IntroductionWelcome| 00:04 | Hi! I am Rick Schmunk, and I'd like to
welcome you to Finale 2012 Essential Training.
| | 00:09 | If you're an amateur or professional
musician, and you always wanted to notate
| | 00:13 | and hear your compositions come to
life, then this is the course for you.
| | 00:16 | We will start off with the basics of
entering notes, and build up to adding
| | 00:20 | lyrics, chord symbols, and
tablature to create beautiful lead sheets.
| | 00:23 | Then we will look at how we can use the
Score Manager and Linked Parts to save
| | 00:27 | you lots of time as you make
changes and format your scores.
| | 00:31 | We will learn how to use the Edit
filter, and Smart Find, and Paint to quickly
| | 00:35 | copy expressions and articulations
to the instruments in your scores.
| | 00:39 | Next, we will explore how Staff Styles
can be utilized to notate drum set, and
| | 00:43 | other rhythm section parts.
| | 00:44 | Finally, we will learn how to export
MIDI, XML, and graphics files so that you
| | 00:49 | can use your music in production and
publishing programs, and share with your
| | 00:52 | friends and colleagues.
| | 00:53 | If you're ready to discover computer
music notation at its best, let's get
| | 00:57 | started with Finale 2012 Essentials.
| | Collapse this transcript |
| Using the exercise files| 00:00 | If you are a premium member of the lynda
.com Online Training Library, you have
| | 00:04 | access to the exercise files
used throughout this title.
| | 00:07 | There are exercise files in the exercise
files folder, which I have placed on the Desktop.
| | 00:12 | You can store it wherever you like.
| | 00:14 | There are files for most movies.
| | 00:16 | They reside in subfolders,
named according to the chapters.
| | 00:18 | It is not necessary for you to use these files.
| | 00:22 | You can use files of your own in place of them.
| | 00:25 | If you're a monthly or annual subscriber
to lynda.com, you don't have access to the
| | 00:29 | exercise files, but you can
follow along with your own work.
| | 00:32 | Let's get started!
| | Collapse this transcript |
|
|
1. Hardware and Software SetupPC installation| 00:00 | Setting up a new application can often
involve answering questions to which you
| | 00:03 | don't know the answers.
| | 00:05 | Let me walk you through setting up
Finale and its components on a PC.
| | 00:09 | If, when you purchased Finale, you received
an installation DVD, please place it in
| | 00:13 | your computer's DVD drive.
| | 00:15 | If you downloaded the program
from the Internet, please find the
| | 00:19 | Run InstallFinale.exe.
| | 00:21 | So let's go ahead, and let's double-
click that, and the Finale install starts.
| | 00:27 | At the Setup wizard, let's go ahead and
click the Next button, and you can either
| | 00:32 | choose to read this information, but in
any case, we need to accept the terms of
| | 00:36 | the license agreement, and click the Next button.
| | 00:39 | At this point, we can determine the
install folder, but just know that the Finale
| | 00:43 | program has to reside on the system drive.
| | 00:47 | So let's go ahead and click Next, and now
we can choose the components to install.
| | 00:53 | So we've got the Application Files,
Auxiliary Files, Garritan Instruments.
| | 00:56 | Now, if you have enough space, I
suggest you go ahead and install the
| | 00:59 | Garritan Instruments.
| | 01:01 | Let's click Next, and this tells us the name;
it's going to put in the Start menu folder.
| | 01:05 | That's what we want,
| | 01:06 | so let's click Install.
| | 01:07 | This part is going to take just a
minute, so I might go get a cup of coffee.
| | 01:18 | In preparation for the Garritan setup,
we need to choose the actual language
| | 01:21 | that we are going to use
during the installation.
| | 01:23 | So let's go ahead and just click OK, or
if you have a different language, you can
| | 01:26 | go ahead and choose that
from the dropdown. Okay.
| | 01:31 | Now we see Welcome to the Garritan ARIA Player.
| | 01:35 | This is actually the device that will
be playing the sounds that come with the
| | 01:38 | Garritan Instruments for Finale.
| | 01:39 | So let's click Next, and next we are
going to want both the ARIA Engine, and the
| | 01:44 | Garritan ARIA Player.
| | 01:47 | This shows us where it's going to install.
| | 01:49 | So let's go ahead and click Next.
| | 01:52 | So at this point, you can choose
the format of the ARIA Player.
| | 01:56 | Now, for Finale, you want to make
sure that the VST plug-in is installed.
| | 01:59 | If you have Pro tools on your system,
you will also be able to use it as an
| | 02:03 | RTAS plug-in on Pro tools.
| | 02:07 | This shows the location of
the player and the components.
| | 02:11 | We will go ahead and click Install,
and then again, we have to go through
| | 02:17 | another setup wizard for the ARIA Engine,
| | 02:19 | so we will click Next.
| | 02:20 | You have to accept
agreement if you want to use it,
| | 02:23 | so I will click that button,
and click Next.
| | 02:27 | This shows us the history of the
particular piece of software that we are
| | 02:31 | working with, and which one we are loading.
| | 02:32 | I will click Next, and this
shows again the Install area.
| | 02:37 | We want to be in the
Program Files where it's at,
| | 02:39 | so let's click Install.
| | 02:42 | That's done, and now we
will need to do this again.
| | 02:46 | I believe this is going to take us to
the instruments itself. So let's click OK.
| | 02:51 | ARIA Player Setup Wizard.
| | 02:52 | Again, we click Next.
| | 02:54 | The folder that the plug-in is going to go
in for the VST plug-in. Let's click Next.
| | 02:59 | The name of it in the Start menu folder;
| | 03:02 | Next. Whether or not we want a
Desktop icon for the Garritan ARIA Player.
| | 03:07 | This one I actually would uncheck
for both of those, and then click Next.
| | 03:12 | It shows us where it's going to load it.
| | 03:14 | So let's click Install, and Finish, and
Finish for the other one, and yet a third
| | 03:22 | installer. Let's click OK, and we
are finally to the actual sounds.
| | 03:27 | So let's click Next, accept the
agreement for the sounds, and Next.
| | 03:32 | Now at this point, you can choose to put
the Garritan Instruments in a different
| | 03:37 | folder, and this would be appropriate
if you had another drive where you were
| | 03:41 | storing your sample
libraries and things like that.
| | 03:43 | So you would click the Browse button, you
would choose where you want to load it, and then OK.
| | 03:49 | I am going to hit Cancel, because I am
going to install it in the default location.
| | 03:53 | Click Next, and Next;
| | 03:56 | that's the name. Next one more time,
and finally we get to the Install button.
| | 04:07 | So we've finished the installation.
Let's click OK, and Finish, and now we click
| | 04:14 | the Next button, and Finale is installed.
| | 04:17 | Let's click Finish one more time.
| | 04:19 | So at this point, when you open Finale
for the first time, you will be asked to
| | 04:23 | register it, and use your serial number.
| | 04:24 | So have that handy, and type in the
serial number. When that's finished, you can
| | 04:29 | go to the Web site, and authorize the program.
| | 04:31 | So now that we've got Finale and the
Garritan Sound Library installed and
| | 04:34 | authorized, in a moment
we'll begin using that program.
| | 04:37 | But first I suggest checking out the
next video, where we'll take a look at how
| | 04:41 | to set up your MIDI system.
| | Collapse this transcript |
| MIDI system setup (PC)| 00:00 | Setting up your MIDI keyboard and
external speakers to work with a program like
| | 00:03 | Finale can be a bit tricky.
| | 00:05 | Let's walk through the setup step by step.
| | 00:07 | If this is the first time you're
connecting your system, place your computer
| | 00:11 | MIDI keyboard controller and
speakers where you want to use them.
| | 00:14 | Make sure that everything is turned off.
| | 00:16 | First let's connect the controller to
the computer, and this can be done a
| | 00:19 | couple of different ways.
| | 00:21 | If you have an older controller
that only has MIDI inputs and outputs,
| | 00:24 | you'll need to connect the MIDI output of the
keyboard to the MIDI input on a MIDI interface.
| | 00:29 | Then connect the MIDI interface
to your computer using a USB cable.
| | 00:32 | Now, I am using a newer keyboard
controller that has a USB connection, and is
| | 00:37 | connected directly to the
computer via a USB cable.
| | 00:40 | If you have external speakers, let's
connect them, but first let me ask you a question.
| | 00:44 | Are using an audio interface?
| | 00:47 | If you are, you can connect the
interface to the computer, and then connect the
| | 00:51 | speakers to your system via the
monitor outputs on your audio interface.
| | 00:55 | If you aren't using an audio interface,
you can connect the speakers to your
| | 00:58 | computer's line output, or if
there is one, to the headphone output.
| | 01:02 | Now, there are a number of
different cables that you might use here,
| | 01:05 | so please check the connections.
| | 01:07 | For example, the headphone output on
your computer is likely to have a 1/8 inch
| | 01:11 | stereo phone plug, sometimes called a minijack.
| | 01:15 | At the other end, you might need two
RCA, quarter inch, or XLR connectors to
| | 01:20 | connect your speakers.
| | 01:21 | I suggest that you find out exactly
what you need, and purchase a cable with the
| | 01:25 | right connections at a
music store, or an electronics store.
| | 01:29 | It's best not to cobble
together a cable using adapters.
| | 01:31 | Now that your system is set up, go ahead and
turn on your computer and your MIDI controller.
| | 01:37 | Leave your speakers off for now.
| | 01:39 | If you haven't installed the driver
for your keyboard controller or MIDI
| | 01:42 | interface, please check the
manufacturer's instructions, and make sure that the
| | 01:46 | device is properly installed.
| | 01:48 | Let's go head and launch Finale.
| | 01:50 | So I am going to double-click the
shortcut here on the Desktop, and open that, and
| | 01:54 | I am going to go ahead
and close the Launch window.
| | 01:57 | Now let's go to the MIDI/Audio menu, and
let's choose Device Setup, and MIDI Setup.
| | 02:05 | In this window, you can either choose to
click the Auto-detect Input Devices, or
| | 02:10 | you can also click the dropdown
menu, and from the available list of MIDI
| | 02:14 | devices there, you can choose
what you're using to be using.
| | 02:18 | I am using an M-Audio Axiom Pro keyboard,
| | 02:20 | so I will choose that.
| | 02:22 | Over in the MIDI output, I would
suggest you choose the SmartMusic SoftSynth.
| | 02:27 | There are a couple of other options here,
but this is probably the best option
| | 02:31 | for when you're just doing your basic work.
| | 02:33 | I am going to click OK.
| | 02:35 | Let's go up to the MIDI/Audio menu one
more time, and when you choose Play Finale
| | 02:40 | through MIDI, it will route it
directly to that SmartMusic SoftSynth.
| | 02:46 | Let's go to the File menu, and
let's choose New, and Default Document.
| | 02:51 | I want to do this to check to make
sure that my keyboard is working.
| | 02:54 | So I am going to choose the Simple Entry tool.
| | 02:57 | It's this one right here.
| | 02:58 | I am going to Control+Click in that first
measure to set my cursor position, and now
| | 03:03 | I should be able to play on
my controller, and enter notes.
| | 03:07 | [Notes]
| | 03:07 | So that's working, and that's great.
| | 03:13 | Let's go back to the MIDI/Audio menu, and
back down to Device Setup. Let's choose
| | 03:19 | Audio Setup, and make sure
your speakers are working.
| | 03:22 | So in this window, you can click this
dropdown menu and if you have an audio
| | 03:27 | interface hooked up to your system,
you can choose the ASIO drivers.
| | 03:32 | In this case, we are just using
the DirectSound input on my computer.
| | 03:35 | Then down at the output, you
can click the pop-up
| | 03:40 | menu here, and you can choose the
option to where your speakers are hooked up.
| | 03:44 | Now, if you are using an audio interface,
you might see something like the RME
| | 03:49 | Hammerfall, where it says speakers there,
or if you're using Apogee Duet, you
| | 03:54 | might see that listed.
| | 03:55 | So I will click OK, and we will test this by
clicking this little Test Audio Output button.
| | 04:01 | So go ahead and turn on your speakers at
this point, but don't turn them up very
| | 04:04 | loud, because we don't know
how loud this is going to be.
| | 04:07 | So I will click this, and we hear the test tone,
and now we know that we've got sound working.
| | 04:14 | But go ahead and click that a few more
times, and you can turn your speakers up,
| | 04:19 | and adjust the level so that it's appropriate.
| | 04:21 | So now that you've gotten your
system set up, we are ready to start
| | 04:24 | using Finale.
| | Collapse this transcript |
| Mac installation| 00:00 | Setting up a new application can often
involve answering questions to which you
| | 00:03 | don't know the answers.
| | 00:05 | Let me walk you through setting
up Finale and its components on an
| | 00:07 | Apple Macintosh computer.
| | 00:09 | So, if you purchased Finale and
received a DVD, go ahead and put that in your
| | 00:13 | computer's DVD drive.
| | 00:14 | If you downloaded it from the Web site,
open up the installer, and you should see
| | 00:19 | this InstallFinale app.
| | 00:20 | Now, if you're not aware of the system
requirements, you can find them on the
| | 00:24 | Read Me file, contained in the installer.
| | 00:27 | But in any case, you will need at
least G4 running OS X 10.5 or higher, and at
| | 00:32 | least 600 MB of disk space.
| | 00:34 | You will also need a monitor with a
minimum of an 800 by 600 resolution, and at
| | 00:39 | least 512 MB of RAM, with 2 GB
recommended, and an additional two gig of disk
| | 00:44 | space for the Garritan Sound Library.
| | 00:46 | So let's go ahead and start the
install by double-clicking the installer.
| | 00:50 | Now at this point, go ahead and
click Continue, and Continue.
| | 00:56 | At this point, you can either print this
additional information about Finale 2012,
| | 01:01 | or you can go ahead and
click Continue and go on.
| | 01:04 | At the license agreement go ahead and
click Continue, and then click Agree, and
| | 01:09 | then you want to choose the
items that you want to install.
| | 01:12 | At this point I would recommend you
install everything, except the PostScript fonts.
| | 01:15 | Now if you have enough disk space,
go ahead and install the Garritan
| | 01:19 | instruments for Finale.
| | 01:20 | Let's go ahead and click the Continue
button, and it's going to tell us how much
| | 01:24 | total space we need,
| | 01:25 | and I will go ahead and click Install.
| | 01:29 | So, I will enter my password, and click
the Install Software button, and then it's
| | 01:36 | preparing for installation.
| | 01:40 | When the installation finishes, you
can go ahead and click the Close button,
| | 01:44 | and then this other dialog box that opens up
is the installer for the Garritan Instruments.
| | 01:49 | So you can go ahead and click the
Continue button, and again, you will have to
| | 01:52 | accept the software agreement.
| | 01:54 | I'll click Continue, and Agree, and now
it's asking us what we want to install,
| | 01:59 | so let's go ahead and
install the Garritan Instruments.
| | 02:01 | Go ahead and click Continue.
| | 02:03 | Now at this point, you can go ahead
and change the install location of the
| | 02:07 | Garritan Instruments.
| | 02:09 | So if you have a drive that is devoted
to sample libraries and things like that,
| | 02:13 | it would be a good idea to put the
Garritan Instruments on that, rather than on
| | 02:17 | your system drive, and the reason for
that is it's just going to operate more
| | 02:20 | efficiently if you have the program
installed on the same drive as the OS, and
| | 02:26 | then the sounds on a different drive.
| | 02:27 | But if not, just go ahead and leave
it there, and click Install, and this'll
| | 02:33 | take a little while.
| | 02:37 | So when the installation finishes, you
can go ahead and hit the Close button.
| | 02:41 | Then when you open Finale for the
first time, you will be asked to authorize.
| | 02:46 | Now, if you want, you can use
Finale in Demo mode for 30 days
| | 02:49 | without restrictions,
| | 02:51 | and when you're ready to
register, you can go to the Help menu.
| | 02:53 | Now, when you authorize the program, you
will be asked for your serial number, and
| | 02:57 | then you will need to fill
in your user information.
| | 02:59 | So now we've got Finale and the Garritan
Sound Library installed and authorized.
| | 03:04 | In a moment we will begin using the
program, but first I suggest checking out
| | 03:08 | the next video, where we will take a
look at how to set up your MIDI system.
| | Collapse this transcript |
| MIDI system setup (Mac)| 00:00 | Setting up your MIDI keyboard and
external speakers to work with a program like
| | 00:03 | Finale can be a bit tricky.
| | 00:05 | Let's walk through the setup step by step.
| | 00:08 | If this is the first time you are
connecting your system, place your computer,
| | 00:11 | MIDI controller keyboard, and
speakers where you want to use them.
| | 00:14 | Then make sure that everything is turned off.
| | 00:17 | Let's first connect the
controller to the computer.
| | 00:19 | This can be done a couple of ways.
| | 00:21 | If you're using an older controller
that only has MIDI inputs and outputs, you
| | 00:24 | will need to connect the MIDI output on the
controller to the MIDI input on the MIDI interface.
| | 00:30 | Then connect the MIDI interface
to your computer using a USB cable.
| | 00:34 | Now, I'm using a keyboard controller
that has a USB connection, and can be
| | 00:38 | directly connected to the
computer with a USB cable.
| | 00:41 | If you have speakers, let's connect them,
but first let me ask you a question.
| | 00:44 | Are you using an audio interface?
| | 00:47 | If you are, you can connect the
speakers to your system via the monitor outputs
| | 00:51 | on your audio interface.
| | 00:53 | Otherwise, you will need to connect the
speakers to your computer's line output,
| | 00:56 | or to the headphone output on a laptop.
| | 00:57 | Now, there are a number of
different cables that might be used here,
| | 01:01 | so you need to check the connections.
| | 01:03 | For example, the headphone output on
your computer is likely a 1/8 inch stereo
| | 01:08 | phone plug; sometimes
they call that a mini-plug.
| | 01:12 | At the other end, you might need two
RCA, quarter inch, or XLR connectors to
| | 01:16 | connect to your speakers.
| | 01:17 | I suggest that you go to a music
store, or an electronics store, and buy
| | 01:22 | exactly what you need.
| | 01:23 | It's best not to cobble
together a cable using adapters.
| | 01:26 | Now that your system is set up, go ahead
and turn on your computer and MIDI controller.
| | 01:32 | Leave your speakers off for now.
| | 01:34 | Let's open up Mac Audio Midi Setup.
| | 01:36 | Let's go to Go menu. Down here at the
bottom, let's click on Utilities, and in the
| | 01:41 | Utilities folder, you'll see Audio Midi Setup.
| | 01:44 | So I am going to choose that,
and double-click on it to open it.
| | 01:47 | Now, mine opened
automatically with MIDI studio open.
| | 01:51 | It's very possible that yours
will open looking like this,
| | 01:53 | and if it does, just go to the
Window menu, and choose Show MIDI Window.
| | 01:59 | Now, the Axiom Pro 61 is my MIDI
controller, and it automatically shows up here in
| | 02:04 | Audio Midi Setup, because it's what's
referred to as a class compliant device,
| | 02:09 | meaning that it uses the core MIDI in
the Mac OS, and doesn't need a driver.
| | 02:14 | If you're using an older MIDI controller,
it's very possible that it's not class
| | 02:18 | compliant, and it won't automatically show up.
| | 02:20 | In that case, you will need to go to the
manufacturer's Web site, and download the
| | 02:24 | latest driver, and then
install it on your computer.
| | 02:26 | Then reboot, and when you come back
into MIDI studio, it should show.
| | 02:31 | So we can test whether or not the
computer is seeing the keyboard controller by
| | 02:36 | clicking the Test Setup button, and then
if I play a key on my keyboard, we should
| | 02:41 | see the in arrow on the number 1
light up, and we also hear that sound.
| | 02:48 | That tells us that the computer
is seeing this MIDI controller.
| | 02:50 | So I will close this, and I will
go up to Audio Midi Setup, and Quit.
| | 02:56 | Let me close that folder for now.
| | 03:00 | Let's open up Finale.
| | 03:02 | Once Finale is open, I will close the
launch window by clicking the Close button.
| | 03:07 | Let's start setting up the audio and
MIDI in Finale by going to the MIDI/Audio
| | 03:11 | menu > Device Setup, and
choosing MIDI Internal Speaker Setup.
| | 03:15 | Now, getting Finale to work with your
MIDI keyboard controller is fairly simple.
| | 03:21 | In most cases, you will just leave
the MIDI system set to Core MIDI.
| | 03:25 | If you've installed the driver for
your controller, you may need to select it
| | 03:28 | from the dropdown menu.
| | 03:31 | Next, you can enable your controller by
clicking the dropdown menu under Input
| | 03:35 | Device, and choosing it from the menu.
| | 03:37 | Here you can see that the
Axiom Pro 61 USB 61 is selected.
| | 03:44 | If you frequently change controllers,
you can also check the Auto-Detect Input
| | 03:48 | Devices checkbox, and Finale will
automatically select the controller connected
| | 03:52 | to your system, and assign it
to input channels 1 through 16.
| | 03:56 | Next, let's set the playback to device.
| | 03:59 | Click the pop-up menu, and I'd suggest
choosing SmartMusic SoftSynth as the
| | 04:04 | default playback device.
| | 04:06 | The sounds are better than those
available to the QuickTime playback device, and
| | 04:10 | it doesn't use much CPU power.
| | 04:13 | Now that the MIDI keyboard controller
and MIDI playback device are set, close
| | 04:16 | the window by clicking the OK button.
| | 04:19 | Before we test the MIDI setup, open
the MIDI/Audio menu one more time.
| | 04:23 | I just want to show you that any time
that the Play Finale through MIDI is enabled,
| | 04:28 | the playback device will be
assigned to the SmartMusic SoftSynth.
| | 04:32 | This is a good choice when you're
building a score, because the SmartMusic
| | 04:35 | playback device requires little CPU
power, and won't interfere as you add
| | 04:40 | notes and expressions.
| | 04:41 | In a later video, we will talk about
enhancing the sound of Finale playback by
| | 04:45 | choosing the Play Finale
Through Audio Units option.
| | 04:50 | Next, let's test the MIDI setup.
| | 04:52 | So let's go up to the File menu
and choose New > Default Document.
| | 04:59 | Next, click the Simple Entry tool, and
then Option+Click in the first measure
| | 05:03 | to set your cursor.
| | 05:05 | Now press some keys on your MIDI keyboard.
| | 05:08 | You should see notes appear on the staff.
| | 05:15 | Let's finish by choosing your Audio settings.
| | 05:18 | Click the MIDI/Audio menu again,
and choose Device Setup > Audio Setup.
| | 05:25 | Start by clicking the Mic Source pop-up menu.
| | 05:27 | If you're using an audio interface, it
should be available, and you can enable
| | 05:32 | it by clicking it, as I've done here with the
Duet USB, which is an Apogee Audio interface.
| | 05:38 | If instead you're using the line input
of your computer, you can select it, or if
| | 05:43 | you're using a laptop computer, you'll
also see built-in microphone as an option.
| | 05:48 | Now let's check the output.
| | 05:50 | Click the Source pop-up menu, and choose
your audio interface, the Built-In Output,
| | 05:56 | or the Built-In Line Output.
| | 05:58 | Next, turn down the volume
on your computer or speakers.
| | 06:02 | Now go ahead and turn on your
speakers, or put on your headphones.
| | 06:06 | Then click the Test Audio Output button.
| | 06:10 | If you hear the short test
tone, you're ready to go.
| | 06:14 | Click the Test button a few more times,
and adjust the level of your audio Output.
| | 06:20 | Now that you've got your system set
up, we are ready to start using Finale.
| | Collapse this transcript |
|
|
2. Creating a Finale Document/ScoreThe Setup Wizard| 00:00 | Setting up a new score includes many details.
| | 00:03 | The Finale Document Setup Wizard
organizes setup into a step by step process
| | 00:07 | that results in a score with the
correct instrumentation, key, time
| | 00:11 | signature, title, and composer information, all
formatted, and ready for you to enter your music.
| | 00:16 | You can get to the Setup Wizard several ways.
| | 00:19 | First of all, you can get to the Setup
Wizard through the Launch Window, which
| | 00:22 | opens when you open Finale.
| | 00:25 | The Launch Window has several areas.
| | 00:27 | In the top area, you can
create music in several ways.
| | 00:31 | In the middle, area you
can open existing music.
| | 00:34 | Down here at the bottom, you
can access Program Options.
| | 00:38 | And over on the right, you can
access help through the User Manual, and
| | 00:42 | the Tutorial Guide.
| | 00:43 | Now, if the Launch Window is closed,
you can get to the Setup Wizard and the
| | 00:48 | Launch Window through the File menu.
| | 00:50 | Click Launch Window, and
reopen that; we're back.
| | 00:54 | Or, you can go straight to the Setup
Wizard by clicking the File menu, and
| | 00:58 | choosing New > Document with Setup Wizard,
which as you see, there's a shortcut
| | 01:03 | Command+N on the Mac, and Control+N on the PC.
| | 01:08 | In the first window of the Document
Setup Wizard, you can choose an Ensemble.
| | 01:12 | So if I wanted to do a Brass Quintet,
or a Jazz Band, I could choose that.
| | 01:16 | Or if my instrumentation is not part
of one of these presets, I can choose
| | 01:20 | Create New Ensemble.
| | 01:22 | In the Style area, you can choose a
style that's going to include fonts, and text
| | 01:27 | inserts, and all kinds of things for your score.
| | 01:29 | For example, if I click on Band,
and Jazz Band, we can see that it's
| | 01:33 | automatically going to have Landscape
page orientation, and the Broadway Copyist
| | 01:38 | Font, and other details.
| | 01:39 | Down in the bottom third of the window,
you can override the Score Page Size, and
| | 01:46 | Part Page Size, by clicking the pop-up
menus, and choosing a different page size,
| | 01:52 | or Portrait or Landscape for your orientation.
| | 01:55 | And when you're done with this page,
you can click the Next button to move on.
| | 02:00 | If you're going to create a
custom ensemble, you can choose your
| | 02:03 | instrumentation by clicking on a
category, and choosing an instrument, and
| | 02:07 | clicking the Add button.
| | 02:08 | And you can do this to as many
categories as you need, to add as many instruments
| | 02:15 | as you might need, and I'll just add a few more.
| | 02:18 | Now, if you add something that you
didn't want in the score, you can choose that
| | 02:26 | in the right-hand pane,
and click the Remove button.
| | 02:28 | Once you've got the instrumentation set,
you can save this as a new ensemble, if
| | 02:34 | this is something you're
going to use a lot in the future.
| | 02:36 | So if you click the Save as New
Ensemble button, I can give this a name, like My
| | 02:41 | Ensemble, and click OK, and I'll back up one page.
| | 02:46 | And notice here now, in the Select an Ensemble
category, My Ensemble shows. Let's go on here;
| | 02:53 | I'll go back to the next page.
| | 02:54 | And one more thing I should mention
before we move on is that if you want the
| | 02:58 | instruments in the score in a
different order, you can click these Up and
| | 03:01 | Down Arrows to do that.
| | 03:02 | And you'll notice that there are
preset orders for different kinds of music
| | 03:07 | here, for Orchestral, or
Choral, or so on and so forth.
| | 03:11 | I'll go ahead and click Next.
| | 03:15 | If you're using one of the templates,
or in this case, I saved my ensemble as a
| | 03:20 | template, it's going to ask you when
you move on, if you've made any changes,
| | 03:24 | whether or not you want to save those.
| | 03:25 | And I would recommend that you say No
to this most of the time, as you don't
| | 03:29 | actually want to make permanent
changes to your preset and template files.
| | 03:33 | So I'll click No, and now I can add
title information, like My Best Song Ever.
| | 03:40 | And if you want, you can add
Composer and Arranger information.
| | 03:45 | And if you have a publishing company, and you want
to add that in here, you can say that as well.
| | 03:51 | And when you're finished, you can
go ahead and click the Next button.
| | 03:54 | Now, anything that you don't add here
can later be added to the score as well.
| | 04:00 | So on the next page,
| | 04:00 | we can set the musical details for the score.
| | 04:03 | The top area, I can select a Time Signature.
| | 04:05 | Now, if one of these presets is not
what you want to use, you can click
| | 04:08 | the Question Mark
| | 04:09 | button over here, and it will open this
dialog where you can change those values,
| | 04:16 | like, if I wanted to make this 6/8.
| | 04:19 | Go ahead and click OK.
| | 04:20 | Then I can do the same
thing here with Key Signature.
| | 04:23 | Now, if I want to add sharps, I'll click
up to add sharps, and down to add flats.
| | 04:29 | Let's put this in B Flat Major.
| | 04:32 | You can also set the mode by clicking on
this button, and choosing either Major or Minor.
| | 04:36 | In the next area, if you want to
indicate a Tempo Text Marking, you can
| | 04:42 | go ahead and type that in here, like
Moderato, or Andante, or Jazz Style, or a
| | 04:48 | Fast Swing, or something.
| | 04:50 | And then you can also indicate the
beats per minute by choosing the beat.
| | 04:55 | Now, I've chosen Eighth Note, so I'll choose
that, and let's put this at, like, 110 BPM.
| | 05:01 | Now, if there's notes that start
before the first full bar of the music, you
| | 05:05 | can specify a Pickup Measure, and you
can indicate the rhythmic duration by
| | 05:09 | choosing a value here.
| | 05:10 | So if I had three eighth notes, I might
choose a dotted quarter there, and then I
| | 05:16 | can indicate the number of
measures in the piece by typing this here.
| | 05:20 | Again, if you don't know how many
measures will be in the piece, we can add or
| | 05:24 | subtract measures later.
| | 05:25 | So I'm just going to go ahead and click
Finish, and Finale will take a second, and
| | 05:29 | add all that information to the score.
| | 05:32 | So we see the score title, and the
score name, the composer, and arranger.
| | 05:36 | And then, if you look over here in the
first measure, you can also see that there
| | 05:41 | is the dotted quarter for the pickup
before we get to the first full measure.
| | 05:47 | Now, one other thing you should be
aware of is that Finale does not save your
| | 05:50 | score as part of the Setup Wizard process.
| | 05:54 | So I'm going to go ahead and click File >
Save, which you can see is Command+S on
| | 05:58 | a Mac, or Control+S on a PC, and go
ahead and give this a name, and save that.
| | 06:06 | So now that the setup is finished,
you're ready to begin adding notes, lyrics,
| | 06:10 | articulations, and chords to your score.
| | Collapse this transcript |
| Using score templates| 00:00 | New scores can also be created by
using score templates, which include
| | 00:04 | instrumentation, font style,
page size and orientation, and other
| | 00:07 | important format parameters.
| | 00:09 | To create a new score from template, I'm
going to go to the File menu, and choose
| | 00:12 | New > Document from Template.
| | 00:14 | This will put you into the folder with
all the template subfolders, and I'm going
| | 00:19 | to choose Orchestral, and Chamber Orchestra.
| | 00:22 | And when I click the Open button, I
want you to notice that it kicks us back
| | 00:26 | into the Document Setup Wizard.
| | 00:28 | And this is because of a
preference in the Program Options area.
| | 00:30 | So I'm going to Cancel out of
here, and close this briefly.
| | 00:37 | And then I'm going to go to the Finale
menu, Preferences, and Program Options,
| | 00:40 | and you can find the same window on a
PC at the bottom of the Edit window.
| | 00:46 | The New tab clicked here on the left,
you'll notice that the Display Setup
| | 00:50 | Wizard When Opening a Template is enabled.
| | 00:53 | That's why we were kicked into the Setup Wizard.
| | 00:56 | So I'll click OK, I'll go back to the File
menu, New, and choose Document from Template.
| | 01:04 | Choose Orchestral Templates again, and
Chamber Orchestra, and click the Open button.
| | 01:08 | Now, this time I'm not going to enter
any information into the Document Setup
| | 01:12 | Wizard, because I want to show you how
to do that after the score is created.
| | 01:15 | So I'll click the Next, and Finish
button, and we're into the score.
| | 01:19 | Now, finale is a tool-based program, so
most of the actions that you can do -- even
| | 01:25 | though there might be contextual menus,
and other ways to get at it -- oftentimes
| | 01:28 | the best way is to choose the tool.
| | 01:29 | So I'm going to choose the 4/4 icon
here, which is the Time Signature tool, and
| | 01:35 | then I'm going to click the first measure.
| | 01:37 | Now, you can either double-click to
change the time signature here, or you can
| | 01:41 | right-click, and use the contextual menu.
| | 01:44 | You can choose one of the presets from
the menu here, or you can choose Edit Time
| | 01:48 | Signature if what you're
looking for isn't there on the menu.
| | 01:53 | In this window, if you want to change
the time signature, you can change the
| | 01:56 | number of beats by clicking in the
Number of Beats scrollbar here, and the
| | 02:00 | Beat Duration here.
| | 02:03 | So I'll put that in 6/8, and
I'll go ahead and click OK.
| | 02:07 | We can see that it's changed the
time signature for the entire piece.
| | 02:11 | Now, I can do the same thing to the key
signature by choosing the Key Signature
| | 02:15 | tool, which looks like a B Flat key signature.
| | 02:17 | And again, you can either double-
click in a bar, or you can click and then
| | 02:21 | right-click, and now I see that I've got
presets here for all the major keys, and minor keys.
| | 02:26 | I'm going to go ahead, and I'm going to
choose D Major, and we're in that key.
| | 02:31 | Also, you'll see that the text
placeholders are not filled in yet.
| | 02:35 | Now, there's a couple of
different ways that we can do this.
| | 02:37 | One way is the new Score Manager, which
is under the Window menu in Finale. So
| | 02:43 | I'll click Score manager, or you
could get at this through the QuickKey:
| | 02:47 | Command+K on a Mac, or Control+K on a PC.
| | 02:49 | And there are two tabs up here at the
top, and I'm going to click the File Info
| | 02:54 | button, and this will allow me to type
a title in here, like Symphony No. 41.
| | 03:02 | When you're finished, you can go ahead
and close the window, and you'll notice
| | 03:05 | that that's replaced the text placeholder.
| | 03:07 | And you can also replace text or add text
using the Text tool, which is the letter A here.
| | 03:13 | So if I choose that, you'll notice that
we get these positioning handles on all
| | 03:17 | of the text in the score.
| | 03:18 | Now, if I go ahead and double-click on
that, that will open up that text box, and
| | 03:22 | I can select that, and then go
ahead and type composer's name.
| | 03:25 | Now, you can enter that by
clicking out of the text box.
| | 03:30 | I'm going to go back, and I'm going to
open up the Score Manager one more time,
| | 03:34 | and I'm going to click the Instrument
List tab, because in Finale 2012, you can
| | 03:41 | now easily add and delete
instruments from the score.
| | 03:43 | Now, if you want to add an instrument
to the score, select the instrument that
| | 03:48 | you want to create the new
instrument after, like let's say I want to add
| | 03:50 | something after Bassoon.
| | 03:53 | And now I can go down and click
the Add Instrument button, choose a
| | 03:57 | category, like let's say I wanted to
have a lute in here, and go through
| | 04:04 | this, and find that instrument.
| | 04:07 | And immediately, you'll see that it's
added a Lute tab staff below the Bassoon.
| | 04:11 | Now, if you decide after all that you
don't want that instrument, you can go
| | 04:14 | ahead and click the X button over here, and
that will delete the instrument from the score.
| | 04:18 | Now, notice that as I was doing that,
Finale was re-spacing the staves and
| | 04:23 | systems so that the score looks good.
| | 04:27 | Now, when you're finished in this window,
you can go ahead and click the Close
| | 04:30 | Window button up here in
the upper left-hand corner.
| | 04:32 | Now one last thing before we move on.
If you need to add a Pickup Measure,
| | 04:36 | you can go the Document menu, and
choose Pickup Measure, and then indicate how
| | 04:42 | long that needs to be.
| | 04:43 | So I'll choose a quarter note
here, and click OK.
| | 04:47 | And then notice that it's added an
incomplete bar here at the beginning of the
| | 04:50 | piece, and I've got a quarter
note rest to start off with.
| | 04:53 | Okay, so starting from a template
is a fast way to create a new score.
| | 04:57 | You can change the score settings
later; even add or delete instruments
| | 05:00 | if necessary.
| | Collapse this transcript |
| The default document (Mac)| 00:00 | Templates can be used to speed up
the process of creating scores for any
| | 00:03 | ensembles or situations for which
you regularly compose or notate music.
| | 00:08 | Finale comes with several templates,
but as you begin to use the program, it's
| | 00:12 | likely that you'll want to customize
those templates, or create new ones to
| | 00:15 | better fit your needs.
| | 00:17 | So in the last video, we learned how to
create a new score from template via the
| | 00:20 | Launch Window or the File menu.
| | 00:22 | Let's open a template, and then we'll
modify it, and save it as a new template.
| | 00:25 | So let's go to the File menu, let's
choose New, and Document From Template.
| | 00:32 | Let's go to the General Templates
folder, and let's choose the Lead
| | 00:36 | Sheet (Handwritten).
| | 00:37 | I am going to cancel out of here,
because when you're working on creating a
| | 00:43 | template file, you really don't want
to make changes to the score information,
| | 00:48 | or the music information. You just want to
make changes to the actual kind of basic elements.
| | 00:54 | So I'll cancel out of there, and
we're immediately into the file.
| | 00:57 | A couple of things that I might do to
customize the template would include
| | 01:01 | getting rid of the left barlines.
| | 01:03 | So I'll go to the Document menu, and I
am going to choose Document Options, and
| | 01:08 | then I'll choose Barlines, and I'm
going to uncheck this Display on Single
| | 01:12 | Staves. I'll click Apply, and OK.
| | 01:17 | And I might go back in there one more
time, back into Document Options, and go
| | 01:23 | to Repeats. And I happen to like this
Curved shape for the Repeats; you might
| | 01:29 | like one of the others.
| | 01:30 | I am going to choose that, and click Apply,
and so if I happen to add any Repeats
| | 01:35 | into the score, they'll
automatically come up with that style.
| | 01:38 | Now, usually when I do lead sheets, I am
going to have four measures per system.
| | 01:42 | So I am going to choose the
Selection tool here, and then I'm going to hit
| | 01:47 | Command+A to select the entire document.
| | 01:49 | Then I am going to go to the Utilities
menu, and choose Fit Measures, and I am
| | 01:55 | going to choose Lock Layout
with 4 Measure(s). Click OK.
| | 01:59 | So now the music is kind of set up
the way I would actually use it.
| | 02:03 | So I want to save this as a new document.
| | 02:05 | So I'll go to the File menu, and Save As.
| | 02:09 | The operating system on this computer
is OS X 10.7, or Lion, and they've actually
| | 02:15 | hidden the User Library folder,
and that's where we need to go.
| | 02:19 | So I am going to get into that by
using a little key command here, and that is
| | 02:23 | Command+Shift+G, and that
opens up this Go to folder.
| | 02:28 | And to get to the Library folder, we need to
type Tilde, Forward slash, capital L, for Library.
| | 02:36 | When I hit Go here, or click Go, that
immediately takes me to that spot in the path.
| | 02:43 | So if I click here, I can see that I'm
in my User, and in my Library folder.
| | 02:47 | And now I can follow
through the rest of the way.
| | 02:49 | So I need to go to Application Support,
down to MakeMusic -- that's the company
| | 02:53 | that manufactures Finale -- Finale 2012,
and then I'll go into the Music Files
| | 02:59 | folder, and finally we see the Templates.
| | 03:02 | So, we were in the General Templates
folder, and I guess I'll stick this here.
| | 03:07 | Now, once I am here, I don't want to
overwrite the original template, because you
| | 03:10 | might want to use that later on.
| | 03:12 | So it's very important
that you give this a new name.
| | 03:15 | So I am going to call this My Leadsheet,
and I'll click Save, and then I am going
| | 03:23 | to close this document by going File >
Close, and then let's open another one.
| | 03:28 | So let's go File > New > Document From
Template, and now when we go into the
| | 03:33 | General Templates folder, we can see
our modified template there for what we
| | 03:39 | want, and when I click Open -- and I'll cancel it
here again, just so that we can see what we did --
| | 03:44 | this immediately comes in with four
measures per line, no left barlines, and if I
| | 03:49 | was to add repeats, let's just see what happens.
| | 03:52 | Actually, I'll do this by the Selection
tool, so I'll click there, and then I'll
| | 03:56 | Shift+Click the end of this line, and
then I am going to right-click, and go down
| | 03:59 | to Repeats, and click Create Simple
Repeat, and notice that it comes in with the
| | 04:06 | curved shape on the repeats.
| | 04:09 | So any time you find yourself repeatedly
making the same changes to your scores,
| | 04:12 | you'll find adding those changes to
a template will speed up your work.
| | Collapse this transcript |
| The default document (PC)| 00:00 | Templates can be used to speed up
the process of creating scores for any
| | 00:03 | ensembles or situations for which
you regularly compose or notate music.
| | 00:07 | Finale comes with several templates,
but it's likely that you'll want to
| | 00:10 | customize those templates, or create
new ones that better fit your needs.
| | 00:13 | So let's go ahead, and let's go up to
the File menu, and let's create a new
| | 00:19 | Document From Template.
| | 00:20 | I'm going to go on to the General
Templates folder, I am going to double-click, and
| | 00:26 | I'll choose Lead Sheet (
Handwritten), and click Open.
| | 00:28 | Now, when you get to the Document Setup
Wizard, I want to click Cancel, because I
| | 00:34 | don't want to make changes to any of
this information; I want to make changes to
| | 00:38 | things that are in the score, and then
we'll save those as part of the template
| | 00:41 | that we can work off of.
| | 00:42 | So I'll click Cancel, and then, just so we
have an example, I am going to go up to
| | 00:47 | the Document menu, and then to Document Options.
| | 00:50 | I am going to change a couple of
properties of what we see in this document.
| | 00:53 | So I am going to go to the Barlines, and
on lead sheets, I don't like to see these
| | 00:57 | left-hand barlines, so I am going
to deselect Display on Single Staves.
| | 01:01 | And I'm also going to go down to the
Repeats tab, and I like this Curved style of
| | 01:06 | Repeats better, so I'll choose
that, and I'll click Apply, and OK.
| | 01:12 | Another thing I might do is set this up so
that there is already four measures per line.
| | 01:17 | So I am going to use the key command
Control+A to select the entire document, and
| | 01:22 | then I'll go ahead and go to the
Utilities menu, and choose Fit Measures, and Lock
| | 01:27 | layout with 4 measure(s)
per system, and click OK.
| | 01:29 | Now we can see that that's got four bars
per line, it's all on one page, and it's
| | 01:36 | likely that you'll end up
with, like, a 32 bar lead sheet.
| | 01:38 | So this is all set up and ready to go.
| | 01:41 | Now, it's possible that when we go to
save this, that you might not have access
| | 01:45 | to the hidden folders on your drive.
| | 01:47 | So I am just going to show you
how to fix that if that's a problem.
| | 01:51 | So let's go down and click the Start
menu, and let's go to Computer, and then up
| | 01:56 | to Organize, and Folder and search
options, and click the View tab.
| | 02:02 | So in a second, we're going
to go ahead and save this,
| | 02:05 | but if doesn't allow us access to the
Finale Templates folder, you're going to
| | 02:09 | want to come in here, and you are
going to want to click Show hidden files,
| | 02:12 | folders, and drives.
| | 02:13 | And once you've done that, you'll
be able to navigate to that folder.
| | 02:16 | I am going to click OK, and just
leave this setting the way it is, and
| | 02:21 | close these windows.
| | 02:22 | Now I'm back in Finale, and I'll go to
the File menu, and I'll choose Save As.
| | 02:29 | Let's call this My Lead Sheet, and
then, instead of saving this as a
| | 02:33 | Finale Notation File -- that's a .mus
file -- we are going to save this as a
| | 02:38 | Finale template file.
| | 02:39 | So I'll click that, and notice that
it immediately put us into the General
| | 02:44 | Templates folder, and I'll go ahead and click Save.
| | 02:47 | So now I am going to close
this File, so I'll go File > Close.
| | 02:54 | Now we can go back up, and go File > New >
Document From Template, into the General
| | 03:01 | Templates folder, and there is our lead sheet.
| | 03:04 | So I'll click Open, for right now I am
going to go ahead and click Cancel, and
| | 03:08 | we see the changes that we've made.
| | 03:10 | Four bars per line, and it looks
like I've got no left barlines.
| | 03:15 | So if I select these four bars, and
choose the Repeat tool, and Repeat, and
| | 03:20 | choose Create Simple Repeat, we see that it
comes in with the winged repeat style that I like.
| | 03:27 | So any time you find yourself repeatedly
making the same changes to your scores,
| | 03:32 | you'll find adding those changes to
the templates will speed up your work.
| | Collapse this transcript |
| Opening and importing files| 00:00 | In upcoming videos, we'll begin
to learn the Finale interface.
| | 00:03 | At first, we'll work from pre-existing files,
so you'll need to know how to open Finale files.
| | 00:08 | Also, if you want to use files created
in other notation or music production
| | 00:12 | programs, you'll need to know how
to import MIDI and MusicXML files.
| | 00:16 | So, pre-existing Finale files
can be opened in a number of ways.
| | 00:20 | First, if you've just opened Finale, you can
open a variety of files from the Launch Window.
| | 00:24 | So we can click the Open button, and
navigate to the folder that holds the files,
| | 00:29 | or if this window is closed, you can do
the same thing by going to the File menu
| | 00:33 | in Finale, and clicking Open.
| | 00:35 | Now, if the file was opened recently, it
might be here on the most Recent files.
| | 00:41 | So I am going to go Open, and then let's
go to the Desktop here; that's where the
| | 00:45 | exercise files are at. I'll click that
folder, and then we are in chapter 2, and
| | 00:50 | there is the subfolder that
holds the files for this video.
| | 00:53 | So let's choose the .mus file, and
just note that that's the extension for
| | 00:58 | any Finale score file.
| | 01:00 | So let's go ahead and click Open.
| | 01:04 | After you make changes to the file,
you're going to want to update it.
| | 01:07 | So let's go back to the File menu, and
you can either choose Save, or Save As.
| | 01:12 | If you choose Save, you're
going to save it with the same name.
| | 01:15 | Now, if you want to update it with a
different name, you would choose Save As,
| | 01:19 | and then in this Save As dialog box,
you can add, like, a version two at the
| | 01:24 | end of that. I am going to save that to
the Desktop, and we'll click Save.
| | 01:30 | Now, if you also work with a music
production program, like Pro tools, or Logic
| | 01:33 | Studio, you may want or need to move
your work back and forth between Finale and
| | 01:38 | the production program.
| | 01:39 | One way this can be done is
using a standard MIDI file.
| | 01:42 | So let's go back to the File menu, and
let's close the file we are looking at, and
| | 01:47 | then let's go right back to the File
menu again, and let's go to Open, and again,
| | 01:52 | let's navigate down to
our exercise files folder.
| | 01:57 | And here again, we see this .mid file;
| | 02:00 | now this is a standard MIDI file.
| | 02:02 | Those can be opened by Finale, so
let's choose that, and click Open. This
| | 02:08 | time it's going to ask us a few
questions before it does anything.
| | 02:11 | Now, most of these default
settings have worked for me.
| | 02:14 | The one place I would suggest
you look is in the Quant Settings.
| | 02:17 | That stands for quantization, and
that's how Finale kind of cleans up the file
| | 02:21 | as it brings it in.
| | 02:23 | Now, notation files are actually simpler
than the way we actually perform the music,
| | 02:27 | and this Quantization Settings
dialog helps us to clean up those files.
| | 02:32 | So, as you import this music, you are
going to want to tell Finale what's the
| | 02:35 | Smallest Note Value that's played in
this. Was it a sixteenth note, or an eighth
| | 02:39 | note, or an eighth note triplet?
| | 02:41 | And then, in addition to that, you can
also indicate whether there's no triplets,
| | 02:46 | and the word Tuplet in Finale
refers to all types of triplets.
| | 02:51 | And if it doesn't, you would choose No Tuplets.
| | 02:53 | If there is mixed rhythms,
go ahead and choose that.
| | 02:55 | I would also suggest you click this
More Settings button, and in here, I would
| | 03:00 | make sure that Minimize Rest is checked.
| | 03:03 | And then, if there is MIDI data in that
file that you want to bring in, like the
| | 03:07 | Velocities, which represent how hard
the keys on the piano were hit, I would go
| | 03:11 | ahead and make sure that that's checked.
| | 03:13 | So let's click OK, and OK, and when
we've got all these parameters set, we'll
| | 03:19 | say OK one last time, and Finale
starts to analyze that MIDI file, and turn it
| | 03:24 | into a notation file.
| | 03:26 | So it opens up, and if you remember
from the last version that we were looking
| | 03:30 | at, which was an actual score of the
same thing, it looks like we got the notes
| | 03:34 | for the most part. We're missing a lot of stuff.
| | 03:36 | It didn't even bring in the Clarinet
part transposed, and we didn't get any
| | 03:42 | dynamics, or articulations,
or anything else like that.
| | 03:46 | This is kind of a raw data that we can
work with, and oftentimes, when I import a
| | 03:49 | MIDI file, the next thing I'll do is
actually create a score in Finale, and then
| | 03:53 | copy the data from this score that's
actually good, and paste that into the other file.
| | 04:00 | So, while MIDI files are useful,
there is actually a newer thing we can do.
| | 04:04 | So I am gong to click File, and
Close, and let's click Don't Save.
| | 04:10 | In recent years, there's been an effort
to create an open format that allows data
| | 04:14 | to be more easily exchanged
between music notation programs.
| | 04:18 | And this is MusicXML, which is an
XML based music notation format,
| | 04:22 | and it's currently the best option,
and able to transfer much more data than
| | 04:25 | a standard MIDI file.
| | 04:27 | So let's go back to the File menu, and
let's choose MusicXML > Import, and once
| | 04:33 | again, we'll need to navigate down
to that folder, and it looks like we're
| | 04:36 | already there, and let's choose
this Woodwind Quartet.xml file.
| | 04:42 | I'll click Open, and it will take a
second for Finale to analyze this again, and
| | 04:47 | open it as a score file.
| | 04:49 | And now when we look at this, we see, well,
this looks a lot like the original file.
| | 04:52 | We've got all the notes, we've got the
transpositions, and we've got dynamics, and
| | 04:59 | we've got crescendos, and articulations.
| | 05:02 | So we are much closer to a finished
score then we were with the MIDI file.
| | 05:06 | So now that you know how to open, save,
and import files, we're ready to learn
| | 05:11 | how to enter notes into a Finale score.
| | Collapse this transcript |
|
|
3. Navigating and Viewing DocumentsFinale window overview| 00:00 | Knowing where to find a function or command
is critical to using any notation program.
| | 00:04 | Finale is a tool-based program, so
knowing how to access the tools, the
| | 00:08 | associated floating palettes, and
functions will help you complete your
| | 00:11 | scores more quickly.
| | 00:12 | So I am here in the 3_01 Woodwind Quartet file.
| | 00:15 | We are going to take a
look at the Finale window.
| | 00:18 | Now, the PC and Mac versions
of Finale are almost identical,
| | 00:21 | but as we look at the Finale window
for the first time, you'll notice there are
| | 00:24 | some subtle differences.
| | 00:26 | In the Mac version, you'll see a menu
bar docked at the top of the screen.
| | 00:29 | There is a sizable document window,
there's a tool palette, and so on, and so forth.
| | 00:35 | On the PC version, all of these
things are docked in the window.
| | 00:38 | Now, for the most part, these menus
that go across the top are static, meaning
| | 00:42 | that they don't change.
| | 00:43 | But choosing some tools will
actually add a different menu.
| | 00:46 | For example, if I click the Measure
tool, you'll see the Measure menu appear
| | 00:50 | here. If I choose the Simple Entry
tool, you'll see the Simple menu appear.
| | 00:55 | Now, we don't have time to go through
all the menus right now, but let's take a
| | 00:58 | quick look at a couple of them.
| | 00:59 | On the File menu, you'll see the typical
things, like Close, and Save, and opening files.
| | 01:05 | On the Edit menu, you'll see things
like Cut, Copy, and Paste. And then, on the
| | 01:10 | MIDI/Audio menu, you'll be able to set
up your internal speakers, or your MIDI
| | 01:15 | setup; other things like that.
| | 01:16 | And then you're going to want to
take a look at the Plug-ins menu.
| | 01:19 | Now, Plug-ins are basically little
macros that complete complex tasks.
| | 01:23 | For example, if I choose the Selection
tool, and click out to the left of the
| | 01:28 | Flute staff, it will select the
Flute part for the entire score.
| | 01:31 | Now, I am going to go up to the Plug-
ins menu, and I am going to choose Scoring
| | 01:34 | and Arranging, and Check Range.
| | 01:36 | Now, this plug-in will analyze the
entire part, and make sure that there are no
| | 01:40 | notes outside the flute range.
| | 01:42 | So I'll go ahead and click Check, and
analyze that, and it tells us no; No out of
| | 01:47 | range notes were found.
| | 01:48 | While the icons help to identify the
tools, the Status Bar is also a big help.
| | 01:54 | So if I click on one of these tools,
notice that it gives us the name, and
| | 01:57 | the function of that.
| | 01:58 | If I click on the Articulation tool, we see the
name, and on the Lyrics tool, it shows us that.
| | 02:05 | Also, if you hover your mouse over a tool,
a little window will come up and tell
| | 02:09 | you what that tool is.
| | 02:11 | Now, I should alert you that on a PC,
this Status Bar right here is actually
| | 02:15 | located down here at the bottom.
| | 02:17 | On the right and bottom edge of the
document window, there are scroll bars that
| | 02:21 | help us place the score
right where we want to be.
| | 02:23 | But at the bottom of the screen, we have
the page buttons, so this one will page
| | 02:27 | you forward one page at a
time; this one, one page back.
| | 02:31 | With this one, I can go to the end of the
score, and this one, to the beginning of the score.
| | 02:35 | Now that you have a general feel for how
Finale is laid out, take the time to go
| | 02:38 | over what we just discussed.
| | 02:40 | Repetition and practice will help
build your familiarity and confidence.
| | Collapse this transcript |
| Navigating scores| 00:00 | Knowing how to size and navigate a
score plays a big part in successfully
| | 00:03 | using a notation program.
| | 00:05 | Let's take a look at Finale's
different views, and how you can zoom, scroll,
| | 00:09 | and page in scores.
| | 00:10 | So I am here in the
3_02 Woodwind Quartet score.
| | 00:13 | So, the default view in Finale is Page
View, and this is probably where you'll
| | 00:16 | do most of your work.
| | 00:17 | Page View is great, because it shows you
exactly how a score or a part is going to print.
| | 00:21 | Now, you can switch between views in
Finale by going to the View menu, and
| | 00:26 | choosing Page View, or the other view
that you'll use a lot is Scroll View.
| | 00:30 | You can go back and forth between
these using the key command, Command+E on a
| | 00:35 | Mac, or Control+E on a PC.
| | 00:36 | Now, notice in Scroll View, it's like
you're looking at a long piece of tape.
| | 00:41 | The beginning is over on the left,
and the end is over on the right.
| | 00:44 | There is a third view in Finale
that's handy, and that's called Studio View.
| | 00:49 | That looks a lot like Scroll View,
except over on the left hand side, we
| | 00:53 | have Mixer Controls,
| | 00:54 | like the Solo and Mute button,
the Volume slider, and a Pan knob.
| | 00:59 | I'll use the Key command to go back
to Scroll View, and then to Page View.
| | 01:04 | Now, you're going to want to
know how to zoom in on the score.
| | 01:07 | You can do that using the Zoom tool,
and if you click in, it'll zoom in a
| | 01:12 | level, and if you hold down the Option key, or
the Control key on a PC, you can zoom back out.
| | 01:20 | You can also zoom in by clicking and
dragging a selection, and you'll zoom in on
| | 01:24 | that level. I'll zoom back out.
| | 01:27 | As handy as the Zoom tool is, I think
you'll find zooming by key command even better.
| | 01:31 | So if you want to zoom in, you'll hold
down the Command key on a Mac, or the Control
| | 01:35 | key on a PC, and then use
your plus and minus keys.
| | 01:38 | So Command+Plus takes us in, and
Command+Minus takes us back out.
| | 01:42 | There are also custom zooms that you can use,
and we can view those under the View menu.
| | 01:46 | So if I go to Zoom, we can see that
Custom Zoom 1 is a 100%; 2, 200%, and again,
| | 01:52 | that would be Command+1
on a Mac, or Control+1 on a PC.
| | 01:57 | So, for example, if I go Command+2, that
actually really nicely sizes the page, so
| | 02:01 | I see one page width in the window.
| | 02:03 | If I want to go back out, again, I can
go Command+1. Now, you can also navigate
| | 02:08 | through the score using key commands.
| | 02:10 | In this section, where I say
Command, it will be Control for the PC.
| | 02:14 | So if I want to page through the
document, I'll go Command+Page Down. That will
| | 02:18 | take me one page deeper into the
document, and if I want to go back a page,
| | 02:22 | I'll go Command+Page Up.
| | 02:24 | I can also go to the end of the score by
going Command+End, and Command+Home will
| | 02:29 | take me back to the beginning of the score.
| | 02:30 | Now, I can also scroll without
using the mouse by using key Command.
| | 02:35 | So here, I'll hold down the Option key for
Mac, and that would be the Alt key on a PC.
| | 02:39 | So if I go Option+Page Down, it
scrolls down, and if I go Option+Page Up,
| | 02:44 | that scrolls me up.
| | 02:45 | You can also do this by
key command in Scroll View.
| | 02:48 | So again, I'll go Command+E, or Control+E
on a PC, to move to move to scroll view.
| | 02:53 | And again, I'll use the Command
key on a Mac, and the Control key on a PC.
| | 02:58 | If I go Command+Page Down, that
takes me deeper into the score.
| | 03:01 | And Command+Page Up will take me
back towards the beginning of the score.
| | 03:06 | On either platform, you can hit your
End key to go to the end of the score, and
| | 03:10 | your Home key to go the beginning of the score.
| | 03:12 | Now, in Scroll View, you can also locate
to a specific measure by clicking down
| | 03:16 | here in this Measure field at the
bottom of the screen, and typing in a number.
| | 03:20 | I'll go to Measure 30 in this case.
