the screen For example, you can change the size of the displayed music, hide staves, or alternate between one of Finale's three main views (Page, Scroll, and Studio View). Page view offers several Page View Styles, which allow you to arrange the pages in a horizontal row, a column, or display a single page at a time. If you press ctrl while choosing the View menu, the Select Staff Set submenu changes to Program Staff Set, indicating that you’re ready to program a new staff or tool set.

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View/Scroll View Scroll View is one of three Finale views of your music (the others are Page View and Studio View). In Scroll View, you see your music as one long staff system. Scroll View can be easier to use when you enter music. When you want to see how the score will look when it is printed, switch to Page View. When you want to edit playback, move to Studio View. Press Ctrl-E alternate between Page and Scroll View. Press Ctrl-Shift-E to switch to Studio View.

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View/Page View Page View is one of three Finale views of your music (the others are Scroll View and Studio View). By default, this is the view Finale presents you with when you open a new document. If you would like to change this setting when you open new documents, see Program Options-New. In Page View, you see your music exactly as it will be printed: laid out in systems, displaying page attached as well as measure-attached text blocks and graphics, and stretching the measures as needed so that each line of music is flush with the margins. Because of this stretching effect, music that appears a little crowded in Scroll or Studio View often looks just right in Page View. Every Finale Tool works in Page View. Some tools like the Selection Tool and Note Mover tools, have features that are available in one view but not the other. In addition, Page View has a few features of its own, accessible from the View menu. If you choose Fit in Window, Finale will reduce the view of your music just enough to fit the entire page onto the screen at once. Finally, Page View offers a feature called Show PostScript Preview. When you choose this command, Finale "prints" the actual PostScript instructions onto your screen, just as it would to a laser printer. See Show PostScript Preview. In general, Page View is slightly slower than Scroll View and Studio View. Each time the screen redraws, for example, Finale not only has to draw more music, but must also perform many more calculations (to lay out the page, for example). Press Ctrl-E alternate between Page and Scroll View. Press Ctrl-Shift-E to switch to Studio View.

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View/Page View Style These options allow you to customize the appearance of pages in Page View.

Book Style: Row Book Style: Column Book Style: Tiled Book Style: Current Page Spread Only ===================== Looseleaf Style: Row Looseleaf Style: Column Looseleaf Style: Tiled Looseleaf Style: Current Page Only

2435

View/Studio View Studio View is one of three ways to view your music in Finale (the others are Scroll View and Page View). Like Scroll View, Studio View displays your music as one long staff system. As its name suggests, this view is designed for optimal viewing, performance, and real-time control while auditioning playback. The scroll format offers the most complete, streamlined view of your score, and the most efficient use of computer resources. Real-time control is offered through Finale’s Staff Controls which always appear on the left side of the screen in Studio View. Each staff is automatically spaced adjacent to its corresponding set of controls, which are the same as those found in Finale’s Mixer. They include controls for volume, pan, program change, as well as, mute, solo and record commands. These can be adjusted in real-time as you listen to Finale’s performance. (All Staff Controls are dynamically linked to the Mixer and Instrument List window - changes to one apply to all uniformly). In Studio View you will also notice a "TempoTap Staff" above your score. This staff displays (by default) the current main beat duration specified by the time signature. It can be edited with the Simple or Speedy Entry Tool to optimize accuracy while recording a tempo with TempoTap.

Press Ctrl-Shift-E to switch to Studio View.

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View/Zoom The Zoom submenu offers commands that let you specify the size at which you want the score displayed on your screen, expressed as a percentage of its actual size. You can't change the actual (printed) size of the music on the page in this way; this technique simply lets you magnify or reduce the screen display of the music. With these commands, you can zoom in, zoom out, or specify the size at which you want the document displayed on your screen. To change your view of the document, just choose the appropriate command from the submenu. (You can also use one of the Ctrl-key equivalents: press Ctrl-1 for Custom View 1, Ctrl-2 for Custom View 2, and Ctrl-3 for Custom View 3. Define the custom view percentages in Program Options-View.) If you choose Other, the Zoom dialog box appears, in which you can specify any reduction or enlargement you want—from 5% to 1000%. (See Zoom dialog box.) If you’ve been viewing your document at several different degrees of magnification, Last Size takes you back to your last magnification setting. Fit Width and Fit in Window and are only available only in Page View. Fit Width automatically updates the view to fit the width of the page. You can use the Ctrl-] shortcut to access Fit Width. Fit to Window automatically reduces the viewing percentage just enough to fit the current page completely on your screen, no matter what size screen you have. You can use the Ctrl-[ shortcut to access Fit In Window. See Keyboard Shortcuts - View.

Zoom In Zoom Out Fit Width Fit in Window Custom Zoom 1 Custom Zoom 2 Custom Zoom 3 Other Last Size =====================

2437

Define Custom Zooms

See Also: Scale View Zoom Tool

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View/Bookmarks A Bookmark marks a particular position on a page (in Page View), or a measure in the music itself (in Scroll View). This enables you to access a certain page and a precise position on that page, or to jump to a marked measure in the music with a single command, quickly and efficiently. When you call a bookmark, Finale displays the music at the bookmark’s saved location and restores the working environment that was automatically saved with the bookmark, including the View (Page or Scroll View) and view percentage; you don’t have to spend time setting up your environment every time you change your position. Another time-saving aspect of bookmarks: you can save bookmarks with standard MIDI files so you don’t have to create them again in your sequencing program; or convert sequencer markers to Finale’s bookmarks when you transcribe a standard MIDI file. The Bookmarks submenu contains two easy-to-use commands, Add Bookmark and Edit Bookmarks, plus the names of bookmarks you have created. Use the Add and Edit Bookmarks commands to mark, edit, or delete bookmarks. Choose a bookmark name from the Bookmarks submenu to immediately jump to that position. (See Add bookmark dialog box and Edit Bookmarks dialog box.)

Important: For fast, efficient entry of bookmarks, set up the view (Scroll or Page) and view percentage, and position the music on the screen before you create the bookmark. By doing this, the text boxes will accurately reflect the bookmark’s position without having to enter that information manually. Select the checkboxes for the settings you want remembered for the bookmark. Add Bookmark Edit Bookmarks

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View/Select Staff Set You can greatly speed your work on orchestral scores by hiding the staves you’re not currently editing, so that there’s less music for Finale to draw. You can create up to eight staff templates—different arrangements of the staves in your music. This method only changes the display in Scroll View. See Hiding staves for a complete description. To create a staff set, click the Staff Tool; select the staves you don’t want to hide. If you have many staves, and you only want to hide one or two, here’s a quick way to do it. Choose Select All from the Edit menu to select all handles; then shift-click a staff handle to exclude it from the selected staves. Next, while pressing ctrl, choose Program Staff Set from the View menu; from the submenu, choose one of the Staff Sets (1 through 8). You’ve just defined a Staff Set. To view the new configuration of staves, choose the Staff Set you just programmed from the same submenu. Choose All Staves to restore all staves to the display. A quicker way to switch from one staff template to another is to press the keyboard equivalent for the desired Staff Template: control–zero to show all staves, and control–1, control–2, and so on for the eight Staff Sets. Finale prints all staves (and displays all staves in Page View), however, no matter which are visible in Scroll View.

All Staves Staff Set 1 Staff Set 2 Staff Set 3 Staff Set 4 Staff Set 5 Staff Set 6 Staff Set 7 Staff Set 8

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View/Select Layer Use this submenu to choose which music layer you want to edit. Four music layers are available. (Or, use the Layer push-buttons in the Document Window.)

Layer 1 Layer 2 Layer 3 Layer 4

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View/Redraw Screen Choose this command to force Finale to redraw the screen. Whenever you spot a visual anomaly - a phantom fragment of a slur, for example, or a missing barline - this command usually clears up the problem.

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View/Grid/Guide Use these commands to control Finale's grids and guides. For details, see Using Grids and Guides.

Show Grid Snap To Grid Show Guides Snap To Guides ===================== Grid/Guide Options

Contextual Menus Contextual menus are reached by right-clicking on the object (ruler or guide marker). A contextual menu will be displayed where you can select various items. Guides or Ruler

Menu item

What it does

Reposition Guide

Display the Reposition Guide dialog box

New Guide

Display the New Guide dialog box

Delete

Removes selected guide

Show Guides

Show or hide guides

Snap to Guide

Activates Snap to Guide

Show Gravity Zone

Shows the region in which items will snap to a guide

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View/Show Use this submenu to show or hide the following:

Hidden Notes and Rests ===================== Rulers Margins Page Layout Icons ===================== PostScript Preview

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View/Select Display Colors Choose this command to display Program Options-Display Colors. Program Options-Display Colors allows you to assign colors to different layers as well as to different elements in your score such as Articulations, Text Blocks and Smart Shapes. This is useful for differentiating between various objects in order to identify which tools created them, or which layer they belong to. Colors are used for on-screen display only, and not for printing (by default). (Although you can choose to "Print Display Colors" in the Print dialog box prior to printing if desired). For detailed information, see Program Options-Display Colors.

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Window menu How to get there The Window menu is one of Finale’s unchanging menus.

What it does The Window menu controls (and indicates) which windows are open, and which are in front (active). It also has Tile and Cascade commands, which automatically and neatly arrange multiple open windows into a more convenient layout.

[File windows] The names of all file windows are listed in the order they were opened at the bottom of the Window menu. A check mark appears by the active window. Choose a window's name to make it active.

Tip: To switch the active document window, press Ctrl-Tab.

2446

Window/Instrument List Choose this item to display the Instrument List, Finale's floating window that controls the playback, MIDI channels, and bank and program assignments of the staves in your file. Choose this item a second time - so that the check mark disappears - to hide the Instrument List. For detailed information, see the Instrument List dialog box.

2447

Window/Mixer Choose this command to open the Mixer. Finale’s Mixer offers master and staff controls that allow you to adjust playback output in real-time.

See Also: Mixer

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Window/Movie Window Movie Window. Choose this command to open Finale’s integrated Movie Window which allows you to view movie clips and Finale’s scrolling playback simultaneously. See Movie Window.

2449

Window/Playback Controls Choose this item to display the Playback Controls, the floating window that controls playback in your file. Choose this item a second time - so that the check mark disappears - to hide the Playback Controls. For detailed information, see the Playback Controls dialog box.

2450

Window/Main Tool Palette When this item is checked, Finale’s Main Tool Palette is open on the screen. The Main Tool Palette always floats in front of all other windows; you can close it by choosing this item so that the check mark disappears. You can close it by choosing this item so that the check mark disappears. The default position of the Main Tool Palette is docked at the top of the screen. You can also dock the palette in a vertical strip or create a floating palette. Click on the edge of a docked palette and drag it into the middle of the screen to create a floating palette. As you drag the palette, an outline will appear showing the shape and position of the palette in that location. If a floating palette is minimized, (displayed as a small icon in the lower part of the screen), double-click the icon to restore it to its previous size. For detailed information, see the Main Tool Palette

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Window/Advanced Tools Palette This palette contains the MIDI Tool, Special Tools Tool, Graphics Tool, Ossia Tool, Mirror Tool, Note Mover Tool, and Tempo Tool.

See Also: Advanced Tools Palette Window menu

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Navigational Tools Palette How to get there From the Window menu, choose Navigational Tools Palette.

What it does This palette contains the Hand Grabber Tool and Zoom Tool..

• [Close box]. Click this small button at the upper-right corner of the palette to close the palette. Once it’s hidden, you make the palette reappear by choosing Advanced Tool Palette from the Window menu. • [Title bar]. Drag the strip across the top (or left) edge of the palette to move the entire palette to a new screen location. • [Sizable frame]. Click on the very edge of the palette and drag the sizable frame to reshape the entire palette. As you drag, the palette snaps into new configurations: tall and thin, short and stout, square, and so on. If your monitor is wider than it is tall, for example, you might consider rotating the palette so that it’s a short horizontal strip. If you drag the resize box inward toward the upper-left corner, you hide tools. Drag the resize box outward again to bring them back into view. • [Tool icons]. See the individual tool for a complete discussion of each tool and what it does. In the meantime, note that you can rearrange the icons within the palette. To do so, press shift and drag an icon into a new position; it will trade places with the icon onto which you drop it. Keep in mind, too, that you can save these configurations of tools for quick access; see View menu for instructions. See the Customize Toolbar dialog box. Hand Grabber Tool Use this tool to drag music in any direction to shift its position on your screen, as though you’re sliding the score page across your desk.

Zoom Tool Use this tool to magnify or reduce the music as it’s displayed on the screen.

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Window/Simple Entry Palette When this item is checked, the Simple Entry Palette appears on the screen. You can close the palette by choosing the item from the Window menu so that the check mark disappears. Depending on the settings in Program OptionsPalettes and Backgrounds, you may have to click the Simple Entry Tool to display this palette. For detailed information, see the Simple Entry Palettes and Program OptionsPalettes and Backgrounds.


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Window/Simple Entry Rests Palette When this item is checked, the Simple Entry Rests Palette appears on the screen. You can close the palette by choosing the item from the Window menu so that the check mark disappears. Depending on the settings in the Program Options dialog box, you may have to click the Simple Entry Tool to display this palette. For detailed information, see the Simple Entry Rests Palette and Program Options-Palettes and Backgrounds.


2455

Window/Smart Shape Palette When this item is checked, the Smart Shape Palette appears on the screen. You can close the palette by choosing the item from the Window menu so that the check mark disappears. Depending on the settings in Program OptionsPalettes and Backgrounds, you may have to click the Smart Shape Tool to display this palette. See Program Options dialog box. For detailed information, see the Smart Shape Palette and Program OptionsPalettes and Backgrounds.

See Also: Smart Shape Tool

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Window/Special Tools Palette When this item is checked, the Special Tools Palette appears on the screen. You can close the palette by choosing the item from the Window menu so that the check mark disappears. Depending on the settings in Program OptionsPalettes and Backgrounds, you may have to click the Special Tools Tool to display this palette. See Program Options dialog box. For detailed information, see the Special Tools Palette and Program OptionsPalettes and Backgrounds.

2457

Window/Customize Palettes Choose a palette from this submenu to open the Customize Palettes dialog box where you can rearrange tools and/or remove them from the palette.

Main Tool Palette Navigational Tools Palette Advanced Tools Palette Simple Entry Palette Simple Entry Rests Palette Smart Shape Palette Special Tools Palette

For detailed information, see the Customize Palettes dialog box.

2458

Window/menu Toolbars Choose from several toolbars based on commands found in menus.

File menu Toolbar Edit menu Toolbar View menu Toolbar Document menu Toolbar MIDI menu Toolbar Help menu Toolbar Layout Toolbar View Percent Toolbar

2459

Window/Status Bar The status bar is the thin strip at the bottom of Finale's application window, where Finale shows help messages and identifies each tool as you click it. Choose this item to make the status bar disappear, so that you have more space for the display of your music. Note that the check mark disappears from the Window menu. Select this item again to make the status bar reappear. The item should now be checked.

2460

Window/Cascade If more than one file window is open on the screen, this command neatly stacks them so that they overlap by a half-inch or so, as though they're a deck of cards being fanned from upper-left to lower-right. Because this arrangement leaves each window's name bar visible, it's easy to jump from one window to another (by clicking any visible part of it). The active window is the one in the lower-right.

2461

Window/Tile Vertically If more than one file window is open on the screen, this command neatly places them side-by-side, subdividing your screen area so that all windows are the same size. The active window is the one whose title bar is highlighted.

2462

Window/Tile Horizontally If more than one file window is open on the screen, this command neatly places them one atop the other, subdividing your screen area so that all windows are the same size. The active window is the one whose title bar is highlighted.

2463

Window/Arrange Icons If you've minimized any windows on a document (by clicking the Minimize button in the upper-right corner), icons for the windows appear within Finale's application window. Choose this command to align the document icons neatly at the bottom of the application window.

2464

Window/New Window Choose New Window to create a duplicate of the active window (and of the same file), in which you can scroll, enlarge, reduce, or change views independently of the original window. The various windows of a single file are identified in the bottom portion of the Window menu.

2465

Window/Close Window Choose Close Window to close the current active window. If you close the last active window on a document, Finale will close the file, asking if you want to save changes (if any changes were made since you last saved the file).

2466

Plug-ins Plug-ins extend abilities to the existing program and are often written as separate applications by various engineers. All of Finale's Plug-ins are available under the Plug-ins menu.

2467

Add Cue Notes Plug-in

How to get there Select a region with the Selection Tool that you would like to use as a cue. From the Plug-ins menu, choose Scoring and Arranging, and then Add Cue Notes.

What it does The Add Cue Notes plug-in allows you to easily place cue notes of the selected region in any staff. •

[List of Staves]. Select the staves in which you wish to place the selected region as cues. Click to select one, shift click to select several at a time, even if they are not sequential. Press ctrl to select non-consecutive staves.

• Read the cue from Layer. Select from the drop-down list a layer for the source of the cue notes. •

Write the cue in:. From the drop-down menu, select the layer in which you would like the place the cue.

• Reduce cue noteheads. Type in the percentage reduction for the cue noteheads in this text box. • Name the cue. If you would like the cue identified by an instrument name or other text, type the text in this text box. The plug-in will use the staff 2468

name as a default. Text is inserted as a note attached expression attached to the first note of the cue. • Include: Articulations · Expressions · Smart Shapes · Clefs · Lyrics · Chords. Check items to include in the destination staves in addition to the cue notes. • OK · Cancel. Click OK to place a cue note with the selected options. Click Cancel to dismiss the dialog box without making any changes.

2469

Align/Move Dynamics Plug-in

How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose TGTools, then Align/Move Dynamics.

What it does The Align/Move Dynamics plug-in allows you to easily align various elements, such as hairpin crescendos and f expressions, of the selected region in any staff. Collisions with staff lines are avoided. Items from below the staff are never moved above the staff and vice versa. Because of this collision avoidance, the final position may not be the one specified in the dialog box. • Align: To Nearest Element · To Farthest Element · To Average Distance · Set To Value. Choose Nearest Element to align the expressions or hairpins to the element closest to the staff. Choose Farthest Element to align the expression or hairpins to the element farthest from the staff. Choose Average Distance to align the elements at an average distance from the staff. Check Set To Value to move all of the selected dynamics to the distance specified in “Move vertically” from the bottom staff line. When Set To Value is unchecked, the specified value will be added to the distance. Repeatedly clicking Apply can be used to nudge dynamic markings. • Text expressions · Hairpins · Shape expressions. Select Text expressions to align dynamic markings, such as cresc. or F. Select Hairpins to align Smart Shape crescendos or decrescendos. If selected for alignment, hairpins will be straightened. Select Shape expression to align shape expressions, such as crescendos or decrescendos created with the Expression Tool. • Move vertically __ (units). Enter the value you would like to move the expressions or hairpins vertically. The measurement unit will be determined by the settings chosen for Measurement Units in the Edit menu. Negative 2470

for lower and positive for higher. A very high value is required for items above the staff, such as 200 EVPUs or .7 inches. If the value entered would cause a collision with a staff line or move the marking to the other side of the staff, the final position may be different from the specified value.When “Set To Value” is chosen, the dynamics are moved to the specified distance from the bottom staff line. • Apply · Close. Click Apply to apply the current commands and leave the dialog box available for the next set of commands. Click Close to dismiss the dialog box without making any changes.

2471

Apply Human Playback plug-in

How to get there From the Plug-ins menu, choose Playback, and then Apply Human Playback.

What it does This plug-in allows you to apply a Human Playback style, or specific elements of Human Playback to regions of your document. For example, if a latin section appears in the middle of your jazz score, use this plug-in to apply the Jazz style for most of the piece, and the Latin style for just the latin section. In addition to applying one of the preset styles, you can use the additional settings to ‘fine tune’ playback in many ways using all of the same options available for Human Playback available in the Playback Settings Dialog box. When you have customized the settings to your preferences, click Apply and this plug-in adds the MIDI data to the region you have selected (as if you had played back this region with Human Playback on and recorded the MIDI data). Note that existing MIDI data in the selected region is overwritten when you apply this plug-in. Global (program-wide) settings can be made for all regions you edit with this plug-in in the Apply Human Playback Preferences dialog box. This plug-in cannot be applied to partial measures. 2472

• Apply a Defined Style. Select this radio button, and then a style from the drop-down menu to apply a preset Human Playback style to the selected region. • Apply Specific Elements · Select. Select this radio button, and then choose the items you want Human Playback to interpret. Click Select to view additional settings. See More Settings dialog box. • Clear MIDI Data. Select this radio button and specify the MIDI data you want to remove by checking the appropriate box(es). You might, for example, clear “All Continuous Data” if you want to use Human Playback’s interpretation of a section of music based on expressions, hairpins, and other markings you’ve added in the document, and have chosen to incorporate your own MIDI data with Human Playback’s interpretation in the Apply Human Playback Preferences dialog box. (Note the Apply Human Playback Preferences dialog box contains the same options as the Human Playback Preferences dialog box, but only applies to Human Playback assigned with the plug-in). • Restore To Default. Click this button to reset all parameters in this dialog box to their original settings. • Preferences. Click this button to open the Apply Human Playback Preferences dialog box where you can control Human Playback’s interpretation of the document, and how it deals with existing MIDI data. The settings you make in this dialog box are program-wide, but only affect regions to which Human Playback has been applied using the Apply Human Playback plug-in. See Apply Human Playback Preferences dialog box. • Apply · Close. Click Apply to apply the current settings and leave the dialog box available. Click Close to dismiss the dialog box without making any changes.

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Auto-Dynamic Placement Plug-in

How to get there From the Plug-ins, choose Expressions, and then Auto-Dynamic Placement. If you prefer to apply Auto-Dynamic Placement to a specific region, select the region using the Selection Tool before selecting the plug-in from the Plug-ins menu. See Plug-ins menu for more information on plug-ins.

What it does The Auto-Dynamic Placement plug-in allows you to place dynamics in your score automatically based on the recorded MIDI key velocity. You can specify the range of key velocities associated with each dynamic. • Min. Velocity Change Between Dynamics. Change the number in this text box to vary the amount of velocity change required to place the next dynamic marking. • Place By Entry · Place By Beat · Place By Measure. Select the one of these placement options to determine where dynamics should be placed. Place By Entry will place dynamics at every entry if there is a great enough change in Key Velocity (specified in Minimum Velocity Delta between Dynamics). Place By Beat will place dynamics at every beat where the change in key velocity is greater than the specific minimum. Place By Measure will place dynamics by measure where the average of the key velocities over that measure indicates a change in dynamic level. 2474

• Avoid Accents. Deselect this checkbox to have the plug-in place dynamics on accented notes as well as unaccented notes. • Dynamic Marking: pppp · ppp · pp · p · mp · mf · f · ff · fff · ffff. Select the dynamic from the drop-down list to change the minimum key velocity assigned to that dynamic level. • Minimum Velocity. Enter the minimum key velocity for the selected expression in this text box. It is not influenced by the current text expression library. The key velocity range is 0-127. • Expression. Click on Expression to select the a different expression not available from the Dynamic drop-down list. • Placement: Layer 1 · Layer 2 · Layer 3 · Layer 4. With this drop-down list, specify the layer to which the placement settings below will apply. Autodynamic placement scans each layer and will create overlapping expressions if the same dynamic marking is needed for multiple layers on the same beat. You can offset each layer’s expression by adjusting the placement settings for each layer here. • Placement: Voice 1 · Voice 2. Select which voice to place the dynamics into with this drop-down list. • Place Above Staff. Choose Place Above to place generated expressions above the staff. • Distance from Staff. The number in this text box represents the distance from the staff the dynamic will be placed. The larger the number the farther away from the staff the dynamic will be placed, the smaller the number, the closer to the staff. This is measured from the top or bottom line of the staff depending on whether the Place Above Staff checkbox is selected or not. • Minimum Distance From Entry. Place the desired minimum amount of distance between entries and dynamics in this text box. Even though you have set a specific distance from the staff, sometimes notes and rests above and below the staff may collide with dynamics unless you have specified that the dynamics must be placed some distance away (either above or below) the entries. • OK · Cancel. Click OK to place dynamics using the specified settings. Click Cancel to return to the document without placing any dynamics.

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Auto Slur Melismas Plug-in How to get there Select a region of your document containing lyrics with the Selection Tool. From the Plug-ins menu, choose Lyrics, and then Auto Slur Melismas

What it does The Auto Slur Melismas plug-in scans a document for lyric syllables that carry over two or more pitches and adds slurs accordingly. This is a standard practice for notating melismas. After running this plug-in, melismas appear wherever there are word extensions or hyphenated syllables under note changes. After running the plug-in a message appears indicating the number of slurs that were added. Dashed slurs are added for any melisma that applies to subsequent verses (and not the first verse). Solid slurs are always used for the first verse.

Before

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Automatic Barlines Plug-in How to get there Select a region using the Measure Tool (or any other tool with regional selection). From the Plug-ins menu, choose Measures, and then Automatic Barlines. If there is no music selected when you invoke the Automatic Barlines command, it will ask you if you want to process the entire document. See Plugins menu for more information on plug-ins.

What it does The Automatic Barlines plug-in allows you to automatically set up barlines, matching the key changes in your document. In a high variety of music it is conventional to use a double barline when the key changes. The Automatic Barlines plug-in supports this convention by: (1) setting all barlines between measures in the same key to a single (normal) barline and (2) setting all barlines between measures where a key change is initiated to a double barline. Additionally, if the last measure of the selection is the last measure in the document, a final barline is placed in this measure. (Repeat barlines are not affected by this plug-in.) If there is no music selected when you invoke the Automatic Barlines command, it will ask you if you want to process the entire document.

Using the Automatic Barlines Plug-in Use the Measure Tool to select a region (or any other tool with regional selection) in which you wish to have the barlines match key changes, then choose the Automatic Barlines command from the Plug-ins menu. The plug-in will go through the selected region, measure by measure, and compare consecutive pairs of measures. If a pair of measures is in the same key, the plug-in will set the measure attributes of the first measure to use a single (normal) barline. If there is a change of key, the plug-in will set the measure attributes of the first measure to use a double barline. If the last measure in the document is included in the selection, the measure will be set to use a final barline (double barline with a thick second line).

Notes • The Automatic Barlines plug-in recognizes that relative Major and Minor keys (for instance: C Major and A Minor) have the same key signature (in this case, no sharps or flats). In cases such as these the plug-in sets a single barline since it recognizes that the key signatures are identical, even though, technically speaking, the key has changed. However, the plug-in cannot analyze the key signatures of Non-Linear Key Signatures, nor of Linear Key Signatures beyond the conventional Major and Minor modes. If 2477

your music uses non-standard signatures and two adjacent measures use different keys with identical key signatures, the plug-in will “think” a key change has taken place. In this case, a double barline will be set between the two measures in question.

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Band-in-a-Box Auto-Harmonizing Plug-in

How to get there Select a region containing at least one note with the Selection Tool (for best results, the region should contain at least one Chord Symbol). The notes selected can be of any duration and rhythm. From the Plug-ins menu, choose Scoring and Arranging, and then Band-in-a-Box Auto Harmonizing.

What it does The Band-in-a-Box Auto Harmonizing plug-in will add a number of new voices to an existing melody, based on chord symbols (or based on the key signature of the piece if no chord symbols exist in the selected region). The plug-in’s harmonies are based on those found in the PG Music software Band-in-a-Box. The resulting music is generally homophonic, meaning all harmonies will be the same rhythm as the melody. Exceptions, such as piano/guitar presets, will be detailed below. • Number of Voices. Use this drop-down list to determine how many voices (including the input melody) your harmonized music will include. You’ll also notice that changing this selection affects the available harmonizations. After choosing the desired number of voices, select a type of harmonization from the list below the menu. • Style. Select a preset style of harmony. For a list of all available presets, see Harmony Presets in the Appendix. Here are the naming conventions used in the Generic presets:

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Drop Two- Transposes the first harmony note below the melody down an octave Drop Three- Transposes the second harmony note below the melody down an octave One Above, Two Above, Two Below, etc.- The number (One, Two) represents how many (non-octave) harmony voices are placed above or below the melody 3rds Above- Typically adds a note a third above the melody 3rds Below- Typically adds a note a third below the melody 6ths Above, 6ths Below- Typically adds a note a sixth above or below the melody 3rds & 6ths- Harmony typically uses a mixture of thirds and sixths Alt- Provides an alternative harmonization including sevenths and ninths 8va- Double the melody an octave above. 8vb- Double the melody an octave below. 8va & 8vb- Double the melody both an octave above and below. #1, #2, #3- Some harmony stacks have alternate permutations. For instance, in a dense harmony preset, Variation #1 might play a third interval, while Variation #2 plays a sixth, and Variation #3 plays alt tones. Examples: 1. Three Part, 3rds & 6ths Below 8vb 2. The first harmony voice is a mixture of 3rds and 6ths below the melody. The second harmony voice is the melody transposed down one octave. 3. Four Part, 6th Above 8va #2 4. The first harmony voice is a sixth interval above the melody. The second harmony voice is below the melody. The third harmony voice is the melody transposed up one octave. This preset is the second variation of this harmony stack. 5. Six Part, 3rd Above 8va & 8vb The first harmony voice is a third interval above the melody. Two harmony voices are below the melody. The remaining two harmony voices double the melody an octave above and an octave below.

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Instrument Preset Names, such as Guitar or Super Brass, create harmony stacks typical for the instrument. These presets may also be useful on other instruments. Guitar and Piano presets will harmonize long notes without harmonizing short notes. This emulates performance techniques when it is artistically undesirable (and difficult on the fingers) to harmonize all notes in a melody. The following presets are Guitar/Piano harmonizations: Two Part: Guitar 3rds and 6ths; Three Part: Guitar; Four Part: Jazz Piano, Guitar Drop 2, Swing Guitar; Five Part: Jazz Piano; Six Part: Guitar. Remember to place the notes into the appropriate number of staves. Some Instrument presets limit the low and high note range of harmonies. For instance, if a Drop Two harmony note extends below an instrument’s range, this low harmony note might be transposed up to fit in the instrument range. Most of the Generic Presets harmonize all melody notes, and the harmony high-low note ranges are not restricted. • Place New Voices Into: Selected Staff (all Voices) · Staves Added to Bottom of Score · Existing Staves Starting with Staff. The Band-in-aBox Auto Harmonizing gives you the option to place the new harmony voices into any of three places. Choosing Selected Staff (all Voices) will place the harmony voices into the same staff as the melody staff. This option is required for Piano/Guitar harmonizations. Staves Added to Bottom of Score will create one staff for each harmony voice. The number of staves is one less than the Number of Voices because the Auto Harmonize plug-in is only interested in placing the new voices, and will leave the melody (considered one of the voices) alone. Note that these added staves will need to be subsequently defined in the Instrument List for optimal playback. Existing Staves Starting With Staff allows you to choose consecutive staves already in your document. For instance, if you are working on an arrangement for Jazz Ensemble, and already have your score set up, you can enter a melody and chord symbols in your Trumpet 1 staff, then automatically harmonize to your Trumpets 2-4 staves. Tip: Note that the plug-in relies on the Set Play values assigned to chord suffixes. If your file contains chord suffixes that have been created without a Set Play value defined, the associated chords will not have any impact on the harmony. See Chord symbols and Suffix Keynumber Offsets dialog box.

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• More Info · Cancel · OK. Click More Info for a brief summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any changes, or Click OK to make the selected changes.

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Beam Over Barlines Plug-in

How to get there From the Plug-ins menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then Beam Over Barlines.

What it does This plug-in allows you to automatically extend beams over a barline as shown in the figure below. To use this plug-in to beam over a barline, do the following. • Choose the Selection Tool. • Select the region including the notes you want to beam over the barline. • From the Plug-ins menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then Beam Over Barlines. Notes on either side of the barline are beamed together. To remove beams created with this plug-in, choose the Beam Over Barlines/Remove plug-in which is also located in the Patterson Plug-ins Lite submenu. Note that hidden tuplets created while generating beaming over barlines may corrupt the Human Playback performance in regions where the Beam Over Barlines plug-in has been applied. See Playback Settings dialog box for more information regarding Human Playback.

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Canonic Utilities Plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, and then Canonic Utilities.

What it does The Canonic Utilities plug-in transforms the selected region using inversion, retrograde, transposition or a combination of the above. • No Inversion · Diatonic Mirror Inversion · Chromatic Mirror Inversion · Chord Inversion Up · Chord Inversion Down. Select No Inversion from the drop-down list to have no inversions applied to the select region. If you would like to change the setting for Mirror Inversions, click the Mirror Inversion Options button and the Mirror Inversion Options dialog box appears. See Mirror Inversion Options (below). Select Diatonic Mirror Inversion from the drop-down list to invert the selected region of music based on a pivot note selected in the Mirror Inversion Options dialog box. When Diatonic Mirror Inversion is selected the notes will change to their diatonic inversion. For example, if you have the note B in the key of C, and pivot around the note C the B will be inverted to D (rather than a Df as in Chromatic Mirror Inversion). Please note that if you select a non-diatonic note as your pivot point with the Diatonic Mirror Inversion selected, the pivot note used will be the nearest diatonic note instead of the selected non-diatonic note. Select the Apply button to apply your inversion settings to the selected region.

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Select Chromatic Mirror Inversion from the drop-down list to invert the selected region of music based on a pivot note selected in the Mirror Inversion Options dialog box. When Chromatic Mirror Inversion is selected you are free to select any note to act as the pivot note. The selected region of music will then be inverted based on the chromatic (major or minor) interval between the pivot note and the note to be inverted. Select the checkbox the Apply button to apply your inversion settings to the selected region. Select Chord Inversion Up or Chord Inversion Down to invert chords up or down in the selected region. In selecting Chord Inversion Up, the bottom note of the chord is moved to the top of the chord, creating the next inversion. If you select Chord Inversion Down, the top note of the chord is moved to the bottom of the chord, again creating a new inversion. • No Transposition · Transpose Diatonic · Transpose Chromatic · Transpose Semitones. Select No Transposition from the drop-down list to have no inversions applied to the select region. If you would like to change the setting for Transpositions, click the Transposition Options button and the Transposition Options dialog box appears. See Transcription Options. Select Transpose Diatonic from the drop-down list to transpose the selected region up or down the selected number of lines and spaces ignoring whole and half steps in the key signature. Select Transpose Chromatic from the drop-down list to transpose the selected region up or down the selected interval taking into account half and whole steps. Select Transpose Semitones from the drop-down list to transpose the selected region with the specified numeric interval (0-11) selected in Transposition Options. • Retrograde. Select this checkbox then the Apply button to apply retrograde to the selected region. This will notate the selected passage backwards. If you would like to change the retrograde settings click the Retrograde Options button. The Retrograde Options dialog box appears. See Retrograde Options. • Leave Accidentals Alone · Default Accidentals · Show All Accidentals · Hide All Accidentals · Clear Frozen Accidentals · Remove All Accidentals. Select Leave Accidentals Alone to prevent the plug-in from making any changes in frozen accidentals. Select Default Accidentals to show only default accidentals and ignore any forced accidentals. Select Show or Hide All Accidentals to show or hide all the accidentals in the selected region, even the naturals. Select Clear Frozen Accidentals to remove all the frozen accidentals in the selected region. Select Remove All Accidentals to remove every accidental in the selected region. 2485

• Remove Ties. Select this checkbox to remove all the ties in the selected region. • Verify Retrograde. Click on this button to see if your selections for retrograde can be accomplished on the selected region. If the selected region contains slurs attached to notes, mirrored measures or voice 2, the dialog box will display a message indicating that these cannot be accounted for in the Retrograde operation.

• Remove Items · Close. Click Remove Items to delete note-attached slurs, notes in voice 2, or mirrored measures in the selected region. Click Close to return to the Canonic Utilities dialog box. • Apply · Play · Close. Click Apply to make the selected changes in your dialog box and keep the Canonic Utilities dialog box open. Click Play to playback the selected region using the current settings in the Playback Controls. Click Close to exit the dialog box without making any changes to your document.

Mirror Inversion Options

• Pivot Note · Octave · Listen. Select the note and octave around which you would like the mirror inversion to pivot. If you prefer you can click on the Listen button and play the note on your MIDI keyboard. The note and correct octave will be selected for you.

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• Simplify Spellings. Click Simplify Spellings to prevent the plug-in from creating double-sharps and flats when inverting the selected region. • OK · Cancel. Click OK to change the settings and return to the Canonic Utilities dialog box. Click Cancel to return to the Canonic Utilities dialog box without changing any settings.

Transposition Options

•No Transposition · Transpose Diatonic · Transpose Chromatic · Transpose Semitones. This is the same drop-down list as in the main dialog box. •Transpose Diatonic: Unison · Second · Third · Fourth · Fifth · Sixth · Seventh · Octave · Other. Select the interval you desire from the dropdown list or choose Other and type in the interval you prefer. •Transpose Chromatic: Perfect Unison · Augmented Unison... · Other. Select the interval you desire from the drop-down list or choose Other and type in the interval and alteration you prefer. •Transpose Semitones: 0 - 11. Select the interval you desire from the drop-down list. This serial music option is similar to Chromatic Transposition in that each semitone is a half step, but there is no diatonic implications of the intervals. It refers only to the total number of half steps. •Up · Down. Select whether to transpose up or down from the drop-down list. •Favor Sharps · Favor Flats (Transpose Semitones only). Select which option you prefer for your transposition. This is only available when Transpose Semitones is selected. •Plus _ Octaves. Type the number of octaves over which to transpose the selected region. •OK · Cancel. Click OK to change the settsings and return to the Canonic Utilities dialog box. Click Cancel to return to the Canonic Utilities dialog box without changing any settings.

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Retrograde Options

• Key Changes · Time Changes. Deselect these options to prevent the plug-in from including key and time changes when you apply the retrograde to your selected region. • OK · Cancel. Click OK to change the settings and return to the Canonic Utilities dialog box. Click Cancel to return to the Canonic Utilities dialog box without changing any settings.

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Cautionary Accidentals Plug-in

How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Cautionary Accidentals.

What it does The Cautionary Accidentals plug-in allows you to add cautionary accidentals in various forms to your document. Click all the options (with or without parentheses) to have accidentals display on all notes. The plug-in works only on standard major and minor keys. • Courtesy Accidentals · Parenthesize. Select this checkbox to force courtesy accidentals to display on notes after an accidental within a measure and in following measures. Checking Parenthesize will cause the courtesy accidentals to have parentheses. • Courtesy Naturals · Parenthesize. Select this checkbox to force the courtesy cancellation of an accidental from the previous measure. Checking parenthesize will cause courtesy naturals to have parentheses. • Key Cancellations · Parenthesize. Select this checkbox to force courtesy accidentals on notes after a key change. Checking parenthesize will cause key cancellation courtesy accidentals to have parentheses. 2489

• Diatonic Accidentals · Parenthesize. Select this checkbox to force diatonic accidentals (such as B in F major) to display. Checking parenthesize will cause diatonic accidentals to have parentheses. • Naturals · Parenthesize. Clicking this button will force naturals to display. Checking parenthesize will cause naturals to have parentheses. • Reset After ___ Measures. Type in the number of measures Finale should continue looking for cautionary accidentals. For example, Reset After 1 Measures will only show cautionary accidentals in the next measure, not any measures after that. Reset After 2 Measures will only show cautionary accidentals in the next 2 measures, and so on. This setting only affects courtesy accidentals and courtesy naturals. • Cautionary Accidentals on Tied Notes: Never · Only Across Barlines · Always. Select how you want accidentals displayed on tied notes. • Layers to Check: Layer1 · Layer 2 · Layer 3 · Layer 4. These four checkboxes allow you to specify which layers to apply the options you have selected. This will allow you to have a layer hidden for playback without affecting your displayed notation. • Auto-Freeze Accidentals. Checking this option will make Finale “freeze” the changes made by the plug-in. (This option is identical to Auto-Freeze in the Speedy menu.) • No Cautionaries On Repeated Notes. Check this box to tell Finale only place cautionary accidentals on the first occurrence of a pitch affected measures. • OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

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Change Fonts Plug-in

How to get there From the Plug-ins menu, choose Miscellaneous, and then Change Fonts. See Plug-ins menu for more information on plug-ins.

What it does The Change Fonts plug-in allows you to change the font globally for specific items in your score such as Lyrics (verses, choruses, and sections), Text Blocks, and Staff or Groups Names. • Change. Click on the button next to the item for which you would like to change the font. The Font dialog box appears where you can set the Font, Size, and Style. See Font dialog box for more information. The current font selection is displayed in the dialog box next to the item. • Individually Change Lyrics. Select this checkbox if you would like to change the font individually on sections, verses or choruses. • OK · Cancel. Click OK to change the font on the selected items. Click Cancel to dismiss the dialog box without making any changes.

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Change Noteheads Plug-in

How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Change Noteheads.

What it does The Change Noteheads plug-in allows you to change the noteheads of all the notes in the selected region. • Small slash (rhythmic notation) · Large slash (slash notation) · X notehead · Filled (quarter note) · Open (half note) · Custom: Select custom symbol · Standard music notehead. Select one of these options to change your noteheads to in the currently selected region. The slot number of the currently selected notehead is shown in parenthesis. For custom symbols, see Document Options-Stems. • OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

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Change to Default Whole Rests Plug-in How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Change to Default Whole Rests.

What it does The Change to Default Whole Rests plug-in allows you to change all the whole measure rests in the selected region to default rests. See also Change to Real Whole Rests and Whole rests.

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Change to Real Whole Rests Plug-in How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Change to real Whole Rests.

What it does The Change to Real Whole Rests plug-in allows you to change all the whole measure rests in the selected region to real whole measure rests (as opposed to default measure rests, see above). See also Change to Default Whole Rests and Whole rests.

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Check Range Plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, and then Check Range. If you prefer to apply Check Range to a specific region, select the region using the Selection Tool before choosing the plug-in from the Plug-ins menu.

What it does The Check Range plug-in allows you to verify that the staff you have selected is within the range of the specified instrument or voice. It will operate on the current selection, or the entire document if there is no region selected (using the staff name attribute to identify an instrument). In either case, the plug-in will go through the document (or selected region) on a staff by staff basis, comparing the notes to check if they are within the range of the instrument specified for each particular staff. For every note that is outside the specified range, you may either change the note, erase it, or simply leave it alone. There are three pre-defined ranges for each instrument the Check Range plugin knows about: Beginner, Intermediate, and Advanced. If the pre-defined ranges do not suit your needs you may specify other values for the highest and lowest pitches of the range the Check Range plug-in will use. The Check Range plug-in will suggest an instrument based on the Full Staff Name attribute of the staff currently under examination. If there is no Full Staff Name, the plug-in will try the Abbreviated Staff Name attribute of the staff, then the Full Group Name and Abbreviated Group Name attributes of the group to which the staff belongs. If, for some reason, the suggestion does not suit your

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needs, you can choose another instrument from the list of available instruments. Staff Name. Check Range suggests an instrument and range based on the Full Staff Name attribute of the staff under examination. (If the Full Staff Name attribute is not set, the plug-in will try to find an instrument name by examining the staff’s Abbreviated Staff Name attribute, then the Full Group Name and Abbreviated Group Name attributes of the group to which the staff belongs.) If the instrument suggested does not suit your needs, you can select another instrument from the list. Range Class. You can specify one of three pre-defined ranges for the selected instrument by choosing an item in the Range Class drop-down list. High Note · Low Note. You can also modify the extent of the instrument range by editing the values in the High Note and Low Note fields directly. Use the arrows next to the text fields to change the values a half-step at a time, or click on the Listen… buttons to enter pitches from a MIDI instrument. Display at Concert Pitch. If the current staff is a transposing staff, the Display at Concert Pitch Checkbox under the Low Note field is active and you can use it to alternate between displaying pitches at concert pitch or at the staff’s transposition. Skip Staff. If you decide you want to skip the current staff and have the Check Range plug-in continue its operation with the next staff, click on the Skip Staff Button. Check · Cancel. Click Cancel to cancel the Check Range operation immediately. Click Check to check notes on the current staff against the range you have specified.

Out of Range Note. If a note is found that is too high or too low for the range specified, Finale will scroll to the measure and staff where the offending note was found and you will be presented with a dialog in which you can modify the pitch. (In this example, the Beginner’s range for Flute was selected, so the B natural below middle C was out of range; the Advanced Range for Flute includes the B natural.) 2496

Change To · Listen. The dialog suggests a pitch within the specified range as an alternative to what is written in the document. You can override this suggestion by typing in a different value in the Change To text field. You can also use the arrows next to the text field to change the value a half-step at a time, or click on the Listen button to specify a pitch from a MIDI instrument. Display at Concert Pitch. If the current staff is a transposing staff, the Display at Concert Pitch Checkbox under the Low Note field is active and you can use it to alternate between displaying pitches at concert pitch or at the staff’s transposition. Change Note · Erase Note. Click Change Note to change the pitch to the value you’ve specified. Click Erase Note to delete the note. In most cases, the entry will consist of a single note, erasing it will replace it with a rest. If the entry was a chord, the note will simply be deleted. Next. Click Next to leave the offending note unchanged, the Check Range plug-in will then continue checking the staff at the next note. The plug-in will continue looking for out of range notes until it reaches the end of the current staff. Then the Check Range dialog will be displayed for the following staff and you can continue the range checking operation. Stop. Click the Stop Button to stop the range checking process immediately.

Notes: The Check Range dialogs always use the notational conventions you specified in the Pitch Representation section of Program Options-View (under the Edit menu). The Check Range dialog uses some simple methods to guess the name of the instrument you want even if the Full Staff Name is slightly different. Most plural forms are recognized correctly, as are numbers before or after the instrument name (“Violin II” is matched to the violin and “2 Flutes” is matched to the flute). If the Check Range dialog does not match the instrument you intended, simply select the instrument you want. The list of instruments recognized in the Check Range dialog is quite extensive, and should cover most needs. But, if an instrument you need is not found in the list, try an instrument with a similar range; you can always adjust the values of the range to suit your needs.

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Check Region for Durations Plug-in

How to get there From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Check Region for Durations. If you prefer to apply Check Region for Durations to a specific region, select the region using the Selection Tool before choosing the plug-in from the Plug-ins menu.

What it does The Check Region for Durations plug-in checks the selected region for any measures that have too many or too few beats. • [Message text]. Look at this text for direction on how to proceed and the results of your actions. • Do you want to: Leave the measure alone · Delete the extra notes · Move the extra notes to the next measure · Edit Directly · Fill with Rests · Keep moving the extra notes. Click on the option which corresponds to the action you would like to take when you have too few or too many notes in a measure. • Measure Detected: Staff · Measure · Layer. These text boxes display where the measure with too few or too many notes is located. • Check. Click this option to start or continue your search for measures with too many or too few beats. • Done. Click Done to stop looking for measures with too many or too few beats. 2498

Chord Analysis Plug-in

How to get there Select a region of your score containing stacked notes in one or two staves with the Selection Tool. From the Plug-ins menu, choose Scoring and Arranging, and then Chord Analysis.