Let me type in 30, and hit the Return key,
| | 03:24 | and we immediately move to Measure
30 here on the far left of the window.
| | 03:28 | So practice using the commands
that we discussed in this video.
| | 03:31 | You'll find navigating a score
using Finale much easier.
| | Collapse this transcript |
|
|
4. Creating Lead Sheets and Other Simple DocumentsNote entry and editing using a mouse| 00:00 | The first step in entering music
into a score is to add the notes.
| | 00:04 | One simple way to add notes
is to use the computer mouse.
| | 00:07 | Let's set up a new score and try it out.
| | 00:09 | So let's go up to the File menu, and
let's choose New > Document From Template, and
| | 00:14 | let's go into the General Templates
folder, and let's choose Lead Sheet
| | 00:18 | (Handwritten), we'll move that over so
you can see that, and I'll click Open.
| | 00:22 | In the Setup Wizard, let's add the
information. So we are going to enter Danny
| | 00:26 | Boy, so the title of this is Oh,
Danny Boy, and Composer, this is Irish
| | 00:32 | Traditional, and the Lyricist is
somebody by the name of Fred Weatherly.
| | 00:37 | And this is a public domain, so I am
going to take out that Copyright notice.
| | 00:41 | Click the Next button, and
let's add the Score Settings.
| | 00:45 | So we are in 4/4, and we are in the key of
F, so I will click one down to add the
| | 00:50 | flat, and then let's go ahead
and add an initial Tempo marking.
| | 00:54 | So we will type in Ballad, and we will
make the Tempo quarter note equals about 70.
| | 01:01 | Now, there is a Pickup Measure, so I'll go
ahead and click that, and there are three eigth notes,
| | 01:08 | so I will set a dotted quarter as the Pickup
Measure, and we are going to need 17 measures.
| | 01:13 | So let's go ahead and click
Finish, and our score is set up.
| | 01:17 | Now if you want to zoom in, remember,
we can use key commands, so I am going to
| | 01:21 | go Command+Equals -- that's
Control+Equals on a PC -- to zoom in.
| | 01:25 | Okay; so we are going to be learning
how to enter notes using simple entry.
| | 01:29 | That's the button here that
looks like an eighth note.
| | 01:32 | And we can enter notes by simply
selecting the value on the palette here, and
| | 01:37 | clicking in the staff.
| | 01:39 | We need to know what notes to enter, so
we are going to open up an example file.
| | 01:42 | So I am going to go Command+Tab to get
back to the Finder window here, and I'm
| | 01:48 | going to open up the Danny Boy example.
| | 01:51 | And then I am going to put these both in
Scroll view by going Command+E on a Mac,
| | 01:55 | or Control+E on a PC, and then we
are going to tile the windows.
| | 01:59 | Let me put this one in Scroll view as well.
| | 02:04 | So now we have the example file up top, and
where we are going to enter down here on
| | 02:08 | the bottom. I am going to click up
here at top, and I am going to zoom in
| | 02:11 | just a little bit, so Command+Equals makes that
a little bit bigger, and a little easier to see.
| | 02:17 | So let's go ahead; I have got the
eighth note clicked, and now I know that I
| | 02:20 | need to add an E, F, and a G here on this
staff, so let me click down on the bottom
| | 02:25 | staff to activate it, and then to put
your cursor in to the staff, and kind of
| | 02:29 | set your cursor point, the best way to
do that is to hold down your Option key,
| | 02:34 | and click in the staff.
| | 02:35 | Now, the benefit of doing that is it
actually puts the note there without
| | 02:39 | actually adding a note.
| | 02:41 | So I'll add the E, and the F,
and the G by just clicking.
| | 02:46 | Then I will need to go over, and I will
need to click the quarter note to add the
| | 02:50 | next note: A. Now to make that a dotted
note value, all you need to do is press
| | 02:56 | the Period key on your
computer, and that will add the dot.
| | 03:00 | I will go back and choose the
eighth note, and then I'll add the next few
| | 03:04 | notes here, so G; A. Go back and
choose a quarter note, and I can add the D.
| | 03:17 | Now the next note's a rest, and there are
a couple of different ways you can do this.
| | 03:22 | We can go up to the Window menu, and we
can open up the Simple Entry Palette, so
| | 03:27 | that when you're ready to add a rest,
all you need to do is click the Rest, and
| | 03:31 | click it in the staff. Hit Command+Z to
undo that; that would be Control+Z on a PC.
| | 03:37 | And this time instead, I'm going to
choose the Eighth note on the Simple Entry
| | 03:42 | Palette, and I am just going to click a
note, and it doesn't really matter what
| | 03:45 | note it is, and then if I press the letter
R, that will convert that note into a rest.
| | 03:51 | So I rarely work with the Simple
Entry Palette up. I will always just add a
| | 03:56 | note, and then convert it into a rest
by pressing the letter R. So if you make
| | 04:00 | mistakes, they are really easy to fix.
You can always use the undo function,
| | 04:05 | which is Command+Z on a Mac, or Control+Z on a PC,
or you can click a note with the Eraser tool.
| | 04:10 | So for instance, if I want to take
that rest out, I can just erase that by
| | 04:15 | clicking the Eraser, and clicking
the note with the Eraser tool from the
| | 04:17 | Simple Entry Palette.
| | 04:19 | Now, if you enter a note with the
wrong pitch, you can select it by
| | 04:23 | Option+Clicking the note, and that
would be Control+Clicking on a PC, and use your
| | 04:28 | up and down arrows to change the pitch.
| | 04:31 | Now, if the note that you need to fix is
a ways back, you can use your arrow keys
| | 04:36 | to go backwards, and select
the note, and then fix the pitch.
| | 04:39 | Now, once you are ready to move on, you
can move the note, head back over until
| | 04:45 | it's after the note, and then enter the
note, I will click again, and then again I
| | 04:51 | can convert that to a rest with the
letter R. So finish by adding the notes
| | 04:56 | through measure 8, and then save your score.
| | 04:59 | Using the computer mouse is one
way of entering and editing notes.
| | 05:02 | In the next video, we will take a
look at how to enter notes using the
| | 05:04 | computer keyboard.
| | Collapse this transcript |
| Note entry and editing using a computer keyboard| 00:00 | Entering notes with the computer mouse
is a simple and great way to get started
| | 00:03 | in Finale, but it's not the most
efficient way, or the easiest on your hands.
| | 00:08 | Let's take a look at how you can enter
notes using the computer keyboard; one of
| | 00:11 | my favorite ways to enter notes.
| | 00:13 | So I am here in the 4_02 file folder, and
I am going to open up both of these files.
| | 00:18 | I'll go to the Window menu, and I
will tile them, and now I am going to place
| | 00:23 | them both in Scroll view. Remember,
the command for that is Command+E on a
| | 00:27 | Mac, and Control+E on a PC.
| | 00:29 | And I will zoom in a bit; that's Command+Equals or
Command+Plus on a Mac, and Control+Equals or Control+Plus on a PC.
| | 00:37 | And then let's locate them both to
measure 8. Let me click in the Measure field
| | 00:41 | here, type in 8, and hit the
Return key; do the same thing there.
| | 00:48 | Okay, we are ready to enter a note.
| | 00:49 | So I am going to choose the Simple
Entry tool, and then I am going to
| | 00:52 | Option+Click on a Mac, or Control+Click on
a PC, to place the entry cursor into the
| | 00:58 | Measure without actually adding a note.
| | 01:00 | Now to choose the note duration, we
are going to press a number on the numpad
| | 01:04 | area of the keyboard.
| | 01:06 | So I will press 4 for an eighth note,
and then going to larger notes, five for a
| | 01:11 | quarter, six for a half note, 7 for a
whole note, and going down from an eighth
| | 01:17 | note, you would go 3 for sixteenth
note, 2 for a 32nd, and so on, and so forth.
| | 01:23 | So if we look down here in the Example
Score, it looks like we need a dotted quarter.
| | 01:27 | So I will press 5 for quarter note,
and then to enter the note, you just press
| | 01:31 | the letter name of that
note on your computer keyboard.
| | 01:34 | So if I need an F, I will press an F.
Now, that entered in the wrong octave, so I
| | 01:38 | am going to use my left arrow to go
back and select that note, and then I am
| | 01:42 | going to hold down Shift+Up arrow
to put it back in the right octave.
| | 01:46 | I need to dot that value, so I'll
press the Period on the keyboard, and then I
| | 01:51 | will press the right arrow key to move my
cursor over, and get ready to enter the next note.
| | 01:55 | Now, you'll notice, again, I'm in the
wrong octave, so before I enter that note,
| | 01:59 | I will actually go Shift+Up arrow to
put me in the right octave. Then I will
| | 02:03 | press 4, so that I can add eighth notes,
and I will type E, E, D, C, D, C, A to
| | 02:12 | add those eighth notes, and then I will press a
5 to add the next quarter note, and press an F.
| | 02:18 | Now, you notice that the next note is an
eighth rest, so I will press 4 to change
| | 02:24 | my note duration to an eighth note, and
then I will press the 0 key on the numpad
| | 02:29 | to enter a note of that value.
| | 02:31 | Now, if you are using a laptop, you won't be
able to use a numpad, because you don't have.
| | 02:35 | There are two solutions to this problem.
You can go up to the Simple menu, and
| | 02:41 | you can choose Simple Entry Options,
and then click the Edit Keyboard Shortcuts
| | 02:46 | button. Now down at the bottom of
that window, you can select the Default
| | 02:50 | Shortcut Table dropdown menu, and
switch that to the Laptop Shortcut Table.
| | 02:55 | If I click OK, we go back into the
score; now I can actually change the note
| | 03:02 | durations using the numbers in the
QWERTY area of the keyboard. So five for a
| | 03:07 | quarter, four for an eighth, so on and so forth.
| | 03:10 | Let me reset that real quick.
| | 03:13 | The other option would be to
add a USB numpad extension.
| | 03:17 | This is really useful, and I
think you'll find it a big help.
| | 03:21 | Okay, if you need to edit any notes,
it's simple. You can use the left and
| | 03:25 | right arrows to move your cursor back,
and select a note. For instance, if you
| | 03:29 | need to change a note value,
select the note, and then hold down
| | 03:33 | Option on a Mac, or Control on a PC, and press the
number that represents the right note duration.
| | 03:38 | For instance, if I want to change
that C into a quarter note, I will press
| | 03:41 | Option+5; it changes that.
| | 03:44 | Notice that it moves the other notes over.
| | 03:46 | Let me undo that; Command+Z to fix that.
| | 03:50 | If I need to delete a note, I can just
use my Arrow keys to select that, and then
| | 03:55 | press the Delete key.
| | 03:56 | If I need to change a pitch, I can use
the arrow keys to go back and select a
| | 04:00 | note, and then just press the
letter name for the right note.
| | 04:03 | So if that needs to be an E, I will
just press E; if it needs to be a D, I
| | 04:07 | will go back and choose it again, and
press D. Now unfortunately, notice that
| | 04:11 | time I was in the wrong octave, so I
will press Shift+Up arrow to put that
| | 04:14 | back in the right octave.
| | 04:16 | Okay, so take a few minute, and
enter the rest of the notes in the score.
| | 04:19 | I am going to do that myself, and
I then I will join you in a minute.
| | 04:24 | So I finished entering the notes, and
now you will notice that I need to add
| | 04:27 | repeats to the score to finish it.
| | 04:29 | So I am going to put the score into
Page view again. Remember, that's Command+E
| | 04:33 | on a Mac, or Control+E on a PC, and I will
go ahead and maximize that, and re-center
| | 04:39 | this the way I want it.
| | 04:40 | I am going to choose the Selection tool,
which is the one on the far left here. I
| | 04:45 | am going to select the first bar, and
then right-click, and go down to Repeats.
| | 04:50 | I have several options here, and what I
want to do here is add a Forward Repeat
| | 04:53 | bar. Then I am going to click the
second to last bar, and right-click again, and
| | 04:58 | go to Repeats, and then I am going to
choose Create First and Second Ending.
| | 05:03 | So notice that it created a first
ending over the bar that I had selected, and
| | 05:07 | then the second ending after that. If
you wanted more than one bar in the first
| | 05:11 | ending, I would've needed to
simply select more than one bar.
| | 05:14 | So using the computer keyboard is
one of the fastest ways to enter notes.
| | 05:18 | It's easier on the hands and wrists
than using a mouse, and you don't need to
| | 05:21 | use a MIDI keyboard.
| | 05:23 | Getting fast at entering notes is
just like learning to play an instrument:
| | 05:26 | it takes practice.
| | Collapse this transcript |
| Adding ties, note accidentals, and key changes| 00:00 | Music is sometimes more
interesting when it contains complex rhythms,
| | 00:03 | and non-diatonic notes.
| | 00:05 | To notate these types of composition, you will
need to know how to enter ties and accidentals.
| | 00:09 | So I have opened up both files in the 4_
03 folder, and tiled and positioned them
| | 00:13 | as we've seen in earlier movies.
| | 00:15 | To get started, I am going to choose
a Simple Entry tool. I am going to
| | 00:19 | Option+Click in that
first bar to place the cursor.
| | 00:22 | And remember now to enter notes,
| | 00:23 | I can just press the letter
name on the computer keyboard,
| | 00:26 | so I will type a C. Now, it added the C
closest to the cursor, so I am going to
| | 00:30 | have to go back over, and Shift+Arrow
down to get that to be the right C, and
| | 00:35 | then I will use my right arrow to move
the cursor over to add the next note, and
| | 00:38 | I will press a 5 to put a quarter note in.
| | 00:40 | Again, I will type a C, and back to 4 for
an eighth note, type an A to get the A.
| | 00:46 | And then the next thing I need
to do is tie it to the next note.
| | 00:49 | So I am going to press the T key to
add a tie, and then change to a 6 on the
| | 00:55 | numpad to add a half note, and type
another A. Now, if I actually forgot to add
| | 01:01 | that tie in, I could add the second
note -- let's add the half note -- and then
| | 01:07 | press Shift+T to tie it backwards.
| | 01:10 | In the second bar, I will go ahead and
press 4 to add an eighth note, and then I
| | 01:13 | will press 0 to add that eighth rest.
| | 01:16 | Now I am ready to add a bunch of eighth notes.
| | 01:18 | I am actually going to arrow down just
a couple of notes to get me closer to
| | 01:22 | that C, so it will add the
right C in the right octave.
| | 01:25 | So I will press C, and then D, and then C again.
| | 01:29 | And the next note I need is going to
be another D, but it needs to be a D
| | 01:33 | natural this time, and you can see that we are
in the key of A flat, and we have a diatonic D flat.
| | 01:39 | So I will press D, and it adds a D flat,
and to modify that, I'll hit the Plus
| | 01:44 | button on the numpad, or the Plus/Equals key in
the QWERTY area of the keyboard, to raise
| | 01:50 | that pitch a half step.
| | 01:51 | Then I can add a C again, and then an E;
I need to modify that one as well, so
| | 01:57 | I will hit the plus button, and that raises
that a half step, and then I can add a C again.
| | 02:02 | Now I need to go back to a half note,
so I will type 6 for a half note, and type F
| | 02:08 | to put that note in, and then a dot to
make that a dotted value, and this time I
| | 02:13 | will change back to 5 to add
the next note, which is an E.
| | 02:17 | Now, you will notice that you put an E
flat in, because that's diatonic to the
| | 02:21 | key of E flat, and again, I could
press the plus button to raise that pitch a
| | 02:26 | half step, but in this case, you can
also hit the N key to make that natural.
| | 02:32 | Now, while we are on this
topic, we haven't had to add any flats.
| | 02:36 | So it's plus to raise the pitch a
half step, and it's minus to take the
| | 02:41 | pitch down a half step.
| | 02:42 | So we'll be going back and forth there.
| | 02:45 | So plus to go up, minus to go down, and
then to finish that part of the phrase,
| | 02:50 | I will go back to the half note by
pressing 6, type a C, dot it, press 5 to put
| | 02:57 | in a quarter note, and then
press 0 to make it a quarter rest.
| | 03:00 | So there is a bunch more notes to add;
| | 03:02 | now you know how to do it.
| | 03:03 | I am going to skip ahead to measure 16,
so that we can learn how to do a key
| | 03:08 | change in simple entry.
| | 03:09 | So I am going to type 16 right there,
hit Enter, and I will put the sample file
| | 03:15 | in the same place by doing the same thing.
| | 03:18 | And you will notice right here at bar
17, we are changing to the key of F. So
| | 03:23 | let me put my cursor in that bar by Option+
Clicking on a Mac, or Control+Clicking on a PC.
| | 03:31 | Now at this point, I want to change the
key, and so if you think about altering
| | 03:36 | what we are doing, you will think
about the Alt key or Option key. And since
| | 03:41 | we are going to change key, think of
the letter K. So on a Mac, I will go
| | 03:44 | Option+K; on the PC that would be Alt+K.
Now, don't worry about this dialog box
| | 03:50 | now; we'll talk more about this later,
but at this point, you can just go ahead
| | 03:53 | and click the Select button, and it
will actually take you into the key
| | 03:57 | signature dialog. And at this point, I
can arrow up a couple times to put me
| | 04:01 | in the key of F, and hit OK.
| | 04:03 | Now you will notice that we've canceled out
the old key signature, and added the new one.
| | 04:09 | So at this point, go ahead and add the
rest of the notes in the lead sheet.
| | 04:13 | So while most of Western music is in a
key, most songs will have a least a few
| | 04:16 | notes not in the key.
| | 04:18 | Now that you know how to enter
accidentals, you will be able to create
| | 04:21 | lead sheet for any song.
| | Collapse this transcript |
| Selecting, copying and pasting, and transposing| 00:00 | Like other applications, using many of
Finale's functions begins with making a selection.
| | 00:05 | Let's take a look at a variety of
ways to select in Finale, and at some of the
| | 00:09 | functions you might use.
| | 00:10 | So please open the 4_04 Start file.
| | 00:13 | Now when you're ready, choose the
Selection tool. You can do that by either
| | 00:16 | Click selecting it, or if another tool
is selected, you can use the shortcut, and
| | 00:21 | just hit the Escape key.
| | 00:22 | Now, we are going to use this tool a lot,
so that's a shortcut that you are going
| | 00:26 | to want to remember.
| | 00:27 | Now, one of the advantages of this tool
is that we can select any other tool by
| | 00:33 | clicking something in the score.
| | 00:34 | For example, if I need to edit the
text in this title, if I double-click the
| | 00:38 | title, it will actually choose
the Text tool; you can see that.
| | 00:42 | If I click out of there, and hit Escape
twice to reselect the Select tool, this
| | 00:47 | time I will double-click a note, and
notice that it selects the note, and also
| | 00:52 | selects the Simple Entry tool, so
we are ready to edit that thing.
| | 00:55 | I'll hit Escape again;
| | 00:57 | we are back the Selection tool.
| | 00:59 | So there is a lot of
different ways to make selections.
| | 01:01 | If I click in the middle of a measure
in an empty area -- that means not on a
| | 01:04 | note -- I will select the entire measure.
| | 01:07 | Now, I can extend that selection
several ways. I can hold my Shift key
| | 01:11 | down, and click over to the end of
that line, and that will select the
| | 01:14 | entire line, or I can select that
measure, and click anywhere in the score to
| | 01:19 | extend the selection.
| | 01:20 | Now, if you want to do that by key
command, you can select a measure, and then on
| | 01:25 | a Mac, hold down Shift+Option, or on a PC,
hold down Shift+Control, and then use your
| | 01:31 | arrow keys. So if I go right arrow, it
extends the selection, and left arrow, it
| | 01:36 | shortens the selection.
| | 01:37 | Now, you can also do this by drag and
closing, so I will click outside the staff
| | 01:42 | to remove the selection, and now if I click
outside the staff and drag, I can Drag+Select.
| | 01:50 | Now, this is really important, because
this allows you to select partial measures.
| | 01:54 | This time, I will click outside, and I
will just enclose these first couple of
| | 01:59 | notes, and you'll notice that I
just selected the first beat and a half.
| | 02:01 | Again, to clear a selection,
just click outside the staff.
| | 02:04 | Now, you can also use key
commands to make other selections.
| | 02:07 | For example, if I go Command+A on a
Mac, or Control+A on a PC, we will select
| | 02:12 | everything in the document.
| | 02:14 | If you have a measure selected, and
you want to select to the beginning of the
| | 02:16 | piece, hold down Shift, and hit your Home
key, and vice versa, if you select that
| | 02:22 | measure, and hit Shift+End, you
will select to the end of the piece.
| | 02:26 | Now that we now how to make
selections, let's see how we can use them.
| | 02:30 | So for example, if you look at the
score here, bars 5 through 9 are empty,
| | 02:34 | and that's because I can actually
create those notes by simply copying them
| | 02:38 | from bars 1 through 4.
| | 02:38 | So I will click Measure 1, Shift+Click
the end to select that, and then I will go
| | 02:43 | Command+C to copy it; that
would be Control+C on a PC.
| | 02:47 | Select the first measure where I want to
paste this, and then we could go Command+V
| | 02:51 | on a Mac, or Control+V on a PC,
to paste it. Let me undo that.
| | 02:56 | I can also copy that selection by
simply selecting it, and then dragging it to
| | 03:01 | where I want to paste it.
| | 03:01 | Now this you've got to be careful about:
you will notice that when it turns green and
| | 03:05 | lines up, it will paste exactly on
beat 1. If I move a little bit over to the
| | 03:09 | right, it's going to paste it on
beat 2, or beat 3, and so on, so you can
| | 03:13 | actually offset your paste.
| | 03:15 | Let me drag that back over,
and release that.
| | 03:18 | So instead of having to reenter those
notes the second time, I can just do it by
| | 03:22 | copying and pasting.
| | 03:23 | Now if you remember, we
had a key change in this piece.
| | 03:25 | So I actually want to copy these
notes again, and paste them after the key
| | 03:29 | change, but I don't want to get all the
rest of the stuff in the score, because
| | 03:32 | if I do that, I'll actually re-change the key.
| | 03:35 | So I am going to use the Edit filter. So
I am going to go up to the Edit menu, I
| | 03:40 | am going to click the Edit Filter,
and right now it would paste everything.
| | 03:43 | So what I am going to do is click the
None button, and then just click what I
| | 03:47 | want to get, and all I need
right now is Notes and Rests.
| | 03:49 | So I will choose that, say OK, I'll go
back into the Edit menu, and make sure
| | 03:56 | that Use Filter is active.
| | 03:58 | I'll go Command+C, now I will scroll
down to bar 17, and I will go ahead, and I
| | 04:05 | will paste those notes in.
| | 04:07 | Now what I got here was notes of
exactly the right rhythms and durations that
| | 04:11 | I want, but they're not exactly the
right notes. Because I was in the key of A
| | 04:16 | flat up here, the first note was on a
C, the third of the key, and when it
| | 04:20 | pasted it into the key of F, it pasted it so
that the first note was the third of that key.
| | 04:25 | So I actually need to transpose this up.
| | 04:28 | So I am going to right-click on that
selection, and notice there's a lot of
| | 04:31 | things we can do from the Contextual menu.
| | 04:34 | In this case, I'm going to choose Transpose, so
there is a few things we can do here.
| | 04:38 | I can transpose it either up or down, and
I do want to go up this time, and I can
| | 04:42 | transpose it either
Diatonically or Chromatically.
| | 04:45 | So I am going to choose Diatonically, and
choose a third, and go ahead and click OK.
| | 04:51 | Now, that's close to the right notes, but some
of these notes in bar 18 are not quite right.
| | 04:56 | So I am going to try it again. I am
going to undo that, and I am going to
| | 05:00 | right-click on that, and choose
Transpose again, and this time I'm to choose
| | 05:04 | Chromatically, and I am going to
choose a Minor Third, and see what that does.
| | 05:09 | Click OK, and overall that's much closer.
So what I am going to do here -- we've got
| | 05:14 | the Selection tool active -- I am
going to double-click on the D flat here,
| | 05:19 | because that's not quite
right, and I need to fix that.
| | 05:22 | So I will go ahead and hit the plus
key to move that up a half step to D
| | 05:26 | natural, then I will move over to the
second D there in the bar, and I will move
| | 05:30 | that up to an E by using the Up arrow,
and then I will hit the minus key to move
| | 05:35 | that down to E flat.
| | 05:37 | And now all the notes are correct, so
that saved me a lot of steps by actually
| | 05:40 | copying and pasting that, and then transposing.
| | 05:43 | So please review the selection
techniques that we have learned in this video.
| | 05:46 | You will find that familiarity with
these techniques, and others you will learn
| | 05:49 | in later videos, will
speed up your work in Finale.
| | Collapse this transcript |
| Speedy note entry| 00:00 | As Finale evolved as a program, Simple
Entry became the most important note entry
| | 00:04 | tool, but in the early days of the
program, speedy entry mode was the focus, and
| | 00:09 | is still the favorite of many
Finale users. Let's take a look.
| | 00:13 | So please open both files in the 4_05
folder, and you will notice that I've tiled
| | 00:17 | the windows, and positioned them
as we've seen in earlier movies.
| | 00:21 | So let's choose the Speedy Entry tool;
it's the one next to Simple Entry, and
| | 00:25 | click in the first measure, and you will
notice that things look a little bit different.
| | 00:28 | There is a frame around the entire
measure, and then the line indicating where we will
| | 00:32 | actually add a note.
| | 00:33 | Now, Speedy Entry works a little
bit backwards than Simple Entry does.
| | 00:37 | What we'll do is we'll first choose the
note, and then we will enter the note by
| | 00:41 | choosing the duration.
| | 00:42 | So I will use the Up and Down Arrows to
move on the staff where I want to enter
| | 00:46 | the note. In this case I want to add a
C on middle C. And then I will press a
| | 00:51 | number on the QWERTY area of the
keyboard to indicate the value.
| | 00:55 | In this case, I want an eighth
note, so I am going to press a 4.
| | 00:57 | Now you will notice that it entered a
rest, and this is because of a preference
| | 01:01 | here in the Speedy menu.
| | 01:02 | So I will go up, and I am going to
uncheck Use MIDI Device for Input. By the way,
| | 01:07 | this is a really common mistake.
| | 01:09 | Now I will use my left arrow to move
back over that eighth rest, and I will hit
| | 01:13 | my Delete key to get rid of it,
and now when I press 4, it adds a C.
| | 01:18 | I will use my Up Arrow to move up an
octave to the next C, and I will press a 5
| | 01:22 | to add a quarter note. Down a couple
notes, and a 4 to add the eighth note
| | 01:27 | A flat, and then I will press T to add
the tie, and 6 to add the half note A flat.
| | 01:34 | Now you will notice that as I ended
that measure, it automatically jumped to the
| | 01:38 | next measure. That's because in the Speedy
menu, Jump To Next Measure is actually selected.
| | 01:45 | So if you don't like that method, you can
deselect that, and you can then manually
| | 01:48 | move from measure to measure.
| | 01:50 | Okay; at the beginning of the next
measure, I need to add an eighth note rest.
| | 01:54 | So I'm going to add a note of any value
by pressing 4, and then I will press the
| | 01:59 | R key to convert that into a rest.
| | 02:01 | Now I can arrow down to middle C again,
press 4, up to D flat, press 4, back down
| | 02:08 | to C, up to D natural, I will
press a 4, but comes in as a D flat.
| | 02:13 | So I am going to press the Plus
key on the numpad to raise that.
| | 02:17 | So just like in Simple Entry, it's Plus
to raise the pitch a half step, and
| | 02:21 | Minus to lower it a half step.
| | 02:22 | So I will arrow back down, 4 for the
next C, up to E, press a 4, and then press
| | 02:28 | Plus to add a natural sign, and then
back down, and another 4 to finish that
| | 02:33 | sequence of eighth notes.
| | 02:35 | Okay, let's talk a little
bit about editing notes.
| | 02:37 | So if you need to delete a note, just
use your Right and Left arrows to move
| | 02:41 | the cursor over that note, and then press
the Delete key. Command, and I will undo that.
| | 02:46 | If you want to change the pitch of a
note, double-click on the note to select it,
| | 02:51 | and then you can drag it up or down.
| | 02:53 | If you need to change the duration, or
the length of a note, there is really no
| | 02:57 | command to do that in Speedy Entry.
Instead, you need to delete the note. I will
| | 03:03 | delete a couple, and then add
the note of the right duration.
| | 03:06 | So if I needed a quarter note to
finish that bar, I could press 5 to do that.
| | 03:09 | Now, one of the things I really like about
Speedy Entry is it's easy to insert notes.
| | 03:14 | So you start by moving your cursor
over the note that you want to place the
| | 03:19 | note before, and I'm going to go up to Speedy,
and I am going to activate Insert Notes Or Rests.
| | 03:25 | You can see the shortcut there.
| | 03:26 | And when I do that, notice you get
these triangles at the top and the bottom
| | 03:30 | of the enter cursor.
| | 03:31 | So now that I know that I'm in Insert
mode, so I can move my cursor to the pitch
| | 03:36 | I want to add, and I can go ahead, and I
can press the number to enter the note.
| | 03:39 | So I am going to put an eighth note in.
| | 03:40 | And it entered the note, but also check
this out: it's telling me there is too
| | 03:45 | many beats in this measure, and it's
giving me some options. I can either leave
| | 03:49 | the measure alone, meaning I will have
too many beats in it, or I can ask it to
| | 03:53 | delete the extra notes, in which case, in
this example, it will actually turn that
| | 03:57 | E flat quarter note into an eighth note,
or I can ask it to move any extra notes
| | 04:02 | to the next measure.
| | 04:03 | Now, if I had a long string of notes
going out here, and I wanted to move them all
| | 04:07 | over, I could choose the last option:
keep moving the extra notes until all
| | 04:11 | measures contain the correct number of beats.
| | 04:13 | In this case, I'll go ahead and I'll
choose Move the extra notes to the next
| | 04:17 | measure, and notice that it kept that
last note as a quarter note, but it moved
| | 04:21 | the extra eighth note to the next bar.
| | 04:24 | As we continue to go through this video
series, you will learn that Simple Entry
| | 04:27 | has the most functionality,
but Speedy Entry has its merits.
| | Collapse this transcript |
| Measure basics and music spacing| 00:00 | As you are creating a score, you'll often
need to add, delete, or insert measures.
| | 00:04 | You will also want to move
measures from one line to the next.
| | 00:06 | So let's take a look at
managing measures in Finale.
| | 00:09 | Let's add some measures by choosing
the Selection tool, and then choosing any
| | 00:14 | measure, and right-clicking, and choosing
Add Measures from the contextual menu.
| | 00:20 | So we can type any number of measures
we want, and hit the OK button, and you'll
| | 00:24 | see that it created the
extra measures. Let's undo that.
| | 00:27 | That might seem odd, because you
would think that that might insert the
| | 00:30 | measures there, but Add measures always
adds measures to the end of the score.
| | 00:35 | If you want to insert measures, again,
right-click using the Selection tool, and
| | 00:39 | choose Insert Measure Stack. Type the
number of measures that you want to add,
| | 00:45 | and again, click the OK button.
| | 00:47 | Now you will notice that the measure
I selected was moved over, and the two
| | 00:52 | measures were inserted before
that measure. Let's undo that.
| | 00:56 | Now, as you are working, you may end up
with an odd number of measures per line,
| | 01:02 | and as you look at this score, you can
see that things look pretty nasty here.
| | 01:06 | So one of the things that I can do is I
can move measures from one line to the
| | 01:09 | next using the Selection tool, by
simply using the Up and Down arrows.
| | 01:14 | So if I select this measure, and click
the Down Arrow, it will move it to the next
| | 01:17 | line, and the Up Arrow will
move it back to the previous line.
| | 01:21 | You can also set the number of measures
per line for a selection, or the entire score.
| | 01:26 | So let me select the entire score by
going Command+A, that would be Control+A on a
| | 01:30 | PC, and I will go to the Utilities menu,
and I am going to choose Fit Measures.
| | 01:34 | Now, this is going to one of those
dialog boxes you are going to want to
| | 01:37 | remember how to get to.
| | 01:38 | So you might want to remember the key
command. For a Mac, it's Shift+Command+M, and
| | 01:44 | on a PC, it's just Control+M. So in this
dialog box, I can lock the layout with a
| | 01:50 | certain number of measures per
system for whatever my selection is.
| | 01:53 | So I will go ahead and choose four;
that's often a good option, because then you
| | 01:57 | will get a phrase every two lines,
and I will click OK, and you notice that
| | 02:01 | immediately straightened everything out.
| | 02:03 | Now, other times you may have more than
four measures per line, and you may want
| | 02:09 | the five measures in this case, like I
just did, but you notice the spacing is
| | 02:13 | a little messed up.
| | 02:14 | So I am going to select that line, I am
going to go back to the Utilities menu,
| | 02:19 | and I am going to choose another
important option, which is Music Spacing.
| | 02:23 | Now, there are three types, so
let's talk our way through this.
| | 02:26 | So Note Spacing is nonlinear, and what
that means is the smaller note values
| | 02:31 | take up more space than larger note
values, and this is done so that it makes the
| | 02:36 | music easier to read.
| | 02:38 | In Beat Spacing, each beat takes up
the same amount of space, but the notes
| | 02:42 | within a beat are nonlinear, and smaller
values will take more space than larger
| | 02:47 | values. And Time Signature is straight
linear spacing, meaning that 4 sixteenth notes
| | 02:53 | will take the same place as a
quarter note, or 2 eighth notes.
| | 02:57 | Let's go ahead and choose Note
Spacing, and see what that does.
| | 03:01 | In this case, it didn't
look like it solved the issue.
| | 03:04 | So I am going to go back in to
Utilities > Music Spacing, and I am going to
| | 03:09 | use Apply Beat Spacing.
| | 03:12 | So in that case that cleared up the
problem, and now things are nicely spaced.
| | 03:15 | At other times, you may want to show or
hide things related to a measure, and we
| | 03:20 | can do that through measure attributes.
| | 03:22 | Now, there are a couple of ways to get to this.
| | 03:25 | You can choose a measure, and then right-
click, and choose Edit Measure Attributes
| | 03:29 | from the contextual menu, or you can
choose the Measure tool, and double-click a
| | 03:35 | measure; the same dialog box opens.
| | 03:39 | So, for example, we can change the bar
line on the right side, or the left side of
| | 03:44 | the bar, and we can show and hide things.
| | 03:47 | Let's take a look. I might choose the
first measure on the second line, and
| | 03:51 | choose to hide the key signature.
| | 03:53 | So I am going to double-click on that
measure, and this time I am going to go
| | 03:58 | down to Key Signature, and I am going to
say Always Hide, and say OK. Undo that.
| | 04:04 | Down here on the end of the fourth line,
you'll notice that there is a courtesy key
| | 04:08 | change to tell us that when we start
the next line, we are changing keys.
| | 04:12 | So I could double-click that measure,
and I could choose Hide Cautionary Clefs,
| | 04:17 | Key, and Time Signatures, and say OK.
| | 04:21 | And now that cautionary key signature is gone.
| | 04:23 | Now in this case, I think that's a
really good thing to have there, so I am
| | 04:26 | going to undo that.
| | 04:27 | But I would like to do is I would
like to add a double bar line on the
| | 04:31 | right-hand side to signify that we've
reached halfway through the form of the song.
| | 04:36 | So I can do that by double-clicking,
but remember, we can also do this with
| | 04:39 | the Selection tool.
| | 04:40 | So I am going to hit the Escape key
twice to select the select the Select tool,
| | 04:45 | and then I will right-click, and from
the contextual menu, I am going to choose
| | 04:49 | Barline, and choose Double, and
I can do this in a few spots.
| | 04:55 | So now you can see where the
phrases lineup in this lead sheet.
| | 04:59 | So I know that working with measures is
a big step for anyone learning Finale.
| | 05:03 | The next step is just repetition, and
remembering the steps we've discussed.
| | 05:07 | Take some time, and enter some more lead sheets.
| | Collapse this transcript |
| Adding lyrics| 00:00 | Any score that has a vocal part will
need lyrics. Adding lyrics to, and getting
| | 00:04 | the spacing right in a
handwritten score was always a real pain,
| | 00:07 | but in Finale it's easy.
| | 00:09 | So please open both files in the 4_07
folder, and you'll notice that I have got them
| | 00:13 | tiled and arranged the
way we have in past videos.
| | 00:15 | So to add lyrics, we will choose the
Lyrics tool, and then I will click a note.
| | 00:21 | From the finished score above, we can
see that the first word is O, so I'll type
| | 00:25 | capital OH, and then to move to the next
note, I will hit the Spacebar, and I will
| | 00:31 | begin to type the next word.
| | 00:32 | Now you will notice, in this case, that
the next word is sung against two notes.
| | 00:37 | So I am going to type DAN, and then -NY
to add that against those two notes, and
| | 00:43 | then I will hit the Spacebar to move to
the next note, and you will see that it
| | 00:46 | added the hyphen between the two notes.
| | 00:49 | So I will type BOY, and I will add the
comma that we use to demarcate phrasing,
| | 00:54 | and then I will hit the Spacebar to move on.
| | 00:56 | Let me just type a few more words here.
Type THE, space, PIPES, space, ARE, and notice that the
| | 01:07 | next word is actually spread across three notes.
| | 01:10 | So I am going to type CALL -- and
by the way, we always type the text
| | 01:14 | grammatically correct; we don't
actually type it maybe the way it will be sung.
| | 01:19 | So I will type CALL, and then
add the hyphen, and I will do that twice
| | 01:22 | to get over one more note, and I
will add the last syllable: ING.
| | 01:27 | Now, we could continue adding this verse,
but let's learn how to add the second verse.
| | 01:31 | So you can move to the second verse two
ways; you can go up to the Lyrics menu,
| | 01:36 | and choose Specify Current Lyric, and
then in this case, we are working on verses,
| | 01:41 | and I can type the number two to move
to the second verse, or much easier than
| | 01:45 | that is just to click select the note at
the beginning of the verse, and then use
| | 01:50 | the Down Arrow to move down to the second verse.
| | 01:53 | And now I can continue typing, so BUT
WHEN YE COME, and so on, and so forth.
| | 02:01 | Now let me just demonstrate on the next
note that you can actually type a single
| | 02:06 | syllable word that goes across multiple notes.
| | 02:09 | This is called a melisma.
| | 02:10 | So I will just type DANNY, just because
we have been doing that, and then I will
| | 02:15 | hit the Spacebar through multiple notes.
| | 02:18 | And you notice that it starts to add this
red line. That's called a word extension.
| | 02:22 | I will get over here to the
G, and I'll type the word BOY.
| | 02:26 | Now, in any scores where you have
word extensions, you may find that they
| | 02:30 | extend too far, or not far enough, so you may
want to adjust the length of the word extension.
| | 02:34 | I am going to go up to Lyrics menu, and I
am going to choose Edit Word Extensions.
| | 02:40 | At this point, we get a handle on the
end of each word, and I can click that, and
| | 02:46 | then drag that to change the
length of the Word Extension.
| | 02:49 | Now, before I continue on, I am going to
go back up to the Lyrics menu, and I am
| | 02:54 | going to choose Type Into the Score, or
otherwise I won't be able to do the next
| | 02:58 | thing I am going to try and do, and we
will have to go right back up there.
| | 03:02 | It'd be great practice for you to go ahead and
enter the rest of the lyrics in this score.
| | 03:06 | To finish what we are going to talk
about, I am going to go up to the example
| | 03:09 | file up here at the top, and I'm going
to cascade the window, and then I'm going
| | 03:14 | to change into Page View by doing
Command+E on a Mac; that would be Control+E on a
| | 03:20 | PC, and I will scroll over
so that's nice and centered.
| | 03:25 | So, a couple things you are going to want to
do to finish off the score with the lyrics.
| | 03:28 | Now, you will notice that some of my
lyrics looks like they are messed up,
| | 03:31 | and that's because the line spacing and the
baseline for the lyrics has been adjusted.
| | 03:36 | So you can adjust the baseline on any
line by clicking on the line, and you will
| | 03:41 | notice that these four triangles
appear over on the left hand side.
| | 03:45 | Now, the triangle on the far left adjusts
the lyric baseline for the entire score.
| | 03:50 | So as I click this, you will notice that
it's changing the baseline for verse one.
| | 03:54 | Let me pull that back down.
| | 03:57 | The triangle the second from the
right adjusts the baseline for just the
| | 04:01 | specific line that you are on, so you
can see that I can move just that one.
| | 04:05 | Now, if I go down to the next line,
let's see; there is one where it's a little
| | 04:08 | bit messed up, so I will move that up.
| | 04:12 | Yeah, so I have got verse one
is a little bit better there.
| | 04:15 | Let me pull that down just a little bit, and
we are going to need to adjust verse two here.
| | 04:20 | So let me click a note here; it
doesn't matter really which one I click.
| | 04:25 | Now, to go to the second verse, and be
able to adjust the baseline for the second
| | 04:29 | verse, again, all I need to do is press
the Down Arrow on the keyboard to move
| | 04:34 | down to the second verse.
| | 04:36 | So let's go to line two here, and I am
just going to adjust the spacing for
| | 04:40 | that particular line.
| | 04:42 | So I will grab the triangle second on
the right, move that up just a little bit,
| | 04:48 | and then I'll go down to line 3, and I
will pull it down just a little bit.
| | 04:52 | Then we can scan through here. It
looks like the second line down here at the
| | 04:58 | bottom needs a little work, so I will
choose that one, and again, I will use
| | 05:02 | the second triangle to adjust that, and set
that, and maybe the last line just a little bit.
| | 05:07 | Now you will notice that the word
extension on the second verse is extending
| | 05:13 | under the first ending;
that doesn't make any sense.
| | 05:16 | So I am going to go back up to the
Lyrics menu, and I am going to choose Edit
| | 05:19 | Word Extensions again, so that I can
take that word extension that's not meant
| | 05:25 | for the first ending, and get rid of it.
| | 05:26 | And when I go back up, and I
choose Type Into Score, it's gone.
| | 05:31 | Now everything looks pretty good here,
but there may be some times when things
| | 05:35 | are a little bit crowded, and you
want to adjust individual syllables.
| | 05:39 | So if I go up to the Lyrics menu, and
choose Adjust Syllables, again we get
| | 05:43 | these little positioning handles on the
words this time, and not on the word extensions.
| | 05:48 | So if you select a syllable or a word,
you can adjust its position by either
| | 05:53 | dragging it, which I don't recommend, or
using the Arrow keys to gradually nudge
| | 05:58 | it a little bit one way or the other.
| | 05:59 | The reason I don't usually use the
mouse is because it's very difficult to keep
| | 06:03 | it on the same baseline, in line with
the other lyrics, and you usually don't
| | 06:07 | want to move it that much.
| | 06:08 | Now, you can also adjust the alignment
of a word, or words; let's choose a bunch
| | 06:13 | of them here, and go up to the Lyrics
menu, and choose Alignment, and then choose
| | 06:19 | either Center, Left, or Default. We will
just use Left, for example, and you will
| | 06:24 | notice that it's left justified all those words.
| | 06:26 | Now, if I want to get rid of that, I
can go back to the menu, or I can simply
| | 06:30 | right-click on that selection, and I
can choose Clear Manual Positioning, or in
| | 06:35 | this case, I could probably choose Align
Default, and it's going to do the same thing.
| | 06:38 | You will also notice that while we
were there, the other commands, like a Align
| | 06:43 | Default, Center, and Left; those
are all there, as well as Justify.
| | 06:47 | Now, you may or may not want to have
lyric numbers here at the beginning of each
| | 06:53 | of these verses, and you can add that
numbering by going to Lyrics menu, and
| | 06:57 | choosing Auto-Number, and then
choosing the type that you want.
| | 07:01 | In this case, we were entering these
lyrics against versus, so I will click that,
| | 07:05 | and it's added those.
| | 07:06 | At another time, if you want to get rid
of that, you can just go back into the Lyrics
| | 07:09 | menu, choose Auto-Number, and deselect Verses.
| | 07:13 | Now the last thing I want to do here is I
want add slurs wherever we see these melismas.
| | 07:19 | I am going to use this Selection tool
do that. I will hit Escape twice, and
| | 07:25 | then I am going to go Command+
A to select the entire score.
| | 07:29 | Now, thankfully there is one of those
handy plug-ins that will do this job for
| | 07:32 | us, so I am going to go up to the
Plug-ins menu, and I am going to choose
| | 07:36 | Lyrics, and then I am going to choose
Auto Slur Melismas. That tells us that
| | 07:42 | it's going to add six slurs, and when
I click OK, we will actually see them
| | 07:46 | display in the score.
| | 07:47 | So you can see over the word CALLING
that we have slur there, and over MEADOW,
| | 07:53 | and so on, and so forth.
| | 07:54 | So now that you know how easy it is to
add lyrics, all of your lead sheets and
| | 07:58 | vocal parts will be complete.
| | Collapse this transcript |
| Adding chord symbols| 00:00 | Many popular music styles rely
on an improvised accompaniment.
| | 00:04 | For instruments like guitar, piano,
and bass, that means your scores need to
| | 00:07 | have chord changes.
| | 00:09 | Let's take a look at how you
add chords to a score in Finale.
| | 00:12 | So please open the files that are in
the 4_08 folder, and tile and arrange them
| | 00:16 | as we have done in past videos.
| | 00:19 | To add chords in Finale, you need to
choose the Chord tool; it looks like the CM7
| | 00:22 | icon on the toolbar.
| | 00:25 | Then to enter a chord, click a note, and
you will notice the blinking cursor above
| | 00:29 | the note, and you can type the chord
symbol. In this case, we can just type an F,
| | 00:33 | and then to enter that chord, you can
either hit the Return key to enter that, or
| | 00:40 | if you want to enter the chord, and
then go on to the next note to add another
| | 00:44 | chord, you can hit the Spacebar to move forward.
| | 00:48 | In this case, I need to go all the way
to the beginning of the next bar, and I
| | 00:51 | can do that by pressing the Tab key.
| | 00:52 | I can type a B Flat, and this time I
will advance all the way over to the fourth
| | 00:57 | beat of the measure; I need to add a C7.
| | 01:01 | Now in Finale, everything past the root
of the chord is referred to as a suffix.
| | 01:05 | So I will type C, and then
a 7, and then that enters.
| | 01:10 | Now, in the next chord I am going to do
something a little bit more complicated.
| | 01:13 | I am going to add an F, and then I'm
going to choose a chord symbol like M7 to
| | 01:21 | add that chord suffix.
| | 01:23 | And I will go ahead and I will hit the
Spacebar to move on to the next note.
| | 01:26 | And Finale is going to tell me, hey,
that suffix is not in the chord library,
| | 01:31 | and this is our first indication that
all of the chord suffixes that we use
| | 01:35 | must be predefined.
| | 01:37 | So in this case, M7 is not the best
chord symbol to use to indicate a major 7.
| | 01:42 | So I am going to say no, and now I am
wondering what chord symbol is available
| | 01:48 | for that particular suffix.
| | 01:49 | So I'm going to type, instead, Colon, and then 0,
and that shortcut, when I hit the Return key,
| | 01:56 | will take me into the Chord
Suffix Selection dialog box.
| | 02:00 | And now I can scan through here, and I
can see all the chord symbols that are
| | 02:04 | already predefined and ready for use.
| | 02:06 | So in this case, I might look through
these, and then go down to slot 15, and
| | 02:11 | choose that major 7, or a 14 for that
matter; MA7. Those are both good, and I
| | 02:16 | click the Select button, and that assigns it.
| | 02:19 | Now I can click another note, and I will
add another major 7, but this time I am
| | 02:24 | going to remember the slot that that
chord was in, and I am going to type B
| | 02:28 | Flat, Colon, 14, and that will add that chord suffix.
| | 02:34 | Now, in addition to complicated chord
suffixes, as we've just seen, you can
| | 02:38 | also add chord inversions, and
slash chords, and poly chords.
| | 02:42 | Let's take a look at how you do that.
| | 02:44 | So, for example, I'll go over here to
this note G, and I'm going to type G for the
| | 02:50 | root, little min for the chord suffix,
then a slash to indicate that I'm
| | 02:56 | entering a slash chord or an inversion,
and I will type B flat this time; the
| | 03:00 | third of the chord to enter a
first inversion G minor chord.
| | 03:06 | Similarly, I can add a slash chord by
clicking a note, and just typing two roots.
| | 03:11 | For instance, if I wanted a C over D
chord, I type C, slash, D. Now if you want a true
| | 03:20 | poly chord, you do something similar.
| | 03:22 | We will type the first chord, and then
I'll type an Underscore, and then the
| | 03:28 | second chord, which is on the bottom, and
then I will hit Return, and notice that
| | 03:32 | we get C over D, which indicates a true poly chord.
| | 03:36 | Now if you need to edit any of these
chords, you can just select handles on them,
| | 03:40 | double click, and go in and retype a chord.
| | 03:43 | So if I want to go just back to F
in this case, I will type F, and I can
| | 03:47 | advance to the next chord by hitting
my Spacebar, and when I get there, I can
| | 03:52 | if I want to delete that, just hit my Delete key,
and it's gone, and I can type in another chord.
| | 03:59 | Again, remember, you can go to the next
measure by hitting the Tab key, and I will
| | 04:02 | type in just the correct chord symbol
there. I will advance to the next one; that
| | 04:07 | needs to be a C7 there, and I'll delete
the next one, and let me finish by going
| | 04:13 | over, and typing F there.
| | 04:15 | Now, if you need to go backwards, you
can do that by holding the Shift key down,
| | 04:20 | and pressing your Left Arrow key. That
will take you back a note at a time, and
| | 04:24 | if you need to go back a bar at a time, you
can use the Shift+Tab function to do that.
| | 04:29 | That'll get us back to the beginning of the piece.
| | 04:32 | You can also delete a number of chords
simultaneously by simply drag-selecting
| | 04:37 | their handles, and pressing your Delete key.
| | 04:39 | Now lastly, you may want a different
style of chord to appear in the score, and
| | 04:44 | you can do that by going up to the
Chord menu, and going down to Chord Style, and
| | 04:49 | we see a number of different ways to do this.
| | 04:52 | If you go to Nashville, it will
actually turn the chords into numbers.
| | 04:57 | And this is really great if you are
going to have to transpose this for a singer.
| | 05:01 | Now you can just see the chord
function, and know what to play.
| | 05:05 | Now you know how to add
chord changes to a Finale score.
| | 05:08 | In the next video, we will take a
look at formatting chords, and how to add
| | 05:11 | chord fretboard diagrams.
| | Collapse this transcript |
| Formatting and aligning chords| 00:00 | I've found that entering chord
changes is often the easy part.
| | 00:03 | Formatting them so that the spacing in your
score looks right is a bit more difficult.
| | 00:07 | So let's learn what you can
do to make this process easier.
| | 00:10 | We are going to start off by
learning how to position the chords,
| | 00:13 | so I am going to choose the Chord
tool, and you will notice that a position
| | 00:17 | handle appears on each one of the chords.
| | 00:19 | Now, you can move the chord by simply
clicking the handle, and dragging it.
| | 00:24 | I will tell you that I don't recommend using
this method, and that's for a couple of reasons.
| | 00:29 | First, it's a lot easier for musicians
to spot the chords if they're in a row,
| | 00:34 | and secondly, we can move the chords
all together in a row, and it's much easier to do that.
| | 00:39 | If I do that with one of the chords
already moved off the baseline, then it will
| | 00:43 | remain that far away when I use the other tools.
| | 00:47 | So I am going to right-click on this
handle, and I am going to choose Remove
| | 00:50 | Manual Adjustments to put it back in the same
row, at the same level with the other chords.
| | 00:56 | Now, I am going to make sure that I've
got Position Chords selected; that's
| | 01:00 | good. Now when I click in a staff, you
will notice that I get these four triangles.
| | 01:05 | We have seen these
earlier with the Lyrics tool.
| | 01:07 | So remember that the one on the far
left, if you click and drag that, it will
| | 01:12 | set the baseline for the chords,
in this case, for the entire score.
| | 01:15 | Now as I do that, that looks good for
the first line, and the second line, and as
| | 01:20 | I scan down, that looks like it's still
little bit too far away, and if I go all
| | 01:24 | the way to the bottom, you'll notice that I've
got collisions happening with my chord symbols.
| | 01:28 | So sometimes you want to make the
adjustment on an individual line or staff.
| | 01:32 | So I am going to click this staff,
and this time I am going to drag the
| | 01:36 | triangle second from the right. I'll pull
that down on this staff to get those a
| | 01:39 | little bit closer, and then I'm going
to scroll down, because I have got big
| | 01:43 | problems down here.
| | 01:44 | And I'm going to click on that staff,
and I will pull the triangles up, and this
| | 01:49 | time I want to put them right above
the first and second ending, and that's
| | 01:53 | looking pretty good.
| | 01:55 | In addition to having chord
symbols in the score, we can also add
| | 01:59 | chord fretboard diagrams.
| | 02:01 | So I am going to go to the Chord menu,
and I am going to choose Show Fretboards.
| | 02:07 | That moves the chords up, and it adds
the fretboard diagrams underneath, but
| | 02:10 | you will notice that we now have both
of them colliding with lyrics, and with
| | 02:14 | the title information.
| | 02:15 | So I am going to briefly switch to the
Page Layout tool, so that I can create a
| | 02:20 | different spacing here between our staves.
| | 02:22 | So I am going to grab inside the first
stave, and I'll pull that down, and I will
| | 02:28 | move that a little bit until I get that
adjusted, and notice that as I pulled the
| | 02:31 | first stave down, the other
staves that followed it also moved.
| | 02:35 | So now I will click the second stave, and
I'll pull that down, and you guys get the idea.
| | 02:42 | Now, as you're making these adjustments,
we can also set a different baseline for
| | 02:47 | the fretboard diagrams; we
can make other adjustments.
| | 02:50 | So I am going to go back to the Chord
tool, and up to the Chord menu, and this
| | 02:54 | time I am going to choose Position Fretboards.
| | 02:57 | So you'll notice that positioning
the baseline for the fretboards and the
| | 03:00 | chords is different;
| | 03:01 | they are independent of each other.
| | 03:03 | So now I can click on that first stave,
and I will pull that far left triangle,
| | 03:08 | and it's going to move the
fretboard diagrams down by themselves.
| | 03:12 | I am going to bring that back up just a
little bit, because I saw that was making
| | 03:15 | collisions in the lines lower.
| | 03:18 | And then I will go back, and I can
choose again Position Chords, and I can make a
| | 03:24 | fine adjustment on those.
| | 03:26 | And as you can see, we still have
problems down here lower in the score, but I
| | 03:30 | will let you work on that on your own.
| | 03:32 | Now, one last thing I want to show you
about formatting chords is the alignment.
| | 03:36 | I am going to go to Chord menu, and
I am going to choose Left-Align Chords.
| | 03:41 | I like to do this, because then it
lines up the root of the chord exactly over
| | 03:45 | the beat where the chord is to be
played, and that's a lot better indication
| | 03:49 | rhythmically of what's going on.
| | 03:51 | Now, if you don't do that, sometimes when
you get really long chord symbols, like
| | 03:55 | for instance, this G minor 7, it's
going to end up starting over here in the
| | 03:58 | bar before, and that's very confusing,
| | 04:01 | so I like this Left-Align Chord option.
| | 04:04 | Now that we've added chords and fretboards
to the score, our lead sheet is almost done.
| | 04:09 | In the next video, we will discuss
how to fine tune the appearance of the
| | 04:12 | entire score.
| | Collapse this transcript |
| Formatting a lead sheet| 00:00 | After you enter the notes, lyrics,
and chords into a lead sheet, you will
| | 00:04 | probably want or need to make some
small formatting adjustments to improve the
| | 00:07 | overall look of your score.
| | 00:09 | Let's take a look at the most common score
parameters that might need some fine adjustment.
| | 00:13 | Now, the first thing I want to do is
I want to set the measures per line.
| | 00:16 | You see that this is crowded, and I will
admit that I have kind of messed this up a
| | 00:19 | little bit so that we'd have some work to do.
| | 00:21 | So I am going to choose the Selection
tool, and remember, we can move a measure
| | 00:25 | from line to line by simply choosing
the measure, and then using the Down arrow
| | 00:29 | to move that to the next line. I
can use the Up arrow to move it back.
| | 00:33 | Another way we can do this is
the entire score all at once.
| | 00:35 | So I am going to go Command+A; that would
be on the Mac, or a Control+A on the PC, and
| | 00:39 | I will select all. I will go up to the
Utilities menu, and I am going to choose
| | 00:44 | Fit Measures, and I will choose
Lock Layout with 4 Measures Per System.
| | 00:48 | And that looks pretty good, but I
actually wanted to get four full measures
| | 00:52 | on the first stave, and you will notice that
I only have three, plus the pickup measure.
| | 00:56 | So I am going to undo that; I am
going to manually do the first line.
| | 01:00 | So I have got 1, 2, 3, 4; select that,
Down arrow to move that down, and now
| | 01:08 | I'm going to Shift+click the last measure to
extend my selection to the end of the song.
| | 01:13 | And then I will go back up to the
Utilities menu, and I'll choose Fit Measures,
| | 01:18 | and I will use Locked
Layout with 4 Measures again.
| | 01:21 | And the only thing that it looks like I
don't like here is the fact that it put
| | 01:24 | that last measure on its own line.
| | 01:26 | So I am going to select that, and put
that back up by pushing the Up arrow.
| | 01:30 | Looks like I need to format the chords
on this last line, so I am going to use
| | 01:35 | the Chord tool quickly;
| | 01:37 | select that last line, and then use the
triangle second from the right to adjust
| | 01:41 | only that line to move those up
above the first and second ending.
| | 01:45 | Now, things are still
looking just a bit crowded.
| | 01:48 | So let me explain just a little bit about
page size, and what's happening in Finale.
| | 01:53 | So a lot of music is actually printed
in what we call folio size, and that's
| | 01:57 | actually a little bit larger than
your normal 8.5 by 11. But we, as amateurs
| | 02:03 | printing this music, don't have a
professional size printer often, and we will
| | 02:06 | be printing to 8.5 by 11.
| | 02:09 | So I am actually going to reduce the
size of the music just a little bit to make
| | 02:13 | it look better and space better.
| | 02:14 | So I am going to choose the Percentage
tool, and I can use this in three ways.
| | 02:20 | I can actually click a note and resize
a single note head. I can click in an empty
| | 02:26 | space of a stave, and I can resize that
staff for the entire score. Or, you can
| | 02:35 | click up in the upper left-hand corner
of the page, and you can resize the page,
| | 02:40 | and all staff and staff
systems for the entire score.
| | 02:44 | So in this case, I have only got one
staff, so probably the easiest option is
| | 02:48 | just to click inside the stave, and if you go
to about 90%, this is going to look really good.
| | 02:53 | You notice that it changed the size
of the chords, and the lyrics, and all
| | 02:57 | the music contained.
| | 02:58 | Now, there is one other pet peeve I have
about this particular template, and that
| | 03:03 | is that we have got a real large left
-hand margin over here, and it's also
| | 03:07 | indented this first line.
| | 03:09 | To fix that stuff, I am going to go to
the Page Layout tool, and I am going to
| | 03:13 | move the -- in fact, I will close that briefly.
| | 03:16 | I'm going to move that out of the way so
that I can see the handles on this.
| | 03:20 | Now, we have both page margins and
we have staff margins in Finale.
| | 03:25 | The little handles that you see in the
upper corners of the pages; those are
| | 03:28 | actually page margins.
| | 03:30 | So I am going to right-click on one
of those, and I am going to choose Edit
| | 03:34 | Margins. You will notice that I am
in the Edit Page Margins dialogue, and I
| | 03:39 | am going to set that left margin to be a
half an inch, just like the rest of the score.
| | 03:44 | Go ahead and click Apply;
you'll notice that moves over.
| | 03:49 | And on this first line, I want to extend
that out, so it looks like the rest of the lines.
| | 03:53 | I don't need to go into a dialogue to do that.
| | 03:55 | I am just going to grab this handle over
here in the left side, and I am going to
| | 03:58 | drag it past the margin.
| | 04:00 | Now, Finale won't let you actually print
past the margins, so when you drag past,
| | 04:04 | it's actually going to set it exactly
to the page margin, and we are done and
| | 04:07 | ready to go with that.
| | 04:08 | Now, there is a few other things that we
might want to adjust to make this more of
| | 04:12 | a typical lead sheet.
| | 04:13 | We are going to do that
by going into Document Options.
| | 04:17 | Click the Document menu, and then down at
the bottom, choose Document Options. And
| | 04:22 | while we are there, you might
want to take note of the shortcut:
| | 04:25 | Option+Command+A, or on a PC that
would be Control+Alt+A. This is a window that
| | 04:31 | you're going to go into a lot to
fine tune the appearance of a score.
| | 04:34 | So, some of the things that I don't
like here are the left-hand barlines at
| | 04:38 | the beginning of lines.
| | 04:39 | So I'm going to choose Barlines, and
notice that there is an option here for Left
| | 04:46 | Barlines for Display on Single Staves.
| | 04:48 | So I am going to uncheck that, and then I
am going to come down to the bottom and
| | 04:52 | click the Apply button.
| | 04:54 | You will notice that the left-hand barlines
just disappeared at the beginning of the staves.
| | 04:58 | I'm also going to go down to Key
Signatures, and I am going to choose Display Key
| | 05:04 | Signature Only on First Staff System.
| | 05:06 | That's kind of a common practice in lead sheets.
| | 05:10 | So we'll see the key signature here, and
then that's going to disappear down there.
| | 05:13 | Now, we can make multiple
changes before you click Apply,
| | 05:16 | so I am going to do one more thing, and
that is I am going to go to the Repeats
| | 05:20 | tab, and I really like this Curved
style more than the kind of plain None,
| | 05:25 | but you can choose the Curved,
or Single, or whatever you prefer.
| | 05:28 | So I will click that, and
now I will click Apply, and OK.
| | 05:32 | When I go back to the score, you notice
that I don't have left barlines, I don't
| | 05:37 | have the Key Signature on each stave,
only on the first one, and now I've got the
| | 05:42 | Curved style for my repeats.
| | 05:44 | Now, the other thing that I might do in
this score is remove the measure numbers.
| | 05:49 | You really don't need them in
score that's only 17 bars long.
| | 05:53 | So I am going to go back to the Window
menu, and choose my Main tool Palette so
| | 05:57 | that reappears, and now I
can click the Measure tool.
| | 06:01 | I can go to Measure > Edit Measure Number
Regions, and right now it's telling me
| | 06:07 | that I have a Region 1 going from
measure 2 to 999, and that's what's creating
| | 06:13 | these measure numbers on the
far left-hand side of each stave.
| | 06:15 | I'm just going to go ahead and click
Delete, and click OK, and it looks like
| | 06:21 | we've got this in hand.
| | 06:23 | So in the last several lessons, we
have learned to enter notes, accidentals,
| | 06:27 | rests, lyrics, chords, and
repeats, and how to format them all.
| | 06:31 | Now you're ready to create beautiful
lead sheets, and print them so you can
| | 06:34 | perform them with your friends and colleagues.
| | Collapse this transcript |
|
|
5. Notating Music on a Grand StaffSimple entry using a MIDI keyboard| 00:00 | I often prefer entering notes using a
computer keyboard, but when there are
| | 00:04 | intervals in chords, like in music for
piano, it's much easier and faster to
| | 00:08 | use a MIDI keyboard.
| | 00:09 | So let's start by setting up a new score.
| | 00:11 | I'm going to go to the File menu
and choose New > Document Setup Wizard.
| | 00:16 | I'll choose the Engraved Style and Next.
| | 00:19 | And then I'll choose the Keyboard
category and Piano (No staff) is my
| | 00:23 | instrument. Click the Add button,
and then click the Next button to move on.
| | 00:28 | In the score Information area, I type
the name of the tune, which in this case
| | 00:32 | is Twinkle, Twinkle.
| | 00:35 | And I will add a subtitle.
| | 00:35 | I'm going to call this Variations On A Theme.
| | 00:41 | Then for Composer, this is kind of like what
Mozart did, so I will call this Ala Mozart.
| | 00:45 | Then I will click the Next button to move on.
| | 00:48 | Our time signature is in 2 4, and we are
in the key of F, so I am going to click
| | 00:53 | the down arrow once to get the key
signature, and I will go ahead and add in a
| | 00:58 | tempo, with both text and with a BPM at 110.
| | 01:03 | And there is no pickup measure, and I'm
not really worried about the number of
| | 01:07 | measures in this--we can add those later--
| | 01:10 | so I will go ahead and click the Finish button.
| | 01:11 | It only takes a second, and it has
gone ahead and created a grand staff.
| | 01:17 | And I am going to briefly go into the
Finder window here and I am going to open
| | 01:21 | the Example file so that we can use that.
| | 01:23 | Now, once I've got that in the score,
I am going to go up to the Window menu
| | 01:28 | and I am going to choose Tile Windows, and I
am going to put these both into Scroll view.
| | 01:34 | So let me click this bottom one and I
will go Command+E on the Mac to do that;
| | 01:37 | that would be Ctrl+E on a PC. And I will go up
to this other document and do the same thing.
| | 01:43 | And now I want to zoom in a little bit
so I will use the Command+Equal key
| | 01:46 | to do that. Make that a little bit bigger.
| | 01:50 | And I will go down to the
bottom staff and do the same thing.
| | 01:53 | So now I am ready to enter the notes.
| | 01:55 | So I am going to choose the simple Entry
tool. And this is actually pretty simple.
| | 02:00 | So all we need to do is
choose a value on the num pad.
| | 02:03 | Remember, 5 is a quarter, 4 is an eighth,
6 is a half note, so on and so forth.
| | 02:09 | So I will choose 5 to get started. And
then all I need to do is play the notes
| | 02:13 | on the MIDI keyboard to add them.
| | 02:15 | There is the F chord, now the D minor,
and I will switch up and I will play the
| | 02:20 | A minor and F, and the B-Flat
chord, and back to the F chord.
| | 02:26 | I made a mistake there.
| | 02:28 | Often the easiest thing to do is just
to undo that last action, so I will go
| | 02:32 | Command+Z; that would be Ctrl+Z on a PC.
And I will press a 6 so that when I
| | 02:37 | enter that note I get the right duration.
| | 02:39 | Now, if I want to add the notes in the
bass staff, there is a couple of ways
| | 02:44 | that I can get down to that staff.
| | 02:45 | The obvious one would be just to click
in the staff, but a little faster would be
| | 02:49 | to use your Command key
and press the down arrow;
| | 02:52 | on a PC that would be Ctrl+down arrow.
| | 02:54 | And if I want to go back up to the
treble clef, it's the same thing: Command+Up
| | 02:57 | Arrow or Ctrl+up arrow on a PC. And I
will just use my left arrow to get me back
| | 03:02 | to the first measure.
| | 03:03 | I will press 5 for a quarter note,
and now I can add the bass line just
| | 03:08 | by playing the notes.
| | 03:09 | Hit a 6 and add that last F.
| | 03:13 | So you can see, adding notes within Simple
Entry is very, very easy using a MIDI keyboard.
| | 03:19 | So let me go back up to the upper staff.
| | 03:22 | I am going to arrow over to reset my
position, and now I will press 5, and I can
| | 03:27 | enter the next chord.
| | 03:28 | And just to demonstrate that I can add
chords using the computer keyboard, I am
| | 03:32 | going to go ahead and enter an F.
And then before I enter the next note, I can
| | 03:37 | actually add notes onto that F. All
you need to do is remember the interval.
| | 03:41 | So if we look above, it looks like I need
a third above the F. That's going to be
| | 03:44 | the A, so I will press 3 to do that,
and that's in the QWERTY area of the
| | 03:48 | keyboard, not the numpad.
| | 03:50 | So that adds the third above, and now
the next note is a second above the A or
| | 03:54 | for the B-flat, so I will hit a 2.
| | 03:57 | On the next chord, I will go ahead and
I will enter the B-flat, and this time I
| | 04:01 | am going to add the notes below that.
| | 04:03 | To do that all we do is hold the Shift key
down and press the number for the interval.
| | 04:07 | So I will go Shift+3 for the G
and then Shift+5 to add the C.
| | 04:13 | So we can do this on a computer keyboard;
it's just a lot faster using the MIDI keyboard.
| | 04:17 | And I am going to quickly
add the rest of these chords.
| | 04:22 | And then I need to add a rest. So I can
either press 0 on the computer keyboard
| | 04:27 | to do that--and that would be in the
numpad area--or I can simply play another
| | 04:32 | note or chord and then type
R to convert it into a rest.
| | 04:37 | So go ahead and take a minute to add the
chords and the rest of the notes up to this point.
| | 04:42 | As you can see, using a MIDI keyboard
to enter notes is useful, especially when
| | 04:46 | you need to enter chords.
| | 04:47 | Two-handed entry--one hand on the MIDI
keyboard and one hand on the computer
| | 04:51 | keyboard--takes a bit to get used to,
but with some practice you will find
| | 04:54 | it's easy.
| | Collapse this transcript |
| Entering triplets and tuplets| 00:00 | Up to this point we've learned how to
enter basic note durations. In this video,
| | 00:04 | we will learn how to enter simple
triplets and triplets of mix note durations.
| | 00:08 | Triplets are included within a type
of rhythm referred to as a tuplet, and
| | 00:12 | that's defined as any irregular
division of rhythmic duration,
| | 00:15 | and in addition to triplets,
includes quintuplets and septuplets.
| | 00:19 | So please go ahead and open both
files in the 5_02 folder and then tile and
| | 00:23 | arrange them as we've done in past lessons.
| | 00:25 | I am going to go ahead and I am going
to locate the score to measure 8, so I am
| | 00:29 | going to type an 8 in the measure
field and hit the Return key, and I will do
| | 00:33 | the same thing for the other document.
| | 00:34 | I am going to choose the Simple Entry
tool, and it already placed it in the
| | 00:39 | measure where I want to work.
| | 00:40 | And I will go ahead and type an F to
enter the first note of that triplet.
| | 00:44 | The next thing I will do is I will
type a 9 to tell Finale that I am entering
| | 00:48 | triplets, and I will go ahead and type
the next two notes: A and C. So I will
| | 00:52 | enter the next triplet here.
| | 00:55 | And just remember that when you're
using the computer keyboard, sometimes it
| | 00:58 | will enter notes in the wrong octave,
so I am going to arrow down just a couple
| | 01:01 | spaces to get closer to the other F.
I can go ahead and press F to enter that
| | 01:05 | note, and now I can press 9, and I can
add the other two notes in the triplet.
| | 01:11 | So in the next part it gets a
little bit more complicated.
| | 01:13 | You notice that there is a quarter
note as part of this eighth note triplet.
| | 01:16 | So I am going to press 5 to switch to a
quarter note, and I am going to go ahead
| | 01:21 | and I am going to activate the Simple
Tuplet tool by clicking the Triplet icon
| | 01:25 | in the Simple Entry palette.
| | 01:27 | And then this time I am going to go
ahead and I am going to Shift+Click
| | 01:30 | that first note in, because when you
do that it opens up the Simple Entry
| | 01:34 | Tuplet Definition dialog.
| | 01:36 | Now, here what I can do is I can tell Finale
exactly what kind of triplet I am entering.
| | 01:42 | Now, the problem here is is that my
first note was a quarter note and Finale
| | 01:47 | thinks that I want to
actually enter quarter note triplets.
| | 01:49 | I am going to define this by saying 3,
and then I will click the Current, and I
| | 01:54 | will choose Eighth(s) note instead
in the space Of 2 Eighth(s) notes.
| | 01:57 | And this will allow me to have a
triplet that contains one quarter note and one
| | 02:02 | eighth note inside of
one beat. I will click OK.
| | 02:04 | It enters the first note, and I can go ahead
and I can enter the B-flat for the next note.
| | 02:10 | So let me undo that.
| | 02:12 | And it looks like I need to move my
cursor over to the next note and then press
| | 02:15 | B-flat, and with a 4 to make
sure that it's an eighth note.
| | 02:19 | We will do another one of these in a
minute, but you can see that this is
| | 02:22 | actually kind of complicated.
| | 02:23 | I am going to go ahead and I am going
to enter the next series of triplets, and
| | 02:27 | this can happen pretty quickly. But
since there are a number of eighth note
| | 02:31 | triplets in a row, I am actually
going to go ahead and define this before I
| | 02:35 | start entering, by having both the
eighth note and the Tuplet tool active.
| | 02:39 | So I can press A to enter the next
note, and you can see that it's already
| | 02:42 | knowing that I want to put in eighth
note triplets. G, F. And I can put in the
| | 02:48 | next one without actually
doing anything different.
| | 02:51 | I am going to arrow up just to get a
little closer to the D. And then I will
| | 02:55 | press D, and then C, and to put in the
C# I'll press the plus key, and then
| | 03:01 | another D, and then F, E, D, D, B, plus to
put in the natural, C, C, F, A, and again,
| | 03:12 | we have got one of those weird triplets.
| | 03:13 | So I will press 5 to state that the
first note is a quarter note, and then I will
| | 03:18 | Shift+Click in that note. And again,
I'll say 3 Eighth(s) in the space Of 2
| | 03:25 | Eighth(s), okay. And then when I enter
the next note, remember, I need to arrow
| | 03:31 | over to where that rest is, make sure I
enter an eighth note by pressing 4, and
| | 03:36 | now I can press that B-flat.
| | 03:38 | Now, it came in the wrong octave,
so I will arrow back over and I will
| | 03:41 | Shift+Arrow Down to put that in the
right octave. And I will move over by
| | 03:46 | pressing the arrow key to set the next
note, and I also need to Shift+Down Arrow
| | 03:50 | to set where that will come in at.
| | 03:52 | So take a few minutes to add the
rest of the triplets in the treble clef.
| | 03:56 | Now, the bass line is much easier,
because I can simply copy and paste that.
| | 04:00 | So I am going to go down here to the Measure
field, type a 1 so I can get to the beginning,
| | 04:06 | and then I am going to go to the
Selection tool and simply Shift+Click that
| | 04:11 | range, Command+C, and then I can click the
next measure and Command+V to put in the bass line.
| | 04:18 | So as you can see, entering triplets
and other forms of tuplets can be a
| | 04:22 | bit tricky at first. Find some music with
a lot of triplets and enter it into Finale.
| | 04:26 | With a little bit of practice, you will
quickly remember the necessary steps.
| | Collapse this transcript |
| Advanced entering of tuplets| 00:00 | From experience, I can tell you that
I've spent a lot of time learning to notate
| | 00:03 | the large variety of tuplets that
exist in modern and improvised music.
| | 00:07 | Let's take a look at a few
examples and learn how to enter and edit
| | 00:10 | advanced tuplets in Finale.
| | 00:11 | So if you would, go ahead and open both
files in the 5_03 folder and then tile
| | 00:16 | and arrange them as we have in past lessons.
| | 00:18 | So in the first measure, you can
see that we've got some triplets that
| | 00:21 | have rests involved,
| | 00:22 | so let's take a look at how you do that.
| | 00:24 | So I am going to choose the Simple Entry
tool and I'll Option+Click in the first
| | 00:30 | measure here to put my cursor and
I'll type a 4 so that we are going to be
| | 00:34 | adding eighth notes.
| | 00:36 | I'll go ahead and add the first note
by typing C and then I'll indicate to
| | 00:40 | Finale that I'm entering triplets by pressing 9.
| | 00:44 | The next note I need to enter is a rest,
| | 00:45 | so I'll just go ahead and hit the 0 key,
and then I can move to the next note and
| | 00:49 | press D. So the first one is in.
| | 00:52 | So now I'll press 0 to add another
eighth note rest and then 9 to say, hey, I'm
| | 00:57 | adding triplets and then add E and F.
| | 01:01 | Next one starts off with a G eighth note,
| | 01:03 | so I'll go ahead and type G and then 9
to say I am doing triplets and A, and
| | 01:09 | then a 0 to add an eighth note rest.
| | 01:12 | Then the last one is just as normal.
| | 01:14 | Go ahead and type B-flat, 9 to indicate
triplets, and then go ahead and type D and C.
| | 01:20 | Now one of the reasons I showed you this
was not only because of the rest, but I
| | 01:23 | wanted you to see what
happens with the bracket shapes.
| | 01:26 | I was adding those rests using 0 on the
numpad, not on the QWERTY area of the keyboard.
| | 01:31 | One of the reasons I chose the
examples in the first measure was not only
| | 01:35 | because of the rest, but I also wanted
to show you what happens when you have
| | 01:38 | rests included with eighth note triplets
and what happens to the bracket shapes.
| | 01:43 | Anywhere there was a note at the
beginning and the end of the triplet, you'll
| | 01:47 | see that we just got the three, but
where a rest started or ended the triplet,
| | 01:51 | we ended up with this bracket shape.
| | 01:53 | So this is a good time to see how we can
modify and choose the bracket shape on a triplet.
| | 01:57 | So I am going to go ahead and choose
the Triplet tool in the Main palette and I
| | 02:01 | am going to click on first note to
activate the handle on the triplet.
| | 02:07 | At this point, you can double-click
that and that will take you into the Tuplet
| | 02:10 | Definition dialog box.
| | 02:13 | So in this case, what I want to do is I
want to force Finale to have a shape on that.
| | 02:18 | So I am going to say Always Use
Specified Shape and then just for demonstration
| | 02:22 | purposes, I want to show you
how you can change the shape,
| | 02:24 | so I'll go ahead and click Slur and OK.
| | 02:29 | You can see that it's starting
to look like the example up top.
| | 02:32 | So let's follow through on the next ones.
| | 02:34 | So I'll click the rests
that begins that triplet.
| | 02:36 | This time, I'll click the handle and
then right-click and choose Edit Tuplet
| | 02:40 | Definition and that will take me
back into that same dialog box.
| | 02:44 | Again, Always Use Specified Shape, and Slur.
| | 02:48 | So let's do that twice more.
| | 02:50 | This time, I'll double-click.
| | 02:53 | Always Use Shape, Slur, and
we are fine on the last one.
| | 02:58 | Now in the next measure, I want to add
some septuplets, and you can see that it's
| | 03:03 | showing this weird ratio thing to
explain what's going on, that you are playing
| | 03:07 | seven sixteenths in the space of eighths.
| | 03:09 | So again, I'll choose my value.
| | 03:11 | I am in the right bar already. And
this time, I'm going to click the Simple
| | 03:17 | Tuplet tool to indicate that I'm
entering a tuplet before I do that and then
| | 03:22 | I'll Shift+Click the first note in,
which is an A, and this opens up again the
| | 03:27 | Simple Entry Tuplet Definition dialog.
| | 03:30 | And this time I'll say, yes, we are
using current, but I want to have seven sixteenth
| | 03:34 | notes in the space of eighth and I'll say OK.
| | 03:39 | Remember, where I need to arrow over
to the next note before I start entering
| | 03:43 | notes. And now I can type G, F, E, D, C,
and B. For the next one, I need to do an
| | 03:50 | eighth note, so I'll type a 4.
| | 03:53 | The Simple Tuplet tool is already active,
| | 03:55 | so I'll go ahead and Shift+Click in that next note.
| | 03:57 | That will open up the Simple Entry
Tuplet Definition, and this time I'll say 5.
| | 04:03 | And again, it's Current because I am adding
eighth notes in the space of four. And I'll click OK.
| | 04:09 | It adds the first note and then I'll
arrow over and I can type D, E, F, and
| | 04:15 | G. Now you will notice that the display of
the tuplet type is not the same as above.
| | 04:21 | So again, I am going to go up to the
Main tool palette and choose the Tuplet
| | 04:24 | tool and click the first note of it to
activate the handle, which is really hard
| | 04:30 | to see in this case.
| | 04:30 | It's this little box right there.
| | 04:32 | So I am going to go ahead and double-
click to open up the Tuplet Definition
| | 04:36 | dialog. And this time I want to go up
to Number and click on that pop-up menu
| | 04:42 | and choose the ratio version.
| | 04:44 | Go ahead and click OK and now you
will see it's changed that display.
| | 04:48 | Let's do that on the next one.
| | 04:50 | Click the first note, activate the
handle, either double-click the handle or
| | 04:54 | select it, and then right-click, choose Edit
Tuplet Definition, and then choose Number.
| | 05:02 | Now on the last example here, we have
something that's called nested tuplets.
| | 05:06 | So I've got a triplet on the outside
that is three quarter notes and then I've
| | 05:10 | got an eighth note triplet on the inside.
| | 05:13 | So the easiest way that I have found
to enter this kind of a triplet is to
| | 05:17 | actually enter the outside triplet
normally and then add the interior tuplet and
| | 05:23 | then go back and redefine
everything as a triplet or tuplet.
| | 05:27 | So I'll go ahead again and
choose the Simple Entry tool.
| | 05:30 | I am going to deactivate the Simple Tuplet tool.
| | 05:33 | My cursor is in the right bar already.
| | 05:35 | I'll type a 5 to enter the first note,
and I'll type a C, and now I want to add
| | 05:40 | the eighth note triplet.
| | 05:41 | So I'll type a 4, type A to add the note,
9 to say it's a triplet, and then G and
| | 05:48 | E, and then type 5, and I'll
go ahead and enter the C.
| | 05:53 | So I've got the interior tuplet done, and now
I want to convert the whole thing to a tuplet.
| | 05:57 | So I'll go and choose the Tuplet
tool. I'll click the first note.
| | 06:02 | This opens up the Tuplet Definition
dialog. And I'll go ahead and say three
| | 06:06 | quarters in the space of two quarters.
| | 06:09 | Say OK and now it's added a second bracket.
| | 06:12 | Now you will notice that
both brackets are colliding,
| | 06:14 | so I'll click the first note of the
interior tuplet and then choose its handle
| | 06:20 | and then type the letter F to flip that.
| | 06:22 | So if I escape out of here, we can see
that we've got the brackets on the outer
| | 06:27 | sides of that, and that makes it very
easy to see that it is a nested tuplet.
| | 06:31 | Now you may want to adjust the bracket
shape or the placement of the number on a
| | 06:36 | tuplet, and you can do that by
clicking on the first note of a tuplet.
| | 06:40 | Let me choose the Tuplet tool, click on
the first note, and now you can see that
| | 06:45 | we have handles on everything.
| | 06:47 | I simply want to move the tuplet
closer or further away from its notes.
| | 06:52 | I'll click the outer handle and click and drag.
| | 06:56 | If I want to move the number itself,
I'll click the handle on the interior there,
| | 07:00 | and now you will see I can move the
handle by itself. And you can use these other
| | 07:05 | handles to change the angle and
the length of the end of the line.
| | 07:11 | Now, sometimes on triplets like the
ones we are looking at over here where
| | 07:14 | there is a rest on the outside, you'll see
that the end sometimes isn't quite long enough.
| | 07:18 | So I am going to go ahead and click
on the first note of that triplet.
| | 07:22 | Then I am going to double-click the
handle to open up the Definition dialog. And
| | 07:27 | if you need to add to the length, you
can do that using the Left Extension and
| | 07:31 | the Right Extension field.
| | 07:32 | Now if want to extend to the left, I'll
need to type a negative value. And I have
| | 07:37 | found that oftentimes by typing
about 300ths of an inch, that's a good one.
| | 07:42 | Now that's actually going to shorten it,
| | 07:44 | so I am going to arrow back
over there and type minus.
| | 07:47 | For the Right Extension field, all
I need to type is a positive value.
| | 07:51 | I click OK and you can see
that both ends of that are longer.
| | 07:55 | So tuplets often require a bit of extra
work to enter and fine-tune their appearance.
| | 07:59 | Take the time to review and
practice what we have just discussed.
| | 08:02 | It will make a difference the next
time you have to notate a passage of
| | 08:04 | complicated tuplets.
| | Collapse this transcript |
| Changing key signatures, time signatures, and clefs| 00:00 | While there's a lot of scores where the
basic musical parameters stay the same
| | 00:03 | throughout the score, it's likely that
at some point you will need to add time
| | 00:07 | signature, key signature, or
clef changes within a score.
| | 00:10 | So if you would, open up the start
file in the 5_04 folder, and we're going to
| | 00:14 | finish setting up this score.
| | 00:17 | So first of all, I need a few more measures,
| | 00:18 | so I am going to choose the Selection
tool, click that last measure, and right-
| | 00:23 | click and go down and choose Add Measures.
| | 00:26 | We are going to need about 15 more measures.
| | 00:28 | So the next thing I want to do is I
want to add a time signature change at
| | 00:32 | measure 18, and there's a couple of
different ways that we can do that.
| | 00:35 | You can go up and choose the Time
Signature tool and then double-click on that
| | 00:40 | measure and then use the scrollbar here
to either increase the Number of Beats
| | 00:45 | in the measure or change the Beat
Duration, but in this case, we need 3/4.
| | 00:49 | Now one of the advantages of using
this dialog box is this Measure Region
| | 00:54 | selection that you can make down here.
| | 00:56 | In our case, we can use either to the
next time change or through the end of the piece.
| | 01:01 | Either one will get us a time signature
change that will last to the end of the piece.
| | 01:05 | Otherwise, if you wanted to stipulate
that we are only going to have a time
| | 01:08 | change for eight measures, you could
choose Measure and then you could use the
| | 01:11 | From and To fields to indicate the range.
| | 01:13 | I am going to cancel out of there for
a minute because if you are making a
| | 01:17 | simple time change, there is
a bit easier way to do that.
| | 01:20 | So I am going to choose the Selection
tool again and then just right-click on
| | 01:24 | that, and they have added Time Signature
to the contextual menu, and I can simply
| | 01:29 | just choose 3/4 from the list.
| | 01:33 | Now at measure 26 I need to do a key
signature change, and I can do this the similar way.
| | 01:38 | I can either go up and choose the Key
Signature tool, which looks like the B-flat
| | 01:41 | up here, double-click the measure, and
then use the arrow keys to arrow up or
| | 01:47 | arrow down, and again I can do this to
arrange. I am going to undo that change
| | 01:52 | that I just did, Command+Z or Ctrl+Z on
a PC. Or I can right-click and choose F
| | 01:58 | minor from the contextual menu.
| | 02:00 | Similarly, I can go to the Selection
tool again and right-click and choose Key
| | 02:06 | Signature and choose F minor from that
contextual menu. And I want that to go to
| | 02:11 | the end of the piece, so that's looking good.
| | 02:13 | Now I want you to notice on the line
before that key change that there's a
| | 02:16 | courtesy key change at the end of the
line, and it's actually canceling the
| | 02:20 | outgoing key before it shows the new key change.
| | 02:23 | So I want to fix that.
| | 02:25 | So I am going to go to the Document
menu and Document Options and choose Key
| | 02:30 | Signatures and I am going to unclick
this check box here where it says Cancel
| | 02:35 | Outgoing Key Signature.
| | 02:37 | In this case, I think it makes a lot
easier to read, so that you just know we're
| | 02:41 | going from the key of F major and then
I'm either going to the key of A-flat
| | 02:45 | major or F minor at this key change.
| | 02:47 | I also need to add a clef change in
the bass clef here from measures 22 to 24.
| | 02:52 | So I am going to select those three measures.
| | 02:55 | Now once again, there are two ways to do this.
| | 02:58 | We can go up and I can choose the
Clef tool, all the way over here.
| | 03:03 | I can double-click and I can choose
the new clef. I actually need to go
| | 03:06 | to treble clef there.
| | 03:07 | Because I've actually got the measures
selected already, when I choose that,
| | 03:13 | it's going to add the clef
change for just those three measures.
| | 03:16 | Let me undo that, Command+Z. And I can
choose the Selection tool and right-click
| | 03:21 | that selection, and there's also
the option to choose clef there.
| | 03:25 | That will take us right back into the
same dialog box where I can choose the
| | 03:28 | treble clef and say OK.
| | 03:29 | Now before I go on, I want to show you
that all three of these things that we
| | 03:34 | have just done can actually be done
while we are in Simple Entry, while
| | 03:38 | we're entering notes.
| | 03:39 | So I am going to choose the Simple
Entry tool and I want to show you that you
| | 03:43 | can just hold down Option and press K--
that would be Alt+K on a PC--and that will
| | 03:48 | bring up the Key Change dialog and
we're looking at a metatool window here
| | 03:53 | that we'll talk about later.
| | 03:53 | I am just going to enter through
that, and that takes us right to the
| | 03:56 | Key Signature tool.
| | 03:57 | So I could change it there or
alternatively, I could go Option+T. Again, that
| | 04:03 | takes us to the metatool assignment box.
| | 04:05 | I am going to enter through that, and this
time it takes us to the Time Signature box.
| | 04:10 | Escape out of that. And again, I could
go Option+C this time for Clef and that
| | 04:15 | would be Alt+C on a PC, metatool
assignment box. I'll enter through that, and we
| | 04:20 | are at the Clef Change box.
| | 04:22 | As you can see, I don't even need to
change tools to make changes mid-score,
| | 04:27 | like we have been doing.
| | 04:28 | I can do them right in Simple Entry.
Or probably the other place that's easiest
| | 04:31 | to find that is just to
go to the Selection tool.
| | 04:34 | So let me cancel out of there.
| | 04:36 | So you see that there are several ways
to make mid-score key in time signature
| | 04:40 | changes, as well as clef changes.
| | 04:42 | Now that you know how to add them,
you can tackle those complicated scores with ease.
| | Collapse this transcript |
| Working with measure attributes| 00:00 | Finale knows by design when to
display key signatures, time signatures,
| | 00:04 | clefs, bar lines, and similar items that as a
group are referred to as measure attributes.
| | 00:09 | But because there is no way to
account for all the many types of scores and
| | 00:12 | exercises that you will want to create,
there are many times when you will need
| | 00:15 | to force Finale to show or
hide a measure attribute.
| | 00:18 | So if you would, go ahead and
open the file in the 5_05 folder.
| | 00:21 | We are going to start by
looking at right barlines.
| | 00:25 | So I like to add a double
barline to indicate form.
| | 00:28 | So I am going to choose the Measure tool.
| | 00:30 | I am going to go down to measure 9
and I'll double-click and I am going to
| | 00:34 | choose Double from the top row.
| | 00:35 | Now remember that the top
row is for the right barline.
| | 00:39 | Go ahead and click OK.
| | 00:41 | And there may be times when you want to
add this on the left barline, and just
| | 00:45 | note that the only time the Left
Barline attribute works is when you're on the
| | 00:48 | first measure of a system.
| | 00:50 | So I'll go ahead and
choose measure 10, double-click.
| | 00:53 | Now if I wanted to, I could
choose Double there as well.
| | 00:56 | Click OK and you will see that it now shows.
| | 00:58 | I am going to undo that using
Command+Z, or it would be Ctrl+Z on a PC.
| | 01:03 | Now we need a couple more of these,
| | 01:06 | so I am going to quickly go down to the
last measure there, and this time I
| | 01:10 | am going to choose the Selection tool
and I am going to right-click, and I'll
| | 01:14 | choose Barline from the
contextual menu, and choose Double.
| | 01:18 | And I can do the same thing over here in bar
25: right-click, choose Barline, and Double.
| | 01:25 | Now at times you are going to want to force
Finale to show a key signature or a time signature.
| | 01:29 | For example, over here at Bar 22, I
do have a key signature, but what if I
| | 01:33 | wanted the time signature to show?
| | 01:35 | Well, if I go back to the measure
Attribute tool and double-click that, it opens up
| | 01:41 | the measure Attributes dialog, and now
I can come down and say Time Signature,
| | 01:45 | click this pop-up menu, and say Always Show. OK.
| | 01:50 | Now we can see it's showing.
| | 01:51 | Now the other way that I can get to that
dialog box is again from the Selection tool.
| | 01:55 | So I'll undo, choose the Selection
tool, and now I'll right-click, and I can
| | 02:00 | choose Edit measure Attributes from here,
and I am right back to that same dialog
| | 02:05 | box. And again, if I wanted to,
I could choose Always Show.
| | 02:09 | Some other things that we can do
while we are here--let me move over a bar.
| | 02:14 | I'll go back in there.
| | 02:17 | If I wanted to, I could force Finale
to put a line break there and start the
| | 02:21 | next measure on the next staff system.
| | 02:23 | So I'll click Begin a New
Staff System and say OK.
| | 02:26 | You can see that it's forced that, and
there is actually a line break there.
| | 02:30 | Let me undo that again with Command+Z.
So in the future, when you're working on
| | 02:34 | a difficult score, remember that using
the Edit Measures Attributes dialog is
| | 02:39 | often a way to resolve the odd problems
that result when you need to change the
| | 02:42 | show/hide default of a
measure-related attribute.
| | Collapse this transcript |
| Adding ties, grace notes, and Simple Entry commands| 00:00 | There are a lot of details to notating music
in a computer-based music notation program.
| | 00:05 | In Simple Entry, there are a number of
commands that you can use to modify notes
| | 00:08 | and fine-tune your scores.
| | 00:10 | So, if you would, go ahead and open up
the files in the 5_06 folder, and you can
| | 00:14 | tile and arrange them as we have in past videos.
| | 00:16 | Also notice that I've located
these scores both to measure 16.
| | 00:20 | So we are going to start off by
entering some notes at bar 18, and you can see
| | 00:25 | that there are a few things in
the score that we haven't done yet.
| | 00:27 | So I am going to Option+Click in bar 18
to set my cursor and go ahead and enter
| | 00:32 | the note F. You notice that I
just entered the wrong duration,
| | 00:36 | so I am going to go back to that note
using the arrow key to select it, and then
| | 00:40 | I am going to modify the duration by
holding down the Option key and pressing
| | 00:44 | the right note value on the
numpad, which in this case is 6.
| | 00:47 | Now, that would be Alt+6 on a PC.
| | 00:50 | So now I can arrow back over with the right
arrow and add the quarter note F. Move on.
| | 00:55 | Now in the next measure, I
need to add a grace note.
| | 00:58 | So I first need to add
the note and then modify it.
| | 01:00 | So I am going to press 4 in this case
for an eighth note shape. Press F again.
| | 01:06 | Now that the note is in, I am going
to modify it by holding down Option and
| | 01:10 | pressing the G for grace note key,
and that would be Alt+G on a PC.
| | 01:14 | You can see that it converts
that into that smaller note size.
| | 01:18 | Now I can press 6, and I am going to
arrow up just a couple of notes so that I am
| | 01:23 | closer to the C, so when I press C on
the keyboard, it will actually enter the C
| | 01:25 | in the right octave.
| | 01:26 | Then I can press 5. I can
add in the C quarter note.
| | 01:31 | And again, we need to add another grace note,
| | 01:32 | so I'll press 4 for the eighth note
shape, add the note in--a C--and then
| | 01:38 | Option+G on a Mac or Alt+G on a PC.
| | 01:42 | Now at times, you actually may
have to enter multiple grace notes,
| | 01:45 | so just for practice, I am going to go
ahead and I am going to enter another
| | 01:48 | grace note here as an eighth note.
| | 01:50 | Let me put in a D and Option+G to
convert it. And I want to beam those two
| | 01:55 | grace notes together,
| | 01:56 | so I am going to hit the forward slash key.
| | 01:58 | Now you'll notice that the second
of the two grace notes is currently
| | 02:01 | selected and when I hit the forward slash key,
it will toggle the beam to the previous note.
| | 02:06 | So not it's on. If I hit again,
you will notice that it goes off.
| | 02:11 | Okay, and I am going to undo that
because now if I want, I can go ahead and
| | 02:14 | press 6 and I can add in the next D. Okay,
it looks like I have a little mistake there,
| | 02:20 | so I am just going to use my arrow
key to go back to that note and hit
| | 02:23 | Delete and now it's gone.
| | 02:25 | A couple other things we can do to
modify notes. If this note was a D-flat, I
| | 02:31 | might want to have the
enharmonic equivalent of this note.
| | 02:34 | So while that's selected, I am going to
go ahead and hit the backslash key,
| | 02:39 | and notice that it turns it into its
enharmonic equivalent, a C-sharp.
| | 02:42 | Now on a PC, you do that with the key
that's below the Escape key, which is either
| | 02:47 | called the accent or tilde key. And I am
going to Command+Z to undo that, and one
| | 02:51 | more time to get back to the D. Now at
times, there may be something else in the
| | 02:55 | score that's getting in the way of a
stem of that D that I have just added,
| | 02:59 | so I want to flip that.
| | 03:00 | So I am going to press the letter L.