What it does The Chord Analysis plug-in generates chord symbols by analyzing existing notation. This plug-in works much like the One-Staff Analysis and Two-Staff Analysis options under the chord menu, but for any region of your score selected with the Selection Tool. • Add chord symbol to: First note in each measure · All down beats · All notes. Use these options to specify the frequency of automatically generated chord symbols. Choose First note in each measure to analyze only the first beat in each measure and disregard entries on subsequent beats. Choose All down beats to analyze only emphasized beats. This setting includes beats 1 and 3 in common time and beats 1 and 2 for simple 6/8 (1 and 4 for compound 6/8 etc.). Choose all notes to analyze all note in the selected region. Note: As indicated in this dialog box, chord symbols are only added to notes and not rests. 2499

• Show unknown chord suffix as. If Finale is unable to interpret a chord, the text displayed in this box will appear in the score. • Allow repeated chord symbols. If this option is unchecked chord symbols are only added when the harmonic progression changes, also accounting for boundaries set under ‘Add chord symbol to.’ If this option is checked chord symbols are placed on all chords, again, accounting for the boundaries specified under ‘Add chord symbol to.’ • Repeat chord symbol at beginning of next system. Check this box to instruct Finale to disregard an unchecked ‘Allow repeated chord symbols’ setting for repeated chords on the first beat of a system. In other words, with this option checked, a chord symbol always appears at the beginning of each system.

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Chord Morphing Plug-in

How to get there Select a sequence of chords in one staff with the Selection Tool l. Each chord must contain at least two notes of a quarter note duration in layer 1. From the Plug-ins menu, choose Scoring and Arranging, Composer’s Assistant, and then Chord Morphing.

What it does The Chord Morphing plug-in creates a new staff with a sequence of chords, each of a whole note duration. An asterisk will mark the division between sequences. The sequences will consist of the original input chords plus a number of new intermediary chords inserted between them. This plug-in was designed to be a compositional tool capable of automatically generating a variety of smooth between-chord transitions from which the user could pick and choose. • Morphing Type: A · B · C. Select a morphing type. The plug-in uses three methods to create the intermediary chords: removing notes from the source chord that don’t appear in the target chord, adding notes from the target chord, and mutating (changing) notes in the source chord to notes found in the target chord without removing notes. The morphing type determines the order in which the plug-in manipulates the chords. In Morphing Type A, all mutations occur first, then removals, then additions. In Morphing Type B, all removals occur first, then mutations, then additions. In Morphing Type C, all removals occur first, then additions, then mutations. • Note Mutation Threshold (in semi tones). Use Note Mutation Threshold to define how close the notes must be in order for mutation to occur. Mutation occurs only when notes in the source are close to notes in the target. • More Info · Cancel · OK. Click More Info for a reminder of what input this plug-in requires and a brief summary of what the plug-in does. Click Cancel 2501

to dismiss the dialog box without making any changes, or Click OK to make the selected changes.

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Chord Realization Plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, Composer’s Assistant, then Chord Realization.

What it does The Chord Realization plug-in generates four-part realizations of a triad based on the major key and scale degree specified. The plug-in attempts to sort them based on classical textbook rules with best solutions first. • Tonality. Select the major key that you wish to see chords in. • Degree. Select the scale degree that will constitute the root of the chord. • Specify Range: Soprano · Alto · Tenor · Bass. Specify the range for each voice. Middle C, or C4 is represented as MIDI note 60. • Inversions: Root Position · First Inversion · Second Inversion. Choose the inversion(s) that will be realized. • Display Result on: Two Staves Four Staves. Specify whether you want a choral score of four staves or a piano score of two staves. • Limit Each Category to __ Chords. Check this box to have the plug-in create the specified number of chords or less for each inversion. 2503

• More Info · Cancel · OK. Click More Info for a reminder of what input this plug-in requires and a brief summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any changes, or Click OK to make the selected changes.

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Chord Reordering Plug-in

How to get there Select a sequence of chords in one staff with the Selection Tool l. All chords must be in layer 1, voice 1. From the Plug-ins menu, choose Scoring and Arranging, Composer’s Assistant, and then Chord Reordering.

What it does The Chord Reordering plug-in creates a new staff below the selected staff. The new staff will display the chords in the selected region, but in a different order. • Find Best Solution · Find Random Solution · Find Best Solution Beginning with Chord Number ___. Choosing Find Best Solution will compute the solution that contains the largest possible number of common notes between each pair of adjacent chords. Choosing Find Random Solution simply reorders the chords in a random fashion. FindBest Solution Beginning with Chord Number ___ will begin the sequence with the specified chord, and then reorder the remaining chords in the way that contains the largest possible number of common notes between each pair of adjacent chords. • Find Random Solution. Choosing this option will begin the sequence with the specified chord, and then reorder chords randomly. • More Info · Cancel · OK. Click More Info for a reminder of what input this plug-in requires and a brief summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any changes, or Click OK to make the selected changes.

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Chord Splitting Plug-in

How to get there Select a chord in one staff with the Mass Edit Tool l. The chord must contain at least two notes and be in layer 1. From the Plug-ins menu, choose Scoring and Arranging, Composer’s Assistant, and then Chord Splitting.

What it does The Chord Splitting plug-in creates a new staff or staves containing subsets of the original chord, each a whole note in duration. These subsets are based on harmonic targets that were implicitly contained inside the original chord. This plug-in was designed to be a composition/orchestration utility capable of automatically generating several simplified subsets of a more complex chord. •

Find the __ first splits. The Chord Splitting plug-in has the capacity to split the chord several times at once. The results will display the split containing the smallest number of subsets first, and then a new staff for each succeeding subset.

• Add the Virtual Fundamental. Check this option to add a staff containing the virtual fundamental beneath each staff of subsets. For a definition of the Virtual Fundamental, see Virtual Fundamental Generator plug-in. • Virtual Fundamental Parameters. Use this section to modify the parameters of the virtual fundamental. This functions the same as the Virtual Fundamental Generator plug-in. • More Info · Cancel · OK. Click More Info for a reminder of what input this plug-in requires and a brief summary of what the plug-in does. Click Cancel

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to dismiss the dialog box without making any changes, or Click OK to make the selected changes.

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Classic Eighth Beams Plug-in How to get there From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Classic Eighth Beams. If there is no selection when you invoke the Classic Eighth Beams command, it will ask you if you want to process the entire document.

What it does The Classic Eighth Beams plug-in modifies the beaming of eighth notes in time. Eighth notes will be beamed as if the Time Signature were

.

In most music, it is conventional in time to beam eighth notes in groups of four, while beaming smaller note values to the quarter note. Previous versions of Finale only supported beaming to the beat, with the result that sixteenth notes would be properly beamed (in groups of four) but eighth notes would be grouped in pairs. The Beam Eighth Notes in Groups of Four in Common Time option solves this problem. (See Document Options-Beams for new documents.) It automatically beams eighths in groups of four while beaming smaller note values to the quarter note. However, it does not modify the beaming in documents created without the option. The Classic Eighth Beams plug-in was designed to fill this need by modifying the beaming of eighth notes in

time.

Using the Classic Eighth Beams Plug-in Use the Selection Tool to select a region in which you wish to modify the beaming of eighth notes.

After invoking the Classic Eighth Beams plug-in, eighth notes in all 4/4 measures will be beamed in groups of four. Other note combinations remain unmodified. In the example, the eighth note groups in measure one and the second half of measure two are beamed in groups of four. The eighthsixteenth-sixteenth rhythm in measure 2 are unchanged, in accordance with common practice. The groups of eighth notes and rests in measure 3 are beamed together. 2508

Notes: The Classic Beams plug-in functions similarly to the Selection Tool Rebeam command when Classic Eighth Beams has been selected in Document Options-Beams (under the Document menu). The plug-in, however, will only modify the beaming of groups of four eighth notes, any custom beaming of other rhythmic groups remains unchanged. the Selection Tool Rebeam command will reset all beaming to the values determined by the time signature and document options. Note also that the plug-in’s behavior is independent of the option setting; the Classic Eighth Beams option may be turned off and you can still use the Classic Eighth Beams plug-in. Voice 2 eighth note Entries will be beamed in groups of four only if the all four Voice 2 entries are launched from a single Voice 1 Entry. This is a general principle of Voice 2 beaming (only Voice 2 Entries launched from a single Voice 1 Entry can be beamed together).

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Clear Lyric Positioning Plug-in How to get there From the Plug-ins menu, choose Lyrics, and then select the Clear Lyric Positioning.

What it does The Clear Lyric Positioning plug-in allows you to clear any individual positioning of lyrics for the selected lyrics. • Choose the lyric section(s) to reset [list box]. Select the lyric sections to be reset here. • Horizontal · Vertical. Select the checkboxes to reset only vertical changes, horizontal changes or both. • OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

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Clear Measure # Positioning Plug-in How to get there Select a region with the Measure Tool (or any other tool with regional selection). From the Plug-ins menu, choose Measures, and then Clear Measure # Positioning.

What it does The Clear Measure # Positioning plug-in allows you to clear any individual positioning applied to measure numbers in the selected region.

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Command Line Plug-in

How to get there From the Plug-ins menu, choose Miscellaneous, and then Command Line.

What it does The Command Line plug-in allows for quick note entry by typing in specific commands. • Commands. Type in the string of commands for the plug-in to perform. Commands Duration

Note Type

8

Double-Whole note

7

Whole Note

6

Half Note

5

Quarter Note

4

Eighth Note 2512

3

Sixteenth Note

2

32nd Note

1

64th Note

.

Augmentation Dot

P

() around accidentals

TP

Tuplet

C4

Middle C

R

Rest

# or S

Sharp

## or SS

Double sharp

b

Flat

bb

Double flat

N

Natural

;

Note delimiter (between the notes in chords)

,

Chord, Beat delimiter

Q,NQ

Grace Note Entry

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T,NT

Treble Clef Entry

X

Multiplier

Syntax: [T/NT][Q/NQ][Tuplet]DurationPlacement[P][;[Duration]Placement[P]...][Multiplie r] [,[T/NT][Q/NQ][Tuplet][Duration]Placement[P][;[Duration]Placement[P]...][Multip lier]] Tuplet = TP[# of Tuplet][Duration of Tuplet] e.g. TP34 = eight note triplet Duration = Number from 1-8 where 1= 64th note and 8 = breve. Placement = R for rest, Pitchname[Alteration][Octave] (Octave only needs to be used the first time in each string or to change from the current octave), + or - to add the previous note an octave lower or higher. Multiplier = e.g. 4x, 2x Examples:

Above is an example that places 5 chords into the staff. Notice that the duration or octave is not required unless it is changing. The semicolon designates different notes in the chord, and the comma designates the next beat.

Above is an example of using the - sign to add a note one octave lower. 2514

Above is an example of using the multiplier function.

Above is an example of using the period to indicate a dotted note. Notice that to enter a tie you can use the appropriate duration of the note across a time signature beat.

Above is an example using the Treble Clef entry mode which allows you to enter notes in any clef as if they were in Treble Clef.

Above is an example of entering an eighth note triplet. The first number after the TP indicates the type of tuplet and the second number indicates the duration of the notes.

Above is an example of entering grace notes. Be sure to use NQ to return to entering normal notes. 2515

• Staff · Layer · Measure. Select which staff, layer and starting measure your notes will be entered. • Accidental is Implied. Deselect this option to place courtesy accidentals. With this option selected, only alterations outside the key signature need to be indicated. • Apply · OK · Cancel. Click Apply to apply the current commands and leave the dialog box available for the next set of commands. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

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Common Tone Transposition Plugin

How to get there Select a single chord in layer one and voice one with the Selection Tool l. From the Plug-ins menu, choose Composing and Arranging, Composer’s Assistant, and then Common Tone Transposition.

What it does The Common Tone Transposition plug-in creates a series of chords that share at least one common tone with the original chord. • Specify Range: Lowest · Highest. Use these spin controls to restrict output to a specified range. Middle C, or C4 is represented as MIDI note 60. • More Info · Cancel · OK. Click More Info for a reminder of what input this plug-in requires and a brief summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any changes, or Click OK to make the selected changes.

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Composer’s Assistant Plug-ins How to get there From the Plug-ins menu, choose Scoring and Arranging, and then Composer’s Assistant.

What it does These plug-ins provide a starting point for composition. The Composer’s Assistant plug-ins are as follows: Chord Morphing, Chord Realization, Chord Reordering, Chord Splitting, Common Tone Transposition, Frequency Modulation Chord Generator, Melodic Morphing, Rhythm Generator, Tie Common Notes and Virtual Fundamental Generator. You can also use the Import From OpenMusic. and Export to OpenMusic plug-ins to transfer data between Finale and OpenMusic™. As an experiment, generate a sequence of chords via the Common Tone Transposition plug in, run it through the Chord Reordering plug-in, run it through the Tie Common Notes plug-in, and play it back at a slow tempo on a string patch.

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Count Items Plug-in

How to get there From the Plug-ins menu, choose Miscellaneous, and then Count Items. If you prefer to apply Count Items to a specific region, select the region using the Selection Tool before choosing the plug-in from the Plug-ins menu. See Plugins menu for more information on plug-ins. See also File Statistics dialog box.

What it does The Count Items plug-in displays a count of various items in your score such as notes and articulations. •

Measures · Notes · Grace Notes · Rests · Tuplets · Expressions · Articulations · Lyrics · Measure Text · Staff Systems · Page Text · Key Changes · Time Sig. Changes · Clef Changes · Repeats · Text Repeats · Measure Numbers · Chord Symbols · Measure Graphics · Page Graphics · Smart Shapes. These are the various items counted in the selected region and the result of that count.

• Done. Click Done when you have finished to dismiss the dialog box.

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Create Coda System Plug-in

How to get there Select the first measure of the desired coda region with the Selection Tool. From the Plug-ins menu, choose Measures, and then Create Coda System.

What it does This plug-in allows you to automatically define a coda, including a gap between measures in order to create an independent coda system on the same line. You are also given the option to add a Coda marking or symbol as well as the text repeat markings “D.C. al Coda” or “D.S. al Coda.” You can also add a Segno ( ) and “To Coda” marking, and specify the appropriate measure for these items. Finale defines playback automatically based on your settings. A double barline is added to the end of the measure prior to the new coda system automatically. • Horizontal Space Between Systems. Here, enter the space desired between the first measure of the coda system and the previous measure. The default space is .5 inches. The value is represented in the measurement unit selected in the Measurement Units submenu of the Edit menu. 2520

• Coda Symbol · “Coda” Text · Create “To Coda” in Measure _. Check Coda Symbol to place the standard coda symbol at the beginning of your coda system. Check “Coda” text to place the text “Coda” at the beginning of your coda system. Both of these options are checked by default. Check Create “To Coda” in measure and enter a measure number to add a “To Coda” marking. • D.C. al Coda · D.S. al Coda · None · Create Segno in Measure_. Check D.C. al Coda to place this marking at the end of the system prior to the coda system. Check D.S. al Coda to place this marking at the end of the system prior to the coda system. Choose none to place no text at the end of the system prior to the coda system. Check Create Segno in Measure and specify a measure number to add a segno marking. These markings are added to the document as Text Repeats which can be edited with the Repeat Tool. They are automatically defined to apply to playback. In the case of a D.S. al Coda, playback will return to the Segno ( added in a previous measure.

) marking

• OK · Cancel. Click OK to apply your settings. Click cancel to dismiss the dialog box without adding a coda system.

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Create Handbells Used Chart Plug-in

How to get there Choose the Selection Tool and select the region of the document containing notes you want to include in a handbell used chart (or Press Ctrl-A to select all). From the Plug-ins menu, choose TGTools, and then Create Handbells Used Chart.

What it does This plug-in creates a ‘handbells used’ chart automatically based on all pitches discovered in a region selected with the Selection Tool. The chart can be a single treble clef staff or grand staff. The chart can be added to the beginning of the document as is standard practice for handbell scores. • Insert measures for chart at beginning of document. Check this option to instruct Finale to create a new measure at the beginning of the document to be used as the Hand Used chart. • Create chart beginning in measure number__. Enter the measure you wish to insert the hand used chart. If the measure specified is not empty you will be prompted to choose to overwrite the measure. This text box is 2522

only available if the above option ‘Insert measures for chart at beginning of document’ is unchecked. • Display on Grand Staff. Check this option to display the chart on both staves of a grand staff. If this option is not checked the chart will always appear on a single staff in treble clef. When the chart is displayed on a grand staff the default split point is Db5 (notes of Db5 or above appear on the treble clef staff). • Set split point. To specify an alternative split point, enter it here (C5 = Middle C). This is the lowest note that will display in the treble clef staff. • Staff Size Percentage. Here, enter the size (as a percentage of the regular staves) you would like to display staves in the handbells used chart. • Display number of octaves and bells. Check this option to automatically add a text expression above the chart that displays the number of octaves and bells used. • Display enharmonic versions of same pitch separately. Check this option to display both spellings of the same pitch in the chart. For example, if an F sharp and G flat are both notated in the document and in the selected region, both of these spellings will appear in the chart. • Display each special notehead separately. Check this option to display special noteheads, such as diamond handchime noteheads, in a separate sequence. If this option is not checked, special noteheads are represented as regular noteheads in the bells used chart. • Use separate measure for each special notehead. Check this option to place the sequence of special noteheads in its own measure. The special notehead sequence will appear in a separate measure after the regular bells used chart with the exception of diamond noteheads (open/closed) which will appear in the same chart regardless of this setting. • Display pitches in octaves. Check this option to group multiple notes vertically if they are an octave apart. Pitches are only displayed in octaves on the treble clef staff. • Start octaves with pitch. Here you can specify the lowest pitch you wish to display bells used in octaves. • Go · Cancel · Defaults · About. Click Go to generate the bells used chart based on your settings. Click Cancel to dismiss the dialog box without making any changes. Click Defaults to restore this dialog box to the default settings. Click About for more information on the TGTools collection of plug-ins.

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Cross Staff plug-in

How to get there From the Plug-ins menu, choose TGTools, and then Cross Staff.

What it does A cross-staff note is one that “belongs” to one staff, but that, for notational efficiency (for example, to eliminate the need for ledger lines) is written in another staff, often with a different clef—its stem is stretched from the original staff to the “target” staff. See Cross-staff notes. You can use the Cross-staff plug-in to automatically move notes from one staff to another where appropriate. • Fill empty destination measures with invisible whole rests. Check this box to fill measures notes have been moved to with a hidden whole rest. If this box is not checked, a default whole rest will accompany the cross-staff notes. • Remove existing cross-staff data. Check this box to remove cross staff data applied with the NoteMover Tool. See Cross-staff notes. • Single Notes. If Single Notes is checked, single notes within the applicable range of the selected region move according to the settings in this dialog box. If Single Notes is unchecked, single notes remain stationary. • Octaves. If Octaves is checked, both notes in an octave pair will move together if one of the notes is within the applicable range of the selected

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region. If Octaves is unchecked, all notes in the octave pair remain stationary. • Chords. If Chords is checked, all notes in a chord move together if any note in the chord is within the applicable range (above/below the split point) of the selected region. If Chords is unchecked, chords remain stationary. • Apply to one entry out of. Enter a number here to apply these settings to every other note, every third note and so on. For example, enter 2 to specify every other note, or three to specify every third note. • Start with which entry number of selection. Here, specify the first note in the selected region to which these settings will be applied. • Split Point. Enter the split point, or the point at which you want to separate notes to be moved to another staff. Notes below or above the pitch entered here can be moved to the next or previous staff independently. • Pitches: · All · Below · Above. Choose All to move all pitches in the selected region. Choose Below to move notes below the pitch specified for Split Point. Choose Above to move notes above the pitch specified for Split Point. • Cross Notes To Which Staff · Previous · Next. Choose previous to move designated notes in the selected region to the previous staff (above). Choose Next to move designated notes in the selected region to the next staff (below). • Apply · Close. Click Apply to apply the current commands and leave the dialog box available for the next set of commands. Click Close to dismiss the dialog box without making any changes.

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Drum Groove plug-in

How to get there Select a region of the document. See Selecting music. From the Plug-ins menu, choose Scoring and Arranging, and then Drum Groove.

What it does The Drum Groove plug-in allows you to add a percussion part to the document containing one of many available rhythms, or “Drum Grooves”. These drum grooves include percussion notation along with a corresponding percussion layout. • Style. From this list, choose the drum groove style you would like to add to the document. The drum groove you choose should correspond to the tempo and time signature of the piece. For example, Jazz Waltz should be applied section of music in triple meter. If the region selected in the document exceeds the duration of the drum groove, the drum groove will repeat until the end of the selected region. Each style in this list corresponds to a MIDI file in the Finale 2010/Component Files/Drum Groove folder. As noted in the dialog box, you can add supplement this list by adding any MIDI file with a percussion track (on channel 10) to the Drum Groove folder. The MIDI file’s name appears in this list. Then, when the new style is chosen, Finale uses the MIDI data on channel 10 as the drum groove.

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The Drum Groove plug-in does not read MIDI data on any channel other than channel 10. If a MIDI file contains percussion notation in a channel other than 10, open the file in Finale (or another program that supports MIDI editing) and change the staff (or track) containing the percussion notation to channel 10. • New Staff at Bottom of Score · Existing Staff. Choose New Staff at Bottom of Score to add the drum groove into a new percussion staff added automatically to the bottom of the score. Choose Existing Staff, and then select a staff from the drop-down menu to add the drum groove into any existing staff. • Generate: Notation with Percussion Layout · Normal Notation · Slashes. Choose Notation with Percussion Layout to add drum notation in addition to a percussion layout which assigns each percussion instrument to a specific notehead and staff line or space. See Percussion for more information. Choose Normal Notation to add the drum groove as normal notation. If you choose this option, notation appears on the staff based on MIDI Note numbers. Choose Slashes to display the drum groove as slash notation in the document. If you choose Slashes, the entire staff containing the drum groove will use the Slash Notation staff attribute. See Alternate Notation dialog box. To apply slash notation (or normal notation) to a portion of a staff, use Staff styles. • OK · Cancel. Click OK to add the drum groove to the document based on the setting chosen. Click cancel to dismiss the dialog box without adding a drum groove.

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Easy Harmonics Plug-in How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose TGTools, then Easy Harmonics.

What it does The Easy Harmonics plug-in allows you to easily create string harmonics. This plug-in searches the selected region for intervals of two notes. The selected region can include partially selected measures. When the selected interval is found, the upper note is turned into a diamond.

Before:

After:

• Apply to: thirds · fourths. Select an interval to turn into harmonics. These intervals need to be entered as normal notes before running the plug-in. • Go · Close · About. Click Go to create the harmonics and leave the dialog box available for further commands. Click Close to dismiss the dialog box without making any changes. Click About for more information about the complete TGTools plug-in collection.

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Easy Tremolos Plug-in

How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose TGTools, then Easy Tremolos.

What it does The Easy Tremolos plug-in allows you to easily create tremolos for display and playback. First enter the notes so they fit into the measure without the tremolo. The Easy Tremolos plug-in converts any two consecutive identical pitches into a tremolo. The tremolo’s note durations are doubled:

Before:

After:

Some options enable fine-tuning tremolo notation (such as the number of beams). The plug-in can be re-applied to change the options on an existing tremolo: for example, to change the number of beams or add playback notes. The plug-in won’t revert tremolos back to normal notes.

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If you want to convert a specific pair of notes or chords within a measure, use Partial Measure Selection. • Total Number of Beams. Enter the number of tremolo beams between the two pitches. • Avoid accidentals on notes with stems. Check this box to have the tremolo beams avoid any accidentals. • Create playback notes. Check this box to have the tremolo written out for playback in hidden notes in layer 4. (The hidden notes will obscure the layer 1 notes. If you want to hide layer 4 completely, from the Document menu, choose Document Options and select Layers. Then, in the Settings For drop-down menu, choose Layer 4 and check Hide Layer When Inactive). • Override Human Playback. Check this option to apply the settings in this dialog box if Human Playback is turned on in the Playback Settings dialog box. • Go · Close · Defaults · About. Click Go to create or modify tremolos based on your options and leave the dialog box available for the next command. Click Close to dismiss the dialog box without making any changes. Click Defaults to restore the original settings. Click About for more information about the complete TGTools plug-in collection.

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FinaleScript™ plug-in

How to get there From the Plug-ins menu, choose Finale Script, and then FinaleScript Palette.

What it does The FinaleScript Plug-in, created by Robert Piéchaud, is Finale's integrated scripting utility, which allows you to specify and execute a series of commands in order to automate repetitive tasks. For example, instead of opening, changing the spacing, transposing, and adjusting the layout manually, this plug-in allows you to run all of these commands in succession, accomplishing simple or complicated procedures instantly. Use FinaleScript to automate repetitive tasks, create customized pseudo-plugins, and even apply changes to several documents at once using the commands listed in this section. This powerful utility essentially opens up a new world of editing capability. The potential of this plug-in is only limited by the available commands and your own imagination. Every Finale menu and virtually all dialog box settings are accessible through FinaleScript. The instructions in this section guide you through creating a new script and a list of the available commands follows. Commands can either be written into a script or entered directly into the "Type a Command" text box. Press the play button to run the script or command. Alternatively, you can choose scripts from the Finale Script submenu, or run it using a keyboard shortcut you have assigned to it. 2531

Choose a Script and click the View Current Script button to see examples. To familiarize yourself with this utility, you will find pre-defined scripts in the FinaleScript Palette a helpful reference. You can also refer to the Command Reminder script that lists all of the commands. Here is a description of the FinaleScript Palette's interface: • Script List. This list displays the all the scripts available. All scripts you have saved appear in this list. Scripts are saved with the program, and are available in all documents and after closing and reopening Finale. You can organize scripts into folders and subfolders using the "Create a New Folder" icon above. To change the order of scripts or folders, simply click and drag them into place. • Play

. Click this button to play the script selected in the Script List.

• Stop

. Click this button to interrupt a script process at any time.

• New Script . Click this button to open the Script Editor dialog box where you can create and save a new script. • View Current Script . Click this button to open the Script Editor dialog box where you can edit the script selected in the Script List. See Script Editor dialog box. • Duplicate Current Script selected script. • Delete Script List.

. Click this button to duplicate the currently

. Click this button to delete the script selected in the Script

• Create a New Folder . Click this button to create a new folder in the script list. Context-click and choose Rename to rename the folder. Simply drag and drop to add scripts to the folder. • Report . Click this button to display a script report if one exists. This report (or log file) displays information regarding the success or failure of commands from the most recently run script. You will also see the folders and subfolders that were processed. • FinaleScript Options . Click this button to open the FinaleScript Options dialog box where you can change many aspects of FinaleScript's behavior. • Type a command [Text box]. In this text box, you can apply any FinaleScript command to the main open document. Separate each attribute with a space. For example “Fit Measures 3”. • Active Document. Displays the name of the active document while running a script. 2532

• Current Process. Displays each command as it is applied to the active document. • Help. Click this button to access the FinaleScript help topic.

Contextual Menus Contextual menus are reached by right-clicking a script in the FinaleScript 2.0 palette. A contextual menu will be displayed where you can select various items.

Menu item

What it does

Edit

Opens the script in the FinaleScript Editor dialog box

Edit keyboard shortcut

Opens the FinaleScript - Shortcut Editor dialog box where you can assign the script to a different keyboard shortcut

Run

Runs the selected script

Rename

Opens the FinaleScript - Rename dialog box where you can rename the script

Duplicate

Duplicates the selected script

Insert new script

Inserts a new "Untitled" script to the script list

Insert new folder

Adds a new folder to the script list

Delete

Deletes the script

Help

Opens the FinaleScript Help Topic of the Finale User Manual

To Create a New Script 1. From the Plug-ins menu, choose Miscellaneous, and the FinaleScript Palette. The FinaleScript Palette appears. 2533

2. Click the New Script button

3. 4.

5. 6. 7. 8.

. Or, select and existing script and

, then click the button. The FinaleScript click the duplicate button Editor dialog box appears. Enter the script's name in the Script Name text box at the top. Enter script commands in the order you want to run them. Use the syntax and commands described later in this section. As you type, FinaleScript automatically colors the text to indicate its function (see Script Syntax Coloring). Right-click text to display a context menu to insert a path or choose from a list of suggested keywords (see FinaleScript context menu). Check Show in menu if you want to display this script in the FinaleScript submenu of the Plug-ins menu. Check Use Shortcut and then click Select to open the FinaleScript Shortcut Editor where you can define a keyboard shortcut for this script. Click Run script to test the script without leaving the FinaleScript Editor dialog box. Click Save and Close. Your script appears in the FinaleScript Palette.

9. To run the script, click the Play button . After the script processes the document(s), click the blinking report button to view a report of the commands applied. Alternatively, you can choose this script from the Plugins > FinaleScript submenu or press the keyboard shortcut you defined.

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FinaleScript Commands FinaleScript allows you to call any menu item and virtually any dialog box command. Commands can be entered into the either the text box at the bottom of the FinaleScript dialog box, or within the FinaleScript Editor dialog box. Invoking a menu item, dialog command, or plug-in is completely independent from case, punctuation, dash, line feed, carriage return, etc. Script examples are indicated by yellow highlighting Command explanations are indicated with green highlighting "//" can always be used to indicate a comment, which will be ignored by FinaleScript. //FinaleScript will ignore this text As you enter, you will notice the script language you enter is colored automatically based on its function. See Script Syntax Coloring for details.

menu Scripting commands You can call any menu item using the full hierarchical specification... menu item "File/New/Exercise Wizard" But, the full specification is not required. Alternatively, you could type: menu item "exercise wizard" //or plug-in "apply human playback" Also, you can activate or deactivate menu settings... check/uncheck menu item "display in concert pitch" As a shortcut, you can use the truncation character ‘*’ or ‘%’ for long menu item names. For example: menu item "compile*" //instead of "compile postscript listing" plugin "band in a box*" //instead of "band in a box auto-harmonizing"

Dialog Box Scripting Commands Buttons: 2535

Buttons in dialog boxes can be invoked using the following FinaleScript commands: button "ok" //preferred press "ok" //preferred hit "ok" //same hit ok //same strike "ok" //fine click "ok" //not recommended (potential ambiguity with other controls with same name) hit "cancel" //same hit cancel //same The most common types of buttons do not require quotes, including ok, cancel, save, delete, set font, and select. The other buttons do require quotes.

Note that only text-based buttons are scriptable, unless a tab/click workaround is used (see mouse clicks below). When several buttons with same text are displayed in a dialog box, you must specify the desired button by adding a ‘neighborhood specifier' to the command. For example, in the Edit Staff Attributes dialog box, there are 5 different Select buttons. Use the following neighborhood specifiers to indicate which one you want to call... staff tool //to select the Staff Tool menu item "edit staff attributes" //to open the Staff Attributes button "select" //press the first button found of this name button "select" near "notation style" //more specific button "select" near "alternate not*" //another one button "select" near "transposition cl*" //another one button "select" near "notehead font" //another one

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Check Boxes and Radio Buttons The commands "check," "uncheck," and "click," are used for these types of items: check "allow undo"//check it (no action if already checked) uncheck "use score colors" //uncheck it (no action if already unchecked click "automatic music spacing"//set if unset, unset if set (toggle) click radio "update manually" //radio buttons select radio "update manually"//same click "update manually" //will work, but less specific (not recommended) click "measure" near "through end of piece" //’near’ specifier click "measure" near "to next time change" //’near’ specifier As notes, if several checkboxes or radio buttons have the same name (rare), you must use a ‘near’ specifier.

The "Expect" Command You can combine any of the previous commands with the word ‘expect’ to indicate that FinaleScript should wait until the desired item is available. Note that when in ‘expect’ mode, blocking dialog boxes are not bypassed. query source folder //choose source batch folder query destination folder //choose source batch folder menu item "file maintenance" uncheck "test file integrity" hit ok //launch the file maintenance expect to hit ok //wait until 'ok' is available save append "_checked" close

Typing Text and Numbers

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The command "type" simulates typing strings and numbers with the keyboard... type 15.7 //fill the current text box (if on focus) with this value type "15.7" //same thing type "Hi" //fill with this string type 15.7 near "outer tip" //value in a text box with label “Outer Tip” type "15.7" near "minimum measure width" //same thing type "Hi" near "name" //string in a text with label “Name

Here is an example: select meas 1 plugin "create tempo marking" check "display tempo text" type "Allegro non troppo" near "display tempo text" type 96 near "=" press "OK" In the Create Tempo Marking plug-in, notice the Display Tempo Text check box controls the state (enable/disable) of the text box that is just below. So, FinaleScript makes the visual connection between the two as we do based on proximity. Some more examples:

This is a common situation: the static text label is to the left of the text box. type 1800 near "maximum measure width"

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Here is a static label with multiple lines, which makes special difference. type 48 near "minimum distance between notes%"

Here the text box is between two labels, so you can use either: type 96 near "change every" //or type 1 near "measures"

Here, because these values are visually embedded in a 2X2 array, which FinaleScript can't understand directly, you must use the tab command: menu item "document options" list "ties" check "time" type 8 near "time" tab type 9 check "key" type 7 near "key" tab type 6 press "ok"

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Also, there are some Macintosh lists that are inaccessible from FinaleScript. A typical example is the font list. In the Font dialog box, you may select a font either with the mouse, or type directly its name "P-E-T-R-U-C-C-I" to make it work. For this type of specification, use the ‘raw’ attribute: menu item "set default music font" type raw "petrucci" type "22" near size hit ok

Selecting an Item from a Drop-down list dropdown "layer 4" // select "layer 4" //may work but not recommended dropdown "nothing" near "number" //with ‘near’ specifier dropdown "first upstem*" near "music char*" //another ‘near’ specifier

Selecting an item from a List FinaleScript supports selecting from simple text-only lists. Simple lists can be found in the Measure Number Regions dialog box, Program Options dialog box, or Document Options dialog box.

Note that most of Finale lists are not supported directly by FinaleScript, including the following dialog boxes:Expression Selection, Percussion Layout Selection, Articulation Selection, andInstrument List. The following commands are equivalent: select list "display colors" list "display colors"

Selecting a Tab from a Tabbed dialog box 2540

Several dialog boxes, such as the Expression Designer dialog box, use tabs. Use the following commands to specify a tab. select tab "playback" click tab "playback" //same hit tab "playback" //same click "playback" //generally works, but less specific

Here is an example of script which combines tabs, popup menus, text boxes, and buttons. To apply this script to an expression, you would click the expression's handle and call the script. //modify expression definition: hit return //display the Expression Designer for this expression click "positioning" //select this tab popup "left" popup "start of music" type 12 near "additional horiz%" popup "staff reference line" type 24 near "additional base%" button "ok"

Note that only standard upper tabs are supported by FinaleScript (left, right, and bottom tabs are not supported).

Selecting Windows If several modeless (floating) windows are visible on you screen simultaneously, use the "select window" to select a window before scripting the desired actions: select window "align move*" click "to nearest element" button "go"

Simulating Keytrokes 2541

Instead of typing actual text or numbers, you can use special keystrokes (e.g. for navigating dialog boxes): tab //moves the focus shift tab //moves the focus backward tab 2 //moves the focus twice shift tab 4 //moves the focus 4 times backward // press enter //as if the Enter key were pressed enter key //same enter //same ctrl return // ‘power’ return shift return // left arrow right arrow up arrow 2 //twice down arrow 5 //5 times space bar spacebar //same press del press delete //same delete key //same del key //same shift ctrl return //in combination with modifiers alt cmnd spacebar //other combination ctrl apple return //apple key=cmnd key home key end key page up key page down key

The Tab, Enter, Return, left/right/up/down arrows, Spacebar, Home, End, Page Up, Page Down, and Delete keys can all be used in combination with Shift, Alt and Ctrl modifiers. Moreover, simple keystrokes such as Shift+1 can be scripted: strike shift 1 //the number must be simple digit {0…9}

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press shift 1 //same press shift "1" //same press shift "A" //with alphabetic key

Here is a example of such keytrokes used to program a transposition metatool: //program a transposition metatool: selection tool press ctrl shift 6 click "up" click "chromatically" dropdown "minor third" type 1 near "plus" check "preserve*" button "ok"

Sliders Sliders are supported by FinaleScript: menu item "audio setup" move slider "mic level" 110 check "enable micnotator" hit ok

Simulating Mouse Clicks You can emulate single and double-clicks (and double-clicks in combination with Ctrl/Shift/Alt) from the current position of the mouse. This is useful when calling a script with a keyboard shortcut (e.g. to process an action on a handle). control click shift click double click shift double click control shift double click

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Assigning a Keyboard Shortcut to a Script Any script can be added to the FinaleScript submenu and/or be equipped with a keyboard shortcut. To do so: 1. Open the FinaleScript Palette (Plug-ins > FinaleScript > FinaleScript Palette). 2. Double-click a script to open it in the FinaleScript Editor dialog box. 3. Check Show In menu. The script is now assigned to display in the FinaleScript submenu. 4. Check Use Shortcut and click the adjacent Select button. The FinaleScript Shortcut Editor appears as shown below.

5. Press the desired keystroke. If it is taken, FinaleScript will notify you there is a conflict (and list the associated conflicting command). Click Find One! to ask FinaleScript to suggest an available keyboard shortcut. 6. Click OK. You can now use the keyboard shortcut you defined to run the script. Note that the combination of FinaleScript keyboard shortcuts and the command "execute menu item" allows virtually any keyboard remapping. Script menu items themselves cannot be called with FinaleScript plug-in or menu item commands.

The "Hide Palette" Command In the FinaleScript Options dialog box, you can choose to display the palette when a script is invoked with a keyboard shortcut (see the Don’t Show FinaleScript Palette option). If this option is unchecked, you can override it for a given a script with the command ‘hide palette’: hide palette control click type raw "engr" 2544

arrow right arrow down 2 type enter

Source and Destination Folders In FinaleScript, you can select the source (load) and destination folder for batch processing through the FinaleScript Options dialog box. But these options are global for all scripts. If you want to override the locations the following script commands can be used, which override the global settings: source batch folder "c:\scores\source" load folder "c:\music\scores" save folder "c:\scores\converted" Note that on the Mac, both POSIX, HFS and Windows path styles can be used and are detected by FinaleScript automatically.

Important: The source and destination batch folders only apply to the FinaleScript Save command (with possible parameters). These settings do not apply to saving documents in the normal way (or while exporting graphics, MIDI files, etc.).

Stop and Pause The keyboard shorcut to pause a script is the same as the Palette itself (default = Ctrl+Alt+F). Pressing the shortcut pauses it. You may then decide to either continue (by pressing the flashing play/pause button) or press the stop button.

Report Font The command "report fonts" writes the full document font list into a report. Missing fonts are specified. That this command works only within a script, not in the command line.

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TGTools FinaleScript includes a direct command to TGTools: tgtool "harmonics" //calls full TGTool item tgtools "harmonics" //same tgtool "easy harmonics" //calls lite TGtool item

FinaleScript Helpers Developing scripts quickly and easily requires access to all FinaleScript's extensive library of commands. Because of this, FinaleScript includes instant access to all commands in its dictionary through a context menu available in the FinaleScript Editor. If you are unsure of the exact language of a command, type your best guess, and then right-click to display all commands that resemble the abbreviated text. Choose the desired command to enter it into the FinaleScript Editor (see below).

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Similarly, FinaleScript allows easy access to source and destination folders through the same context menu. Simply choose "Insert Patch, navigate to the desired folder, and click Open to insert the path (see below).

You can also use the context menu to easily comment/uncomment lines of text in the FinaleScript Editor. Simply highlight the desired text, rightclick, and choose Comment/uncomment (see below). :

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General FinaleScript Commands Note: You can also see a list of FinaleScript commands by opening the script "Commands Reminder" in the FinaleScript window. process all open (Without it, only the current document will be processed.) dont process active doc (Will process the other open docs.) batch process folder process subfolders switch to main document Switch to previous/active/next doc (following Window menu order) stop, end

Document Options Handling FinaleScript gives direct access to numerous Document Options, equivalent to check boxes, drop-down menus or text boxes. In a script, these commands are written as they appear in the Document Options dialog box. Options that are value can be followed by the unit (evpus, space, inches, centimeters, millimeters...), otherwise the current measurement unit is used. Examples: staff line thickness = 2.7 evpus check Use Straight Flags select Flatten All Beams uncheck Allow Rest To Float //Options that are checkboxes can be combined with 'no' or 'don't' 2548

(ex: 'don’t (don't) use (don't) use (don't) use (don't) use

use smart hyphens'). engraver slurs cross-layer accidentals smart hyphens smart extensions

The following is a list of document options that can be accessed directly in FinaleScript. space between accidental and note //accidentals space between dot and note //augmentation dots close barline at the end of each system //barlines heavy line thickness //barlines thin line thickness //barlines base slop on end notes only //beams flatten beams based on standard notes //beams flatten beams based on extreme notes //beams flatten all beams //beams allow primary beam within a space //beams allow rest to float //beams extend beams over rests //beams extend secondary beams over rests //beams beam thickness //beams broken beam length //beams maximum slope //beams maximum distance from middle staff line //beams display clef only on first staff system //clefs spacing before clef //clefs spacing after clef //clefs clef change reduction //clefs clef change offset //clefs use standard/straight flags //flags flag spacing //flags secondary group adjust //flags music font = “font name” //fonts grace notes size/spacing //grace notes always slash fagged grace notes //grace notes 2549

display key signatures only on first staff system //key signatures cancel outgoing key signature //key signatures display courtesy key signature at end of staff system //key signatures space before key signature //key signatures space after key signature //key signatures space after canceled key //key signatures space between key signature accidentals //key signatures staff line thickness //lines & curves start number at 5 measures //multimeasure rests minimum/maximum measure width //music spacing minimum distance between items //music spacing minimum distance between notes with ties //music spacing spacing before/after music //notes and rests scale manual positioning of notes //notes and rests heavy/thin repeat line thickness //repeats normal stem length //stems shortened stem length //stems stem line thickness //stems use outer placement //ties space before/after time signature //time signatures display courtesy time signature //time signatures use engraver slurs

Copy/paste Document Options Between Documents The following commands can be used to copy document options from one document to another, or many other documents. For example, if you like the Music Spacing and Beaming Options in one document, you can use the file as a template and apply these settings (or all document options) to hundreds of files, to match a house style for instance. To do this, open the template file. In FinaleScript vocabulary, this file is the "Main Document". In the FinaleScript dialog box, choose the folder that you want to batch process. (If you want to transfer Document Options to other documents, you can also open them and then return focus to the main document before

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running the script instead of batch processing a folder). Open the FinaleScript plug-in, and write the script. Example: batch process the folder import music spacing options from main document import beaming options from main document respace update layout The same way, if you have created piano braces that you want to "paste" to the other files, you could write: batch process the folder import piano braces from main document update layout The final step is to launch the script with the main document open (the main document is the active document when you launch the script). Options that can be copied and pasted using the above procedure are: import doc options (or) import house style //All document options import accidental options through import tuplet options page format for score page format for parts import extract parts options import human playback options slur contour smartshape placement smartshape options (including regular options, Smart Slur Options and Guitar Bend Options.)

Selecting and Deleting Measures Use the following commands to select and delete measures: select meas 3 select first meas select last meas 2551

select select select // delete delete delete delete delete delete

meas 1 to 5 meas 6 to the end first meas to 6 meas 3 first meas last meas meas 1 to 5 meas 6 to the end first meas to 6

Tool Commands selection tool page layout tool pge layout layout //Select any tool by typing its name. Note that the Special Tools cannot be selected in this fashion. For tools in the Special Tools palette, use Finale's Tools menu instead.)

View Commands unit evpu(s) inches (i, inch) centimeters (cent, c) millimeters (mill, mm) spaces (s, sp, spce) picas show all layers all layers show active layer only active layer only hide others zoom (50, 75, 100, 200, 400) fit in window home go to page 5, page 5, pge 1 go to measure 124, meas 124

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Page Layout Commands FinaleScript has several powerful commands devoted to the page layout. Note that these commands are generally applied to the entire document. Like many Selection Tool operations, many Page Layout commands can be typed on the fly without changing tool. (don’t) display in concert pitch resize pages to 75% resize systems to 80% staff height = 0.3 inch resize staff to 65% (applied to selection) page format A4 (or A4) page format Letter landscape page format portrait (or Portrait) page format 21x29 cm reverse page margins, reverse margins apply page format (for score) fit 4 measures (per system) update layout, updt layt reorganize Layout, reorganize, reorg (Update Layout with maximum options) redraw, refresh

Clef Tool Commands first clef/default clef treble // (or ’g’) bass //(or ’f’) tenor //(or treble + ’8’) alto //(or ’c’- this is the C clef on the third line). This command applies to the whole staff and clears other clef changes.

Utilities menu Commands and Miscellaneous Most of the following commands require a selection. If there is no selection, FinaleScript assumes that the operation is for the entire document. Note that it is not necessary to invoke the Selection Tool before any operation, it is all automatic note spacing //or respace beat spacing time signature spacing

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rebar rebeam check accidentals check ties convert mirrors fill with rests move layer 1 to 2 //This deletes the source layer afterwards freeze stems down/up remove manual slur adjustments remove stem changes respell notes retranscribe lock/unlock systems transpose to G major/minor (+ attributes) Fit Measures 4 meas //per system chord style Nashville A //or any other available style show/hide fretboards resize fretboards to 80% update hyphens update word extensions //or update extensions execute plug-in "flat beams" (or run plug-in "xxx", plugin "yyy", pi "zzz") "..." after the plug-in’s name to open dialog box.) delete lyrics delete chords swap layers x and y

Edit menu Commands The following are examples of commands you can use to select, delete, copy, or paste. undo redo [select] layer 3, layer 3, l 3 work on layer 3 (select layer 3 + show active layer only + show layer 3) select measure 1 to 15 select staves “flute” to “ saxophone” (no case checking) select “piano” (group name) select instrument 2 to 5 (score visual order) select “clarinet” to bottom select staves “flute” to 5 (mix name and #) select top to “horns” 2554

select pages 2 to 5 select systems 1 to 10 select/deselect all delete staff (= the currently selected staff(ves)) delete measures (the selection) clear measures (notes and smartshapes only) copy, cp, cpy paste, replace entries, replace insert, ins (disable) automatic music spacing, auto spacing (disable) automatic update layout, auto update

File menu Commands quit, q close,c new, n (default document) open, o, open midi, open mus, open etf, open ftm, open all open ? (to call Finale's Open dialog box from within a script) save, sv, save and append, new, save as midi, save as print, p (’print’ alone prints the entire doc with the current Page Setup settings) Print attributes: 2-up, 4-up, even, odd, page 3 to 18, to page 20, (you can also specify a "print string", such as "2, 4, 6-9). print booklet //Prints 16-page booklets automatically, both sides. You can specify the number of pages per booklet. If your printer can't print both sides, you might precise 'recto', and then 'verso' after reversing the pages in the printer to get the booklet right.

Other Commands transpose instrument to Bb //instrument transposition run plug-in "flat beams" //no need to specify a subfolder you can specify any plug-in display in concert pitch uncheck display in concert pitch create/break multimeasure rest Add/insert Staves. Ex: add 1 staff, append piano staves "Piano", add 3 staves bass clef, insert 1 staff "Clarinet in B^b" apply staff style clear staff style show/hide measure numbers title 2555

composer copyright description staff name left/right/top/bottom page/system margin

Text Search and Replace FinaleScript includes Text Search and Replace. From a script, calls to Search and Replace can be as follows: search “© Music Sales” replace with “© Neverland Publishing” search “Violin” replace “Violon”, match case search “Clarinet in A” replace “Trumpet in B^b” (note the use the caret) search [Times] and replace [Chicago] search font “Times” and replace “Chicago” (equivalent) search “Cl.” [Palatino] 12 italic bold replace with “Fl.” [Times] 13 non bold, in staff names

For the above items, you can also add the following attributes: (non) italic (non) bold (non) plain (non) fixed size (non) underline (non) hidden [font name] (always in brackets) size: 48 (number only) match case whole words expressions staff names text blocks file info

Note: All these Text Search and Replace features are also available from within the Text Search and Replace dialog box(Edit menu).