You notice that it puts the stem up.
| | 03:04 | That's the same on either Mac or PC.
| | 03:06 | Now all of these commands that I have been
explaining to you are under the Simple menu.
| | 03:11 | So I am going to go up and click Simple
and go down to Simple Edit Commands, and
| | 03:16 | the ones that we have been talking
about in this video are under Modify Entry.
| | 03:20 | So whether you're on a Mac or a PC,
when you go in here you will find the
| | 03:22 | shortcuts, and these are all going to be
shortcuts that you are going to want to
| | 03:26 | review because you're
going to be using these a lot.
| | 03:29 | The Change Duration, for example,
what we just did to fix that one note,
| | 03:32 | is listed right here.
| | 03:33 | Let's just do one more.
| | 03:36 | So you'll notice that I
am in the treble clef staff,
| | 03:39 | so I am going to move my
cursor down into the bass clef.
| | 03:43 | Let me Option+Click to set my cursor down
there. And I am going to add a couple notes.
| | 03:46 | So let me press 5 and a 0 to add that
quarter rest in and then a 6, because I
| | 03:51 | want to put in that F half note, and I'll
put F. And then before I put the tie in,
| | 03:56 | I am actually going to
press 5 and add the next note.
| | 04:00 | Now as you remember, you can add T to
add a tie to a note going to the next
| | 04:03 | note, but if you forget, you can go to
the previous note by going Shift+T. And
| | 04:08 | that shortcut again is
listed under the Simple menu.
| | 04:12 | So a look at a variety of scores from
just the last hundred years shows that
| | 04:15 | there are innumerable ways to notate music.
| | 04:18 | For a notation program to be successful,
it must be flexible and allow music to be
| | 04:22 | notated in a manner that
fits a particular style or era.
| | 04:25 | Remember that many of the solutions to
notation issues can be adjusted by using
| | 04:29 | the Simple Entry modify commands.
| | Collapse this transcript |
| Working with repeats| 00:00 | At some point, you'll want to simplify
the roadmap of a score by using repeats.
| | 00:04 | Let's take a look at how you can use
Finale repeat bar lines to create simple
| | 00:07 | repeats, first and second
endings, and repeat text markings.
| | 00:11 | So if you would, go to the 5_07 folder
and open up the file, and let's start by
| | 00:16 | adding some simple repeats.
| | 00:17 | I am going to choose the
Repeat tool on the toolbar.
| | 00:20 | I am going to go to the first
measure and I am going to right-click.
| | 00:24 | From the contextual menu, I am going
to choose Create Forward Repeat Bar.
| | 00:28 | I can do the same thing at the end of
that line by right-clicking on the last
| | 00:32 | measure and choosing
Create Backwards Repeat Bar.
| | 00:35 | I am going to undo both of those
things so we can do this another way, so
| | 00:38 | Command+Z or Ctrl+Z on a PC.
| | 00:41 | This time I am going to Shift+Select
the line and now I can right-click and I
| | 00:46 | can choose Create Simple Repeat.
| | 00:48 | Now, if you want to, you can delete
these repeats by just selecting a repeat
| | 00:53 | handle and hitting your Delete key.
| | 00:55 | Now, repeats can also be
added using the Selection tool.
| | 00:59 | So I could do the same thing by
Shift+Selecting those measures and right-
| | 01:03 | clicking, and from the Contextual menu,
going to the Repeats, and then choosing
| | 01:08 | Create Simple Repeat.
| | 01:09 | Now, in this case we actually need a
repeat at the beginning of this song,
| | 01:13 | so I am going to add a forward repeat bar.
| | 01:15 | So right-click, Repeats >
Create Forward Repeat Bar.
| | 01:20 | And then we are going to use the first
and second ending down here at the end
| | 01:24 | of the second line.
| | 01:26 | To create a first and second ending,
I'll choose the bars or select the bars
| | 01:29 | that are going to appear in the first ending.
| | 01:31 | In this case we need just one, but let
me demonstrate that if we needed multiple
| | 01:35 | bars in the first ending, I would just
select those bars, then right-click, go
| | 01:40 | to the Repeats submenu, and
choose Create First and Second Ending.
| | 01:43 | Now, you notice that it added a
first ending over the two bars that I had
| | 01:47 | selected and then automatically
added the second ending in the next bar.
| | 01:50 | I am going to undo that, and
we'll do it the right way this time.
| | 01:54 | So I just need this second-to-last
measure as part of the first and second ending.
| | 01:58 | So let's do that again.
| | 01:59 | Select it, right-click, Repeats, and
then Create First and Second Ending.
| | 02:04 | I am going to click away to deselect that.
| | 02:07 | Now, if you want to change the text
that's showing in the brackets up here, I
| | 02:11 | can use the Selection tool to
select the text and then right-click and
| | 02:15 | choose Edit Ending.
| | 02:16 | For example, you may want that
first ending to play more than one time.
| | 02:20 | So as it says here, you can either
separate those numbers by commas or you can
| | 02:24 | use a hyphen, for instance, to say I
want to play this three times for the first
| | 02:28 | ending and then select the second
ending and choose Edit Ending and type a 4.
| | 02:35 | Alternatively, undo that, if I right
click that and choose Edit Ending, you
| | 02:41 | could use the Alternate Text in
Ending and choose something like Until Cue.
| | 02:45 | That would be good if
you're doing some kind of a vamp.
| | 02:48 | Click the OK button.
| | 02:49 | You will see that I now have
that alternate text in that ending.
| | 02:52 | I am going to undo that because we
actually need the first and second ending
| | 02:55 | just the way it was.
| | 02:57 | Now, we can also create text repeats.
| | 02:59 | So I am going to choose the last
measure in the piece, because we are actually
| | 03:03 | going to do a D.C. al Fine.
| | 03:05 | So I'll select that, right-click, and
I'll go down to the Repeats submenu, and
| | 03:10 | this time I am going to choose Repeat Selection.
| | 03:13 | We see the graphic-type repeats that we
have been talking about, but also we see
| | 03:16 | this list of text repeats, and you
can see that there are a bunch of them;
| | 03:19 | D.C. al Fine, D.C. al Coda, D.S. al
Coda, and I am going to choose, in this
| | 03:24 | case, D.C. al Fine, and click Select.
| | 03:27 | Now, before I leave and finish this, I actually
want to tell it what measure I'm going back to.
| | 03:33 | So in this Target measure #, I am going
to type number 1, because we are going to
| | 03:37 | back to the top of the piece, and click OK.
| | 03:39 | Then I want to add the fine, and I am
going to add that in the second ending.
| | 03:44 | So again, I'll select that, then right
click, and choose Repeats, and Repeat
| | 03:50 | Selection, and this time
I'll choose Fine, and Select.
| | 03:55 | On the Assignment this time, I
want to choose Stop Pass On 2.
| | 04:00 | This way when Finale actually plays
this piece, it will play to the first
| | 04:04 | ending, repeat, come back, take the
second ending, play all the way to the end,
| | 04:09 | and because we set the target measure
for measure 1, it will jump back to the
| | 04:12 | beginning and start at measure 1, and
then it will play through, and then it
| | 04:16 | will skip the first ending
and it will stop on pass 2.
| | 04:19 | I'll click OK, and that's assigned.
| | 04:22 | Now, you might need to change where
that's lined up, so I am going to choose the
| | 04:26 | Repeat tool, and we get the handle on
that text repeat. So I can find the one
| | 04:31 | that I want here--there it is--and I
can click and drag that down so that it's
| | 04:36 | not colliding with the
lines from the second ending.
| | 04:38 | Now lastly, I like the different shapes
for my repeats, so I am going to go into
| | 04:43 | Document Options and I am going to
choose Repeats. And you can choose a
| | 04:48 | different style here for
the Wings. I liked Curved,
| | 04:50 | so let me click that, choose Apply, and
OK, and now you can see that we have the
| | 04:56 | curved shapes in use in the score.
| | 04:58 | So repeats can often make a part easier to
read and help keep down the number of page turns.
| | 05:02 | As you can see, Finale has a number
of repeat symbols and text markings to
| | 05:06 | accommodate your needs.
| | 05:07 | And if desired, they'll even
apply to the way Finale plays a score.
| | Collapse this transcript |
| Customizing expressions| 00:00 | Music performance markings like tempo
markings and dynamics have a huge impact on
| | 00:04 | the way musicians and
vocalists perform their parts.
| | 00:07 | Let's take a look at how you can
add expressions to a Finale score.
| | 00:10 | So if you would, go ahead and open
both the files in the 5_08 folder and tile
| | 00:14 | and arrange them as we've
been doing in the past videos.
| | 00:16 | Now, to add expressions to a score in
Finale, you use the Expression tool, which
| | 00:21 | looks like the mezzo forte that we
see here on the Main tool palette.
| | 00:23 | Now, there is a text expression here
that tells us the tempo, this moderato, and
| | 00:28 | I want to add that to the score down here.
| | 00:30 | So I am going to go ahead and double-
click that score and the Expression
| | 00:34 | Selection dialog opens up, and if I go into
the Tempo Marks category, I'll see Moderato.
| | 00:40 | So I am going to go ahead
and assign that to the score.
| | 00:43 | But you see it's a little bit
different than the one we actually have;
| | 00:46 | that shows the tempo.
| | 00:47 | So while that handle is selected, I
am just going to hit Delete and I'll
| | 00:51 | double-click to add the expression again.
| | 00:53 | This time, however, I am going to
choose Moderato and I'm going to choose
| | 00:56 | Duplicate to create a second version,
and then I am going to click Edit to
| | 01:01 | modify the original.
| | 01:03 | I'll type a space and an open
parenthesis and now I am going to insert a note.
| | 01:08 | In this case, we need a quarter note.
| | 01:10 | And then I'll type space, equals, space,
type the number, 108, and then just to
| | 01:17 | make sure I get the right font here, I
am going to go back to the Text Font for
| | 01:20 | that close parenthesis. That looks good!
| | 01:23 | So there are two ways that we can
actually have Finale play back at that tempo.
| | 01:27 | I am going to click Playback, and I
want you to notice that it's got this Match
| | 01:31 | Playback to Metronome Marking Text right now.
| | 01:34 | If you wanted to have playback at 108
but did not want to have the Metronome
| | 01:38 | Text there, I could unclick this and then
just type the Set to Value to the same thing.
| | 01:43 | But I am going to go
ahead and leave that enabled.
| | 01:47 | I'll say OK and then Assign and
that assigns that to that score.
| | 01:51 | Now, if you need to move this around,
you can just click the handle and put
| | 01:54 | that where you want it.
| | 01:55 | Now, dynamics are also expressions.
| | 01:58 | I'll double-click to open up the
Expression Selection dialog box, and I am
| | 02:02 | going to switch to the Dynamics
category, and you notice that we have the whole
| | 02:06 | range of dynamics here.
| | 02:08 | So we need a forte. I'll go ahead and
click f and assign that, and that should
| | 02:13 | be assigned to the first note, so I
am actually going to drag that over.
| | 02:16 | And look at that. You will see how as
I move that, it intelligently attaches
| | 02:19 | it to the right place.
| | 02:21 | Now, over here, after the second
ending, I need to switch to a mezzo forte.
| | 02:25 | This time when I go in, I
want you to notice something.
| | 02:27 | Do you see these numbers that are in
the upper right-hand corner of each one of
| | 02:30 | these boxes? Those are referred to as
metatools in Finale, and those allow us to
| | 02:35 | assign expressions and other types
of things to a score in Finale without
| | 02:39 | actually going through the dialog box.
| | 02:41 | Remember this: 4 is assigned to forte,
and as you go to smaller numbers, it gets
| | 02:46 | louder, one dynamic at a time.
| | 02:49 | As you go higher than 4, you are
going to get to the softer dynamics.
| | 02:53 | So for instance, piano is a 7.
| | 02:55 | I am going to cancel out of here and I
am going to hold down a 5 and click in
| | 03:00 | that score and notice how
quickly you can assign dynamics.
| | 03:03 | So for instance, if I want to add a
p over here, hold down 7 and click.
| | 03:07 | If I want to have a really loud thing,
I'll click a 3 and add a double forte.
| | 03:12 | And when I am ready to get rid of those,
if I need to, I can go ahead and just
| | 03:15 | Drag+Select them and hit my Delete key.
| | 03:18 | Now, we can also add Expressive Text
as an expression, and you notice that I
| | 03:22 | have a dolce here at the
end of the second ending.
| | 03:25 | So I'll go ahead and I'll double-click
the staff again, and I am going to go to
| | 03:28 | Expressive Text, and there's dolce,
and I'll go ahead and assign that.
| | 03:33 | Again, I can position that by dragging
it, placing that where I want it to go.
| | 03:37 | I'm going to skip ahead to measure
33 in both these scores, hit Enter.
| | 03:43 | You'll notice that I have a
ritard marking at the end here.
| | 03:45 | So again, I'll choose my mezzo forte
tool, double-click that staff, and this
| | 03:50 | time I'm going to go to the Tempo
Alterations category, and you will notice that
| | 03:54 | there's an R assigned to ritard.
| | 03:57 | These other ones you will
probably be using as well.
| | 03:58 | We've got a T for a
tempo and E for acceleration.
| | 04:02 | I am going to go ahead and click that
one and assign that to the score, and then
| | 04:06 | if I need to, I can click and then drag
and assign that where I want it to go.
| | 04:09 | And the last thing I want to do is I
want to add rehearsal letters to the score.
| | 04:13 | I am going to go ahead and I am going to
maximize the Start version and put that
| | 04:18 | into Page View by clicking Command+E;
that would be Ctrl+E on a PC. And I'll
| | 04:24 | zoom back out using Command+Equals or
Ctrl+Equals so that we can see more of this.
| | 04:29 | I'll scroll up and make that just
a little bigger, so that's Ctrl+Equals.
| | 04:34 | So now I want to add some rehearsal marks.
| | 04:35 | Now, those are also expressions.
| | 04:37 | So I'll go ahead and I'll double-
click the first measure, and I'll
| | 04:40 | choose Rehearsal Marks.
| | 04:42 | And notice that we've got A, B, C or 1,
2, 3, 4, or however you want to do that.
| | 04:48 | They've assigned M to the rehearsal letters.
| | 04:51 | So I am going to go ahead and choose
that, click Assign, and notice that it
| | 04:55 | put an A in the score.
| | 04:56 | If I come down to the second variation
here, I'll hold down M and now I'll just
| | 05:01 | click, and it automatically adds B.
| | 05:03 | Now, interestingly enough, if I forgot one on
the line above, I could hold down M and click.
| | 05:09 | And notice that it intelligently knows
that the one has been added before the one
| | 05:13 | that was at bar 9 and so it has
automatically sequenced them correctly, A, B and C.
| | 05:19 | So many composers and arrangers have
learned the hard way, that adding expression
| | 05:22 | results in a much better performance.
| | 05:24 | Now that you know how easy it is
to add them, your scores can get the
| | 05:27 | performance they deserve.
| | Collapse this transcript |
| Smart Shapes| 00:00 | Many musical symbols, like crescendos,
trills, and slurs, can be added to Finale
| | 00:04 | scores using the Smart Shape tool.
| | 00:06 | Like expressions, they help a
performer to interpret and perform a piece.
| | 00:10 | Let's take a look at how to
add smart shapes to a score.
| | 00:12 | So please go ahead and open both the 5_09 files
and go ahead and tile and arrange them as you see.
| | 00:17 | Now to add a smart shape to the score
we need to choose the Smart Shape tool.
| | 00:22 | When we do that, please notice that the
Smart Shape palette opens up, and you can
| | 00:26 | see many of the shapes that we can add.
| | 00:28 | The first one is the Slur tool.
| | 00:29 | Now to add a slur, go ahead and double-
click a note. You will notice that it
| | 00:34 | slurs to the next note automatically.
| | 00:36 | I am going to delete that by highlighting
that and then hitting the Delete button.
| | 00:40 | Now if I want to add a slur for a
phrase, I'll double-click a note, hold, and
| | 00:45 | then drag and as you can see as I move
it, you'll see it outlining the target
| | 00:49 | note. And I'll drop that on that half note.
| | 00:52 | Now if I want to flip that slur, I'll
just press the F button on my keyboard
| | 00:57 | while that's selected.
| | 00:58 | That will put it the other way.
| | 00:59 | Let's add another one to this second
phrase in this first part of the song.
| | 01:03 | So I'll double-click there and
drag to the last note and let go.
| | 01:07 | Now that time it didn't work,
| | 01:09 | so I am going to just grab the end
handle, drag that again, and make sure that
| | 01:12 | that note is highlighted and then
let go. And I'll press F to flip that.
| | 01:17 | Some of the other shapes that we can
add are crescendos and decrescendos.
| | 01:20 | You will notice that we need one over
here just before C. So if I click the
| | 01:23 | decrescendo shape and then double-click
after the mezzo forte marking and drag,
| | 01:29 | I can add that shape.
| | 01:31 | I am going to undo that one as well.
| | 01:33 | I just want to show you that you can
actually add shapes without having to
| | 01:37 | choose the different shapes from the palette.
| | 01:40 | By default, if it opens on the slur
and you want to add a crescendo, or a
| | 01:43 | decrescendo in this case, just use the
greater than sign, hold it down on
| | 01:47 | your keyboard, click and drag.
| | 01:49 | If I want to add a crescendo, I'll use
the less than sign and hold that one
| | 01:54 | down, click and drag.
| | 01:55 | Let me go ahead and choose
that, and I'll get rid of that.
| | 01:59 | Now let's move over to measure 26.
| | 02:01 | So I am going to click down here in
the Measure field, type the 26, and locate
| | 02:06 | both these scores to that position. And you can
see up above here, we need to add some trills.
| | 02:12 | So I'll choose the Trill tool or you
could just hold down the T key and then
| | 02:16 | double-click and drag.
| | 02:17 | It will extend the length
for however long you drag.
| | 02:20 | Now if you let go and you want to
extend or shorten that at a later time, you
| | 02:24 | can just grab the handle on the
end and extend that or bring it back.
| | 02:28 | So I'll quickly add the rest of these
trills by holding down the T key and
| | 02:31 | double-clicking and dragging.
| | 02:32 | Now some of the other shapes you
might want to use might include the 8va.
| | 02:40 | This one is intelligent because if
I click and add this one above the
| | 02:42 | staff, I'll get 8va.
| | 02:45 | If I do it below a staff,
it knows that you want 8vb.
| | 02:48 | Let me select those and undo that.
| | 02:51 | Now we can even add a glissando if we
want, and I can do that by either choosing
| | 02:57 | a shape over here or I can just hold
down the G key and double-click and drag
| | 03:02 | down to add the gliss. And then once
I've got that in the score, if I need to
| | 03:06 | reshape it, I can do that by clicking
the handle and dragging and dropping that
| | 03:11 | where I want it to go.
| | 03:12 | Before we finish, I want
to go back to the beginning,
| | 03:15 | so I am going to hit the Home key.
| | 03:16 | I want to just talk a little
bit about the slurs that we see.
| | 03:21 | Now after they're in the score, if you
click the handle to select it, you will
| | 03:24 | notice that I get all these other
handles, so you can make a lot of
| | 03:27 | adjustments to a slur's shape.
| | 03:28 | If I drag it in the middle,
it's going to be symmetrical;
| | 03:31 | if I choose on the side, I
can make it lean to one side.
| | 03:37 | Depending upon the notes and expressions
and other things you have in the score,
| | 03:40 | this will help you to shape the slur so
it's not colliding with anything else.
| | 03:44 | So smart shapes add another
level of detail to a score.
| | 03:47 | Later we'll learn to add complex
shapes to guitar tablature scores and how to
| | 03:51 | copy and paste smart shapes into
scores with lots of instruments.
| | Collapse this transcript |
|
|
6. Notating Choral and Other Polyphonic MusicLayer basics| 00:00 | Classical guitar, piano, and choral
music are good examples of genres that often
| | 00:04 | incorporate multiple
independent voices on a single stave.
| | 00:08 | To enter this kind of music in Finale,
we'll need to learn how to use layers.
| | 00:11 | So go ahead and open the file that's in
the 6_01 folder, and then we're going to
| | 00:15 | create another file to work on.
| | 00:16 | So I am going to go up to the File
menu and I'll choose New > Document From
| | 00:21 | Template, and then I am going to go in
the Choir Templates folder and choose the
| | 00:25 | SATB (2- plus Piano.
| | 00:27 | Now I am choosing that one because
that will give us two staves where I can put
| | 00:31 | the soprano and alto in the top stave and
the tenor and the bass in the bottom stave.
| | 00:36 | So I am going to go ahead and click
Open and that's going to kick us into the
| | 00:39 | Document Setup Wizard, and I'll go ahead
and type in the Title information. I'll
| | 00:45 | click the Next button. We are going to
be in 4/4. We need the key of D, so I'll
| | 00:50 | click the scroll bar twice to add two
sharps and then I'll go ahead and click
| | 00:54 | Finish. I am going to maximize this briefly.
| | 00:57 | Now you notice that we've got the soprano, alto,
tenor, bass parts, and I've got a piano staff.
| | 01:02 | Now I actually don't need the piano staff.
| | 01:04 | So I am going to choose the Staff tool
and I am going to click the piano part
| | 01:09 | and I am going to Shift+Click the bass
clef so I've got both clefs selected.
| | 01:12 | Then I am going to go up to the Staff
menu and I am going to choose Delete
| | 01:16 | Staves and Reposition.
| | 01:17 | Now you notice that that got rid of
the piano part and it automatically
| | 01:21 | repositioned all the other staves.
| | 01:24 | Now I did this because this was the
quickest way to get a score setup that I
| | 01:27 | was looking for where I had this
closed vocal score with the soprano and alto
| | 01:32 | names on the treble clef and the
tenor and bass names on the bass clef.
| | 01:36 | So this is just a good example of how
you use a template and then modify it to
| | 01:39 | get something you want to use.
| | 01:41 | Now at this point, I am going to go
ahead and I am going to put this in Scroll
| | 01:44 | view. Remember, that's Command+E, Ctrl+E on a PC.
| | 01:47 | I am going to go up to the Window menu
and I am going to tile the windows so we
| | 01:51 | have both scores showing.
| | 01:53 | And I'll put the other
score also in Scroll view.
| | 01:55 | Now I am going to zoom in on that
bottom score just a little bit by going
| | 01:58 | Command+Equals--that would be Ctrl+
Equals on a PC--and now we are ready to go.
| | 02:03 | So, as you look at the soprano and alto
treble clef staff here, you'll notice
| | 02:07 | that all of the notes that are in the
soprano part are stemmed up and black and
| | 02:12 | all of the notes that are in the
alto part are red and stemmed down.
| | 02:15 | This is an indication that the soprano part
is in layer 1 and the alto part is in layer 2.
| | 02:21 | So, to add the soprano notes, I just
need to use the Simple Entry tool. I'll
| | 02:25 | Option+Click in the top staff to place
my cursor, and I'll choose my value, five
| | 02:30 | for quarter note, and then I'll just
start adding the notes as normal. So I'll go
| | 02:34 | A, A, B-flat, C, D, D, C, B-flat and
then D, A, F, G, F, E, D. If I use my
| | 02:46 | arrow, I can arrow over one and that
will add rest and complete the measure.
| | 02:49 | Now I am going to arrow back over to
the beginning and what I need to do is I
| | 02:54 | need to switch to layer 2.
| | 02:56 | On a Mac, the layer can be switched
by clicking the pop-up menu here in the
| | 03:00 | lower left-hand corner of the document window.
| | 03:02 | And on a PC, you'll actually see
buttons: one, two, three, and four.
| | 03:06 | So you'd just click the number two button.
| | 03:07 | But I am going to switch to layer 2
and now I'm going to add the notes that
| | 03:12 | are in the alto part.
| | 03:14 | So as I type an F and go to the next
note, notice that the notes already in the
| | 03:19 | soprano are stemming the other direction.
| | 03:21 | So I go F again, then G, G, and then A.
| | 03:26 | So, at this point this is one
of the nice things about layers.
| | 03:29 | I can actually add a different
rhythm in the alto part because it's
| | 03:32 | an independent voice.
| | 03:33 | Now we are only using two layers in
this particular piece, but we can use up to
| | 03:36 | four layers per stave.
| | 03:38 | You can imagine how
complicated the music can get.
| | 03:40 | So I go an eighth note and I'll add A,
G, and then I'll press the Plus key to
| | 03:45 | add the G sharp, then back to a quarter
note, A, and then down to the G. And this
| | 03:51 | time we'll have to add the minus to
remove that sharp, and then I'll add F, E
| | 03:57 | and then again a 4 for an eighth
note and E five for a
| | 04:02 | quarter, D. Four for a C. And let me
just finish this last measure. I'll add a
| | 04:05 | five for quarter note D and I'll add
the period to dot that and then four for a
| | 04:12 | C and five for an A.
| | 04:15 | Now, as I arrow and leave that measure,
I want you to notice that there are now
| | 04:19 | two rests in that measure.
| | 04:21 | Each layer has to complete the
measure with the correct number of beats.
| | 04:26 | So anytime you're using layers, you're
going to have to hide rest wherever you
| | 04:30 | have both parts resting at the same time.
| | 04:32 | So I am going to arrow back over on
that rests in layer 2 and I am going to
| | 04:36 | press the H key to hide that.
| | 04:38 | Then I am going to go down and go
back into layer 1 and you notice that the
| | 04:44 | other rest was automatically selected.
Now I am just going to use my arrow
| | 04:47 | keys to arrow down and arrow up
until it centers that where I want it.
| | 04:52 | Okay, so I need to add the
notes that are in the bass clef.
| | 04:55 | So I am going to hold my command key
down and that would be Ctrl on a PC and
| | 04:59 | press my down arrow to move my note
entry cursor down onto the right staff.
| | 05:04 | And I can use my cursor to get me back to
the beginning where I am ready to add notes.
| | 05:08 | Now, I am just going to add a few
notes to show you here that one of the big
| | 05:11 | mistakes that you can make is
to add notes in the wrong layer.
| | 05:15 | So, I am going to put this in layer 2
and I am going to add the tenor notes.
| | 05:21 | So let me arrow up here and
get closer to where I need to be.
| | 05:25 | Now I'll type D, D, D, E, and now I'm
noticing doggonne it, I've put the notes
| | 05:32 | in the wrong layer.
| | 05:33 | So I am going to switch back to the
Selection tool, highlight that measure, and
| | 05:38 | then I am going to right-click and I
am going to choose Move/Copy Layers.
| | 05:43 | And now what I can do is I can click
the second check box and choose Contents of
| | 05:47 | layer 2 Into layer 1.
| | 05:50 | Now the reason that I am doing this is
that notes in layer 1 automatically stem
| | 05:54 | up and the notes in layer 2 automatically stem down.
| | 05:58 | So I want to have the tenor part in
layer 1 and the bass part in layer 2.
| | 06:02 | Now I'll go back to Simple Entry tool.
| | 06:05 | Before I continue, I'll need to click
that layer button and go back into layer 1;
| | 06:11 | otherwise, I'll just
continue to make the same mistake.
| | 06:13 | And I tell you about that one because
I've done this dozens and dozens and
| | 06:17 | dozens of times and then had to go
back and copy things into the right layer.
| | 06:21 | Now before we finish this video, I
want to show you that we can change layers
| | 06:25 | by using a quick key.
| | 06:26 | That way you won't have to constantly
pull your mouse down and click the Layer
| | 06:29 | pop-up menu or click the
Layer button to choose it.
| | 06:32 | So on a Mac, that key command is
Command+Option and then the number of the
| | 06:36 | layer on the numpad.
| | 06:37 | So if I want to go to layer 2, I'll go
Command+Option+2. On a PC that's going to
| | 06:43 | be Alt+Shift plus the number.
| | 06:46 | So in this case it would be Alt+Shift+2
to go to the second layer or Alt+Shift+1
| | 06:50 | to go back to layer one.
| | 06:51 | So I'll go Command+Option+1 to
get back to layer 1 and then I could
| | 06:55 | continue adding those notes.
| | 06:57 | So practice using layers by adding the
rest of the notes and repeats to the score.
| | 07:01 | Now Finale actually allows for four
layers, so you can imagine the complexity of
| | 07:05 | the scores that you can create.
| | Collapse this transcript |
| Click-assigning layers| 00:00 | Oftentimes you'll find it's easier to
type the lyrics for a composition into a
| | 00:03 | word processor than directly into Finale.
| | 00:06 | You can then transfer the lyrics and
add them to your score using Finale's
| | 00:09 | Click Assignment method.
| | 00:11 | So go ahead and please open the 6_02
Click Assignment and 6_02 example files and
| | 00:15 | arrange them as we have in past videos.
| | 00:18 | Also, go ahead and open
the 6_02 Lyrics document.
| | 00:21 | You can either use the Word doc or the
text file there, depending upon what word
| | 00:25 | processor you're using. Okay.
| | 00:27 | To get this started, I am going to
switch over to my word processor and I'm
| | 00:31 | going to select the text that I've got in my
word processor and copy it to the clipboard.
| | 00:35 | Then I am going to switch back into
my scores here and then I am going to
| | 00:39 | choose the Lyrics tool and go up to
the Lyrics menu and open a new window
| | 00:44 | called the Lyrics window.
| | 00:45 | I am going to go ahead and I am going
to paste that text on the clipboard directly
| | 00:50 | into the Lyrics window.
| | 00:53 | Now, what I want to do is I want to
use these lyrics here and I want to click
| | 00:56 | them directly into the score.
| | 00:57 | So I am going to place my cursor before
the first word and then I am going to
| | 01:02 | go up to the Lyrics menu and I am
going to choose the Click Assignment mode.
| | 01:06 | Now all I need to do is click a
note in the score to add that word or
| | 01:10 | syllable to the score.
| | 01:11 | Now, please note that the lyrics have to
be attached to a note, so you are going
| | 01:15 | to have to pick a voice.
| | 01:16 | And at times when the rhythms are
different in an alternate voice, they are
| | 01:21 | going to have to
reconcile how to sing those words.
| | 01:23 | So I am going to use the
soprano line to click these in.
| | 01:26 | So now I'll just click that first note,
I get Gott, and then der, and I can just
| | 01:32 | continue to click and it will add the words in.
| | 01:36 | This is pretty straight ahead. We've
got pretty much one word per note here
| | 01:40 | until we get to the very end.
| | 01:41 | So on this last word we do have hyphens.
And I'll use the first two syllables
| | 01:46 | against the first two notes. And then
the last syllable actually skips a note
| | 01:50 | and goes on the last note,
| | 01:51 | so I'll just skip it and click, and
notice that it correctly aligns that.
| | 01:55 | Now, notice that there is a repeat here
on this first part, and so I am actually
| | 01:59 | going to need to take this text for
this next phrase and I am going to cut it
| | 02:04 | using Command+X, Ctrl+X on the PC.
| | 02:08 | And I am going to hit this up arrow button
to go into verse 2, and I'll paste it there.
| | 02:13 | I'll put the cursor back in front
of the first word, and now I can continue
| | 02:18 | to add the rest of these lyrics.
| | 02:19 | So I'll click the first note and now you
can see that I am adding the second verse.
| | 02:25 | And again, it's pretty much one
syllable or one word per note, except the very
| | 02:32 | last one, again, where I'll skip and move over.
| | 02:35 | Now, to start adding lyrics into the
next section of the song, I am going to
| | 02:39 | click the down arrow to go back into
the first verse, put my cursor before the
| | 02:44 | next word, and I'll start click-assigning that.
| | 02:47 | But this time I'm actually going to
make a mistake that I'll correct later.
| | 02:51 | I'm going to actually add this a note late.
| | 02:53 | So I'll start clicking the lyrics in
and then after about three or four I'll
| | 02:58 | look up and I'll see that
I've done that incorrectly.
| | 03:00 | So I am going to go back up to the
Lyrics menu and I am going to choose Shift
| | 03:04 | Lyrics. And what I want to do is I want
to shift this to the left one note, so
| | 03:10 | I'll choose Left, Shift Syllables by
One Note, click OK, and then I am going to
| | 03:15 | go click the first note, and they
all move over one syllable or one word.
| | 03:20 | So when I first started using Finale
I ignored Click Assignment because I
| | 03:23 | thought it was too complicated,
| | 03:25 | but as you can see, it's actually
easy, and it speeds up the process of
| | 03:28 | adding lyrics.
| | Collapse this transcript |
| Formatting and aligning lyrics| 00:00 | Scores with lyrics can get busy and
crowded, so it's likely that you'll want to
| | 00:03 | fine-tune the lyric
spacing and the staff spacing.
| | 00:06 | You might also want to change the
fonts or font style to get the end results
| | 00:09 | that you are looking for.
| | 00:10 | So if you would go ahead and open the
file that's in the 6_03 folder, and let's
| | 00:14 | take a look at this score.
| | 00:15 | Now, as I look right now, I can see
that I've got some notes that are very
| | 00:18 | close to the lyrics, and it looks like the
second verse is very close to the first verse.
| | 00:23 | So I want to adjust that spacing.
| | 00:24 | Now, what I'll typically start with is
the staff spacing so I can create enough
| | 00:28 | room for the lyrics.
| | 00:30 | And I'll choose the Staff tool to do that.
| | 00:33 | And I am actually going to zoom out a
little bit so I can see the entire score,
| | 00:36 | so I'll use Command+Minus--that
would be Ctrl+Minus on a PC--and I'll
| | 00:40 | zoom back out, and now I
can see the entire score.
| | 00:43 | If I look down here at the bottom,
I'll also notice that I've got some
| | 00:46 | collisions in there as well.
| | 00:47 | So with the Staff tool chosen, I can
change the spacing between the staves
| | 00:52 | globally, for the entire score, by
clicking out to the left of any one of the
| | 00:56 | staffs. And I am doing this on the bass and
tenor staff because I want to move that down.
| | 01:01 | And you notice that when I clicked out
to the left, it highlighted the entire
| | 01:04 | bass clef and it highlighted the staff
positioning handle. So I'll grab that.
| | 01:09 | Now I am just going to drag that down.
And you notice the rest of the document
| | 01:12 | is flowing down and the space
is increasing between the staves.
| | 01:16 | Now, once I've got a general setting,
I am going to look at the individual
| | 01:20 | staves. And it looks like I have enough
room with the first three, and I might
| | 01:26 | have too much with the last one.
| | 01:27 | So I am just going to click the first
measure in the last stave in the bass
| | 01:31 | clef, and now I've just highlighted
the handle for that one stave, and I can
| | 01:34 | click on that and I'll
drag it up just a little bit.
| | 01:37 | Now, once I've got that set, I want to work
with the spacing that's in the actual lyrics.
| | 01:43 | So I'll go to the Lyric tool and I
am going to click the first note.
| | 01:46 | You'll notice that that highlights
the first word in the second verse.
| | 01:50 | So I am actually in the
second verse at this point.
| | 01:53 | And that's not a bad idea.
I want to move the second verse down.
| | 01:55 | Now, globally I can do that by
using the triangle on the far left.
| | 02:00 | So as I click that, you'll notice that
it's going to move the entire bass line
| | 02:03 | down for the second-verse lyrics.
| | 02:06 | And I'll scan down and
I'll look at the rest of this.
| | 02:10 | It looks like I might need a little
bit more room on some of these staves.
| | 02:12 | So I am going to click in the treble
clef staff, because that's where the lyrics
| | 02:16 | are attached, and now to just set the
bass line for the second verse on that
| | 02:20 | stave, I'm going to grab the second
triangle from the right and I'll pull that
| | 02:24 | down just a little bit.
Maybe a little bit too much.
| | 02:28 | And then I'll do the same thing for the
third system. And on the fourth system
| | 02:32 | I've only got one lyric line, but I
am also going to pull that down just a
| | 02:35 | little bit, so it's a little bit more centered.
| | 02:37 | And again, I made a mistake there.
My mistake there was I actually wasn't
| | 02:41 | in the first verse.
| | 02:42 | And since we only have one line of text
there, it's actually in the first verse.
| | 02:46 | So I arrowed up to get into that
first verse and now I can move that one.
| | 02:51 | Now, I'll go back up and I'll work on
the first verse here on the first system.
| | 02:55 | I might pull that up a small amount.
And I'll go to the second system and I can
| | 03:01 | pull that down just a little bit.
| | 03:05 | As you can see, it takes just a second,
but can really improve the look and
| | 03:09 | the spacing of this.
| | 03:11 | So now it looks like I've got a place to start.
| | 03:13 | I can zoom in using my Command+Equals--
or that would be Ctrl+Equals on a
| | 03:17 | PC--and that's all starting to
look like it's nicely laid out.
| | 03:20 | Now, the next thing you might want to do is
work with the font that's used on the lyrics.
| | 03:24 | So I am going to go in and I am going
to open the Lyrics window, and here I can
| | 03:28 | actually select all of the text in a
verse, and I can go up to the Text menu,
| | 03:32 | and I can use the Font, Size, and Style settings.
| | 03:35 | For example, I might type "bro" to get me
down to Broadway. This is the hand-drawn
| | 03:41 | font for Finale. And I am going to
choose the Broadway Copyist Text. And I'll
| | 03:46 | choose Regular, and I'll click that.
| | 03:48 | Now, it flows immediately to the Lyrics
window and then it takes just a second
| | 03:52 | to flow through into the document.
| | 03:53 | Now, since I've got two verses in
this particular piece, I'll need to click
| | 03:57 | the up arrow to change to verse 2 and select
that text and go back in and do the same thing.
| | 04:03 | So Text > Font, and now I can change that
one--it takes just a second--and now that's
| | 04:11 | into the document as well.
| | 04:12 | Now, I can also change the font of a word or
the styling of a word directly in the score.
| | 04:18 | So for example, if I wanted to change
the style of this word right there, I want
| | 04:22 | to do that in the first verse, so I
clicked on that note and I am going to use
| | 04:25 | the up arrow to get back into the first verse.
| | 04:27 | And now that that's selected, I can
go Text, and I can go Style, and I can
| | 04:32 | change that to italics. Okay?
| | 04:35 | Now, you might also want to work with
how the syllables and words are lined up
| | 04:38 | against the notes, and you can do
that by going to the Lyrics menu and
| | 04:42 | choosing Adjust Syllables.
| | 04:43 | At this point every word and syllable
here in this score gets a positioning
| | 04:48 | handle on it, and you can choose one of
those and then use your arrow keys to
| | 04:52 | nudge that syllable, in this
case, one way or the other.
| | 04:55 | I am using my left arrow to do it to
the left and right arrow to the right.
| | 05:00 | Now, I'll normally make that using the
arrows, because dragging these things is
| | 05:03 | very difficult to keep that on the
same plane as the other lyrics in that
| | 05:07 | verse, and you can end up moving
something kind of out and then it gets hard to
| | 05:11 | make things look good.
| | 05:12 | Now, if you want to remove that manual
positioning, just right-click on that and
| | 05:16 | choose Clear Manual Positioning.
| | 05:18 | I can also select the entire line by
just drag-and-closing those words, and then
| | 05:24 | either from the Lyrics menu, or by
right-clicking, I can use the Align Default,
| | 05:29 | Center, Left, and Right commands.
| | 05:31 | For example, if I choose
Align Right--it takes a second--
| | 05:34 | you'll see that they are all aligning to the
right side of the word lining up with the note.
| | 05:38 | Let me undo that.
I actually like it the other way.
| | 05:41 | Now, if you want to change the fonts
for the entire document, we can do that in
| | 05:45 | Document Options, and I can choose Fonts.
| | 05:49 | And you'll notice that we have a
Lyrics area, and I can change the font
| | 05:53 | independently for the verse, chorus, or section.
| | 05:56 | You might use Section
for the bridge of the song.
| | 05:58 | So once you choose the area that you
want to work with, then click the Set Font
| | 06:02 | button, and now you can choose a
different font--let's say Tamburo--or you can
| | 06:07 | experiment with something that
you have on your system, and say OK.
| | 06:12 | And then to add this to the
document, I need to click Apply.
| | 06:15 | But I want you to notice that
the lyrics didn't actually change.
| | 06:19 | We're still on that Broadway Copyist Font.
| | 06:22 | And there's even a
warning here in the dialog box.
| | 06:24 | If you change the font, it will only
affect items created after the font
| | 06:28 | changes are applied.
| | 06:29 | So now that you know how to adjust the
lyric and staff spacing and how to change
| | 06:33 | fonts and style, your score should
look professional and be easy to read.
| | Collapse this transcript |
| Text basics| 00:00 | In addition to entering music, scores
contain many items that are pure text.
| | 00:04 | This is could be as simple as the
title of the scores or as complicated as
| | 00:07 | annotations that explain the
compositional techniques used or the historical
| | 00:11 | context of the score.
| | 00:13 | And as we've already seen, some of text items
are added as part of the new score process.
| | 00:18 | Go ahead and open the 6_04 Text Basic
Start file and let's see what else we
| | 00:22 | can do with the text.
| | 00:22 | So the Text toll is this capital A
that's on the Main tool palette and when
| | 00:28 | that's chosen, you notice that we get
these positioning handles that shows up on
| | 00:30 | the text that's already in the score.
| | 00:32 | If you double-click one of this handles,
it'll put you into the text box and you
| | 00:37 | can actually select the text and
retype it, edit it, or format it.
| | 00:41 | For example, I can go up to the Text
menu and you'll see submenus here for Font,
| | 00:46 | Style, and Size. And for example I
might want to italicize this title.
| | 00:50 | If you want to add additional text
to the score, you can go ahead and
| | 00:55 | double-click on the page
where you want to add it.
| | 00:57 | A little text box opens and the cursor
blinks, showing you that's where you're
| | 01:01 | going to add your text.
| | 01:02 | Now go ahead and type "Closed Score"
for the type of score that we're using
| | 01:08 | and then if want to format that, I can
go ahead and highlight it and go back
| | 01:11 | into the Text menu.
| | 01:12 | For example, if I want to make that a
little smaller, I'll choose Size and 10. If I
| | 01:17 | want to bold that, I can go back in.
| | 01:19 | In the Style submenu I want you to
notice that there are shortcuts associated
| | 01:23 | with your bold, italicizing, and
underlining, and those are very similar to their
| | 01:27 | Mac and PC equivalents, with just the
Shift key added. I'll go ahead and click it
| | 01:31 | and you can see that is bolded.
| | 01:33 | Now there are times that you are going
to want to add text and actually have it
| | 01:36 | attached to a measure.
| | 01:38 | This text box that we just added is
actually only locked to that spot on the page.
| | 01:42 | For example, if I go down here to
measure 5 and I double-click and I type
| | 01:47 | something like "With Lute" to indicate to
the singers that they're doubling the
| | 01:51 | lute player I can add that, but if I
later change the position of that measuring
| | 01:57 | the score, the text
isn't going to flow with it.
| | 02:00 | So I'll choose the Selection tool,
select the measure, hit the up arrow to make
| | 02:04 | that measure go to the previous line,
and when I do that, you'll notice that
| | 02:08 | "With Lute" is still stuck on the second line.
| | 02:11 | Now I will hit the down arrow to move
that measure back down. Let's see if
| | 02:14 | we can correct that.
| | 02:15 | So I'll go back to the Text tool, and
this time I'm going to right-click on the
| | 02:19 | handle and I'm going to choose Edit
Frame Attributes. And here you can see, up in
| | 02:24 | the top part of this dialog box, that
we can either attach this to a page or we
| | 02:28 | can attach it to a measure. So I'll
click this radio button and I'll say put
| | 02:33 | that at measure 5 and attach that
the Soprano Alto staff and click OK.
| | 02:38 | Now notice that it moved that, and it
also changed the formatting, and the letters
| | 02:43 | inside the text box are red.
| | 02:45 | That's already an indication that
this is now a measure-attached text box.
| | 02:50 | So I'm going to go ahead and I'll go
back to the Selection tool, select that
| | 02:53 | measure, and I'll press the up arrow
again to move that up a line. And notice
| | 02:58 | that this time the text flows with the
measure. I will arrow that back down. I
| | 03:02 | am going to go ahead and I'm going to
delete that text box and show you one
| | 03:04 | more way to do this.
| | 03:06 | So I'll choose the Text tool, highlight
the handle, and press the Delete key to
| | 03:11 | get rid of that, and now I'm
going to go into Scroll view.
| | 03:14 | Remember, that's Command+D on a Mac or
Ctrl+E on a PC. I'm going to go over to
| | 03:19 | measure 5, choose my Text tool, and I'll
double-click and add that text box, and
| | 03:23 | again I'll type "With Lute." And notice
that this time the text is coming in in
| | 03:28 | the color red. I'll click away from
that text box to finish and now I can grab
| | 03:32 | the handle and drag and position that.
| | 03:34 | So I'll switch back to Page view--
remember, it's Command+E to toggle or Ctrl+E
| | 03:39 | on a PC--and now I see that the text is
there above measure 5 and when I choose
| | 03:45 | the Selection tool and use the up arrow to
move that up a line, the text now flows with it.
| | 03:51 | So that's just as an indication that
when you add text in Scroll view it's
| | 03:55 | automatically going to be attached to a
measure; and when you add it in Page view
| | 03:59 | it's automatically added to the page.
| | 04:01 | Now we can also add text inserts in
Finale. So I'm going to choose the Text
| | 04:06 | tool. Then I'm going to get this tool
palette out of the way by clicking this
| | 04:09 | button. Then I'm going to scroll
down to see the top of the page and then
| | 04:13 | move that over so we're centered again.
| | 04:15 | So if I want to add a text insert, I
need to start by double-clicking and
| | 04:19 | adding the text box. So I'll do that
and then I'll go up to the Text menu and
| | 04:24 | I'll go down to the Insert submenu and
now I can insert any one of these things
| | 04:28 | in the score, like a sharp or flat.
And anything where I have text entered into a
| | 04:34 | placeholder, like when we created the score,
we actually typed in J.S. Bach as the arranger,
| | 04:40 | so if I just click Arranger, it add
J.S. Bach in there. Now I can click
| | 04:44 | outside that to finish adding the text
and then grab the positioning handle and
| | 04:48 | drag and align that where I want it to go.
| | 04:51 | So text information like title, composer, and
lyricist is an important part of any score.
| | 04:56 | Carefully formatting that information
plays as big a part in making a score look
| | 05:00 | professional as formatting the actual music.
| | 05:03 | Take the time to get familiar of
using and editing with the Text tool.
| | Collapse this transcript |
|
|
7. Recording Real-Time NotationPlayback basics| 00:00 | Playback in Finale is very useful,
even if all you use it for proofreading to
| | 00:04 | find the wrong notes.
| | 00:05 | Also, the sounds available and the
ability to recreate a lifelike performance
| | 00:09 | continue to improve with each Finale update.
| | 00:11 | If you would please open up to 7_01
String Quartet Example file, and we'll get
| | 00:15 | started by going to the Window menu
and opening up the playback controls.
| | 00:19 | Now on a PC, it's likely that these
are docked onto the toolbar, but you can
| | 00:24 | open up the same way by going to Window
and choosing Playback Controls and then
| | 00:28 | they'll dock to the toolbar.
| | 00:29 | Now let's just review the
transport controls here.
| | 00:32 | So let's start with the play button
and when Finale is stopped we'll see
| | 00:35 | there is a play button.
| | 00:36 | As Finale plays, notice that
it'll turn into a pause button.
| | 00:40 | (music playing)
| | 00:42 | And when I hit it, notice that
it stops where I played back.
| | 00:46 | If I want to go to the beginning of
the piece, I can hit the Stop button and
| | 00:50 | each time I press Stop after playing, it
will return back to the first measure.
| | 00:54 | (music playing)
| | 00:58 | Now you could advance into the score by
using the fast-forward button, and notice
| | 01:02 | that it'll go ahead one bar
at a time, each time I click.
| | 01:06 | Now if I want to go into in the reverse,
I'll click rewind and it'll do the same thing.
| | 01:10 | Now if you hold down either one of
these buttons, they will scroll rapidly
| | 01:14 | through the score, one bar at a
time. Or reverse and the same thing.
| | 01:21 | If I want to go to the end of the piece,
I can just hit this button over on the
| | 01:25 | end of the transport.
| | 01:27 | If I want to go to the beginning of the
piece, I can just hit the go-to-beginning
| | 01:30 | button on the left hand side.
| | 01:32 | Now if you want to type in a place you
want to start, you can go ahead and click
| | 01:36 | in this field and enter a number. And
you'll notice that I'm just typing it in
| | 01:39 | the first field. By the way, this is
formatted in bars, beats, and EDUs, so I'll
| | 01:45 | go ahead and maybe type bar 5 and hit
Return and now I can start from bar 5.
| | 01:50 | (music playing)
| | 01:54 | Now if you click the arrow button here, it'll
open up more options here that we can work with.
| | 01:59 | First of all, the Scrolling Playback
option will actually gave us a cursor that
| | 02:03 | moves through the score as it plays back.
I'll put this back to bar one and I'll
| | 02:07 | hit Play and we'll see that.
| | 02:09 | (music playing)
So we have a playhead here. Let me hit Stop.
| | 02:14 | Now in the next area we have Human
Playback Style, and this is something in
| | 02:19 | Finale that'll actually impress a
certain kind of performance onto your score.
| | 02:24 | We've got a Haydn score
here, so I'll choose Classical.
| | 02:27 | Now you should note that when you
choose Human Playback Style that actually
| | 02:32 | overrides any MIDI data that's in the
file other than the notes, so things like
| | 02:37 | velocities and other things like that
will not actually be read--and that would be
| | 02:42 | any music that was created in Finale
using HyperScribe courting or if you
| | 02:46 | actually imported a MIDI file into Finale.
| | 02:49 | Now I can also go and choose
other styles like Swing or Jazz.
| | 02:54 | The Swing parameter becomes available,
and what this does is it takes the eighth
| | 02:59 | notes that are on the end of the beat
and it moves them over far enough so that
| | 03:02 | they actually play as if they are the
third note in an eighth note triplet. And
| | 03:07 | you can adjust that value up or down if
you want more or less of a swing feel.
| | 03:11 | So I've got that at the beginning. Let's
actually hear what that does to this music.
| | 03:17 | (music playing)
| | 03:21 | So we here that kind of
loping jazz feel to that.
| | 03:25 | Now the Base Key Velocity setting here
is something the Finale uses to determine
| | 03:29 | how it's going to apply dynamics.
| | 03:31 | Now velocity in MIDI performance is a
parameter that we store to indicate how
| | 03:36 | loud something is, and that ranges from 0 to 127.
| | 03:40 | So essentially, what they're saying
by using a bass velocity of 64 is that
| | 03:44 | they're starting from a medium point in the
way that they're going to apply the dynamics.
| | 03:47 | Now the bottom third of this window
allows us to determine how it plays back.
| | 03:53 | If I choose From Leftmost Measure it
doesn't really matter what I type or set in
| | 03:57 | these fields; it's
always going to start from bar one.
| | 04:00 | If I enable this radio button, when I
type a value into the Measure field, it'll
| | 04:04 | actually start from that point.
And I can also set a range if I want.
| | 04:08 | For instance, I could set this to
go from measure 10 to measure 20, and
| | 04:12 | it'll range between those two points.
And if I add a repeat, it'll actually
| | 04:16 | loop during that area.
| | 04:18 | While the playback controls are open, I
can use a spacebar on a Mac to start and
| | 04:23 | stop the performance.
| | 04:26 | (music playing)
| | 04:30 | And notice that when I hit stop
it's actually the play button, so it
| | 04:32 | actually paused it.
| | 04:33 | Now I can do the same thing on a PC by
going Alt+D+P to start and Alt+D+O to stop.
| | 04:42 | Those are a little bit odd to use, so
oftentimes when I am working on a PC I'll
| | 04:45 | actually just use the transport
controls that are docked to the toolbar.
| | 04:50 | On a Mac if the playback controls are
closed, you can still start playback using
| | 04:55 | a shortcut, using spacebar and click to start.
| | 04:58 | (music playing)
| | 05:00 | And then spacebar and click to stop again.
| | 05:04 | On a PC, the shortcuts are exactly
the same thing, still Alt+D+P to start
| | 05:09 | and Alt+D+O to stop.
| | 05:12 | Now something else we might want to
look at while we're here is the Mix
| | 05:15 | window. So I'm going to Window and
choose Mixer and now I get a channel strip
| | 05:20 | for each stave in the score. And I can
adjust the levels using these volume
| | 05:25 | sliders, and I can mute and solo the
tracks using these buttons. You can change
| | 05:31 | the Pan settings by dragging these knobs up at
the top, and you can also choose a reverb preset.
| | 05:38 | Now right now, we're on large room,
but you can see that we can choose Medium
| | 05:42 | Hall, Large Hall, Plate reverb. And you
can also set the Reverb Level by dragging
| | 05:48 | this knob at the top.
| | 05:49 | Now some of these controls are also
available in the Score Manager. So I'm going
| | 05:54 | to close the Mixer and go to Window
and choose score Manager. And I'm going to
| | 05:58 | click the Instrument List tab. Now
we can see a line for each stave in the
| | 06:03 | score, and note you've got this M and
S column that stand for mute and solo.
| | 06:09 | But you'll notice that if you click the
triangle next to Violin 1,it opens up
| | 06:14 | and it shows us the different layers
that are available and if there are chords
| | 06:19 | and expressions in the
piece, what it's going to do.
| | 06:21 | Now by clicking Mute on the top level,
I've actually done that for the entire
| | 06:26 | part, but if I disable that, notice that
I can come down and I can actually mute
| | 06:31 | or solo on an individual layer, or
either on the chords or the expressions. And
| | 06:37 | the reason that I mention this is
because there are times when we're going to
| | 06:40 | attach things in other layers of the
document that we would want to mute, or you
| | 06:45 | might want to just mute a layer.
| | 06:47 | Often, I'll actually put the chords
that I'm using in layer 4 because I don't
| | 06:51 | want the chords to play back or
if they're attached to any notes.
| | 06:55 | If I'm using rhythmic notation or
something like that, I'll actually put that in
| | 06:59 | layer 4 so those notes won't be heard.
| | 07:02 | So just remember that you can mute
this at several places, both in the Mixer
| | 07:06 | window and in the Score Manager
window. And in the score Manager, you can
| | 07:10 | actually mute independent layers or
chords or expressions. And I'll click there
| | 07:16 | at the highest level to disable that.
| | 07:19 | As you can see, Finale playback is useful tool.
| | 07:22 | Now as you work in Finale, you can use
playback to check for wrong notes and
| | 07:25 | evaluate your music.
| | Collapse this transcript |
| Selecting instrument sounds| 00:00 | For the most part, I use Finale as a
notation program and not as a music-
| | 00:04 | production application like Logic or Pro tools.
| | 00:06 | That said, the sounds available and
the ability to adjust the performance in
| | 00:09 | Finale are improving all the time, so
it's definitely worth a closer look.
| | 00:14 | So if you would, go ahead and open
the 7_02 Woodwind example file, and let's
| | 00:18 | click the MIDI/Audio menu, because I
want to talk a little bit about these first
| | 00:21 | two options here: Play Finale Through
Audio Units--and that would be Play Finale
| | 00:25 | Through VST on a PC--and
Play Finale Through MIDI.
| | 00:29 | Now, if you choose Play Finale Through
MIDI, Finale is going to use the sounds
| | 00:33 | that you chose in Device Setup
and MIDI/Internal Speaker Setup.
| | 00:37 | Now, if we go in there, we'll see
that I have set this to play back on the
| | 00:40 | SmartMusic SoftSynth, and we have the choice
of QuickTime and MIDI System there as well.
| | 00:46 | Now, one of the reasons that I point
this out is because when you're entering
| | 00:50 | notes, you don't really want the
playback to get in the way and if you're using
| | 00:55 | something that's in audio unit or VST
plug-in format, they are going to take up
| | 00:59 | more CPU usage and it's actually going to
slow things down. But it doesn't sound
| | 01:04 | real great this way. It's
just kind of a basic sound set.
| | 01:07 | So let's hear what it sounds
like with Play Finale Through MIDI.
| | 01:11 | Go ahead and click Play.
| | 01:14 | (music playing)
| | 01:18 | And it's a very, very basic sound set.
| | 01:20 | Now, if I go and I choose Play Finale
Through Audio Units, it's immediately
| | 01:26 | going to sound a little bit better.
| | 01:29 | (music playing)
| | 01:33 | Now, if we open up the Score Manager, we
can actually watch and see what's going on.
| | 01:37 | So I am going to go to Window >
Score Manager and we can see that it's
| | 01:43 | currently assigned to the Garritan Instruments.
| | 01:45 | Now, if I go back up to MIDI/Audio
and choose Play Finale Through MIDI,
| | 01:48 | watch what happens.
| | 01:50 | It immediately changes it back to the
SmartMusic SoftSynth and the default sounds.
| | 01:55 | So I will go back to MIDI/Audio and I
am going to choose Play Finale Through
| | 01:58 | Audio Units--that would be Through VST
on a PC--and it immediately switches it to
| | 02:03 | the Garritan Instruments for Finale.
| | 02:05 | That's the sound set that comes with
Finale, so you should load that if you have
| | 02:09 | the disk space for it.
| | 02:10 | Also, if you had other audio units or VST
plug-ins, you could choose them here on this list.
| | 02:15 | Now, I have only got these two, which
are actually kind of sound-related sample
| | 02:20 | players, and these other ones down here,
like the ARIA Player, this is actually
| | 02:24 | kind of their mixer that's
associated with the Garritan instruments.
| | 02:27 | Now, if I choose this, I want to
show you something that happens.
| | 02:30 | We get this little button that
changes over here to Edit Player in red.
| | 02:34 | So for example if you were going to use
a third-party plug-in like Contact, you
| | 02:39 | would see this Edit Player button
and then when you click that, it would
| | 02:42 | actually open up the third-party plug-
in, and you would actually be able to
| | 02:45 | choose and load sounds at that point.
| | 02:47 | And if I click on that, we'll see the
Garritan audio player pop up, and this
| | 02:51 | actually isn't the way we would do it with
this particular one, so I am going to close it.
| | 02:55 | But that would be what
would happen if you had Contact.
| | 02:57 | I am going to click that and put that
back on Garritan instruments for Finale
| | 03:01 | and now it assigns a sound.
| | 03:03 | Now if I click in here, you can see that
I have got some different sounds that I
| | 03:06 | can choose, and I could even go down
into the Woodwinds category and I could see
| | 03:11 | the same type of thing.
| | 03:12 | Now, you might wonder why we have
multiple flute players, because if we were
| | 03:15 | doing this in more of an orchestral
score, you might want a different flute
| | 03:19 | player for the different flute parts.
And while we're here, let me show you
| | 03:23 | that in the Single Strings we'll also see
things like Violin Solo KS and Violin Solo.
| | 03:29 | Well, the difference here is that the
KS stands for Key Switching, and when you
| | 03:34 | use a sound that has a key-switching
set, what will actually happen is that
| | 03:39 | Finale will actually switch
samples when it sees an articulation.
| | 03:43 | So if we see the smart shape with a
legato marking, it's going to play legato,
| | 03:48 | but as soon as it starts seeing accents
and staccatos and things like that, it's
| | 03:52 | actually going to switch sample sets
to the correct sample, and we'll get a
| | 03:57 | staccato sample with a staccato articulation.
| | 04:00 | And using a key-switching sample will
actually really improve the sound of what
| | 04:04 | you get, because it's going to sound
more human-like and you're going to get the
| | 04:07 | right articulation with the right note.
| | 04:10 | So a couple of other things we can do
with these Audio Units plug-ins are first
| | 04:14 | of all, you may want to manage
the ones that you actually see.
| | 04:18 | So if I go into Device Setup, I can
actually choose Manage AU Plug-ins--and again
| | 04:22 | that would be Manage VST on a PC--and
you will see a list of the active and
| | 04:28 | inactive plug-ins that are in that format.
| | 04:31 | So anything that's in the upper pane is
currently active and anything that's in
| | 04:34 | the lower pane is inactive.
| | 04:36 | So if you've got a bunch of stuff up
here that you're not using, you can
| | 04:39 | actually choose it and then
click the Make Inactive button.
| | 04:43 | Now, the ones that are already
inactive might be there because Finale
| | 04:47 | actually couldn't use them.
| | 04:49 | So if I click one of these and choose
Make Active, we're likely to get an error
| | 04:53 | message like this that said hey!
| | 04:54 | The last time Finale tried to use this, it
didn't work, so do you want to try it again?
| | 04:59 | In this case, I will just
click No and go on. Close that.
| | 05:04 | Now, the other thing you might check
is the actual priority of the sounds
| | 05:07 | that are being used.
| | 05:08 | So if I go into Sound Map Priority, I
will see this dialog box that says, hey!
| | 05:13 | The two things that you're actually
using for sample players right now are the
| | 05:17 | Garritan Instruments for
Finale and the SmartMusic SoftSynth.
| | 05:20 | Is there a priority that
you want to use those in?
| | 05:23 | And usually I will actually put the
SmartMusic SoftSynth first so that Finale
| | 05:27 | automatically defaults to that, and
then later, when I get to the end of
| | 05:31 | finishing a score, I will manually set
it to play with Garritan Instruments for
| | 05:35 | Finale by simply going up to the MIDI
/Audio menu and choosing Play Finale
| | 05:40 | Through Audio Units, or Play Finale Through VST.
| | 05:43 | Now, we can also do some fancy stuff with
the Audio Units and Banks & Effects settings.
| | 05:48 | So I am going to open up that dialog,
and we can see that the Garritan player is
| | 05:52 | assigned to the first bank. Now I have
got only four instruments, so I am not
| | 05:56 | using multiple banks now.
| | 05:58 | And I can go over to the Effects column
and I can click on that, and I can choose
| | 06:03 | a different reverb to be used with
this, so I will choose the Garritan:
| | 06:05 | Ambience reverb. And then if I click
the pencil that's next to that, I can
| | 06:10 | actually go in and choose a preset.
And I will use Recital Hall here and you
| | 06:15 | notice that some of those settings changed,
and then I can actually modify that even more.
| | 06:20 | Now, a lot of these presents sound very wet,
meaning that there's a lot of reverb on them.
| | 06:25 | So if I bring up the Dry Gain, that's
going to accentuate the sound that doesn't
| | 06:29 | have any reverb on it. So I might bring that up.
| | 06:33 | Let's go ahead and close that. Put that on top.
| | 06:37 | Now, if I click this, you're going to hear
that this is starting to sound a lot better.
| | 06:42 | (music playing)
| | 06:51 | Now, if I wanted to further modify
that, I could actually bring up a little
| | 06:55 | mixer that's associated with the
Garritan ARIA Player by clicking on this pencil,
| | 07:01 | and I get another mixer window that
kind of overlays on top of the Finale mixer
| | 07:04 | window, and I can make further settings.
| | 07:07 | I've already have balanced this a little
bit, because the French Horn originally
| | 07:11 | was a little bit loud, and the clarinet as well.
| | 07:14 | So I have already made some adjustments there.
| | 07:16 | In addition, I can also click the
Effects tab over here on the right and I can
| | 07:22 | also set or change the preset here--so
let me put that on Recital Hall--and now I
| | 07:27 | don't get so many parameters. I only
get the most often used ones, and you might
| | 07:31 | find this just a little
bit better place to start.
| | 07:33 | Now, if you want to add an effect
that's going to affect all of the banks--and
| | 07:39 | this would be for a score when you
have more instruments than we have in this
| | 07:42 | particular score--you can add a master
effect, and usually you'll do this to add
| | 07:47 | EQ or maybe a little compression.
| | 07:50 | So if I bring up this AUParametricEQ, I
can click the Pencil tool, and then maybe
| | 07:55 | if I wanted to make a little cut in the
low midrange, I could pull that down, and
| | 08:00 | you can click in these fields and you
can actually change the values that way.
| | 08:03 | So I can type 3.0 there instead, and now
that's affecting a little bit wider range.
| | 08:09 | As you can see, the sounds you use can
easily be changed using the Score Manager,
| | 08:13 | and you can further fine-tune the sound
of your score by adding audio effects.
| | Collapse this transcript |
| HyperScribe setup| 00:00 | If you're a capable pianist, you can
probably enter notes into Finale faster by
| | 00:03 | recording them in real time than by
entering them using the computer keyboard.
| | 00:08 | Using Finale's HyperScribe Record tool
also allows you to capture the nuance of
| | 00:12 | human performance via the MIDI data
collected as part of the recording.
| | 00:16 | So I am going to try and record this
piece that we see, and there is a copy of
| | 00:20 | this in the exercise folders
if you want to follow along.
| | 00:21 | But I am going to start
by creating a new score.
| | 00:24 | So I am going to go File > New > Document
With Setup Wizard, choose the Engraved
| | 00:30 | Style, and click Next.
| | 00:31 | Then I will choose Keyboards > Piano
Staff Name and click the Add button. Click
| | 00:37 | Next. Not worried about the title information.
| | 00:40 | I will put this in 3/4 and in the key of
D by clicking up twice. And I will click
| | 00:46 | the Finish button, and
we're ready to get started.
| | 00:48 | So there's a little bit of
setup to using HyperScribe.
| | 00:51 | I am going to go up to the MIDI/
Audio menu and make sure that Play Finale
| | 00:54 | Through MIDI is chosen.
| | 00:55 | Now remember, that's going to assign
playback to the default MIDI set, which
| | 01:01 | takes up less CPU usage than
using an Audio Units or VST set.
| | 01:05 | Then I will go back into the MIDI/
Audio menu and I am going to choose
| | 01:09 | Quantization Settings.
| | 01:11 | Now, as we've discussed in earlier videos,
the way we notate music is actually a
| | 01:15 | bit simpler than we play it.
| | 01:16 | If not, we would have lots of
small rests and small note values.
| | 01:20 | So I am going to come in here and tell
Finale the smallest note value in the
| | 01:24 | piece that I am about to record, which
is an eighth note, and then I also looked
| | 01:29 | through the piece and I saw that there
were no tuplets, so I would choose that.
| | 01:33 | If there were triplets in the piece,
you would use Mixed Rhythms, and if you're
| | 01:38 | kind of a mediocre keyboard player
like me, you'd probably choose Space Notes
| | 01:41 | Evenly in Beat, which will take any
notes played within a beat and space them
| | 01:46 | evenly, no matter how unevenly you play them.
| | 01:48 | I would also recommend clicking the
More Settings button and then making sure
| | 01:53 | that Minimize Number of Rests and
Retain Key Velocities is selected.
| | 01:58 | Now minimizing number of rests will
get rid of small rests that might happen
| | 02:02 | when you interpret a quarter
note as a dotted eighth note.
| | 02:05 | Otherwise, you get a dotted
eighth note and a 16th rest.
| | 02:09 | And I like to retain key velocities
because that's actually going to record your
| | 02:13 | velocity of striking the key and
you'll actually get the amplitude translated
| | 02:16 | into the dynamics of the performance.
| | 02:19 | Go ahead and click OK and OK, and then I
am going to go back into the MIDI/Audio
| | 02:24 | menu one more time and
choose Click and Countoff.
| | 02:27 | Now, the first row pertains to
countoff and when countoff happens.
| | 02:32 | So I can have that While Recording,
While Playing, Never, and Always.
| | 02:35 | Now if you have that on While Playing
scores, you are always going to get two
| | 02:38 | measures of countoff no matter what happens.
| | 02:41 | So I only want that on recording.
And then I will go over and I will set the
| | 02:45 | actual countoff length here by
indicating usually one or two bars.
| | 02:49 | If the piece is fast, I might use a
two-bar countoff, and then in this case
| | 02:52 | we're going to be going a little
bit slower, so I will put 1 in there.
| | 02:56 | The Click itself, we can also have
While Recording r While Playing similarly,
| | 03:01 | and in Finale I usually
leave this on While Recording.
| | 03:03 | Then we have an option of setting
the Metronome Sound that we hear.
| | 03:07 | Now, I will let you know that I think
that the Finale Click is kind of annoying,
| | 03:11 | so I will usually switch this to MIDI
Note, and now whatever note that you have
| | 03:17 | in here--and this is by MIDI Note
number--will actually be the sound we hear.
| | 03:21 | Now in the Click and Countoff window,
this MIDI Note is actually routed to a
| | 03:25 | generally MIDI set of percussion
sounds. And just so you know what you're
| | 03:28 | actually using, I am going to click
OK here and I am going to go back into
| | 03:31 | MIDI/Audio > Device Setup and choose Edit
Percussion MIDI Maps, and then I'm going
| | 03:38 | to choose the General MIDI Percussion set.
| | 03:41 | Now you can see the actual MIDI notes
that are assigned to those particular sounds.
| | 03:46 | So the Cross Stick sound is a 37, and I
might use like a High Woodblock sound as
| | 03:51 | well. So now that I know those numbers,
I will click OK and I am going to go
| | 03:56 | back into MIDI/Audio and click Countoff.
And the downbeats are already assigned
| | 04:01 | to the Cross Stick, and I'm going to
assign the offbeats or the other beats--
| | 04:06 | that would be beats 2, 3 and 4, or in
this case, since we're in 3/4, 2 and 3--I am
| | 04:10 | going to assign those to the
woodblock, and then I will say OK.
| | 04:15 | Now next, I'm going to go into the
HyperScribe menu--and by the way, that's
| | 04:20 | active, because I actually have
the HyperScribe tool selected.
| | 04:23 | So go into HyperScribe and I am going to
choose Beat Source > Playback and/or Click.
| | 04:28 | Now, here we can choose what kind of
tempo we're going to be recording to.
| | 04:33 | If there is a tempo in the score
that you want to use, you can just use
| | 04:36 | Use Playback Tempo.
| | 04:38 | In this case, I am going to use This
Tempo, and I am going to type a value in,
| | 04:42 | and I'll make that a modest tempo,
like maybe 90 beats per minute, and then
| | 04:47 | I'm going to indicate to Finale that
quarter note is actually the pulse or
| | 04:50 | beat in this music.
| | 04:53 | Under Start Signal for Recording, you
can use None--and by the way, that would
| | 04:57 | mean that you would just click into a
measure and automatically the countoff
| | 05:02 | would start and then you would start playing.
| | 05:04 | You can also choose Any MIDI data.
| | 05:06 | Now, this might be handy if you're at a
MIDI controller that's not positioned so
| | 05:10 | friendly to where your computer is.
| | 05:13 | This way you can set up recording
and then actually play a note on the
| | 05:16 | keyboard to actually start recording, and you
can do the same thing with the sustain pedal.
| | 05:20 | Now, the Play Staves While Recording
down here, that actually is an effect only
| | 05:26 | if you have more staves than we have.
| | 05:28 | So for instance, if you have a chamber
orchestra score and you're just about to
| | 05:31 | record the oboe part, and you want to
hear the other parts that have already
| | 05:35 | been added to the score, you would
want to click Play Staves While Recording.
| | 05:38 | In our case, it doesn't really have any effect,
| | 05:41 | so I will go ahead and click OK, and
then I will go back into HyperScribe menu
| | 05:45 | and I am going to choose Record mode.
| | 05:47 | Now, right now Record into One staff is
selected, and that means that when I get
| | 05:52 | ready to record here, I will click in
the treble clef staff and it's only going
| | 05:55 | to record notes into that staff.
| | 05:57 | If you're a little bit better keyboard
player than I am, you can do both hands
| | 06:01 | at the same time by
choosing Split into Two Staves.
| | 06:04 | Now, if you choose that option, it's
going to ask you what you want to set as
| | 06:08 | the Split Point, and the Split Point
is defined as notes including this note
| | 06:13 | number and above will go into the
treble clef staff and note numbers that are
| | 06:17 | below that--59 and lower--will
actually be entered into the bass clef staff.
| | 06:21 | Now, by the way, 60 represents middle C.
I am going to click OK, I am going to
| | 06:27 | go back out of there and into Record
mode, and I am going to choose Record into
| | 06:30 | One Staff because that's
about my level of competence.
| | 06:34 | Now I'm ready to go.
| | 06:35 | All I need to do is click in this
first measure and then we'll hear the
| | 06:39 | countoff, and then I can play the music in.
| | 06:41 | (music playing)
| | 07:02 | And to stop this, I will just click
any measure and we're done recording.
| | 07:06 | So we can see that that smoothed that
out, even though I didn't play it that
| | 07:09 | evenly, and it looks pretty good.
| | 07:11 | Now the next time I am going to record
into the bass clef and I am going to do
| | 07:14 | things just a little bit differently.
| | 07:16 | I am going to go back into
HyperScribe > Beat Source and this time I am
| | 07:20 | going to choose Tap.
| | 07:21 | It's going to come up and it's going to
ask me, how are you going to indicate the tap?
| | 07:25 | Are you going to indicate this via a
sustain pedal or some other pedal, or do you
| | 07:29 | want to do this by MIDI note?
| | 07:31 | And essentially what I'm gong to do
is I am going to tap along with the
| | 07:34 | music and whatever I tap, Finale
is going to automatically align notes
| | 07:39 | against that tapping.
| | 07:41 | So I am going to click the Listen button here.
| | 07:46 | Now, Finale is listening for what note
on the keyboard that I'm going to use to
| | 07:50 | indicate my tap or the beat, and so I
will play this low D on the keyboard and
| | 07:56 | it tells me that that's note 38, and
I will click OK, and I'm ready to go.
| | 08:00 | So I am going to click in a bar.
Notice that nothing happens.
| | 08:04 | Until I play that low D, Finale is going
to wait to begin recording when I'm playing.
| | 08:10 | So I am going to play that low D and
start playing the part simultaneously while
| | 08:14 | playing the low D on each beat.
| | 08:16 | (music playing)
| | 08:33 | And then I will click to say I am done.
| | 08:35 | You notice that I was very uneven
with the way I played the beat, but I did
| | 08:40 | that just to demonstrate that it would
actually straighten it out and put it
| | 08:43 | in the right place.
| | 08:44 | So everything here is pretty good
except that last note, which I need to change
| | 08:48 | to a dotted half note. So I will just go
to the Simple Entry tool and I will
| | 08:52 | Option+Click that note--that would be
Ctrl+Click on a PC. And I am actually
| | 08:57 | going to need to arrow over and delete
these notes and delete these rests, and
| | 09:02 | now I can just go Option+6 and hit my
period and that's corrected, and we're
| | 09:08 | looking pretty good.
| | 09:10 | Now that you know how to set up and
use HyperScribe, you're ready to enter
| | 09:13 | notes in real time.
| | 09:15 | Even if you're not primarily a pianist,
with a bit of practice, you'll find
| | 09:18 | HyperScribe an effective way
to enter notes into Finale.
| | Collapse this transcript |
| HyperScribe entry| 00:00 | The ability to record one track of
audio into a Finale score allows you
| | 00:04 | to record a solo, a vocal melody, or
place an important part with a real instrument.
| | 00:08 | This will allow you to create a more
complete and better-sounding final version
| | 00:11 | of your score. So let's start
by creating a default score.
| | 00:15 | I'll go up to File > New > Default Document.
| | 00:18 | And to get ready to record, I am
actually going to go into Studio view. This is
| | 00:22 | where we can actually view the audio track.
| | 00:24 | And then I am going to go to the MIDI Audio
menu, choose Audio Track > Add Audio Track.
| | 00:29 | Now we see that this is where the
audio will display here in a minute.
| | 00:33 | Next thing I am going to want to
do is check my recording level.
| | 00:35 | So I am going to go back into MIDI Audio >
Device Setup > Audio Setup, and now
| | 00:41 | as I talk, you can see the signal in here.
| | 00:43 | Now if we get in the
green, you've got a good level.
| | 00:45 | So our Mic Source in this
case is an audio interface.
| | 00:49 | If you click on this, we'll see other options.
| | 00:51 | Now if you have a USB microphone and it's
plugged in, you should see it here, or if
| | 00:56 | you are just using the built-
in microphone in your computer.
| | 00:58 | So we will click out of there.
| | 00:59 | If you do have an interface, you can
plug your microphone into it, and then
| | 01:03 | make sure if you are using a condenser
microphone that you enable the phantom power for that.
| | 01:07 | And then you should check your level.
| | 01:09 | Now in my case, it looks like I am
already doing pretty well, but if you have a
| | 01:12 | interface, you can use the trim knob on
the mic pre-amp to adjust the level. And
| | 01:16 | if you get into the red, you are going
to want to actually lower that; if we are
| | 01:19 | in the blue only, then
you might want to raise it.
| | 01:21 | And then you can make it a final
adjustment, whether you're using a built-in
| | 01:24 | microphone or you are using an
interface, and you can adjust the level here
| | 01:28 | using the Mic Level.
| | 01:29 | You'll notice that if I go up, we should
see some red up here. Yeah, we see red,
| | 01:35 | and we don't want that.
| | 01:36 | So somewhere down here in the middle
is where we'll want to set this.
| | 01:39 | So that's looking good.
| | 01:40 | And just about the mic output, I should
say that we are actually directing this
| | 01:44 | at the Built-in Line Output because of
the video that we are recording, but if
| | 01:47 | you're using an interface your
speakers are plugged into the line outputs of
| | 01:51 | your interface, you are going to want
to make sure that you use the Duet USB in
| | 01:55 | this case, or whatever interface you have.
| | 01:57 | Okay, now looks like that level
might just be a tad bit hot, so I am going
| | 02:01 | to bring that down. I will click OK.
| | 02:04 | And the next thing I am going to want
to do is go to the HyperScribe menu.
| | 02:06 | You'll need to have the HyperScribe
tool selected to do that, by the way. And I
| | 02:10 | am going to go into Beat Source and
choose Playback and/or Click and set whether
| | 02:16 | I am going to be using a click note.
| | 02:17 | Notice that the tempo that I am going
to have in this score only can be the
| | 02:22 | tempo that's set in the playback engine,
| | 02:25 | because when you are recording audio
at a later point, we are not going to be
| | 02:28 | able to time-stretch that, so the audio
is only going to be at the tempo that the
| | 02:31 | score is at currently.
| | 02:33 | For the Start Signal For
Recording, I'll leave that at None.
| | 02:37 | And that just means that when I click
on the first bar of this audio track,
| | 02:40 | that's where we'll start to record.
| | 02:41 | And I am going to leave Play States
While Recording checked. If I had additional
| | 02:45 | staves in here, we'd actually hear
them playing while I recorded the audio.
| | 02:49 | I will click OK, back into HyperScribe.
| | 02:52 | I am going to make sure that the
Record mode is Record into One staff.
| | 02:57 | And then before I leave here, I am
going to check what my settings are for
| | 03:00 | the click and countoff.
| | 03:02 | So this is set for While
Recording, and that's good.
| | 03:05 | I am not going to need the countoff
when we are done recording. And the same
| | 03:08 | thing with the Click. And for the
Metronome Sound, I am going to flip that over
| | 03:11 | to MIDI Note and that MIDI Note is
actually assigned to a cross stick and that's
| | 03:16 | going to sound better
than the default MIDI Click.
| | 03:18 | So I will click OK, and now
I'm finally ready to record.
| | 03:23 | So I will go ahead and click in this first bar.
| | 03:26 | (music playing)
| | 03:28 | We hear the countoff happening, and
now I can start talking, and it's actually
| | 03:32 | recording onto the audio track.
| | 03:34 | Now let that run for just a
minute so we can see what it does.
| | 03:37 | Now when you are ready to stop recording,
you can either click the Stop button
| | 03:41 | or you can click in the staff
and it will stop the recording.
| | 03:45 | So we see that it's drawn the audio
waveform here, and by the way, you'll notice
| | 03:49 | that we've got waveform here in
the top and not in the bottom.
| | 03:52 | Finale always records a stereo audio
track, regardless of whether you have got
| | 03:55 | one or two microphones plugged in, and
so that's why I have only got audio on one
| | 03:59 | side of that waveform.
| | 04:01 | So if I want to re-record this, all I
need to do is click on the measure where I
| | 04:04 | want to start and when I do that, we
will get this dialog box that tells us, hey,
| | 04:09 | you are about to
re-record over the existing clip.
| | 04:12 | We can only have one clip, and there's not
really an overdub function here in Finale.
| | 04:17 | So if I click Would you
like to continue and say OK,
| | 04:21 | I get the countoff again. Then I can
start recording, and you can see that that's
| | 04:28 | riding over the top of this. And when
I click Stop this time, you will notice
| | 04:32 | the rest of that disappeared, because
the new clip replaced the last clip.
| | 04:37 | Now if I want to hear this play, I can
just put this back to the beginning of
| | 04:41 | the piece and click play and it will
automatically go out of Record and we'll
| | 04:44 | hear my voice coming from Finale.
| | 04:49 | (riding over the top of this. And when
I click stop this time--)
| | 04:54 | (Recorded voice: Then I can
start recording, and you can see that that's
| | 04:54 | Okay, so we heard the clip play
and we might want to re-record that.
| | 04:58 | But in any case, if you want to see
the properties of that track, you can go
| | 05:02 | into MIDI Audio > Audio Track,
and click Audio Clip Attributes.
| | 05:07 | And that shows us this is an AIFF type--
file and that would be wave on a PC by the
| | 05:13 | way--and the length of the
file was seven seconds and little bit.
| | 05:17 | And the bit rate on that is 16-bit.
And then if you actually want to slide
| | 05:21 | this over so that this starts at
a different bar, I can just type a
| | 05:25 | different bar number here.
| | 05:26 | So if I wanted this to start at bar
3 I could do that. Let me click OK,
| | 05:30 | and you will notice it shift over.
| | 05:31 | I'll go back into that, Audio Track >
Clip Attributes. The other thing you can
| | 05:36 | do is you can trim the start and end of this.
| | 05:39 | So if I wanted to remove maybe the
first second of this audio, I could say
| | 05:44 | let's start at 1 second in, and then if
I want to trim the end a little bit, I
| | 05:48 | can select a last little bit and delete
that, and now when I say OK, it's going to
| | 05:53 | trim the end of the
beginning of that how it plays.
| | 05:56 | Now if you decide that you don't like that audio
track at all, you can delete it from the score.
| | 06:00 | So I will go to MIDI Audio > Audio Track
and choose Delete Audio Track and it's gone.
| | 06:05 | So now that you know how to record an
audio clip, you can enhance your scores by
| | 06:09 | adding a solo, a vocal melody, or
replacing an important instrumental part.
| | Collapse this transcript |
| Importing audio| 00:00 | If you have a good recording of one of
your scores, you should try importing it.
| | 00:03 | Once in Finale, the audio can be
synced to playback with the score.
| | 00:07 | So please go to the 7_05
folder and open the example file.
| | 00:10 | And this score was lent to us by Nathan
David, a student in the scoring program
| | 00:14 | at USC, so we thank him.
| | 00:16 | We've also got a good recording of this.
| | 00:19 | So let's compare that to Finale playback.
| | 00:21 | So I will go up to the Window menu and
open the Playback Controls. Let's click Play.
| | 00:27 | (music playing)
| | 00:36 | So that's using the Garritan sound set
with the Ambience reverb, and it sounds
| | 00:40 | pretty good, but let's see what
we can do with the real audio.
| | 00:43 | So I am going to go into View menu and
choose Studio View, and once there, I want
| | 00:48 | to add the audio track.
| | 00:49 | So I will go up to MIDI/Audio > Audio
Track > Add Audio Track, so we see that here.
| | 00:56 | Now when it starts to play back later I
only want to here the audio tracks, so
| | 00:59 | I am going to click solo on that and that
will mute the rest of the tracks in the score.
| | 01:03 | So I will go back to MIDI/Audio > Audio
Track, and now it can import the audio by
| | 01:08 | choosing Load Audio.
| | 01:11 | And that's taking me to the folder for this
particular video, and we see this MP3 file.
| | 01:16 | Now I am going to import that, but
while here, I should tell you that you
| | 01:20 | can load an MP3, a WAV file, or an AIF
file into both Mac and PC versions of Finale.
| | 01:27 | So let's click Open. That brings up the
Clip Attributes. I am going to close that
| | 01:31 | for a second, and I see that we have
got this stereo audio file loaded. And
| | 01:37 | because I have experimented with this a
little bit, I realize that there is a
| | 01:40 | little bit of dead air,
| | 01:41 | and I want to set this up so
that won't be part of the playback.
| | 01:45 | So I am going to go to MIDI/Audio
again > Audio Track and this time choose
| | 01:49 | Audio Clip Attributes. And I can
eliminate that beginning of the clip by
| | 01:54 | setting a different Start point, and I am just
going to set the Start point 1 second into this.
| | 01:58 | So I will say OK and that shifts it
over a little bit. And the next thing I want
| | 02:03 | to do is I want to sync the
audio to play back with the score.
| | 02:08 | And I am going to do that by
using the tempo track up here.
| | 02:12 | Now this defaults to whatever the
beat is. So we are in 4/4, so I have got
| | 02:16 | four quarter notes.
| | 02:18 | And I can tell you from doing this in the past
| | 02:20 | that if the score you're
working with has got a fast tempo,
| | 02:23 | it's really hard to get the first
couple of bars right by suddenly tapping on
| | 02:27 | your spacebar in time with the music.
| | 02:30 | So if you do have a faster tempo, I
would suggest that you bring up the Simple
| | 02:33 | Entry tool and set a value like a
whole note or a half note and enter that
| | 02:38 | into the first two or three or four bars
so that as you tap, you can just tap
| | 02:43 | the first beat of the bar to sync the audio.
| | 02:46 | Then once you get a few bars later in
then you can tap in time with the pulse,
| | 02:50 | and that will be easier to sync once you
have actually kind of established that.
| | 02:53 | Now this one is slow enough that I
am going to leave it at a quarter note.
| | 02:57 | So let's go to the HyperScribe tool.
And to start this, I'm just going to click
| | 03:02 | the first note in this measure, and
then nothing is going to happen until I
| | 03:06 | start tapping the spacebar
on the computer keyboard.
| | 03:10 | So we see the playhead appear, and I am
going to tap that and begin tapping in
| | 03:14 | time with the music.
| | 03:15 | And I've already listened to this, so I
know that there's a track in there that's
| | 03:19 | going to give me the pulse that I'm
looking for. And I am going to listen to the
| | 03:22 | piano and the vibes playing a little
sixteenth eighth note figure. So here we go.
| | 03:29 | (music playing)
| | 03:35 | Just tapping the spacebar in time with music.
| | 03:38 | (music playing)
| | 03:53 | Now once I have got that established, I
can stop this by clicking in the staff there.
| | 03:59 | So if you stop playback before you
get to the end of the score, this Last
| | 04:04 | Recorded Tempo dialog will appear and
it will give you the option of accepting
| | 04:08 | the last-recorded tempo and syncing that
to the rest of the way to do the score.
| | 04:12 | Now in this particular instance there's
probably enough rhythmic variation that
| | 04:16 | if you really want just to sync, you
probably should tap all the way to the end.
| | 04:19 | But we will be able to listen
to this and see how well we did.
| | 04:22 | So I am going to accept that and click OK.
| | 04:25 | And then I am going to go into Page
view by going Command+E. That's Ctrl+E on a
| | 04:31 | PC. I will do that twice to get there.
| | 04:34 | And now I can locate this to the
beginning of score, and let me get that out of
| | 04:38 | the way. And I will bring up the
Playback Controls. I am going to hit the go to
| | 04:43 | Beginning button to get us to bar
1, beat 1, and now I will click Play.
| | 04:47 | (music playing)
| | 04:56 | It looks like we did a pretty good job.
| | 04:58 | (music playing)
| | 05:03 | The next cello line will really tell us.
(music playing)
| | 05:14 | Okay, I will stop that.
| | 05:16 | That sounds really good, and you can
see how that's in sync with the music.
| | 05:20 | So importing and syncing an audio
recording of the score in Finale is a great
| | 05:24 | way to finish a project.
| | 05:25 | Then when you share the score your
listeners will be able to see and hear
| | 05:29 | the results.
| | Collapse this transcript |
|
|
8. Working with ScoresStaves| 00:00 | As we move from simple lead sheets to
scores for multiple instruments, you will
| | 00:04 | need to know how to add and delete
staves from an existing score. With the new
| | 00:08 | Score Manager in Finale 2012,
these tasks just got a lot easier.
| | 00:11 | So let's go ahead and create a score.
We're actually going to make a few mistakes
| | 00:16 | that we're going to fix later.
| | 00:17 | So let's go up to the File menu. Let's
choose Launch Window and Setup Wizard.
| | 00:23 | And I just want to show you, we are
going to be doing a woodwind quintet, and we
| | 00:25 | could use this preset right here,
but we are going to make one up.
| | 00:29 | So I am going to click the Next button.
| | 00:31 | Then I am going to go into the
Woodwinds category. I am going to choose Flute
| | 00:35 | and Add and Oboe and Add, and then
I think I'm going to make a mistake.
| | 00:40 | I am going to put the
instruments in a wrong order.
| | 00:42 | So I will go to the Brass, and I am
going to choose Horn in F--yes, there is a
| | 00:46 | horn in a woodwind quintet--and then
I'll go back to Woodwinds. I am going to
| | 00:50 | add the clarinet in B-flat, and then I
am going to choose Contrabass Clarinet,
| | 00:55 | which is actually not right.
| | 00:57 | And then we will continue on, and we
are going to fix all that later on. And I
| | 01:03 | will click Next. We are going to be in
common time, and our key will be G minor,
| | 01:10 | so let me change that to minor, and then
I will arrow down to add flats--there we
| | 01:15 | go--and our initial tempo is
going to be andante for this.
| | 01:19 | We have got a quarter note pickup so I will
specify that and click Finish, and we are ready to go.
| | 01:26 | So you will notice that Finale
automatically adds the right instruments and
| | 01:30 | spaces things so things fit on the page nicely.
| | 01:32 | I want to go to the Window menu and
choose Score Manager, because this is where
| | 01:37 | we do all of the changes with instruments now.
| | 01:39 | So there is a couple of problems here.
| | 01:41 | First of all, I have got this
contrabass clarinet here, and that's actually
| | 01:44 | the wrong instrument.
| | 01:45 | So I am going to click on the
instrument name and notice that it opens up this
| | 01:49 | list where I can go down to Woodwinds and
down into the category and I can choose
| | 01:55 | a different instrument. I
actually need a bassoon,
| | 01:57 | so I will choose that.
| | 01:59 | Now I have got the right instrument
there, but additionally, the score is actually
| | 02:03 | in the wrong order; the
instruments are out of place.
| | 02:04 | I am going to choose the horn part
here and drag the staff over here on the
| | 02:09 | left-hand side, and that will
allow me to reposition this.
| | 02:12 | So I am going to drag it up. And the
blue line indicates where it's going to go,
| | 02:15 | so I am going to put that after
the clarinet and before the bassoon.
| | 02:18 | While we're here, you can also
take a look at couple of other things.
| | 02:21 | You will notice that in the score
that we see the name, the Flute, Oboe,
| | 02:25 | Clarinet, and B Flat, Horn in F, so we
see the full names, and then on the other
| | 02:28 | staffs you can see abbreviations.
| | 02:31 | So I see Flute, Oboe, Bass
Clarinet so on and so forth.
| | 02:34 | Now I can set that in the Staff
Settings for Selected Instrument area.
| | 02:38 | And in a large score, it's really
great having those abbreviated names on the
| | 02:43 | systems after the first system.
| | 02:45 | But in a score with only five
instruments we don't actually need
| | 02:48 | those abbreviated names,
| | 02:50 | so we can actually delete those by
selecting one of the instruments, like I will
| | 02:53 | start at the top with Flute, and then I
will just click in the abbreviated name
| | 02:57 | and now I could type something else or
I could just remove that by selecting it
| | 03:00 | and hitting the Delete key. I'll click OK.
| | 03:03 | And I can quickly do that for
the other instruments in the score.
| | 03:06 | And that will just give us a
little more room on the page later on.
| | 03:13 | So I am going to click out of there.
And I want to you to notice that Finale put
| | 03:18 | the instruments in the right order now,
but I've got a bracket that's going
| | 03:21 | around the first three
instruments and it's left out the next two.
| | 03:24 | So I actually want to edit that.
| | 03:26 | So I am going to go to the Staff tool,
which is this one that looks like the
| | 03:29 | treble clef and then over to the Staff
menu and down to Groups and Brackets, and
| | 03:33 | I am going to choose Edit.
| | 03:35 | So this Top staff to Bottom staff is
essentially the range, and right now as you
| | 03:41 | look out here, it says Flute down
to Clarinet, and we see that bracket.
| | 03:44 | And that's what we are
seeing for Bottom staff here.
| | 03:47 | So if I click on this and extend this
down to Bassoon, the bracket will go all
| | 03:51 | the way down and include the bottom instrument.
| | 03:53 | And normally you use brackets like
this in the score to indicate groups of
| | 03:57 | instruments. So like in an orchestral
score you will see a bracket around
| | 04:00 | the woodwinds and then a bracket
around the brass and around the
| | 04:03 | percussion and around the strings.
| | 04:05 | And in this score I want to go
ahead and add that for every instrument.
| | 04:09 | Now you will notice that the bar lines
are only going through the first three.
| | 04:15 | As soon as I hit OK, the bar lines should
extend all the way through the staff. Let's try it.
| | 04:21 | Okay, so that's looking good.
| | 04:22 | And as I am scanning through here, the
only problem that I see now is because of
| | 04:27 | the way I added the score, you might
notice over here on the second page that I
| | 04:31 | have measure numbers up at the top
for the flute part and then nothing on
| | 04:35 | clarinet and oboe, but I again have
them down here on the french horn and the
| | 04:39 | bassoon parts, so I want to fix that.
| | 04:41 | So I'm actually going to go
into Staff Attributes to do this.
| | 04:44 | So I will right-click on the staff
handle on the Flute staff, and I will go down
| | 04:48 | to Edit Staff Attributes.
| | 04:50 | So I am looking at the flute part
and basically everything that is going
| | 04:53 | to allow to display.
| | 04:55 | And if you look under Items to Display
you will see that basically everything is
| | 04:58 | checked at this point.
| | 04:59 | If I use the arrow down key to go to
the next part, we will see that there
| | 05:03 | are some differences.
| | 05:04 | For instance, I don't see Endings and
Text Repeats. That would be like if I had
| | 05:08 | a repeat in here like a first
ending and a second ending, or DC.
| | 05:11 | And I don't have measure Numbers
display, and that's usually because in score
| | 05:15 | you'll only display these
things as part of the first staff.
| | 05:19 | And so I want to go down in this
example to French Horn and I want to unclick
| | 05:24 | measure Numbers. And the same thing on Bassoon.
| | 05:27 | And this is just a good place to show
you that you can control this display by
| | 05:33 | coming in here on the Staff, under
Staff Attributes. I will click OK.
| | 05:36 | We come back out into the score and we
can see that now we are looking good.
| | 05:42 | I've only got the measure number here on the
top staff and then everything is clear below.
| | 05:47 | So in the past adding instruments
or changing the instrument order in a
| | 05:50 | score was very difficult.
| | 05:52 | Often the easiest most efficient method
was to create a second score, then copy
| | 05:55 | anything entered from the
original score into the new score.
| | 05:58 | But now with the new
Score Manager, it's very easy.
| | Collapse this transcript |
| Articulations| 00:00 | Adding articulations and expressions
to a score clearly communicates to the
| | 00:03 | performers how the composer or
arranger intents for them to perform or
| | 00:07 | interpret their parts.
| | 00:09 | We learned how to add expressions in an
earlier video, so now let's take a look
| | 00:12 | at how to add articulations.
| | 00:14 | So if you would please open up both
files in the 8_02 folder and tile and
| | 00:18 | arrange them as we have in past videos.
| | 00:21 | So to add an articulation in Finale, we
need to use the Articulation tool, and it
| | 00:25 | looks like a whole note
with a long accent above it.
| | 00:28 | So I'll choose that. And then in the
example score I see that I've got a tenuto
| | 00:32 | marking over this first F in the oboe
part, so I'm going to drop down and add
| | 00:36 | that same marking in our working file.
| | 00:38 | So I'll click once on the note there
and that brings us to the Articulation
| | 00:43 | Selection dialog, and you can see that
we have a bunch of articulations. And you
| | 00:48 | can take the scrollbar, scan down if you
want to look at what we've got, but you can
| | 00:52 | see there is a whole lot of them.
| | 00:53 | Now in this case we want this accent
marking right here in the seventh slot, so
| | 00:58 | I'll choose that box and I'll click the Select
button and that will assign it to the note in the score.
| | 01:04 | We'll go a little bit further. It looks
like we need to add a turn on this D, so
| | 01:07 | I'll click that, and I see the turn is
in slot 18, so I'll choose that box. But
| | 01:13 | while we're here, I want you to notice
that most of these articulations are
| | 01:16 | assigned a letter or a number, and
remember, in Finale we call that a meta tool.
| | 01:21 | So we can actually assign these
articulations by holding down the letter and
| | 01:26 | just clicking the note.
| | 01:27 | So while we're here, let's take a look at
some of the common ones that we'll be using.
| | 01:31 | So we've got staccato assigned to an S,
and long accent to an A, T for a trill. E
| | 01:38 | for tenuto is a little bit hard to
remember, but that's one you'll use a lot.
| | 01:42 | I've got U for up bow and D for down bow,
so those all makes sense, and those are
| | 01:46 | ones you'll use a lot.
| | 01:47 | So I'm just going to remember J for this
turn right now. I'm going to cancel out of here.
| | 01:52 | I'm going to hold the J down on my
keyboard and I'm going to click that D once,
| | 01:56 | and it adds it to the score.
| | 01:58 | So if we come down here a little bit
further, we see that we need some staccatos,
| | 02:02 | and I remember that that's just S. So
with the Articulation tool selected, I'll
| | 02:07 | just start clicking these notes,
holding the S down. So S on that B over here
| | 02:12 | again and then on this D and F. Up
here on this F in the flute part, I need a
| | 02:17 | long accent, and I remember that's the
letter A. Now if you need to delete some
| | 02:22 | articulations, you can either highlight
the positioning handle and press Delete
| | 02:26 | or you can drag and close a bunch of
them and delete them all at the same time.
| | 02:32 | One reason I showed you that is because
we can also add articulations that way
| | 02:35 | to a group of notes.
| | 02:37 | So let's say that I wanted to add staccato
markings to this whole run of eighth notes.
| | 02:40 | I would just hold the S key down for
staccato, and then drag and close all of
| | 02:46 | these notes and then release,
and they all get staccato marks.
| | 02:50 | Now if I need to reposition anything,
I can select an articulation and I can
| | 02:55 | use my up and down arrow or right
and left arrows to nudge that, or I can
| | 02:59 | click on it and I can drag up.
And let's say that I move of these and then I
| | 03:03 | was unhappy about it.
| | 03:04 | Well, I can reposition these by going to
the Selection tool and selecting this
| | 03:10 | area and then going up to Utilities >
Change and choosing Articulations.
| | 03:18 | Now at this point if I just say
Position All Articulations, it's going to go
| | 03:23 | back to their default positions.
| | 03:24 | So I'll click OK. And notice that
everything is back where it was before.
| | 03:29 | Now I'm going to leave that selected. I'm
going to go back in, because this is interesting.
| | 03:32 | I'll go to Utilities > Change, back to
Articulations again, and this time I want
| | 03:38 | to show you that if you wanted to
change the articulations that were in that
| | 03:41 | selection to a different one, I could
check this Change All Articulations (or
| | 03:45 | Selected), then click the Select box,
and that brings me right back into the
| | 03:49 | Articulation Selection dialog.
| | 03:52 | So now I can just choose a different
accent, click Select, and then OK, and it
| | 03:57 | changes all of your
articulations for that particular selection.
| | 04:00 | So now that you know how to add and
delete articulations, you just need some
| | 04:04 | practice. Use the example score as
your guide and add the rest of the
| | 04:07 | articulations in the score.
| | Collapse this transcript |
| Creating metatools for articulations and expressions| 00:00 | Creating scores using a computer application
is detail oriented and can be time consuming.
| | 00:05 | The more things that can be done without
changing tools or going through dialog
| | 00:08 | boxes to make choices, the
faster and easier the work is.
| | 00:12 | In Finale many of those musical details
are assigned to shortcuts called metatools.
| | 00:16 | metatools are available with most
Finale tools, including the Expression,
| | 00:20 | Articulation, Smart Shape,
and even the Selection tools.
| | 00:24 | Let's review how to use a metatool and then
we'll talk about how you can create your own.
| | 00:27 | So if you would, please open the
creating metatools file in the 8_03 folder, and
| | 00:31 | let's just review a bit.
| | 00:32 | I'm going to choose the Expression tool--it
looks like the mezzo forte sign. And
| | 00:36 | I'm going to assign an
expression by double-clicking the note.
| | 00:39 | If I go up to the Show All category, we
can see all of them. And just note that
| | 00:45 | these numbers that we see in the
upper right-hand corners, and sometimes
| | 00:49 | letters, those are the metatool assignment.
| | 00:52 | And so we can assign these dynamics
or expressions by just holding down the
| | 00:55 | Assign metatool and
clicking the note in the score.
| | 00:58 | I like to remember that 4 is for
forte and then going below that it gets
| | 01:03 | louder and then above that it gets softer.
| | 01:06 | So for example, I can go 4 for forte, and
if I go 5, I'll get mezzo forte, 6 mezzo
| | 01:14 | piano, 7 piano, and so on and so forth.
| | 01:17 | Now I can do the same thing with the
Articulation tool, by choosing that tool
| | 01:22 | and clicking a note.
| | 01:24 | Here again we see the metatool
assignments in the upper right-hand corner.
| | 01:28 | So S is being used for
staccato, A for long accent.
| | 01:31 | So let me cancel out of there, and I'll
hold down S. I can either click a note
| | 01:36 | or I can drag and close a bunch of
notes while I'm holding down the letter S,
| | 01:40 | and it'll add that articulation.
| | 01:42 | We can do the same thing
with the Smart Shape tool.
| | 01:45 | So let me choose that. Even though we
have the palette right here, I can add
| | 01:50 | those without actually having to
choose the smart shape that I want to use.
| | 01:53 | So for example, if I want to add a
decrescendo in the score, I'll hold down the
| | 01:57 | lesser than sign and double-
click and drag to assign that.
| | 02:00 | If I want to add an 8va marking, I'll hold
down 8, and if I double-click and drag
| | 02:06 | above the staff, I'll get 8va, and if I
double-click and drag below the staff
| | 02:10 | while holding the 8 down, I'll get 8vb.
| | 02:14 | I can even do this now with the
Selection tool. So if I choose that and select
| | 02:19 | some notes--let me choose this line,
so I'll Shift+Click that range--
| | 02:22 | I can change the spacing using 4
for note spacing and 5 for beat spacing.
| | 02:27 | And I can even transpose a
line using 6, 7, 8, and 9.
| | 02:31 | 6 will take it down a step, 7 will
take it back up a step, 8 down in octave,
| | 02:37 | and 9 up in octave.
| | 02:39 | So those are real handy, but you may
find yourself wanting to assign your own
| | 02:42 | metatools, and that's easy to do.
| | 02:44 | So let's go back to the Expression tool.
| | 02:48 | If I hold down the Shift key and
the letter that I want to assign to an
| | 02:50 | expression, we'll open up the Expression
dialog box. So let me hold down Shift+R,
| | 02:55 | and that jumps me into the Expression
Selection dialog box. That shows me that I
| | 03:00 | already have the letter R assigned to
ritard, but for this particular score I
| | 03:03 | might need to add rubato a lot.
| | 03:06 | So I'll choose rubato and Assign, and
note that it doesn't assign that actually
| | 03:10 | into the score, but it's
just reassigned the metatool.
| | 03:13 | So now if I hold down R
and click, it'll add rubato.
| | 03:17 | Now I want to tell you at this point
that some of these expressions only
| | 03:21 | assign to the top staff.
| | 03:23 | So if I try to add R onto the oboe
part, you'll notice that it jumps to the up
| | 03:27 | and it adds it to the top staff--
and that's only in the score.
| | 03:31 | And the purpose behind this is that
a lot of times when a conductor is
| | 03:34 | conducting a score, they just want to
see those important tempo markings and
| | 03:38 | tempo changes in the top staff.
| | 03:41 | Now in the parts that will flow through
and put it in the right place in the parts.
| | 03:45 | So I remember the T was assigned to
our tempo, so I can go back into tempo by
| | 03:49 | holding down T and clicking.
| | 03:50 | Now I can do this in the
Articulation Selection as well.
| | 03:53 | So I'll choose that tool. I am going to
hold down Shift+P because I want to
| | 03:57 | reassign the P to the pause articulation.
| | 04:00 | Currently it's on the Pedal markings
for piano, so I'll click down 1. And there
| | 04:04 | is the pause marking in slot 35, so I'll
choose that, click Select. Now I can
| | 04:09 | just hold down P and if I double-click
a note, we'll get the Pause marking, and
| | 04:13 | I can drag that, put that
in the score where we want.
| | 04:15 | Oh, it actually looks like I put in
twice that time, so I just need to highlight
| | 04:19 | and delete that one and now I can drag that in.
| | 04:22 | Now we can even assign a
metatool to a chord symbol in Finale.
| | 04:26 | So I'll choose the Chord tool, and I'm
going to hold down Shift+M, and I'm going
| | 04:30 | to assign that to a chord.
| | 04:31 | For example I might need to put the
chord symbol C Major 7 a lot in this score,
| | 04:36 | so I'll type a C. Then I'm going to go
down to the Suffix area and click the
| | 04:40 | Select button, and that will put me in
the Suffix Selection area. And I'll choose
| | 04:45 | Major 7 and then Select and OK, and now
if I hold down M and click anywhere in
| | 04:51 | the score, I'm going to get
that same chord symbol appearing.
| | 04:54 | So that makes it really fast. And by
the way, that's just transposed because I
| | 04:57 | put that on the B-flat
clarinet part, which is transposed.
| | 05:01 | So I was really excited when I first
learnt how to use and create metatools.
| | 05:04 | I knew immediately that they
would speed up the workflow.
| | 05:07 | For now make up a list of the
expressions and articulations that you need to add
| | 05:10 | to complete the exercise score.
| | 05:12 | Write down the associated
metatools and use them as you finish adding
| | 05:15 | articulations, expressions,
and smart shapes to the score.
| | Collapse this transcript |
| Adding expressions and articulations in Simple Entry| 00:00 | As you get more familiar with Finale,
you may become annoyed with having to
| | 00:03 | choose a tool to perform a related
task, then changing tools to perform a
| | 00:07 | different, unrelated function.
| | 00:09 | Well, there are growing numbers of
functions that you can perform in Simple
| | 00:11 | Entry without changing tools.
| | 00:13 | Let's start by creating a default score.
| | 00:15 | Let's go up to the File menu, choose
New > Default Document. And I've got the
| | 00:20 | Simple Entry tool selected. I'm in that
first measure, and I'm going to choose
| | 00:25 | 6. I'm going to add in a C half note.
| | 00:27 | Now after you add a note in Simple
Entry you can immediately add an expression
| | 00:33 | or an articulation to that note.
| | 00:35 | To add an expression, I'll hit the X key and
that opens up this Waiting for Input dialog.
| | 00:40 | And we can do two things here. You can
click the Select button, which will take
| | 00:44 | us into the Expression Selection
dialog box, or if you remember the Metatool
| | 00:48 | assignment, you can just type it now.
| | 00:50 | So let's click Select the first time.
| | 00:52 | So now we can see all the expressions
and the assigned metatools up on the upper
| | 00:57 | right-hand corner.