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Smart Shapes (No attribute means all text items.) Use the caret for specific matches ^l = line feed ^t = tab ^© = copyright symbol insert ^c = copyright text ^C = composer insert ^T = title insert ^d = file description ^# (or ^s) = sharp insert ^b = flat insert ^n = natural insert ^S = double sharp insert ^B = double flat insert ^^ = caret character <65> ASCII character

Font Commands (No attribute means all text items.) Use the caret for specific matches Music Font [maestro wide] //The font name can also be written between quotes. Attrbutes: size and 'bold'.) Swap Font [times] with [JazzText] //Font names can be between quotes. No attributes, this is global for the document.)

Playback FinaleScript has several playback-oriented commands, among them is Human Playback. Use the caret for specific matches playback, play, listen (performs a non-scrolling playback. If there is a selection, will perform the selected staves only.) wait 3 seconds (a timer that can creates pause between file performances) wait for a key internal speaker playback 2557

uncheck internal speaker playback human playback style Romantic/none, standard, classical, romantic, jazz, rock, etc. import human playback custom style from main document

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Find Parallel Motion Plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, and then Find Parallel Motion. If there is no selection when you invoke the Find Parallel Motion command, it will process the entire document.

What it does The Find Parallel Motion plug-in is used to find the parallel fifths and octaves in a region of selected music. The plug-in compares notes found in different voices, layers and staves. After invoking the Find Parallel plug-in, a dialog will be displayed. After clicking Find Next, the dialog will also indicate the staff, measure, and beat in which parallel occurred. The plug-in will also scroll the document so that at least one of these notes will be visible (it scrolls to the note that occurs first). The Find Parallel plug-in always uses MIDI note number, regardless of the Display Pitch setting in the View section of the Program Options. See Program OptionsView. • Find Next. Click Find Next to have Finale search for the next occurrence of parallel motion. • Cancel. Click Cancel. to dismiss the dialog box.

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Find Range Plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, and then Find Range. If there is no music selected, when you invoke the Find Range command, Finale will process the entire document.

What it does The Find Range plug-in is used to find the highest and lowest notes in a region of selected music. Typical use of the Find Range plug-in would be to select one staff to find the highest and lowest notes played by an instrument or voice in a Finale document. This is particularly useful with vocal music, when you want to check just how high or low a particular part goes. After invoking the Find Range plug-in, a dialog will be displayed listing the highest and lowest notes found in the selection. The dialog will also indicate the staff and measure in which these notes first occurred. The plug-in will also scroll the document so that at least one of these notes will be visible (it scrolls to the note that occurs first). The Find Range plug-in always uses MIDI note number, regardless of the Display Pitch setting in the View portion of the Program Options dialog box. See Program Options-View. • OK. Click OK to dismiss the dialog box.

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Flat Beams Plug-in, Flat Beams (Remove) Plug-in How to get there From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Flat Beams or Flat Beams (Remove).

What it does Use the Selection Tool to select a region in which to make all the beams flat (or return to the default angle). This plug-in is equivalent to pressing “\” in Speedy Entry to make a specific beam flat. Note that this feature works best when the global and staff settings for flat beams are not selected. See Document Options-Beams and Staff Attributes dialog box.

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Frequency Modulation Chord Generator Plug-in

How to get there Select two successive, single notes in one staff with the Selection Tool l. The notes can be of any duration, but must be in layer 1, voice 1. From the Plug-ins menu, choose Scoring and Arranging, Composer’s Assistant, and then Frequency Modulation Chord Generator.

What it does The Frequency Modulation Chord Generator plug-in creates a new staff with a sequence of chords, each of a whole note duration. A process called Frequency Modulation determines the notes that make up the generated chords. This plug-in was designed to be a compositional tool capable of automatically generating a series of chords with increasing complexity and texture. Frequency Modulation, in terms of keyboard synthesizers, begins with a simple oscillator called the Carrier (frequency A). The Carrier is then altered in frequency by another oscillator called the Modulator (frequency B). A sound results, with a complex spectrum. This spectrum has energy at certain frequencies: … A - 3B, A - 2B, A - B, A, A + B, A + 2B, A + 3B … In this series, frequencies may become negative. In these cases, the absolute (positive) value of the frequency is taken.

The Modulation Index indicates which frequencies from the energy spectrum will be kept. 2562

Index = 1: A Index = 2: A - B, A, A+B Index = 3: A – 2B, A - B, A, A+B, A + 2B Index = 4: A – 3B, A – 2B, A - B, A, A+B, A + 2B, A + 3B Etc.… The Frequency Modulation Chord Generator Plug-in converts the two input notes into frequency, based on an equal temperament pitch table (pitches from one octave to the next have a 1:2 ratio, such that any note’s frequency is twice the frequency of the note one octave below; e.g. A4=440Hz and A3=220Hz): MIDI Note Number

Pitch

60

C4

261.626

61

C#4/Db4

277.183

62

D4

293.665

63

D#4/Eb4

311.127

64

E4

329.628

65

F4

349.228

66

F#4/Gb4

369.994

67

G4

391.995

68

G#4/Ab4

415.305

69

A4

440

70

A#4/Bb4

466.164

(where middle C equals C4)

Frequency (Hz)

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71

B4

493.883

The frequency of the first input note becomes the Carrier, and the frequency of the second input note becomes the Modulator. These frequencies are entered into the index synthesis algorithm and returned again as MIDI notes. It is these MIDI notes that make up the chords generated. • Specify Range. Because of the multiplications in the synthesis algorithm, the notes of the generated chords could extend far beyond any useful range. Use the Specify Range settings to avoid such extreme pitches. • Modulation Index. The values chosen for the Modulation Index will determine how many chords are generated, as well as how many notes appear in each chord. The number of chords generated is equal to one more than the Highest Modulation Index minus the Lower Modulation Index (if lowest index is 3 and highest index is 7, then the number of chords generated is 7-3+1 or 5). The number of notes in each chord will generally be one less than twice the modulation index (a chord at Modulation Index 5 will have 5x2-1 or 9 notes). However, due to the nature of frequency modulation calculations, some notes may be duplicated within one chord. • More Info · Cancel · OK. Click More Info for a reminder of what input this plug-in requires and a brief summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any changes, or Click OK to make the selected changes.

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Global Staff Attributes plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, and then Global Staff Attributes. See Plug-ins menu for more information on plug-ins.

What it does The Global Staff Attributes plug-in will modify Staff Attribute settings for more than one staff at a time. The plug-in allows the user to select the staves, Items to Display, Staff Attribute Options, set the Font, Style and Size of Staff Names and Group Names, as well as set Group Attribute Options. • [List of Staves] • [List of Groups]. Select the staves or groups you wish to be affected by any settings you make. Click to select one, shift click to select several at a time, ctrl-click to select non-sequential staves.

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• Select Font. Click one of these buttons to display the Font dialog box and set the Font, Size or Style for Staff Names or Group Names for the selected staves. See Font dialog box for more information. • Options • Items to Display • Show Bracket if Group Contains only one Staff • Show Group Name. See the Staff Attributes dialog box and Group Attributes dialog box for descriptions of these items. • OK • Cancel • Apply. Click Apply to change the settings on the selected staves and continue to select other staves and settings. Click OK to apply your settings to the selected staves. Click Cancel to dismiss the dialog box without making any changes.

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Group Style Definition dialog box How to get there From the Plug-ins menu, choose Scoring and Arranging, then Update Groups and Brackets. Click Create, Duplicate, or Edit.

What it does This dialog box allows you to define a new group definition, and provides functionality similar to the Group Attributes dialog box. This dialog box is part of the Update Groups and Brackets plug-in, and as such, can only be used to create or edit group style definitions for optimized systems. • Group Name; Font · Abbr. Group Name; Font. Enter the full and/or abbreviated names for the group here. Click the Font button to display Font dialog box where you can change the font, size or style. • Staff · Through. These Staff drop-down lists show the names or numbers of the starting and ending staves for the currently displayed group. Choose a staff name to specify the starting and ending staves in a group. A group always includes the staves in between the specified staves. • Show Group Name. This checkbox controls whether group names that you enter will appear in the document. When selected, the full and abbreviated group names appear in your document. If you prefer to hide the names for this group, deselect this checkbox. Tip: Use Show Default Group Names in the Staff menu to control whether default, non-printing group names appear in the document. • Draw Barlines: Only on Staves · Through Staves · Only Between Staves (Mensurstriche). Select Only on Staves if you want the barlines drawn only within each staff, without connecting each staff with the barline; select Through Staves to draw one continuous barline passing through all the staves in the group. Select Only Between Staves (Mensurstriche) to draw barlines between the staves, but not through the staff lines of each staff in the group. • Use Alternate Group Barline: Select. Select this option if you want Finale to use an alternate barline style that you select from the Barline palette, instead of the barline style selected in the Measure Attributes dialog box. If this option is not selected, Finale uses the barline style specified in the Measure Attributes dialog box. Click Select to open the Shape Selection dialog box where you can choose from a library of shapes or create your own. See Shape Selection dialog box.

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Note: You can override the barline selected for a group on a measure-bymeasure basis by choosing Override Group Barlines in the Measure Attributes dialog box. When you choose this option, the barline set in the Measure Attributes dialog box will always appear, regardless of any alternate barline style selected in the Group Attributes dialog box. This might be used for the final bar in a piece. For more information, see Barlines. • Bracket Options. Click to select the bracket style you want to use for the current group, or click None if you don’t want a bracket to enclose the group. If you want more than one bracket to appear for a group, create additional group styles for the staves, then choose a different bracket style for each group. For details, seeBrackets: Staves—To create additional (nested) brackets. • Show Bracket if Group Contains Only One Staff. Select this option if you want a bracket to appear on a group containing only one staff, if all staves but one are “optimized out” (i.e., removed because the staves are resting instruments), or if you selected one staff from the group, then selected Special Part Extraction from the Document menu. • OK · Cancel. Click Cancel to dismiss the dialog box without changing group settings. Click OK (or press enter) to confirm your settings and return to the Update Groups and Brackets plug-in.

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Latin Percussion plug-in

How to get there To apply Latin percussion to a region, select the region with the Selection Tool l. From the Plug-ins menu, choose New Plug-ins for Finale 2007, then Latin Percussion.

What it does The Latin Percussion plug-in automatically generates authentic notation and playback of Latin Percussion rhythms designed by Professor Jose Cortijo. This plug-in uses a highly specialized variety of noteheads for performance indications. Authentic Latin percussion sounds are included with Finale’s SmartMusic Softsynth SoundFont, and applied to staves automatically when you use this plug-in. (This plug-in assumes SmartMusic SoftSynth is chosen as your MIDI output device in the MIDI Setup dialog box). (For a list of Latin Percussion sounds, and how to use them in other documents, see Latin Percussion MIDI Map Table in the Appendix).

Note: All latin percussion styles, except Afro-Cuban 6-8, can be used with the following time signatures: 2/4, 4/8, 2/2 (cut), 4/4 (common), 8/8, 4/2, or 8/4. Afro-Cuban 6-8 is designed for use with 3/8, 6/16, 6/8, 12/16, or 12/8. time.

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• [Select a Style] · [Instruments Available] · [Chosen Instruments]. The Select Style column displays a list of styles to choose from. Prior to choosing a style, be sure your document is set to the appropriate time signature for the style. (See Latin Percussion Styles and Instruments in the Appendix for details). When you choose a style, instruments characteristic of that style appear under the Instruments Available column. When you select a different style, the instruments here change to those included in the selected style. Select the instruments you would like to add (Ctrl-click to add to your selection), and click the Add button. When you click Add, the selected instruments appear in the Chosen Instruments column - ready for inclusion in the document. • Add · Remove · Add All. Click Add to place the selected instruments for the style under the Chosen Instruments column. Click Remove to clear selected instruments from the Chosen Instruments column. Click Add All to place all instruments for the style into the Chosen Instruments column. • Place Music into: New Staff or Staves at Bottom of Score · Existing Staves Starting with. Select New Staff or Staves at Bottom of Score if you want Finale to create a new staff for each instrument below the existing staves. Select Existing Staves Starting with _ to fill existing staves with Latin rhythms starting with the staff selected in the drop-down list (replacing whatever music is currently on them). • OK · Cancel. Click OK to add the Latin percussion rhythms to the selected region based on the style and instruments you have chosen. Click Cancel to dismiss the dialog box without adding rhythms.

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Ledger Lines (Hide) Plug-in, Ledger Lines (Show) Plug-in How to get there From the Plug-ins menu, choose Note, Beam, and Rest Editing, Ledger Lines (Hide) or Ledger Lines (Show). If there is no music selected when you invoke Ledger Lines (Hide) or Ledger Lines (Show), it will ask you if you want to process the entire document.

What it does Use the Selection Tool to select a region from which you wish to hide ledger lines from all entries, then choose the Ledger Lines (Hide) command from the Plug-ins menu. The plug-in will go through all entries in the selected region and hide the ledger lines. Use the Selection Tool to select a region from in which you want hidden ledger lines to be made visible, then choose the Ledger Lines (Show) command from the from the Plug-ins menu. This would typically be a section where you had previously hidden ledger lines with the Ledger Lines (Hide) command. The plug-in will go through all entries in the selected region and make the ledger lines visible. (This is analogous to using the Undo command after the Ledger Lines (Hide) command, with the difference that you can use the Ledger Lines (Show) command any time after hiding the ledger lines; the undo command would everything after hiding the ledger lines.)

Notes If you “hide” ledger lines from a note on the staff, then later modify the note such that it is above or below the staff, it will be drawn without ledger lines. Analogously, if you apply the Ledger Lines (Show) command to a note on the staff, and then later move the note above or below the staff, it will be drawn with ledger lines. If there are no entries in the selected region, or if ledger lines have already been removed from the entries, an Alert is posted to explain that the Ledger Lines (Hide) command had nothing to modify. Similarly, if you apply the Ledger Lines (Show) command to a region where all entries are already set to have visible ledger lines, an Alert will explain that no modifications were made.

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Melodic Morphing Plug-in

How to get there Select two adjacent staves, each containing a monophonic melody in layer 1 and voice 1, with the Selection Tool l. From the Plug-ins menu, choose Scoring and Arranging, Composer’s Assistant, and then Melodic Morphing.

What it does The Melodic Morphing plug-in creates an additional staff with a single melody made up of three sections. The first section is the source melody, the second section is the morphing result and the third is the target melody. The rhythm of the source and target is ignored. The Plug-in only generates sixteenth notes. • Number of Morphing Steps. Specify how many mutations should be generated between the source melody and the target melody. Enter a low number to make the transition dramatic. Notes: The plug-in examines the melodies in a 2-D space, where y-axis is pitch, and x-axis is time. Curves are stretched so the first point and the last point of each curve have the same xcoordinate. Then the first curve is continuously warped through a number of steps (entered as Number of Morphing Steps in the dialog box) until it matches the second curve. Each curve resulting from a warping step is sampled in order to give a melodic fragment. The number of notes extracted from the curve is interpolated between the number of notes in the source melody and the target melody. Pitches generated are closest to those already present in the two melodies not the exact pitches from the curve generated. 2572


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Merge Measures Plug-in How to get there Choose the Selection Tool and select two measures you would like to merge. From the Plug-ins menu, choose Measures, and then Merge Measures.

What it does This plug-in can be used to merge two measures created by the Split Measure plug-in, or it can be used to merge any two adjacent measures. It combines two measures selected with the Selection Tool into a single measure. Finale changes the time signature to represent the full value of the new measure. For example, if the first measure has a time signature of 3/4 and the second has a time signature of 5/8, the resulting merged measure will have a time signature of 11/8. Finale also updates the Measure Number dialog box accordingly.

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Menu Shortcuts Plug-in How to get there From the Plug-ins menu, choose TGTools, then menu Shortcuts.

What it does The menu Shortcuts plug-in allows you to assign special key combinations to any of Finale’s menu items. • Enable Keyboard Shortcuts. Check this box to use the keyboard shortcuts. • Add · Edit · Remove. Click Add to choose the keystroke from the Key Assignment dialog box. Select an entry and click Edit to edit an existing keyboard shortcut in the Key Assignment dialog box. See Key Assignment dialog box below. Select an entry and click Remove to delete an existing keyboard shortcut. • OK · Close · About. Click OK to apply the current commands. Click Close to dismiss the dialog box without making any changes. Note: Keyboard shortcuts defined with the menu Shortcuts plug-in take precedence over existing keyboard functionality in Finale, as well as any keyboard shortcuts defined using Simple Entry’s Edit Keyboard Shortcuts. For example, if you use the menu Shortcuts plug-in to assign Shift-1 to Select Display Colors under the View menu, the Shift-1 keystroke will no longer be available for assigning metatools in any of the Main Tools, nor will this keystroke switch to the 64th Rest Tool while using Simple Entry.

Key Assignment How to get there From the Plug-ins menu, choose TGTools, then menu Shortcuts. Click Add or select a shortcut and click Edit.

What it does 2575

The Key Assignment dialog box allows you to assign a shortcut to a key stroke. • Key to remap: Key · Shift · Ctrl · Alt · Listen. Enter the main letter or number into the text box or choose a keystroke from the drop-down menu. Check Shift or Alt or Ctl to add the modifier to the keystroke. Click the Listen button to record the next key you press as the shortcut key. Note that modifiers such as Shift, Ctl or Alt must be checked separated. • Select menu Command. Choose the menu item by working your way through the multiple levels of the drop-down selection lists. In order to assign a shortcut, the menu item must be visible. For example, to assign a shortcut to the Chord menu, you must first select the Chord Tool and then run the menu Shortcut plug-in. If you wish to assign shortcuts to the tools, make the Tools menu visible. From the Edit menu, choose Program Options and select View. Check the Show Tools menu box. • OK · Cancel. Click OK to accept the shortcut command and return to the menu Shortcuts dialog box. Click Cancel to return to the menu Shortcuts dialog box without making any changes.

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Mid-Measure Repeats Plug-in How to get there Choose the Selection Tool . Select the region of the score (including at least one partial measure) that you want to enclose in repeat barlines. From the Plug-ins menu, choose Measures, then Mid-Measure Repeats.

What it does This plug-in automatically encloses a region including partial measures with repeat barlines. This plug-in is identical to the Create Simple Repeat option under the Repeat menu, with the exception of its added capability to enclose partial measures.

Before:

After:

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Midline Stem Direction Plug-in How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Midline Stem Direction.

What it does The Midline Stem Direction plug-in allows you to change the direction of stem for the note on the center line of the staff to match the stem direction of the previous note.

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Modify Rests Plug-in

How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose TGTools, and then Modify Rests.

What it does The Modify Rests plug-in allows you to perform a variety of changes to the duration and appearance of rests for a region of your document. • Split. Choose one of these options to split rests in order to create ‘classical rests’ for music in the time signatures listed. • Simplify. Use these options to remove rests by expanding the duration of notes prior to rests. • Split Notes. Use these options to split note values in halves and insert the needed rests. • Shift Rests. Use these options to center rests in the measure. • Apply · Close. Click Apply to apply the current commands and leave the dialog box available for the next set of commands. Click Close to dismiss the dialog box without making any changes.

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Move Rests Plug-in How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Move Rests.

What it does The Move Rests plug-in will move rests in the selected region to the specified position. • Move Rests in Layer: All Layers · 1 · 2 · 3 · 4. From this drop-down list, specify the layer of the rests you want to move. Choose All Layers to move rests in every layer. • Action: Move rests ___ steps. Select this option to move rests the indicated number of steps. Type the number of steps to move into the text box. Positive numbers move the rests up, negative numbers move the rests down. • Create Moveable (Real) Rests in Empty Measures. Check this box to convert default rests to real rests in empty measures, and move them the specified number of steps along with the other rests. • Clear Manual Positioning. Select this option to clear any manual positioning of rests in the selected region. • Erase Shifted Real Whole Rests Entirely. This check box is active when Clear manual positioning is selected. Check this box to turn real whole rests back to default whole rests. • OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

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Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in How to get there From the Plug-ins menu, choose Note, Beam, and rest Editing, and then Notes and Rests (Hide) or Notes and Rests (Show).

What it does Use the Selection Tool to select a region from which you wish to hide or show notes from all entries, then choose the Notes and Rests (Hide) or Notes and Rests (Show) command from the Plug-ins menu. The plug-in allows you to hide all notes and rests in the current selection. You can also use it to make all hidden entries visible again. This plug-in is equivalent to pressing “O” in Speedy Entry to hide a note or a rest. Hidden entries are not printed and do not play back, but they can be used to influence the positioning of other musical items. A typical usage is to hide rests in contrapuntal keyboard music.

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Number Repeated Measures Plug-in How to get there From the Plug-ins menu, choose Measures, and then Number Repeated Measures. If there is no music selected, when you invoke the Number Repeated Measures plug-in, it will ask you if you want to process the entire document. See Plug-ins menu for more information on plug-ins.

What it does The Number Repeated Measures plug-in looks for runs of repeating measures in the current selected region. When it finds a run of three or more measures, it places repetition count numbers over the measures as a performance aid. This is done by creating expressions and placing them over the relevant measures.

Using the Number Repeats Plug-in Normally you will use the Number Repeated Measures plug-in after music has been entered and formatted. It is important to note that to position repeat numbers accurately, this plug-in needs formatting information from the Page View. You will have the most satisfactory results if you switch to Page View (and have Finale recalculate any changes to layout that are pending) before invoking the plug-in. See the Notes section for more information. Use the Selection Tool to select the measures that should be numbered. The plug-in will look for runs of at least three repeating measures and number them automatically, placing repeat count numbers over the middle of every measure in a run.

As you can see in the above example, Number Repeats also recognizes all appropriate Alternate Notation when looking for runs of repeating measures.

Notes IMPORTANT: The Number Repeated Measures plug-in needs information 2582

from the Page View of the current Staff Set to accurately calculate the correct position of the repeat count numbers. This information is not calculated by Finale until the first time you switch to Page View. If you have never viewed the current Staff Set in Page View when you invoke the Number Repeated Measures plug-in, the plug-in recognizes this condition and posts an Alert suggesting that you switch to Page View first. Once Finale has calculated the Page Layout information, you are free to switch back to Scroll View if you prefer. You do not need to be in Page View when you use the plug-in. However, you should be aware that some editing changes can invalidate Finale’s Page Layout information (in particular, changing Alternate Notation). For most accurate results, it is a good idea to switch to Page View (even if you immediately switch back to Scroll View) before invoking Number Repeated Measures. When looking for runs of repeating measures, Number Repeated Measures compares measures and their entries, but ignores other attributes such as expressions, Articulations, or MIDI Performance information. Entries must be rhythmically identical and contain the same notes in order for the measure to count as a repetition. Also, measures must have the same Key and Time Signatures to qualify as a repetition. The Number Repeated Measures plug-in recognizes Alternate Notation (Slash Notation, Rhythmic Notation, and Single-Measure Repeat Notation) when looking for runs of repeating measures. In fact, use of Slash Notation and Single-Measure Repeat Notation overrides the normal rules used when testing for repetition. If a measure uses either of these two styles of Alternate Notation, it will always qualify as a repetition. Measures using Rhythmic Notation must match on an entry-by-entry basis for rhythmic value, but the notes in the entries are ignored in the comparison. In short, Number Repeated Measures treats a measure as a repetition based on its appearance, not on playback.

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Number Repeated Measures positions the repetition count expressions one space (24 EVPUs) above the highest note or stem in the measure. The expressions are placed over the middle beat of the measure. Number Repeated Measures uses Text Expressions for the repetition count numbers. It is economical in generating Text Expressions: it will not create a new Text Expression if an appropriate Expression is already available. Since the Number Repeated Measures plug-in will never put repetition count numbers over a run of only two measures, the command is disabled if the selected region is shorter than three full measures. Similarly, if your document only contains one or two measures, the Number Repeated Measures plug-in is disabled in the Plug-ins menu.

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Patterson Beams Plug-in

How to get there From the Plug-ins menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then Patterson Beams.

What it does The Patterson Beams plug-in edits beams and stems. The beam function adjusts both stem lengths and beam angles based on the staff positions of the notes and the number of notes in the beam. Wedges, white triangular space between the beam and a staff line, are also removed. The stem function of Patterson Beams affects only stand-alone stems that receive shortened stems. These are stems pointing in the “wrong” direction, normally because they have been frozen, are attached to a chord, or are part of a multi-voice texture. Finale arbitrarily shortens stems to the short-stem length, creating an ugly transition between normal and shortened stems. Furthermore, only unflagged stems are shortened. The stem function of Patterson Beams smooths out the transition between normal and shortened settings and also includes flagged stems. (Stems with more than 2 flags are appropriately lengthened.) 2585

The beam function works in conjunction with the Document Options-Beams (under the Document menu). The plug-in always works from Finale’s default positioning, which is different depending on the beam settings. The modal differences in behavior are most noticeable when the note closest to the beam is not an endpoint. Ultimately, you will probably still have to manually adjust some beams, but the goal of the plug-in is to automatically position the beam for a large majority of cases. If you use the beam functions of the plug-in, we recommend the following settings in Document Options-Beams: Allow Primary Beam within Space checked, Extend Beam over Edge Rests unchecked and Max Slope a multiple of 6. See Document Options-Beams. Unsupported Options Certain options are not supported by Patterson Beams. If the plug-in recognizes a stem or beam employing an unsupported option, it skips the beam or stem without making any modifications to it. For beams, these options are unsupported only on the endpoint notes. •Grace Notes •Note Percent Reductions •Cross Staff Notes •Notes With Reversed Stems •Custom Stems •Rest At Beam Endpoints •Split Stem Duplicate Beams The plug-in has only limited support for beam extensions, especially when used to create tremolos. A beam is skipped unless the primary beam is connected to the stem of at least one endpoint. Even then, processing is somewhat limited. • French Beams: Create · Remove. With French beaming, interior stems only extend to the first beam, instead of all the way to the eighth beam. Check French Beams, and then Create or Remove to apply or clear French Beams in the selected region upon clicking OK. • Ignore If Manually Edited Beams/Stems. Check this box to skip over beams or stems that have been edited by the Special Tools Tool, either directly or through a plug-in. • Beautify Beams. Check this box to enable the beam functions and modify the beams. • Beams Should Never Cross Spaces. Check this box to make the slants of all beams narrow enough that they never cross a staff space. This option performs the same function as “Allow Primary Beam Within Space” in the 2586

Beams portion of the Document Options dialog box (under the Document menu). See Document Options-Beams. • Max. Slope Angle (Degrees/Units). If the checkbox is checked, the plug-in may steepen the beam angle up to the specified angle (up or down). If the checkbox is unchecked, the plug-in will use the Max. Slop setting in the Beams portion of the Document Options dialog box (under the Document menu). See Document Options-Beams. The plug-in always avoids wedges, so it uses a shallower slope when the max would cause a wedge. The plug-in determines the maximum slope amount based on the actual angle entered in the degrees text box between the beginning and ending stem tips. This choice is spacingsensitive, so the vertical distance will be greater if the notes are widely spaced and less if they are narrowly spaced. If you specify Degrees, then the plug-in determines the maximum slope amount based on the actual angle in degrees between the beginning and ending stem tips. You can also change the amount based on a fixed distance in your current measurement units. • Preserve Flatness. Checking this option assures that any beams that are flat in their default state remain flat after the plug-in has processed them. • Beams On Thirds Can Slant A Full Space. Check this box to allow a beamed third to have a slant of a full space, which is equal to the slant of the note interval. Normally, the slant of a beam must be at least 1/4 space less than the slant of the note interval. Note: Other settings, such as Max Slope and Beams Should Never Cross Spaces, may override this setting. • Increase Beam Thickness to Compensate for Beam Angle. Check this option to instruct patterson beams to increase beam thickness if necessary for beam angle alterations. • 3-Beam Groups In Staff Can Slant Fractional Space · Only If Slant Should Be Less Than A Space. Check this box to allow the plug-in to apply beam slants as small as 1/4 space for 3-beam groups where appropriate. With default beam separation of 18 EVPU, such small slants lead to wedges, but other options either in Finale or the Patterson Beams plug-in can mitigate the wedges. Checking “Only If Slant Should Be Less Than A Space” tells Patterson Beams to use beam slants of whole-space increments for 3-beam groups in the staff that would have a beam slant of at least one space anyway. It is meaningless if “Beams Should Never Cross Spaces” is checked, since with this option, no in-staff 3-beam slant can be more than 1/4 space. You might choose this option if you are using Additional Separation to avoid 3beam wedges and want to limit the times you get the additional separation this causes where it is absolutely required to avoid a flat beam.

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Tip: To ensure beams will sit, straddle or hang on staff lines, a traditional engraving practice is to increase the space between beams if the slant should be less than a space. These settings address this issue.

• Additional Beam Separation For 3-Beam Groups. Checking this option brings up the 3-Beam Groups dialog box. Unchecking it causes Patterson Beams not to apply additional separation for 3-beam groups, but it preserves your settings if you want to re-enable them later. • Additional Beam Separation For 4-Or-More-Beam Groups. Checking this option brings up the 4-Or-More-Beam Groups dialog box. Unchecking it causes Patterson Beams not to apply additional separation for 4-or-morebeam groups, but it preserves your settings if you want to re-enable them later. • Beautify Stems. Checking this option to enable the stem function. Leaving the option unchecked causes a sudden shift from normal stem length to short stem length. The stem length values are specified in the Stems category of the Document Options (under the Document menu). If you check this option, then the plug-in adjusts the stem lengths by 1/4-space increments to create a smooth transition from long to short stem lengths.

• Stem-Rev. Offsets: Upstem · Downstem. These values tell the plug-in where to begin transitioning to short stems, for stand-alone stems. The value is given in staff steps. Furthermore, you can control upstem and downstem notes separately. Tip: You might set the downstem offset to 0 or even +1 if you had text underlay that pushed up close to the staff. In treble clef, this would result in 2588

shorter stems on downstem b1's or even c2's. • Use Different Short Stem Length for 16ths (and Smaller) · Short Stem Length For 16th. Check this option to specify a different short stem length for notes with 2 or more flags. Depending on your music font or the style of flags used, your short stem length for unflagged and single-flag notes may be too short for notes with 2 or more flags. You can use this option even if Beautify Stems is unchecked. When you do, all flagged stems get short stem-lengths, just as Finale gives to unflagged stems, but no transition between short and long occurs. Enter a value for the minimum stem length for notes with 2 flags. Notes with more than 2 flags add 24 EVPUs (1 space) to this length for each additional flag. • Use This Value For Flagged 8ths Also · Only If Downstem. Check this box to apply the alternative short stem length to flagged 8ths as well as 16ths and smaller values. You might choose this option if the flag character on your music font does not permit shortening these stems as much as for unflagged notes. Check Only If Downstem to avoid changes to upstem flagged 8ths. • OK · Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made.

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Piano Reduction Plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, and then Piano Reduction.

What it does The Piano Reduction plug-in helps you to easily condense a number of staves into a piano grand staff. The piano grand staff will be added to the bottom of the staff system. • [Staves]. Select the staves in your document to be included from this list. Ctrl-click to select multiple staves. • Split Point. Set the split point for the piano staff. • OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

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Process Extracted Parts plug-in

How to get there From the Plug-ins menu, choose TGTools, and then Process Extracted Parts.

What it does When applied to a part with multiple voices (e.g. Trombone 1 & 2), the Process Extracted Parts plug-in identifies and isolates notes from one voice and removes notes in other voices. This processor has to be run separately on each part (and is not compatible with linked parts, only extracted parts).

Standard: • Extract voice line number. Enter the voice you want to extract. The voice is counted from the bottom or top depending on your setting for “Counted From” (below). • Counted From: Top; Bottom. Choose Top to count voices from top to bottom (i.e. 1 = highest notes). Choose Bottom to count voices from bottom to top (i.e. 1 = lowest notes). • Keep Single Notes. Choose this option to include single notes. (Notes that have no others directly above or below on the same beat). Custom: • Keep Single Notes. Choose this option to include single notes. (Notes that have no others directly above or below on the same beat). • From 2 notes, extract note no. (0=none, 1=top): In these boxes, you can specify what note you want extracted (always counted from the top) in sonorities made up of 2 to 8 notes. Enter 0 to ignore the sonority (entering

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a rest), 1 to include the top note of that sonority, 2 to include the second note from the top, etc. More: • Secondary layers inherit articulations, slurs, etc.: Check this box to copy articulations and slurs from layer 1 when processing secondary layers. • Ignore Layers: Enter the layers (separated by commas) you want this plug-in to ignore when extracting parts. Use this option, for example, if you want to ignore grace notes. Examples: Score

Part 1

Part 2

Using two layers

Using piano (chord) notation

Using Voice 2 (note that the inconsistency in the score has no negative effect on the parts)

Using multiple layers or voices In the case of multiple layers or voices, it is possible that articulations, slurs, staff expressions and the like will not appear in the second part. The option 2592

"Secondary parts inherit" will create 2nd parts with all of these items copied from the first layer or voice. See www.tgtools.de for more details.

To temporarily view a part using Special Part Extraction 1. From the View menu, choose Scroll View. 2. Click the Staff Tool . Click the part you want to view as an “extracted” part. If you’re extracting a piano part, you can highlight both staves’ handles by shift-clicking the staves, or by drag-enclosing their handles. Note that you need to select the staff handle on the staff lines, not the staff name handle. 3. Choose Special Part Extraction from the Document menu.Document Options-Multimeasure Rests appears. 4. Set the position for the multimeasure rest number. Set the position of this number by entering a value in the H: and V: text boxes. The units are whatever you specified using the Measurement Units command, located in the Edit menu. 5. Click OK (or press enter). 6. Choose Page View from the View menu. Page View now contains only the extracted part(s), which you can edit as desired. It’s useful to note that this “extracted” part is still part of the full score; correct a note in one view, and you correct it in the other. If you later change your mind about any of the settings you made—the rest shape or the position of the number, or you want to see your whole score—choose Special Part Extraction again from the Document menu to turn it off. The whole score will then reappear in Page View. Note: Items are not updated in page view if they are added to measures containing a multimeasure rest. If you add notes to an empty measure in Scroll View, Finale won’t break up an existing multimeasure rest in Page View to update the multimeasure rest. If you want your part updated, deselect Special part extraction from the Document menu, and go through these steps again. See also, Measure Attributes dialog box for information on breaking a multimeasure rest. On the other hand, keep in mind changes you make to the layout for the “extracted” part will also affect the full score. 7. Choose Print from the File menu, and print as usual. 2593

To add cue notes Finale offers an easy way to add cue notes. Before extracting parts, run the Smart Cue Notes plug-in. For details, see Smart Cue Notes Plug-in.

To adjust the pagination of a part to avoid awkward page turns In extracted parts, you can use the Smart Page Turns plug-in to automatically update the pagination to optimize the music for reading. Smart Page Turns looks for measures of rests, and other criteria, so that the performer has time to turn the page during the performance. See Smart Page Turns for details. (Plug-ins are not accessible in linked parts).

2594

Resize Noteheads Plug-in

How to get there Choose the Selection Tool and select the region of the document containing notes you want to resize. From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Resize Noteheads.

What it does This plug-in can resize specified voices of a multi-voice staff. This plug-in works for all visible layers. • Standard Noteheads · All Special Noteheads · One Custom Notehead; Select. Choose Standard noteheads to resize only standard noteheads ( and ). Choose All Special Noteheads to resize all noteheads changed with the Note Shape Special Tool (See Note Shapes). Choose One Custom Notehead and click Select to open the Symbol Selection dialog box where you can choose the notehead character you would like to resize (in the default music font specified under the Document menu). Alternative noteheads resulting from a Staff Style are not recognized by the Resize Noteheads Plug-in. 2595

• Resize Noteheads: From Top of Chord · From Bottom of Chord. Here, specify the direction Finale should count each stack of notes. • Enter the numbers of the noteheads to be resized, separated by commas or hyphens. Here, specify the noteheads to be resized. Your entries here depend on the setting above. For example, if the From Top of Chord radio button is selected and you type “1,2” here, the top two notes in all chords of the selected region will resize. • Resize Noteheads to ___%. This text box specifies how much you want to resize the specified noteheads expressed as a percentage of the original full size. • OK · Cancel. Click OK (or press enter) to proceed with, or Cancel to abort, the notehead resize.

2596

Rhythm Generator Plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, Composer’s Assistant, and then Rhythm Generator.

What it does The Rhythm Generator plug-in creates up to 6 single voice staves containing rhythmical patterns. These staves are added to an existing file starting at measure 1. Each pattern is build by combining up to 3 sieves, or filters, that are applied to a steady signal of sixteenth note pulses. For example, a sieve value of 2 will place a sixteenth note every other pulse starting with the first, and a value of three will place a sixteenth note every third pulse. All other pulses will become sixteenth rests. The plug-in consists of 6 sets of controls, one for each staff that can be created, and 2 controls affect all the staves that are created. • Staff. This check box must be checked in order for a staff to be created. • Sieve (1,2,3). The value in these spin-controls indicate how often a sixteenth note pulse will appear in the created staff. Possible values are 1 through 16. For example, a 2 in any single Sieve will create a note every other sixteenth pulse starting on the first pulse. This would yield a sixteenth note on pulses 1, 3, 5, 7, 9, 11, 13, and 15. 2597

If 3 is selected for the Sieve value, then a note would be created every three pulse, yielding a note on pulses 1, 4, 7, 10, 13, and 16. If you choose 2 for one Sieve and 3 of another Sieve, then you would get a combination of the just mentioned pulses. So, in the first measure a note would be created at pulses 1, 3, 4, 5, 7, 9, 10, 11, 13, 15, and 16. • Offset. This value controls the first pulse that will receive the first note created by a Sieve. As an example, if you choose 2 for a Sieve value and enter 2 for the Sieve Offset, then the first sixteenth note will appear on the third pulse. In the first measure this would yield notes on pulses 3, 5, 7, 9, 11, 13, and 15. • Invert. Checking this check box will invert the results produced by a Sieve. This will cause notes to appear in place of rests, and rests in place of notes. For example, if the Invert check box is checked and a value of 2 is chosen for any single Sieve a note will be created every other sixteenth pulse starting on the second pulse. This would yield a sixteenth note on pulses 2, 4, 6, 8, 10, 12, 14, and 16. • Random. Values entered in this field will cause notes to be created in a random fashion. As the entered value increases, the number of notes created goes down. • Instrument. The General Midi name chosen from this drop down list will be used for the name of the created staff. This choice will also determine the pitch of the created notes, which will be the General Midi defined pitch for that instrument. Note that the Midi patch and channel needed to play these staves must be set in the Instrument List found on the Window menu. • Number of Measures. The value entered here will determine the length of the generated staves. • Group Resulting Staves. Checking this check box will cause the created staves to be grouped with shared barlines. The default name of the group will be • More Info · Reset · Cancel · OK. Click More Info for a reminder of what input this plug-in requires and a brief summary of what the plug-in does. Click Reset to set the plug-in to minimum default values. Click Cancel to dismiss the dialog box without making any changes, or Click OK to make the selected changes.

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Rhythmic Subdivisions Plug-in How to get there From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Rhythmic Subdivisions.

What it does The Rhythmic Subdivisions plug-in provides a method of easily entering measures of repeated notes. The Rhythmic Subdivisions plug-in will go through all the note entries in the selected region, subdividing those entries into a smaller rhythmic value. The result will be a number of repeating note entries replacing the original entry. If you wish, you may specify that only entries with a certain range of rhythmic durations should be effected by the Rhythmic Subdivisions command. • All Selected Entries · Entries Within Range of Durations · From · Through · EDUs. In the top half of the dialog you can specify whether the command should be applied to all note entries within the selected region, or if you would prefer only entries within a range of rhythmic values to be effected by the command. You can specify the rhythmic values by clicking on the durations in the palettes, or you can specify any arbitrary number of EDUs by typing a value into the text fields. • Equal Values · Rhythmic Duration. In the bottom half of the dialog you can specify how you wish to subdivide the note entries in the current selection. If you select the Equal Values Radio Button, each note entry effected by the command will be divided into entries of shorter value. If you select the Rhythmic Duration Radio Button, each note entry effected by the command will be divided into entries of the duration you specify. Note that in the second case, if any entries in the current selection are already of the duration you specify (or shorter), they will not be subdivided. • OK · Cancel. Click OK to subdivide the selection with the specified settings. Click Cancel to dismiss the dialog box with making any changes. The two following examples show how the Rhythmic Subdivisions plug-in works. Starting with a selection as follows:

The Equal Durations option, set as follows:

would produce: 2599

The Rhythmic Duration option, with the settings in the following example:

would result in:

Notes: • The Rhythmic Subdivisions plug-in beams the entries it creates according to the time signature in each measure effected by the command. • Rests are never subdivided. Accidentals are not repeated. Articulation markings and other note details are not copied. •When using the Equal Values option the smallest subdivision you may enter is 2; the largest is 32. You may enter any whole number in this range. The plug-in will generate tuplets if necessary. The plug-in will also generate nested tuplets properly if the selection contained tuplets before the plug-in was executed and the subdivision value is not 2, 4, 8, 16, or 32. •When using the Rhythmic Duration option, you can generate tuplets by entering the appropriate number of EDUs into the text field (for instance, 341 EDUs will generate eighth-note triplets). Care must be taken in using this option if the selection contains tuplets before execution, since tuplet markings already present in the document will not be removed. Instead, the Rhythmic Subdivisions plug-in will generate a nested tuplet with an effective duration close to the value you specified. •Tuplet markings generated by the Rhythmic Subdivisions plug-in are always rhythmically correct. However, in cases where multiple interpretations are possible (for instance, subdividing a whole note into twelve equal values), you may need to adjust the tuplet markings manually according to your needs. •When using the Rhythmic Duration option, it is possible that some entries in the selection are shorter than the subdivision duration you specified. Simply ignore any other entries shorter than the chosen subdivision duration.

2600

Score System Divider Plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, and then System Divider.

What it does Automatically inserts or removes system separation marks between staff systems on the same page in a completed score as shown below. This plug-in should be run after the score layout has been finalized. Also, lock systems (see Utilities/Lock Systems) to ensure measures are not redistributed among the pages. The system separation marks are added as page attached text blocks. The symbol used is character 187 in Finale’s EngraverFontSet font.

Note: Make sure that your score is fully updated before running this plugin. Otherwise, you may experience undesirable placement of the divider symbols. After running this plug-in, if you are not satisfied with the results, from the Edit menu, choose Undo to remove them.

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• Page Range: All · Current · Selected. Here, select the pages to which you would like to add system separation marks. Choose All for all pages, Current for the page currently visible in the Finale window or Selected to specify a page range using the drop-down menus below. • Vertical: Between last/first staff lines · Between staff system boundaries · Adjustment. These settings control the vertical placement of system separation marks. Choose Between last/first staff lines to instruct Finale to add system separation marks at the midpoint between the bottom staff line in one system and the top staff line in the next. Choose Between staff system boundaries to add system separation marks at the midpoint between the bottom system margin of one system and the top system margin of the next (as displayed when the Page Layout Tool is selected). To offset the system separation marks from this placement setting vertically specify a positive or negative value in the Adjustment field to move the marks up or down respectively. The units of measurement are whatever you’ve selected using the Measurement Units command under the Edit menu. • Horizontal: Left Side · Right Side · Adjustment. These settings control the appearance and horizontal placement of system separation marks. 2602

Check Left side to include separation marks on the left side of the page. Check Right side to include separation marks on the right side of the page. Specify a positive or negative value in the Adjustment field beneath these options to move the marks left or right respectively. The units of measurement are whatever you’ve selected using the Measurement Units command under the Edit menu. • Font size. Choose an option from this menu to specify the font size for the system separation marks. • Remove. Click remove to delete system separation marks you have added with this plug-in. Note that you will not be able to automatically remove system separation marks that have been edited manually. Therefore it is recommended that you do not edit the system separation marks added with this plug-in manually. Remember, if you have just run this plug-in, and are not satisfied with the results, you can choose Undo from the Edit menu (or press Ctrl-Z) to remove them. • OK · Cancel · Info. Click OK to add system separation marks. Click Cancel to dismiss the dialog box without making any changes. Click Info for more information regarding the JW collection of plug-ins.

2603

Single Pitch Plug-in How to get there Select a region with the Selection Tool or any other tool that supports regional selection. From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Single Pitch.

What it does The Single Pitch plug-in allows you to change all the notes in the selected region to the same specified pitch. • Pitch. Enter the new pitch using the MIDI Pitch. • OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

2604

Slash Flagged Grace Notes Plug-in, Slash Flagged Grace Notes (Remove) Plug-in How to get there From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Slash Flagged Grace Notes or Slash Flagged Grace Notes (Remove).

What it does Use the Selection Tool to select a region from which you wish to place slashes on all flagged grace notes (or remove slashes placed in Speedy Entry). This plug-in is equivalent to pressing` (accent) in Speedy Entry to slash or unslash a flagged grace note.

Note: This feature works best when the global setting for grace notes does not use slashes. See Document Options-Grace Notes.

2605

Smart Cue Notes Plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, and then Smart Cue Notes.

What it does The Smart Cue Notes plug-in can search for possible cue note locations and mark these locations in the score. Then, cue notes can be added to these locations automatically.

Tip: For optimal performance, we recommend moving to Scroll View

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(View menu > Scroll View) before running this plug-in. • Mark Proposed Cue Note Locations In Score. Choose this option to add text blocks that flag possible locations where cue notes would be appropriate. The text blocks include the number of seconds of rest for the staff/part. • Add Cue Notes · Interactive Mode. Choose Add Cue Notes to place cue notes into the document where appropriate as defined by settings in this box. Check Interactive Mode to first search for cue notes, and then create them for specific staves, using additional options if desired. If interactive Mode is not checked, clicking OK adds all cue notes without pausing to set additional options. • Cue Notes Needed When Rest Is _ · Seconds · Measures. In this text box, enter the number of Measures or Seconds required for Smart Cue Notes to mark and/or add cue notes. (With Seconds chosen, timing adjusts to meter changes). • Max Cue Length Desired _ Allowed _. Cue notes are generally added to the phrase prior to the entrance. For Desired, enter the desired number of measures or seconds to scan prior to an entrance for the beginning of a phrase. If Smart Cue Notes does not find a phrase within the Desired number of measures or seconds, it will add cue notes with as many measures or seconds entered in the Allowed text box. • Use Proposed Cue. Choose this option to copy the cue notes proposed by Smart Cue Notes plug-in to the staff or staves chosen in the list below. • Use Selected Measure Range As Cue. Choose this option to copy the notes within a region selected with the Selection Tool as cue notes to the staff or staves chosen in the list below. • Add This Cue To These Staves. In this list, choose the staff or staves you would like to add the cue notes to. • Read Cue From. From this drop-down menu, specify the layer containing the source material. • Write Cue To. From this drop-down menu, specify the layer to write the cue notes to. • Reduce Cue To _ %.In this text box, enter the notehead percentage reduction (relative to the default notehead size) for the generated cue notes. • Cue Name. In this text box, specify a name for the generated cue notes. This text, which appears as the source staff name by default, will appear as an expression above each section of cue notes added to the document. • Include: Articulations · Expressions · Smart Shapes · Clefs · Lyrics · Chords. Check any of these items to include them on cue notes copied from the source staff. 2607

• OK · Start Search. The OK button is available when Interactive Mode is unchecked. Click OK to scan the document for possible cue note locations and add them automatically. The Start Search button is available when Interactive Mode is checked. Click Start Search to scan the document for possible cue note locations. The Smart Cue Notes plug-in will then pause to allow for specifying staves and setting other options. • Create Cue Notes. Available after choosing Start Search (with Interactive Mode checked). Click this button to add cue notes to the staff and measure(s) specified in the Cue Options section. • Continue Search. Available after choosing Start Search (with Interactive Mode checked). Click this button to advance to the next proposed cue note location. • Cancel. Available while processing measures. Click to interrupt a search for cue note locations and return to the Smart Cue Notes dialog box. • Done · Close. If you have not completed searching through all proposed locations, click Done to reset the dialog box in preparation for a new search. After searching through all proposed locations, click Done to finish. Click Close to dismiss the dialog box.