So remember that 4 is for forte.
| | 01:00 | So I'm going to cancel out there, I'm
going to hit the letter X again, and this
| | 01:04 | time I'm just going to press the number
4, and that immediately assigns it into
| | 01:07 | the score without ever
leaving the Simple Entry tool.
| | 01:10 | Let's do that again. I'll put in a D, and
I remember that 7 is for piano, so I'll
| | 01:14 | hit X and then 7 and then it adds the
piano dynamic marking. And we can do the
| | 01:20 | same thing with articulations.
| | 01:22 | So let's add some quarter notes
here, so I'll put 5 for quarter note.
| | 01:25 | Now I'm going to type again a D.
This time I'm going to hit the asterisk key
| | 01:30 | on the numpad. That again opens the
Waiting for Input dialog, and I'll go ahead
| | 01:34 | and click the Select button, and
notice that this time it jumps us into the
| | 01:38 | Articulation Selection dialog. And again,
we see the assigned metatools in the
| | 01:42 | upper right-hand corner
of each one of those boxes.
| | 01:44 | So I'm going to remember that A is
for long accent, and I'm going to hit my
| | 01:48 | Escape key to get out of this dialog.
And again, I'll hit asterisk and then
| | 01:53 | I'll hit A to add that accent.
| | 01:56 | Now if you're on a laptop, you don't
have a numpad or an asterisk key,
| | 01:59 | you're going to use the shortcut
Option+A on the Mac or Alt+A on a PC.
| | 02:05 | Now in addition to adding articulations
after we add a note, we can actually use
| | 02:09 | a technique called sticky articulations.
| | 02:12 | And basically what we do in that case
is we'll declare the articulation that we
| | 02:15 | want to use before we enter the note,
and then while that articulation is turned
| | 02:20 | on, all of the notes that we add
will have the same articulation.
| | 02:24 | So on a Mac that command is
Command+Asterisk, and on a PC it is Ctrl+Asterisk.
| | 02:30 | So I'll go Command+Asterisk and that brings
up that same Waiting for Input dialog. I
| | 02:35 | can click Select and go into the Articulation
dialog, but I remember that S is for staccato,
| | 02:40 | so I'm going to press S and then I'm
going to enter some eighth notes, so I'll
| | 02:44 | press 4. And now I can just go D, C, B, A,
G, F, and you'll see that each one of
| | 02:49 | those is coming in with the
staccato articulation already assigned.
| | 02:53 | Now if I need to turn that off, I'll
just toggle that same command, so Command+Asterisk
| | 02:59 | on a Mac or Ctrl+Asterisk on a PC.
| | 03:02 | And now I can add notes without the
articulation. So if I'll go back up the
| | 03:05 | scale, you can see that we're not
getting the staccatos added. And then at any
| | 03:11 | time if I want to add a different
articulation, I'll go Command+Asterisk. It brings me
| | 03:15 | back to the Waiting for Input dialog.
| | 03:17 | If you can't remember what the
articulation is, go ahead and click Select or hit
| | 03:21 | the Return key; that will take you
into the Articulation Selection dialog and
| | 03:26 | you can choose a different articulation.
| | 03:29 | Like for instance, I might
need to add some tenuto markings,
| | 03:31 | so I'll click that box, click Select,
and now when I add eighth notes in there,
| | 03:36 | I'm going to get the tenuto
markings over the top of all of them.
| | 03:41 | Now if you're on a PC, to activate the
sticky articulations, you're going to
| | 03:46 | need to go Shift+Option+Command+A on
the Mac or Shift+Ctrl+Alt+A on a PC.
| | 03:52 | So I'll admit that when Finale began
adding these functions to Simple Entry I
| | 03:55 | ignored them at first, but as I
memorized the most common metatools for
| | 03:59 | articulations and expressions, I
found using the expanded Simple Entry
| | 04:03 | functionality quick and easy to use.
| | 04:05 | Take some time to experiment with
these techniques. I think you'll agree.
| | Collapse this transcript |
| Customizing expressions| 00:00 | Finale contains the most commonly
used text expressions to indicate to the
| | 00:03 | performer aspects of tempo or music
expression, but it's impossible that the
| | 00:07 | program could include the expressions
using all styles and genres of music.
| | 00:11 | So at some point you'll need an
expression that's not available and need to
| | 00:14 | create a new custom expression.
| | 00:16 | So, if you would, go ahead and open the
file in the 8_05 folder, and let's add a
| | 00:20 | tempo mark to start off with.
| | 00:22 | I will see that it's missing
from this particular score.
| | 00:24 | So I'm going to choose the Expression
tool. Go ahead and double-click this first
| | 00:29 | measure, and this opens up the
Expression Selection dialog.
| | 00:32 | Now when I'm going to create an
expression, I'm going to put it in the category
| | 00:35 | that it belongs in, because that's
going to help us in terms of some of the
| | 00:38 | properties of that particular
expression, and the formatting.
| | 00:41 | So I'm going to go to Tempo Marks, I am
going to go down to the bottom, and I'm
| | 00:44 | going to choose Create Tempo Mark.
| | 00:47 | So this opens up the Expression
Designer dialog, and I'm going to go ahead
| | 00:50 | and type the text in.
| | 00:52 | Now what we actually need here is kind of
complicated: it's Andante piu tosto Adagio.
| | 00:59 | If you all you want is a text
marking, we're done. We can click OK and
| | 01:02 | assign this to the score.
| | 01:04 | If you actually want to have this play back
at a specific tempo, we can do that two ways.
| | 01:09 | I can click the Playback tab and I can
indicate the type of thing that I want to
| | 01:13 | associate with that marking.
| | 01:15 | So I'll click the pop-up menu and I'll
choose Tempo and I'll set a value--in
| | 01:19 | this case I'll set Quarter Note--and
then I'll drop down into the Effect field
| | 01:24 | and type a 60, and basically this is
going to play back at 60 beats per minute.
| | 01:28 | So if I wanted to do it that way, I
could leave it just as we've got it. Or if I
| | 01:32 | want the BPM to actually show up in
the marking text, I need to click Match
| | 01:37 | Playback to Metronome Marking Text, and
then I need to go back to the Main page,
| | 01:41 | put my cursor at the end of that text
expression, and then I'll put a space,
| | 01:46 | I'll insert a quarter note, then
equals, and then the value, 60.
| | 01:51 | So either one of those will create a
text expression that will tell Finale
| | 01:54 | to play it back at 60 BPM.
| | 01:56 | So I'll click OK and Assign
and it drops that into the score.
| | 02:03 | Now I really like it that these
categories that they have really do the
| | 02:06 | formatting for you, but if you want to
edit that and do it differently, we can
| | 02:09 | right-click on that expression and
choose Edit Expression Definition. That
| | 02:14 | will bring us right back into the same dialog.
| | 02:16 | Now for example, if I want to change
the formatting, I can just select the text
| | 02:21 | there, and now I'll uncheck this Use
Tempo Marks Category Fonts, and now it puts
| | 02:26 | me into a version of the dialog where I
can just choose from any of the fonts on
| | 02:31 | the computer. And I'll just stay with
Times New Roman, and I'll make that a
| | 02:34 | different size. We'll put that
up to 18 just to demonstrate.
| | 02:37 | You can see it got bigger, and I'll
click OK. Now we've got a tempo marking
| | 02:42 | in there that's good for
people like me that need glasses.
| | 02:46 | At other times when I want to add or
create a new expression, I'll use an already
| | 02:50 | existing expression and modify it.
| | 02:52 | So for instance, I'm going to go
down to the oboe part here. I'll
| | 02:55 | double-click, and again that opens up
the Expression Selection dialog. And this
| | 02:59 | time I'm going to go the
Expressive Text category.
| | 03:02 | When I click there, you see we have things
about how to play the music--dolce or agitato.
| | 03:08 | And what I want to do is I'm going
to use one of those and I'm going to
| | 03:11 | duplicate it, and then I'm going to
click the Edit button, and now I can type
| | 03:15 | the new text that I need.
| | 03:17 | So in this case what I need
is one that says affabile.
| | 03:20 | And so it's going to pick up any of
the formatting that we have with that
| | 03:24 | particular text expression or any
of the playback settings. Nothing is
| | 03:29 | happening, so this is basically just a
text expression, no playback set to it.
| | 03:33 | And it will pick up any of the positioning.
| | 03:36 | So you can see this is Using Expressive
Text Category Positions, so it's set to
| | 03:40 | the default in the program.
| | 03:42 | So I will click OK and Assign, and that
dropped that into the score, and now I can
| | 03:48 | drag that so it's not
colliding with that bar line.
| | 03:50 | Now it may be that you don't want that to
drop below the notes; you might want that
| | 03:54 | to align above that.
| | 03:56 | So if I right-click on that again
and go back into Edit Text Expression
| | 03:59 | Definition, I can go to Positioning,
and I can say I don't want to Use the
| | 04:05 | Expressive Text Category Positioning, and I can
uncheck that, and now I can make changes here.
| | 04:10 | So I can make it so that it
goes above the staff for example.
| | 04:13 | So I'll choose that, click OK, and
it's going to say "Switching expression
| | 04:17 | alignment will cause all
manual positioning to be removed."
| | 04:19 | Remember that I had dragged that in the score.
| | 04:22 | So I don't care about that. I actually
want it to move, so I'll click Yes, and
| | 04:26 | now it's putting it above the
staff, and I can reposition it there.
| | 04:30 | So anytime I need to add that in the
future in this document I can go back and
| | 04:34 | choose that same thing and now
it will line up above the staff.
| | 04:37 | So creating custom expressions will help
you to communicate to musicians exactly
| | 04:40 | how you want your music performed.
| | 04:42 | And if you use the playback control
expressions, it will create the same effect
| | 04:45 | for Finale's playback.
| | Collapse this transcript |
| Formatting articulations, expressions, and Smart Shapes| 00:00 | As I enter the notes, expressions and
other musical details into a score, I
| | 00:04 | don't spend much time
worrying about how the score looks.
| | 00:06 | I have learned from experience that
if you start adjusting things as you
| | 00:09 | create the score, you will likely end up
moving them later to accommodate something else.
| | 00:13 | So I will admit that I don't have a
real science about how I go through and
| | 00:16 | format things, you can do it kind of
starting, in the beginning and work to the
| | 00:20 | end or you can go by category and just
for the sake of organization, we're going
| | 00:24 | to take a look at cleaning up some
of the text items, and expressions and
| | 00:28 | hairpins, and also set the measures per
line, and then in the next video we'll
| | 00:32 | take a look at setting the
line spacing some other details.
| | 00:36 | So I am going to choose the Text
Tool to start off with because I want to
| | 00:39 | create some room for this title and sub
-title and the expression text marking
| | 00:44 | up here at the top.
| | 00:45 | I am going to grab the tool palette
here for a second and I am going to drag
| | 00:48 | that out of the way.
| | 00:49 | And if I double-click on this text
handle, I can go in there and I can select
| | 00:54 | that text and I can format it.
| | 00:55 | So I am going to go up to Text and Size
and that's at 24 point right now, I am
| | 01:02 | going to make that a little bit
smaller and I have noticed that the next
| | 01:04 | preset size down is 18.
| | 01:06 | So instead of choosing that and
making a big gap in the size change, I am
| | 01:10 | going to go up to Other and choose that and
this will bring up this Font Size dialog box.
| | 01:15 | I am going to back that down let's say 4
points to 20 and I will try that, say OK.
| | 01:21 | That's still a nice size for a title,
and then because I want the sub-title a
| | 01:25 | little bit smaller, I will double-click
on that and select that text and I will
| | 01:29 | go back and do the same thing;
| | 01:30 | so Size and I will make that 14 point.
| | 01:33 | That looks pretty good.
| | 01:36 | Now that I have the size on that set,
I might move that up a little bit.
| | 01:40 | So I will grab the text handle on that,
drag that up and then I will drag up the
| | 01:47 | sub-title and that's starting to look better.
| | 01:50 | Before I go any further, I want to
make sure that I haven't moved that title
| | 01:53 | outside of the margins.
| | 01:54 | So I am going to choose the Page
Layout tool just to check where that page
| | 01:58 | margin is at and it looks like
I've got that a little bit too high.
| | 02:01 | So I will go back to the text tool.
| | 02:03 | I am going to drag those both down a little bit.
| | 02:05 | Now, you've heard me say it before but
when you're moving things really small
| | 02:08 | amounts in this program, it's really
hard on the wrist to do it with your mouse
| | 02:12 | and it's hard to position it that way.
| | 02:13 | So I am going to use the Up and Down-
arrows and I am just going to press that
| | 02:17 | twice to move that down.
| | 02:19 | That looks a lot better.
| | 02:20 | Now, I am going to bring the main tool
palette back up here and position at the
| | 02:23 | top and I can grab the Expression Tool
so I can move this Andante Marking, I can
| | 02:28 | bring that down just a little bit.
| | 02:30 | So now I've got the kind of spacing at the
top of the score that I want to begin with.
| | 02:33 | So another thing I might do at this
point would be to just go through the score
| | 02:37 | and check out the number of measures per line.
| | 02:40 | So I am going to choose the Selection
Tool and remember that you can move the
| | 02:44 | measures up and down by selecting a
measure and using your down arrow to move it
| | 02:48 | down a system, and your up
arrow to move it up a system.
| | 02:50 | I look at the first page
that looks pretty good to me.
| | 02:53 | I don't see any collisions because
of the notes running into each other.
| | 02:56 | So I will move on and I
will check the next page.
| | 02:59 | Now, we've only got three measures here,
and that's probably because of these
| | 03:02 | thirty-second notes and that looks
pretty good to me and we've got some issues
| | 03:06 | with dynamics and hairpins and slurs
and we'll clean that up in a minute.
| | 03:09 | Well, when I drop down to the next system,
I see that I have only got two measures.
| | 03:14 | So I am going to hold down my Shift
key and scroll and move over to the next
| | 03:19 | page and I am going to grab that first
measure on the next page and use my up
| | 03:24 | arrow to move that to the previous page
and I will just double check that real quick.
| | 03:28 | Now, in fact we might want to zoom out
just a little bit to see the score in a
| | 03:32 | little less detail and get
more of a macro look at it.
| | 03:34 | So I will go Command+Minus and that
would be Ctrl+Minus on a PC to do that, and
| | 03:38 | I will scroll down just a little bit.
| | 03:40 | Now, I can see what's going
on there a little bit better.
| | 03:44 | So on the second page, I am seeing
that when we get to smaller note values
| | 03:49 | sixteenths and thirty-seconds, I
can do about three measures per page.
| | 03:52 | So I am going to select the next measure,
and I am going to Shift+End and I have
| | 03:56 | selected everything to the end and I am
going to go to the Utilities menu and I
| | 04:00 | am going to choose Fit Measures and I
am going to lock the layout with three
| | 04:04 | measures per system.
| | 04:06 | So I will hit my Enter key.
| | 04:08 | Now, I have got a good working bars
per line to work with and as I scroll
| | 04:12 | through, I can quickly look over
the rest and see how we're doing.
| | 04:18 | So I will let you work
through the rest of the score.
| | 04:20 | That's a good place to start.
| | 04:21 | So now that I have a basic layout set,
I want to go back and start cleaning up
| | 04:25 | some of these articulations and dynamics.
| | 04:28 | You can do that by hitting the home key
or you can drop down to this Page button
| | 04:32 | and this one on the far left will
take this to the beginning of the score.
| | 04:35 | So I am going to click that and I
am going to zoom in a little bit now.
| | 04:38 | So I will go Command+Equals and that
would be Ctrl+Equals on a PC and that's
| | 04:42 | about a level I want to work at as a
start to position some of these text
| | 04:46 | markings and hairpins.
| | 04:48 | You can do this by category.
| | 04:50 | You can go through and position
hairpins or you can kind of do hairpins and
| | 04:55 | text markings and dynamics all at
the same time and just work measure by
| | 04:59 | measure, line by line.
| | 05:01 | One of the things I try to avoid when
formatting a score is I don't like to have
| | 05:04 | any text on top of a bar line.
| | 05:06 | So I am going to click the Mezzo forte
or Expression Tool and I am going to grab
| | 05:11 | that and I am going to move that a
little bit over, so that's out of the way.
| | 05:14 | Now, as you might notice,
this score has a lot of dynamics.
| | 05:18 | As I was looking for a score we could
use as part of this video, I chose a Late
| | 05:23 | Romantic Era score because that was
at a period of time when they really
| | 05:26 | started to put a lot of dynamics into
the score to try and indicate exactly the
| | 05:30 | performance that they were looking for, and
on top of that, it's in the public domain.
| | 05:35 | So we can clean up the way this looks
and one of the things that you can do that
| | 05:38 | really will improve the look,
well line your hairpins.
| | 05:41 | By the way again I am using the
term hairpin for both crescendo and
| | 05:44 | decrescendo markings.
| | 05:45 | So I am going to go to my Smart Shape
tool and once I get the handles showing on
| | 05:50 | these hairpins, I am going to drag and
close them, so that they're both selected
| | 05:54 | and then I am going to right-click on
one of the handles and there are two
| | 05:58 | really useful commands here;
| | 06:00 | Align Horizontally will align these
hairpins up in a line, and if I choose Align
| | 06:04 | Vertically, it will align them
vertically and that's good when you're trying to
| | 06:07 | align hairpins that are on different staves.
| | 06:09 | So I will choose Align Horizontally and
those align up and now I can use my up
| | 06:14 | and down arrow key to nudge those
into place and get them so they're not
| | 06:18 | colliding with the stems on those notes.
| | 06:20 | Now, once I've got a nice position
for those, I really like to line up
| | 06:23 | the dynamics with that.
| | 06:26 | So I am going to choose my Expression
Tool again and I will choose this forte
| | 06:30 | and notice that I get this positioning
that shows up and now I can align that
| | 06:34 | more carefully kind of with
the center of that hairpin.
| | 06:37 | Text items like crescendo a lot of times,
I will move those a little bit closer
| | 06:40 | up to the notes, but dynamics I
really want in line with the hairpins.
| | 06:45 | So I am going to scroll down and
let's take a look at the next system down.
| | 06:49 | You can see as we get more and more of
these hairpins, it really starts looking messy.
| | 06:54 | So I am going to go back to the Smart
Shape Tool and I am going to select some
| | 06:59 | of these and again align horizontally,
here's my arrow keys to put them where I wanted.
| | 07:07 | When I get to this next stave down here,
notice that I have slur smart shapes
| | 07:11 | right on top of these hairpins.
| | 07:13 | So dragging closing is
going to be a little difficult.
| | 07:15 | So I am going to Shift+Click these
just to select those two and not the slurs
| | 07:20 | and now again I can go Align Horizontally,
use my arrows to move down, get those
| | 07:25 | away from the slurs and you notice that
I actually had the ones above that still
| | 07:29 | selected and so it's moving them as well.
| | 07:32 | So I am going to click away from that,
select those again, they're already lined
| | 07:36 | up and I can arrow those back to where
I want them and a little bit more here,
| | 07:40 | let's just do just a couple more, let
me grab those, Align Horizontally, bring
| | 07:46 | that down and then over here again I am
going to choose the Expression Tool and
| | 07:51 | I am going to line up these
expressions with that hairpin.
| | 07:54 | I will have to be careful because I don't
want to get that forte too close to that note.
| | 07:58 | Now, anytime I want to look at this, I
am going to hit the Esc key and that will
| | 08:03 | get rid of all of the handles that we
have on everything and I can start to take
| | 08:07 | a look at how this is shaping up.
| | 08:09 | So this is starting to look pretty good.
| | 08:10 | I still need to clean up this bottom line, but
let's go ahead and take a look at one other item.
| | 08:15 | Now, if I go over to measure 11 here
on the oboe part, you will notice that I
| | 08:19 | have got Dynamics, and a Hairpin, and a
Slur all kind of colliding in the same space.
| | 08:25 | So one solution to this is actually to
flip the slur, so I am going to choose
| | 08:29 | the Slur Tool and then click the handle
for that slur and now I can just press F
| | 08:34 | on my keyboard to flip that to
the other side of the note heads.
| | 08:39 | Now, when you get it there, you may want
to take a look at the overall shape and
| | 08:42 | make sure it's not colliding with anything.
| | 08:44 | If it is, you can use these handles to
kind of adjust the shape and size of that
| | 08:50 | slur and now I am going to bring
that hairpin down just a little bit.
| | 08:54 | So I will select that and then arrow
that down and then choose my Expression
| | 09:00 | Tool and line those up more with the
middle of that hairpin and that's looking
| | 09:07 | a little bit better.
| | 09:08 | So you can see in this score,
there is a whole lot of work to do.
| | 09:11 | Now that you know how to position
expressions and smart shapes, take the time to
| | 09:15 | practice and work through the rest of the score.
| | 09:17 | In the next video we'll take a
look at setting the staff and staff
| | 09:20 | system spacing.
| | Collapse this transcript |
| Formatting staff and system spacing | 00:00 | Now that we have cleaned up the spacing
of the notes, expressions, articulations
| | 00:04 | and smart shapes, the score is
starting to approach a finished look.
| | 00:08 | There are still problems in the
staff system spacing, so let's continue
| | 00:11 | formatting the score.
| | 00:13 | So if you would, please open the file
that's in the 8_07 folder and we'll get
| | 00:16 | started by just kind of evaluating the score.
| | 00:19 | So I am going to zoom out a little bit
because at this point I want to take a
| | 00:21 | look at kind of the global overlook.
| | 00:23 | So I am going to press
Command+Minus to zoom out.
| | 00:26 | That would be Ctrl+Minus on a PC
and now I can see the overall look.
| | 00:30 | I will start scrolling through
here, so that I can check each page.
| | 00:35 | First page doesn't look too bad,
although noticing that the oboe looks a
| | 00:38 | little bit crowded.
| | 00:39 | I am going to hold down my Shift and use
my Scroll control on my mouse, move over.
| | 00:44 | It looks like we've got stuff kind of
up against the top of the page over here.
| | 00:49 | When I get to page 4, I notice that
there are some actual empty measures for
| | 00:54 | the entire line there.
| | 00:56 | Now, you may choose to leave those in,
or you might choose to hide them,
| | 01:00 | especially in a large orchestral
score where you have lots of instruments,
| | 01:04 | hiding some staves can actually give you
the ability to have fewer page changes.
| | 01:08 | So I am going to go to the Staff Tool, I
am going to scroll down just a little bit.
| | 01:13 | I am going to click the handle on that
flute stave and also on the oboe stave.
| | 01:20 | So you'll notice that it selected the
measures in both those staves, on only that system.
| | 01:26 | Now, I can go up to the Staff menu
and I can choose Hide Empty Staves.
| | 01:31 | So at this point I might be able to
bring another system on the page and I will
| | 01:34 | end up with fewer pages in the score.
| | 01:37 | One thing I will tell you is that if
you're going to hide empty staves like
| | 01:39 | this, I would not delete the
abbreviated score names, otherwise you will get
| | 01:43 | to a page, you will turn it and you won't
know which notes apply to which instrument.
| | 01:48 | So for this score, I am actually going
to undo that because I've only got five
| | 01:52 | instruments and that's not
going to help me that much.
| | 01:54 | Now, I have got an overall idea of how
the score is spaced out and I am going to
| | 01:59 | go to the beginning and start working.
| | 02:01 | So I will hit the Home key, back on
page 1 and I can set the space between
| | 02:06 | staves within a system using the
Staff Tool, so I am already there.
| | 02:10 | So I am going to click on the oboe part,
and if I click out to the left, notice
| | 02:14 | that it chooses the part for the entire score.
| | 02:17 | If I drag the positioning handle, that
means it's going to change the spacing
| | 02:21 | for the entire score.
| | 02:23 | So I am going to click on that and I
notice that there's a value that shows here
| | 02:27 | above that handle as I drag,
so I am going to zoom in.
| | 02:31 | That's Command+Equals on a Mac, or Ctrl+
Equals on a PC, let me go in two levels
| | 02:36 | and now when I click on that, you can
see that it says 0.93 inch between this
| | 02:41 | stave and the one above it and
all the rest are set in an inch.
| | 02:44 | So I am going to drag that down and
now we're back to one inch and that's
| | 02:47 | looking pretty good.
| | 02:48 | Let me scroll down the page.
| | 02:51 | That's looking pretty good and I am
going to Shift+Scroll, move over to the
| | 02:56 | next page and it looks like I have got some
collision between the clarinet part and the oboe part.
| | 03:02 | So this time I am just going to click
the handle on the B Flat Clarinet part,
| | 03:05 | and you notice that it highlighted
the notes just for that particular stave
| | 03:09 | in this one system.
| | 03:10 | So now if I drag the handle, it's only
going to change the spacing on this one system.
| | 03:15 | So I can just pull that
down and that's looking better.
| | 03:18 | Now, I am going to zoom back out,
that's Command+Minus, or Ctrl+Minus on a PC
| | 03:23 | and at this point, you would go through
the rest of the score and work with the
| | 03:26 | individual staff spacing.
| | 03:28 | But, I am going to move on, I will
let you do that and I am going to scroll
| | 03:31 | back to the first page.
| | 03:32 | Remember, that's Shift+Scroll
and the overall look here is good.
| | 03:38 | These two are farther in the page
because I actually have text for the title
| | 03:41 | and things up here.
| | 03:42 | So I am going to move back over to the
second page and I actually don't like the
| | 03:47 | way things are crowded up
against the top of the page.
| | 03:50 | So I can adjust that using the Page
Layout Tool and at this point I want to see
| | 03:54 | the whole page, so I am going to close this.
| | 03:58 | So page two doesn't look too
bad and that looks nicely spaced.
| | 04:02 | So I am going to go down to this
handle on the lower right-hand corner of the
| | 04:05 | stave and right-click and open
up the Edit Margins dialog box.
| | 04:09 | Now this tells me the margins on the system.
| | 04:14 | So at the top, this distance between
the top of this stave and this dotted line
| | 04:19 | is 0.236 of an inch and on the bottom,
it's 0.36 of an inch between the bottom
| | 04:25 | of this stave and this dotted line.
| | 04:27 | You'll notice that the left and right
are set at 0 because they're flushed
| | 04:30 | to the page margins.
| | 04:32 | The last one is this distance between
systems and that tells us the distance
| | 04:36 | between this dotted line
and the system above it.
| | 04:40 | So right now, if I want to set page
three to have the same look and the same
| | 04:46 | distance from the top of the page, I
need to type-in 0.34 of an inch, and I am
| | 04:51 | going to keep that in memory I will
write that down and I am going to drop
| | 04:54 | down to the system at the bottom of
the page and I can see that it's 0.628
| | 04:59 | from the stave above.
| | 05:02 | So now I am going to Shift+Scroll to
the next page, so now I want to apply
| | 05:08 | that to this system.
| | 05:11 | So when I do this, I don't want to
change the Top, Left, Right and Bottom
| | 05:16 | values, I want to change only
this distance between systems.
| | 05:19 | So I am going to uncheck these
checkboxes and now I will just type-in 0.34 there
| | 05:25 | and click Apply and that moves that down
on the page so it's exactly at the same
| | 05:30 | position as this one.
| | 05:31 | Then, I am going to scroll over to the
next one and right-click on this one.
| | 05:38 | I want to put that back on this page.
| | 05:40 | So right now that's set at 1.2 inches
and the other one was set at 0.628, so I
| | 05:45 | will type-in 0.628 and click Apply and
now let's put that back on the other page
| | 05:53 | and you can see that these
are in line. That looks good.
| | 05:57 | So at this point we simply need to go on to
the rest of the score and add the same thing.
| | 06:02 | So that one would be 0.34, click Apply
and this one would be 0.628 and that's
| | 06:08 | starting to look real good.
| | 06:10 | So now that the score is almost
finished, we're almost ready to move on to
| | 06:13 | the individual parts.
| | 06:14 | In the next video, we'll take a
look at formatting measure numbers and
| | 06:18 | rehearsal letters.
| | Collapse this transcript |
| Formatting measure numbers and rehearsal letters| 00:00 | Measure numbers and rehearsal letters
are an important part of the scoring
| | 00:03 | parts, because they can help
make a rehearsal go smoothly.
| | 00:07 | So let's take a look at
how to place and format them.
| | 00:09 | So if you would please open up the
file in the 08_08 folder, and let's take a
| | 00:14 | look what's happening with the
measure numbers in our score?
| | 00:16 | So notice there is no measures
anywhere on the first staff system.
| | 00:20 | And it looks like the first time we see
one, is at the beginning of the second
| | 00:24 | staff system, and if I scan over, I
see one at the top of the third staff
| | 00:29 | system, I also see one
here on the Horn and Bassoon.
| | 00:32 | So normally we only displayed the
measure numbers on the top staff and the
| | 00:37 | reason we see these on the Horn and
Bassoon parts is because the way that we set
| | 00:41 | the score up earlier and
we kind of messed it up.
| | 00:44 | So I actually want to hide those.
| | 00:46 | So I am going to the Staff tool,
remember that the things that we see displaying
| | 00:50 | on a particular part have to do with
the attributes of that part and I can get
| | 00:55 | at them through the Staff menu.
| | 00:57 | So I am going to choose that handle
on that staff and right-click and I am
| | 01:01 | going to Edit Staff Attributes and
under this area under Items Display, you
| | 01:06 | will notice that on the Horn part I
see that the Measure Numbers are set to
| | 01:10 | display, and if I hit the down arrow to go the
Bassoon part, I also see that that's checked.
| | 01:16 | So I will go ahead and click
OK and now that's not showing.
| | 01:20 | Now the rest of formatting the numbers
is actually done through the Measure tool.
| | 01:24 | So I will click that and I will go up
to the Measure menu, and I will choose
| | 01:29 | Edit Measure Number Regions.
| | 01:31 | Now at the top of this, it shows the
regions that are involved with this
| | 01:35 | particular score and you can actually
have multiple if you want, but in this one
| | 01:39 | it says, we have one Region and it
starts at measure 2, and it goes through
| | 01:44 | measure 999, which in Finale is
basically code for the end, because it's
| | 01:49 | unlikely that you'll have a single
score with more than a thousand measures.
| | 01:54 | And the reason is starts at measure 2 is
because we have this pickup measure and
| | 01:59 | so it's trying to make the first full
measure, measure number 1, so we see that
| | 02:05 | it Includes Measure 2 Through 999 >
Starting at Number 1 for Measure 2.
| | 02:10 | Now the Style of those is numbers, if
you want you can assign those to letters
| | 02:18 | and then in the Score it's on the Top
Staff and it's Shown at the Start of
| | 02:23 | every Staff System.
| | 02:24 | That's why we saw what we did out here.
| | 02:26 | Now notice that we can also have this
Flow through to the Linked Parts and if I
| | 02:30 | click that tab, currently
it says Use Score Settings.
| | 02:33 | Now if you want, you can do things differently.
| | 02:35 | For example, if you're on a
recording date for the orchestral score for a
| | 02:41 | movie, they really want to have the
Measure Number show on every measure and
| | 02:46 | that way they can call out a measure
number when they are rehearsing or they're
| | 02:49 | talking about wrong notes and everybody in the
room will automatically go to the same measure.
| | 02:55 | So if I want to do that, I will click
Show on Every measure, starting at Measure
| | 02:59 | 1, if I don't want that to happen in the
Link parts, I will need to uncheck that
| | 03:05 | so that we can have
different settings in the parts.
| | 03:07 | I can have one setting in the Score,
another one in the Linked Parts.
| | 03:12 | So let's just go ahead and click
Show on Every 1 Measures Beginning with
| | 03:16 | Measure 2, right, we don't want it for
the incomplete measure at the beginning
| | 03:20 | and I will go ahead and click OK, and
I'll hit my Escape key twice to choose
| | 03:27 | the Selection tool, so that we can actually see
those measure numbers as they are in the score.
| | 03:32 | Now let's go back to the Measure tool,
and we will go into the Measure menu and
| | 03:36 | choose Edit Measure Number Regions
again, and this time I am going to uncheck
| | 03:40 | that so we go back to where we were at,
and we will take a look at the look and
| | 03:45 | position of that Measure Number.
| | 03:47 | So if you want to change the font,
you can go ahead and click the Set Font
| | 03:50 | button and it will take you in here and
you can choose a different font and if
| | 03:54 | you want a different size, if you want
that to be bigger, I have chose Tamburo,
| | 03:57 | you might have something different
on your system and I will say OK.
| | 04:00 | I want to come back out into the Score;
| | 04:03 | we will notice that it's changed.
| | 04:06 | Again I will choose the Selection tool
and that one doesn't really work very
| | 04:09 | well in the score, my choice was
a bad one, but you get the idea.
| | 04:13 | I am going to Undo that and bring
back what we have before and I will go
| | 04:18 | back into the Measure menu, Edit
Measure Number Regions, and again, I am
| | 04:24 | going to unclick that Show On Every
Measure, and let's talk about where the
| | 04:27 | number is Positioned.
| | 04:29 | So, if you click the Position button,
it takes you into this dialog box and it
| | 04:33 | shows you where it's placing the number.
| | 04:35 | If you want you can just click on the number
and drag it towards where you want it to go.
| | 04:38 | So if you want it to the left of the
Staff you can do that, if you want it
| | 04:41 | below, you just drag it down
there, I will say OK, and OK.
| | 04:46 | You know now it's outside
the corner of each system.
| | 04:49 | So you can really dial this in, so
that you get the look that you want.
| | 04:54 | Now the other thing that really
helps rehearsing is Rehearsal Letters.
| | 04:58 | So I am going to go to the Expression
Tool and if I double-click on Measure it
| | 05:03 | will bring up the Expression
Selection dialog and we can go under Rehearsal
| | 05:07 | Marks and we can see once again that the
letter M, is set as a Metatool where we
| | 05:12 | can quickly add those in the Score.
| | 05:14 | So I will Cancel out of there, I am
going to hold the M down on my keyboard and
| | 05:18 | just click this first Measure and
you see that that appears in the Score.
| | 05:22 | Now if you don't want Measure Letters
and you don't want a box around this, you
| | 05:26 | can change that by right clicking on
the position handle of the Expression and
| | 05:30 | then choosing Edit Text Expression
Definition from the Contextual menu.
| | 05:35 | So if I want I can change the
Font here by unclicking Use Rehearsal
| | 05:39 | Marks Category Fonts.
| | 05:41 | That will open up these
controls to make changes;
| | 05:45 | I actually like this sizing,
so I am going to keep that.
| | 05:47 | But, you can change the
style and this is really nice.
| | 05:51 | So for instance in a classic score,
you might actually want to have Measure
| | 05:55 | Numbers to your Rehearsal letters or you
might want to just have 1 for the first
| | 06:00 | section and 2 for the second
section and so on and so forth.
| | 06:03 | As a matter fact in this score since
we have a theme and variation set up,
| | 06:07 | you might want to put a 1 for the first
theme and then second for the next variation.
| | 06:11 | So I'll choose that, now I
can go ahead and click OK.
| | 06:15 | You will notice that it
automatically changes to a 1.
| | 06:16 | Now if I hold M and click somewhere
else in the score, it will add the next
| | 06:22 | rehearsal mark, M click,
again, I get the next one.
| | 06:25 | So now that the score is finished and
formatted, we are ready to move on to
| | 06:29 | the individual parts.
| | 06:30 | In the next video we will take a
look at generating and formatting parts.
| | Collapse this transcript |
| Linked parts| 00:00 | Now that the score for the Woodwind
Quintet is finished and formatted, it's time
| | 00:04 | to generate and format the individual parts.
| | 00:06 | Finale makes this process very simple
because the parts are linked to the score
| | 00:10 | and are continually updated
as you add items to the score.
| | 00:14 | So please open the file that's in the 8_
09 folder and while you do that, let me
| | 00:18 | just explain that individual parts
have existed since the score was created.
| | 00:23 | But most Finale users suggest that you
regenerate the parts when the score is finished.
| | 00:27 | This will ensure that the parts
contain the most up-to-date changes.
| | 00:30 | So we can regenerate the parts by going to
the Document menu and choosing Manage Parts.
| | 00:36 | And before we do that, I'm going to
go down to Part Creation Preferences.
| | 00:41 | So for example, in this dialog, we can
have Finale create multimeasure rests
| | 00:46 | wherever there are two measures or
more, or an instrument doesn't play.
| | 00:50 | We can stipulate the kind of
spacing that we want to have happen.
| | 00:53 | We can even say how many
measures we want per line.
| | 00:56 | But I'll tell you from experience, I've
found these defaults be pretty good and
| | 01:00 | so I'll normally not change the
defaults unless I find myself doing a lot of
| | 01:04 | reformatting in parts.
| | 01:06 | At that point I might come back and
regenerate and change these preferences.
| | 01:10 | So for right now, I'm
going to go ahead and say OK.
| | 01:12 | I'll go back to this dialog, I'm
going to click the Generate Parts button.
| | 01:17 | And it's telling us now that if I
click Yes, I'm actually going to delete
| | 01:21 | the existing parts.
| | 01:22 | Don't worry about this, we're going to be
regenerating them, so I'll replace them.
| | 01:26 | So I'll go ahead and click Yes and OK.
| | 01:30 | It takes just a second,
and the parts are created.
| | 01:33 | So I'll go back to the Document menu
and I'll choose Edit Part and notice that
| | 01:38 | we have a contextual menu that
shows us the instruments in the score.
| | 01:41 | There is also shortcuts here that
you'll find or you can go from the score to
| | 01:45 | the next part and so on and so forth.
| | 01:47 | So on a Mac, you'd press Option+Command+
Period, and that's Ctrl+Alt+Period on a
| | 01:53 | PC, to move from one part to the next.
| | 01:55 | And I'll just demonstrate that.
| | 01:57 | So Command+Option+Period takes me
forward through the parts and then
| | 02:02 | eventually back to the score.
| | 02:04 | So I'm going to go to the Flute
part and I'll use that shortcut
| | 02:07 | Command+Option+Period, and now it's
time to start doing some formatting.
| | 02:12 | So again, what we're looking at
here is music that's a 100% in size.
| | 02:18 | This music can end up actually looking very big.
| | 02:20 | So I'm going to go ahead and I'm
going to change the music size by using
| | 02:24 | the Percentage Tool.
| | 02:25 | I'm going to go up to the left-hand
corner here and click and I'm going to
| | 02:30 | resize this page to 90%.
| | 02:31 | And I'm also going to go down to
Page Range and I'm going to say let's do
| | 02:36 | this to all the parts.
| | 02:36 | So I'll click that, say OK, and we can
see that the music is smaller and we also
| | 02:42 | saw all the staves jump on to this first page.
| | 02:45 | So the next thing I need to do is I
need to work with the staff spacing.
| | 02:48 | So I'm going to go to the Page Layout
Tool and there's a couple of different
| | 02:52 | ways you might do this.
| | 02:53 | First, you might try Space Systems Evenly.
| | 02:56 | So I'll click on that and I'm going to
do this to the Current Part right now.
| | 03:01 | I'm going to do this to Page 1 only,
and you might need to experiment here a
| | 03:06 | couple times to find out what works.
| | 03:08 | I might start with 8 at first and then
I'll go ahead and click OK and notice
| | 03:14 | that it's spaced them all evenly.
| | 03:16 | It's a little weird though because it
actually flowed through to the second
| | 03:20 | page and we noticed that I've got two staves and
it has put one at the top and one of the bottom.
| | 03:25 | So let's try that again.
| | 03:26 | I'm going to undo that, go back into
Space Systems Evenly, this time I'm going
| | 03:31 | to try 9, and that looks pretty good.
| | 03:36 | If I scroll down, I can see that it's
used the maximum amount of space on that
| | 03:40 | first page and we only ended up
with one system on the second page.
| | 03:45 | So that's one way you might do this.
| | 03:46 | At this point, I might drag this down
and get that away from the header on the
| | 03:49 | second page and we're good to go.
| | 03:51 | There's also a second way to
do this, one that I really like.
| | 03:54 | So I'm going to undo what I've done,
so we're back to where we started.
| | 03:57 | And this time I'm going to select the
lower positioning handle on that first
| | 04:00 | system and I'm going to hit Command+A,
Ctrl+A on a PC, to select that same
| | 04:06 | handle on the rest of the systems.
| | 04:08 | Now I can just use my Up and Down Arrow
keys to change the bottom margin on each
| | 04:11 | one of those systems.
| | 04:13 | I'll start pushing that, you notice
that it's creating room, let me scroll down
| | 04:17 | a little bit as I do that
so I can see the bottom.
| | 04:19 | And I liked 9 before, so I'm going to
push that down until we've got that spaced.
| | 04:25 | So it looks pretty good, but you might
notice that we didn't actually end up
| | 04:28 | with that tenth system
showing up on the second page.
| | 04:31 | So one way to force that to show up is
to go to the Edit Margins dialog, so I'm
| | 04:35 | going to right-click on that
positioning handle, and choose Edit Margins.
| | 04:41 | And before we do anything here, I want
to show you that these margins apply to
| | 04:46 | the space around a system.
| | 04:48 | So this says Values for System 1, we
see the number over here for System 1, and
| | 04:53 | that explains why we have this huge
margin at the top because it's there to make
| | 04:56 | room for the text that's there,
like the title and the subtitle.
| | 05:00 | Also, the first system has a left
margin where it's indented a little bit to
| | 05:05 | allow that part name to show up.
| | 05:08 | When I go ahead and apply these changes,
I actually don't want to apply the top
| | 05:12 | margin, because if I do, I'm going to
have an inch-and-a-half above every margin
| | 05:16 | and they're all going to have
a Left margin of 0.42 inches.
| | 05:19 | So I'm just going to do this once just
so you'll see what happens and I'll click
| | 05:22 | the Apply button and it's going to
move stuff all over the place. All right!
| | 05:27 | So everything has a one-and-
a-half inch margin on top.
| | 05:29 | So I'm going to undo that and instead of
doing it that way, I'm going to uncheck
| | 05:33 | these checkboxes for Top, Left, Right,
and Distance Between Systems, because
| | 05:40 | when I was using the Arrow keys, the
only thing that I was actually changing was
| | 05:43 | the bottom margin on each system.
| | 05:45 | So now if I click Apply, it creates that
second page and that last system is there.
| | 05:52 | So this is starting to look pretty good.
| | 05:54 | So the next thing I want to do is I
want to take the changes that I've made to
| | 05:57 | this part and applied to the other parts.
| | 05:58 | So I'm going to click Apply to Parts
and I'll click the Check All button and
| | 06:03 | then I'm going to uncheck the Score
because I don't want these changes to
| | 06:06 | happen in the score.
| | 06:07 | And I've already done it in the Flute part,
so I'll unclick that and then I'll click OK.
| | 06:12 | And now if I use our key command, Command
+Option+Period, to go to the next part,
| | 06:16 | that would be Ctrl+Alt+Period on a PC,
we can see that it spaced it similarly
| | 06:22 | and we're ready to start formatting these parts.
| | 06:25 | So let me go back to the other part
and I'll go up to the Document window and
| | 06:29 | choose Edit Part and Flute.
| | 06:31 | And now I can start working with the
formatting of the text and expressions and
| | 06:36 | articulations and what else we see on the page.
| | 06:39 | So this works exactly the same as you
would do it in a score, but remember, the
| | 06:44 | score and the parts are linked together.
| | 06:46 | So we need to learn about the
relationship between those two as we start to make
| | 06:49 | changes in the parts.
| | 06:51 | So if I click the Expression Tool and go to
move this tempo text expression out of the way.
| | 06:57 | I want you to notice that as
soon as I drag it, it turns yellow.
| | 07:01 | And what that's telling us is that now
that particular expression on this part
| | 07:06 | is unlinked from the score.
| | 07:08 | So moving that did not
change that position in the score.
| | 07:12 | So as I start to do this to other things,
you'll notice that they also turn yellow.
| | 07:16 | And that's great because we don't
necessarily want these changes we're making on
| | 07:19 | the parts to happen in the score.
| | 07:22 | Now there are times when
you might want that to happen.
| | 07:24 | So let me undo and let me show you what happens.
| | 07:27 | So if I hold down the Command key on a
Mac or the Ctrl key on a PC and do the
| | 07:32 | same adjustment, notice
that it doesn't turn yellow.
| | 07:35 | It repositions that, but now it's
repositioned it for the score and every part.
| | 07:40 | So if I go Document > Edit Score, we can
see that that's now higher than it was before.
| | 07:46 | Now the linking action
works differently in the score.
| | 07:49 | If I move this in the score, it's
going to move it in all the parts.
| | 07:52 | But if I want to move an expression in
the score and not in the parts, I'll do
| | 07:56 | it the opposite way.
| | 07:57 | I'll hold down Command to move it, or
Ctrl on a PC, and notice that it turns
| | 08:02 | yellow in the score.
| | 08:04 | And that's now saying you moved that in
the score, you repositioned it, but it
| | 08:07 | doesn't affect the position
of that one item in the parts.
| | 08:11 | So it's a little bit complicated
at first, but I think you get it.
| | 08:15 | Additionally, we can actually
create custom parts as well.
| | 08:17 | So I'm going to go back into the
Document menu and I'm going to choose
| | 08:21 | Manage Parts again.
| | 08:22 | And notice down at the bottom we
have this Edit Part Definition dialog.
| | 08:25 | So I'm going to click that and this
actually allows us to create custom parts
| | 08:29 | from the things that we have in the score.
| | 08:31 | So a good example of this would be if
you had some kind of a large ensemble with
| | 08:36 | a solo part and a piano part, you might
want to create a part that just has the
| | 08:41 | piano and the solo part on
it for rehearsal purposes.
| | 08:44 | So the way you do that is click New Part,
and now I can go over to the Available
| | 08:48 | Instruments and I can choose anything I
want, click Add to Part, I'll just take
| | 08:53 | these two, and then I can give it a
part name, I'll call this Custom Part and
| | 08:59 | I'll click OK to close that window.
| | 09:02 | And now we see that I have the Custom
Part listed here and if I click OK and go
| | 09:07 | back out of the menu, go to Document >
Edit Parts, notice that the Custom Part
| | 09:11 | is listed and now I have just those
two parts as part of this Custom Part.
| | 09:16 | So as you can see, moving from a
finished score to generating and formatting
| | 09:20 | parts is nicely implemented in Finale.
| | 09:22 | Wherein the past this was a long and
tedious process, it's now simple and fast.
| | Collapse this transcript |
| Printing scores and parts| 00:00 | When fished, you want to print your
score in parts to proof them one last time
| | 00:03 | for mistakes and formatting problems.
| | 00:06 | Let's take a look at how you can print the
score in parts and manage the related files.
| | 00:10 | So please go to the 8_10 folder and
open the score that's there and then let's
| | 00:14 | go up to the File menu and let's choose Print.
| | 00:18 | That's Command+P on a Mac or Ctrl+P on a PC.
| | 00:22 | At this point it will put you into this
dialog where you can choose what you want to print.
| | 00:25 | If you want to print
everything, then click Check All.
| | 00:28 | Let me warn you that before you do
this, if your score is a different page
| | 00:33 | orientation or page size from the parts,
you're going to want to do the score
| | 00:37 | and part separately.
| | 00:39 | One other thing at this point that I
will mention is that you're deciding
| | 00:43 | what page size and orientation to use
for score, a lot of time I like to use
| | 00:47 | legal size, 8.5x14.
| | 00:48 | It allows more measures per page and
more parts depending upon the orientation.
| | 00:54 | And the other thing is that if you end
up with a lot of parts on the score, even
| | 00:58 | 8.5x14 can actually pretty small.
| | 01:01 | But if take 8.5x14 version to a
photocopier that has the ability to enlarge it
| | 01:06 | to 11x17, that page size will scale
perfectly and you will actually end up with
| | 01:10 | a nice sized score and the
individual parts will be easily read.
| | 01:13 | So at this point I am going to
go ahead and print everything.
| | 01:16 | So I will click OK.
| | 01:17 | That takes me into the Mac print dialog
and that will be the same as being on a
| | 01:23 | PC print dialog, if you're a PC and you
can choose your printer up your the top,
| | 01:28 | you can choose what you want to print.
| | 01:29 | If I want to print all the pages or I
want to print a page range, and you can
| | 01:33 | actually choose the page
that it's going to print.
| | 01:36 | Finale always does a right-left with
each pair of pages, and you can choose just
| | 01:41 | to print the right only pages
or just the left only pages.
| | 01:44 | Now under Layout if you choose 1-up
it's going to print one page of music to
| | 01:48 | one piece of paper.
| | 01:50 | If you choose 2-up, it's going to put
two pages side by side on the same piece
| | 01:54 | of paper, and if you choose 4-up it's going
to put four pages on the same piece of paper.
| | 01:59 | So I could go ahead and click Print
here and that would go through the process.
| | 02:03 | I am going to click Cancel, because
I don't want to end up with a bunch
| | 02:06 | more score and parts.
| | 02:08 | So one other thing you can do in
printing a score is you might actually choose
| | 02:11 | to print at a concert pitch.
| | 02:12 | Now if you're like me and you don't
read transposed scores very well, you might
| | 02:16 | want to see a concert version.
| | 02:18 | So I will go up to Document and I'll
choose Display in Concert Pitch and notice
| | 02:22 | that it immediately changed the Clarinet and
Horn parts and now everything is in the same key.
| | 02:27 | One other consideration is that when we
save this we are saving both the score
| | 02:31 | and parts as part of one file.
| | 02:33 | You can if you want, actually save the
parts as separate files, and the way you
| | 02:37 | do that is to use the
Finale Extract Parts command.
| | 02:40 | Now before we do that, I am going to
want to create a folder where those go.
| | 02:45 | If I did it right now, I would
actually put those parts in the same folder as
| | 02:49 | the current score location.
| | 02:50 | But you actually might want to
save those parts differently.
| | 02:53 | So I am going to go up to the Finale
menu and choose Hide, go to the desktop
| | 02:57 | and right-click and choose New Folder
and then I will type in some kind of name
| | 03:01 | here Woodwind Quintet is what we've
been working on and you will also might
| | 03:05 | want to put a date or the name of
the client in here for version of this
| | 03:08 | particular scores parts.
| | 03:10 | Over a period of time you might end up
using several versions and you will want
| | 03:13 | to make sure that you know which
version of parts is in this particular folder.
| | 03:17 | I am just going to leave it at that,
click Enter, I am going to go back into
| | 03:22 | Finale, and then I'll go up to the
File menu and I will choose Extract Parts.
| | 03:25 | Now I can check what parts to extract
again, and if you go under File Names
| | 03:31 | you'll see that Finale is going to
automatically generate filenames based upon
| | 03:35 | the score name in any of
these little codes you see here.
| | 03:39 | So if I look at this %p and down this
list, I see that stands for part name.
| | 03:43 | And if I wanted to use any of these
other codes, I could just append them
| | 03:47 | in this name as well.
| | 03:48 | So what's going to happen in this case
is I will get our parts for the Flute,
| | 03:52 | Oboe, Clarinet, Horn, and so on, and
they're going to be named 8_10 printing
| | 03:57 | scores in parts dash and
then the part name, .mus.
| | 04:00 | Next, I want to save those
into the folder that I created.
| | 04:04 | So I am going to click Save In, go the
desktop, click WW Quintet, and click Choose.
| | 04:11 | Then when I say, OK, we'll see that
it's created the parts for each one, and if
| | 04:17 | I go back out to the Desktop, and check
the folder, we can see that all of the
| | 04:22 | parts that we created.
| | 04:23 | So now that you know how to print your
score in parts, hopefully, you'll have
| | 04:26 | the opportunity to have your music performed.
| | Collapse this transcript |
|
|
9. Working with Scores, Part 2 (Medium Score with Rhythm Section)Percussion setup| 00:00 | If you're involved in any contemporary
music style it's likely that you will
| | 00:03 | want to add drum set or percussion
parts to your scores, because a single drum
| | 00:07 | set or percussion part may
include multiple instruments.
| | 00:10 | The setup of percussion instruments in
Finale is a bit more complicated than
| | 00:13 | that for other instruments.
| | 00:15 | So let's start by creating a score for drum set.
| | 00:17 | So let's go up to the File menu and
choose New > Document With Setup Wizard.
| | 00:21 | I am going to click the Next button and
go to the Instrument Selection page and
| | 00:26 | I'll go down to Percussion and then
I will choose a Drum Set instrument.
| | 00:30 | Click Add, Next, and then we don't
need any score information, so I will
| | 00:34 | say Next and Finished.
| | 00:36 | So notice the Drum Set part opens
and that we have a neutral staff.
| | 00:41 | So it doesn't matter what key the score
is in, drum set parts will always have
| | 00:44 | this neutral staff and no key signature.
| | 00:46 | Now before we enter any notes I want to show
you how the notes are laid out on the staff.
| | 00:52 | So I am going to go to the Score Manager.
| | 00:54 | That's under Window > Score Manager,
and next to the Notation Style for
| | 00:59 | Percussion I am going to click
Settings and these are a bunch of layouts for
| | 01:03 | different kinds of drum sets and percussion.
| | 01:05 | So at this point we are on a Drum Set
layout and I am going to click the Edit
| | 01:09 | button and in this area over here it
shows you all of the instruments in the
| | 01:14 | drum set that are part of this layout.
| | 01:16 | So we have Cymbals up here and then as
we go down we see the rest of the drums.
| | 01:20 | Now if you click one of these
instruments you will notice that the display over
| | 01:26 | her changes and it shows you the
placement on the staff, the layout, and the
| | 01:31 | note heads that are going to be used.
| | 01:33 | So for instance, not everybody uses
the circle with an X inside for the half
| | 01:39 | note, and whole note, and larger note heads.
| | 01:42 | And by the way I see down here that
this is what they are referring to.
| | 01:46 | So the first one here is this Closed
Notehead, the next one over is the Half Notehead.
| | 01:51 | And if you want you can select a
different notehead for each one of these by
| | 01:54 | simply clicking the Select button and
then going through all of the symbols here
| | 02:00 | and finding something that you prefer.
| | 02:02 | Now I notice that if I scroll down here
and I click on number 120, it says Latin
| | 02:08 | Small Letter X and if I look out at the
symbol that's being used for the eighth
| | 02:12 | note or smaller head, it's that one.
| | 02:15 | So I will go ahead and click Select and
it immediately assigns the notehead for
| | 02:19 | the half notes for the closed hi-hat.
| | 02:22 | Also, you can change the position on the
staff that an instrument is assigned to.
| | 02:26 | For example, I might go down to the
Ride Cymbal and actually move that up
| | 02:31 | onto the same space that the hi-hat is
playing on, because it's very unlikely
| | 02:35 | that you're going to play the Ride Cymbal and
the Closed Hi-Hat with sticks simultaneously.
| | 02:40 | Some drummers like to see it this way
because it uncomplicates the way the score looks.
| | 02:45 | So I can move that by simply clicking
on the handle and just dragging that onto
| | 02:49 | the space or line that I want that to be on.
| | 02:53 | Now once I've completed that I can click
OK and go back out, and I will tell you
| | 02:57 | that if you're going to be doing this
a lot, you're probably going to want to
| | 03:00 | create your own percussion layout and
you can do that by choosing something to
| | 03:04 | start from and then clicking the
Duplicate button like we've done in other
| | 03:08 | situations and then editing that.
| | 03:12 | I can give this my own name, My Drum Set
and then later on we can export this as
| | 03:17 | a percussion layout.
| | 03:19 | So I will click OK and select and you
will notice that down in the bottom we now
| | 03:23 | have my customized set here.
| | 03:25 | I'll click Select and we are out into the score.
| | 03:29 | So if I want to add notes to the drum
staff, I can do that in simple entry, by
| | 03:34 | clicking the Simple Entry Tool and
then placing my cursor into the staff and
| | 03:39 | here is something that's really interesting.
| | 03:40 | As I use my Up and Down arrows to go
through the staff you'll notice on some
| | 03:44 | lines that you get multiple
different kind of noteheads.
| | 03:48 | So for instance, on Snare I get this
Ghost Strike and I get a Rim Shot, I get a
| | 03:52 | Cross Stick, and I get a Snare Drum.
| | 03:54 | Let me zoom in using
Command+= or Ctrl+= on a PC.
| | 03:58 | You will see that a little better.
| | 03:59 | So as I change the notehead by using my
Up and Down Arrow keys you will see the
| | 04:04 | actual look of that note changing.
| | 04:07 | Now if I want to go up and add
something on the Hi-Hat staff, I can arrow up to
| | 04:12 | that point and then if I hit my
Return key that will enter the note.
| | 04:17 | I can also hit the letter G, because
if you think you're in treble clef, that
| | 04:22 | would be the G above the staff.
| | 04:23 | I don't think that we are in treble
clef, but that's just the way it's
| | 04:26 | mapping to the keyboard.
| | 04:28 | So I hit G, I enter that.
| | 04:29 | Now unfortunately if I want to add
another note and I want to use the Shift
| | 04:34 | function to Shift arrow down an octave,
that doesn't work with percussion staff.
| | 04:38 | You simply have to arrow down to
that point, choose that, and hit Return.
| | 04:44 | Now if you are wanting to enter kind
of a conventional drum pattern, you are
| | 04:47 | going to need to remember your
commands for adding notes on the keyboard.
| | 04:51 | So I am going to backup little bit
here and if I wanted to add a kick at that
| | 04:57 | point the note would lie on
the note F, a ninth below.
| | 05:02 | So with that note selected I will hit
Shift+9 and that will put that down.
| | 05:07 | Then I can arrow over at another Hi-Hat note.
| | 05:10 | I will type a G and then on
two I want a snare and a Hi-Hat.
| | 05:14 | So I will put the G for the Hi-Hat,
then I will arrow back over and I will go
| | 05:19 | Shift+5, and again G and then G again,
Shift+9, G, G, Shift+5 and G and we are done.
| | 05:28 | So we've got our basic pattern done.
| | 05:30 | Now you can also do this on the MIDI
keyboard by typing F for the kick drum, C
| | 05:36 | for your snare drum, and G for your hi-hat.
| | 05:40 | So if you're going to use a MIDI
keyboard to enter notes for your drums I should
| | 05:45 | alert you that when you press the
key that's assigned to that on the MIDI
| | 05:48 | keyboard, it's going to
choose the first assigned sound.
| | 05:53 | So on these things like the snare
and the hi-hat where we have multiple
| | 05:55 | noteheads involved you're going to have
to arrow back over and choose that note
| | 05:59 | and then use the up and down arrow
keys on your computer keyboard to get the
| | 06:03 | exact notehead that you want,
if it's not the first notehead.
| | 06:06 | So now that we understand how
percussion layouts are used in Finale and how to
| | 06:10 | enter notes for drum set, you're
ready to begin creating drum parts.
| | 06:14 | In the next video, we will discuss
the different ways to notate a drum set
| | 06:17 | pattern and how to notate ensemble
rhythms, fills, and multi-measure repeats.
| | Collapse this transcript |
| Drum set parts| 00:00 | When notating drum set parts, you
want to indicate just enough so that it's
| | 00:03 | obvious what is needed and
leave the rest up to the drummer.
| | 00:07 | These kinds of parts are simple and lean,
but usually result in the best performances.
| | 00:11 | Let's take a look at some of the
different options available in Finale for
| | 00:14 | notating from drum set parts.
| | 00:16 | So if you would, please open both of
the files that are in the 09_02 folder and
| | 00:20 | tile and arrange them as
we've done in past videos.
| | 00:22 | Now, I am going to enter
some notes in the drum part.
| | 00:24 | So I am going to choose the Simple
Entry tool and again I am going to use my
| | 00:28 | Arrow key to go up to the line or
space where I want to enter a note and I am
| | 00:31 | going to enter the eighth notes
with a hi-hat to start off with.
| | 00:34 | I am going to go back and
add the rest of the notes.
| | 00:40 | So I will arrow back over using my left-
arrow and now remember that you can use
| | 00:43 | the Shift key to add an
interval below that and then a number.
| | 00:46 | So I am going to type Shift+9 on the
QWERTY area of the keyboard to add a
| | 00:51 | ninth below that hi-hat.
| | 00:52 | Then, I will arrow over, and I will go
Shift+5 to add the C or the snare drum
| | 00:58 | and then I'll move over, Shift+9, Shift+9 again;
| | 01:03 | Shift+5, and again Shift+9.
| | 01:06 | Now you will notice if you look up in the
example part that the stems are going up.
| | 01:13 | So we can do that easily just by
pressing the L key to flip the stems.
| | 01:16 | I will need to do that twice.
| | 01:18 | Now, in the next measure I've actually
got the exact same pattern, but you will
| | 01:23 | notice that it looks a little bit different.
| | 01:25 | So in this one, anything that's played
with the hands is in Layer 1 and stemmed
| | 01:30 | up and anything that's played with
the feet is in Layer 2 and stemmed down.
| | 01:34 | So again, I am going to go ahead
and put in those same eighth notes.
| | 01:36 | So I will type G for all those eighth
notes, and I am going to arrow back over
| | 01:42 | and on Beat 2, I am going to go Shift+
5 to add-in the snare drum part, and I
| | 01:47 | will go over to Beat 4 and do
the same thing; Shift+5 again.
| | 01:51 | Now, I want to go into Layer 2.
| | 01:52 | So if you're on a Mac, you can click
the Layer button down here and on a PC, it
| | 01:56 | looks a little bit different, there are
just numbers down there; 1, 2, 3, and 4.
| | 01:59 | So I am going to go into Layer 2 and
now I am going to arrow back to the
| | 02:04 | beginning of that measure, and then use
my down-arrow to get down to that bottom
| | 02:08 | line, and I am going to put in a
quarter note, so I will press 5, and then hit
| | 02:12 | the Return key or the letter F to put that in.
| | 02:15 | Now, I will do 4 and 0 for a rest,
and then Enter to enter a eighth note,
| | 02:22 | then back to 5, Enter again, 4, 0 for the
rest and then Enter to add another eighth note.
| | 02:30 | That looks like I did a
little bit different that time.
| | 02:32 | Let me back up and I will just use my
Delete key to erase that, and then I
| | 02:37 | will erase that rest, and now I will put-in
a 5 and a 0 to put-in that quarter note rest.
| | 02:43 | So that's number two way
of entering a drum set part.
| | 02:46 | In the third bar, you'll see
something that's a little different.
| | 02:50 | This time, I've got the hi-hat
stemmed up and I've got the kick drum and
| | 02:54 | the snare stemmed down.
| | 02:56 | So I will go back to layer 1, use my
Arrow key to get up to the top staff, 4
| | 03:03 | for an eighth note, and either hit
your Return key or the letter G and I can
| | 03:07 | add those notes in.
| | 03:08 | Now I will arrow back over to
the beginning of that measure.
| | 03:11 | I'll go back to Layer 2.
| | 03:12 | Then, I will arrow down to the kick drum,
type a 5 and hit Return or F to enter that.
| | 03:23 | Then up to the snare part, that's
going to be a 4 for an eighth note, Return,
| | 03:29 | back down to the F, Return, 5 for the
quarter note, Return to enter the note,
| | 03:35 | and then arrow back up and I
am already on a quarter note.
| | 03:38 | So I will hit Return, and
I've got that part done.
| | 03:41 | Now I will switch back to Layer 1.
| | 03:42 | Now, we can copy and paste drum
parts the same way we do anything else.
| | 03:47 | So if I hit my Esc key twice, I'll
choose the Selection Tool and now all I need
| | 03:54 | to do is click a measure, and then drag-
and-drop that where I want it to go and
| | 03:58 | I am going to weight for that green
outline to appear, so it's aligning
| | 04:00 | perfectly with the measure,
let go, and I am done.
| | 04:04 | Now, there are three ways that
you can notate a drum set part.
| | 04:07 | But, after you've notated a couple of
bars of the drum set part, we are not
| | 04:10 | going to want to continue, because that's
going to get very busy for the drummer to read.
| | 04:13 | So let's do something else.
| | 04:14 | I am going to scroll down, so that I
can see the next measure here and I've
| | 04:19 | already established this part.
| | 04:21 | So there is a couple of different
ways that I can tell the drummer just
| | 04:23 | to continue plying.
| | 04:25 | First of all, I am going to select
the next measure, and then I am going to
| | 04:28 | choose the Staff Tool.
| | 04:29 | Now, if I right-click on there, I
see a whole list of things that are
| | 04:34 | called Staff Styles.
| | 04:36 | If I choose the first one, Slash Notation,
it just enters slashes into the measure.
| | 04:42 | So we might do that.
| | 04:43 | By the way, you can do this for a range.
| | 04:44 | I could select this whole line, do
the same thing, and click, and we've
| | 04:48 | immediately got Slash Notation.
| | 04:51 | So at this point, you're probably going
to want to indicate to the drummer that
| | 04:54 | they want to continue the same pattern
in some way, and usually we'll do that by
| | 04:59 | using the term simile.
| | 05:00 | So we could either create an expression
using Expression Tool or we could create
| | 05:05 | a text block on that.
| | 05:06 | For example, if I use the Text Tool,
and click, I can type Simile and then I am
| | 05:11 | going to want to click out of there
to finish that, and then I am going to
| | 05:15 | right-click on that, I am going to Edit
the Frame Attributes to make sure that
| | 05:18 | it's assigned to that measure.
| | 05:20 | So I will choose Measure and Measure 5
in this case and notice that it formats
| | 05:25 | it more like a measure attached text item.
| | 05:29 | This way then, if I move that measure
around, that's not going to get lost.
| | 05:32 | So now I will scroll down a little bit
further, and let's do yet another Staff Style.
| | 05:36 | Now, once you've established that
pattern, another thing that you can do would
| | 05:40 | be to choose the Staff Tool, click a
couple of measures, then right-click on
| | 05:44 | there, and this time, I could choose Two
-Bar Repeat and that's just indicating
| | 05:49 | repeat that pattern that
was in the last two bars.
| | 05:51 | At some point, you are probably going to
want to be able to notate fills as well.
| | 05:56 | We can do that a couple of different ways.
| | 05:57 | For example, you might want
to indicate an exact fill.
| | 06:00 | So I am going to go back, and I am
going to choose my Simple Entry Tool.
| | 06:04 | I am going to Option+Click in this
measure to put my cursor there, and I am
| | 06:08 | going to add a little
fill at end of the measure.
| | 06:09 | So I am going to type a
6 and put-in a half rest.
| | 06:13 | I will type 0, and then I will
type 4 and 0 to enter an eight rest.
| | 06:18 | Now I might do something
where I'm going to use some toms.
| | 06:22 | So I will go up to that staff and I
will hit my Return key to enter that tom,
| | 06:26 | and then I might go down.
| | 06:27 | Let's put one on the snare, and let's
go down and let's hit the floor tom.
| | 06:33 | Now, I entered that in Layer 2 and
I am going to fix that real quick.
| | 06:36 | It doesn't really make a difference, but
it's a good idea to leave everything in
| | 06:42 | Layer 1 that you intend to be there.
| | 06:44 | So I've selected that, I am going to
right-click, and I am going to choose
| | 06:47 | Move/Copy Layers and I am going to click
Contents of Layer 2 into Layer 1 and OK.
| | 06:53 | I will make sure I am in
Layer 1 and we are good.
| | 06:56 | Now what I want to do is I'm going to
indicate slashes for the first part of
| | 07:00 | this measure, and then
we've got this little fill.
| | 07:03 | So I will go back to the Staff Tool and I
am going to Drag+Select just that half note.
| | 07:09 | Now, I can right-click on that and
choose Slash Notation, and I'm going to go to
| | 07:14 | the Selection Tool and copy that and
paste this over to the next measure, and
| | 07:19 | what I am going to do this time is I'm
going to select the entire measure, and
| | 07:22 | select the Staff Tool again.
| | 07:24 | What I want to do is I want to use
rhythmic notation to indicate these last
| | 07:28 | three notes here as just a Slash notehead
and let the drummer decide what note to play.
| | 07:33 | So I am going to do this in two pieces.
| | 07:35 | I'll select the first half of the measure,
right-click, and I am going to choose
| | 07:39 | Slash Notation, and then I will select
these last three notes, right-click, and
| | 07:44 | I'll choose Rhythmic Notation.
| | 07:47 | And in this way, the drummer knows
that they need to play those rhythms, but
| | 07:50 | they can actually choose the drums.
| | 07:52 | Then, the last way that you
might do this is even more ambiguous.
| | 07:56 | I'll choose the Staff Tool, click this
measure, and I am going to add Slash Notation.
| | 08:04 | Then, I am going to go to the Smart
Shape Tool and I am going to choose this
| | 08:08 | dotted line shape with the down end on it.
| | 08:10 | I am going to double-click and drag
over and then I am going to put a text
| | 08:15 | marking in there to say Fill.
| | 08:18 | So I will type Fill, click out,
position that where I want it, right-click,
| | 08:23 | choose Edit Frame Attributes, and
assign that to the measure which in this
| | 08:27 | case is 13, click OK.
| | 08:30 | Now, I can drag-and-drop
that where I want it go.
| | 08:32 | Now, what this tells the drummer is at
this point, they can play whatever they
| | 08:36 | want in terms of what they're hearing
in the music, and they need to fill those
| | 08:39 | two beats going into the next bar line.
| | 08:42 | As you can see Layers and Staff Styles
are a big help in notating effective drum
| | 08:45 | set parts, and many of these same
techniques can also be applied to the other
| | 08:49 | rhythm section parts.
| | Collapse this transcript |
| Scores and expressions| 00:00 | Adding expressions to medium to large
-sized scores can get very tedious,
| | 00:04 | especially when you're adding the
same dynamic or text markings to multiple
| | 00:07 | staves one at a time.
| | 00:08 | Let's take a look at how you can
simultaneously add an expression to multiple staves.
| | 00:13 | So if you would please open the file
that's in the 9_03 folder, and this score
| | 00:17 | has about 10 or 11 instruments in it
and this is only one section of it, we've
| | 00:21 | got about 40 or 50 bars.
| | 00:23 | And in some areas there
are a lot of expressions.
| | 00:26 | It gets really tedious
adding them one at a time.
| | 00:28 | So there are a number of ways that we
can either add them in groups or copy and
| | 00:32 | we're going to talk about that
in this video and upcoming videos.
| | 00:36 | So one of the ways that we've added
expressions to multiple staves in the past
| | 00:39 | was using Staff List.
| | 00:40 | So let's take a look at that.
| | 00:42 | I've got the Expression Tool selected
and I could hold down the number 6 and
| | 00:48 | click a note to add a mezzo-piano marking
and I could click and do that to each part.
| | 00:54 | But another way I could do that would
be to double-click the note where I want
| | 00:58 | to add that, go to the
Dynamics area, choose that.
| | 01:02 | And then down in this lower area
where it says Assign, there's actually a
| | 01:06 | drop-down menu next to that and there
are a couple of permanent options there
| | 01:10 | either assigned to current
staff or assigned to all staves.
| | 01:14 | So if I choose that and click Assign,
it's just put that mezzo-piano marking on
| | 01:18 | every one of the staves in
the score. Let me undo that.
| | 01:22 | I can also create custom staff list.
| | 01:25 | So if I click this pop-up menu again
and choose Assign to Staves, it puts me
| | 01:30 | into this dialog where I can
create my own custom staff list.
| | 01:34 | So for instance, in this score, I might
want to have a staff list for all of the
| | 01:39 | Woodwinds and brass and then a different
one for the rhythm section instruments.
| | 01:43 | So I can go ahead and give this a name.
| | 01:45 | I'll call this first one Woodwinds and
Brass and then I'll just click the staves
| | 01:50 | that I would like to apply that to,
and that would include those Horns.
| | 01:55 | And then I'll click New again, I'll
create another one and I'll call this Rhythm
| | 02:00 | and I'll go down and I'll choose the
staves that that belongs to, including the
| | 02:03 | guitar and the Staff 7 is the treble
clef of the piano and the Staff 9 is the
| | 02:09 | synth part, Electric Bass, and
the Drum Set, and I'll say OK.
| | 02:15 | So I didn't mean to put that there, so
I'll hit Delete, but now I can go back
| | 02:20 | and choose one, let's say mezzo-piano.
| | 02:24 | Choose the pop-up menu and now I can
choose the Woodwind and Brass and just
| | 02:29 | apply it to that one section.
| | 02:31 | If I want to do a different dynamic,
double-click a note in the guitar part and
| | 02:36 | I can choose something else.
| | 02:37 | Piano, and then say Assign to Rhythm.
| | 02:42 | Now once these are in the score,
they're independent of each other and you can
| | 02:45 | actually move them around if you need
to create room for that to exist in the
| | 02:49 | score without colliding with something else.
| | 02:50 | So I can click any of these and
they're independent of each other.
| | 02:54 | Now let's go back into the Expression
dialog and look at this for a second.
| | 02:59 | We've been talking about this in a
number of videos earlier and we've been
| | 03:02 | talking about different categories, but we
really haven't talked about how that works.
| | 03:07 | So we've got Dynamics, Tempo
Mark categories, Tempo Alterations.
| | 03:12 | And they all have different
properties and we might have noticed that the
| | 03:16 | Tempo Marks only show up on the top staff
and you might wonder how that actually works.
| | 03:20 | So I'm going to Cancel out of here, I'm
going to go to the Document drop-down,
| | 03:24 | and I'm going to choose Category Designer.
| | 03:27 | And here we can see the different
categories that we see in the Expressions and
| | 03:31 | then the parameters that are assigned to them.
| | 03:33 | So for instance, if I choose the
Tempo Marks category, notice that the
| | 03:37 | Score List 1 pops up.
| | 03:39 | And if I click on that, notice that it says
in the score, only apply to the Top Staff;
| | 03:44 | in the part, only apply to the Top Staff.
| | 03:46 | Well, since most parts only have one staff,
it's going to go on the staff of all parts.
| | 03:52 | If this was a piano grand staff part,
it would only go against the treble clef.
| | 03:56 | So this is the way that we can have an
item show on the top staff of the score
| | 04:01 | and not in all of the other parts.
| | 04:03 | And that's just by design in the category.
| | 04:05 | So you can take advantage of this
when you want to assign something and I'm
| | 04:09 | going to click out of here and I might
want to assign something to all staves in
| | 04:13 | the parts, but only to
the top staff in the score.
| | 04:16 | For example, at measure 34, I need to
add a text marking above this that says,
| | 04:23 | build with each repeat,
because it's repeating four times.
| | 04:26 | So let me close the main tool
palette and get that out of the way.
| | 04:30 | And I'm going to double-click to add
an expression there, and I'm just going
| | 04:35 | to go into The Tempo Marks category and I'll
choose one of those and I'm going to duplicate it.
| | 04:42 | And then I'll edit that and I'll call
this Build with each repeat and then I'm
| | 04:49 | going to uncheck Use the Tempo Mark Category
Fonts and now I can format that any way I want.
| | 04:55 | So I can choose a different font
and let's try Verdana this time.
| | 04:59 | You can try something else if you
don't have Verdana, and I'm going to
| | 05:02 | unbold that and I might italicize
it and let's make that a little bit
| | 05:05 | smaller, let's make that 12point.
| | 05:08 | And I'm going to double-check to make sure
there's nothing set in playback for that.
| | 05:11 | The Effect Value is set to 40 but it's
on None, so there is no effect with that.
| | 05:18 | And now this is not really a Tempo
Marking, but since it's in that category,
| | 05:22 | it's going to pick up the
parameters from the Category Designer.
| | 05:26 | And when I assign that, it's only going
to put it into the top staff in the score.
| | 05:31 | But if I go to one of the parts by going
to Document, Edit Part, and Alto Sax, I
| | 05:36 | see it's there as well.
| | 05:38 | So I didn't even have to
add it to the other parts.
| | 05:40 | And just to make sure, I'll go try
the Tenor Sax and it's there as well.
| | 05:45 | So now that you know that you know
how to use the staff list, you can add
| | 05:48 | expressions to your score
more efficiently and logically.
| | 05:51 | Check out the next video where
I'll show you how to copy and paste
| | 05:53 | Expressions and Articulations.
| | Collapse this transcript |
| Copying and pasting articulations and expressions| 00:00 | If you find yourself entering a
complicated sequence of expressions,
| | 00:03 | articulations and other musical
details to multiple parts one at a time, you
| | 00:07 | will probably start wondering if
there's an easier way to do the job.
| | 00:11 | I know that I did and I'm here to show you
that there is an easier and faster method.
| | 00:14 | So if you would open the file that's
in the 9_04 folder and make sure that
| | 00:18 | it's in Scroll view.
| | 00:20 | I am going to forward the score
to a place where we've got a lot of
| | 00:24 | expressions and articulations.
| | 00:26 | So I am going to type Measure
20 and then hit my Return key.
| | 00:30 | Now we can take a look at this Alto
Sax part and we can see that I've got the
| | 00:33 | smart shape crescendo and decrescendo
shapes, and dynamic expression shapes all
| | 00:38 | in a very long complicated sequence.
| | 00:41 | Now, I can copy expressions from
one step to another fairly easily.
| | 00:44 | If I choose the Expression Tool and
select an Expression, I can use these
| | 00:48 | commands that are on the Expression menu.
| | 00:51 | For instance, if I could use this Copy
Expression to Staff Below, and on a Mac
| | 00:55 | that's Option+Down arrow, on a PC that
would be Ctrl+Down arrow. So let's try that.
| | 01:00 | Option+Down arrow, and you can see,
I can quickly add that to a bunch of
| | 01:03 | additional staves, let me
select those and delete those.
| | 01:07 | I can also select that and use the Copy
Expression to All Staves Below, which is
| | 01:13 | Option+End and I will try that one.
| | 01:15 | That's Ctrl+End on a PC
by the way so here we go.
| | 01:19 | And bang, they are all in the score.
| | 01:21 | But that's only going to help me with
the expressions and I've got this sequence
| | 01:25 | with the bunch of expressions and smart shapes.
| | 01:28 | So let's undo that.
| | 01:29 | So the way I can copy this to the
other staves is using the Edit filter.
| | 01:34 | And what the Edit filter does is
allows us to choose what items that are
| | 01:37 | attached to a stave that we
want to copy to another one.
| | 01:40 | And that will keep us from actually copying
and overlaying the wrong notes on another part.
| | 01:44 | So let's go to the Edit menu, and
let's choose Edit Filter and currently
| | 01:50 | everything is checked.
| | 01:51 | So I am going to start by clicking the
None button and then I am just going to
| | 01:54 | go to the Markings category, and I'm
going to add Articulations, Expressions,
| | 01:58 | yeah if there is any Tempo marks I
will choose those, Smart Shapes that are
| | 02:03 | attached to Measures and that
would be like the crescendos.
| | 02:07 | Smart Shape that are Assigned to Notes
would be like slurs and I don't want to
| | 02:10 | catch those if there is any.
| | 02:11 | So I am going to leave
that empty and I will say OK.
| | 02:15 | And now I can come out and I can go
back to the Edit menu, make sure the Use
| | 02:19 | Filter is selected and now if I go to
the Selection Tool, and select a range of
| | 02:24 | Measures, I can use my Copy Paste
command, Command+C or Ctrl+C on a PC, click a
| | 02:32 | Measure where I want to paste that and
Command+V or Ctrl+V on a PC, and I've
| | 02:38 | added those to the next Measure.
| | 02:40 | So that's really useful and fast.
| | 02:42 | But there's even a faster method.
| | 02:44 | So let me undo that, and I'll
select that range on the top staff again.
| | 02:49 | And now that that's selected and I
have the Edit Filter set, I can copy a
| | 02:55 | selection by just holding down my Option
key and clicking where I want it to go.
| | 03:00 | So let's click the Tenor Sax
track look at this. How fast that is.
| | 03:04 | So you only have to do this once.
| | 03:07 | And I know the pain of this, because
I actually enter these all by hand the
| | 03:10 | first created time I created the score.
| | 03:12 | So that's really fast.
| | 03:13 | Now I am going to advance to Measure 42,
so let me select that 42, we can see
| | 03:20 | that I have also got Articulations
along with my smart shapes and all of the
| | 03:25 | different expressions that I have there.
| | 03:27 | So again, I am going to take the
Selection Tool, select that and before I try
| | 03:33 | this, I am going to go back into the
Edit Filter and make sure the Articulations
| | 03:37 | are selected and they are, so I will
say OK, Edit Filter is on, so I will click
| | 03:44 | out of there and now hold down
Option and just start clicking.
| | 03:47 | This is such a great way to do that.
| | 03:53 | It's much easier to add Articulations
that way and then when I go back into Page
| | 03:57 | view, I can do any modifying or
placement so that things look nice.
| | 04:02 | But now I don't have to add those one at a time.
| | 04:04 | So adding Expressions and
Articulations to score almost always result in
| | 04:08 | a better performance.
| | 04:09 | Now that you know how to use the Edit
Filter, there's no reason to avoid adding
| | 04:13 | performance markings because
now you know how to do it quickly.
| | Collapse this transcript |
| Using SmartFind and Paint| 00:00 | As you've seen in the last couple of
videos, fast methods of adding performance
| | 00:03 | markings are very useful.
| | 00:05 | Let's take a look at one more method,
Finale Smart Find and Paint function.
| | 00:10 | So please open the file that's in the 9_05
folder and let's locate this to Measure 16.
| | 00:18 | Now this group of dynamics and smart
shapes that are attached to the Alto part
| | 00:22 | here, need to go in many places and you
can look across here and see the similar
| | 00:26 | rhythms that are happening.
| | 00:28 | So I can take this one occurrence and copy
it using the Smart Find and Paint function.
| | 00:33 | So I am going to select these two
Measures, then I am going to go to the Edit
| | 00:38 | menu, and I am going to choose SmartFind
and Paint, Set SmartFind Source Region.
| | 00:43 | So I will click that and now we
see a box around these two Measures.
| | 00:48 | Now I can go back into that menu,
choose SmartFind and Paint again, and choose
| | 00:53 | Apply SmartFind and Paint.
| | 00:54 | Now if you want you can use these key
commands, which would be Command+F to set
| | 00:59 | the region and then Shift+Command+F to
start painting and that would be Ctrl+F
| | 01:05 | and Shift+Ctrl+F on a PC.
| | 01:09 | That takes us to the SmartFind and Paint
dialog box, and this is similar to what
| | 01:12 | we've seen before where we indicate
essentially what we want to paste.
| | 01:15 | Now I don't seen these slurs here so I
am not worried about it, but if I did, I
| | 01:19 | might not want to paste those.
| | 01:21 | So I'm going to go ahead and I am going
to click Find and notice that it jumps
| | 01:25 | ahead to this next
occurrence of that same rhythm.
| | 01:27 | I can click Paint and that adds those
Articulations, and you see that is already
| | 01:32 | moved on to the next two.
| | 01:35 | So if you want, at this point you could
put the Paint All button and it would go
| | 01:39 | out and find every one of these occurrences.
| | 01:42 | But it's actually been my experience
that it will find a couple where you
| | 01:44 | don't want to add it.
| | 01:45 | So I will typically just click the
Paint button very quickly, as I go through,
| | 01:51 | you can see it adding very rapidly and this
is so much faster than doing this by hand.
| | 01:58 | So once you are done with this dialog,
you can click that and hit the Escape key
| | 02:01 | to close it and then I am going to
go back up to the Edit menu and choose
| | 02:05 | SmartFind and Paint and I am going to
deselect the SmartFind Source Region, or
| | 02:09 | you can use the same
command to just toggle that off.
| | 02:13 | And now you can choose another area
and apply SmartFind and Replace there.
| | 02:16 | So in any case, I think you'll find a
few places where SmartFind and Paint will
| | 02:20 | be of use in the scores
you create in the future.
| | Collapse this transcript |
| Importing and editing libraries| 00:00 | The templates in Finale come loaded
with a collection of commonly used
| | 00:03 | expressions, articulations, and chord symbols.
| | 00:06 | In many cases, these templates allow
you to create scores with exactly the
| | 00:09 | performance markings that you want.
| | 00:11 | Some styles of music however require
less common markings, many of which can be
| | 00:15 | added to a score by loading one
of Finale's additional libraries.
| | 00:19 | So let's start by creating a default document.
| | 00:21 | I'm going to go up to File > New and
Default Document, and let me just explain
| | 00:27 | that many of the markings that we see
in Finale are collected individually
| | 00:30 | into libraries like an Expression
Library or an Articulation Library or a
| | 00:35 | Chord Suffix Library.
| | 00:37 | In most cases, the defaults have gotten
me through the work that I need to do.
| | 00:40 | But the one that I use the most is
the Chord Suffix Library and it's an
| | 00:43 | excellent introduction into importing libraries.
| | 00:45 | So let's just take a look and see what we have.
| | 00:48 | Now I've got the Chord Tool selected
and I'm going to zoom in just a little bit
| | 00:52 | so we can see more in detail and I'm going
to click this first measure to attach a chord.
| | 00:57 | Now remember that the suffix that you
use on a chord has to be predefined.
| | 01:02 | So let's just see what happens here.
| | 01:03 | So if I type in Cmajor, it takes that.
| | 01:09 | Let me try something else.
| | 01:10 | So a Dmin, it doesn't like that.
| | 01:14 | It's telling me it's not part of the library.
| | 01:17 | So I'll say No and I'm going to erase
the suffix and then to see what suffixes
| | 01:22 | that are available, I'm going to type
colon and zero, and this takes us to the
| | 01:26 | Chord Suffix Selection dialog.
| | 01:28 | So now you can scroll through and you
can find what they've put for minor.
| | 01:32 | Now it looks like I have little m,
which is something I don't like.
| | 01:36 | It's really hard to tell the
difference between a little m and a big M when
| | 01:39 | you're reading chords.
| | 01:40 | So, I'm wondering what else is out
there, whether I'm going to have to build
| | 01:43 | this by hand or if there's
another library out there.
| | 01:46 | And also, I really don't like the
way that these chord fonts look.
| | 01:51 | So let's choose something else.
| | 01:52 | I'm going to delete these chords by drag-
selecting them and then hitting my Delete key.
| | 01:56 | Then I am going to go to File > Load Library.
| | 02:00 | And in this folder you can see all of the
different kinds of libraries that they have.
| | 02:06 | Look in the Default Library we see kind of
Format and Percussion Layouts and Staff Styles.
| | 02:11 | Now If I we go into the Chord
Suffixes folder, you could see that there's a
| | 02:15 | bunch of different suffix libraries
related to different kinds of fonts.
| | 02:20 | And this newer one, the
Broadway Copyist is particularly good.
| | 02:22 | So I'm going to choose that and click
Open and it takes just a second and it's
| | 02:27 | added that to the score.
| | 02:29 | So again, I'm going to click to add a
chord, just type C. And since I'm not sure
| | 02:33 | what I've got yet, I'm going to type
colon and zero so I can go back into that
| | 02:38 | dialog box and see what I've got.
| | 02:40 | Now I'm going to have to scroll down
always because there was a bunch of
| | 02:42 | chords in here already.
| | 02:43 | When I get about halfway down, I start
to see the font is changed and I see a
| | 02:48 | different kind of chord.
| | 02:49 | And these to me look really good.
| | 02:51 | So for example, if I wanted to use
this MA7 for my Major 7, I'd select that,
| | 02:57 | drop that into the document, and that
looks good, but unfortunately now my
| | 03:00 | chord root looks bad.
| | 03:01 | So I'm going to go into the Document
menu and down to Document Options and then
| | 03:07 | choose Fonts, and now I can
set the fonts for the chord.
| | 03:11 | Now, if I click on the pop-up menu, we
can see that I can set them separately
| | 03:15 | for the Symbol, the Suffix, the
Alteration, and if you're using Fretboards.
| | 03:21 | So in this case, C is the symbol of the chord.
| | 03:24 | So I'm going to choose that, choose Set
Font, and then you can either scroll in
| | 03:28 | this dialog or you can type a couple of
letters at the beginning of the name of
| | 03:32 | the font that you're looking for.
| | 03:34 | In this case, I'm looking for the
Broadway, so I'm going to type BRO and that
| | 03:38 | gets me close, I've got
Broadway Copyist selected.
| | 03:41 | Now you've got to be careful here
because Broadway Copyist and Broadway
| | 03:44 | Percussion are actually noteheads
and percussion notehead type fonts.
| | 03:49 | So I want Broadway Copyist Text.
| | 03:51 | So I'm going to choose that and just
because I've done this before, I'm going to
| | 03:56 | need a larger font size with this.
| | 03:58 | So I'm going to make that 15
point size and I'll say OK.
| | 04:02 | And if I click the Apply button, we'll
see that flow through to the score, and
| | 04:07 | that's looking a lot better.
| | 04:08 | Now before I finish here, I also want to go
back in and adjust the font size on the alteration.
| | 04:14 | Now the alteration is when you have a
flat or a sharp in the chord symbol like D
| | 04:20 | Flat Major 7 or F Sharp Minor 7.
| | 04:23 | So let me choose that, click Set Font, and
again I'm going to type BRO to get me to Broadway.
| | 04:31 | And this time I can use Copyist because
I'm looking for the sharp or flat symbol.
| | 04:37 | So I'm going to make this just a little
bit larger, let's try 17, I'll click OK,
| | 04:43 | and OK to go into the score.
| | 04:44 | Now let's add a symbol with an alteration in it.
| | 04:47 | So let's do F Sharp and then I'm going
to go colon , because I'm not sure how
| | 04:52 | this is entered into this library,
and zero and then I'll hit Return.
| | 04:56 | Now I can scroll down into these chord
suffixes and notice that was a long way,
| | 05:01 | we're going to have to do something about that.
| | 05:03 | And now I can see the things are
related to minor and I see a couple of
| | 05:07 | different options for Minor 7.
| | 05:08 | So let me choose that one and click Select.
| | 05:12 | Now you can see I have the root, the
alteration, and the chord symbol and that's
| | 05:16 | all looking pretty good.
| | 05:17 | Now as I just commented, I don't like to
have to scroll through all those chords.
| | 05:21 | And so there's a couple of ways we can fix this.
| | 05:22 | So I'm going to click, I'm going to
put a chord symbol in here and then I'll
| | 05:26 | just type C, so I can get that handle.
| | 05:28 | And now I'm going to right-click on
that because I want to go into the Edit
| | 05:32 | Chord Definition dialog.
| | 05:35 | And what I'm looking for is actually
under Show Advanced, so I'll click that
| | 05:38 | button and down here at the bottom I
can get into that suffix selection box
| | 05:42 | by clicking Select.
| | 05:43 | Now this time I want you to notice
that I've got a bunch of extra buttons.
| | 05:47 | So I'm going to do two things here.
| | 05:49 | First, I'm going to click that first
chord and then I'm going to take the
| | 05:53 | scrollbar and I'm going to scroll down
until I see these other chord symbols.
| | 05:58 | Then I'm going to Shift+Click to that one.
| | 06:00 | So, all that stuff above that, I
don't like it, so I want to get rid of it.
| | 06:03 | So I'm going to click Delete.
| | 06:04 | It takes just a second, and they're gone.
| | 06:08 | So now it'll be easy for me to add chords.
| | 06:10 | For instance, I can use the slot number
to add the chord if you can't remember
| | 06:14 | how exactly to spell it.
| | 06:16 | So if I know I want to add 2 Chord, I
can add that to the score, by doing this.
| | 06:20 | Let me cancel out, and now I click into that
field, let me double-click. It puts me there.
| | 06:26 | Now I can go C:1 because
that was in the first slot.
| | 06:32 | And there we go, added that chord symbol.
| | 06:35 | Now in case you need to add a symbol
that's not defined, let's go in and add one.
| | 06:40 | So I'm going to right-click on that so I
can get back into this Edit Chord Definition.
| | 06:45 | Advanced is already open, so I'll go
down by Suffix, click Select, and now I
| | 06:51 | have the ability to
actually create a new suffix.
| | 06:55 | Now as I've shown you in some of the
other videos, I like to work from something
| | 06:59 | that's already existing and
duplicate it and then edit it.
| | 07:02 | So for example, if I needed something
like a Minor 9 Flat 5, I might scan down
| | 07:07 | until I see a chord symbol that has the
same characters in it, at least the same
| | 07:11 | number of characters.
| | 07:13 | So Major 7 Flat 5 will get me close.
| | 07:16 | So I'm going to duplicate that and
then click Edit and it brings me into the
| | 07:21 | Suffix Editor dialog and now I can go
okay, M is okay, so let me click Next so
| | 07:25 | it selects the next character.
| | 07:27 | Now I'll replace that with an I and
click Next and then the next one I want to
| | 07:32 | replace that 7 with a 9.
| | 07:35 | So let's do that and now I've got
Minor 9 Flat 5 what I was looking for.
| | 07:40 | I can click Select and OK and
I can add that to the score.
| | 07:44 | Now furthermore, I'll
probably be able to type that in.
| | 07:48 | So let me click again and I go FMI9(b5).
| | 07:58 | And now when I hit Enter, that suffix is
defined and it formats it perfectly the
| | 08:04 | way I want it look in the score.
| | 08:05 | So the last thing you might want to
do after you've customized the suffix
| | 08:08 | library is to save it for use in another score.
| | 08:11 | So I'm going to go back to the File
menu and I'm going to go down to Save
| | 08:15 | Library and I've already got
Chords & Fretboards selected.
| | 08:20 | So I'll go ahead and click OK.
| | 08:22 | Now if you were doing an
articulation or an expression library, you would
| | 08:26 | uncheck that and choose the right one.
| | 08:28 | But I'll choose Chords, I'll click OK,
and then I'm into the Library folder and
| | 08:34 | I'll click Chord Suffixes and now
I can call this My Chord Suffixes.
| | 08:44 | I'll click Save and then just to make
sure that that worked, I'll go back into
| | 08:49 | the File menu and Load Library and then
I'll go into the Chord Suffix subfolder
| | 08:55 | and there we go, My Chord Suffixes.
| | 08:58 | So in the future, you'll be able
to import that into more scores.
| | 09:02 | So loading, editing, and saving the
chord suffix library is just one useful way
| | 09:05 | that you can begin to
customize Finale for your own use.
| | 09:08 | You should check out the other
libraries in a later video, I'll show you how to
| | 09:12 | customize and save a template
with your favorite libraries.
| | Collapse this transcript |
| Applying and creating staff styles| 00:00 | Parts for rhythm section instruments
include some areas where specific notes or
| | 00:03 | chords are notated and others were
just left up to the musicians to create
| | 00:07 | their parts based on their knowledge
of a musical style and the information
| | 00:11 | that you put in the score.
| | 00:12 | Now, the latter is referred to as an
improvisational notation and we can add
| | 00:17 | that into Finale score using Staff Styles.
| | 00:21 | So, if you would open the file that's
in the 9_07 folder and that is in Scroll
| | 00:25 | view and I'm located at Measure 1
and I have scrolled down to the bottom.
| | 00:29 | So, I'm going to start with the Piano
part and I've got the chord symbols that I
| | 00:33 | want in here, but you notice
that I have got a bunch of Rests.
| | 00:36 | And, in this first Measure, I want
to indicate cord slashes and just let
| | 00:41 | the pianist choose a voicing and how and
where they're going to play that rhythmically.
| | 00:45 | So, I'm going to go to the Staff Tool
and I'm going to select that measure and
| | 00:50 | I can add the slashes by simply right clicking
on that and choosing one of the Staff Styles here.
| | 00:56 | Now, the one at the very
top is called Slash Notation.
| | 00:59 | So, if I click that, it replaces the
Rest through in the measure with chord
| | 01:03 | slashes and guitars, basses,
keyboard players and drummers know that that
| | 01:08 | means make your part up.
| | 01:09 | I'm going to undo that I can
actually apply that to a range if I want.
| | 01:14 | For instance, if I chose these first
six or seven measures by Shift+Clicking to
| | 01:18 | extend the range, I can now do the same thing.
| | 01:21 | Right-click and choose it from the
contextual menu or I can use the Metatool
| | 01:26 | that's assigned to that, which is the
letter S and I've immediately got slashes
| | 01:31 | for that entire range.
| | 01:32 | If you make a number of changes to the
score and you pass the point where you
| | 01:36 | can actually undo this, you can clear
a Staff Style by right clicking on that
| | 01:40 | selection and then choose
Clear Staff Styles From.
| | 01:43 | In this case, I want to do it from both the Score
and the Parts and that takes me back. All right!
| | 01:47 | So, now let's do this for real.
| | 01:51 | In the first measure, I do want to add slashes.
| | 01:53 | So, I'll select that and hit the letter
S. In the next measure I want slashes,
| | 01:58 | but at the end of the measure, I want to
indicate to the pianist that there's an
| | 02:02 | anticipation of the chord
that would start in bar three.
| | 02:04 | It's going to be on the last Sixteenth.
| | 02:06 | So, what I'm going to do is I'm going
to click outside the staff and drag in
| | 02:10 | close the beats where I want slashes,
so that they're selected, and now I can
| | 02:14 | hit S. And then I'm going to Drag+
Select that last Note or even the last Rest,
| | 02:19 | doesn't matter in this case, so that's
highlighted and then I can right-click
| | 02:24 | and choose Rhythmic Notation for this one
and that's also an R as a Metarool by the way.
| | 02:29 | So, when you choose that, you still
get the stem and the rhythmic value, but
| | 02:33 | you get a slash note head for that and I
actually do that in this next part over here.
| | 02:37 | So, let me choose that and I'll
type an R for Rhythmic Notation.
| | 02:41 | You'll see that I get these diamond note
heads for half notes or whole notes and
| | 02:45 | then slash note heads for
note values smaller than that.
| | 02:48 | So, now I can select that measure,
type a S for Slash, Drag+Select this, S
| | 02:56 | for Slash again, select that at
the end, because I want that Rhythmic
| | 02:59 | Rotation and type an R for that.
| | 03:02 | We can also use this in Guitar and Bass parts.
| | 03:05 | Now, you might have established a
pattern in the first couple of measures for a
| | 03:08 | part and then want to
indicate slashes after that.
| | 03:11 | Now, in the case of this bass part,
let's say that this was rhythmically what
| | 03:15 | I'm going to do in the rest of these bars.
| | 03:17 | I might add slash notation and chord
symbols, but when I playback Finale I might
| | 03:22 | actually want to hear the bass line.
| | 03:24 | So, before I add slashes, I'm actually
going to select these bars right here.
| | 03:29 | I'm going to go to the Selection Tool
and I'm going to right-click and I'm going
| | 03:34 | to move these notes into a different layer.
| | 03:35 | So, I'll go Move/Copy Layers and
I'll say copy the Contents of Layer 1
| | 03:40 | into Layer 2, click OK.
| | 03:43 | And now I can actually add that Staff
Style with the Selection Tool as well.
| | 03:47 | So, if I right-click on this, go to
the bottom of this contextual menu, I can
| | 03:51 | choose Staff Style > Apply Staff
Style and this dialog box comes up.
| | 03:57 | Now, this is kind of funny.
| | 03:59 | You'll notice that it shows you an S
and an R and a B and a K over next to the
| | 04:03 | names of these Staff Styles.
| | 04:05 | That's actually the Metatool.
| | 04:07 | But guess what, you can't use the
Metatool when you're using the Selection Tool.
| | 04:11 | So, this is very useful to know what
the Metatools are, but if you want to use
| | 04:15 | them you'll actually have to go back
into the Expression Tool where they're not
| | 04:19 | listed on the contextual menu,
so just one of those things.
| | 04:22 | So, I'm going to choose Slash Notation
and OK, and now I have slashes there and
| | 04:28 | if I were to play the score, the
bass part would still be there.
| | 04:31 | So this is a great way to kind of get
both things, Finale Playback and the
| | 04:35 | Notation that you want actually in the score.
| | 04:37 | So, I can use this on the Drum part as well.
| | 04:40 | So, I'm going to use the Selection
Tool, come down and choose this Measure,
| | 04:43 | and again, I'll right click, Staff Style >
Apply Staff Style > Slash Notation and click OK.
| | 04:50 | Now, the next measure is a little bit different.
| | 04:54 | I've got a cue note above the staff and
actually want that cue note to be there.
| | 04:58 | Now, if you remember that note is
red because it's in a different layer.
| | 05:02 | So what I want to do is I want to
create another Staff Style that's similar to
| | 05:06 | the slashes, but doesn't
hide notes in another layer.
| | 05:10 | So, let's choose the Staff Tool.
| | 05:13 | I'll choose that measure and then I'll
right-click and notice that I have an
| | 05:17 | option here for defining Staff Styles.
| | 05:19 | So, I'll click that.
| | 05:21 | Now, I'm in a dialog box that shows me all
of the parameters of a given Staff Style.
| | 05:26 | So, if I'm looking at Slash Notation,
this is the stuff that's going to show and
| | 05:30 | hide and I'll show you the Alternate
Notation thing here in just a second but
| | 05:34 | what I want to do is I want to create a new one.
| | 05:36 | So, if I click on this drop-down menu, I
can see that we currently have 26 of them.
| | 05:41 | So, I'm going to click New, and then
I'm going to start this off by typing 27
| | 05:46 | and a period and then I'm going to call
this Slashes with cue notes, and we'll
| | 05:53 | come down to the Alternate Notation
dialog, and I'll click the Settings button
| | 05:56 | next to the Alternate Notation area,
and here I'm going to indicate that I want
| | 06:00 | to use Slash Notation, but in the other
layers that we have in layers 2, 3 and
| | 06:05 | 4, I also want to show the Notes and
the Articulations and the Expressions.
| | 06:11 | So, I'll go ahead and click OK, and OK, and
now I have another Staff Style that I can apply.
| | 06:19 | So, if I right-click on this bar, now
I have Slashes with cue notes at the
| | 06:23 | bottom and then add slashes in there, but
it doesn't wipe out my cue notes that I have.
| | 06:28 | So this is really useful.
| | 06:29 | Now, in this case, I only added this
to a measure that only had one note, but
| | 06:33 | you might want to indicate a number
of notes and rhythms to a drummer to
| | 06:37 | indicate that they need to know
that they're there, but they don't
| | 06:39 | necessarily have to play them.
| | 06:41 | So, at this point, you might take a few
minutes and go through the rest of the
| | 06:44 | score and add slashes and rhythmic
notation in the keyboard part, bass part, and
| | 06:50 | the drum set part for practice.
| | 06:51 | So, as you see, Staff Styles are a
powerful tool that you can use to create
| | 06:55 | affective rhythm section parts, or to
add notation that would otherwise be
| | 06:59 | difficult and time-consuming to create.
| | Collapse this transcript |
| Changing instruments| 00:00 | In the past, notating
instrument doubles was a bit of a pain.
| | 00:04 | One of the most important updates to
Finale in Finale 2012 was the addition of
| | 00:08 | Change Instrument, a function that
allows you to easily change a staff's
| | 00:12 | instrument and related transposition mid-score.
| | 00:13 | Let me just start by saying that we used
to apply instrument changes using staff
| | 00:18 | styles and it was difficult.
| | 00:20 | But this new function in
Finale is really useful.
| | 00:23 | So I am going to zoom in just a little
bit so we will see other more detail,
| | 00:26 | Command+Equals and Ctrl+Equals on a PC.
| | 00:29 | I am going to choose the Selection tool,
and I will choose a couple of measures,
| | 00:34 | and then I am going to Utilities
menu and choose Change Instrument.
| | 00:38 | So this shows me the same bank of
instruments that we've seen both in the Score
| | 00:42 | Manager and in the launch window,
when we use the wizard to create a score.
| | 00:46 | All I have to do is navigate this and
find an instrument that I want to use.
| | 00:51 | I believe we have got Flute up here
at the top, so let me scroll up there,
| | 00:55 | Yeah, there is Flute.