2608

Smart Page Turns plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, and then Smart page Turns.

What it does The Smart Page Turns plug-in adjusts the measures and page breaks in a document to avoid page turns during active portions of the music. This plug-in is especially useful for instrumental parts. • Timing Settings: Ideal Page Break · Minimum Page Break · Measures · Seconds. Here, enter the Ideal and Minimum number of measures or seconds required for a page turn. • Maximum Calculation Time _ Seconds. Here, enter the maximum calculation time allowed for calculating the page turns. • Search _ Systems at End of Page · _ Systems on Next page. Use these text boxes to tell Smart Page Turns which systems on each page to scan for appropriate page turns. 2609

• Rests In One Staff are Sufficient. Check this box to indicate rests in a single staff is sufficient for a page turn. This feature is particularly useful for keyboard music, where one hand can turn the page while the other continues with the music. • Treat Notes Smaller than 80% as Cue notes. Check this box to indicate notes in the document reduced to less than 80% should be treated as cue notes. Cue notes created with the Add Cue Notes and Smart Cue Notes plug-ins are reduced to 75% by default. • Breaks are Possible Before These Measures. Enter measure numbers here (separated by commas) to specify points in the document Smart Page Turns is allowed to begin a new page. If the plug-in cannot find ideal page turns, you may be asked to specify measure numbers here to give the Smart Page Turns enough information to most accurately process the document. • Place Rests Before · After Page Break · Both (Split Evenly). Choose Before to tell Smart Page Turns to place rests before a page break (at the end of the page). Choose After Page Break to tell Smart Page Turns to place rests after the page break (beginning of the next page). Choose Both (Split Evenly) to tell Smart Page Turns to place half of the rests before and half after the page turn. • Page Settings: First Page · Left · Right. Here, choose left if the first page in the document is a left page. Choose right if the first page in the document is a right page. You can adjust the page numbering (to accommodate a title page for example) using the settings below under Adjust Page Numbers. • Allow Exceptions. With this box checked Smart Page Turns allows exceptions to the left and right page specifications defined in this section if a page turn solution is not found for the setting specified. • No Turn After Page 1. Available when Right is chosen for First Page. Choose this setting to tell Finale not to generate a page turn between page 1 and 2. • Adjust Page Numbers. Check Adjust Page Numbers to update the page numbering based on the settings for left and right pages. • First Page is No _ If Left _ If Right. Here, enter the desired first page number depending on whether the first page is a left or right page. By default, Smart page Turns numbers the first page “2” if it is a left page and “1” if it is a right page. • Handle Left/Right Page Margins. If left and right page margins are not equal, and the plug-in swaps left/right pages, with this box checked, left and right page margins will swap as well. • Allow Blank Pages. Check this box to allow Smart Page Turns to add blank pages if needed to provide the best possible page turn solution.

2610

• Add Text · Font. Check this box, and then specify the desired text that will appear as a text block in the middle of all blank pages added. Click Font to open the Font dialog box where you can specify a font, size and style for the text block. See Font dialog box. • Space Systems Evenly if at Least _ Systems. Check this box to automatically space systems evenly if the number of systems on a page equals or is greater than the number entered in the provided text box. • Warnings: Turn Immediately · Font · Always Add This if No Rest on Next Page. Check Turn Immediately, and then enter desired text to tell Smart Page Turns to indicate text for sudden page turns. Click Font to open the Font dialog box where you can specify a font, size and style for the text block. See Font dialog box. If you want to add this text any time there is no rest at the beginning of the next page, check Always Add This if There is No Rest on Next Page. Note that if the time is more than .3 seconds less than the ideal turn time specified in the Timing Settings section, Smart Page Turns will add this text automatically regardless of this setting. • Time · Always · Font. Check Time and enter desired text to add indicators in the document notifying the performer that there is time to turn the page. A % sign will convert to the number of measures rest the performer has before music begins. Check Always to place this indicator at every page turn if there is no rest at the top of the next page. Click Font to open the Font dialog box where you can specify a font, size and style for the text block. See Font dialog box. • Defaults · OK · Cancel. Click Defaults to reset this dialog box to the original settings. Click OK to process the document and generate a layout that accommodates improved page turns based on these settings. Click Cancel to dismiss the dialog box without making any changes.

2611

Smart Playback Plug-in How to get there Select a region with the Selection Tool TGTools, then Smart Playback.

. From the Plug-ins menu, choose

What it does The Smart Playback plug-in adds a playback effect to selected musical elements, such as glissandi, hairpins and trills. The plug-in must be run after the items have been added to the score. When any of these items change, you must run the plug-in again. Also, when notes are changed, all playback effects, except hairpins, need to be renewed by running the plug-in again. The Smart Playback plug-in creates playback for the following items: Musical Element

Method of Creating Playback Effect

SmartShape Glissandi

Continuous Data Pitch Bend (maximum of one octave)

SmartShape Hairpin Crescendos/Decrescendos

Continuous Data Volume changes

SmartShape Trill

Hidden notes added to layer 4

Articulation Trill

Hidden notes added to layer 4

Note that the Smart Playback plug-in will not create playback effects for tremolos created by adjusting beam extensions, such as the Easy Tremolos plug-in. Note: Human Playback interprets and performs Smart Shapes and other markings during playback automatically. See Human Playback. To hear changes to the MIDI playback definition (such as those applies with this plug-in), you must first set Human Playback to None in the Playback Settings dialog box or check the 2612

Override Human Playback option at the top of the Smart Playback plug-in. Glissandi: • Make glissandi play back. Check this box to define SmartShape glissandi markings for playback. The plug-in adds pitch bends as continuous data. See Pitch wheel under the MIDI Tool. For the glissandi to playback correctly, the bender range is set to 12. The maximum range of each glissando is one octave. • Number of steps per quarter note. A glissando defined for playback consists of many pitches ascending or descending rapidly via continuous data. Enter a value in this box for the number of ascending or descending pitches for each quarter note of time. Hairpins: • Make hairpins play back. Check this box to make SmartShape Crescendos or Decrescendos playback through MIDI volume changes. This is a parameter that is completely independent from the key velocities that are used to play back dynamic markings or accents. When the file is played, both these parameters work together to form the actual loudness of a tone. The plug-in adds gradual volume changes as Continuous Data. See Volume under the MIDI Tool. • Volume changes per quarter note. Enter the amount of volume to change here. This feature will edit the continuous data of the region. It can be adjusted from 1 to 127 (1=softest, 127=loudest). • Set Volume to 64 at beginning of piece. Check this option to set the continuous data for volume to 64 at the beginning of the piece. Note: this will not change continuous data for volume already applied with the MIDI Tool or plug-ins. Trills etc.: • Trills/tremolos/diddles. Check this box to define trills, tremolos or diddles for playback. Trills require Smart Shape trill symbols above the notes ( ) or a articulation. Trills are written out in layer 4 then hidden. See also Document Options-Layers. • Three slashes = unmeasured tremolo. Check this box to treat the three slash subdivision articulation as an unmeasured tremolo. The Tremolo speed value entered below determines the playback of this trill. • Trill/unmeasured tremolo speed (per quarter note). Enter the number of repetitions of the pitch per quarter note for unmeasured tremolos or trills.

2613

• Start trill after what percentage of duration. Enter a percentage of the note value to delay before starting the trill for unmeasured tremolos or trills. Set this value to zero to start the trill immediately. • Trill interval: Diatonic · Semi-tone · Whole Tone. Select Diatonic to trill between the entered pitch and the pitch up a diatonic second. Select Semitone to trill between the entered pitch and a semitone higher. Select Whole Tone to trill between the entered pitch and a whole tone higher. • Play. Click Play to hear the selection. • Remove these effects from selection. Click Remove to clear the playback effects from the selection. More: • Override Human Playback. Check this option to apply the settings in this dialog box even if Human Playback is turned on in the Playback Settings dialog box. • Go · Close · Defaults · More · Play. Click Go to apply the current commands and leave the dialog box available for the next commands. Click Close to dismiss the dialog box without making any changes. Click Defaults to restore this dialog box to its original settings. Click More for more information on the complete TGTools plug-in collection. Click Play to accept changes, close the Smart Playback dialog box and play the score.

2614

Smart Split Point plug-in

How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose TGTools, and then Smart Split Point.

What it does This plug-in is designed for use with piano music. After recording a HyperScribe session, for example, you can use this plug-in to correct for split point errors (sections you want to move notes to the other staff). It identifies notes which need to be moved automatically. To obtain the best result, you can help the plug-in identify these notes by setting some options, such as the highest or lowest note that can occur in the bottom or top staff, etc.

Main • Lowest note for top staff (C4=middle C): This is one of the most important settings. Find the lowest note in the top staff and enter its pitch here. The default, G3, is the G below the second ledger line below a treble clef staff. • Highest note for bottom staff: This is an equally important setting as the previous one. The default, A4, is the A above the third ledger line above an bass clef staff. • Try to put at least how many notes in bottom staff: This option can really improve the output. If the music always has at least one note in the bottom staff, such as a bass line, then you should enter a 1 here. Occasional exceptions may not even matter. • Simplify rhythm: This option can be useful for combining rests or tied notes, but you should use it only if needed. 2615

Intervals • Max. simultaneous interval in upper staff (8=octave): This option should be set according to the music being processed. Specifying the maximum interval that can be found in the correctly notated music will produce better results. • Max. simultaneous interval in lower staff: Same as previous option, but for the lower staff. • Max. leap in upper/lower staff: This information can also help the plug-in to make the correct educated guesses in terms of which notes should be moved. • Minimize simultaneous intervals per staff: This option will move notes even though the maximum interval in a staff is not exceeded. You can uncheck it if it produces incorrect results.

Note Durations • Note durations may be shortened to make space for new ones · Try to remove resulting rests by expanding the preceding note values · Allow moved notes replacing rests to be longer than before · Allow notes added to chords to be longer than before. These options will help making the output of the plug-in clearer. Uncheck any one of them if they produce incorrect results. • Apply · Close. Click Apply to apply the current commands and leave the dialog box available for the next set of commands. Click Close to dismiss the dialog box without making any changes. Here is an example:

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2617

Split Measure Plug-in How to get there Select the Selection Tool and select the full measure you wish to split. From the Plug-ins menu, choose Measures, and then Split Measure.

What it does This plug-in automates process of dividing a measure into two sections and editing the measure number map accordingly. You can use this plug-in to create, for example, a dashed barline within an existing measure or split part of the measure over a system break. Example - Splitting a measure across a system break:

Example - Creating a dashed barline:

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• Split measure after beat. Specify the beat prior to the measure split here. For example, if you would like to split a measure in common time in half, enter “2” here. This value must be in the range of one to one less than the total "Number of Beats" setting (as displayed in the Time Signature dialog box) for the selected measure. For example, in 2/4 or cut time the only valid entry is 1. Instead of specifying a beat, you can enter a fractional value, such as .25, .50, or .75. This value must be numeric and be in the range of .25 to .25 less than the numerator of the time signature of the measure. For example, the valid entries for 2/4 time are .25, .5, .75, 1, 1.25, 1.5, and 1.75. The following table illustrates some time signatures that will result from the use of this plug-in. Rows 1-9 represent the time signature of the selected measure. Columns A - D represent the first half of the split measure that would result from each valid entry for the parameter "Split Measure After Beat:"

Number of Beats

.25

.50

.75

1

Time Signature

A

B

C

D

1

1/16

1/64

1/32

3/64

--

2

3/32

1/128

1/64

3/128

1/32

3

1/8

1/32

1/16

3/32

--

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4

3/16

1/64

1/32

3/64

1/16

5

1/4

1/16

1/8

3/16

--

6

3/8

1/32

1/16

3/32

1/8

7

1/2

1/8

1/4

3/8

--

8

3/4

1/16

1/8

3/16

1/4

9

1/1

1/4

2/4

3/4

--

In example A5, a 1/4 time signature and an entry of 0.25 would generate one bar of 1/16 time and one bar of 3/16 time. In example B8, a 3/4 time signature and an entry of 0.5 would generate one bar of 1/8 time and one bar of 5/8 time. • Barline Style: Invisible · Dashed. Choose the type of barline you would like to add at the split point. It is common to choose Invisible for a measure you would like to split across a system break. • Move second part of measure to next system. Choose this option to move the second part of the split measure to the next system. • OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

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Split Point Plug-in

How to get there Select a region with the Selection Tool that includes two adjacent staves. From the Plug-ins menu, choose Scoring and Arranging, and then Split Point.

What it does The Split Point plug-in allows you to change the transition point between the notes on two staves. For example, if you had set your split point for HyperScribe for middle C, you can easily change measures where it makes more sense for the split point to be B below middle C. • MIDI note number · Pitch. Enter the new split point using either the MIDI note number or the MIDI Pitch. • OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

2621

Tie Common Notes Plug-in

How to get there With the Selection Tool , select a measure or group of measures that contain the common notes to be tied. From the Plug-ins menu, choose Scoring and Arranging, Composer’s Assistant, and then Tie Common Tones.

What it does The Tie Common Tones plug-in adds a tie between adjacent notes of like pitches that are in the same Layer within the selected measures. • More Info · Cancel · OK. Click More Info for a reminder of what input this plug-in requires and a brief summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any changes, or Click OK to make the selected changes.

2622

Update Groups and Brackets plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, then Update Groups and Brackets.

What it does This plug-in allows you to easily reposition, edit, and otherwise manage group brackets after systems have been optimized (see Optimizing systems). Since brackets on optimized systems are traditionally independent, this plug-in is the preferable way to work with multiple groups and brackets post-optimization. This plug-in does not affect non-optimized systems in any way. You can use the Undo command under the Edit menu to undo individual changes made in this plug-in. • Create. Click this button to open the Group Style Definition dialog box where you can define a new group style. When you create a new group style, you have the option to add it to all matching systems. If you do not add it to all matching systems, the style appears in italics in the Group Scope List, indicating it exists, but has not yet been set to the system. See Group Style Definition dialog box. • Duplicate. Click this button to open the Group Style Definition dialog box, already filled with the group style you have selected in the Update Groups 2623

and Brackets dialog box. When you duplicate and edit a group style, you have the option to add it to all matching systems. If you do not add it to all matching systems, the style appears in italics in the Group Scope List, indicating it exists, but has not yet been set to the system. • Edit. Click this button to open the Group Style Definition dialog box where you can edit an existing group style definition. • Delete. Click Delete to delete the selected group style and all occurrences of the style in the document. • [Group Style List] · Bracket · Usage · Name · From · To · Span · Abbr. Name · Show Name · Draw Barline · Alternate Barline · Barline · Single Staff Bracket. This list displays the available group styles. Use the horizontal scroll bar above this list to view all twelve group style properties. Double-click a group style to open the Group Style Definition where you can edit it. Click a group style, and all optimized systems to which the group style has been applied appear in the Group Scope List. • [Group Scope List]. This list displays all optimized systems containing at least one staff of the group style currently selected in the Group Style List. Use this list to add or remove group styles to/from systems. This list only contains systems suitable for an individual bracket to be placed (which excludes non-optimized systems and systems that do not include staves within the selected group style’s span). Italics indicate the group style has not been applied to that system. Double-click an unchecked check box to check it and uncheck all other boxes. Double-click a checked box to uncheck it and check all other boxes. • Set · Move · Position. Click Set to apply the selected group style to all systems checked in the Group Scope List. Changes are instantly applied. Click Move to open the Move Groups dialog box where you can reposition group brackets and names for the currently checked systems. See Move Groups dialog box. Click Position to open the Position Groups dialog box where additional positioning, text justification, alignment, and other details can be set for the currently checked systems. See Position Groups dialog box. • Auto-display System in Document. Check this box to automatically display the Group Scope List’s currently selected system in the document window. When this box is checked, any new selection in the Group Scope List will cause the selected system to snap into view. (Click to the right of a check box in the Group Scope List to select a system). This setting is session-specific, and is checked by default in each new Finale session. This functionality is only available in Page View. • Close. Click this button to close the Update Groups and Brackets dialog box without making changes. 2624

Vertical Collision Remover plug-in

How to get there From the Plug-ins menu, choose Scoring and Arranging, then Vertical Collision Remover. This plug-in will process the entire document unless a region is selected with the Selection Tool, in which case changes will be applied to all systems in the selected region (including partially selected systems).

What it does This plug-in allows you to automatically reformat the vertical positioning of staves, systems, and instrument groups to avoid collision of notes, articulations, smart shapes and other items. This plug-in can also be used to manually adjust the vertical spacing of systems, instrument groups, and staves both in conjunction with the automatic collision remover options, or independently. This plug-in is particularly useful after switching to Page View after creating a document in Scroll or Studio View - where it is difficult to predict where these vertical collisions will occur.

Note: For files with only one system per page, this plug-in will not expand 2625

the system beyond the bottom page margin. If the desired collision removal and spacing between staves cannot be achieved, you may need to change your system scaling or increase your page size. The speed of this plug-in depends on the size and complexity of the score as many calculations are processed to account for the position of every score element.

Main Options: • Process Entire Document· Process Systems _ Through _. Choose Process Entire Document to apply changes to all pages in the document. Choose Process Systems _ Through _, and in the text boxes, enter the first and last system number for the region you would like to change. (Hint: To display system numbers to the left of each system, choose the Page layout Tool ). • Remove Vertical Collisions. Check this box to find collisions of notes, articulations, Smart Shapes, Expressions, lyrics, chords, fretboards, and repeat brackets between staves, and adjust the vertical staff and system formatting so that the items no longer collide. (This command can be used in conjunction with the Balance White Space command so that the white space created by this function is more evenly distributed on the page.) • Minimum Space Between Closest Items on Adjacent Staves__ · [Tighter/Looser slider]. Use these controls to specify the minnimum amount of space to introduce between colliding items. In the text box, you can provide the specific amount of vertical space required between elements. Or, click and drag the slider to specify this value. The units of measurement are whatever you’ve selected using the Measurement Units submenu under the Edit menu. • Balance White Space; Overall Space Between Systems__ · Instrument Groups__ · Other Staves__ · [Tighter/Looser sliders] · Do Not Change. Check this box to specify the (minimum) amount of space between systems, groups and/or other staves. Systems/groups/staves will be spaced to the values specified here unless extra space is required due to the value specified for Minimum Space Between Closest Items on Adjacent Staves above. “Balance” here refers to the use of these commands in conjunction with the Remove Vertical Collisions command, which can yield inconsistent spacing if, for example, there are severe collisions between some systems on a page and not others. Use these controls to regulate inconsistent spacing by choosing a value closer to the greatest amount of 2626

space required by the Minimum Space Between Closest Items on Adjacent Staves setting. In the text boxes, provide the specific amount of vertical space required between systems, instrument groups, or staves. Or, click and drag the slider to specify these values. The units of measurement are whatever you’ve selected using the Measurement Units submenu under the Edit menu. Check Do Not Change to maintain existing spacing for systems, instrument groups, or other staves (controls for that item will be grayed out). If the active document contains only one staff per system, only the Systems controls will be available. If the active document contains two or more staves per system, but no instrument groups, the Instrument Groups controls will not be available. More: • Total System Height; Minimize · Try To Keep Existing · Change As Needed. Use these controls to specify the degree to which you want this plug-in to adjust the total system height (from the top staff in the system to the bottom staff). Select Minimize to move adjacent staves in a system so that the two closest items are set to the minimum distance specified in the Remove Vertical Collisions field, even if there are no collisions between staves. Select Try to Keep Existing to move some staves in a system farther apart to remove collisions - it will compensate by moving other staves closer together to maintain the same overall system height. Select Change to move staves as required to meet the specifications in Remove Vertical Collisions and Balance White Space. This is the default setting. • Can Be Decreased · Can Be Increased. Uncheck one of these boxes to prevent the plug-in from increasing or decreasing system height, even if that is required to meet the spacing specified in Remove Vertical Collisions and Balance White Space. • Keep Number of Systems on Each Page. If the new spacing changes the layout such that fewer systems can fit on a page, this plug-in will move systems to the next page as needed. Similarly, if the new spacing allows more systems to fit on a page, it will move systems to the previous page. If “Keep Number of Systems On Each Page” is checked, it will not move systems, even if this means allowing collisions to remain. If space does not allow removing collisions with keeping the same number of systems on the page, you may need to change your system scaling or increase your page size.

2627

Virtual Fundamental Generator Plugin

How to get there Select a sequence of chords in one staff with the Selection Tool l. All chords must be in layer 1, voice 1. From the Plug-ins menu, choose Scoring and Arranging, Composer’s Assistant, and then Virtual Fundamental Generator.

What it does The Virtual Fundamental Generator plug-in creates a new staff below the selected staff. Below each chord of the selection, it displays one bass note, which is the virtual fundamental. The virtual fundamental algorithm is a psycho-acoustical algorithm that finds a bass note (a fundamental) for which all the note of the chords may appear as harmonic partials. When adding this bass note to the chord, it makes it sound better, less tense and more homogeneous. The virtual fundamental may be thought of as a “root” for the chord. • Specify Lowest Pitch · Listen. The number in the Specify Lowest Pitch field represents the lowest MIDI note that will be created by the plug-in. You can either use the spin controls to change the value, or click the Listen button followed by playing a note on your MIDI device to specify the pitch. Middle C, or C4 is represented as MIDI note 60. • Allow Octave Displacement. Checking Allow Octave Displacement means that if the virtual fundamental is below the ‘lowest pitch’ threshold given in the dialog, the plug-in will compute the closest octave of the fundamental that is above the threshold. Without checking this, any virtual fundamental that is lower than the specified lowest pitch will be ignored.

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2629

Voice 2 to Layer Plug-in

How to get there Select a region with the Selection Tool. From the Plug-ins menu, choose Note, Beam, and Rest Editing, and then Voice 2 to Layer.

What it does The Voice 2 to Layer plug-in allows you to convert any voice 2 notes and rests to the selected layer. • From layer · To layer. Select the layer with the voice 2 notes and rests to convert in the From layer drop-down list menu. Select the layer to place the converted voice 2 notes and rests into in the To layer drop-down list menu. • OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes. Notes: 1. All notes in the layer being written to are replaced by the new notes. 2. Hidden rests are added as needed to keep the moved notes in the same position. 3. The stem direction of the new notes is frozen down unless the new layer has a preferred stem direction or the stem is already frozen up.

2630

Terms and Symbols Some common musical terms and symbols are listed here, along with the Finale tool used to create and/or edit them.

2631

Tools Finale's Tools are located in the Main Tool Palette and the Advanced Tools Palette . If you do not see the Main Tool Palette or Advanced Tools Palette, you can activate it by choosing "Main Tool Palette" or "Advanced Tools Palette" from the Window menu.

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Articulation Tool Use this tool to enter one-character articulation markings (such as accents, staccato marks, fermatas, and so on) into your score. You attach an articulation to a single note in a single staff (by clicking on, above, or below it); if the note moves, the articulation moves with it. You can also define an articulation for playback; it can affect either the timing or the volume (key velocity) of the note on which it appears.

To learn about how articulations are handled in linked parts, see Articulations in linked parts. See also Articulations.

Special mouse clicks • Click on, above, or below a note or rest to display the Articulation Selection dialog box, from which you can select an articulation marking you want to insert. (If you are using voices, click above the staff for Voice 1 and below for Voice 2.) • Click or shift-click articulation handles to select one (or additional) articulations, respectively. • Click and drag to select multiple handles. • Press ctrl-A to select all the handles. • Drag a selected handle to move all selected articulations. • Press delete, or right-click the handle and select Delete from the contextual menu to remove an articulation (or all selected articulations). • Double-click an articulation handle (or select the handle and press enter), or right-control-click the handle and select Edit Articulation Definition from the contextual menu to display the Articulation Designer dialog box, where you can edit the character used for an articulation marking, including its playback definition, font, and automatic-placement options. • Drag-enclose a series of notes to bring up the Apply Articulation dialog box. Hold down delete and drag-enclose note to remove the articulations. • Alt-click and hold a handle of an articulation to highlight the note to which it is assigned.

Metatools

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You can create Articulation Metatools—one-key equivalents for articulation markings—that can save you time if you need to insert many expression markings into your score (because you bypass the Articulation Selection dialog box).

To program an Articulation Metatool Click the Articulation Tool. Press shift and a letter or number key. Finale displays the Articulation Selection dialog box; double-click the marking you want to correspond to the letter or number you pressed (or, click the desired articulation and then click Select).

To use an Articulation Metatool Click the Articulation Tool. While pressing the number or letter key to which the desired marking was programmed, click on, above, or below a note or rest. The marking appears at the place you clicked. You can also press a metatool key and drag-enclose the desired notes to apply the articulation to those notes. To enter an articulation while entering notes in Simple Entry, see Adding Articulations in the Simple Entry chapter. Contextual Menus Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be displayed where you can select various items. Articulation handles Menu item

What it does

Edit Articulation Definition

Display the Articulation Designer dialog box

Show

Check this option to show, or uncheck to hide (on the printed page)

Relink to Score (parts only)


Unlink In All Parts (score only)


Relink In All Parts (score only)

Restore the link to all corresponding items in parts

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Delete

Removes selected articulations

See Also: Main Tool Palette Articulation Designer Articulation Selection

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Chord Tool When you click this tool, the Chord menu appears. The Chord Tool lets you create, move, and delete chord symbols in your score. These symbols are musically intelligent; they play back when you play back the piece, transpose when you transpose the music, and can be placed in your score automatically. You can even teach Finale to recognize nonstandard, complex, or unusually spelled chord symbols. See Chord symbols for full instructions. With Manual Input selected, you can type chords directly into the score, play chords into the score with a MIDI keyboard, or type chords into the Chord Definition dialog box to create or edit an existing chord in the score. For information regarding chords and fretboards in scores with linked parts, see Chords, fretboards, and lyrics in linked parts.

Special mouse clicks • Click the staff to display the four vertical-positioning arrows at the left side of the screen, which you use to adjust the position of the baseline for the chord symbols. • When Manual Input is selected in the Chord menu, double-click a note to which no chord symbol is attached to display the Chord Definition dialog box, where you can specify a chord symbol you want to appear at that point. • When Manual Input is selected in the Chord menu, drag a chord symbol handle to move the chord symbol and fretboard; press delete to remove the symbol from the score. • When Manual Input is selected in the Chord menu, perss Enter when a handle is selected, or right-click the handle and select Edit Chord Definition from the contextual menu to display the Chord Definition dialog box, where you can change the identity or suffix of the chord symbol. • When Manual Input is selected in the Chord menu, click a note to which you want to attach a chord symbol. A flashing cursor appears above the note. Type the chord symbol you want attached to the note. • When Allow MIDI Input is checked in the Chord menu, click a beat or note to place the blinking cursor at that spot. Now play a chord on your MIDI instrument; Finale will correctly analyze it and place the corresponding chord symbol into the score. Press a single note within an octave above Middle C to advance the cursor to the next note/beat. Press a single note within an octave below Middle C to move to the previous note. Play a single note above/below middle C to advance forward/backward by full measures. 2636

• When One-Staff Analysis (or Two-Staff Analysis or All-Staff Analysis) is selected in the Chord menu, click a note to make Finale analyze the chord at that spot (one staff, two, or all staves deep, respectively) and place the corresponding chord symbol into the score.

Metatools You can create Chord Metatools—one-keystroke equivalents for complete chord symbols—that can save you time if you need to insert complex chord symbols into your score.

To program a Chord Metatool Click the Chord Tool. Press shift and a letter or number key. Finale displays the Chord Definition dialog box; create the chord symbol you want to correspond to the letter or number you pressed (see Chord Definition dialog box). Click OK.

To use a Chord Metatool Click the Chord Tool. While pressing the letter or number key corresponding to the Metatool you programmed, click a note or rest. The chord symbol appears immediately, transposed according to the key signature if necessary. Contextual Menus Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be displayed where you can select various items. Menu item

What it does

Edit Chord Definition

Display the Chord Definition dialog box

Edit Fretboard

Display the Fretboard Editor dialog box

Delete

Removes selected chord symbols

Show Chord

Shows (or hides) individual chord symbols

Show Fretboard

Shows (or hides) individual fretboards



2637




Display the Resize Notehead dialog box

For further information, see the Chord Definition dialog box.

See Also: Document Options-Chords Main Tool Palette Chord menu

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Clef Tool Use this tool to create clef changes anywhere in the score - even in the middle of a measure. To change the default appearance of clefs, see the Clef Designer dialog box.

Special mouse clicks • Double-click a measure to display the Change Clef dialog box, where you can specify a clef that you want to insert in the measure you clicked. • Click a measure that contains a mid-measure clef to display a handle on every mid-measure clef. • Drag a mid-measure clef handle left, or right to adjust the clef’s position. The notes before and after it are renotated accordingly after you drag it. • Drag a mid-measure clef handle across the left barline to convert it to a regular clef change (where the clef appears to the left of the barline). • Click a mid-measure clef handle to select it; press delete, or rightclick the handle and select Delete from the contextual menu to remove it. You can also shift-click to select additional mid-measure clef handles or drag-enclose several. • Double-click a mid-measure clef handle; on the second click, hold the mouse button down and drag the handle right or left to change the clef (from a bass clef to a treble clef, for example). As you drag the clef horizontally, it cycles through its eighteen available clefs. • Ctrl-click a mid-measure clef handle, or right-click the handle and select Edit Clef Definition from the contextual menu to display the midmeasure Clef dialog box, where you can change the clef, specify its positioning, or turn it back into a single clef (one that appears just before the first barline of the measure and can’t be moved). • Double-click a highlighted region of measures to open the Clef Selection dialog box where you can change the clef for all measures in the region.

Metatools You can create Clef Metatools—one-keystroke equivalents for a particular clef—which can be especially useful if you apply the same clef in multiple places in your document. Clef Metatools can be programmed to any letter or number.

2639

To program a Clef Metatool Click the Clef Tool . Press shift and a number key or a letter. Finale displays the Clef Selection dialog box; choose the clef you want to correspond to the number or letter you pressed. Click OK (or press enter).

To use a Clef Metatool Click the Clef Tool. Highlight a region of measures and press the desired clef metatool to apply the new clef to the highlighted region.

Or, while pressing the desired clef metatool key: • Click before the first note of a piece to change the first clef displayed. • Click before the first note of a measure to change the first clef for that measure and the remainder of the piece. • Click between notes in a measure to set a mid-measure clef for the remainder of the measure and the remainder of the piece.

Contextual Menus Contextual menus ar e reac hed by right-clic king on the handl e of an object. A contextual menu will be dis played wher e you can sel ect vari ous items.

Menu item

What it does

Edit Clef Definition

Display the Mid-Measure Clef dialog box

Delete

Delete selected mid-measure clef

For further information, see the Change Clef dialog box.

See Also: Document Options-Clefs Main Tool Palette

2640

Expression Tool Expressions are markings that tell the performer how to interpret (or express) a musical passage. In Finale, expressions are generally symbols or text placed above or below the staff (see Expressions). Dynamic markings, tempo indications, expressive text, technique text, and rehearsal marks are all generally added as expressions. Expressions have the ability to adjust according to spacing changes in the music. For example, when you apply music spacing changes, expressions will move to the appropriate position in the measure. Like chords and lyrics, all expressions can be set to snap to a baseline so they are aligned at the same distance above or below the staff. Expressions can be added to the score quickly using metatools. For information on creating and using expression Metatools, see Metatools.

Special mouse clicks • Double-click above, below, or on any measure to display the Expression Selection dialog box, from which you can select an expression to place in the score at the position you clicked. • Click and drag a box around multiple staves to add an expression to those staves. The Expression Selection dialog box appears where you can choose the desired expression. Hold down a Metatool key and drag a box around multiple staves to quickly apply the expression to those staves. • Click or shift-click expression handles to select one expression. Shiftclick to add an expression to your selection. Or, drag-enclose to select multiple expressions. • Drag a selected handle to move all selected expressions; press delete, or right-click the handle and select Delete from the contextual menu to remove them. • Double-click the handle of a Shape Expression to show its eight bounding handles, or its reshaping handles (for curves and single lines) use these to drag or stretch the shape. If you double-click one of these handles, or right-click the expression handle and select Edit Shape Expression Graphically from the contextual menu, the shape’s control handles appear (for single, ungrouped shapes), which you can drag to reshape the marking itself. • Press Ctrl-A to select all expressions on the page. • Double-click an expression handle (or select the handle and press enter) to open the Expression Selection dialog box where you can edit the expression or choose a new one. In the Expression Selection dialog box, to

2641

assign a metatool, select an expression and press Shift-(number or letter). See To use an expression metatool. • -click an expression handle, or right-click the handle and select Edit Expression Definition from the contextual menu to display the Expression Definition dialog box where you can edit the spelling, playback definition, font, and positioning of an Expression. • Shift–double-click an expression handle, right-click the handle and select Edit Expression Assignment from the contextual menu, or select a handle and press Shift-enter to display the Expression Assignment dialog box, where you can specify several positioning parameters for the expression whose handle you clicked. • Select an expression handle and press Backspace to clear manual positioning changes. • Select an expression (or multiple expressions) and double-press a metatool key to change the expression’s definition to the expression assigned to the key pressed. This is called "QuickChange." • Alt-click and drag or nudge an expression to move it without changing its attachment point. • Hold down ` (tilde) and drag/nudge a master expression to move it without moving the subsequent expressions in other score staves or in the corresponding parts. The master Score List expression. • [Non-Score List expressions] Select an expression handle and press Ctrl-Up arrow or Ctrl-Down arrow to add the expression to the staff above or below (respectively). • [Non-Score List expressions] Select an expression handle and press Ctrl-Home or Ctrl-End to add the expression to all staves above or below (respectively). • [Non-Score List expressions] Select an expression handle and press Ctrl-Alt-Enter to add the expression to all staves.

Contextual Menus Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be displayed where you can select various items. They will also state whether the expression is attached to a note or a measure.

Text expression handles Menu item

What it does

Assign to All Staves

Adds the expression to every staff

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Assign to Staves

Opens the Assign to Staves dialog box, where you can choose or define an Assignment List

Edit Expression Assignment


Edit Text Expression Definition

Display the Text Expression Designer dialog box

Edit Rehearsal Mark Sequence

Open the Rehearsal Mark Sequence dialog box where you can begin a new rehearsal mark sequence.


Moves expression to default positioning

Show








Delete

Removes selected expression

Shape expression handles Menu item

What it does



Edit Shape Expression Definition


Edit Shape Expression Graphically

Displays bounding box handles for graphically editing the shape expression 2643


Moves expression to default positioning

Show








Delete

Removes selected expression

See Also: Expressions Main Tool Palette Expression menu

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Graphics Tool Use this tool to exchange PostScript and bitmapped graphics between programs. You can place Encapsulated PostScript (EPS) files, and TIFF (TIF) files for use within Finale, and export a region of music or pages of music as EPS and TIFF files that can be used in other applications. When you click this tool, the Graphics menu appears; it contains all the commands to place a graphic into Finale, export pages or a selection of music from your document to another file, position graphics in your music, and show the location of graphics files. When you place a graphic--a company logo, for example--it can be brought into the score in either Scroll View or Page View. The placed graphic may be assigned to and positioned on a single page or measure, or displayed on a range of pages, so it becomes a running header or footer throughout the document. You can position and scale graphics on your score by dragging their bounding handles. An additional way to place a graphic is via the Graphics Tool in the Shape Designer window. Graphics placed into the Shape Designer may be used anywhere that shapes are currently used in Finale. For example, you can use placed graphics with the Expression Tool, or the Articulation Tool. Special mouse clicks • Click in the Shape Designer display area to place a graphic in the Shape Designer. The Place Graphic dialog box appears displaying the available EPS, PICT and TIFF graphics. • Click a graphic or drag-enclose graphics to select a graphic or graphics. Eight bounding handles appear on each selected graphic. • Shift-click a graphic Add a graphic to the selection. If a graphic is already selected, remove the graphic from the selection. • Double-click a graphic to edit the graphic’s attributes. The Graphic Attributes dialog box appears. • Double-click in the score to place a graphic in the score. The Place Graphic dialog box appears displaying the available EPS, PICT and TIFF graphics. • Double-click and drag to enclose a region in Page View Select a region containing the musical example to export. • Press delete for one or more selected graphics to delete the selected graphics. • Drag a selected graphic to adjust the graphic’s position in the score. 2645

• Drag a graphic’s bounding handle to resize the graphic horizontally or vertically.

For further information, see the Shape Designer and Graphics menu..

See Also: Advanced Tools Palette

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Hand Grabber Tool When the Hand Grabber Tool is selected, you can drag the mouse across the music in any direction to shift its position on your screen, as though you’re sliding the score page across your desk. In most cases, it’s a faster, more efficient way of moving around the score than using the scroll bars.

Special Mouse Clicks • While using any other tool, press the right mouse button to switch temporarily to the Hand Grabber Tool. Drag in the score to make a display adjustment without having to move the mouse to the Navigational Tools Palette.

See Also: Main Tool Palette

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Key Signature Tool Click this tool, then double-click the measure where you want to change the key signature; the Key Signature dialog box appears, from which you can select the new key. (You can also access the Nonstandard Key Signature dialog box if you want to create nonstandard or nonlinear key signatures.) You can also specify whether or not you want any music that's already in the affected measures to be transposed into the new key. You can also use the mouse to drag-enclose a region for a key change.

Special mouse clicks • Drag-enclose an area to select a region of music for Metatools, or for the Key Signature dialog box to affect.

Metatools You can create Key Signature Metatools—one-keystroke equivalents for key changes—which can be especially useful if you need to insert many key changes in your music (or if you’ve created complex nonstandard key signatures).

To program a Key Signature Metatool • Click the Key Signature Tool

.

• Press Shift and a number key or a letter. Finale displays the Key Signature dialog box; choose the key signature you want to correspond to the number or letter you pressed. • Click OK (or press enter).

To use a Key Signature Metatool • Click the Key Signature Tool

.

• Select a region. • While pressing the number or letter corresponding to the Metatool you programmed, double-click a measure or drag-select and doubleclick measures. Finale changes the key signature over the range of measures you selected.

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Contextual Menus Contextual menus are reached by right-clicking on the handle of an object or a selected region of measures. A contextual menu will be displayed where you can select a key signature. Right-click a selected region of measures and choose an option from the context menu that appears to change the key signature for that region.

Menu item

What it does

C Major

Sets the key signature to C Major

G Major

Sets the key signature to G Major

D Major

Sets the key signature to D Major

A Major

Sets the key signature to A Major

E Major

Sets the key signature to E Major

F Major

Sets the key signature to F Major

Bb Major

Sets the key signature to Bb Major

Eb Major

Sets the key signature to Eb Major

Ab Major

Sets the key signature to Ab Major

A minor

Sets the key signature to A minor

E minor

Sets the key signature to E minor

B minor

Sets the key signature to B minor

F# minor

Sets the key signature to F# minor

C# minor

Sets the key signature to C# minor

D minor

Sets the key signature to D minor

G minor

Sets the key signature to G minor

C minor

Sets the key signature to C minor

F minor

Sets the key signature to F minor

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Other

Opens the Key Signature dialog box where you can define a key signature

For further information, see the Key Signature dialog box.

See Also: Document Options-Key Signature Main Tool Palette

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Lyrics Tool This tool lets you create, edit, and move lyrics in your score. You can create many different sets of lyrics (which you might use, for example, in a hymn with several verses); you can move the baseline (the imaginary line upon which the bottoms of the words align) up or down independently for each set of lyrics. When you click this tool, the Lyrics menu appears; it contains all the commands you need to create lyrics in your score. See Lyrics for more information.

Special mouse clicks • Click a staff to tell Finale the staff to which you want lyrics attached. • In Type Into Score, use the up and down arrows to move to the previous or next verse, chorus or section. • In Type Into Score mode or Click Assignment mode, drag the positioning triangles at the left edge of the screen to specify the vertical position of the baseline for the lyric set you’re inserting. For a full discussion of these triangles and their functions, see Lyrics. • In Type Into Score mode, click near the first note to indicate which note you want to attach a syllable to. Then type the lyrics normally. • In Type Into Score mode, click near a note to select (highlight) the syllable attached to it. Anything you now type replaces the highlighted syllable. • In Click Assignment mode, click near the first note to attach the first syllable in the scrolling window. (If the note is in Voice 2, shift-click.) • In Click Assignment mode, ctrl-click near the first note to tell Finale to assign all syllables in the lyric set displayed in the scrolling window. Finale attaches one syllable at a time to subsequent notes in the melody, automatically skipping over rests and tied notes. (Finale only assigns lyrics to the notes in the current layer, as identified by the pressed Layer push button in the lower-left corner of the window.) • In Edit Word Extensions mode, click near the sustained syllable to display a handle at the end of the syllable. (If the note is in Voice 2, shiftclick.) Drag this handle to the right to draw a word extension underline (indicating that the syllable is sustained through more than one note). Click this handle and press delete to remove the word extension. • In Adjust Syllables mode, click near the syllable you want to move to display handles on that syllable and any others attached to the same note. (If the syllable is assigned to a note in Voice 2, shift-click.) Drag a lower handle to move the syllable; select it and press backspace to restore it to its 2651

original position; select it and press delete to remove it from the score. Select several vertically-aligned handles (by shift-clicking, drag-enclosing or using ctrl-A) and choose alignment and justification options from the Alignment and Justification submenus. See Lyrics menu. • In Clone Lyric mode, click one measure, shift-click another measure, drag-enclose several measures, or click to the left of the staff to select one measure, additional measures, a group of measures, or the entire staff at once. Drag the first selected measure so that it’s superimposed on the first target measure to copy the lyrics from the selected measures to the target measures. • In Shift Lyrics mode, click near the first syllable you want shifted to shift that syllable and subsequent syllables one note to the right or left (automatically skipping rests and tied notes).

Contextual Menus With Adjust Syllables selected in the Lyrics menu, right-click the handle closest to a syllable. A contextual menu will be displayed where you can select various items.

Lyric handles Menu item

What it does

Align Default

Changes the alignment of the syllables back to Finale’s global setting

Align Center

Changes the alignment of the syllables to centered under the note

Align Left

Changes the alignment of the syllables to the left under the note

Align Right

Changes the alignment of the syllables to the right under the note

Justify Default

Changes the justification of the syllables back to Finale’s global setting

Justify Center

Changes the justification of the syllables to centered relative to each other 2652

Justify Left

Changes the justification of the syllables to the left relative to each other

Justify Right

Changes the justification of the syllables to the right relative to each other

See Also: Lyrics menu Main Tool Palette Lyrics Tool

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HyperScribe Tool The HyperScribe Tool is one of Finale's real-time transcription tools; you use it to transcribe a live keyboard performance into notation as you play, even onto two staves. When you click this tool, the HyperScribe menu appears; it contains all the commands you need to describe to Finale the music you're about to play. If you plan to use a MIDI Guitar for input, see To use a MIDI guitar for entry.

Special mouse clicks • Click a measure to indicate where you want the transcription to begin. • After playing only partway into a measure, Ctrl-click the screen to end the HyperScribe session without affecting the measure. (You'd do this if there was some music already in that measure that you wanted to preserve.

See Also: HyperScribe menu Main Tool Palette

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Measure Tool This tool allows you to define and edit measure numbering and edit measure spacing. (Add or delete measures with the Edit menu). Using this tool, you can create different regions of measure numbering in your score. Each region can have a different numbering or lettering scheme; for example, you might letter the introductory measures A, B, C, and D, and then number subsequent measures beginning with 1, 2, 3, and so on. When you select Edit Measure Number Regions, the Measure Number dialog box appears, where you can define various parameters for the measure numbering in a region such as the font, positioning, enclosure shape (if any), and incidence of the measure numbers (how often they appear). See Measure numbers for full instructions. When you click this tool, a handle appears on every barline; drag a barline’s handle (or drag within the measure) to make the measure wider or narrower. You can also double-click a measure to display the Measure Attributes dialog box, where you can specify a number of measure-specific parameters: the barline type, whether or not you want the key or time signature to appear, and so on. (See Measure Attributes dialog box for more information.) If you’ve used the Music Spacing command on a measure, it displays two handles on the barline. If you click the second one, Finale displays a beat chart above the measure—a set of handles you can drag to change the horizontal positions of the beats in all staves at once. See Beat positions for full details. Finally, if you’ve selected Allow Horizontal Split Points in the Measure Attributes dialog box for a measure, it displays three handles on the right barline. If you click the bottom handle, a special rectangle appears, in which you can designate permissible split points for the measure—places where Finale may break the measure over a system break if it’s too long to fit on the line; see Measures.

Special mouse clicks • Double-click the Measure Tool to add a single new blank measure at the end of the score. • Ctrl-click the Measure Tool to display the Add Measures dialog box, in which you can tell Finale how many new blank measures you want to appear at the end of the score. • Ctrl-click the measure handle to display all measure numbers defined for a measure (even if no numbers are currently showing in the measure).

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Note: Measure numbers will only appear in a staff when Measure Numbers is selected as one of the Items to Display in the Staff Attributes dialog box. • Click a measure number’s handle, shift-click an additional handle, or drag-enclose several handles to select specific measure numbers (with "Dragging Selects Number Handles" selected). • Select a measure number’s handle and press delete, or right-click the handle and select Delete from the contextual menu to remove a measure number. Finale hides the measure number for that measure in that staff only (not for every measure above or below it). • Drag a selected handle to reposition the measure number (and any other selected measure numbers. If auto-constrain dragging is not selected, press shift to constrain dragging. • Select the measure number’s handle, then press backspace, or rightclick the handle and select Restore Default Positioning from the contextual menu to reset a manually positioned measure number back to its default position. Finale moves the measure number back to its original position as defined in the Measure Number dialog box for the measure number map. • Double-click the handle of a measure number, or right-click the handle and select Edit Enclosure from the contextual menu to display the Enclosure Designer dialog box, where you can select an enclosure shape or edit the shape’s height, width, center, and line thickness. If you no longer want an enclosure to appear on a measure number, choose None from the Shape drop-down list. Finale shows any changes you make to the measure number for that measure in that staff only (not for every measure above or below it). When you double-click a measure number handle, the Enclosure Designer dialog box appears displaying an additional button labeled Use Default Enclosure. When you first display this dialog box, the default enclosure set in the Measure Number dialog box for the region appears selected in the Enclosure drop-down list. Changing the shape or editing any other settings, means that the default enclosure is no longer used for the measure number. Click Use Default Enclosure to reset the enclosure and 2656

return to the document where the default enclosure, as defined in the Measure Number dialog box for this region, appears on the measure number. • Double-click a measure, or right-click the top handle and select Edit Measure Attributes from the contextual menu to display the Measure Attributes dialog box. (You can also double-click a measure’s handle or select a handle and press enter.) • Drag the top barline handle right or left to make the measure wider or narrower. If you’re in Page View, the measure to the right of the barline gets narrower or wider to compensate. • Click the second barline handle of a measure or right- click the top handle and select Edit Beat Chart from the contextual menu to display a beat chart, which you can use to change the horizontal positions of the beats in the measure (in all staves). • Click the third (bottom) barline handle of a measure or right- mouse click the top handle and select Edit Split Points from the contextual menu to display a split point bar, where you can double-click to indicate a permissible place for Finale to break the measure in half, if necessary, at a system break. • Drag one of the lower handles in a beat chart to move that beat horizontally in all staves. • Shift-drag the lower handle of a beat chart to move that beat and all subsequent beats in the measure horizontally in all staves. • Double-click between two upper handles of a beat chart to add another upper/lower pair of beat positioning handles for the beat between the two original handles. Click any upper handle and press delete to remove it. (You can’t remove the first handle in the measure, however.) • Double-click an upper handle of a beat chart to display the Beat Chart dialog box, where you can tell Finale precisely which beat’s position you want the handle you double-clicked to control. • Click an upper handle (Remember that the first handle can be removed) to select it, whereupon you can press delete to remove it from the beat chart. • With Show Measure Spacing Handles checked in the Measure menu, click and drag a measure spacing handle (on the bottom staff line) to add or remove space from the beginning or end of a measure.

Contextual Menus

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Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be displayed where you can select various items. The Measure Tool contextual menu is identical to the Selection Tool context menu wen clicking measure regions.

Menu item

What it does

Add One Measure

Adds one measure to the score

Edit Measure Number Region

Displays Measure Number dialog box

Menu item

What it does

Edit Enclosure

Displays the Enclosure Designer dialog box

Restore Defaults

Restores the default position and show/hide state of the selected measure number

Always Show Number

Choose this command to always show a number regardless of the settings for a number’s region in the Measure Numbers dialog box

Always Hide Number

Choose this command to always hide a number regardless of the settings for a number’s region in the Measure Numbers dialog box

Show/Hide Based on Region

Choose this command to show or hide a number based on the settings for its region in the Measure Numbers dialog box






Restore the link to all corresponding

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items in parts Delete

Removes selected measure numbers

Menu item

What it does

Edit Measure Attributes

Displays Measure Attributes dialog box

Insert Measure

Displays the Insert Measures dialog box dialog box

Delete

Removes the selected measures

Create Multimeasure Rest

Change selected measures into a multimeasure rest

Edit Multimeasure rest

Opens the Multimeasure Rest dialog box where you can edit the selected multimeasure rest

Remove Multimeasure Rest

Removes the selected multimeasure rest

Edit Time Signature

Displays the Time Signature dialog box

Edit Key Signature

Displays the Key Signature dialog box

Normal Barline

Change right barline for selected measure to Normal barline

Double Barline

Change right barline for selected measure to Double barline

Final Barline

Change right barline for selected measure to Final barline

Solid Barline

Change right barline for selected measure to Solid barline

Dashed Barline

Change right barline for selected measure to Dashed barline 2659

Invisible Barline

Change right barline for selected measure to Invisible barline

Tick Barline

Change right barline for selected measure to Tick barline

Custom Barline

Change right barline for selected measure to Custom barline

Menu item

What it does

Edit Beat Chart

Display Beat Chart handles

Menu item

What it does

Edit Split Points

Display Split Point handles

See Also: Main Tool Palette Measure menu

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MIDI Tool This tool lets you edit the actual MIDI data that Finale stores with your music— key velocities (how hard each note was struck), Start and Stop Times (rhythmic information), channel pressure (pressure applied to a key after it’s been struck), controller data (pedaling, modulation wheel usage, and so on), pitch bend information, and patch change events. When you click the tool, the MIDI Tool menu appears, containing all the commands you need to increase, decrease, or gradually change any of these data types. To use the MIDI Tool, you begin by selecting a region of music whose MIDI information you want to edit; you then choose commands from the MIDI Tool menu. If you only want to affect a one-staff region that fits on the screen, you can double-click the selected region to enter the MIDI Tool window, where you can view a graphic representation of the MIDI values you’re editing. Using this technique, you can edit MIDI data on a note-by-note basis—for example, you can increase the key velocity of only certain notes in a chordal passage. To enter bank and program change data from the MIDI Tool, follow the procedure for entering patch changes. Remember, a patch is a combination of bank and program information. See Patches. To send bank and program changes immediately, choose Send MIDI Value from the MIDI/Audio menu, and then enter the program change and bank select values into the modified Send MIDI Value dialog box. Sending controller data is simple. To choose a controller, click Controller, then choose the name of the controller, such as 7:Volume from the Controller drop-down list. Other effects you can create with the MIDI Tool include inserting and editing pitch bends, creating smooth crescendos and decrescendos, creating true swing-feel playback, randomizing certain playback variables to create a more human feel, and so on. See Send MIDI Value dialog box, Pitch wheel, Crescendo/Decrescendo, Swing, and Playback. Note that Finale’s Human Playback feature can automatically assign playback effects throughout a Finale document. To hear any playback effects assigned deliberately with the MIDI Tool, you first need to disable Finale’s Human Playback feature. To do this, from the Windows menu, choose Playback Controls and then click on the Playback Settings button on the Playback Controls. Click the drop-down menu for Human Playback Style and choose None. For more information, see Playback Settings dialog box.

IMPORTANT: In order to hear effects applied with the MIDI Tool during playback, you must set Human 2661

Playback to None in the Playback Controls. Special mouse clicks • Click a measure to select it. • Drag-enclose several measures to select more than one. • Shift-click (or shift-drag-enclose) a measure (or measures) to extend the selected region from the first measure(s) you selected. • Click to the left of a staff to select an entire staff. • Shift-click to the left of a staff to extend the selection from any other staves you've selected. • Double-click the highlighted area to display the MIDI Tool split-window for the top selected staff.

See Also: Advanced Tools Palette MIDI Tool menu

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Mirror Tool With this tool you can create one-measure intelligent copies, or mirrors groups of notes that are dynamically linked to other notes in the score (the source material). When you edit the source notes, the notes of the mirror are automatically updated to reflect the change. You can create mirrors quickly and easily if the passage you want to copy is a full measure long (or longer). You can also use the Mirror Tool to combine individual sets of notes from different source measures into a single mirror measure, which is then called a composite mirror. And no matter how the mirror was created or what kind of mirror it is, you can also use this tool to select only certain notes in the mirror that you want displayed; Finale will hide the remaining notes. For example, you might create a kind of mirror - called a selective mirror - if the source measure contains a chordal passage, but you only want the top note of each chord to appear in the mirror. Finally, you can use the Mirror Tool to create a pickup measure anywhere in the score; Finale will create blank space at the beginning of such a measure, pushing any existing notes to the right to make them act as pickup notes.

Special mouse clicks • Click the Mirror Tool to display a Mirror icon on every mirror measure, and a Placeholder icon on every pickup measure. You can't edit the notes in a mirrored measure directly; you must edit them in the source measure. • Double-click a measure with notes in it (or a measure with a Placeholder icon) to display the Placeholder dialog box (which lets you turn the measure you clicked into a pickup measure). • Double-click an empty measure (or a measure with a Mirror icon) to display the Tilting Mirror dialog box, which you can use to create or edit a composite mirror (containing selected notes from other measures). • Shift-double-click a measure displaying a Mirror icon to display the Mirror Attributes dialog box, where you can specify a number of parameters for the mirror (such as a transposition or beaming pattern)

For further information, see the Mirror Attributes dialog box.

See Also: Mirroring 2663

Mirror menu Advanced Tools Palette

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Note Mover Tool This tool lets you move one note at a time (or several within a measure) to another measure, even on a different staff. For example, you can create crossstaff notation. Or, after transcribing a two-handed performance with HyperScribe (or the Transcription Mode), you can correct split-point errors by moving notes from the upper staff to the lower staff. You can move several notes in a measure horizontally as well; for example, you can copy a particular motif into the next measure. For full instructions, see Cross-staff notes, Recording with HyperScribe, and Transcribing a sequence. The target (destination) measure must be within 128 measures of the source (original) measure. The Note Mover Tool also gives you access to Finale’s Search and Replace feature, which lets you search for every occurrence of a particular note or group of notes and modify them in some consistent way. For full instructions, see Search and replace. When you click this tool, the Note Mover menu appears, containing all the commands you need to move selected notes in a measure to other measures. See Note Mover menu for a complete description.

Special mouse clicks • Click a measure to display a handle on every notehead in the measure. • Click, shift-click, drag-enclose, or shift-drag-enclose notehead handles to select one note handle, an additional note handle, groups of note handles, or additional groups of handles, respectively. (You can select nonadjacent handles, or only certain notes in a chord.) You can also choose Select All from the Edit menu to select every handle in the measure. • Drag any selected note handle to another measure (above, below, or to the right or left of the original measure) to move or copy the notes to the target measure, depending on the copying mode you've selected from the Note Mover menu. (Press delete to remove selected notes that are still in their original measure.) • Drag a note (or selected group of notes) to the end of its own measure to place a copy there (following all existing notes). This feature works regardless of the currently selected command in the Note Mover menu, and works only if the measure isn't rhythmically full. • Drag a note (or selected group of notes) to the beginning or middle of its own measure to place a copy at the beginning of the measure (preceding all existing notes). This feature works regardless of the currently selected 2665

command in the Note Mover menu, and works only if the measure isn't rhythmically full.

Contextual Menus Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be displayed where you can select various items.

NoteMover Handles Menu item

What it does

Delete

Deletes selected notes


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Ossia Tool Use this tool to create floating measures—one-bar alternative passages that you can place anywhere in the score. Such a measure might provide an explanation of a trill, propose a cadenza, or suggest an easier alternative to the real measure. Such a measure can be dragged freely around the page. These “ossia” measures don’t play back; they’re purely graphic. A measure-assigned ossia measure remains attached to its measure in the score, even if that measure’s position in the score changes. A page-assigned ossia measure, which you create in Page View, remains fixed to a given spot on the page, regardless of any repositioning of the music around it. For information regarding page-attached ossia measures in linked parts, see Page-attached Ossia measures in linked parts.

Note: Positioning values are always in the unit of measurement chosen under the Edit menu. To choose a measurement unit, from the Edit menu, choose Measurement Units. See Ossia for full instructions.

Special mouse clicks • In Page View, click the Ossia Tool to display a handle on every pageassigned ossia measure. • In Page View, double-click anywhere on any page, double-click an ossia handle, or right-click an ossia handle and select Edit Ossia Definition from the contextual menu to display the Ossia Measure Designer dialog box, where you can create a floating measure that will be attached to the place on the page you clicked. • In Scroll View, click a measure to which an ossia measure has been attached to display its handle. Double-click to display the Ossia Measure Designer dialog box, where you can create an additional floating measure. • In Scroll View, click a measure to which an ossia measure has been attached to display its handle. Double-click or right-click the handle and select Edit Ossia Definition from the contextual menu to display the Ossia 2667

Measure Designer dialog box, where you can edit certain parameters of the ossia measure, such as its positioning, clef, key, and size. • Double-click a floating measure's handle to display the Ossia Measure Designer dialog box, where you can edit certain parameters of the ossia measure, such as its positioning clef, key, and size. • Click an ossia measures handle to select it; drag it to move the measure; press delete, or right-click the handle and select Delete from the contextual menu to remove the measure. • Shift-double-click a floating measures handle, or right-click the handle and select Edit Ossia Assignment from the contextual menu to display the Page or Measure Assignment for Ossia Measure dialog box, where you can specify positioning coordinates for the floating measure.


Menu item

What it does

Edit Ossia Assignment

Display the Page Assignment for Ossia dialog box or the Measure Assignment for Ossia dialog (depending on the Ossia Measure)

Edit Ossia Definition


Delete

Removes selected ossia measure

Show








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For further information, see the Ossia Measure Designer dialog box.

See Also Advanced Tools Palette

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Page Layout Tool This tool lets you define the page layout for your file, including the page size, size of the page margins, and the positioning of the systems on each page. The Page Layout menu appears (and you switch to Page View, if you're not already there) when you click the Page Layout Tool. This menu contains a command for optimizing systems (hiding empty staves within each system to produce a more compact and readable full score), another for grouping measures on a line, so that you can specify the number of measures you want on each line of music, and submenus for editing staff system and page margins. For full instructions, see Page layout, Page size, Systems, Margins, and so on. For information specific to page layout in linked parts, see Page layout in linked parts.

Special mouse clicks • Drag a handle to resize the page margins or system margins. • Drag in the middle of a system to change the position without changing the shape, useful when you want to move the first system down without changing the height of the system. • Click and drag to enclose and select system handles; shift-click to add handle selection. • Hold down Control and drag the center of a staff system to move the staff system without moving other systems. • Control-A to select all system handles.

Contextual Menus Contextual menus are reached by right-clicking on the handle of an object or within a system. A contextual menu will be displayed where you can select various items.

Menu item

What it does

Select Staff System Range

Displays Select Staff Systems dialog box

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Insert System

Displays Insert Staff Systems dialog box

Delete System

Deletes the selected systems

Insert Page Break

Forces system to top of next page

Delete Page Break

Clears an existing page break on the selected system

Allow Individual Staff Spacing

Allows the system to be spaced independently of other systems with the Staff Tool. Applies Optimization without removing empty staves

Optimize Staff Systems

Displays the Staff System Optimization dialog box

Edit Margins

Displays the Edit System Margins dialog box

System Space Before/After Music

Displays the System Space Before/After Music dialog box

Page margin handles Menu item

What it does

Adjust Current Page Only

Adjustments only affect the current page margins

Adjust All Pages

Adjustments affect page margins on all pages

Adjust Left or Right Pages

Adjustments affect page margins for left or right pages, whichever is selected

Adjust Page Range

Displays the Adjust Page Range dialog box

Edit Margins

Displays the Edit Page Margins dialog box

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See Also: Page Layout Main Tool Palette Page Layout menu

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Repeat Tool Using this tool, you can create and edit repeat signs and text repeats (such as D.S. al Coda) in your score. These repeats can be defined for playback, if you wish, so that Finale, playing back your score, responds to them just as a musician would. Use this tool to create first and second endings, functional Coda and D.S. symbols, and even endless repeats.

Special mouse clicks • Double-click a measure to display the Repeat Selection box, where you can create either a repeat barline or a text repeat to insert into the score (and define it for playback, if you wish). • Click a text repeat handle to select it; shift-click to select an additional one. Press delete to remove any selected text repeats. • Drag a text repeat handle to move the text repeat in any direction (in all staves simultaneously). • Click a repeat barline handle to select it; press delete to remove it. • Drag a repeat barline bracket handle up or down to make the bracket taller or shorter (or, in the case of the open end of the bracket, drag left or right to lengthen or shorten the bracket). (If you want to drag the bracket so that it's longer than a measure or so, double-click its handle, select Individual Positioning, and click OK.) • Double-click a text repeat handle to display the Text Repeat Assignment dialog box, where you can change the spelling, font, or justification of the text repeat. • Double-click a repeat barline handle (or its bracket handle) to display its Repeat Bar Assignment dialog box, where you can change the playback effects of the repeat barline. • Shift-double-click a text repeat handle to display the Repeat Designer dialog box, where you can change the playback effects of the text repeat.

Metatools You can create Repeat Metatools—one-key equivalents for repeat signs—that can save you time if you need to insert many repeat signs into your score.

To program a Repeat Metatool

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Click the Repeat Tool. Press shift and a letter or number key. Finale displays the Repeat Selection dialog box; double-click the repeat barline or the text repeat you want to correspond to the letter or number you pressed (or, if the text repeat you want doesn’t appear in the list, click Create and design it at this point). Click Select.

To use a Repeat Metatool Click the Repeat Tool. While pressing the letter or number key corresponding to the Metatool you programmed, click a measure. If the Metatool was programmed to insert a repeat barline, Finale displays the Backward Repeat Bar Assignment dialog box, where you can specify the playback effects of the barline (unless it was the purely graphic Forward Repeat barline). If the Metatool was programmed to insert a text repeat, Finale displays the Text Repeat Assignment dialog box, where you can specify the playback effects of the text repeat. Contextual Menus Contextual menus are reached by right-clicking on a measure or the handle of an object. A contextual menu will be displayed where you can select various items. Some context commands, such as Create Simple Repeat requires a measure selection. See Selecting music.

Measure selection contextual menu for repeats Menu item

What it does

Create Simple Repeat

Encloses selected measures with repeat barlines

Create First and Second Ending

Adds a first ending on selected measure(s) and a second ending on the measure following the selection

Create Ending

Opens the Create Ending dialog box where you can define a repeat ending on the highlighted measures

Create Forward Repeat Bar

Creates a forward repeat bar

Create Backward Repeat Bar

Creates a backward repeat bar

Align Brackets

Aligns brackets for all endings in 2674

selected region vertically Reset Bracket Position

Resets ending brackets to default positioning for endings in the selected region

Delete

Deletes all repeat barlines, endings, and text repeats in selected region

Backward repeat barline handles Menu item

What it does

Edit Repeat Assignment

Displays the Backward Repeat Assignment dialog box or the Ending Repeat Bar Assignment dialog box

Allow Individual Edits per Staff

Allows you to adjust the positioning of ending brackets on each staff of the system individually.

Align Brackets

Aligns the first and second (and other selected) ending brackets vertically

Reset Bracket Position

Resets ending brackets to default positioning.

Show








Delete

Removes selected repeat

Text Repeat handles 2675

Menu item

What it does


Display the Text Repeat Assignment dialog box

Edit Ending (available when contextclicking an ending bracket)

Displays the Edit Ending dialog box where the ending number and playback effects can be edited

Edit Repeat Definition


Allow Individual Edits per Staff

Allows you to adjust the positioning of text repeats individually (for text repeats assigned to more than one staff).

Show








Delete


For further information, see the Repeat Selection dialog box.

See Also: Repeats (barlines and text indications) Document Options-Repeats Main Tool Palette

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Resize Tool This tool lets you reduce or enlarge a note, group of notes, staff, system, page, or all the music in a piece. When you use it at the note-by-note level, you can create cue notes; at the staff level, you can create a cue staff. However, you’ll probably use this tool most often to reduce the overall size of the music. It’s important that you choose Update Layout from the Edit menu after you reduce or enlarge a system, a page, or the entire piece so that Finale corrects any irregularities in measure widths introduced by the change. When this tool is selected, Finale displays the Resize dialog box—where you can specify the amount of reduction or enlargement—any time you click a musical element (see Special mouse clicks, below). See Reducing/Enlarging for further instructions.

Special mouse clicks • Click directly on a notehead to reduce or enlarge the notehead itself. (If the note is in Voice 2, shift-click.) • Click a note stem to reduce or enlarge the entire note, including the notehead, stem, flag, any other notes in the same chord, and - if the note you clicked was the first note of a beamed group - any other notes in the beamed group. (If the note is in Voice 2, shift-click.) Finale also reduces any expression markings, chord symbols, or lyric syllables attached to the note. • In Page View, click on a staff to reduce or enlarge the staff. • In Page View, click between two staves of a system to reduce or enlarge the entire system. • In Page View, click the upper-left corner of a page to reduce or enlarge that page, a range of pages beginning with the one you clicked, or all pages from the one you clicked through the last page of the file.

Contextual Menus Contextual menus are reached by right-clicking on an object. A contextual menu will be displayed where you can select various items.

Menu item

What it does

Resize Page

Display the Resize Page dialog box 2677

Resize System

Display the Resize Staff System dialog box

Resize Staff

Display the Resize Staff dialog box

Resize Note or Rest

Display the Resize Note dialog box

Resize Notehead

Display the Resize Notehead dialog box


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Selection Tool The Selection Tool is Finale's universal editing tool. It can be used to select, move, delete, copy, paste, or otherwise edit any region of measures and virtually any individual item in the score. Click on a marking to select it, such as a lyric, slur or articulation. Once selected, you can move, nudge, edit or delete it. For more advanced editing, double-click to switch to the appropriate tool. The Selection Tool works on Measures (Measure Tool/Edit menu/Utilities menu), Notes & Rests (Simple Entry), Smart Shapes, Expressions, Articulations, Repeats, Lyrics, Chords & Fretboards, Text Blocks, Graphics, Brackets, Measure Numbers, Tuplets, Key and Time Signatures, Clefs, Ossias, Staff and Group Names. This tool is also used to select regions of your score (from a single note to the entire score) in order to edit all the selected music at once. For example, you can change any selected measures’ spacing, measure widths, layer assignments, stem directions, beaming patterns, and so on. You can also rebeam, rebar, transpose, or apply articulations to every note in any selected region. You can use this tool to copy music from one place to another—even from one Finale document to another. You can also use this tool for erasing selected musical elements from a region—such as articulations, chord symbols, lyrics, expressions, MIDI controller data, and so on—without disturbing the other existing elements of the music in that region. See Erasing and Copying music.

Special mouse clicks For special mouse clicks and keyboard shortcuts related to selecting regions of measures, see Selecting music. • Press Ctrl-shift-A or the Esc key to switch to the Selection Tool. • Click an item to select it. If two items overlap, click again to cycle through the overlapping items. • Drag a selected item to move it. • Select an item then use the arrow keys to nudge an item. • Select an item and hit backspace to restore default positioning. • Click and press delete, or right-click the handle and select Delete from the contextual menu to remove an item. • Double-click an item or press enter with an item selected to select the item with the appropriate tool.

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Keyboard Shortcuts To use a Selection Tool keyboard shortcut, select a region of measures and use the appropriate keystroke on your computer keyboard. Metatool

Predefined effects

I (letter)

Drag-Implode Music for multiple staves

2

Explode Music for multiple staves (displays the Explode Music dialog box)

5

Apply Beat Spacing command which respaces notes, lyrics, and accidentals using the settings in Document Options-Music Spacing

(or Ctrl-5 with any tool that allows measure selection.)

4

with any tool that allows measure selection.)

Apply Note Spacing command which respaces notes, lyrics, and accidentals using the settings in Document Options-Music Spacing

6-9

(Ctrl-)6 for Down a Second

(or Ctrl 6-9 with any tool other than the Selection Tool that supports measure selection)

(Ctrl-)7 for Up a Second

(or Ctrl-4

(Ctrl-)8 for Down an Octave (Ctrl-)9 for Up an Octave

To program a Transposition Metatool Finale's default transposition key commands are listed in the table above. To change the transpositions of these shortcuts, 1. Click the Selection Tool. 2. Press Ctrl-Shift and a number key (6-9). Finale displays the Transposition dialog box; 3. Set the transposition and click OK. 2680

Contextual Menus Contextual menus are reached by right-clicking on an object. A contextual menu will be displayed where you can select various items. Measures Edit Measure Attributes

Opens the Measure Attributes dialog box where you can edit measures.

Barline submenu

Opens the barline submenu where you can select a new barline style.

Multimeasure Rest submenu

Opens the Multimeasure rest submenu where you can create, remove, or editmultimeasure rests.

Cut

Places the selected music on the Clipboard and simultaneously removes it from the document. See Edit/Cut.

Copy

Places a duplicate of the selected music on the Clipboard. See Edit/Copy.

Insert

Inserts whatever music you've cut or copied to the Clipboard between two existing beats or measures. See Edit/Insert.

Paste

Pastes whatever music you've cut or copied to the Clipboard to paste over (replace) the selected music in the target file. See Edit/Paste.

Paste Multiple

Opens the Paste Multiple dialog box where you can choose how many times you want to paste the source material.

Use Filter

Check Use Filter to use the settings in the Edit Filter dialog box while pasting.

Edit Filter

Opens the Edit Filter dialog box where you can select elements to 2681

include while pasting. Move/Copy Layers

Opens the Move/Copy Layers dialog box where you can move and/or copy layers.

Clear All Items

Clears all items in the selected region.

Clear Selected Items

Clears all items in the region selected in the Edit Filter dialog box.

Transpose

Opens the Transpose dialog box where you can choose an interval to transpose the selected region.

Add Measures

Opens the Add Measures dialog box where you can choose the number of measures to add.

Insert Measure Stack

Opens the How Many Measures dialog box where you can choose the number of measures to insert.


Deletes the measure stack.

Key Signature

From this submenu, choose a key signature for the selected measure(s).

Time Signature

From this submenu, choose a time signature for the selected measure(s).

Clef

Opens the Change Clef dialog box where you can select a clef

Staff Style

From this submenu, add, edit, or define a staff style.

Repeats

With this submenu, create, edit, or remove repeats.

Edit Split Point

Displays a Split Point bar, which allows you to adjust the point at which the measure can be split

2682

across a system break. Edit Beat Chart

Displays the Beat Chart, which allows you to edit the spacing.

Articulations Menu item

What it does

Edit Articulation Definition

Display the Articulation Designer dialog box

Show








Delete

Removes selected articulations

Brackets Menu item

What it does

Edit Group Attributes

Display Group Attributes dialog box

Delete Bracket

Deletes selected bracket

Delete Group

Deletes the group and bracket

Chord Symbols Menu item

What it does

Edit Chord Definition

Display the Chord Definition dialog

2683

box Edit Fretboard

Display the Fretboard Editor dialog box

Delete

Removes selected chord symbols

Show Chord

Shows (or hides) individual chord symbols

Show Fretboard

Shows (or hides) individual fretboards







Clefs Menu item

What it does

Edit Clef Definition (when invoked on midmeasure clef)

Display the Midmeasure Clef dialog box

Select Clef (when invoked on highlighted measure(s))

Display the Clef Selection dialog box

Delete

Removes midmeasure clef

Text Expressions Menu item

What it does



Edit Note/Measure Text Expression Definition

Display the Text Expression Designer dialog box

2684


Removes manual adjustments made in the score

Show








Delete

Removes selected expressions

Shape Expressions Menu item

What it does



Edit Note/Measure Shape Expression Definition


Edit Note/Measure Shape Expression Graphically

Displays bounding box handles for graphically editing the shape expression


Removes manual adjustments made in the score

Show






2685



Delete

Removes selected expressions

Key Signatures Menu item

What it does

C Major

Sets the key signature to C Major

G Major

Sets the key signature to G Major

D Major

Sets the key signature to D Major

A Major

Sets the key signature to A Major

E Major

Sets the key signature to E Major

F Major

Sets the key signature to F Major

Bb Major

Sets the key signature to Bb Major

Eb Major

Sets the key signature to Eb Major

Ab Major

Sets the key signature to Ab Major

A minor

Sets the key signature to A minor

E minor

Sets the key signature to E minor

B minor

Sets the key signature to B minor

F# minor

Sets the key signature to F# minor

C# minor

Sets the key signature to C# minor

D minor

Sets the key signature to D minor

G minor

Sets the key signature to G minor

C minor

Sets the key signature to C minor

F minor

Sets the key signature to F minor

2686

Other

Opens the Key Signature dialog box where you can define a key signature

Lyrics Menu item

What it does

Align Default

Changes the alignment of the syllables back to Finale’s global setting

Align Center

Changes the alignment of the syllables to centered under the note

Align Left

Changes the alignment of the syllables to the left under the note

Align Right

Changes the alignment of the syllables to the right under the note

Justify Default

Changes the justification of the syllables back to Finale’s global setting

Justify Center

Changes the justification of the syllables to centered relative to each other

Justify Left

Changes the justification of the syllables to the left relative to each other

Justify Right

Changes the justification of the syllables to the right relative to each other

Ossias Menu item

What it does

2687

Edit Ossia Assignment

Display the Assignment for Ossia Measure dialog box

Edit Ossia Definition


Delete

Removes selected ossia

Show








Repeats Menu item

What it does


Display the Repeat Assignment dialog box

Allow Individual Edits Per Staff

Allows you to edit each occurrence of a repeat marking independently

Align Brackets

Align repeat ending brackets vertically

Reset Bracket Position

Reset ending brackets to default positioning

Edit Repeat Definition (text repeats only)


Show


2688







Delete


SmartShapes Menu item

What it does

Edit

Displays editing handles on selected smart shape

Delete

Removes selected smart shape

Show






Note: You can undo any Selection Tool operation by choosing Undo from the Edit menu (Ctrl-Z) immediately afterward. See Also: Main Tool Palette

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Simple Entry Tool When you click this tool, Finale displays the Simple Entry Palette, containing an individual icon for each rhythmic value (quarter note, eighth note, and so on) and other tools for adding grace notes, sharps, tuplets and so on. (If the Simple Entry Palette doesn’t appear, choose its name from the Window menu.) Using the tools on this palette, you can enter music into your score by clicking one note at a time, typing in notes with your computer keyboard, or with aid from a MIDI keyboard. Each tool in the Simple Entry palette corresponds to a keyboard shortcut, which allows you to easily change tools in preparation for entering, and then additional keyboard shortcuts can be used to edit the note you just entered. You can use these keystrokes in tandem with the Simple Entry Caret, which works much like the cursor in a word processing program, to enter all of your music with your computer keyboard. In addition, you can use special keyboard shortcuts to add articulations and expressions, as well as clef, key, and time signature changes on the fly. The Simple Entry keyboard commands are summarized in the diagram that appears on your Quick Reference Card. For hands-on Simple Entry training, open EntryExercise.MUS (also located in the Finale 2010/Tutorials folder). See also Simple Entry QuickStart Video.

Special mouse clicks and keystrokes The numeric keypad located on the right side of most desktop computer keyboards is used for many Simple Entry keyboard commands. To specify a keystroke is to be pressed on the numeric keypad, we’ll use the terminology “numpad-keystroke” (e.g. press numpad-5 to choose the Quarter Note Tool). Keystrokes that are not preceded by “numpad’ are to be struck on the letter and number keys on the left side of a standard desktop keyboard (also known as the QWERTY keyboard).

Alternative Simple Entry key commands for laptop users If you are using a laptop computer, there may not be a numeric keypad available on your keyboard. If this is the case, you may find the default keyboard commands difficult to use. In response to this, we have provided an alternative set of Simple Entry keystrokes optimized for laptop computers, do the following. To use the key commands optimized for a laptop computer: 1. Click the Simple Entry Tool, then from the Simple menu, choose Simple Entry Options. The Simple Entry Options dialog box appears. 2. Click Edit Keyboard Shortcuts. The Keyboard Shortcuts dialog box appears. 2690

3. In the Keyboard Shortcut Set section, click the Name drop-down menu and select “Laptop Shortcut Table”. Note the new key mappings in the window above. 4. Click OK. Your new keystrokes are available. To reference a keystroke, click the Simple menu and then Simple Edit Commands (and then the category). These lists of keystrokes have been updated to reflect the Laptop Shortcut Table.

Entering Notes or Rests • Press numpad 1-8 (or Ctrl-Alt-Shift 1-8), then click on the staff to enter a 64th note through double whole note. Select the duration and then press . (period) to specify a dotted note. • Press 9 and then numpad 1-8 (or Ctrl-Alt-ShiftCommand-Option-Shift 1-8), and then click on the staff to enter a tuplet based on the duration. • Press T, then numpad 1-8 (or Ctrl-Alt-Shift 1-8), and then click on the staff to enter a tied note. • Click the Eraser Tool or dot to erase it.

then click a note, rest, accidental, tuplet, tie

• With a note selected, press Enter to activate the Simple Entry Caret. • Press the the up arrow key to move the caret up diatonically, or the down arrow key to move the caret down diatonically. • Hold down Shift and press the up arrow key to move the caret up an octave, or the down arrow key to move the caret down an octave. • With the caret active, press numpad 1-8 (or Ctrl-Alt-Shift 1-8) to select a duration, 64th note through double-whole note, for the next note entered. Select the duration and then press . (period) to specify a dotted note. • With the caret active, press Enter Enter to enter a note at the pitch specified on the staff of the rhythmic duration chosen in the Simple Entry Palette. (Notes entered with the caret are selected automatically.) • With the caret active, press a letter key A-G to enter a note of that pitch. Finale enters the note within the range of a fourth higher or lower than the pitch specified on the caret. • With the caret active, press 0 to enter a rest on the staff of the rhythmic duration chosen in the Simple Entry Palette. • With a note selected, hold down Shift and press a letter key A-G to add a note of that pitch to the selected note. Finale adds the note within the range of a fourth higher or lower than the pitch specified on the caret. The added note is selected.

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• After entering a note with the caret, hold down Ctrl and press Enter to add a note to the previous entry at the pitch specified by the caret. • Press a number key 1-8 (on the QWERTY keyboard) to add a note of that interval (unison through octave) above the selected note. The added note is selected. • Hold down Shift and Ctrl and press 9 on the QWERTY keyboard to add a ninth above the selected note. The added note is selected. • Hold down Shift and press a number key 1-9 on the QWERTY keyboard to add a note of that interval (unison through ninth) below the selected note. The added note is selected. • With the caret active, play a note or chord on a MIDI keyboard to enter pitch(es) of the chosen duration. • Press the Escape key to hide the Simple Entry Caret.

Selection • Ctrl-click the note or rest to select a note or rest. • Ctrl-shift-click a notehead to add it to the current selection within a chord. • Press the left arrow key when a note is selected to move the selection one note or rest to the left. If no note is selected, Finale will select the last edited note. • Press the right arrow key when a note is selected to move the selection one note or rest to the right. If there is no note or rest to the right, the caret appears. • Press Ctrl-left arrow when a note is selected to move the selection one measure to the left. • Press Ctrl-right arrow when a note is selected to move the selection one measure to the right. • Press Ctrl-up arrow when a note is selected to move the selection up a note in a chord. If there is only one note in the staff, or the top note in the chord is selected, selection moves to the staff above. • Press Ctrl-down arrow when a note is selected to move the selection down a note. Selection can be moved to the staff below. If there is only one note in the staff, or the bottom note in the chord is selected, selection moves to the staff below. • Press Ctrl-A when a note is selected in a chord to select all notes in the chord. • Press Escape or Backspace to clear the selection.

2692

Note: Notes just entered with the caret are selected automatically. Accidentals • Press = when a note is selected to make the selected note sharp. With no selection, press = to select the Sharp Tool. • Press - when a note is selected to make the selected note flat. With no selection, press - to select the Flat Tool. • Press N when a note is selected to make the selected note natural. With no selection, press N to select the Natural Tool. • Press Shift - (minus) when a note is selected to make the selected note double-flat. • Press Shift = when a note is selected to make the selected note doublesharp. • Press numpad -(minus) when a note is selected to lower the selected note by a half step. With no selection, press numpad - to select the Half Step Down Tool. • Press numpad +(plus) when a note is selected to raise the selected note by a half step. With no selection, press numpad + to select the Half Step Up Tool. • Press Ctrl-Shift-(minus) when a note is selected to show or hide a cautionary accidental on the selected note. • Press P when a note is selected to add a parenthesized accidental. Press this keystroke again to toggle between parenthesized and nonparenthesized accidental.

Modify Notes and Rests • Select a note (without the caret active) and press the up arrow key to move the note up diatonically, or the down arrow key to move the note down diatonically. • After entering a note with the caret press Alt up arrow to move the note just entered and the caret up diatonically or Alt down arrow to move the note just entered and the caret down diatonically. • After entering a note with the caret press Shift-Alt up arrow to move the note just entered up an octave or Shift-Alt down arrow to move the note just entered down an octave.

2693

• Select a note then press Alt 1-8 on the QWERTY keyboard to change the note or rest value (64th through double whole note). • Select a note and press . (period) to add a dot to the note. • Select a note and press 9 to begin a tuplet. • Select a note then press R to change a note into a rest. Press R again to change it back to a note. • Select a note and press T to add a tie to the next note. Press Shift-T to tie to the previous note. • Select a note with a tie and press Ctrl-F to flip a tie. • Select a note then press Alt-G to toggle the note between grace note, slashed grace note (for flagged grace notes), and full note. • Select a note or rest then press H to hide the selected note or rest. • Select a note then press \ (backslash) to change the enharmonic spelling of the note. • Select a note and press Delete to erase it. Without a note selected, press Delete and then click on a note, accidental, tie, dot or tuplet to erase it.

Beams, Stems and Ties • Select a note then press T to tie the selected note to the next note. Press Shift-T to tie the selected note to the previous note. • Select a note then press / to break or join the beam on the selected note. Press Shift-/ to restore default beaming. • Select a beamed note then press Alt-/ to create a flat beam. • Select a note then press L to flip the stem of the selected note. Press Shift-L to restore the default stem direction.

Adding Articulations • Select a note and press numpad * or Alt-A to trigger the Waiting for Input dialog box, then and press an articulation metatool key to add an articulation to the note. For example, A for an accent, S for staccato, etc. Click Select (or press Enter) to open the Articulation Selection dialog box where you can choose from a list of articulations. (Note the metatool assignment appears in the upper right corner of each articulation in the Articulation Selection dialog box.) • Press Ctrl-numpad * or Ctrl-Alt-Shift-A to trigger the Waiting for Input dialog box, press an articulation metatool key (or click select or press Enter to choose an articulation) to add a sticky articulation to the caret 2694

and mouse cursor. Now, the chosen articulation will appear on all notes entered until the sticky articulation is removed. Press Ctrl-numpad * or Ctrl-Alt-Shift-A again to remove the articulation from the caret and mouse cursor.

Adding Expressions • Select a note and press X to trigger the Waiting for Input dialog box, then press an expression metatool key (see Metatools) to add an expression to the note. Click Select (or press Enter) to open the Expression Selection dialog box where you can choose from a list of expressions. (Note the metatool assignment appears in the upper right corner of each expression in the Expression Selection dialog box.)

Changing the key, time and clef • Select a note, press Alt-K to trigger the Waiting for Input dialog box. then press a key signature metatool key to change the key signature or click Select to open the Key Signature dialog box where you can specify the new key. See Key Signature Tool for information on creating a key signature metatool. The key change appears at the current measure. • Select a note, press Alt-T to trigger the Waiting for Input dialog box, then and press a time signature metatool key to change the time signature or click Select ore press Enter to open the Time Signature dialog box where you can specify the new meter. See Time Signature Tool for information on creating a time signature metatool. The key change appears at the current measure. • Select a note, press Alt-C to trigger the Waiting for Input dialog box then, then press a clef metatool key to change the clef or click Select or press Enter to open the Change Clef dialog box dialog box where you can specify the placement and clef type for the clef change. See Clef Tool for information on assigning a clef metatool.

Contextual Menus The Simple Entry Contextual menu is reached by right-clicking on a note or rest. A contextual menu will appear where you can select from various options to edit the note or rest you clicked. The item chosen from this menu applies to all selected notes.

2695

Menu item

What it does

Delete

Deletes the note(s)

Show/Hide

Hides non-hidden note(s) or rest(s). Shows hidden note(s) or rest(s)

Toggle Note/Rest

Change note(s) to rest(s) or rest(s) to note(s)

Add Articulation

Shows Waiting for Input dialog box. Type an articulation metatool to add articulation or press Enter to choose the articulation to be added

Add Expression

Shows Waiting for Input dialog box. Type an expression metatool to add expression or press Enter to choose the expression to be added

Change Clef

Shows Waiting for Input dialog box. Type clef metatool to add a clef change or press Enter to choose the desired clef

Change Key Signature

Shows Waiting for Input dialog box. Type key signature metatool to add a key change or press Enter to choose the desired key

Change Time Signature

Shows Waiting for Input dialog box. Type time signature metatool to add a time signature change or press Enter to choose the desired time signature

Metatools While the Simple Entry Tool’s preprogrammed keyboard equivalents aren’t technically Metatools, they’re similar in that they’re one-keystroke commands. To define custom Simple Entry keyboard shortcuts, from the Simple menu choose Simple Entry Options, and then select Keyboard Shortcuts. See Edit Keyboard Shortcuts dialog box. The default Simple Entry keyboard commands are summarized in the diagram that appears on your Quick Reference Guide. 2696

See Also: Simple Entry Main Tool Palette Simple Entry Palette Simple Entry Options

2697

Smart Shape Tool When you click this tool, Finale displays the floating Smart Shape Palette, containing an individual icon for each of several Smart Shapes - stretchable markings such as slurs, crescendo hairpins, 8va and 15ma markings, solid and dashed brackets and lines, and so on. (If the Smart Shape Palette doesn't appear, choose its name from the Window menu.) In addition, handles appear on every smart shape marking in the score. To place one of these markings into the score, position the cursor so that the tiny arrow points to the appropriate staff. If you’re placing a note-attached marking, the cursor will appear as a tiny note; just position the cursor over the note. If you’re placing a notehead-attached marking, the cursor will appear as a tiny notehead. Now double-click—but on the second click, keep the mouse button pressed and drag to the right. As you drag, the shape appears and grows to the right. Release the mouse when the shape is as long as you want it or highlights the appropriate end note. For information regarding tuplets in scores with linked parts, see Smart Shapes in linked parts.

Tip: To place a note-assigned slur or curve between two consecutive notes in the score, double-click the first note; Finale draws the slur between the notes. Special mouse clicks • Click the Smart Shape icon on the Main Tool Palette to make handles appear on every Smart Shape in the score. • Click the primary square handle of a Smart Shape in the score to select it and display the editing handles. With these editing handles, you can move, stretch, or reshape the selected Smart Shape. • Press the Tab key to select the next secondary handle when a shape is being modified. Hit Esc to stop modifying the shape. Press the Tab key to select the next Smart Shape. • Press Ctrl-A to select all Smart Shapes on the page. Drag-select Smart Shape handles to select multiple Smart Shapes. Shift-click to add a Smart Shape to the selection.

2698

• Click and drag (or use the arrow keys to nudge) a diamond editing handle on the tip of the slur to move the slur’s endpoint and attach the slur to a different note. • Click and drag (or use the arrow keys to nudge) a center curve diamond editing handle to change the slur’s arc height. Shift-click and drag the arc handle to change the arc height and the angle of the arc. • Drag or nudge an outer curve diamond editing handle to make asymmetrical changes to the slur’s arc and inset. These two handles control the Bezier curve control points. • Hold down Alt and drag an outer curve diamond editing handle for symmetrical changes to the slur’s arc and inset. • Hold down Shift while creating or editing a Smart Shape to constrain dragging. • Press Alt and then double-click and drag a bracket Smart Shape to create an inverted bracket with the hook pointing away from the staff instead of toward the staff. It will also change the text for ottavas below or above the staff. • Double-click or Ctrl-click the Custom Line Tool to bring up the Smart Line Selection dialog box.

Metatools The Smart Shape Tool has a set of predefined Metatools—one-key equivalents for each tool—that can save you time if you want to temporarily switch to another tool.

To use a Smart Shape Metatool To use a Smart Shape Metatool, hold down the appropriate key on your computer keyboard. With the key down, double-click and drag to create the desired shape. For slurs, glissandi, bends and tab slides, double-click and drag from note to note. The Smart Shape Metatools are defined as follows:

A

Artificial harmonic

B

Guitar bend

D

Dashed Line

E

Trill Extension/Vibrato

F

Glissando 2699

without text G

Glissando with text

H

Hammer-on (H)

P

Pull-off (P)

R

Release (R)

U

Bend (B)

2

Hammer-on (H) above slur or tie

3

Pull-off (P) above slur or tie

4

Release (R) above slur or tie

5

Bend (B) - above slur or tie

L

Solid line

M

Palm mute (P.M.)

N

Natural harmonic (N.H.)

S

Slur

T

Trill

V

Dashed slur

X

TAB slide

Y

Single hooked dashed line

Z

Double hooked dashed line

1

15ma/mb

6

Bend hat

8

8va/vb

L

Line 2700

K

Single hooked line

O

Double hooked line

<

Crescendo

>

Decrescendo

To Program a Smart Shape metatool You can assign a number or letter to any Smart Shape that exists in the Smart Line Selection dialog box. In addition, you can assign of these Smart Shapes to be measure or note-attached. 1. If you want to create a measure-attached Smart Shape metatool, first click the Custom Line Tool in the Smart Shape Palette. If you want to create a note-attached Smart Shape metatool, first click the Glissando Tool in the Smart Shape Palette. You will probably want to create a noteattached metatool for markings such as hammer-ons, pull-offs, glissandos, and other markings that extend from one note to the next, or items that need to be positioned relative to the note. Create a measure-attached metatool for items that extend over more than one note, or need to be positioned relative to the measure. 2. Hold down the Shift key and press a number or letter on the QWERTY keyboard. The Smart Line Selection dialog box appears. 3. Double-click to choose one of the available markings. The Smart Shape Metatool dialog box appears asking if you want to save the metatool. 4. Click Yes to save the metatool. Click No to dismiss the dialog box without creating the metatool. Note that all newly defined metatools are saved with the document. 5. If you assigned a note-attached Smart Shape, double-click the first of two notes or fret numbers to extend it to the next. If you assigned a measure-attached Smart Shape, double-click and drag to extend the marking manually.


menu item

What it does 2701

Edit

Displays editing handles on selected smart shape

Delete

Removes selected smart shape

Align Horizontally

(Available for measure- attached Smart Shapes, such as Hairpins, Dash, Solid, & Custom Lines, Trills, 8vas, 15mas, Brackets) Aligns selected shapes along a horizontal line; for multiple staves, aligns selected shapes along a horizontal line at the same distance from the staff

Align Vertically

(Available for measure- attached Smart Shapes, such as Hairpins, Dash, Solid, & Custom Lines, Trills, 8vas, 15mas, Brackets) Aligns selected shapes’ end points along vertical lines by resizing the shapes

Make Horizontal Over System Break

(Slurs, Hairpins, Guitar Bends, Brackets, Dash, Solid, & Custom Lines, Glissandos, Bends and TAB Slides) Smart Shapes over system breaks will be horizontal

Maintain Angle Over System Break

(Slurs, Hairpins, Guitar Bends, Brackets, Dash, Solid, & Custom Lines, Glissandos, Bends and TAB Slides) Smart Shapes over system breaks will maintain angle (not horizontal)

Make Horizontal

(Hairpins, Dashed, Solid, & Custom Lines, and Brackets) Snaps shape into straight horizontal placement This menu item mirrors by default the Horizontal setting in the Smart Line Designer dialog box.

Remove Manual Slur Adjustments

(Slurs only) Slur will return to default values for placement and shape. Frozen engraver slurs will revert to engraver slur behavior. 2702

Engraver Slur

(Slurs only) Choose from Automatic, On or Off. Automatic sets the slur to use whatever choice is selected is the Smart Slur Options dialog box. On sets the slur to always use an Engraver Slur. Off sets the slur to never use an Engraver Slur.

Avoid Accidentals

(Slurs only) Choose from Automatic, On or Off. Automatic sets the slur to use whatever choice is selected in the Smart Slur Options dialog box. On sets the slur to always Avoid Accidentals when Engraver Slurs are used. Off sets the slur to never Avoid Accidentals.

Direction

(Slurs and Bends) Choose from Flip, Automatic, Over and Under. Determines the direction of the slur. See SmartShape menu.

See Also: Main Tool Palette Smart Shape Palette SmartShape menu Slurs

2703

Special Tools Tool This tool lets you create a number of special beaming, stemming, and note positioning changes in one measure at a time. For example, you can use it to rearrange the noteheads on a stem, change the length of a stem, change the angle of a beam, or adjust the position of a dot or a tie. You can select more than one element (of the same type) at once, make exact adjustments using the nudge keys, view the relative position of some selected elements in the message bar, perform on-screen dragging of dots or ties to alter their position, and change the vertical positioning of ties. See Stems, Beaming across barlines, Note positioning, Dotted notes, Ties, and related topics. For detailed information, see the Special Tools Palette.

Special mouse clicks • Click the Special Tool that you want to use, then click the measure. Click, shift-click or drag-enclose the handles of the elements you want to edit. At certain times you’ll want to change several occurrences of an element at once (for example, when you change the appearance of noteheads). You can save time by drag-enclosing several handles at once. First, position the cursor at the first element’s handle, then drag-enclose the handles of the elements to be selected. Release the button when you’ve reached the last element. Alternately, you can select more than one handle by holding down shift and clicking any handle in the measure. • Click on the Special Tool that you plan to work with. Click the measure you want to change, then choose Select All from the Edit menu. Select All is available to the following Special Tools: Note Position, Notehead Position, Note Shape, Accidental Mover, Stem Length, Custom Stem, Beam Angle, Beam Extension, Secondary Beam Angle, Tie, Dot, Beam Width and Beam Stem Adjust Tools. To select the elements, first Finale will select all the elements of the same type in the measure (such as all the notes for the Note Position Tool) that the current tool affects. Changes you make to any of the elements you selected will apply to all the selected elements for that Special Tool. • Press delete or backspace or shift-delete after moving or changing a stem or note to reset the item to its original position or appearance. This shortcut works for the Note Mover, Notehead Mover, Change Notehead, Accidental, Stem Length, Custom Stem, Beam Adjustment, Beam Extension, Secondary Beam Adjustment, Tie, Dot, Beam Thickness and Beam Stem Adjust Tools. 2704

• Press the nudge keys to adjust the position of almost any element whose handle is selected. If you need to move elements very slightly (such as ties, for example) when you’re working with Special Tools, you can use the nudge keys–the four directional arrows on your keyboard. You can make the “nudge” amount as small as one pixel, or as large as you like, using the Movable Items dialog box found in Program OptionsEdit (under the Document menu). This setting is saved in your Finale.INI file. To make even more precise adjustments, choose a higher Scale View To setting in the View menu. For example, doubling the view percentage to zoom in will offer twice the nudging precision. Note: The nudge “amount” in the Movable Items dialog box only applies when you’re working with Special Tools. When you use the nudge keys at other times, the element is adjusted by one pixel each time you press the keys.

Contextual Menus Contextual menus are reached by right -clicking on the handle of an object. A contextual menu will be displayed where you can select various items.

menu item

What it does

Edit

Display the Notehead Settings or Accidental Settings dialog box

Clear

Restores default settings

Allow Vertical Positioning

Permits dragging an accidental or notehead up or down

See Also: Advanced Tools Palette Special Tools Tool

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Speedy Entry Tool This tool allows you to rapidly enter one note, chord, or rest at a time. You specify the rhythmic value of each entry by pressing a number key on your computer keyboard; you can specify the pitches either by pressing the desired keys on your MIDI keyboard or by pressing the appropriate letter keys on your computer keyboard. The Speedy Entry keyboard commands are summarized in the diagram that appears on your Quick Reference Card.

Special mouse clicks •Ctrl-click any measure containing entriesto display the Edit Frame dialog box, which contains dozens of very technical parameters for each note in the measure. •Press Ctrl-number when you're editing a measure to tell Finale that the next notes you enter are part of a tuplet (triplet, quintuplet, and so on). Press Ctrl-2 through Ctrl-8 to signify tuplets from duplets to octuplets, respectively. If you press Ctrl-1, Finale assumes you want to enter a tuplet that's more complex than one of the 2-through-8 tuplets. The Tuplet Definition dialog box appears, in which you can specify the temporal and visual aspects of more complex tuplet groupings. •Press Caps Lock before pressing a rhythmic-value key to tell Finale that you're about to enter a whole series of notes that all have that same rhythmic value. Now you can play notes on your MIDI instrument, rapidly, and Finale will automatically enter them into the score, without your having to press a rhythmic-value key each time. Caps Lock with Use MIDI Keyboard unchecked will also allow the use of the alphabet pitch entry keys. •Press caps lock and the QWERTY keys with Use MIDI Device for Input turned off to enter pitches without a MIDI keyboard.

Enharmonics When cycling through the enharmonic spelling of entries, Finale directly cycles through all the possibilities. • When the cursor is on a notehead, press 9 or ctrl-9 to change the note or all notes in the measure to their enharmonic spellings. The cursor moves with each entry you change, so you can change the notes back to their enharmonic spelling.

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• When the cursor is not on a notehead, press 9 to change a single note on an entry at a time. • When the cursor is not on a notehead, press ctrl-9 to change all the notes of an entry enharmonically. Arrow keys • Press ctrl left arrow to move the insertion point to the first note or rest in the Speedy editing frame. • Press ctrl right arrow to move the insertion point just beyond the last entry in the Speedy editing frame. • Press left arrow when the insertion point is at the beginning of the editing frame to move the insertion point just beyond the last entry of the previous measure. • Press right arrow when the insertion point is on the last entry in the editing frameto move the insertion point just beyond the last entry in the editing frame. • Press right arrow when the insertion point is just beyond the last entry in the editing frame to move the insertion point to the first entry of the next measure.

Metatools While the Speedy Entry Tool's preprogrammed keyboard equivalents aren't technically Metatools, they're similar in that they're one-keystroke commands. They let you edit the notes in one measure at a time very rapidly. See Speedy Entry in the Keycuts chapter for details.

See Also: Main Tool Palette Speedy menu

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Staff Tool In addition to adding and deleting staves, use the Staff Tool to edit staffspecific characteristics using the Staff Attributes dialog box. Define attributes such as the staff's name, clef, transposition (if you're notating a transposing instrument's part) and so on. Or, specify the number of lines in the staff, and show or hide certain musical elements in the staff such as measure numbers, expression markings, time signatures and so on. You can also create groups of staves; use the Group Attributes dialog box to define groups of instruments in the score and for part extraction, add a bracket to a group and specify how the barline appears on the grouped staves. An individual staff can belong to any number of groups. When you click the Staff Tool, a Staff menu appears that contains all the commands for working with staves and groups of staves: adding, deleting, positioning and spacing staves, creating customized staff attributes, defining groups of staves, adding brackets and piano braces, and so on.

Special mouse clicks When you click the Staff Tool, the Staff menu appears, and handles appear on each staff and on staff-related items in the score. Select a handle then choose a menu command, or use the shortcuts listed below. The shortcuts are arranged by what the handle controls: staff handles and staves, group handles (includes the group name), staff name handles and bracket handles.

Staff handles and staves: Staff handles always appear on staves in the score, even on staves that are hidden. • Click the Staff Tool to display the Staff menu. Handles appear on each staff and staff-related item in the score. • Click a staff or a staff handle, or drag-enclose staff handles to select a staff (or staves). • Shift-click a staff or a staff handle to add the staff to the selection. If a staff is already selected, Shift-click to remove the staff from the selection. • Double-click a staff or a staff handle or right-click a staff handle and choose Edit Staff Attributes to edit the staff's attributes. • Double-click in the score (in Scroll View) to add a staff without repositioning the lower staves to make room for the new staff.

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• Double-click below a staff in the score (in Scroll View) to insert a staff between staves, repositioning the lower staves to make room for the new staff. • Ctrl-Shift-click a staff or staff handle in one or more selected staves (or right-click the handle and select Add Group and Bracket from the contextual menu) to create a new group for the selected staves. • Press shift-delete for selected staves, or right-click the handle and select Delete Staves from the contextual menu to delete the selected staves without repositioning the remaining staves. Note: If a staff system has been optimized using the Page Layout Tool, two handles will appear on each staff in the optimized staff system. • Press delete for selected staves, or right-click the handle and select Delete Staves and Reposition from the contextual menu to delete the selected staves and reposition the remaining staves. Note: If a staff system has been optimized using the Page Layout Tool, two handles will appear on each staff in the optimized staff system. • Press delete for a selected region to clear all Staff Styles in that region. • Select the bottom staff handle or handles in Page View and press Shift-delete for selected staves, or right-click the handle and select Delete Staves from the contextual menu to delete the selected staves for that system only without repositioning the remaining staves. Note: This will remove the optimized staff from the system regardless of whether it contains music. • Select the bottom staff handle or handles in Page View and press shift-delete for selected staves, or right-click the handle and select Delete Staves and Reposition from the contextual menu to delete the selected staves for that system only and reposition the remaining staves. Note: This will remove the optimized staff from the system regardless of whether it contains music.

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• Drag a staff handle in Scroll View (when Special Part Extraction is not selected in the Document menu) to adjust the staff’s position in Scroll View and every staff system in Page View. • Drag a staff handle in Scroll View (when Special Part Extraction is selected in the Document menu) to adjust the staff’s position in Scroll View only. The placement of staves remains unchanged in Page View. (When you choose Special Part Extraction from the Document menu, Finale removes the checkmark by the command, and displays the full score using the new positioning in Scroll View.) • Drag a staff handle in Page View (when Special Part Extraction is not selected in the Document menu) to adjust the staff’s position in every staff system in Page View and the position of the staff in Scroll View. When the top staff is adjusted, Finale adjusts the distance between staves, as well as staff systems. Note: If two handles appear on a staff, drag the top handle • Drag a staff handle in Page View (when Special Part Extraction is selected in the Document menu) to adjust the staff’s position in every staff system in Page View; leave the position of the staff unchanged in Scroll View. Finale adjusts the distance between staves, as well as staff systems. Note: If two handles appear on a staff, drag the top handle • Drag the bottom staff handle in Page View to Adjust the staff’s position only in the current staff system (drag the top handle to adjust the position of the staff in all staff systems in Page View). Note: If a staff system has been optimized using the Page Layout Tool, two handles will appear on each staff in the optimized staff system. • Hold down backspace while clicking on a staff with Staff Styles or on the Style Bar to remove the selected Staff Style from the selected region. • Double-click on a Staff Style bar to display the selected Staff Styles dialog box.

Group handles: Group handles always appear on existing groups of staves in the score, even if you did not enter a group name. 2710

Click a group handle, or drag-enclose group handles to select a group (or groups of staves). • Click a group handle, or drag-enclose group handles to select a group (or groups). • Shift-click a group handle to add the group to the selection. If a group is already selected, Shift-click to remove the group from the selection. • Double-click a group handle, or right-click the handle and select Edit Group Attributes from the contextual menu to edit the group’s attributes. The Group Attributes dialog box appears. • Ctrl-click a group handle, or right-click the handle and select Edit Full Group Name or Edit Abbreviated Group Name from the contextual menu to edit a group name. The Edit Text window appears. • Ctrl-shift-click a group handle, or right-click the handle and select Position Full Group Name or Position Abbreviated Group Name from the contextual menu to position a group name. The Position Full Group Name or Position Abbreviated Group Name dialog box appears. • Press backspace for selected groups to revert the position of the group names to their default position. • Press delete for selected groups, or right-click the handle and select Delete Group from the contextual menu to remove the selected group definitions. • Drag a group handle to adjust the position of a group name.

Staff name handles: Staff name handles appear on existing staves in the score only if you have entered a staff name, or if Finale's default staff name appears for an unnamed staff. • Click a staff name handle, or drag-enclose staff name handles to select a staff name (or names). • Shift-click a full or abbreviated staff name handle to add the staff name to the selection. If a staff name is already selected, Shift-click to remove the staff name from the selection. • Double-click a full or abbreviated staff name handle, or right-click the handle and select Edit Staff Attributes from the contextual menu to edit the staff’s attributes. The Staff Attributes dialog box appears. • Ctrl-double-click a full or abbreviated staff name handle, or right-click the handle and select Edit Full Staff Name or Edit Abbreviated Staff Name from the contextual menu to edit a full or abbreviated staff name. The Edit Text window appears for the selected name.

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• Ctrl-shift-click a full or abbreviated staff name handle, or right-click the handle and select Position Full Staff Name or Position Abbreviated Staff Name from the contextual menu to Position the selected staff name. The Position Full Staff Name or Position Abbreviated Staff Name dialog box appears. • Press backspace for a selected staff name handle to revert the position of the full or abbreviated staff name to its default position. • Drag a full or abbreviated staff name handle to adjust the position of the selected staff name.

Bracket handles: Two bracket handles appear on each bracket on a group, even if you did not enter a group name. Click a bracket handle, or drag-enclose several bracket handles to select a bracket (or brackets). • Click a bracket handle, or drag-enclose several bracket handles to select a bracket (or brackets). • Shift-click a bracket handle to add the bracket to the selection. If a bracket is already selected, Shift-click to remove the bracket from the selection. • Double-click a bracket handle, or right-click the handle and select Edit Group Attributes from the contextual menu to edit a group. The Group Attributes dialog box appears. • Press delete for selected brackets, or right-click the handle and select Delete Bracket from the contextual menu to remove the selected brackets of the selected group definition. • Press backspace for selected brackets to revert the selected brackets to their default length. • Drag a bracket handle vertically to make a bracket taller or shorter. • Drag a bracket handle horizontally to move a bracket closer to or away from bracketed staves.

See Also: Main Tool Palette Staff menu

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Tempo Tool The Tempo Tool lets you create or edit a stream of data describing tiny, moment-by-moment tempo fluctuations within the playback of your piece. You generate this tempo information when you record a real-time performance in Transcription Mode of HyperScribe. You can also use this tool to create a swing effect, although the Playback Controls provides a much more efficient and effective method of creating swing (see Swing Playback). Finale’s Human Playback feature, which interprets the score for playback and simulates a human performance, overrides tempo settings created with the Tempo Tool. To hear any playback effects assigned deliberately with the Tempo Tool, you first need to disable Finale’s Human Playback feature. To do this, from the Windows menu, choose Playback Controls and then click on the Playback Settings button on the Playback Controls. Click the drop-down menu for Human Playback Style and choose None. For more information, see Playback Settings dialog box. IMPORTANT: In order to hear effects applied with the Tempo Tool during playback, you must set Human Playback to None in the Playback Controls. Special mouse clicks • Click a measure to display the Tempo Adjustment dialog box, where you can edit the moment-by-moment tempo changes within the measure. For further information, see the Tempo Adjustment dialog box.


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Text Tool The Text Tool is used to enter blocks of text—not only the title of your piece, but also any headers, footers, page numbers, copyright notices, performance notes, and similar text that appears on one or more pages—directly into the score; adjust, align, and position text blocks; and set fonts and styles for the text directly on-screen. Click the Text Tool to display a menu for editing text, the Text menu. Use the Text menu to specify fonts and styles for the text in a text block, to align a text block, apply special effects or shapes around the text block, assign a text block to a measure or to a page, and specify what page or range of pages you want text blocks to appear on. The menus will display checkmarks for settings of the selected text blocks (such as 10 pt. and bold). If you have more than one setting such as mixed fonts or multiple text blocks selected with different settings, no selection in the menus will be displayed. Select a new setting to change the setting. From the Edit menu, choose Undo. When no text block handles are selected, the menus show the default text block settings. These default settings can also be changed by selecting a new setting from the menu. You can undo the change by selecting Undo from the Edit menu. You can select more than one text block handle and apply settings to multiple text blocks as well as undo the changes you just made. Editing inside text blocks can also be undone by selecting Undo from the Edit menu. Changes made while in the Edit Text dialog box can be undone individually while in the dialog box. Once you have exited the dialog box, selecting Undo will revert the document to the state before entering the Edit Text dialog box. For information regarding the relationship of text between the score and linked parts, see Page-attached text in linked parts and Measure-attached text in linked parts. When you click the Text Tool the Text menu appears. Handles appear on each text block in the score.

Special mouse clicks • Click the Text Tool to display the Text menu. A handle appears on each text block in the score.

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• Click a text block handle or drag-enclose text block handles to select a text block or text blocks. • Shift-click a text block handle to add a text block to the selection. If a text block is already selected, remove the text block from the selection. • Double-click in the score to create an unbounded frame that expands as you enter text. • Double-click and drag in the score to create a bounded, fixed-size frame for text. • Double-click a text block handle, or right-click the handle and select Edit Text from the contextual menu to edit the text block. The frame surrounding the text appears. A cursor appears in the text block. • Shift-double-click a text block handle, or right-click the handle and select Edit Frame Attributes from the contextual menu to edit the text block’s attributes. The Frame Attributes dialog box appears. • Press delete for one or more selected text blocks, or right-click the handle and select Delete from the contextual menu to delete the selected text blocks. • Drag a selected text block handle to adjust the text block’s position in the score.


Menu item

What it does

Edit Frame Attributes

Display the Time Signature dialog box

Edit Text

Change the time signature to 2/2 until the next time change

Show

Change the time signature to 2/2 beamed as 4/4


Change the time signature to cut time beamed as 4/4



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Delete


See Also: Text menu Document Options-Text Main Tool Palette

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Time Signature Tool Click this tool, then double-click a measure where you want to insert a meter change; the Time Signature dialog box appears, from which you can create the new meter. You can also use the mouse to select a region of music with the Time Signature Tool.

Special mouse clicks • Drag-enclose an area to select a region of music for Metatools, or for the Time Signature dialog box to affect.

Metatools You can create Time Signature Metatools—one-key equivalents for meter changes—that can save you time if you need to insert many meter changes into your music.

To program a Time Signature Metatool Click the Time Signature Tool. Press shift and a number key or a letter key. Finale displays the Time Signature dialog box; create the time signature you want to correspond to the number or letter you pressed. Click OK (or press enter).

To use a Time Signature Metatool Click the Time Signature Tool. Select a region of music. While pressing the number or letter corresponding to the Metatool you programmed, double-click a measure. Finale changes the meter over the region you have selected. Contextual Menus Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be displayed where you can select various items.

Menu item

What it does

Edit Time Signature

Display the Time Signature dialog box

2/2

Change the time signature to 2/2 until the next time change 2717

2/2 (Beamed as 4/4)

Change the time signature to 2/2 beamed as 4/4

Cut Time (Beamed as 4/4)

Change the time signature to cut time beamed as 4/4

2/4


3/4


4/4


5/4

Change the time signature to 5/4

3/8


5/8 (Beamed as 2+3)

Change the time signature to 5/8 beamed as 2+3

5/8 (Beamed as 3+2)

Change the time signature to 5/8 beamed as 3+2

6/8


7/8 (Beamed as 2+2+3)

Change the time signature to 7/8 beamed as 2+2+3

7/8 (Beamed as 3+2+2)

Change the time signature to 7/8 beamed as 3+2+2

9/8


12/8


For further information, see the Time Signature dialog box.

See Also: 2718

Document Options-Time Signatures Main Tool Palette

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Tuplet Tool This tool lets you create, edit, and adjust the positions of tuplets. (The word tuplet describes a class of irregular note divisions such as triplets, quintuplets, or septuplets.) You can use it to describe the visual appearance of the tuplet (whether or not it has a bracket, for example) as well as its rhythmic definition (how many quarter notes in the space of a half note, for example). For information regarding tuplets in scores with linked parts, see Tuplets in linked parts. You can predefine the default appearance of tuplets when you first create them (with the Simple Entry, Speedy Entry or HyperScribe Tools) including whether or not a slur or bracket appears, at what height it appears, and so on. To do so, ctrl-click the Tuplet Tool; Finale displays the Tuplet Definition dialog box, where you can specify how you want new tuplets to look. To do so, use the Simple Entry Tuplet Tool. See Tuplets (Simple Entry). For pre-define more advanced tuplets, see To enter a duplet, septuplet or other tuplet. Tip: Change Tuplet settings over a selected region with the Selection Tool. Choose Tuplets from the Change Submenu of the Utilities menu. Special mouse clicks • Click the first note of a tuplet to display its positioning handles. There are six positioning handles. Two control the horizontal and vertical length of the bracket. One controls number position. Another controls the position of the entire bracket and number. Two others control the angle of the bracket and the position of the bracket without moving the number. • Drag a positioning handle to adjust the height and position of the tuplet’s visual elements (bracket, slur, number, and so on). See Tuplets for details on how these handles control the bracket and number. • Double-click a positioning handle, or right-click the handle and select Edit Tuplet Definition from the contextual menu to display the Tuplet options, where you can change the temporal or visual definition of the tuplet. • Click the first of a series of notes you want to turn into a tuplet grouping to display the Tuplet options, where you can specify a temporal and visual 2720

definition to create a tuplet. (If this first note is in Voice 2, shift-click below the staff.) You can even click a note that’s part of an existing tuplet grouping if you want to create an inner (nested) tuplet. • Ctrl-click the Tuplet Tool, or right-click the handle and select Edit Default Tuplet Visual Definition from the contextual menu to display the Tuplet Definition dialog box, in which you can specify the default appearance of new tuplets you create with the HyperScribe and Speedy Entry Tools. You can also display these options in the Document Options dialog box. From the Document menu, choose Document Options and select Tuplets. See Document Options-Tuplets for complete details. • Select a tuplet handle and press delete, or right-click the handle and select Delete from the contextual menu to delete the tuplet. • Press Backspace to reset a selected tuplet to the default settings.

Metatools You can create Tuplet Metatools—one-key equivalents for tuplet definitions— that can save you time if you need to create many tuplets from non-tuplet notes in your score (because you avoid having to access a dialog box).

To program a Tuplet Metatool Click the Tuplet Tool. Press shift and a number key or a letter key. Finale displays the Tuplet options; create the tuplet you want to correspond to the number or letter key you pressed. Click OK.

To use a Tuplet Metatool Click the Tuplet Tool. While pressing the number or letter corresponding to the Metatool you programmed, click a note (or, if the note is in Voice 2, click below the staff). Finale automatically transforms the note you clicked and subsequent notes into the tuplet grouping you predefined, complete with a bracket or slur (if you specified one) with the positioning you specified. Contextual Menus Contextual menus are reached by right-clicking on the handle of an object or right mouse-clicking on the Main Tool Palette tool. A contextual menu will be displayed where you can select various items.

Tuplet Tool

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Menu item

What it does

Edit Default Tuplet Visual Definition

Displays Document Options-Tuplets

Tuplet Handles Menu item

What it does

Edit Tuplet Definition

Displays the Tuplet Definition dialog box

Shape Type: Nothing • Slur • Bracket

Change the bracket style for this tuplet

Placement: Manual • Stem/Beam Side • Note Side • Above • Below

Change tuplet placement for this tuplet

Always Flat

Flatten the tuplet bracket

Avoid Staff

Place the tuplet above the top or below the bottom staff line

Bracket Full Duration

Extend tuplet bracket to enclose the full rhythmic duration

Center Number Using Duration

Center the tuplet number based on the rhythmic center

Flip

Flip the tuplet to the other side of the staff

Reset

Reset tuplet to settings specified in Document Options-Tuplets

Show







Restore the link to all corresponding 2722

items in parts Delete

Delete selected tuplet

For further information, see the Tuplet Definition dialog box.

See Also: Document Options-Tuplets Main Tool Palette

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Zoom Tool Use this tool to magnify or reduce the music as it’s displayed on the screen. You’re not actually enlarging or reducing the printed size of the music – only "zooming in" or "zooming out" while you’re working on it. If the Zoom Tool is selected, and you click (in Scroll View) or drag across the music (in Page View), Finale enlarges the display, making it easier for you to do detail work. If you press Ctrl-while clicking or dragging, however, Finale makes the music smaller, letting you see more of the score on the screen. Special mouse clicks • Click the music or press Ctrl-+ to zoom in incrementally. • Ctrl-click the music or press Ctrl--(minus) to zoom out incrementally. • In Page View, drag diagonally across a region of music to enlarge it just enough to fill your screen. • While using any other tool, shift-right–click the screen to zoom in, even though the Zoom Tool isn’t selected. Ctrlshift–right–click to zoom out.


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Worksheets Finale includes hundreds of ready-made, educator-approved, music education worksheets. Designed for K-12 students of general music, theory, band, orchestra, and choir, these worksheets (and puzzles) help teach basic elements of music. Covered topics include counting, scales, chords, music vocabulary, and more. Because they're provided as Finale files it's easy to edit them to your specific needs and print them out, or distribute them via email to be printed with the free Finale Reader. Used in conjunction with Finale’s powerful Exercise Wizard, these worksheets provide educators with instant access to thousands of pages of printable AND editable materials for their students. Finale's worksheets are available in the "Finale 2010/Worksheets" folder. The answer key PDFs are located loose on the Finale 2010 DVD in the folder "Finale Worksheets Answer Key."

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Index 1 15ma (quindicima) see 8va/8vb, 17, 186 1-bar repeats, 968 2 2-up printing, 1575 3 3-Beam Groups dialog box, 931 4 4-Beam Groups dialog box, 933 6 6/8 meter see Compound meters, 117 8 8va, 17, 186 8va/8vb, 17, 186 Creating an 8va or 15ma marking, 17, 186 Maestro Font, 2068 Moving or reshaping an 8va or 15ma marking, 17, 186 8vb see 8va/8vb, 17, 186 A A 2 see Expressions, 198

About Finale, 934, 2194 About the FINALE.INI file, 741 About the FINMIDI.INI file, 741 Accelerando, 18 Accidental Octave Placement dialog box, 935 Accidental Order dialog box, 937 Accidental Settings dialog box, 940 Accidentals Add or remove parentheses, 21 Cautionary Accidentals plug-in, 2489 Changing an accidental to its enharmonic equivalent (Simple Entry), 190 Courtesy accidentals, 141 Maestro Font, 2063 Minimum vertical space between accidentals, 1102 Speedy Entry, 22 To add a sharped or flatted note, 21 To ass or change an accidental, 22 To create accidentals on tied notes, 22 To hide (or show) an accidental, 22 To move an accidental, 23 To raise or lower a note, 21 Add Bookmark dialog box, 942 Add Continuous Data dialog box, 944 Add Cue Notes plug-in, 2468 2726

Add Dots To Slashes In Compound Meters, 969 Add Key Velocities dialog box, 946 Add Note Durations dialog box, 949 Add SmartMusic Markers dialog box, 951 Add Tempo dialog box, 953 Adding Brackets, 74 Measures, 371 Staves, 647 Adding measures dialog box, 948 Additional PostScript Information dialog box, 954 Adjust Above Staff Baseline dialog box, 2144 Adjust Baselines, 2213 Adjust Lyric Baselines dialog box, 955 Adjust Page Range dialog box, 961 Adjust Syllables, 2204 Adobe PDF documents, 24 PDF995, 24 Aftertouch, 1907 see Channel Pressure, 82 see Continuous data, 118 Align/Move Dynamics plug-in, 2470 Alla Breve see Cut time, 159 Allow Vertical Positioning, 940 Alter Feel, 2248 Alter Feel - Key Velocities dialog box, 963 Alter Feel - Note Durations dialog box, 958 Alteration, 966 Alternate notation dialog box, 968 Alternative music fonts, 742 Alto clef see Clefs, 103

Ambience see Garritan Ambience dialog box, 1316 Anacrusis see Pickup measures, 489 Apply Articulation dialog box, 971 Apply Human Playback plug-in, 2472 Apply Human Playback Preferences dialog box, 973 More Settings dialog box, 1478 Apply Music Spacing dialog box, 975 Apply Staff Style dialog box, 977 Approximate pitch see Headless notes, 277 see Note shapes, 437 Aria Player for Finale, 979 Arpeggio see Rolled chords, 544 Arrowhead, 982 Arrowheads, 1087 Arrows Custom lines, 158 Arrows see Shape Designer, 559 Articulation Assignments dialog box, 1018 Articulation Designer dialog box, 983 Articulation Selection dialog box, 990, 991 Articulations Articulation Shapes Library, 806 Articulations, 27 Breath marks, 78 Contextual menu, 2633 Engraver Articulation Library, 806 Engraver Font, 1968 Fermatas, 211 Fingering numbers, 214 2727

Harmonics, 275 Jazz Articulations, 806 Libraries, 806 Maestro Font, 2066 Metatools, 377 Mordents, 407 Mutes, 427 Pedal markings, 470 Rolled chords, 544 Staccato marks, 628 To apply an articulation to every note in a region, 32 To center and reposition existing articulations, 33 To change the articulation character, 29 To copy articulations, 34 To copy markings based on a rhythmic match, 35 To create an articulation metatool, 36 To define an articulation for playback, 31 To design an articulation, 29 To erase articulations from a region, 33 To move or delete an articulation, 29 To put one articulation mark in the score, 28 To quickly change an articulation, 34 To remove an articulation from the list, 37 Tremolos, 719 Trills, 721 Artificial harmonics see Harmonics, 275 Assign to Staves dialog box, 992

Assignment Lists, 201 ASV, 2151 ATM, 223 Attack and release see Articulations, 27 see Rolled chords, 544 see Start and Stop Times, 644 see Transcribing a sequence—To edit keyboard notes, 711 Audio, 39, 996 To export an audio file, 39 To import an audio file, 39 Audio Clip Attributes dialog box, 994 Audio Units, 735 Augmentation, 41 Change Note Durations dialog box, 1028 Doubling the rhythmic values in a passage, 41 Augmentation Dot Maestro Font, 2060 Author credits see Text blocks, 678 Auto Launch Frame, 1753 Auto Slur Melismas Plug-in, 2476 Auto-Dynamic Placement plug-in, 2474 Automatic Barlines plug-in, 2477 Automatic Check for Updates, 998 Automatic Music Spacing, 1144, 2115 Automatic Update Layout, 1584 Avoid Staff Lines, 1736 B B flat baritone transposition

2728

See To display a staff differently in one part than another, 642 Backbeats, 42 Altering the durations of backbeats, 658 Altering the key velocity of backbeats, 42 Copying or erasing MIDI Tool editing, 392 Backup files, 2154 Backward Repeat Bar Assignment, 999 BAK, 2151 Band-in-a-Box Auto-Harmonizing plug-in, 2479 Bank Select, Bank Change Table, 750 Bar count see Count Items plug-in, 2519 Baritone parts To display a staff differently in one part than another, 642 Barline, 1319 Barlines, 44 Automatic Barlines plug-in, 2477 Breaking a barline between grouped staves, 44 Changing barlines for groups, 45 Changing barlines in a selected region (or at regular intervals), 45 Changing the thickness of barlines in a document, 47 Correcting barline display, 48 Creating one double, dotted, final, or other barline, 45 Double barlines, 176 Drawing the barline on a group, 44 Final barline, 213

Hiding all barlines (No-barline music), 46 Hiding one barline, 46 Inserting a false or custom barline, 47 Maestro Font, 2070 Moving a barline, 46 Baroque ornaments, 27 Barre, 1299 Bars see Barlines, 44 see Measures, 371 Baseline Shift dialog, 2392 Baseline Shift dialog box, 1002 Bass clef see Clefs, 103 Batch Printing, 49 Beam angles, 50 Allowing only flat beams on a single staff, 51 Changing a beam from the default angle to flat, 51 Changing or restoring the angle of a beam, 50 Changing the angle of secondary beams, 59 Limiting the steepness of beams, 51 Patterson Beam plug-in, 2585 Removing angle modifications from a selected region, 50 Setting the beam angle style globally, 50 Beam breaking, 1668 Beam Extension Selection dialog box, 1003 Beam Extension Tool, 1003 Beam Over Barline plug-in, 2483 Beam thickness, 52 2729

Changing the thickness of beams globally, 52 Changing the thickness of beams individually, 52 Beaming, 53 Beam grace notes, 245 Beaming across barlines, 56 Beaming eighth notes in quarter note groups, 55 Beaming over rests, 58 Breaking (or creating) a beam, 53 Changing the height of stems in secondary beams, 61 Classic Eighth Beams plug-in, 2508 Creating custom beaming patterns when changing the time signature, 54 Feathered beaming, 59 Flat Beams (Remove) plug-in, 2561 Flat Beams plug-in, 2561 Patterson Beams plug-in, 2585 Preventing Finale from beaming automatically (Speedy Entry), 55 Rebeaming a selected region, 53 Secondary beams, 60 Breaking secondary beams, 60 Changing a broken beam’s direction, 60 Changing the angle of secondary beams, 51 Changing the distance between beams, 61 Changing the height of stems in secondary beams, 61 Beaming across barlines, 56 Beaming Chart dialog box, 1005 Beaming over rests, 58

Creating (or removing) half-stems on beamed rests, 58 Globally beam over rests on the outside of beam groups, 58 Beams, 2704 Beat Chart dialog, 2657 Beat Chart dialog box, 1007 Beat positions, 63 Creating a beat chart in one measure, 62 Moving a beat, 62 Beat Source, 1068 Beats see Beat positions, 62 Bend hats, 64 Bends Guitar bends, 267 see Pitch wheel, 491 Billing methods (for copyists) see Count Items plug-in, 2519 Bird’s eye see Fermatas, 211 Bitmapped graphics, 2645 Blank Notation, 968 Blank Page, 1386 Blank pages, 65 Adding a blank page anywhere in your document, 65 Deleting a blank page anywhere in your document, 65 Blank score paper, 358 Block rests see Multimeasure rests, 2477 Book Style (Page View), 2435 Booklets, 66 Boomwhackers® tuned percussion tubes, 70 Border, 1218 Enclosure Designer dialog, 1218 Text border, 2401 2730

Bowing, 27 Bowing marks see Articulations, 27 Braces see Piano Braces, 1150 Bracket dialog box, 1010 Bracket Style dialog box, 1012 Brackets, 74 Adding and Creating Brackets see Brackets-Staves, 74 Horizontal lines, 72 Drawing a horizontal line, 72 Moving, reshaping, or deleting a Smart Shape line, 72 Notes, 73 Creating a note bracket, 73 Staves, 74 Correcting bracket display, 75 Creating, 76 Creating additional (nested) brackets, 75 Deleting a bracket from a group, 75 Modifying brackets on a systemby-system basis, 76 Moving or stretching a bracket, 74, 75 Moving, stretching or deleting a floating bracket, 77 Placing a bracket on grouped staves, 74 Breath Mark dialog box, 1013 Breath marks, 78 Breves see Double whole notes, 177 Broadway Copyist Font, 2037 C Cadenzas, 79

To permit unlimited notes in one measure (Position Notes Evenly method), 79 To permit unlimited notes in one measure (Time Signature method), 79 Caesuras See Cesuras, 81 Canonic Utilities plug-in, 2484 Categories (Expressions), 198 Category Designer dialog box, 1014 Cautionary accidentals Cautionary Accidentals plug-in, 2489 see Courtesy accidentals, 141 Cautionary Accidentals plug-in, 2489 Cautionary key changes see Courtesy key signatures, 143 Cautionary time changes see Courtesy time signatures, 145 Cesuras, 81 Change Chord Assignments dialog box, 1020 Change Clef dialog box, 1025 Change Fonts plug-in, 2491 Change Note Durations dialog box, 1028 Change Note Size dialog box, 1030 Change Note Types dialog box, 1033 Change Noteheads dialog box, 1034 Change Noteheads plug-in, 2492 Change Ties dialog box, 1036 Change to Default Whole Rests plug-in, 2493 Change to Real Whole Rests plugin, 2494 2731

Change Tuplets dialog box, 1038 Channel Pressure, 82 Copying or Erasing controller data, 392 Editing Channel Pressure data, 82 Retaining Channel Pressure data for score playback, 82 Character names, 84 see Expressions, 198 Character Settings dialog, 2395 Character Settings dialog box, 1043 Check Graphics dialog box, 1045 Check Range plug-in, 2495 Check Region for Durations plug-in, 2498 Check Repeats dialog box, 1047 Choirs (Instrument choirs) see Groups, 264, 630 Choose Junction for Staff dialog box, 1048 Choral music, 85 see Hymns, 288 see Lyrics, 342 Chord, 2636 Chord Analysis Plug-in, 2499 Chord Definition dialog box, 1051 Chord menu, 2075 Chord/All-Staff Analysis, 2084 Chord/Chord Style, 2085 Chord/Chord Suffix Fonts, 2094 Chord/Edit Learned Chords, 2093 Chord/Enable Chord Playback, 2095 Chord/Italicize Capo Chords, 2087 Chord/Left-Align Chords, 2086 Chord/Manual Input, 2077 Chord/MIDI Input, 2081, 2082

Chord/Position Chords, 2089 Chord/Position Fretboards, 2090 Chord/Simplify Spelling, 2091 Chord/Substitute Symbols, 2092 Chord/Two-Staff Analysis, 2083 Chord Morphing plug-in, 2501 Chord Realization plug-in, 2503 Chord Reordering plug-in, 2505 Chord Splitting plug-in, 2506 Chord Suffix Editor dialog box, 1057 Chord Suffix Selection dialog box, 1061 Chord Suffixes, 1061 Chord symbols, 86 Changing chord symbol fonts, 98 Chord symbols, 86 Copying chords from one region to another, 96 Creating or loading a Chord Suffix Library, 98 Defining a chord symbol manually with MIDI input, 99 Defining and entering a chord symbol manually, 91 Editing a chord suffix, 92 Editing chords (Manual Input), 92 Editing chords directly in the score, 91 Editing or deleting a learned chord, 95 Entering a chord using a Metatool, 97 Entering chord symbols automatically, 87 Erasing chords from a region, 96 Figured bass, 212 Figured Bass Library, 815 2732

Fretboard diagrams, 233 Lead sheets, 306 Left-justifying chord symbols above the notes, 99 Maestro Font, 2071 Moving and deleting chord symbols, 95 Moving and deleting chord symbols individually, 99 Playing-in chord symbols (MIDI data input), 90 Preventing chord symbols from playing back, 96 Programming a chord symbol Metatool, 97 Teaching Finale learned chords, 93 Transposing chord symbols, 95 Typing-in chord symbols, 88 Chords, 101 Adding notes to (or removing notes from) a chord, 101 Changing the enharmonic spelling of a chord, 101 Changing the pitch of a chord, 101 Rearranging the noteheads of a cluster chord, 101 see Chord symbols, 86 Chords & Fretboards library, 815 Chorus, 2212 Chromatic Spellings, 1205 Classic Eighth Beams plug-in, 2508 Clear Lyric Positioning plug-in, 2510 Clear Measure # Positioning plugin, 2511 Clear Pickups dialog box, 1549 Clear see Erasing, 194 Clef Designer dialog box, 1064

Clef Selection dialog box, 1067 Clef Size, 1025 Clef Tool, 2639 Clefs, 103 Changing a clef you’ve inserted in mid-measure, 104 Changing the default clef, 104 Changing the horizontal positioning of starting clefs, 107 Courtesy clef changes, 142 Custom shape clef, 106 Designing a new clef, 105 Globally changing the position and size of inserted clefs, 107 Hiding a clef, 105 Inserting a clef change, 103 Maestro Font, 2069 Metatools, 2639 Setting the starting clef for a staff, 103 Specifying the location of keysignature accidentals in a nonstandard clef, 108 Click and Countoff, 109 Setting up countoff measures and the metronome click (for Playback and HyperScribe recording), 109 Click Assignment, 1071 Placing lyrics into the score (click assignment), 345 Click Output dialog box, 1076 Click track, 109 see Click and Countoff dialog box, 109 Clip, 2123 Clip File, 2123 Clip files see Copying music, 121 Closed symbols see Articulations, 27 2733

Closed Symbols see Articulations, 27 Cluster noteheads see Engraver Font, 229 Coda, 112 Create Coda System plug-in, 2520 Maestro Font, 2069 Color dialog box, 1078 Colored Noteheads, 1149 Command Line plug-in, 2512 Commas see Breath marks, 78 Common Time, 114 Common Tone Transposition plugin, 2517 Compile PostScript Listing dialog box, 1079 Comping, 569 Composer credits see Text blocks, 678 Composer’s Assistant plug-ins, 2518 Composite, 1082 Composite Time Signature dialog box, 1082 Composite time signatures, 115 Creating a composite meter, 115 Removing a composite meter, 116 Compound meters, 117 Con sordino see Mutes, 427 Concert Pitch, 1781 Display in Concert Pitch command, 2103 Conducting symbols, 227 Conductor’s score see Imploding music, 292 see Optimizing systems, 444 see Piano Reduction plug-in, 2590 Configuring Ensembles.txt, 755

Configuring Instrument.txt, 756 Configuring MacSymbolFonts.txt, 758 Configuring Pagesizes.txt, 759 Contextual menus, 2705 Articulations, 2634 Chords, 2637 Expressions, 2642 FinaleScript, 2533 Key Signature, 2649 Lyrics, 2652 Measure, 2657 Note Mover, 2666 Ossia, 2668 Page Layout, 2670 Repeats, 2674 Resize, 2677 Selection Tool, 2681 Simple Entry, 2695 Smart Shapes, 2701 Staves, 2708 Text, 2715 Time Signatures, 2717 Tuplets, 2721 Continuous Data, 118, 1683, 2238 Add, 944 Copying or erasing continuous data, 392 Editing continuous data, 119 Limit, 1416 Retaining continuous data for score playback in Transcription Mode, 119 Scale, 1655 To specify which continuous data you want to record for with HyperScribe, 118

2734

To specify which continuous data you want to record in Transcription Mode, 118 View, 1873 Controllers (MIDI controllers) see Continuous data, 118 Copy, 121 Copy and paste see Copying music, 121 Copying Paste Multiple dialog box, 1529 Copying measures, 121 Copying music, 121 Combining files with Score Merger, 134 Combining two files, 134 Copying across documents, 133 Copying and inserting by dragging, 128 Copying and inserting stacks, 129 Copying and inserting using the clipboard, 127 Copying and pasting by dragging, 123 Copying and pasting stacks, 125 Copying and pasting using the clipboard, 127 Copying markings based on a rhythmic match, 137 Copying multiple passages of music to another document (using Clip Files), 133 Copying score markings based on a rhythmic match, 137 Copying time signatures, 131 Copying to another place in the document (by dragging), 123 Making a copy of a document, 133 Merging part files into a score with Score Merger, 136

Mirroring, 404 specifying what you want to copy, 130 Copying Tempo Data, 132 Copyright notices, 139 Count Items plug-in, 2519 Countoff, 1068, 2236 Countoff button, 2236 Courtesy accidentals, 141 Cautionary Accidentals plug-in, 2489 Courtesy clef changes, 142 Globally preventing courtesy clefs from displaying, 142 Preventing courtesy clefs from displaying in a single measure., 142 Courtesy key signatures, 143 Forcing the display of the key signature in a measure, 143 Hiding the end-of-line courtesy key change (globally), 143 Hiding the end-of-line courtesy key change (in one place), 143 Courtesy time signatures, 145 Create Coda System plug-in, 2520 Create Handbells Used Chart plugin, 2522 Create/Edit Ending dialog box, 1084 Creating a Document Style, 171 Creating a note bracket, 73 Creating Parts, 330 Extract Parts dialog box, 1262 Credit lines see Text blocks, 678 Crescendo/Decrescendo, 146 Aligning hairpins, 147

2735

Changing the default opening and thickness of Smart Shape hairpins, 148 Creating a playback crescendo or decrescendo with the MIDI Tool, 148 Creating a Smart Shape (graphic) crescendo or decrescendo marking, 146 Creating a Text Expression (such as, 148 Moving or deleting a crescendo (Text or Shape Expression), 149 Moving, reshaping, or deleting a Smart Shape crescendo, 147 Crossed hands, 150 Cross-staff beaming see Cross-staff notes, 151 Cross-staff notes, 151 Cross-staff plug-in, 2524 Restoring cross-staff notes to their source staff, 153 Restoring cross-staff notes to their source staff temporarily, 154 To create cross-staff notation manually, 151 To create cross-staff notes with the Cross-staff Plug-in, 151 Cross-staff plug-in, 2524 Cue notes, 155 Add Cue Notes plug-in, 2468 Creating a cue staff, 156 Creating cue notes on a full-size staff, 155 Preventing attached lyrics from shrinking, 156 Restoring a cue staff to full size, 156 Smart Cue Notes plug-in, 2606 Cue staves see Cue notes, 155

Custom Arrowhead Selection dialog box, 1087 Custom barline, 1436 Custom Frame dialog box, 1089 Custom Line, 1717 Custom lines, 158 Changing which custom line is assigned to the palette icon, 158 Creating a custom line, 158 Placing a custom line, 158 Customize Toolbars, 1091 Customize Toolbars dialog box, 1091 Customized Speedy Keymap, 760 Cut, 2122 Cut time, 159 Changing the cut-time display, 159 Mixing abbreviated and nonabbreviated cut and common time signatures, 159 Cutaway scores, 161 Hiding a portion of a staff, 161 Masking a portion of the score using the graphics tool, 361 D D.C, 1821 D.C., 165 Creating a functional, 112 Moving or deleting the D.C. marking, 166 Placing a D.C marking in the score, 165 D.S., 180 Maestro Font, 2069 Placing a coda marking into the score, 180 2736

Placing a D.S. marking into the score, 181 D.S. al Coda, 180 Placing a coda marking into the score, 180 Placing a D.S. marking into the score, 181 Da capo see D.C., 165 Dal segno see D.S., D.S. al Coda, 180 Dash Length, 1092 Dashed Line dialog box, 1092 Dashed lines, 162 Drawing a Smart Shape dashed line, 162 Moving, reshaping, or deleting a Smart Shape dashed line, 162 Dashes see Dashed lines, 162 Date stamps, 164 Changing the date format for date stamping, 164 Creating a time or date stamp, 164 Decrescendo see Crescendo/Decrescendo, 146 Default Fonts library, 806 Define Keyboard Shortcut dialog box, 1093 Define Staff Styles, 2372 Delete Blank Pages dialog box, 1095 Delete Element dialog box, 1097 Delete Measures, 2215 Deleting Articulations, 33 Brackets, 75 Chords, 95 Lyrics, 351 Measures, 371

Pages, 65 Staves, 648 Designing shapes see Shape Designer, 559 Dialogue see Text blocks, 678 Diamond noteheads see Note shapes, 437 Diatonic Instrument Definition dialog box, 1098 Diminuendo see Crescendo/Decrescendo, 146 Diminution, 167 Halving the rhythmic values in a passage, 167 Rhythmic Subdivisions plug-in, 2599 Displaying music, 2432 Distances, 168 Changing clef, key, and meter distances, 169 Changing the distance between notes, 168 Changing the distance between staff systems, 662 Changing the distance between staves, 168 Changing the page and system margins, 662 Making all staves equidistant, 648 Margins Changing the page and system margins, 359 Staves To change the distance between staff lines, 168 To make all staves equidistant, 168 Divisi, 170 see Expressions, 198 2737

Document - information, 1265 Document menu, 2096 Document/Category Designer, 2108 Document/Data Check, 2102 Document/Display Expressions and Repeats for Parts, 2104 Document/Display In Concert Pitch, 2103 Document/Document Options, 2113 Document/Edit Measure Number Regions, 2109, 2216 Document/Edit Part, 2098 Document/edit Program Options, 2142 Document/Edit Score, 2097 Document/Manage Parts, 2099 Document/Page Format, 2100 Document/Pickup Measure, 2111 Document/Playback Options, 2106 Document/Set Default Music Font, 2112 Document/Show Active Layer Only, 2105 Document/Special Part Extraction, 2101 Document/Sync and Video Options, 2107 Document Options, 2113 Document Options - Lyrics, 1137 Document Options dialog box, 1099 Document options Grids and Guides, 1127 Document Options Piano Braces, 1150 Document Options_Lines and Curves, 1135

Document Options-Accidentals, 1101 Document Options-Alternate Notation, 1104 Document Options-Augmentation Dots, 1106 Document Options-Barlines, 1108 Document Options-Beams, 1111 Document Options-Chords, 1115 Document Options-Clefs, 1117 Document Options-Flags, 1120 Document Options-Fonts, 1122 Document Options-Grace Notes, 1125 Document Options-Key Signatures, 1129 Document Options-Layers, 1132 Document Options-Multimeasure Rests, 1139 Document Options-Music Spacing, 1142 Document Options-Notes and Rests, 1146 Document Options-Repeats, 1152 Document Options-Stems, 1157 Document Options-Text, 1161 Document Options-Ties, 1163 Document Options-Time Signature, 1168 Document Options-Tuplets, 1171 Document Styles, 171 Documents - displaying, 2446 Documents - opening and saving, 2148 Doits, 173 Dot Offsets dialog box, 1176 Dots see Dotted notes, 174 Dotted lines see Dashed lines, 162 2738

Dotted Notes, 174 Adding a dot to a note (Simple Entry), 174 Adjusting ties for augmentation dots, 694 Changing the position of a single dot, 174 Changing the position of all dots, 174 Removing a dot from a note, 174 Undoing individual dot positioning, 175 Dotted slurs see Slurs, 570 Double barlines, 176 Double stems see Stems—To create a double or split stem, 654 Double strokes see Cesuras, 81 Double whole notes, 177 Maestro Font, 2060 Substituting a notehead on a noteby-note basis, 437 Substituting one notehead for another notehead globally, 177 Doubling note values see Augmentation, 41 Downbeats, 178 Altering the attack points of downbeats, 178 Altering the key velocity of downbeats, 178 Moving a single downbeat graphically, 62 Moving all downbeats graphically, 178 Down-bow, 27 Downbows see Articulations, 27 Dragging staves, 631 Drum Groove plug-ins, 2526 Drum Rolls see Tremolos, 719

Duration Allotments, 1177 Durations see Note values (durations), 443 see Start and Stop Times, 644 Dynamics, 183 Align/Move Dynamics plug-in, 2470 Auto-Dynamic Placement plug-in, 2474 Defining for playback, 184 Designing a dynamic marking, 183 Engraver Font, 1968 Inserting a dynamic marking into the score, 183 Jazz Dynamics library, 806 Maestro Font, 2065 Moving or deleting a dynamic marking, 184 see Crescendo/Decrescendo, 146 see Key Velocity, 302 E Early music, 743 Creating diamond noteheads see Note shapes, 437 Fonts see Fonts, 223 Four-line staff see Staff Lines, 633 No barlines see Barlines, 46 Easy Harmonics plug-in, 2528 Easy Tremolos plug-in, 2529 Edit Bookmarks, 1180 Edit Filter, 1182 Edit Frame, 1189 Edit Learned, 2093 Edit Learned Chords, 1197 Edit Lyrics, 1200 Edit Lyrics window, 2202 2739

Edit Major and Minor Key Spellings dialog box, 1207 Edit Measure Attributes, 1436 Edit menu, 2115 Edit, 2115 Edit/Add Measures, 2134 Edit/Clear All Items, 2130 Edit/Copy, 2123 Edit/Cut, 2122 Edit/Delete Measure Stack, 2136 Edit/Edit Filter, 2128 Edit/Edit Measure Attributes, 2138 Edit/Enharmonic Spelling, 2139 Edit Major and Minor Key Spellings, 1205 Edit Modal or Chromatic Spellings, 1205 Edit/Insert Measure Stack, 2135 Edit/Measurement Units, 2140 Edit/Move/Copy Layers, 2129 Edit/Multimeasure Rests, 2137 Edit/Paste, 2125 Edit/Paste Multiple, 2127 Edit/Redo, 2118 Edit/Select All, 2120 Edit/Select Region, 2121 Edit/SmartFind and Paint, 2132 Edit/Text Search and Replace, 2133 Edit/Undo, 2117 Edit/Undo/Redo Lists, 2119 Edit/Update Layout, 2421 Edit/Use Filter, 2126, 2131 Edit MIDI Modifiers dialog box, 1202 Edit MIDI Note dialog box, 1204 Edit Page Margins dialog box, 1209

Edit Page Offset dialog box, 1523 Edit Page Size dialog box, 1525 Edit Split Points dialog box, 1326 Edit System Margins dialog box, 1211 Edit Text, 1213 Edit Text limited dialog box, 1215 Editing music, 1520 EDU, 1908 EDUs, 777 Eighth notes see Note values (durations), 443 Elapsed Time, 187 Elapsed Time dialog box, 1217 Elisions, 188 Encapsulated PostScript, 1240 Encapsulated PostScript (EPS), 189 Creating an EPS file, 189 Enclosure Designer dialog box, 1218 Ending barlines see Final barline, 213 Ending Repeats dialog box, 1626 Endings Final barline, 45 see First and second endings, 215 Engraver Font Articulations, 230 Conducting symbols, 230 Dynamics, 230 Engraver Text Expressions Library, 806 Text Fonts, 231 The Alternate Notehead Sets, 227 Trill To Noteheads, 229 Engraver Slurs, 192

2740

Defining Engraver Slurs, 192 Enharmonic Spelling dialog box Major/Minor, 1207 Modal/Chromatic, 1205 Enharmonics, 190 Changing a chord’s enharmonic spelling, 190 Changing all occurrences of a note (search and replace), 190 Edit Major and Minor Key Spellings dialog box, 1207 Enharmonics in Linked Parts, 338 Enharmonics in Linked Parts, 338 Enigma Duration Unit, 1908 Enigma Transportable File, 1908 Enlarging see Reducing/Enlarging, 529 Ensembles.txt, 755 EPS, 1239 EPS files see Encapsulated PostScript (EPS), 189 Equivalents, 777 Erase Layer dialog box, 1221 Erasing, 194 Erasing a note from a chord, 194 Erasing a note, rest, or chord, 194 Erasing everything from a selected region, 194 Erasing selected elements from a selected region, 194 To erase a note from a chord, 194 To erase a note, rest, or chord, 194 To erase everything from a selected region, 194 To erase selected elements from a selected region, 194

EVPUs, 777 Executable Shape Designer dialog box, 1222 Executable Shape Selection dialog box, 1226 Executable Shapes, 1695 Exercise Wizard, 1228 Exercise Wizard Instrument Ranges, 785 Exercises, 1228 Explode Music, 1233 Exploding music, 196 Explode Music menu command, 2425 Export Pages, 1239 Export Selection dialog, 1239 Export Selection dialog box, 1239 Exporting, 1239 Export Pages, 2174 Export Selection, 2173 Lyrics, 1236 MIDI files, 398 Transporting files across platforms, 293 Expression Assignment dialog box, 1242 Expression Designer, 1247, 1817 Expression Designer Playback, 1254 Expression Designer-Note Positioning, 1251 Expression menu, 2143 Edit Rehearsal Mark Sequence, 2147 Expression/Adjust Below Staff Baseline, 2145 Expression/Favor Attachment to Active Layer, 2146 Expression Selection, 1244 2741

Expression Tool, 2641 Expressions, 198 8va/8vb, 17, 186 Accelerando, 18 Align/Move Dynamics plug-in, 2470 Aligning, 1251 Assignment Lists, 201 Auto-Dynamic Placement plug-in, 2474 Brackets Notes, 73 Character Names, 84 Copying expressions, 203 Creating a shape, 559 Creating an expression, 202 Creating Expression Metatools, 207 Crescendo/Decrescendo, 146 Dashed lines, 162 Defining for playback, 204 Divisi, 170 Dynamics, 183 Engraver Text Expressions Library, 806 Erasing expressions from a region, 203 Expression Selection, 1244 Expression Tool, 2641 Flutter-tongue, 221 Grace notes, 244 Grand Pause, 248 Jazz Dynamics library, 806 Jazz Rehearsal Letters library, 806 Libraries Executable Shapes, 818

Harp Diagram, 818 Shape Expressions, 820 SMS Markers, 820 Text Expressions, 822 Metronome markings, 383 Mutes, 427 Note Expressions see Articulations, 27 Number Repeated Measures plugin, 2582 Pedal markings, 470 Pizzicato, 496 Rallentando, 515 see Articulations, 27 see Crescendo/Decrescendo, 146 see Slurs, 570 Shape Designer, 559 Shape Designer menu, 2313 Tempo markings, 673 To add an expression, 199 To add an expression to multiple staves (Assignment Lists), 201 To add an expression to multiple staves (Score Lists), 201 To add using a metatool, 202 To adjust the vertical positioning of expressions, 207 To assign the default positioning for an expression, 206 To move expressions assigned to staff lists, 204 To move or delete an expression, 202 Trills, 721 Expressions - playback, 1557 Extra Notes, 2351 Extract Lyrics dialog box, 1236 Extract Parts dialog box, 1262 2742

Extracting Parts, 209 Extracting parts into individual documents, 209 Printing parts directly from the score, 340 Process Extracted Parts, 2591 Special Part Extraction, 2593 Temporarily viewing an, 2593 F Facing pages see Page layout—To apply a different page layout to selected pages, 453 Fall-offs, 210 FAQs (Frequently Asked Questions), 912 Feathered beaming see BeamingFeathered beaming, 59 Fermatas, 211 Moving or deleting a fermata, 211 Fibonacci, 1177 Figured bass, 212 Figured Bass Library, 806 File Extensions, 800 File Info dialog box, 1265 File Integrity Test Results dialog box, 1267 File Maintenance dialog box, 1269 File menu, 2148 File/Close, 2152 File/Close All, 2153 File/Compile PostScript Listing, 2169 File/Exit, 2171 File/Export to SmartMusic, 2157 File/Extract Parts, 2156 File/File Info, 2166 File/Launch Window, 2149

File/Load Library, 2164 File/MusicXML, 2162 File/New, 2150 File/Open, 2151 File/Page Setup, 2167 File/Post on Finale Showcase, 2159 File/Print, 2168 File/Revert, 2160 File/Save, 2154 File/Save As, 2155 File/Save Library, 2165 File/Save Preferences, 2170 File/Save Special/Save As Audio File, 2158 File/Scanning SmartScore Lite, 2163 File Statistics dialog box, 1271 Files - saving, 1509 Fill dialog box, 1273 Fill With Rests (Simple Entry), 1704 Filter Channels dialog box, 1275 Final barline, 213 Finale and Explorer, 788 Finale File Icons, 800 Finale Notation File, 2151 Finale Showcase, 2159 Finale Template File, 2151 FINALE.INI, 741 FinaleScript Check box commands, 2537 Clef tool commands, 2553 Copy and paste document options, 2550 Dialog Box commands, 2535 Document options handling, 2548 Edit menu commands, 2554 2743

Expect command, 2537 File menu commands, 2555 Font commands, 2557 General commands, 2548 Helpers, 2546 Keyboard shortcuts, 2544 menu commands, 2535 Mouse clicks, 2543 Other commands, 2555 Page layout commands, 2553 Playback, 2557 Radio button commands, 2537 Report font, 2545 Script Editor dialog box, 1277 Script Syntax Coloring, 1278 Selecting a tab, 2540 Selecting and Deleting Measures, 2551 Selecting from drop-down menus, 2540 Selecting windows, 2541 Simulating keystrokes, 2541 Sliders, 2543 Smart Shapes, 2557 Source and destination folders, 2545 Stop and pause, 2545 Text search and replace, 2556 Tgtools, 2546 To Create a New Script, 2533 To print in Booklet form using FinaleScript, 66 Tool commands, 2552 Typing text and numbers, 2537 Utilities menu commands/misc., 2553 View commands, 2552

FinaleScript commands, 2535 Find Parallel Motion plug-in, 2559 Find Range plug-in, 2560 Fingerboard diagrams see Fretboard diagrams, 233 Fingering numbers, 214 see Articulations, 27 Fingerings, 27 FINMIDI.INI, 741 First and second endings, 215 Fit Music dialog, 1280 Fit to Time dialog box, 1282 Fixed Size, 1709 Fixed Split dialog box, 1283 Fixed Split Point dialog, 1285 Flags, 218 Adjusting the placement of Horizontal and Angled Straight Flags, 220 Changing the character assignment for a flag, 218 Maestro Font, 2062 Using Straight Flags, 218 Flat Beams (Remove) plug-in, 2561 Flat Beams plug-in, 2561 Flats see Key signatures, 301 see Text inserts, 2396 Flats (Simple Entry) see Accidentals, 21 Flats (Speedy Entry) see Accidentals, 22 Flutter-tongue, 221 Font Annotation, 222 Font dialog box, 1287 Font Utilities, 1291 Fonts 2744

Alternative music fonts, 742 ATM, 223 Broadway Copyist, 2037 Change Fonts plug-in, 2491 Changing every occurrence of a font to a different size, 225 Changing every occurrence of one font to another, 225 Changing music fonts, 224 Changing the music font of noteheads on a staff by staff basis, 226 Cross-platform compatibility, 227 Default Fonts library, 806 Double whole notes, 177 Eliminating dimmed font names from a document’s font lists, 226 Engraver Font, 1968 Flags, 218 Globally changing a musical elements font, 224 Jazz Default Fonts library, 806 Jazz Text Font, 1994 Maestro Font, 2060 Maestro Times Font, 2073 PostScript, 223 Shape Note music, 562 Swaping fonts, 1291 TrueType, 223 Unknown Font dialog box, 1870 Where are the fonts installed?, 223 Forced accidentals see Courtesy accidentals, 141 Forced key and time signatures see Courtesy key signatures, 143 see Courtesy time signatures, 145 Formatting

see Measure layout, 363 see Music Spacing, 421, 626 see Page layout, 449 Forward Repeat, 1630 Frame Attributes dialog box, 1294 French Horn, 1779 French scoring, 444 Frequency Modulation Chord Generator plug-in, 2562 Fret numbers, 666 Fretboard, 233 Fretboard diagrams, 233 Creating or showing fretboard diagrams globally, 233 Moving the fretboard diagrams individually, 234 Moving the fretboard diagrams up or down, 234 Removing all fretboard diagrams, 234 Show or hide fretboards for a region, 233 Showing and hiding fretboards on individual chords (Manual Input), 233 Fretboard Editor dialog box, 1298 Fretboard Finale, 2088 Fretboard Instrument Definition dialog box, 1300 Fretboard Selection dialog box, 1302 Fretboard Shape Selection dialog box, 1304 Fretboard Style Fonts & Shapes dialog box, 1306 Fretboard Styles dialog box, 1308 Fretboard-chart, 2088 Fretboards, 1052 FTM, 1908 2745

Fugues, 235 Full Measure dialog box, 1310 Full scores see Extracting parts, 209 see Optimizing systems, 444 see Tiling pages for printing, 696 G G clef see Clefs, 103 G.P. see Grand Pause, 248 G_Pitch Wheel, 1911 G_Simple_Entry_Caret, 1912 Garritan Instrument Setup For new scores, 236 Garritan Personal Orchestra Finale Edition Auto Load message, 239 Garritan Instruments for Finale Instrument Details, 842 Plr# vs. Solo Instruments, 239 To add Keyswitches as Expressions, 240 To load a GPO Instrument into the Kontakt Player for Finale, 237 To use a metronome click with Audio Units, 523 General MIDI, 241 General MIDI Patch Set Groupings, 833 General MIDI Percussion Map Table, 834 General MIDI Table, 838 Glissando, 242 Glissando Placement dialog box, 1720 Glissandos, 242 Changing which glissando is assigned to the palette icon, 243

Creating a glissando, 242 Creating a playback glissando, 243 Defining Glissando Placement settings, 242 Moving, reshaping, or deleting a Smart Shape glissando, 242 Smart Playback plug-in, 2612 GPO see Garritan Personal Orchestra Finale Edition, 236 Grace Note, 2690 Grace notes, 244 Adding a slash to beamed grace notes, 246 Adding or removing the slashes from grace notes globally, 245 Adding or removing the slashes from individual grace notes, 245 Beam grace notes, 245 Changing the size of grace notes, 245 Creating a grace note, 244 Creating a grace note (Simple Entry), 244 Creating a graphic only, 246 Eliminating grace notes from a transcription, 246 Maestro Font, 2060 Slash Flagged Grace Notes (Remove) plug-in, 2605 Slash Flagged Grace Notes plugin, 2605 Grace Notes Document Options-Grace Notes, 1125 Grand Pause, 248 Forcing a break in a multimeasure rest, 248 2746

Moving or deleting the G.P. marking, 248 To create a G.P. marking, 248 Graphic Attributes dialog box, 1311 Graphic Backward Repeats, 1630 Graphics, 249 Assigning a graphic to a measure, 253 Assigning a graphic to one or more pages, 252 Exporting a selected region of music as a graphic (Page View), 249 Exporting full pages of music as graphics (Page View), 250 Graphics menu, 2172 Placing graphics into the score, 251 Placing graphics into the Shape Designer, 252 Positioning measure-assigned graphics, 256 Positioning page-assigned graphics, 255 Positioning page-assigned graphics (Graphics menu), 254 Positioning page-assigned graphics on left- and right-facing pages, 256 Positioning placed graphics onscreen, 254 Printing with imported EPS files, 189 Scaling a placed graphic proportionally, 253 Shape Designer, 559 Graphics - Opening, 1509 Graphics - Opening & Display, 2645 Graphics - Positioning & Display, 2172

Graphics - saving, 2174 Graphics - scaling, 1311 Graphics - usage, 1045 Graphics menu, 2172 Graphics/Alignment, 2176 Graphics/Assign New Graphics to Measure, 2180 Graphics/Assign New Graphics to Page, 2181 Graphics/Attributes, 2178 Graphics/Check Graphics, 2179 Graphics/Export Pages, 2174 Graphics/Export Selection, 2173 Graphics/Place Graphic, 2175 Gregorian chant see Staff lines, 633 see Note shapes, 437 Gregorian chant see Medieval plugin, 743 Grid and guides Grid/Guide Options dialog box, 1091 Setting up a grid, 614 Setting up guides, 615 Show (Hide) Grid, 2432 Show (Hide) Guides, 2432 Snapping items to a grid or guide, 614 Snapping to grids and guides, 614 Turning on display of grids and guides, 614 Turning on snapping of grids and guides, 614 Grid Items, 1404 Gridline, 1646 Grids and Guides To create a guide, 731 To show the grid, 731 2747

To snap to grids and guides, 731 Using Grids and Guides, 731 Group Attributes dialog box, 1319 Group names, 260 Change Fonts plug-in, 2491 Changing the font for group names (globally), 2491 Creating or editing a group name, 260 Hiding a group name (full score), 263 Positioning group names (globally), 260 Repositioning group names (individually), 261 Setting the initial font for group names, 262 Group Style Definition dialog box, 2567 Grouping and bracketing optimized staves, 632 Groups, 264, 630 Adding staves to a group, 265 Barlines, 44 Brackets, 74 Changing the attributes of a group, 264 Group names, 260 Grouping staves, 264 Measures see Measure layout, 363 Removing a group, 264 Removing staves from a group, 265 Working with staff groups, 631 Gruppettos see Mordents, 407 Guide Items, 1405 Guide Placement, 1633 Guitar Bend Options, 1324

Guitar bends, 267 Guitar charts see Fretboard diagrams, 233 Guitar markings, 268, 854 Guitar parts, 272 see Fretboard diagrams, 233 see Slashes, 569 Tablature, 666 Guitar slashes see Slashes, 569 H Hairpins see Crescendo/Decrescendo, 146 Half notes see Note values (durations), 443 Half rests see Rests-Simple Entry, 537 see Rests-Speedy Entry, 539 Half stems, 58 Half-diminished, 2078 Half-stems Over Rests, 58 Halving note values see Diminution, 167 see Rhythmic Subdivisions, 2599 Hand Grabber, 2647 Hand Width Split, 1326 Handbells Create Handbells Used Chart plug-in, 2522 Handle Positioning dialog box, 1328 Handles see Staff handles, 631 Hard space see Creating invisible syllables when typing lyrics, 376 Harmonic, 27 Harmonics, 275 2748

Maestro Font, 2071 Harp pedal diagrams, 276 Harp Pedaling, 232 Hash marks, 569 Headless notes, 277 Removing all noteheads, 277 Removing all noteheads in a region, 277 Removing the head of a single note, 277 Help Troubleshooting, 912 Help menu, 2182 Help/Check for Finale Updates, 2193 Help/FinaleMusic Website, 2191 Help/Keyboard Shortcuts, 2187 Help/QuickStart Videos, 2185 Help/Register Finale, 2192 Help/Tutorials, 2184 Help/User Manual/Broadway Copyist Character Map, 2189 Help/User Manual/Engraver Character Map, 2188 Help/User Manual/Maestro Character Map, 2190 Help/User Manual, 2183 Hiding key signatures, 279 Hiding notes and rests, 280 Hiding a note or rest, 280 Notes and Rests (Hide) plug-in, 2581 Notes and Rests (Show) plug-in, 2581 Hiding staves, 281 Hiding staves for editing (Scroll View only), 281

Hiding staves for ossia measures or special playback, 281 Hiding staves for printing, 282 Playing back only selected staves, 502 Showing hidden staves, 282 Hiding time signatures, 284 Hold Margins, 1642 Holds see Fermatas, 211 Human Playback, 285 Apply Human Playback plug-in, 2472 GPO and Human Playback, 286 GPO Keyswitch Triggers, 851 Human Playback Dictionary, 862 Instrument Techniques and Effects Technique Types per Instrument, 1355 Types of Actions, 1353 Technique Types per Instrument Brass techniques, 1358 Harp techniques, 1358 String techniques, 1356 Sustaining instruments, 1355 Timpani techniques, 1358 Woodwind techniques, 1357 Working with Instrument Techniques and Effects, 1349 Human Playback Custom Style, 1330 Human Playback Preferences, 1341 Hymns, 288 Creating variable-distance systems, 288 Hyperlink, 1370 HyperScribe, 1373 2749

Recording with HyperScribe, 291, 519 Tap Source dialog box, 1810 Tap States, 1812 HyperScribe dialog box, 1371 HyperScribe menu, 2195 HyperScribe Options, 1373 HyperScribe/HyperScribe Options, 2198 HyperScribe/Record Continuous Data, 2199 HyperScribe/Record Mode, 2197 HyperScribe/Transcription Mode, 2200 Hyphens, 289 Preventing a hyphen from ending a syllable, 289 I Implode Music, 1375 Imploding music, 292 Implode Music menu command, 2426 Import, 1275 Import MIDI File Options dialog box, 1378 Import MIDI from Clipboard dialog box, 1377 Import Score Files - Options dialog box, 1382 Import Score Files - Order dialog box, 1384 Importing, 293 Import MIDI File Options dialog box, 1378 Importing a MIDI file, 397 Importing text, 293 Indenting systems see Systems–To indent or move a system, 662

Inner voices see Multiple voices, 417 Insert, 2115, 2396 Measure(s), 2135 Note, 2355 Insert Blank Pages, 2269 Insert Blank Pags dialog box, 1386 Insert Staff Systems dialog box, 1388 Inserting Blank measure see Measures, 371 Inserting music into an existing score see Copying music, 121 Lyrics see Lyrics, 342 Inside Slurs, 983 Instrument Definition dialog box, 1389 Instrument doubling, 718 Instrument Junction dialog box, 1391 Instrument List, 1393 Instrument lists, 299 Assigning staves to MIDI channels, 299 Instrument Name Assignments dialog box, 1400 Instrument names see Staff names, 634 Instrument Techniques and Effects, 286 Instrument transpositions see Transposing instruments, 717 Instrument.txt, 756 Interface changes, 1888 Finale 2008, 1896 Finale 2009, 1892 Finale 2009a, 1891 Finale 2010, 1889 2750

International keyboards, 760 Internet, 300 Post at Finale Showcase, 2159 Interval dialog box, 1403 Inversion Canonic Utilities plug-in, 2484 Invisible rests see Hiding notes and rests, 280 see Whole rests, 736 Invisible syllables see Creating invisible syllables when typing lyrics, 376 Italicize Capo Chord, 2087 J Jazz, 1909 see Chord symbols, 86 see Swing, 658 Jazz Clefs library, 806 Jazz Default Fonts library, 806 Jazz Font, 1909 Articulation Library, 818 Document Options Library, 817 Dynamics Library, 806 Measure Rest Library, 819 Rehearsal Letters Library, 822 Spacing Widths library, 821 Text Repeats Library, 823 Jazz Page Format library, 819 Jazz scores slashes-with-cues drum notation, 482 Jazz Staff Styles library, 819 Jazz Stem Connections library, 819 Jazz Tempos library, 819 Jazz Text Font, 1994

K Key changes see Key signatures, 301 Key pressure see Channel Pressure, 82 see Continuous data, 118 Key Signature dialog box, 1407 Key Signature Tool, 2648 Key Signatures, 301 Breaking an individual tie at a time or key signature change, 693 Breaking ties across time and key signature changes globally, 693 Breaking ties in a region at time or key signature changes, 693 Changing the key, 301 Courtesy key signatures, 143 Document Options-Key Signature dialog box, 1129 Forcing the display of the key signature in a measure, 143 Hiding key signatures, 279 Key Signature Tool, 301 Minor keys, 403 Multiple key signatures, 412 Neutral key, 428 Non-standard, 1910 Nonstandard key signatures, 429 Key Step Map dialog box, 1410 Key Velocities Add, 946 Alter Feel, 963 Limit, 1418 Randomize, 1606 Scale key velocities, 1657 Set to, 1684 Key velocity, 302 2751

Affecting key velocity with Text Expressions or Shape Expressions, 146 Auto-Dynamic Placement plug-in, 2474 Copying or erasing key velocity data, 392 Editing key velocity with the MIDI Tool, 302 Recording key velocity information, 303 Keyboard Shortcuts, 1915 Edit Keyboard Shortcuts dialog box, 1195 Keyswitches To add Keyswitches as Expressions, 240 L Landscape Orientation, 305, 505 Laptop, 1946 Last Recorded Tempo dialog box, 703 Latency, 920 Latinin Percussion plug-in, 2569 Launch Window, 1414 Layers Document Options-Layers dialog box, 1132 Entering multiple voices using layers, 417 Fixing overlapping noteheads in different layers, 357 Moving music from one layer to another, 419 Switching layers, 621 Layers - moving, 1486 Layout

Measures see Measure layout, 363 Pages see Page layout, 449 Lead sheets, 306 see Chord symbols, 86 see Lyrics, 342 see Measures per line, 375 see Titles, 701 Ledger lines, 307 Ledger Lines (Hide) plug-in, 2571 Ledger Lines (Show) plug-in, 2571 Ledger Lines (Hide) plug-in, 2571 Ledger Lines (Show) plug-in, 2571 Left Barlines, 308 Creating a double left barline, 308 Legal-size paper, 309 Legati, 27 Legato, 27 Lesson File, 1509 Libraries, 806 Limit - Note Durations dialog box, 1420 Limit - Tempo, 1422 Limiting MIDI data, 310 see Continuous Data, 118 Line breaks see System (line) Breaks, 661 Line spacing, 2408 Line Spacing dialog box, 1423 Line Thickness, 1425 Linear Key Format, 937 Lines, 1717 Document Options-Lines and Curves dialog box, 1135 Lines - dashed, 1092 Linked Parts Articulations, 318 2752

Baseline Positioning, 337 Baseline context menus, 338 in a part, 338 in the score, 337 Chords, fretboards, and lyrics, 331 Clefs, 332 Context menus, 313 Creating linked parts, 314 Divisi, 463 Groups, 330 Lead sheets, 332 Linking Details for Linked Parts, 872 Measure expressions Repositioning measure expressions, 317 Show/hide setting for measure expressions, 318 Measure Numbers, 333 Measure-attached graphics, 324 Measure-attached text, 319 Multimeasure Rests, 336 Music Spacing, 335 Navigating, 315 Note Expressions, 316 Override key, 313 Page Attached Ossia measures, 334 Page layout, 335 Page-attached graphics, 322 Multiple page-attached graphics, 324 Page-attached text, 320 Multiple-page-attached text blocks, 322 Single-page-attached text blocks, 320 Part Names, 339

Part Voicing, 463 Printing linked parts, 340 Relinking part items to the score, 339 Repeats, 328 Repositioning ending brackets, 330 Repositioning text repeats, 329 Show/hide setting for text repeats and ending brackets, 330 Smart Shapes, 326 Measure-attached smart shapes, 328 Note and Notehead-attached Smart Shapes, 326 Special mouse clicks and keyboard shortcuts, 313 Staff Attributes, 330 Staff Lists, 333 Staff Styles, 330 Tacit, 340 Time Signatures, 339 To apply page layout settings to multiple parts, 335 To display a staff differently in one part than another, 642 To hide an item in the score (and leave it showing in parts), 315 To reposition an item in the score without moving it in parts, 316 Tuplets, 325 Listen dialog box, 1426 Listen to Tempo dialog box, 1427 Lock measures in a system, 1280 Locks, 2432 Locks see Show Page Layout icons, 2432

2753

Looping see Repeats (barlines and text indications), 535 Looseleaf Style (Page View), 2435 Lowercase, 2088 Lowest Fret, 1428 LSN, 1509 Luftpause see Breath marks, 78 Lyric type, 2212 Lyrics, 342 Adjust lyrics, 955 Adjusting the position of word extension underlines, 355 Auto Slur Melismas plug-in, 2476 Change Fonts plug-in, 2491 Changing alignment and justification of syllables for individual notes, 352 Changing fonts within a lyric, 349 Choral music, 85 Clear Lyric Positioning, 2510 Copying lyrics, 351 Copying lyrics with cloning, 351 Correcting misaligned lyrics, 346 Correcting overlapping lyrics, 348 Creating invisible syllables when typing lyrics (elisions), 188 Creating invisible syllables when typing lyrics (melismas), 376 Drawing a word extension underline, 353 Edit Lyrics dialog box, 1200 Editing lyrics already in the score, 346 Erasing lyrics, 351 Exporting to text file, 1236 Hymns, 288 Hyphens, 289 Lyrics menu, 2201

Melisma, 376 Moving or deleting a syllable, 351 Placing lyrics into the score (click assignment), 345 Preparing lyrics in a separate window, 345 Rebeam to Lyrics dialog box, 1611 Setting alignment and justification of syllables globally, 352 Setting the baseline (vertical position) for lyrics graphically, 350 Setting the baseline (vertical position) for lyrics numerically, 349 Setting the font for lyrics globally, 348 Shift Lyrics dialog box, 1702 Shifting lyrics to the right or left, 376 Specify Current Lyrics dialog box, 1752 To add word extensions on specific syllables only, 354 Typing lyrics directly into the score, 342 Vocal music, 733 Word extensions, 353 Lyrics - adding, 2209 Lyrics menu Lyrics/Adjust Baselines, 2213 Lyrics/Adjust Syllables, 2204 Lyrics/Alignment, 2210 Lyrics/Click Assignment, 2205 Lyrics/Clone Lyric, 2206 Lyrics/Edit Lyrics, 2202 Lyrics/Edit Word Extensions, 2207 Lyrics/Export Lyrics, 2203 Lyrics/Lyric Options, 2214 Lyrics/Shift Lyrics, 2208 2754

Lyrics/Speci Current Lyrics, 2212 Lyrics/Type Into Score, 2209 Lyrics/Update Word Extensions, 2422 Lyrics Tool, 2651 M Macros, 356 MacSymbolFonts.txt, 758 Maestro Font, 2060 Accent, 2072 Accidentals, 2063 Alternate Notation, 2069 Articulations, 2066 Augmentation Dot, 2060 Barlines, 2070 Chord Symbols, 2071 Clefs, 2069 Closed Parenthesis, 2072 Dot, 2072 Dynamics, 2065 Equal Sign, 2072 Flags, 2062 Harmonics, 2071 Multimeasure Rest numbers, 2070 Noteheads, 2061 Notes, 2060 Percussion Notation, 2071 Repeats, 2069 Rests, 2064 Smart Shapes, 2068 Staves, 2070 Time Signature numbers, 2070 maestro times font, 2073 Major keys see Key signatures, 301

Major seconds (in different voices and layers), 357 Make Horizontal, 1717 Manage Parts dialog box, 1429 Manage VST/AU Plug-ins, 1432 Manuscript paper, 358 Marching Percussion MIDI Map Table, 885 Margins, 359 Changing default page margins, 359 Changing page margins, 359 System see Systems, 662 Martelate, 27 Martellato, 27 Masks, 360 Masking a portion of a staff, 360 Moving, reshaping, or deleting a Shape Expression mask, 361 Measure Attributes, 1436 Measure Expressions and Staff Lists, 1892 Measure grouping, 1280 Measure Items, 1182 Measure Layout, 363 Creating a system break, 365 Forcing selected measures into one system, 364 Moving a measure to the previous (or next) system, 363 Removing measure groups for individual systems, 365 Removing measure groups through the end of the piece, 364 Specifying a number of measures per system, 375 Splitting a measure across a line break, 373 Update layout, 2421 2755

Measure menu, 2215 Measure/ Hide Measure Numbers, 2220 Measure/Add Measure Number Enclosures, 2218 Measure/Edit Measure Number Regions, 2109, 2216 Measure/Insert, 2124 Measure/Restore Measure Number Defaults, 2221 Measure/Show Measure Numbers, 2219 Measure/Show Measure Spacing Handles, 2222 Measure Number dialog box, 1441 Measure Number Style, 1446 Measure Numbers, 366 Adding a measure number to an existing region, 369 Creating measure numbers, 367 Removing measure numbers from a single staff, 368 Reshaping or removing a measure number’s enclosure, 369 Measure Numbers/Add Enclosures, 2218 Measure Numbers/Edit Region, 2109, 2216 Measure Numbers/Hide Measure Numbers, 2220 Measure Numbers/Reset Defaults, 2221 Measure Numbers/Show Measure Numbers, 2219 Measure repeat signs, 370 Maestro Font, 2069 Number Repeated Measures plugin, 2582 Measure Tool, 2655 Measure Widths, 948

Measurement Units, 2140 Equivalents, 777 Measures, 371 Adding blank measures at the end of the document, 371 Adjusting measure widths in a system, 372 Arranging measures on a page, 363 Beat positions, 63 Cadenzas, 79 Changing one measure’s width, 372 Changing the widths of many measures, 372 Deleting a measure from a single staff, 371 Double barlines, 176 Erasing or removing measures, 371 Final barline, 213 Inserting blank measures within a document, 371 Measure numbers, 366 Measure Tool, 2655 Measures per line, 375 Pickup measures, 489 see Measure layout, 363 Specifying minimum or maximum measure widths, 373 Splitting a measure across a line break, 373 System (line) break, 661 Measures - alternate display, 968 Measures - information about, 1189 Measures - mirrored (or copies), 1470, 1673 Measures - moving layers, 1486 Measures per line, 375 2756

Removing measure groups from a selected region, 375 Removing measure groups from the current page to the end, 375 Specifying a number of measures per line (within a region), 375 Measures-per-line, 2416 Medieval music, 743 Melisma, 376 Creating invisible syllables when typing lyrics, 188, 376 Drawing a word extension underline, 353 see Slurs, 570 see Vocal music, 733 Shifting lyrics to the right or left, 346 Melismas Auto Slur Melismas plug-in, 2476 Melismatic, 1611 Melodic Morphing plug-in, 2572 Mensurstriche, 2567 menu Shortcuts plug-in, 2575 menus, 2074 Merge Measures Plug-in, 2574 Merging music, 292 Merging scores, 1663 Metatool, 1910 Metatools, 377 Apply Beat Spacing, 381 Apply Note Spacing, 381 Articulations, 27 Chord symbols, 97 Clefs, 103 Elapsed Time, 381 Explode Music, 381 Expressions, 207

Implode Music, 381 Staff styles, 2710 Transpose, 381 Meters see Time signatures, 698 Metronome markings, 383 Creating a metronome marking, 383 Creating complex metronome markings, 385 Defining for playback, 385 Moving or deleting the marking, 385 Metronome Sound, 1550 MicNotator, 387 Setup, 387 Microphone, see MicNotator, 387 Microtonal tunings see Nonstandard key signatures, 429 MIDI, 392, 1068 Assigning a staff to more than one MIDI channel, 394 Backbeats, 42 Changing a MIDI channel in midstaff, 394 Channel Pressure, 82 Continuous data, 118 Copying or erasing captured (or edited) MIDI data, 392 Correcting erratic MIDI playback, 502 Creating swing playback, 1798 Downbeats, 178 Export MIDI File Options dialog box, 1237 FINMIDI.INI, 741 Import MIDI File Options dialog box, 1378 Key velocity, 302 2757

Limiting MIDI data, 310 MIDI files, 397 MIDI Sync, 400 MIDI Terminology, 891 MIDI Tool menu, 2238 More on MIDI, 896 Moving or deleting the channelchange expression, 394 Patches, 466 Pedal markings, 470 Pitch wheel, 491 Sending an, 393 Start and Stop Times, 644 To specify the MIDI device, 393 Volume, 734 MIDI - editing, 1463 MIDI Channels for Tablature dialog box, 1807 MIDI Event, 1451 MIDI File Status dialog box, 1462 MIDI files, 397 Exporting a MIDI file of the entire document, 398 Import MIDI File Options dialog box, 1378 Importing a MIDI file, 397 Percussion, 484 MIDI In, 1454 MIDI Input Filter dialog box, 1452 MIDI Instrument lists, 299 MIDI lock see MIDI, 392 MIDI Note to Pitch Table, 889 MIDI Out, 1455 MIDI Setup, 1454 MIDI Sync, 400 Receiving MIDI Sync data while playing back a Finale score, 400

Transmitting MIDI Sync data while playing back a Finale document, 400 Transmitting MIDI Sync data while recording in the Transcription Mode, 401 Transmitting Song Pointer data during playback, 402 Using the MIDI Sync signal to provide the, 401 MIDI Terminology, 891 Finale Instruments and Channels, 893 Input Device and Output Device, 895 MIDI channels, 892 MIDI Channels and Patches, 893 MIDI Interface, 892 MIDI Setup, 891 MIDI System, 891 Sequencing, 891 MIDI Thru, 1458 MIDI Thru Table, 1460 MIDI Tool, 2661 Legato, 646 MIDI Tool menu, 2238 Dragging Copies MIDIData, 2255 Dragging Copies Music, 2254 MIDI Tool/Add, 2245 MIDI Tool/Alter Feel, 2248 MIDI Tool/Clear, 2250 MIDI Tool/Continuous Data, 2242 MIDI Tool/Edit MIDI Note, 2251 MIDI Tool/Key Velocities, 2240 MIDI Tool/Limit, 2247 MIDI Tool/Note Durations, 2241 MIDI Tool/Percent Alter, 2246 MIDI Tool/Play, 2252 2758

MIDI Tool/Randomize, 2249 MIDI Tool/Scale, 2244 MIDI Tool/Set To, 2243 MIDI Tool/Show Selected Notes, 2253 MIDI Tool split window, 1463 MIDI/Audio menu Audio/MIDI Clipboard, 2231 MIDI/All Notes Off, 2233 MIDI/Audio, 2223 MIDI/Audio/Audio Track, 2227 MIDI/Audio/Device Setup, 2229 MIDI/Audio/Human Playback, 2228 MIDI/Audio/Instrument Setup, 2226 MIDI/Audio/MIDI File Options, 2230 MIDI/Audio/Play Finale Through Audio Units, 2224 MIDI/Audio/Play Finale Through MIDI, 2225 MIDI/Click and Countoff, 2236 MIDI/Quantization Settings, 2237 MIDI/Retranscribe, 2235 MIDI/Send MIDI Value, 2232 MIDI/Set Panning, 2234 Midline Stem Direction plug-in, 2578 Mid-Measure Clef, 1448 Mid-measure Clef dialog, 2639 Mid-Measure Repeats plug-in, 2577 Minor keys, 403 Establishing a minor key system, 403 Mirror Attributes dialog, 1005 Mirror Tool, 2663

Mirror/Dragging Copies Music, 2257 Mirror/Dragging Mirrors Measures, 2258 Mirroring Converting mirrored measures into, 404 Creating a composite mirror, 404 Creating a mirror (intelligent copy), 404 Entering multiple voices using layers, 417 Entering multiple voices using V1/V2, 419 Fugues, 235 Identifying mirrored measures in the score, 404 Multiple voices, 417 Rebeaming or editing an existing mirror, 406 Mirrors, 1552 Mixer Special mouse clicks, 1474 To use real-time mixer controls, 501 Modify Rests plug-in, 2579 Mordent, 27 Mordents, 407 More on MIDI, 896 More Quantization Settings, 1481 More Settings dialog box, 1478 Motif see Mirroring, 404 Move Groups dialog box, 1485 Move Rests plug-in, 2580 Movie Window, 1488 Moving measures across systems, 363 Moving Split, 1490 2759

Moving Split Point dialog box, 291, 519 MP3 files see Audio Files, 40 MTC see SMPTE and MIDI Time Code, 613 Multiline shape, 1697 Multimeasure, 2137 Multimeasure Rest dialog box, 1492 Multimeasure rests, 408 Breaking a multimeasure rest, 410 Creating a multimeasure rest, 409 Displaying a measure number range for a multimeasure rest., 411 Displaying symbols for multimeasure rests, 409 Editing the appearance of a multimeasure rest, 410 Jazz Measure Rests library, 806 Maestro Font, 2070 Measure Rest Library, 806 Multimeasure rests, 408 Multimeasure rests in Linked Parts, 336 Setting up the appearance of multimeasure rests, 408 Multiple Endings, 413 Multiple key signatures, 412 Multiple meters see Multiple time signatures, 416 Multiple Passes, 1494 Multiple Splits, 1496 Multiple time signatures, 416 Multiple voices, 417 Multitrack, 2197 MUS, 1910

Music - exploding (copying) into other staves, 1233 Music - formatting, 2419 Music - imploding (merging) into one staff, 1375 Music input see Importing-Importing a MIDI file, 397 see Recording with HyperScribe, 291, 519 see Simple Entry, 563 see Speedy Entry, 617 see Transcribing a sequence, 703 Music Spacing, 2419 Automatic Music Spacing, 1582 Creating a new Music Spacing library from scratch, 425 Editing an existing Music Spacing library, 424 Fixing overlapping noteheads in different layers, 357 Jazz Spacing library, 806 Libraries, 806 Loading an Music Spacing library into an open document, 422 Music spacing in Linked Parts, 335 Reapplying music spacing over a region, 423 Restoring a region to proportional spacing, 425 Saving your edited or newly created Music Spacing library, 425 Setting a minimum space between tied notes, 694 Specifying minimum or maximum measure widths, 373 Turning off Automatic Music Spacing, 422 MusicXML 2760

2009 Updates, 2162 Mutes, 427 N Naturals see Key signatures, 301 see Text Inserts, 2396 Navigating Linked Parts, 315 Nested repeats see Repeats (barlines and text indications), 535 Nested tuplets see Tuplets, 722 Neutral key, 428 New File, 2150 New Staves, 1499 Nonlinear key signatures see Nonstandard key signatures, 429 Non-Standard, 1910 Nonstandard Key Signature dialog box, 1501 Nonstandard key signatures, 429 Creating nonstandard key signatures, 429 Notation - editing, 1517 Notational Defaults, 825 Note bracket, 73 Note durations see Note values (durations), 443 Note Expression Assignments, 1031 Note Expressions see Articulations, 27 Note Mover, 2259 Note Mover menu, 2259 Append After, 2266 NoteMover/Copy and Merge, 2261 NoteMover/Copy and Replace, 2260 NoteMover/Cross Staff, 2264

NoteMover/Delete After Merge, 2263 NoteMover/Delete After Replace, 2262 NoteMover/Insert Before, 2265 NoteMover/Search and Replace, 2267 Note Mover Tool, 2665 Note positioning, 436 Note shapes, 437 Changing all notehead shapes of a specified duration and pitch, 438 Changing the shape of a notehead, 437 Copying individual notehead changes to other measures, 437 Shape Note music, 562 Note Shapes dialog box, 1507 Note Size, 440 Reducing or enlarging selected notes (or noteheads), 440 Reducing or enlarging the notes (but retain staff size), 440 Restoring a region of modified notes to their original size, 441 Note values (durations), 443 Augmentation, 41 Diminution, 167 Maestro Font, 2060 Notehead, 1034, 1637 Notehead Settings, 1505 Noteheads, 442, 2704 Engraver Font, 1968 Invisible see Headless notes, 277 Maestro Font, 2061 Removing all noteheads in a region, 277 Shapes see Note shapes, 437 2761

Notes Maestro Font, 2060 Notes - changing, 1665 Notes - different shapes, 1034 Notes - entering see HyperScribe, 291, 519 Notes - entering see Simple Entry, 563 Notes - entering see Speedy Entry, 617 Notes - selecting durations, 1028 Notes and Rests (Hide) plug-in, 2581 Notes and Rests (Show) plug-in, 2581 Number Repeated Measures plugin, 2582 O Offbeats see Backbeats, 42 One-Bar Repeat, 968 Opaque see Masks, 360 Open Symbols Harmonics see Harmonics, 275 see Articulations, 27 Operas see Lyrics, 342 see Optimizing systems, 444 see Vocal music—To beam according to lyric syllables, 733 Optimize Staff Systems, 1623 Optimized staves Grouping and bracketing, 632 Optimizing systems, 444 Optimizing a single system, staff by staff, 445 Optimizing all (or specified) systems, 444

Removing staff optimization from all (or specified) systems, 444 To remove staves from a single system, 445 Optional Octave Region dialog box, 1511 Orchestral reductions see Piano reductions, 488 Ossia, 447, 1434 Creating a floating (ossia) measure, 447 Moving, editing, or deleting a floating measure, 448 Ossia Measure Designer dialog box, 1512 Ossia Measures, 1515 Ossia Tool, 2667 Ottava (8va) see 8va/8vb, 17, 186 Ottava Bassa (8vb) see 8va/8vb, 17, 186 P Page Assignment, 1515 Page Format for Parts dialog box, 1517 Page Format Library, 806 Page Layout, 449, 1520, 1617 Applying a different page layout to selected pages, 453 Blank pages, 65 Changing the default page layout (Page Format for Score dialog box), 452 Changing the distance between systems, 450 Changing the page layout, 451 Changing the page margins, 451 Configuring Pagesizes.txt, 759 Cutaway scores, 161 2762

Distances, 168 Fit Music, 2275 in Linked Parts, 335 Margins, 359 Measure layout, 363 Measures per line, 375 Optimizing systems, 444 Page Layout menu, 2268 Page size, 457 Page turns, 458 Pickup measures, 489 see Measure layout, 363 see Systems, 662 Setting the page size, 451 Space Systems Evenly, 2276 System (line) break, 661 Systems, 662 Title page, 700 Page Layout menu, 449 Page Layout/Avoid Margin Collisions, 2277 Page Layout/Delete Page Break, 2270 Page Layout/Delete Staff Systems, 2272 Page Layout/Fit Music, 2275 Page Layout/Insert Blank Pages, 2269 Page Layout/Insert Staff Systems, 2271 Page Layout/Optimize Staff Systems, 2274 Page Layout/Page Margins, 2280 Page Layout/Page Size.Choose, 2281 Page Layout/Redefine Pages, 2273 Page Layout/Resize Pages, 2282

Page Layout/Resize Staff Systems, 2283 Page Layout/Space Systems Evenly, 2276 Page Layout/Systems, 2279 Page Layout/Update Page Format For Score, 2278 Page Layout Tool, 2670 Page Margins see Margins, 359 Page Number, 1523 Page numbers, 455 Adding a page number, 455 Changing the page number offset, 455 Moving or deleting a page number, 455 Page Offset dialog, 2400 Page Setup, 1524 Page Setup dialog, 2167 Page Size, 457 Changing the page size (Document menu), 452 Setting the page size for all pages, 457 Page turns, 458 Fitting an additional system onto one page, 458 Pushing a system onto the next page, 458 Smart Page Turn plug-in, 2609 Page View, 459 Page View Style submenu, 2435 Parentheses, 462 Add or remove parentheses around accidentals (Simple Entry), 21 Add or remove parentheses around an accidental (Speedy Entry), 462 2763

Placing parentheses around a note or rest, 462 Part extraction, 2156 Part extraction see Extracting parts, 209 Part names in linked parts, 339 Part Voicing, 463 Partial Measure Selection, 1531 Paste Multiple dialog box, 1529 Paste/Replace Entries, 2125 Pasting see Copying music, 121 see Edit menu, 2115 Patch Changes, 1679 Patches, 466 Chasing patch changes before playback, 467 Copying or erasing patch change data created with the MIDI Tool, 392 Establishing the initial program settings for each staff, 466 Setting up a patch change on playback, 467 Setting up patch changes using the MIDI Tool, 468 Patterson Beams plug-in, 2585 PDF documents, 24 Pedal markings, 470 Creating playback pedaling using the MIDI Tool, 472 Drawing a pedal on/off diagram (Smart Shape method), 471 Engraver Font-Harp Pedaling, 232 Harp pedal diagrams, 276 Pedal markings, 470 To create pedal markings, 470 To create playback pedaling using the MIDI Tool, 472

Percent Alter - Tempo, 1536 Percent Alteration-Continuous Data dialog box, 1532 Percent Alteration-Key Velocities dialog box, 1534 Percent Alteration-Note Durations dialog box, 1537 Percussion, 475 Adjusting stem connections on noteheads, 482 Creating a percussion staff, 479 Creating a percussion staff with a customized percussion map, 480 Editing percussion layouts, 480 Importing a MIDI file, 484 Loading a percussion library, 479 Maestro Font, 2071 Marching Percussion MIDI Map Table, 885 Note Entry, 475 Entering with HyperScribe, 476 Entering with Simple Entry, 476 Entering with Speedy Entry, 476 Percussion Library, 899 Percussion Tones, 486 Saving a percussion library, 479 To create slashes-with-cues drum notation, 482 To setup an external MIDI device for percussion input & playback, 478 To setup playback for a percussion staff, 477 Percussion clef see Percussion, 475 Percussion Input Maps dialog box, 1545 Percussion Layout Designer dialog box, 1539 2764

Percussion Layout Selection dialog box, 1542 Percussion MIDI Map Editor dialog box, 1547 Percussion MIDI Maps, 901 Petrucci Font see also Fonts, 223 Phrase markings see Slurs, 570 Piano Braces, 1012 Piano music, 151 Piano Reduction plug-in, 2590 Piano reductions, 488 Creating a piano reduction for the entire piece, 488 Creating a piano reduction over a region, 488 Piano Reduction plug-in, 2590 see Imploding music, 292 Pickup Measures, 489 Creating a pickup measure at the beginning of a piece, 489 Creating a pickup measure within a piece, 489 Pitch bends see Pitch wheel, 491 Pitch wheel, 491 Copying or erasing pitch wheel data, 392 Creating a pitch bend (as an expression), 492 Pizzicato, 496 Place Graphic dialog, 2175 Placeholder, 1552 Plainchant see Barlines—To hide all barlines (no-barline music), 44 see Melisma, 376 see Stemless notes, 651

Plainchant see Medieval plug-in, 743 Playback, 497, 1550, 2713 Audio spot-checking music, 504 Correcting erratic MIDI playback, 502 Instrument lists, 299 Making the music scroll during playback, 504 Mixer, 1474 Playing back a score, 498 Playing back selected staves, 502 see MIDI, 392 Sending an, 502 Specifying playback parameters, 503 Staff Controls, 1760 Tempo, 672 To use real-time mixer controls, 501 Using the Playback Controls, 499 Playback and/or Click, 1550 Playback Controls, 1554, 2713 Playback Data Dump, 1557 Playback Settings dialog box, 1562 Playback/Record Options, 1559 Plr# v. Solo instruments (Garritan), 239 Plug-in filenames, 902 Plug-ins, 2284 Add Cue Notes plug-in, 2468 Align/Move Dynamics plug-in, 2470 Apply Human Playback plug-in, 2472 Auto Slur Melismas plug-in, 2476 Auto-Dynamic Placement plug-in, 2474 2765

Automatic Barlines plug-in, 2477 Band-in-a-Box Auto-Harmonizing plug-in, 2479 Beam Over Barlines plug-in, 2483 Canonic Utilities plug-in, 2484 Cautionary Accidentals plug-in, 2489 Change Fonts plug-in, 2491 Change Noteheads plug-in, 2492 Change to Default Whole Rests plug-in, 2493 Change to Real Whole Rests plug-in, 2494 Check Range plug-in, 2495 Check Region for Durations plugin, 2498 Chord Analysis plug-in, 2499 Chord Morphing plug-in, 2501 Chord Realization plug-in, 2503 Chord Reordering plug-in, 2505 Chord Splitting plug-in, 2506 Classic Eighth Beams plug-in, 2508 Clear Lyric Positioning plug-in, 2510 Clear Measure # Positioning plugin, 2511 Command Line plug-in, 2512 Common Tone Transposition plug-in, 2517 Composer’s Assistant plug-ins, 2518 Count Items plug-in, 2519 Create Coda System plug-in, 2520 Create Handbells Used Chart plug-in, 2522 Cross-staff plug-in, 2524 Drum Groove plug-in, 2526 Easy Harmonics plug-in, 2528

Easy Tremolos plug-in, 2529 FinaleScript plug-in, 2531 Find Parallel Motion plug-in, 2559 Find Range plug-in, 2560 Flat Beams (Remove) plug-in, 2561 Flat Beams plug-in, 2561 Frequency Modulation Chord Generator plug-in, 2562 Latin Percussion plug-in, 2569 Ledger Lines (Hide) plug-in, 2571 Ledger Lines (Show) plug-in, 2571 Melodic Morphing plug-in, 2572 Merge Measures plug-in, 2574 Midline Stem Direction plug-in, 2578 Mid-Measure Repeats plug-in, 2577 Modify Rests plug-in, 2579 Move Rests plug-in, 2580 Notes and Rests (Hide) plug-in, 2581 Notes and Rests (Show) plug-in, 2581 Number Repeated Measures plugin, 2582 Patterson Beams plug-in, 2585 Piano Reduction plug-in, 2590 Process Extracted Parts plug-in, 2591 Rhythm Generator plug-in, 2597 Rhythmic Subdivisions plug-in, 2599 Score System Divider plug-in, 2601 Single Pitch plug-in, 2604 Slash Flagged Grace Notes (Remove) plug-in, 2605

2766

Slash Flagged Grace Notes plugin, 2605 Smart Cue Notes plug-in, 2606 Smart Page Turns plug-in, 2609 Smart Playback plug-in, 2612 Smart Split Point plug-in, 2615 Split Measure plug-in, 2618 Split Point plug-in, 2621 TGTools plug-ins, 2290 Tie Common Notes plug-in, 2622 Update Group and Brackets plugin, 2623 Group Style Definition dialog box, 2567 Move Groups dialog box, 1485 Position Groups dialog box, 1568 Update Groups and Brackets plug-in, 2623 Vertical Collision Remover plug-in, 2625 Virtual Fundamental Generator plug-in, 2628 Voice 2 to Layer plug-in, 2630 Plug-ins menu, 2284 Point Size, 1709 Polyphony see Multiple voices, 417 Port, 892 Portrait orientation, 305, 505 Position, 1571 Position dialog box, 1565 Position Fretboards, 2090 Position Groups dialog box, 1568 Post at Finale Showcase, 2159 PostScript, 506 Preset Arrowhead Selection, 1573 Printing, 507, 1080 Batch Printing, 49

Booklets, 66 To print in Booklet form using FinaleScript, 66 Landscape orientation, 305, 505 Legal-size paper, 309 Portrait orientation, 305, 505 Printing a score, 507 Printing large scores, 507 Printing linked parts, 340, 507 Tiling pages for printing, 696 Process Extracted Parts plug-in, 2591 Program changes see Patches, 466 Program Options dialog box, 1578 Program Options-Display Colors, 1580 Program Options-Edit, 1582 Program Options-Folders, 1587 Program Options-New, 1589 Program Options-Open, 1591 Program Options-Palettes and Backgrounds, 1594 Program Options-Save, 1597 Program Options-View, 1599 Program Preferences, 1578 Pull-offs, 267 Punch In PreRoll, 1602 Punch in/Punch out, 508 Q Quantization Settings, 1603 Quantization Settings Guide, 510, 906 Quarter notes see Note values, 443 Quarter-tone scales, 433 QuickTime Percussion Tones, 486 2767

Quindicesima (15ma) see 8va/8vb, 17, 186 Quintuplets see also Tuplets, 722 Quit, 2171 R Railroad tracks see Articulations, 27 see Cesuras, 81 Rallentando, 515, 1222 Defining for playback, 515 Moving or deleting a Rall. marking, 515 Randomize, 1607 Randomize Key Velocities dialog box, 1606 Randomize Note Durations, 1607 Real-Time Entry see HyperScribe Tool, 2654 see Transcription Mode, 713 Rebar Music, 2423 Rebar Options, 1609 Rebarring, 1609 Rebarring music, 527 Rebeam, 2424 Rebeam to Time Signature dialog box, 1613 Rebeaming, 1614 see Beaming—To rebeam a selected region, 53 Record Continuous Data, 1615 Recording with HyperScribe Correcting split point errors, 625 HyperScribe menu, 2195 HyperScribe Tool, 2654

Quantization Settings Guide, 510, 906 Recording into one or two staves, 519 see Transcribing a sequence, 703 Split points, 624 Swing, 658 Using multitrack recording, 521 Redefine Pages, 1617 Redefine Selected Pages, 1618 Redo, 2118 Allowing undo actions previous to saving a file, 729 Re-applying changes to your score using redo, 729 Redoing a series of changes up to a specified point, 729 see Undo, 729 Redraw, 528 Moving the screen picture diagonally, 528 Reducing/Enlarging, 529 Cue notes, 155 Piano reductions, 488 Preventing certain items from shrinking, 530 Reducing or enlarging a staff or system, 529 Reducing or enlarging all the music on a page (or the entire piece), 530 Reducing or enlarging cue notes, 155 Reducing or enlarging individual notes, 440 Resize Tool, 2677 Rehearsal letters Jazz Rehearsal Letters library, 806 2768

See Rehearsal marks, 1622 Rehearsal letters see Rehearsal marks, 532 Rehearsal Mark Sequence dialog box, 1622 Rehearsal marks, 532 Moving or deleting a rehearsal mark, 534 Rehearsal Mark Sequence dialog box, 1622 To add rehearsal marks, 532 To define and add a custom rehearsal mark, 532 To restart rehearsal mark numbering, 534 Rehearsal piano parts see Piano reductions, 488 Releases Recording with HyperScribe, 291, 519 see Articulations, 27 see Rolled chords, 544 see Start and Stop Times, 644 Relink In All Parts, 313 Relink To Score, 313 Remove Empty Staves, 1623 Renotate, 2235 Repeat Assignment, 1821 Repeat barline, 1630 Repeat Designer, 1624 Repeat markers for SmartMusic Accompaniments, 600 Repeat marking, 1631 Repeat measure symbols see Measure repeat signs, 370 Repeat menu, 2291, 2673 Repeat/Align Brackets, 2297 Repeat/Check Repeats, 2300

Repeat/Create Backward Repeat Bar, 2296 Repeat/Create Ending, 2294 Repeat/Create First and Second Ending, 2293 Repeat/Create Forward Repeat Bar, 2295 Repeat/Create Simple Repeat, 2292 Repeat/Delete, 2299 Repeat/Repeat Options, 2301 Repeat/Restore Bracket to Default, 2298 Repeat Selection, 1630 Repeats (barlines and text indications) Breaking a repeat barline that connects staves, 536 Changing the default bracket height for repeats (and set the number font), 216 Coda, 112 D.C., 165 D.S., 180 D.S. al Coda, 180 First endings, 215 Hiding the ending brackets and text repeats for a specified staff, 216 Jazz Text Repeats library, 806 Maestro Font, 2069 Measure repeat signs, 370 Mid-measure Repeats plug-in, 2577 Moving, hiding or deleting a text repeat, 216 Multiple Endings, 413 Repeats (barlines and text indications), 535 2769

To adjust the brackets on a repeat barline, 215 To change a backward repeats’ playback definition, 216 To create a repeat with first and second endings, 215 To create multiple endings, 414 To create multiple passes for a repeat ending, 413 To delete a repeat barline, 536 To place a basic repeat in your score, 535 To place a text repeat in your score, 536 Repitch, 568 Replace Entries, 2125 Reposition Guide, 1633 Reset Tempo Marker dialog box, 1635 Resize Note dialog box, 1636 Resize Notehead dialog box, 1637 Resize Noteheads plug-in, 2595 Resize Notes, 1636 Resize Page dialog box, 1638 Resize Staff dialog box, 1640 Resize Staff System, 1641 Resize Tool, 2677 Resize Vertical Space, 1642 Respace Staves, 1644 Respell Notes, 2415 Rests Change to Default Whole Rests plug-in, 2493 Change to Real Whole Rests plug-in, 2494 Hiding default rests, 358 Maestro Font, 2064 Move Rests plug-in, 2580

Simple Entry, 537 Adding a rest, 537 Changing a note to a rest, 538 Changing a rest to a note, 537 Changing a rest’s duration, 537 Hiding a rest, 538 Moving a rest vertically, 537 Speedy Entry, 539 Adding a rest, 539 Changing a rest to a note, 540 Changing a rest’s duration, 540 Changing a single note to a rest, 540, 541 Inserting a note or a rest in a measure, 622 Moving a rest vertically or horizontally, 539 To fill measures with rests, 737 Retranscribe, 2235 Retranscription, 542 Retrograde Canonic Utilities plug-in, 2484 Reverse stems, 543 Creating a reverse stem, 543 Temporarily displaying reversestemmed notes with normal stems, 543 Rhythm Generator plug-in, 2597 Rhythmic Notation, 569, 969 see Guitar parts, 272 Rhythmic Subdivisions plug-in, 2599 Rhythmic values see Note values (durations), 443 Ritards see Rallentando, 515 Rolled 8ths see Swing Playback, 1798 Rolled chords, 544 2770

Adjusting, moving, or deleting the rolled chord marking, 544 Copying rolled chord markings (and other articulations), 27 Creating the rolled chord marking, 544 Defining for playback, 544 Rolls, 544 Rolls see also Tremolos, 719 Rulers and Grid dialog box, 1646 Running headers, 546 S SATB parts see Choral music, 2334 SATB parts see Choral music, 85 Save As, 1237 Save As Audio File, 1648 Save As SmartMusic Accompaniment, 2157 Save Library dialog box, 1650 Save Preferences, 2170 Save Tempo Changes, 1653 Saving Backup files, 1578 Scale, 1659 Scale Continuous Data dialog box, 1655 Scale Key Velocities, 1657 Scale Note Durations, 1659 Scale Tempo, 1661 Scaling, 1875, 1887 Scanning, 547 Choosing the best scanner for SmartScore, 547 Importing scanned TIFF files, 550 Instrument Name Assignments dialog box, 1400

Scanning and importing sheet music, 548 SmartScore Lite dialog box, 1738 Using your scanner's software to scan sheet music for Finale import, 549 Score Lists, 1762 Score System Divider, 2601 ScoreMerger, 1663 Screen Display, 2432 Screen redraw see Redraw, 528 Script Editor dialog box, 1277 Scroll View, 552 Scrubbing Playback see To "Audio spot-check" music, 504 Seach and Replace Fonts, 1291 Search and replace Changing occurrences of a note or motif (search and replace), 553 Search menu, 2267 Text Search and Replace, 1824 Search and Replace dialog box, 1665 Secondary Beam Break Selection, 1667 Secondary Beam Break Tool, 1667 Section, 2212 Select Display Colors, 2445 Select Region dialog box, 1669 Select Staff Set, 2440 Select Staff Systems, 1671 Selecting music, 555, 1669 To select a large region without scrolling, 558 To select regions of measures, 557 Selection Overview, 1672 Selection Tool, 2679 2771

Selective Mirror, 1673 Send MIDI Value, 1675 Send MIDI Value dialog, 2232 Septuplets see Tuplets, 722 Sequencers see MIDI files—To import a MIDI file, 397 Set Distances, 1677 Set Duration, 1678 Set Key Velocities, 1684 Set Patch To, 1679 Set Pickups, 1549 Set Placeholder, 1680 Set Swing Ratio, 1681 Set To - Tempo, 1687 Set To Continuous Data dialog box, 1683 Set To Start/Stop Time dialog box, 1685 Setup Wizard, 1688 Shape Designer, 559 Creating a shape, 559 Entering the Shape Designer, 559 Harp pedal diagrams, 276 Shape Designer menu, 2313 Shape Designer dialog box, 1695 Shape Designer menu, 1695, 2313 Shape Designer/Bracket Style, 2324 Shape Designer/Bring, 2316 Shape Designer/Fill, 2323 Shape Designer/Group, 2317 Shape Designer/Line Style, 2320, 2321 Shape Designer/Rulers, 2325 Shape Designer/Select Font, 2319 Shape Designer/Send, 2315 Shape Designer/Show, 2314

Shape Designer/Ungroup, 2318 shape expressions, 559 Shape Note music, 562 see Note shapes, 437 Shape Selection, 1700 Shape/Arrowheads, 2322 Shapes, 2698 Shapes - around text, 1218 Shapes - drawing, 1695 Shapes - filling, 1273 Shapes - for playback, 1222 Sharps see Accidentals, 21 see Key signatures, 301 see Text Inserts, 2396 Shift Lyrics, 1702 Show Hidden object shading, 1601 Show Guitar Fretboards, 2088 Simile see Expressions, 198 Simple Entry, 27, 563, 1707, 2302 Accidentals, 21 Adding a dot a note, 174 Adding or removing a tie, 685 Changing a rest to a note, 537 Changing the rhythmic value of a note, 617 Check Region for Durations plugin, 2498 Creating a grace note, 244 Entering music with the Simple Entry Tool, 563 Flattening a beam, 51 Hiding a note or rest, 280 Laptop Key Commands, 1946 Ledger Lines (Hide) plug-in, 2571 Ledger Lines (Show) plug-in, 2571 2772

Major seconds (in different voices and layers), 357 Moving a note or rest vertically, 620 Raising or lowering a note by a half step, 563 Rests, 537 Sharps, 563 Simple menu, 2302 To add or remove parentheses around accidentals, 21 To hide or show an accidental, 21 Tuplets, 726 Tying a note to the next one, 563 Using your computer keyboard to enter music (Simple Entry), 565 Simple Entry Keyboard shortcuts, 1939 Simple Entry Laptop Set, 1946 Simple Entry Options, 1704 Simple Entry Tools, 2690 Simple menu, 2302 Simple/Simple Edit Commands, 2305 Simple/Simple Entry Options, 2303 Simple/Simple Navigation Commands, 2309 Simple/TAB Specific Commands, 2310 Simple/TAB Specific Commands/Move To String/7, 1740 Simple/Use MIDI Device for Input, 2304 Simultaneous key signatures see Multiple key signatures, 412 Simultaneous meters see Multiple time signatures, 416 Single page-attached graphics, 323

Single Pitch plug-in, 2604 Sixteenth notes see Beaming, 53 see Note values (durations), 443 Size, 1709 Sizes see Fonts, 223 see Note size, 440 see Page size, 457 see Text menu, 2386 Slash Flagged Grace Notes (Remove) plug-in, 2605 Slash Flagged Grace Notes plug-in, 2605 slash notation, 569 Slashes, 569 Creating ‘comping’ slashes, 569 Maestro Font, 2069 Slash Flagged Grace Notes (Remove) plug-in, 2605 Slash Flagged Grace Notes plugin, 2605 Slashes-with-cues drum notation, 482 Slides see Glissando, 242 Slur Contour dialog, 2327 Slur Contour dialog box, 1710 Slur System Breaks, 1734 Slur Thickness, 1734 Slur Tip Width, 1736 Slurs, 570 Changing a note-attached slur’s direction, 572 Copying Smart Shape slurs, 574 Defining Engraver Slurs, 192 Defining Slur Contour (height and shape) settings for note-attached slurs, 572 2773

Defining Slur Placement settings for note-attached slurs, 572 Defining Slur System Break settings, 573 Defining Slur Thickness, 573 Moving, reshaping, or deleting Smart Shapes slurs, 571 To create a note-attached slur, 570 Slurs within lyrics see Elisions, 188 Smart Cue Notes plug-in, 2606 Smart Line, 2699 Smart Line Selection, 1715 Smart Line Style dialog box, 1713 Smart Page Turns plug-in, 2609 Smart Playback plug-in, 2612 Smart Shape, 2698 Smart Shape menu, 2326 Smart Shape/Attach to Measures, 2332 Smart Shape/Attach to Noteheads, 2334 Smart Shape/Attach to Notes, 2333 Smart Shape/Direction, 2335 Smart Shape/Slur Contour, 2327 Smart Shape/Smart Shape Options, 2329 Smart Shape/Smart Shape Placement, 2328 Smart Shape Options, 1717 Smart Shape Options dialog, 2329 Smart Shape Placement, 1720 Smart Shape Placement dialog, 2328 Smart Shapes, 2698 Crescendo/Decrescendo, 146 Custom lines, 158

Dashed lines, 162 Flutter-tongue, 221 Glissandos, 242 Maestro Font, 2068 Slides, 664 Smart Shape menu, 2326 Tab slides, 664 Smart Shapes Palette, 2326 Smart Slur Options, 1734 Smart Slurs, 1735 Smart Split Point plug-in, 2615 SmartFind and Paint dialog box, 1740 SmartMusic, 575 Assigning instruments for SmartMusic Accompaniments, 585 Compatibility Guidelines, 587 SmartMusic accompaniment markers, 600 Repeat markers, 600 To add markers for DS and DC repeats, 609 To add markers for repeats with endings, 607 To add markers for repeats without endings, 603 To Add Repeat Markers Automatically, 600 To Add Repeat Markers Manually as Expressions, 600 SmartMusic performance markers, 589 SmartMusic Performance Markers SmartMusic accompaniment markers To add pause markers, 592 To add pause markers for cadenzas, 598 2774

To add pause markers for fermatas, 597 To add pause markers for ritardandos or rallentandos, 594 To define and add pause markers manually with the Expression Tool, 593 To pause for accompanimnet rests or held notes, 595 To add SmartMusic Accompaniment markers as Expressions, 591 To add SmartMusic performance markers, 590 To create a new SmartMusic Accompaniment, 580 To create a solo assessment file from a Finale exercise, 584 To create a solo assessment file with accompaniment, 577 To create a solo assessment file without accompaniment, 576 To prepare a file for SmartMusic, 584 SmartMusic Accompaniment Options dialog, 2157 SmartMusic Compatibility Guidelines, 587 SmartMusic SoftSynth General MIDI Orchestral Percussion MIDI Map Table, 836 Latin Percussion MIDI Map Table, 869 Marching Percussion MIDI Map Table, 885 Other SmartMusic SoftSynth Patches, 899 SmartMusic Studio, 2157 SmartScore Lite, 2163 SmartScore Lite dialog box, 1738

SmartShape menu SmartShape/Guitar Bend Options, 2331 SmartShape/Smart Slur Options, 2330 SMPTE and MIDI Time Code, 613 To synchronize an external MTC device with Finale, 613 Snapping to grids and guides, 614 Soft Synth, 1744 Solfeggio, 2636 Song pointer data see MIDI Sync, 400 Song titles see Titles, 701 Sound Fonts See also Garriton Personal Orchestra Finale Edition, 236 SoundFonts, 616 Space Systems Evenly, 1746 Spacing see Music spacing, 421, 626 Spacing Widths dialog box, 1748 Special Key Signature Attributes, 1750 Special Part Extraction, 2593 Special Tools, 1828, 2704 Adjusting the placement of an individual tie, 689 Beam angles, 50 Beam thickness, 52 Beaming, 53 Feathered beaming, 59 Secondary beams, 60 Beaming across barlines, 56 Beaming over rests, 58 Breaking an individual tie at a time signature change (Tie Alterations dialog box), 693 2775

Changing the direction of a tie, 686 Dotted notes, 174 Headless notes, 277 Note shapes, 437 Noteheads, 442 Reverse stems, 543 Special Tools menu, 2338 Ties, 685 Special Tools menu Special Tools/Show Crosshairs, 2341 Special Tools/Show Handles, 2339 Special Tools/Tie Direction, 2342 Special Tools/Update, 2340 Specify Current Lyric, 1752 Specify Current Lyric dialog, 2212 Speedy, 2343 Speedy Entry, 617 Accidentals, 22 Adding a note to a chord, 619 Adding a tie backwards, 685 Adding or removing a tie, 685 Adding or removing the slashes from individual grace notes, 245 Advancing to the next measure, 621 Beam grace notes, 245 Beaming, 53 Beaming across barlines, 56 Changing a note to its enharmonic equivalent, 620 Changing a rest to a note, 619 Changing the direction of a tie, 686 Changing the rhythmic value of a note or rest, 617

Check Region for Durations plugin, 2498 Chords, 101 Courtesy accidentals, 141 Creating a grace note, 244 Creating or breaking a beam, 620 Dotted note, 621 Dotted notes, 174 Entering a note or chord, 617 Entering many notes of the same value (hands-free MIDI method), 621 Entering multiple voices using V1/V2, 419 Entering music in step time using MIDI, 617 Entering music in step time without MIDI, 621 Entering tuplets with the Speedy Entry Tool, 723 Erasing, 194 Flattening a beam, 621 Flipping a stem, 620 Grace notes, 244 Hiding a note or rest, 620 Hiding an accidental, 620 Hiding notes and rests, 280 Inserting a note or a rest in a measure, 622 Keyboard commands, 2356 Ledger Lines (Hide) plug-in, 2571 Ledger Lines (Show) plug-in, 2571 Major seconds (in different voices and layers), 357 Moving a note or rest horizontally, 620 Moving a note vertically, 620 Moving a rest vertically, 620 2776

Note positioning, 436 Notes and Rests (Hide) plug-in, 2581 Notes and Rests (Show) plug-in, 2581 Parentheses, 462 Raising a note by half steps, 620 Removing a note, chord or rest, 619 Rests, 539 Speedy menu, 2343 Superimposing Staves, 420 Switching layers, 621 Tied notes, 621 Ties, 685 To change a note without changing the duration, 620 Whole rests, 736 Speedy Entry Tool, 2706 Speedy Keymap, 760 Speedy menu, 617, 2343 Speedy/Auto Freeze Accidentals, 2354 Speedy/Check, 2351 Speedy/Check Accidentals, 2350 Speedy/Check Beaming, 2349 Speedy/Create New Measures, 2348 Speedy/Edit TAB as Standard Notation, 2353 Speedy/Insert Notes or Rests, 2355 Speedy/Jump, 2347 Speedy/Playback, 2346 Speedy/Speedy Edit Commands, 2356 Speedy/Speedy Navigation, 2359 Speedy/Speedy Options, 2344

Speedy/Tie Direction, 2361 Speedy/Use Five Line Staff, 2352 Speedy/Use MIDI Keyboard, 2345 Use MIDI Keyboard for Input, 2345 Speedy Options, 1753 Split Measure plug-in, 2618 Split Point plug-in, 2621 Split points, 624 Correcting split point errors, 625 Smart Split Point plug-in, 2615 Specifying a fixed split point, 624 Specifying a movable split point (Transcription Mode only), 624 Split Point plug-in, 2621 Split stems see Stems—To create a double or split stem, 654 Splitting music, 196 Staccatissimo, 27 Staccato, 27 Staccato marks, 628 Creating staccato playback with the MIDI Tool, 628 Defining for playback, 628 see Articulations, 27 Staff Attributes, 1755 Staff Attributes dialog, 2367 Staff Controls, 1760 Staff handles, 631 Staff Height, 1641 Staff lines, 633 Setting the staff line thickness, 633 Specifying the number of lines for a staff, 633 Staff List, 1762 Staff menu, 2362

2777

Staff/Add Group, 2378 Staff/Apply Staff Styles, 2374 Staff/Auto Sort Staves, 2370 Staff/Clear Staff Styles, 2373 Staff/Define Staff Styles, 2372 Staff/Delete Staves, 2365, 2366 Staff/Edit Group Attributes, 2379 Staff/Edit Staff Attributes, 2367 Staff/New, 2364 Staff/New Staves, 2363 Staff/Position Names, 2382 Staff/Remove Group, 2380 Staff/Reset Staff Styles to Score, 2375 Staff/Respace Staves, 2368 Staff/Set Default Name Positions, 2381 Staff/Show Default Group Names, 2385 Staff/Show Default Staff Names, 2384 Staff/Show Staff Style Names, 2377 Staff/Show Staff Styles, 2376 Staff/Sort Staves, 2369 Staff/Staff Usage, 2371, 2399 Start/Stop Times, 1685 Staff names, 634 Change Fonts plug-in, 2491 Creating or editing a staff name, 634 Hiding a staff name (full score), 637 Repositioning staff names (globally), 634 Repositioning staff names (individually), 635

Setting the font for staff names (globally), 636 see Change Fonts plug-in, 2491 Setting the initial font for staff names, 636 Staff see Staves, 647 Staff Sets Programming, 281 Staff Setup dialog box, 1766 Staff size, 638 Reducing or enlarging a staff, 638 Staff Sizing, 1641 Staff Stem Settings, 1771, 1791 Staff Style dialog, 1769 Staff Style Names, 2377 Staff Styles, 639, 2372 Creating a staff style, 639 Staff System Extra Space, 1773 Staff System Optimization, 1775 Staff systems see Systems, 662 Staff Tool, 2708 Staff handles in Page View, 631 Staff Transpositions, 1778 Staff transpositions see Transposing instruments, 717 Staff Usage List dialog box, 1783 Stage directions see Text blocks, 678 Standard Frame, 1785 Standard Frame dialog, 2401 Start and Stop Times, 644 Copying Start and Stop Time editing done with the MIDI Tool, 646 Editing the start and stop times of selected notes, 645

2778

Erasing Start and Stop Time editing done with the MIDI Tool, 646 see Swing, 658 Start Times, 1685 Staves, 647, 1565 Adding evenly spaced staves, 648 Adding or insert a single staff, 647 Barlines, 44 Brackets, 74 Deleting staves, 648 Group names, 260 Groups, 264, 630 Hiding (or showing) staff-related items, 649 Hiding staves, 281 Maestro Font, 2070 Moving staves, 647 Percussion, 475 Recovering deleted staves, 649 Selecting, 631 Setting the attributes for a staff, 649 Spacing existing staves evenly, 648 Staff handles, 631 Staff lines, 633 Staff names, 634 Staff size, 638 To change the distance between staff lines, 168 To change the distance between staves, 168 To make all staves equidistant, 168 Transposing instruments, 717 Whole rests, 736 Staves - adding & deleting, 2708

Staves - barlines, 1755 Staves - editing, 1755 Staves - groups of, 1755 Staves - names, 1755 Staves - positioning, 1644 Staves - transposing, 1755 Staves -positioning, 1677 Stem Connection Editor, 1787 Stem Connections, 1789 Stem positions, 1721 Stemless notes, 651 Creating stemless notes globally, 651 Creating stemless notes, note-bynote, 651 Stems, 652, 1720 Changing, 652 Changing stem lengths globally, 653 Changing stem lengths, note by note, 653 Changing the height of stems in secondary beams, 60 Changing the position of the stem relative to its notehead, 653 Changing the thickness of stems, 653 Copying custom stemming to other measures, 655 Creating a double or split stem, 654 Creating reverse stems, 543 Drawing completely new shapes for stems, 653 Flipping a stem, 652 Flipping all stems in a region in one direction, 652 Freeze Stems Down, 2413

2779

Midline Stem Direction plug-in, 2578 Removing custom stemming from a region, 655 Step-time music entry see Simple Entry, 563 see Speedy Entry, 617 Step-time music entry - by clicking, 2690 Step-time music entry - by typing, 2706 Strum see Rolled chords, 544 Studio View, 656 Suffix Keynumber Offsets, 1793 Superimposing Staves, 420 Superscript, 1795 Superscript dialog, 2393 Suppressing staves see Optimizing systems, 444 Suspended mallet (handbells), 27 Sustain pedal see Pedal markings, 470 Swap Fonts, 1291 Sweep Track, 1796 Swing, 658 Symbol List, 1801 Symbol List dialog box, 1801 Symbol Selection, 1803 Sync and Video Options, 1805 Syncopation, 660 System, 1641 System (line) break, 661 Moving a measure to the previous (or next) system, 363 Splitting a measure across a line break, 373 System Locks, 2417 System Scaling, 1521

Systems, 662 Forcing a system onto the next page, 662 Indenting or moving a system, 662 Omitting empty staves from a system (Optimizing), 444 Reducing or enlarging a system, 663 T Tab Slide, 1721 Tab Slide Placement, 1720 Tab slides, 664 Changing which slide is assigned to the palette icon, 665 Creating a slide, 664 Defining Tab Slide Placement settings, 664 Tablature, 274, 666 Break Tablature Lines at Numbers, 1808 Edit TAB As Standard Notation, 2343 Guitar parts, 272 Tablature Staff Attributes dialog box, 1808 Time signatures on tablature staves, 670 To add stems and beams to tablature, 669 To change the lowest fret of a region, 670 To create a tablature staff manually, 669 To create tablature notation, 666 To edit guitar tablature, 668 To enter directly into a tablature staff (Simple Entry), 667

2780

Tablature Staff Attributes dialog box, 1808 Tacet parts, 340 Tacit see Tacet parts, 340 Tap Source, 1810 Tap States, 1812 TapSpace Instruments, 911 Templates, 828 Tempo, 672 Copying Tempo Data, 132 Modifying the playback tempo, 672 Setting the initial playback tempo, 672 To record tempo changes with TempoTap, 675 Tempo Adjustment, 1814 Tempo markings Defining for playback, 673 Jazz Tempos library, 806 Moving or deleting a tempo marking, 673 see Metronome markings, 383 Tempo markings, 673 To place a tempo marking in the score, 673 Tempo Tool, 2713 TempoTap, 675 Last Recorded Tempo dialog box, 1413 To record tempo changes with TempoTap, 675 Tenor clef see Clefs, 103 Tenor parts see Choral music, 85 Text, 677, 1215 Change Fonts plug-in, 2491 Copyright notices, 139

Date Stamps, 164 Engraver Text Fonts, 231 Page numbers, 455 Running headers, 546 Text blocks, 678 Text menu, 2386 Title page, 700 Text - borders & surrounding shapes, 2386 Text - creating & editing, 2386 Text - formatting, 2386 Text - headers & footers, 2386 Text - inserts, 2386 Text - positioning & display, 2386 Text - resizing, 2386, 2714 Text - titles, 2714 Text blocks, 678 Assigning a text block to a measure, 681 Assigning a text block to one or more pages, 680 Copyright notices, 139 Creating text in a frame that automatically expands as you type, 678 Creating text within a fixed-size frame, 678 Date Stamps, 164 Deleting a text block, 684 Editing text on-screen, 679 Page numbers, 455 Positioning measure-assigned text blocks, 683 Positioning page-assigned text blocks, 682 Positioning page-assigned text blocks on left- and right-facing pages, 683 2781

Resizing a custom frame, 679 Resizing a text block on-screen, 679 Running headers, 546 Specifying a default font for text blocks, 684 Titles, 701 To position text blocks on-screen, 681 To position text blocks on-screen (Text menu), 681 Text menu, 2386 Text/Assign to Measure, 2411 Text/Assign to Page, 2412 Text/Baseline Shift, 2392 Text/Character Settings, 2395 Text/Edit Page Offset, 2400 Text/Edit Text, 2410 Text/Font, 2388 Text/Frame Attributes, 2407 Text/Inserts, 2396 Text/Justification, 2403 Text/Line Spacing, 2408 Text/Size, 2389 Text/Standard Frame, 2401 Text/Style, 2391 Text/Superscript, 2393 Text/Tracking, 2394 Text/Word Wrap, 2409 Text menu/Text/Custom Frame, 2402 Text Search and Replace, 1824 Text Search and Replace Syntax, 1825 Text Tool, 2714 Text/Alignment, 2406 Textbooks see Text blocks, 678

TGTools Modify Rests plug-in, 2579 Process Extracted Parts plug-in, 2591 Smart Split Point plug-in, 2615 TGTools plug-ins, 2290 Th Time Only, 1625 The Alternate Notehead Sets, 223 There Are Too Many Beats in This Measure, 1826 There Are Too Many Beats In This Measure dialog, 2351 Tie Alterations, 1828 Tie Common Notes plug-in, 2622 Tie Contour, 1831 Tie Direction, 2361 Ties, 685 Adding a tie backwards (Speedy Entry Tool), 685 Adding or removing a tie (Simple Entry Tool), 685 Adding or removing a tie (Speedy Entry Tool), 685 Adjusting global placement of ties, 688 Adjusting the direction of ties in a region, 687 Adjusting the direction of ties on chords globally, 686 Adjusting the direction of ties on opposing seconds globally, 687 Adjusting the direction of ties with mixed stems globally, 687 Adjusting the placement of a tie after a system break see Adjusting the placement of an individual, 689 Adjusting the placement of an individual tie, 689

2782

adjusting the shape of a tie globally, 690 Adjusting the shape of an individual tie, 691 Adjusting ties for augmentation dots, 694 Avoiding accidentals for single ties, 694 Avoiding staff lines with ties over a region, 692 Breaking an individual tie at a time or key signature change, 693 Breaking and continuing ties across time signature changes, 693 Breaking ties across time and key signature changes globally, 693 Breaking ties in a region at time or key signature changes, 693 Changing an individual tie’s shape and placement by dragging it on the score, 688 Changing the direction of a tie (Special Tools Tool), 686 Changing the direction of a tie (Speedy Entry Tool), 686 Changing the outer placement setting for an individual tie, 692 Horizontally adjusting ties over system breaks, 685 Removing manual positioning over a region, 694 Setting a minimum space between tied notes, 694 Setting tie thickness, 685 Shifting ties for intervals of a second, 694 Using outer placement setting for outer ties on chords and single notes globally, 692 Ties - drawing, 1828

TIFF, 2645 Tile Pages, 1577 Tiling Pages, 1080 Tiling pages for printing, 696 Tiling pages (with Compile Postscript Listing), 696 Tiling pages with the Print dialog box, 696 Tilting Mirror, 1835 Time Signature dialog box, 1837 Time Signature Tool, 2717 Time Signatures, 698 Beaming, 53 Breaking an individual tie at a time or key signature change, 693 Breaking and continuing ties across time signature changes, 693 Breaking ties across time and key signature changes globally, 693 Breaking ties in a region at time or key signature changes, 693 Changing the time signature, 698 Common time, 114 Composite time signatures, 115 Compound meters, 117 Courtesy time signatures, 145 Cut time, 159 Hiding time signatures, 284 Maestro Font, 2070 Multiple time signatures, 416 Rebarring music, 527 Time Signature Tool, 698 Time signatures, 699 Time stamps see Date stamps, 164 Time Style, 1834 Title page, 700 Titles, 701 2783

Specifying a default font for titles, 684 To Coda, 1630 To create a quarter-tone scale or key signature, 433 To import an audio file, 40 Tone Center, 1840 Tone-cluster see Engraver Font, 229 Track/Channel Mapping, 1842 Track/Channel Mapping to Staves, 1846 Tracking, 1913 Tracking dialog, 2394 Tracking dialog box, 1849 Transcribing, 2237 Transcribing a sequence Correcting split point errors, 625 Editing keyboard notes, 711 Editing Time Tags, 711 Grace notes, 244 Hearing a click track while recording, 704 Moving Split Point dialog box, 291, 519 Notating swing performances, 658 Notating swing performances (Transcription Mode), 658 Punch in/Punch out, 508 Quantization Settings Guide, 510, 906 Recording a performance, 703 see Recording with HyperScribe, 291, 519 Special mouse clicks, 714 Specifying a movable split point, 624 Split points, 624

Transcribing a performance, 708 Transcribing a sequence from a sequencer, 705 Transcription Mode, 713 Transcribing in real-time, 2654 Transcription, 2654 Align Time Tags To Note Starts dialog box, 962 Click Input dialog box, 1073 Moving Split Point dialog box, 1490 Transcription dialog box, 1850 Transcription Filters dialog box, 1858 Transcription menu View Resolution, 1875 Transcription Mode, 713 Transcription see Transcribing a sequence, 703 Transposing, 715 by changing key, 716 Entering pre-transposed music onto a transposing staff (step time), 716 Transposing a piece (Key Signature Tool), 301 Transposing chord symbols, 95 by interval, 715 see Transposing instruments, 717 Transposing instruments, 717 Defining a staff transposition, 717 Displaying a score in concert pitch (or in transposed form), 717 Entering pre-transposed music onto a transposing staff (step time), 716 Transposing a staff chromatically, 717 Transposing music, 1860 2784

Transposing parts see Transposing instruments, 717 Transposition, 1860 Transposition dialog, 2414 Traverse stems see Cross-staff notes, 151 Treble clef see Clefs, 103 Tremolando see Tremolos, 719 Tremolos, 719 Creating a measured or unmeasured tremolo marking (Shape Expression), 719 Easy Tremolos plug-in, 2529 Placing a tremolo marking (Articulation), 719 Tremulants see Tremolos, 719 Trill Extension, 1717 Trills, 721 Creating a small accidental in parenthesis, 721 Creating a trill or trill extension line (wavy line), 721 Defining for playback (easy method), 721 Easy Tremolos plug-in, 2529 Engraver Font, 1968 Maestro Font, 2068 see Articulations, 27 Triplets see Tuplets, 722 Troubleshooting, 912 TrueType, 223 Tuplet Definition, 1862 Tuplet Tool, 2720 Tuplets, 722, 1707, 1862 Adjusting, moving, or deleting a tuplet, 722 Change Tuplets, 1038

Entering tuplets with the Speedy Entry Tool, 723 Predefining the appearance of tuplets, 725 Simple Entry, 563 To create a nested tuplet, 724 Transcribing tuplets from a realtime performance, 724 Tuplet Definition, 1862 Turning normal notes into a tuplet group, 722 Tuplets (Simple Entry), 726 Turn, 29 Turns see Mordents, 407 Tutorial 1a: Simple Entry Saving Your Work, 425 Two voices see Multiple voices, 417 Two-Bar Repeat, 969 Type Into Score, 2209 U Underlines (in lyrics) see Lyrics— To draw a, 353 Undo, 729 Allowing undo actions previous to saving a file, 729 Re-applying changes to your score using redo, 729 Redoing a series of changes up to a specified point, 729 Undo List, 2119 Undoing a series of changes up to a specified point, 729 Undoing the last change or a series of changes to your score, 729 Undo/Redo Lists, 2119 Undo/Redo Lists dialog box, 1867 2785

Unknown Font, 1870 Unknown Font dialog box, 742 Up bow see Articulations, 27 Upbeat see Pickup measures, 489 Up-bow, 27 Update Available, 1872 Update Groups and Brackets plugin, 2623 Update Layout, 2421 Update Layout Options dialog, 2421 Use MIDI Keyboard, 2345 Using Document Styles, 171 Utilities menu, 2413 Document/Add SmartMusic Markers, 2427 Utilities/Change, 2431 Utilities/Check Notation, 2429 Utilities/Check Notation/Apply Articulation, 2428 Utilities/Explode Music, 2425 Utilities/Fit Measures, 2416 Utilities/Implode Music, 2426 Utilities/Lock Systems, 2417 Utilities/Music Spacing, 2419 Utilities/Rebar, 2423 Utilities/Rebeam, 2424 Utilities/Respell Notes, 2415 Utilities/Stem Direction, 2430 Utilities/Transpose, 2414 Utilities/Unlock Systems, 2418 Utilities/Update Layout, 2421 Utilities/Update Smart Word Extensions and Hyphens, 2422

Vertical Collision Remover plug-in, 2625 View Continuous Data, 1873 View menu, 2432 View/Bookmarks, 2439 View/Grid/Guide, 2443 View/Page View, 2434 View/Redraw Screen, 2442 View/Scroll View, 2433 View/Select Display Color, 2445 View/Select Layer, 2441 View/Select Staff Set, 2440 View/Show, 2444 View/Studio View, 2436 Zoom, 2437 View Resolution dialog box, 1875 Virtual Fundamental Generator plug-in, 2628 Vocal music, 733 Beaming according to lyrics syllables, 733 see Choral music, 85 see Hymns, 288 see Lyrics, 342 Voice 2 to Layer plug-in, 2630 Voices see Multiple voices, 417 Voicing Part Voicing, 463 Voicing for Staff in Part dialog box, 1877 Volume, 734 see Continuous data, 118 see Key velocity, 302 VST, 735

V Velocity see Key velocity, 302 Verse, 2212

W Wait for End of Note, 1881 2786

Wait For Foot Pedal, 1882 Wait For Note, 1883 Wavy lines see Glissandos, 242 see Trills, 721 What's New in Finale 2008, 2 White-out see Masks, 360 Whole notes see Note values (durations), 443 Whole rests, 736 Adding a real whole rest, 736 Change to Default Whole Rests plug-in, 2493 Change to Real Whole Rests plug-in, 2494 Changing the character for default measure rests, 737 Moving a real whole rest, 736 To fill measures with rests, 737 Turning off the default whole rests for a staff, 736 Window menu, 2446 Window/Arrange Icons, 2464 Window/Cascade, 2461 Window/Close Window, 2466 Window/Instrument List, 2447 Window/Main Tool Palette, 2451 Window/menu Toolbars, 2459

Window/Mixer, 2448 Window/New Window, 2465 Window/Playback Controls, 2450 Window/Simple Entry Palette, 2454 Window/Simple Entry Rests Palette, 2455 Window/Smart, 2456 Window/Special, 2457 Window/Status Bar, 2460 Window/Tile Horizontally, 2463 Window/Tile Vertically, 2462 Window menu/Movie Window, 2449 Windows Metafiles, 2645 WMF, 2172 Word Extension, 2207 Word Extensions dialog box, 1885 see Lyrics—To draw a, 353 Word Wrap, 2409 Worksheets, 2725 X Xylophone parts see Note shapes, 437 Z Zoom Tool, 2724

2787

F2K10 Printed Doc Win

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