Let me click Ok. And notice that it's canceled the
| | 01:00 | outgoing key signature.
| | 01:02 | I have got the notes transposed to
their new location. Alto Sax actually
| | 01:06 | transposes up a major sixth, so we
can see we are back at concert pitch.
| | 01:10 | And now I can do the same thing again if I want.
| | 01:13 | I will choose the next two measures, and
again go Utilities > Change Instrument,
| | 01:20 | then we need to scroll up again, and
there is Clarinet in B-flat. Let me click OK
| | 01:26 | and I will add that.
| | 01:27 | So again, we see a new key change and we
see the transposition, so if clarinet's
| | 01:34 | a B-flat instrument and flute is concert,
it's transposed that up a whole step.
| | 01:38 | So that looks correct.
| | 01:40 | And then we are back to the
original key there at the end for the sax.
| | 01:44 | Now the next thing that we need to do
is put some kind of a text indication in,
| | 01:47 | so that the performer knows what
instrument they are supposed to change to.
| | 01:52 | So again, I can either do that with
the Expression tool or I can do that with the Text tool.
| | 01:55 | Let's do with the Text tool in this case.
| | 01:58 | So I will click A and I am going to
double-click the measure before, and I'm
| | 02:02 | going to write To Flute, click out of
there and then I will right-click that, and
| | 02:09 | I want to assign that to the measure,
so I will click Measure, I will put in 2
| | 02:15 | and this is calling this Alto
Sax because it's the Alto Sax part.
| | 02:19 | And I will click OK and then I
can put that where it needs to go.
| | 02:24 | And just remember, when you're
changing instruments with one measure,
| | 02:27 | it's pretty difficult.
| | 02:28 | You are not going to leave in the part
for the player to actually put down an
| | 02:32 | instrument and pick up another instrument.
| | 02:34 | So I'll do another one of these, and I
will put this here at the end of this
| | 02:38 | line, and I'll say To B flat Clarinet.
Just leave that last part out. So I will
| | 02:46 | move that where it needs to go and again,
I will right-click, and let's assign
| | 02:50 | this to the measure and that's measure 4,
OK. And then the last thing I need to
| | 02:56 | do, is I need to go back to the sax, so
I will do the same thing one more time.
| | 03:04 | Click out, right-click, Edit Frame Attributes.
| | 03:09 | Click to assign it to a Measure.
| | 03:10 | It looks like I need that to go to
about measure 6. Say OK and now I can drag
| | 03:17 | and drop that where it needs to go.
| | 03:19 | So at some other point, you might
need to actually change or delete the
| | 03:22 | instruments that you've
added here into the score.
| | 03:25 | So at this point, I go up to the Window
menu and I choose Score Manager. You can
| | 03:29 | call the Quick Key function. There that
would be Command+K on a Mac or Ctrl+K on
| | 03:34 | a PC, and now when we click the
disclosure triangle next to the instrument name,
| | 03:40 | notice that we also see the
instrument that is changing too in the score.
| | 03:45 | So if I wanted this to go to something
else, I could choose that instrument and
| | 03:49 | go right back into this.
| | 03:50 | Let's say I wanted them to go to
English Horn, I could choose that and it
| | 03:54 | immediately changes that and if I
look in the score, you can see that it's
| | 03:58 | changed the transposition.
| | 03:59 | Now, if you find that you just want to
delete an instrument change, you can do
| | 04:03 | that by just pulling over to the side
here and clicking the Delete key, and then
| | 04:09 | we will notice that that key change is
gone and we are back in the same place.
| | 04:12 | So I would just need to then delete this
text marking and now we can see that we
| | 04:17 | are just supposed to play Alto Sax from
here all the way to the end, change to B
| | 04:21 | Flat Clarinet, play this part and
then quickly switch back to Alto Sax.
| | 04:27 | So as you can see, instrument changes are
simple to add in a score in Finale 2012.
| | 04:32 | This will allow you to create scores
with all the instruments that you want to
| | 04:35 | use and parts with the
necessary instrument changes.
| | Collapse this transcript |
|
|
10. Advanced FormattingSpecial tools| 00:00 | When you come up against something
that seems impossible to notate or
| | 00:03 | format, it's likely that the Special Tools
palette can provide all or part of the solution.
| | 00:09 | Let's take a look at a few of
the tools and how they can help.
| | 00:11 | So if you would, open up the file
that's in the 10_01 folder and let's take a
| | 00:15 | look at the Special Tools by activating the
Hammer Tool that's here on the Main Tool Palette.
| | 00:20 | You'll notice that when that opens we
get this floating Special Tools Palette
| | 00:24 | with the individual tools.
| | 00:25 | So typically, you'll click one of
these tools and then click in a measure and
| | 00:30 | then you'll get a bunch of handles that
appear that allow you to do something.
| | 00:33 | Now, I chose the Note Mover Tool, so
if I select one of these handles, I can
| | 00:37 | either click and drag or I can
use the arrow keys to nudge that.
| | 00:40 | For example, I hit my left arrow and move
that over and right arrow key to move it back.
| | 00:46 | You can also drag and close multiples
and move them simultaneously, like I might
| | 00:51 | want to move both of these notes
over away from the other notes.
| | 00:55 | So, the Note Mover Tool is great when
you've really got a lot of stuff crammed
| | 00:58 | onto a stave and there is
nothing else you can do about it.
| | 01:01 | You really need to find a solution to
make everything look like it's spaced nicely.
| | 01:05 | Now in addition to that, you might want
to use the Accidental Mover and you'll
| | 01:10 | notice that when I clicked on that I've
got handles on all of the accidentals.
| | 01:13 | They are a little bit hard to see,
but for example if I click on that one I
| | 01:18 | can now nudge using my arrow keys
again to move that flat further away or
| | 01:23 | closer to the note.
| | 01:25 | Now, I should tell you that when you
are using the Note Mover Tool there is
| | 01:28 | actually an adjustment that you can
make to how you nudge, and that would be
| | 01:32 | in Program Options.
| | 01:33 | Now, on a Mac that's in the
Preferences > Program Options area and on a PC it
| | 01:39 | would be down at the bottom
of the Edit menu down here.
| | 01:43 | So, let's go into Preferences >
Program Options and I'm going to choose the
| | 01:47 | Edit tab and if you look down here
under Movable Items, you see Arrow Key
| | 01:52 | Nudges Items By 1 Pixel.
| | 01:55 | This is actually impacted by the
current zoom level on your score.
| | 01:59 | So, this would be 1 pixel at a 100%
and if you go to 200% you would need to
| | 02:04 | divide that and it would be 0.5 pixels.
| | 02:07 | So, as you get into larger and larger
and larger views you can actually nudge
| | 02:12 | by smaller and smaller and smaller increments,
so you can make very, very fine adjustments.
| | 02:16 | Okay, let's click out of there.
| | 02:18 | In the next bar, let's take a look
at how we might replace the noteheads.
| | 02:24 | So, I'm going to come over here and I'm
going to click the Note Shape Tool and
| | 02:27 | when I click in that bar, again, I get
handles on everything and now I'm going
| | 02:31 | to drag and close those.
| | 02:33 | I get the handles activated and now I'm
going to very carefully double-click one
| | 02:37 | of them to open up the Symbol Selection dialog.
| | 02:40 | We can replace the notehead
with anything that you see here.
| | 02:44 | I used to use this to
replace nodeheads with x noteheads.
| | 02:47 | So, if I choose 192 there and click Select
we see that I've now got all x noteheads.
| | 02:54 | But you might admit that selecting all
the stuff and going through that dialog
| | 02:57 | box is a little bit difficult,
or at least time-consuming.
| | 03:00 | So, let me undo that and I'm going to
go over and choose the Selection Tool,
| | 03:05 | select that measure and then choose
Utilities and Change and I can do a
| | 03:11 | similar thing by choosing Noteheads
and going into this dialog box, it allows
| | 03:16 | me to Change Noteheads.
| | 03:18 | I can change all of them or selected ones
and then I can change them to something.
| | 03:23 | So, if I choose Selected Notehead and
click Select, it takes me right back into
| | 03:27 | a similar dialog where I can scroll and
find a shape that I might want to use.
| | 03:32 | So, that's another way, but that's also
number of dialog boxes and kind of a pain.
| | 03:37 | So, let me Cancel out of there, and
either with the Selection Tool or with
| | 03:43 | the Staff Tool you can select a measure or
measures and then right-click and use a Staff Style.
| | 03:51 | So, you'll notice down here at
the bottom I've got X-Noteheads.
| | 03:55 | So if I choose that, I'm
done. It was that fast.
| | 03:58 | And if you remember the Metatool
you don't even need to go through the
| | 04:02 | contextual dialog, you can just click
the letter G. So, just to demonstrate I'll
| | 04:06 | undo that and with the measure selected
and with the Staff Tool selected, I'll
| | 04:11 | just press the letter G and
we're done, so that's fast.
| | 04:15 | Okay, let's bring back the Special
Tools Palette and let's go on to the
| | 04:21 | Stem Direction Tool.
| | 04:23 | This is another one that I
used to use for flipping stems.
| | 04:26 | So, if you click in a measure you get
handles above and below the staff and if I
| | 04:30 | click above, you can see I can flip the stem.
| | 04:32 | Now, remember that you can do that in
Simple Entry by just pressing the L key.
| | 04:37 | So, I don't use that so much anymore,
but another one that I do find really
| | 04:41 | useful is the Double/Split Stem Tool.
| | 04:43 | So, if we choose that, again I get
handles on the top and bottom, I also get
| | 04:48 | handles on the notes.
| | 04:50 | Now, the default way that the
stems is up, so if I click on the down
| | 04:54 | position box, it's going to actually flip a
stem down and you notice that I get two stems.
| | 04:59 | So that's really handy.
| | 05:01 | In addition to that, the boxes on the
notes themselves, if you click one of
| | 05:06 | those is going to assign
that note to only stem up.
| | 05:09 | So, if I click twice on those top two
notes and now I am going to Escape out
| | 05:13 | of here so you can actually see what
this looks like, you'll notice that I've
| | 05:16 | got the chord divided where I've got two
notes stemmed up and two notes stemmed down.
| | 05:20 | And this is a quick and easy way to
indicate that there might be a polyphonic
| | 05:24 | voice or an independent voice
without having to go into layers.
| | 05:28 | So if you've only got a couple of notes
where you need to do this, this is going
| | 05:31 | to be more efficient than using layers.
| | 05:34 | Let's go back to the Special Tools
Palette and I can also do the Split Stem on a
| | 05:39 | single note and that's a quick and
easy way to show two voices coming to the
| | 05:44 | same note, again without
having to go into layers
| | 05:47 | Okay, back to the Special Tools Palette
and in this next measure what I want to
| | 05:52 | do here is I want to break the secondary beam.
| | 05:54 | That's the 16th note beam that
goes across here not the 8th beam.
| | 05:58 | So, I'm going to do that using the
Break Secondary Beam Tool and now if I click
| | 06:03 | in this measure, I get handles above
and if I double-click on a handle it's
| | 06:08 | going to break the beam before that note.
| | 06:10 | So let's double-click, bring this into
this dialog where we can either determine
| | 06:15 | I want to break through anything
that's a 16th and smaller in duration or you
| | 06:20 | can choose to break only a specific beam.
| | 06:22 | I'll choose 16th and say OK and
that just makes it easier to see the
| | 06:27 | divisions in that sextuplets.
| | 06:29 | Okay, let's go onto the next tool and
this is going to be the Secondary Beam
| | 06:33 | Angle Tool and this is one of my favorites.
| | 06:36 | So, I've got a glissando here and I
really want to make it look like these
| | 06:39 | notes are just converging on the C. so,
I'm going to click in this measure and
| | 06:44 | you'll notice I get handles on either side
of the notes that are included in that group.
| | 06:50 | Now, the handle on the left side
will move the entire beam up and keep it
| | 06:54 | parallel to the bottom beam and the beam
on the right allows us to change the arc.
| | 06:59 | So, I'm going to click the one on the
left and I'm going to bring that first
| | 07:03 | one up about 15 pixels.
| | 07:05 | So, 1, 2, 3 -- it's about 15.
| | 07:11 | I'll do the next one about 11, the next one
about 8 and that looks good about right there.
| | 07:20 | That looks pretty even.
| | 07:21 | Now, I'm going to take the ones in the
right hand side and I'm just going to
| | 07:24 | drag them down to try and
join them with the 8th note beam.
| | 07:31 | And you can see how now that kind of
creates that effect that it allows the
| | 07:34 | performer to see, yeah, they are all
64th notes but play them as if you're
| | 07:39 | accelerating and just
joining with that last note.
| | 07:42 | Okay, another useful tool is the Tie Tool.
| | 07:46 | So you might have been in a situation
where you wanted to adjust the arc of a
| | 07:49 | tie because it was colliding with
something, well, if I choose the Tie Tool and
| | 07:52 | click in a measure I get handles on the
tie somewhat similar to the handles on a
| | 07:57 | slur, and now if I click the one in the
middle I can change the arc of that tie.
| | 08:04 | And if I choose one of the ones on
the side I can move that closer or
| | 08:07 | further away from the note.
| | 08:10 | Now, on the last measure, I might
want to create an effect for a shrinker
| | 08:13 | diagram where I have only the outside
notes in this bar joined to the beam.
| | 08:18 | So, I'm going to do a couple of things.
| | 08:19 | I'm going to choose the Simple Entry
Tool and I'm going to Option+Click and that
| | 08:24 | would be Ctrl+Click on the PC.
| | 08:25 | This is first note of the second group
of 8th notes and I'm going to hit the
| | 08:30 | Backspace key to toggle that
to beam to the previous group.
| | 08:35 | Now, remember that's a toggle, so if I
click that again, it's going to toggle
| | 08:40 | the beam on that note to either join the
previous group or stay with the other group.
| | 08:45 | So, let me do that again
and I'll leave it that way.
| | 08:47 | And now I'm going to go to the Special
Tools Palette and I'm going to choose
| | 08:51 | the Custom Line Shape.
| | 08:53 | This is similar to the Custom Notehead Shape.
| | 08:56 | So, if I click that, we see I get
handles on the notes and if I click on one of
| | 09:01 | those I can use any of these shapes as a stem.
| | 09:04 | Now, often what I used to do was to try
and find one of these that was empty, so
| | 09:09 | I could replace the stem with
nothing like number 110 here.
| | 09:13 | So, if I click Select, you see that goes away.
| | 09:16 | But again, this is kind of time-consuming
to do it this way and there is an easier way.
| | 09:20 | So, I'm going to Command+Z, undo that
and the then I'm going to choose the
| | 09:24 | Staff Tool and I'm going to drag and
close the notes that are in between the
| | 09:28 | outside notes and then I'm going to
right-click on them and from the Contextual
| | 09:34 | menu here and the Staff Styles I'm
going to choose Stemless Notes and very
| | 09:38 | quickly I've got the outside notes joined to
the beam and then no stems on the other notes.
| | 09:44 | So, now that we've taken a look at some
of the special tools, I suggest that you
| | 09:48 | take some time to become familiar
with what the rest of the tools can do.
| | 09:51 | They have helped me to notate some
difficult scores and I know they can help
| | 09:55 | you too.
| | Collapse this transcript |
| Plug-ins| 00:00 | Finale plug-ins or macros are little
programs that complete complex tasks that
| | 00:04 | would be too difficult to do manually.
| | 00:07 | Now we've used plug-ins throughout this
course in a couple of videos, but let's
| | 00:10 | take a look specifically at them now.
| | 00:13 | So if you would go ahead and open
the file that's in the 10_02 folder and
| | 00:16 | remember that using a plug-in starts
with making a selection, now you can
| | 00:20 | select the entire score or a measure or a
number of measures, but it starts with a selection.
| | 00:25 | So the first one I am going to show you, we
are going to create a Coda here at Measure 12.
| | 00:29 | So I am going to go up to the Plug-in
menu and I am going to choose the Measures
| | 00:34 | subcategory and choose Create Coda System.
| | 00:39 | So in this dialog I want to create a
Coda starting right here and I want to jump
| | 00:44 | it back to a measure over here and
then choose a measure about right here, so
| | 00:48 | then jump to the Coda.
| | 00:50 | So let's create a To Coda Measure,
let's say in Measure eight and then let's
| | 00:56 | create a sign that goes back to
measure three. So I'll click OK.
| | 01:02 | It makes the split.
| | 01:03 | We see we've got a Coda sign.
| | 01:05 | Here at the end of the
previous part it says D.S. al Coda.
| | 01:09 | So we jump back to the D.S. and then we play
down to this measure and then jump to the Coda.
| | 01:15 | Now, I point out one thing, is that I actually
told it to put the D.S. sign in measure three.
| | 01:22 | But, this plug-in actually counts the
incomplete measure here at the beginning,
| | 01:26 | this pickup measure as a full measure.
| | 01:29 | So it's counting that as one.
| | 01:30 | So you just have to realize that and
account for that and tell it to move that
| | 01:34 | over one by putting in measure four instead.
| | 01:37 | Okay, so let's undo that and
let's check out a couple of others.
| | 01:42 | So one that I really like is the
Cautionary Accidental, now normally you would
| | 01:46 | do this on the entire score, but I am
going to zoom in using the Command+=
| | 01:50 | command and then I am going to scroll
down a little bit and notice that we've
| | 01:55 | got an A flat in this measure and an A
in this next measure and I am actually
| | 01:59 | going to add one more, so
just we can see what this does.
| | 02:02 | I am going to Option+Click this C using
the Simple Entry Tool and I am going to
| | 02:07 | use the Plus key to add a
sharp and then escape out of there.
| | 02:11 | So that we've got a C sharp here and
going to a C naturals in the next measure.
| | 02:15 | So now I'll choose this line by Shift+
Clicking them with the Selection Tool and
| | 02:21 | I'll go back to the Plug-ins menu
and I'll go down to Note, Beam and Rest
| | 02:26 | Editing and choose Cautionary Accidentals.
| | 02:31 | And now it gives us a couple of options
that we can choose where it will insert
| | 02:34 | Cautionary Accidentals or Naturals.
| | 02:37 | And right now all I really want to
do is put in Courtesy Naturals or
| | 02:40 | Courtesy Accidentals.
| | 02:41 | I don't really have a key in here where I
change, so I don't have to worry about that.
| | 02:46 | If I chose to have it put in Diatonic
Accidentals, now it's showing us the key
| | 02:50 | of E flat here and then some notes.
| | 02:52 | So, if I click that, it's going to add
flats to any of the diatonic notes that
| | 02:57 | are flatted in that key.
| | 02:59 | But I don't want that, so I will uncheck that.
| | 03:01 | I can also choose where to apply it,
like if I wanted to go into all of these
| | 03:05 | layers or just one particular layer.
| | 03:07 | So let's go ahead and click OK and then
let's look at the measures I chose, let
| | 03:12 | me click out of there.
| | 03:13 | You notice that I do have the sharp
here still, but in the next measure it's
| | 03:16 | showing me both the natural on
the A natural and the C natural.
| | 03:21 | And that's really helpful, because
sometimes we forget to do that as we create
| | 03:24 | the score, and this is a
really quick way to do that one.
| | 03:26 | So let's Command+Z one more time and
I'm going to scroll up now to take a look
| | 03:34 | at the first few measures.
| | 03:35 | Now one of the ones I really
like is the Cue Notes Plug-in.
| | 03:38 | So you notice that the Flute player
doesn't play over here until about measure eight.
| | 03:42 | So I'm going to select the notes in
the Oboe part, because that's where the
| | 03:46 | melody is at the beginning of the piece.
| | 03:48 | And I am going to up to the Plug-ins
menu and down to Scoring and Arranging and
| | 03:53 | choose Add Cue Notes.
| | 03:57 | Now in this I need to choose the part
that I want to add the cue notes in.
| | 04:02 | So I am going to take the Oboe notes
and add the cue notes into the Flute part
| | 04:06 | and I can choose how much I want the
noteheads reduced and I can choose where
| | 04:11 | it's going to read the notes from in
the Oboe part and what layer that it's
| | 04:15 | going to put them in, in the target part.
| | 04:17 | So it's going to put these in Layer 4
and the reason that you might want to do
| | 04:20 | that is because if you use Finale
Playback, you are going to have those notes
| | 04:24 | playing back in that part unless you put them
in a layer where you can then mute the layer.
| | 04:29 | So let's go ahead and click OK, and
notice that it drops those cue notes
| | 04:33 | in, they are very small and they are
in Layer 4, we can see that because of
| | 04:37 | the color of the notes.
| | 04:38 | Now one other thing that you would
need to do before you go on would be to go
| | 04:41 | into Simple Entry and Option+Click in
this bar and then hit H to hide that rest
| | 04:47 | so that that wouldn't print.
| | 04:48 | So I need to go through this score real
quickly and hide those rests in those bars.
| | 04:54 | Another one that I really like
is the Piano Reduction Plug-in.
| | 04:58 | So, let me undo what I just
did, let me take that out.
| | 05:03 | So those are gone and again, I am
going to hit the Escape key twice to choose
| | 05:06 | the Selection Tool and I'll select the
music in this first system and I am going
| | 05:12 | to go up to the Plug-in menu and down to
Scoring and Arranging and I am going to
| | 05:16 | choose Piano Reduction.
| | 05:18 | So this might be an excellent plug
-in to use if you were needing an
| | 05:22 | accompaniment stave for like a choir
where you wanted to take the notes that are
| | 05:26 | in the four parts of the choir and then
join them in a piano staff so that the
| | 05:30 | pianist would have something
to rehearse with the choir with.
| | 05:33 | So I am going to choose the staff
that I want to include in this reduction.
| | 05:37 | Now the Split Point here is just
telling you that notes above and including
| | 05:42 | MIDI 60 will be put in the treble clef
staff and notes below 60 will be put in
| | 05:46 | the bass clef staff.
| | 05:47 | So let me click OK.
| | 05:49 | It takes just a second to do this one
and you can see that it's added the Piano
| | 05:56 | stave on the bottom of this with all
the notes that are in these top staves.
| | 06:00 | Okay, let's Command+Z and undo that
one and let's take a look at one last
| | 06:04 | plug-in, and for this I am actually going
to go up and I am going to create a new file.
| | 06:08 | So let's just go File > New > Default Document.
| | 06:11 | Now I am just going to choose some
measures and let's go back up to the Plug-ins
| | 06:16 | menu and into the Scoring and
Arranging and let's choose Drum Groove.
| | 06:21 | So if you are trying to write some
music and you just need a basic Drum Groove
| | 06:24 | part, you can come in and
choose one from this menu here.
| | 06:28 | I am going to choose 60s Rock and
you can choose what it's going to do.
| | 06:32 | In this case it says New Staff at the
Bottom of Score, or you can place these in
| | 06:36 | an existing drum staff if
you have one in the score.
| | 06:39 | Now you can either have that
generate a part that shows the notation in a
| | 06:43 | percussion stave or you can have it
show as normal notation, or you can just
| | 06:48 | have it put in Slash notation.
| | 06:50 | Let's try the Percussion
Map and see what it does.
| | 06:51 | Now I'll click OK and it's gone
through there and it has added it in the
| | 06:58 | measures that I had selected.
| | 07:00 | So a couple of other things
that we got to talk about.
| | 07:02 | You'll notice that there are a lot of
plug-ins and there are a lot of very
| | 07:04 | useful ones and we didn't
take a look at all of them.
| | 07:07 | But you're going to find that as you
work that you are going to like some of
| | 07:10 | these and you are going to get
annoyed by having to go through all of these
| | 07:14 | submenus to find them.
| | 07:16 | So what you can do is take the ones
that you use and drag them and put them up
| | 07:20 | in the Favorites Plug-in folder.
| | 07:22 | Now the way you do that, on a Mac is
to go to the Finder Window and I've
| | 07:26 | already got this laid out.
| | 07:27 | So the plug-ins on a Mac are stored in
Library > Application Support > MakeMusic
| | 07:34 | > Finale 2012 and Finale 2012 Plug-ins.
| | 07:37 | We can see inside the Plug-ins folder
all of those subfolders that we saw and
| | 07:42 | then inside those the actual plug-in.
| | 07:45 | Now if you want to put this in the
Favorites Plug-ins folder, you just click and
| | 07:49 | drag and drop it on that folder.
| | 07:51 | Now when you go back into Finale,
it's going to tell you that you need to
| | 07:54 | restart the program before you'll
actually be able to find that plug-in in
| | 07:58 | that Favorites folder.
| | 07:59 | Now if you are on a PC, the Plug-ins
folder is stored in Program Files > Finale
| | 08:05 | 2012 > Plug-ins folder.
| | 08:08 | In addition to the plug-ins that we
see here, there are also ones that are
| | 08:12 | developed by third parties, and let's
take a look out here at my web browser.
| | 08:18 | So one of these developers is a
gentleman by the name of Jari Williamson and he
| | 08:22 | has a channel on YouTube where he talks
about his plug-ins and how to use them.
| | 08:27 | And then there are a couple of
other companies that actually sell these
| | 08:31 | plug-in collections.
| | 08:32 | One is called the Patterson Plug-In
Collection for Finale and another one is
| | 08:36 | called the TGTools Plug-
in Collection for Finale.
| | 08:39 | Now in addition to plug-ins, we also
have the Finale Script Plug-in that allows
| | 08:44 | you to write little macros of your own.
| | 08:47 | And if you go into the Palette, you
can see a bunch of those that have been
| | 08:51 | actually made available through Finale,
and some of the ones that I like to use
| | 08:55 | are these Batch Process Plug-ins.
| | 08:57 | So for instance, if you just
purchased Finale 2012 and you have a folder of
| | 09:02 | Finale files that are older, you can
convert them to 2012 by choosing this
| | 09:07 | Convert folder of files to
the current Finale format.
| | 09:11 | Now when you do that, it's going to
ask for a folder and it will convert the
| | 09:14 | ones inside that particular folder.
| | 09:16 | So it's really great to see that the
Finale community is so enthusiastic and
| | 09:20 | that other users create and share plug-
ins that help with difficult tasks and
| | 09:24 | enhance the user experience.
| | Collapse this transcript |
|
|
11. Notating Music for Guitar: Tab, Fretboards, and Smart ShapesEditing and creating fretboard diagrams| 00:00 | If you're notating lead sheets or
guitar specific music, you want to add
| | 00:03 | fretboard diagrams to your scores.
| | 00:05 | If you are as picky as I am you may
want to choose specific Chord voicings that
| | 00:09 | might require you to create
a custom fretboard diagram.
| | 00:12 | So if you would let's go to the 11_01
folder and open up the Fretboard Start
| | 00:15 | file and once you get there and open
it, let's zoom in just a little bit.
| | 00:19 | So I'll go Command+Equals on the Mac
its Ctrl+Equals on the PC and then let's
| | 00:23 | put fretboard diagrams into the score.
| | 00:26 | We can do that by choosing the Chord
tool then going to the Chord menu and
| | 00:30 | choosing Show Fretboards.
| | 00:33 | Finale assigns a default Chord
Fretboard to each chord symbol and at this point
| | 00:37 | you might want to work with
the spacing just a little bit.
| | 00:40 | And remember that we can actually set
the baseline for the fretboards at one
| | 00:44 | point and then we'll have to switch
and do the chord symbol separately.
| | 00:47 | So let's go up to the chord menu, let's
choose Position Fretboards and now the
| | 00:52 | positioning triangles on the left-
hand side, work only for the fretboards.
| | 00:56 | So I can pull those down until I've got
those where I want them and go back into
| | 01:00 | the chord menu and I can choose Position Chords.
| | 01:04 | Now the triangles allow me to
set the baseline for the chords.
| | 01:08 | Okay, so let's look through here and I see I
like some of these voicings but not others.
| | 01:13 | To change this fretboard diagram, I
am going to right-click on that Chord
| | 01:17 | Positioning handle and choose Edit
Chord Definition from the dialog.
| | 01:21 | Then in the Fretboard area, I'll click Select.
| | 01:25 | And here I see an alternative
voicing and that one is okay.
| | 01:28 | So I'll choose that one and click
select and OK and assign that to the score.
| | 01:33 | And as I scan down, that's okay, that's okay.
| | 01:37 | Now this A 7 voicing is not my
favorite, so let's again right-click on
| | 01:43 | that handle, choose Edit Chord
Definition and then again click select in
| | 01:48 | the Fretboard area.
| | 01:49 | Now this time there is alternative, so
I am going to actually have to make one.
| | 01:53 | So I click Create and that
brings me into the Fretboard Editor.
| | 01:58 | Now if you want, you can give a name
when you create a chord, so that you have a
| | 02:02 | reference point for that, so I'll
select that and I'll type 7(#9 b 13).
| | 02:06 | Now that doesn't actually
print or show on the score.
| | 02:15 | It's just for a reference.
| | 02:17 | Now below that, in this Instrument
pop-up menu, I can tell it what actual
| | 02:22 | instrument that I'm doing this for.
| | 02:24 | And you can see that there is just all
kinds of stuff here, Banjos and Dulcimers
| | 02:28 | and the old Gambas and Guitars and Lutes.
| | 02:32 | But I am just doing is standard guitar.
| | 02:34 | So the Chord I am about to create
actually starts at the fifth fret.
| | 02:38 | So I am going to click
Show Fretboard Number and 5.
| | 02:42 | That changes this
designation here to the fifth fret.
| | 02:44 | Now that can go over to
this pallet and choose shapes.
| | 02:47 | So I am going to choose the X because
the bottom two strings need to be muted.
| | 02:52 | Then I'll choose the dot shape
to indicate where the fingers go.
| | 02:56 | So I'll put that on the fifth fret and here
on the sixth fret on both the G and B strings.
| | 03:02 | Then on the top B string, I'll
put that up on the eighth fret.
| | 03:05 | Now that I've got that defined, I
will go ahead and click OK and select and
| | 03:10 | yet OK one more time and now I can see that
I've got the chord voicing that I like here.
| | 03:16 | And as I scan down I can see, well you
know something the G 7 is the same chord
| | 03:21 | symbol, let's see if I can use that other one.
| | 03:23 | So let's right-click on that, I'll
choose Edit Chord Definition and select and I
| | 03:29 | don't have that other option.
| | 03:31 | So let me cancel out of there, cancel
again and let's go back to the A chord and
| | 03:37 | this time I am going to
go right to Edit Fretboard.
| | 03:39 | So here is the voicing I want to use
and the mistake that I made is I did not
| | 03:45 | Generate the voicing for the
other pitches in the chromatic scale.
| | 03:48 | So if I click Generate, I now
have a group of these voicings.
| | 03:52 | And any chord route that I choose where I use
this chord symbol, I'll be able to use that.
| | 03:57 | So let's say OK, let's come back into the
score, and let's go down to the G Chord.
| | 04:03 | This time I'll go Edit Core Definition,
Select in the fretboard area and I'll
| | 04:09 | choose, there is the one I want and
notice that it sets us on the third fret,
| | 04:13 | down two frets from the version that we
had for A, because it down a whole step.
| | 04:17 | Click Select, OK and I can
assign that to the score.
| | 04:20 | Now let's add a chord just for the heck of it.
| | 04:23 | Actually I've got manual
input selected, click once.
| | 04:26 | Let's go ahead and click C and I'll enter that.
| | 04:30 | And it's has chosen a Chord voicing
I don't want to use, so I am going to
| | 04:33 | right-click on that and I am going to
choose Edit Chord Definition again and
| | 04:38 | let's go into the fretboard selection area.
| | 04:40 | Now there is a bunch of options here
and I am going to pretend that I'll
| | 04:43 | actually see these, because I am
actually looking to put that one in.
| | 04:46 | But I want to show you how to create that.
| | 04:48 | So I am going to click the Create
button and I'll just call this Major or in
| | 04:54 | this case I can leave it empty
because the chord symbol will just see, so I
| | 04:57 | actually take that out.
| | 05:00 | So this chord symbol I want to create
is going to be up on the eighth fret.
| | 05:03 | So I'll again click Show Fretboard Number and 8.
| | 05:06 | And if I want, I'll these dots to
indicate where the fingers go and then I can
| | 05:15 | do a couple of different
things that we haven't done yet.
| | 05:18 | First, I can use the numbers to
indicate where the fingers go.
| | 05:21 | So if I type 1 here, I can indicate
where the first finger is going to be used.
| | 05:26 | It's going to be on all three of those
strings and the 2 is going to go there
| | 05:31 | and the 3 will go on, actually it's
going to go here and let me get rid of that,
| | 05:36 | I'll choose the Eraser tool and
get rid of that and 4 add that there.
| | 05:43 | So that's one way you might do this.
| | 05:45 | Now I don't have any fingerings out
here in the score for the other chords, so
| | 05:48 | let me erase all of those.
| | 05:52 | And this time I am just going to
indicate that there is a bar happening.
| | 05:56 | So I'll take this symbol and I'll click
from the string that I want it to start
| | 05:59 | on and drug over to the
string that I want to stop on.
| | 06:02 | Now, you'll notice that the default size
for this fretboard diagram is four frets.
| | 06:06 | If you actually have a chord that needs
more frets than that, you can indicate
| | 06:11 | that by typing the number of frets that
you need, right here in this field and
| | 06:15 | then you can actually put multiple
items on a string, if you check this box.
| | 06:19 | So I click OK and let's select
and I can add that to the score.
| | 06:24 | And now we've got our bar chord in there.
| | 06:27 | As you can see adding, editing and
creating fretboard diagrams is not
| | 06:30 | difficult and can allow musicians who
may not read music to play your songs or
| | 06:34 | compositions.
| | Collapse this transcript |
| Tab staves| 00:00 | If you are notating music for
guitarists, it's likely that someone will want
| | 00:03 | a tablature version.
| | 00:05 | Tab Staffs have been available for quite some
time in Finale, and are easy to add and use.
| | 00:10 | So let's start by opening the file
that's in the 11_02 folder and then once
| | 00:13 | you've got that open, let's go ahead
and add a Tab Staff to the existing
| | 00:17 | guitar staff that we have.
| | 00:18 | Now, we can do that by going to the
Window menu, and choosing the Score Manager.
| | 00:24 | Just like we can add instruments
into the score, we can add Tab Staffs.
| | 00:28 | So let's click the Add Instrument button.
| | 00:29 | Go down to the Tablature category
and notice that we can add Guitar Tabs,
| | 00:35 | Alternate Tuning Guitar Tabs, 7
String Guitar, Banjo, all kinds of stuff.
| | 00:40 | So let's choose Guitar (TAB - No Staff Name).
| | 00:43 | Now, when I click that, it's actually
going to drop it into the score above the
| | 00:47 | conventional staff and I
want it the other way around.
| | 00:49 | So I am going to click on the little
handle over on the left-hand side and drag
| | 00:53 | that down and when I see the blue line
below the conventional staff, I will let
| | 00:57 | go and it immediately
reorders that out in the score.
| | 01:00 | So I will close the Score Manager and now
let's add some notes into the Tab Staff.
| | 01:06 | So the easiest way to do
this is just to copy it.
| | 01:09 | So I am going to choose my Selection
Tool, select the First Measure, click
| | 01:13 | select the Last Measure, and now I am just
going to drag-and-drop that down on the next staff.
| | 01:18 | When I let go, we will see this dialog
box that says, what's the lowest fret
| | 01:23 | that you want to use?
| | 01:25 | Now, most of this example is in open
position, so I will just go ahead and
| | 01:28 | select 0, click OK, and it
immediately puts the notes into the staff.
| | 01:33 | Now, you'll want to go through here and
check this, this is looking right to me.
| | 01:37 | Yeah, that looks good.
| | 01:39 | So you can also add the notes
directly into the Tab Staff in Simple Entry.
| | 01:44 | So if I click the Simple Entry Tool, I
can put the cursor on a string by holding
| | 01:49 | down my Option key and clicking on
the string, and that's entered my note.
| | 01:54 | Now, it's similar but it's a little
bit different than regular simple entry.
| | 01:57 | So to set the note duration that we
want to add, you'd actually hold down
| | 02:01 | Option+Command and press the number
on the numpad, equaling the duration.
| | 02:06 | So, for example, if I wanted to put-in
half note, I would say Option+Command+6
| | 02:11 | or Ctrl+Alt+6 on a PC and then I could
type the number that represents the fret
| | 02:16 | that I want to enter that note against.
| | 02:18 | So, in this case, I actually
need to put-in an eighth note.
| | 02:21 | So again I will go Option+Command+4,
and that's Ctrl+Alt+4 on a PC, and now I
| | 02:27 | can just type 3 to put
that note on that strength.
| | 02:30 | Now, if you make a mistake, and that's
not the string you wanted to go on, you
| | 02:34 | can arrow back to that and if you use
your up-arrow, it will move it to the next
| | 02:38 | higher string, down-arrow
will move it to the lower string.
| | 02:41 | In fact, if I use the up-arrow, it's
actually going to enter a negative number
| | 02:44 | because you actually can't
play that note on that string.
| | 02:47 | But, if I go down twice, you will see
it puts it on the right fret on the lower
| | 02:51 | string when I do that.
| | 02:54 | So we could quickly add the other notes on.
| | 02:56 | Let me set that on the next
string, Option+Click that.
| | 03:01 | Now, I can use the up-arrow to move my
note entry cursor onto the D string and
| | 03:06 | then one more time I will put it on the
G string and since I need another eighth
| | 03:09 | note, I will press 0 on the numpad to
enter that, up-arrow to the next string.
| | 03:15 | Now, I can type a 1 for the C, back
down to the open G, so I will type 0.
| | 03:19 | Then, up two strings using the up-arrow
for the E, and then down two for the G,
| | 03:26 | so another 0 up to the B string to get
that C, so I will type 1 and then back
| | 03:31 | down to the G string to type 0.
| | 03:34 | So I think you can see that it's much
easier to copy the music into the Tab
| | 03:38 | Staff than it is to enter it.
| | 03:40 | Now if you need to enter a
chord, that's a little bit tricky.
| | 03:43 | So, for example, if I wanted to
enter the notes that we see in the next
| | 03:48 | measure as a chord on beat 1, I go
down to the A string and type 2 to enter
| | 03:53 | that note, and then I go back on top
of that note and I would press Option
| | 03:59 | plus the string number that I want to
add the next note on, and that would be
| | 04:02 | Alt+String number on the PC.
| | 04:05 | So if I want to put the next note on
the G string, I will type Option+3 or
| | 04:10 | Alt+3 for the G. So now the note is
there, and I can change the pitch if
| | 04:14 | necessary by typing the Plus or Minus
key on the numpad to raise and lower the
| | 04:20 | pitch a half step respectively.
| | 04:21 | So, for example, if I type plus, you can see
that going up by a fret, and minus, going down.
| | 04:27 | Then, the next note would
be on the second string.
| | 04:30 | So I will go Option+2.
| | 04:32 | That would be Alt+2 on the PC, and then
that needs to go up to the third string.
| | 04:38 | So if I want, I can just
type a 3 to change that.
| | 04:40 | That's a 3 on the numpad and then the
last note that I need to add to create
| | 04:45 | that chord would be the G on the E string.
| | 04:47 | So I will type Option+1.
| | 04:49 | Again, that's Alt+1 on the PC to add
that note, and then just type 3 on the
| | 04:54 | numpad and we've got it.
| | 04:56 | So at this point, I am just going to
quickly copy the rest of the music onto
| | 05:01 | the correct places.
| | 05:02 | So let me quickly select I think all
the way through to the first ending, we
| | 05:08 | can select that, and then just drag-and-drop
it down, and again we can say 0 is lowest fret.
| | 05:17 | On the last staff, it's
just a little bit different.
| | 05:19 | I am going to select that and this time,
I actually want to make the eighth fret
| | 05:23 | the lowest, so it can be a bar chord up
high, so we can get to this high C. So I
| | 05:28 | will click-and-drag that, and I will
say specify lowest fret as eight and now
| | 05:36 | it's put-in the correct numbers for that chord.
| | 05:40 | Now, once you've got this created,
you might actually want to hide the
| | 05:43 | conventional staff, and just have the Tab Staff.
| | 05:46 | So I am going to go to the Staff Tool
and I am going to right-click the handle
| | 05:50 | for the Conventional Staff, and say
Edit Staff Attributes, and then in this
| | 05:55 | dialog box, I am going to say Force Hide Staff.
| | 05:58 | So then I can click OK, and now we just
have the Tab Staff with the chord changes.
| | 06:05 | Now one last thing that you might want
to do is that some guitarist actually
| | 06:08 | like to see the rhythms a little bit
clear than just seeing the numbers here and
| | 06:12 | guessing that those are
supposed to be eighth notes.
| | 06:15 | So if I right-click on this staff
and click Edit Staff Attributes, I can
| | 06:21 | actually force it to show the stems.
| | 06:23 | So I will click that and say OK
and it jumps the stems in there.
| | 06:28 | So now we just need to do a little
cosmetic work to fix this, and for example,
| | 06:32 | if I wanted to fix the top part, I
will simply go to the Chord Tool and then
| | 06:39 | move those chords up above the staff,
and then to the Page Layout Tool, and I
| | 06:44 | can grab these handles down here on
the lower part, and just arrow those down
| | 06:50 | until we've got enough space.
| | 06:53 | You can also create scores with Tab
Staves when using the Setup Wizard.
| | 06:57 | So let's go to the File menu, let's
choose Launch Window, and Setup Wizard and
| | 07:03 | now at this point, I'll create a
new ensemble, I will click Next.
| | 07:07 | I just wanted to show you
the tablature as a choice.
| | 07:10 | So you have again all of these instruments.
| | 07:12 | If you want to start with the Tab Staff,
you can just choose it, click Add >
| | 07:17 | Next > Next > Finish, and it
immediately creates a Tab Staff.
| | 07:24 | So creating tablature parts for
guitar or other fretted instruments is not
| | 07:27 | difficult, even if you
don't play the instrument.
| | 07:30 | The next time a tab part is
needed, you'll be able to provide it.
| | Collapse this transcript |
| Guitar Smart Shapes| 00:00 | Notating music for guitar gets very
complicated when you try to accurately
| | 00:03 | communicate all the bends, releases,
slides, and other performance techniques
| | 00:08 | that players use today.
| | 00:10 | Using Finale's Smart Shape Tool allows
you to notate these techniques, and more
| | 00:14 | on both Conventional and Tab Staves.
| | 00:17 | So please go into the 11_03 folder
and open up both the files there.
| | 00:21 | Now, this time, I have got them
in Page View and they are tiled.
| | 00:24 | So you will notice that I have
the same notes in both parts.
| | 00:27 | It's just that in the example part, I've
got all the Smart Shapes added already.
| | 00:32 | So let's add those down into the bottom staff.
| | 00:34 | So let's choose the Smart Shape Tool,
and the first notes that we see here are
| | 00:40 | actually a combination of two things;
| | 00:41 | I have got the slur markings and then I have
got these H and P which are also Smart Shapes.
| | 00:47 | So I will choose the slur shape, and
remember we can add a slur from one note to
| | 00:52 | the next by just double-clicking
and then I will double-click again.
| | 00:56 | We've got the slurs in.
| | 00:57 | So now I want to add the H and the P
. But, if you look at the Smart Shape
| | 01:00 | palette, you will notice
that it's not available there.
| | 01:03 | So we need to go down to the Custom
Line Tool and I am going to Option+Click
| | 01:07 | that to open up a little dialog box.
| | 01:10 | It will show me all of the
available other Smart Shapes.
| | 01:13 | As I go up, you can see we
have got all kinds of stuff.
| | 01:15 | Now, below towards the end of this, you
are going to see like H and P and B and R;
| | 01:20 | that would stand for Hammer-on, Pull-
off, Bend, and Release, and then below
| | 01:25 | that, we see some things
like for artificial harmonics.
| | 01:28 | So there is a lot of good stuff here.
| | 01:30 | So if you choose one of these and say
Select, it's going to load it against
| | 01:33 | the Custom Line Tool.
| | 01:35 | So now I can click Select.
| | 01:36 | If I want to add that H, I will just
double-click the E and drag to the right
| | 01:42 | until that's centered between the two notes.
| | 01:44 | Now, that particular one can
also be added using a Meta Tool.
| | 01:47 | So I will undo that, and this time I
am just going to hold down H on the
| | 01:52 | keyboard, double-click and drag.
| | 01:54 | Now, the next G to E, that's actually
a pull-off, so I need the P and that's
| | 02:00 | also got a Meta Tool assigned to
that and that's the number three.
| | 02:03 | So you could go into the Custom Line
Tool, and choose it that way, but it's
| | 02:07 | going to be faster to use the Meta Tool.
| | 02:09 | So I will hold down 3, double-click
the G and drag to the right, and we get
| | 02:13 | the P in the score.
| | 02:14 | Now, the next thing we need to add is
this tab slide between the E flat, and the
| | 02:19 | D, and that's this tool right here.
| | 02:21 | So I will choose that, and then I will
double-click the E flat and drag over to
| | 02:26 | the D. I realized that's a little
crowded, and we will fix that in a minute.
| | 02:30 | Then, the C is okay, the D is okay, but
we need to add a bend shape between the
| | 02:35 | D and the E natural.
| | 02:35 | So I am going to click the Bend Hat Tool,
and I will double-click, drag, and add
| | 02:43 | that over to the next note.
| | 02:44 | I also need a bend marking on that one
and there's a Meta Tool for that as well.
| | 02:51 | You'll notice there is no B on the Smart
Shape palette and that's assigned to the number 4.
| | 02:56 | So let me hold down 4 and I will
double-click the D, and drag to the right,
| | 03:02 | we see the B is there.
| | 03:03 | It's a little crowded but
we will fix that in a second.
| | 03:06 | Still got the Bend Hat Tool selected,
so I will indicate the bend from the G
| | 03:10 | up to the A by double-clicking and
dragging and then I will double-click the A
| | 03:14 | again and drag to the next G to
indicate the release, and then we will need to
| | 03:19 | indicate the B, and the R. I can do
the B again using 4, double-click the G
| | 03:24 | and drag to the right. There it is!
| | 03:27 | I can use 5 for the release.
| | 03:28 | So I will hold down 5 and double-
click the A and drag to the right.
| | 03:32 | So that's all looking pretty good.
| | 03:35 | So next thing we want to do before we
start adding all this is copy this into
| | 03:40 | the Tab Staff below that.
| | 03:41 | So I am going to choose the Selection
Tool, select the first measure, you need
| | 03:47 | to click in an empty space, and then
Shift+Click the last measure and now I can
| | 03:52 | just click-and-drag that, and that
lines up and you see those dark gray
| | 03:55 | rectangles, you can let go.
| | 03:58 | Again, I need to tell it the lowest fret.
| | 04:00 | So I will say 5, that's what I want it to be.
| | 04:02 | I will say OK and then it drops all
of that down there on the Tab Staff.
| | 04:07 | Didn't that look great?
| | 04:09 | Now, I just need to do a little
bit of cleaning up on the top staff.
| | 04:12 | So I am going to go back to the Slur
Tool and now I will choose a handle on one
| | 04:17 | of these, and I got lucky there.
| | 04:20 | Sometimes it's really hard to
tell when they're close together.
| | 04:22 | I will drag the H up.
| | 04:23 | Let's try the P. Yeah, it's
that one, center that and a space.
| | 04:28 | Now, the B looks a little crowded.
| | 04:30 | So I need to figure out which handle
is actually on the bend hat, and I will
| | 04:34 | adjust that shape just a little bit;
| | 04:36 | looks like it's the top one.
| | 04:37 | So now, I can actually get that shape
and that cursor where I can click and I
| | 04:42 | can drag that up just a tad, and I will grab
the bottom, and I'll center that B in that space.
| | 04:49 | Okay, over here, it looks like the B is on
the lower handle, so I will drag that down.
| | 04:53 | I will try the same thing on
the R, and that's looking good.
| | 04:56 | You'll notice that the
Tab Staff looks pretty good.
| | 04:59 | Now, I am going to hit the Esc key
twice to get out of here, so I can see this
| | 05:03 | without all of the
handles on all the Smart Shapes.
| | 05:06 | That's looking pretty good!
| | 05:07 | Now, it looks like I need to add one more thing.
| | 05:10 | So I will go back to the Smart Shape Tool
and I am going to choose this Trill Extension;
| | 05:15 | guitarists use that to indicate kind
of a whammy bar, a trill or a vibrato.
| | 05:18 | So I will double-click, and I will
drag to the right, and once that's in the
| | 05:23 | score, we can pull that down;
| | 05:25 | since I forgot to do that down below
when I copied it, I can also double-click
| | 05:29 | and add that down below.
| | 05:31 | Now, if you need to adjust the length,
you can go to the handle on the end and
| | 05:34 | you can click-and-drag that on either side.
| | 05:37 | So I found when notating guitar
music, it demands this level of detail.
| | 05:40 | It is best to notate to music
in the Conventional Staff first.
| | 05:44 | Then, copy and paste the notes
and shapes into the Tab Staff.
| | 05:48 | Finale does the work of converting the
bend shapes and the results look great!
| | Collapse this transcript |
|
|
12. Exporting Document Regions or Pages as Graphic FilesExporting graphics| 00:00 | If you're an educator or an author of
books on music you will want to create
| | 00:03 | musical examples in Finale and export
them for use in a Word processor or a
| | 00:08 | desktop publishing program.
| | 00:10 | Let's took a look at how you can
export as well as import graphics in Finale.
| | 00:13 | So if you would, go to the 12_01
folder and open up the example file and in
| | 00:18 | this file I've just got some musical
ranges for vocalists here and it might be
| | 00:23 | that you want to export those into Word
to put together some kind of a tutorial
| | 00:27 | on writing for vocals.
| | 00:29 | So we can export graphics from
Finale in a couple of different ways.
| | 00:32 | First you can export a selection or
you can export a page or group of pages.
| | 00:38 | So let's choose the Graphics tool
up here on the end of the Toolbar.
| | 00:41 | It looks like the square, triangle, and circle.
| | 00:44 | And now I can make a selection by double
-clicking and holding and then dragging
| | 00:49 | a rectangle around whatever I want to export.
| | 00:52 | Now on purpose I kind of blew that,
because I wanted to show you that new in
| | 00:57 | 2012 when you draw these rectangles you
should it handles you can adjust later on.
| | 01:02 | This is actually really nice, because
when you export this you don't want to
| | 01:06 | have a big white space
around the edge of your example.
| | 01:10 | It gets hard to format in other programs.
| | 01:12 | So that's all looking pretty good.
| | 01:15 | Now I will just go up to the
Graphics menu and choose Export Selection.
| | 01:20 | Now once here you have a few options.
| | 01:22 | Under Type we have about five or
six different file types and these are
| | 01:27 | mostly the same both on Mac and PC
with the exception of PICT is only
| | 01:30 | available on a Mac.
| | 01:32 | So which one of these might you use?
| | 01:34 | Well, if you're going to be using this
in a Word processor or desktop publishing
| | 01:38 | program I wouldn't suggest using a PDF.
| | 01:40 | That's great for emailing or making it
available for somebody else, but it's
| | 01:44 | much more likely that a publisher would ask
you for an EPS type graphic or maybe a PNG.
| | 01:50 | So if I choose EPS just to show you this,
we will move down to this center area.
| | 01:55 | You can either automatically generate
names based on the file and the number of
| | 02:00 | the graphic that you've exported or
you can use default which allows you to
| | 02:04 | choose a name and save it
to where you want it to go.
| | 02:07 | Now when you choose EPS under PostScript
Options you get to decide on whether or
| | 02:13 | not you want to include a TIFF preview
that will allow you to actually see the
| | 02:16 | graphic in the program.
| | 02:18 | Now when you do that the resolution
grays out and you can't change it down here.
| | 02:23 | However, you can go back up and choose
one of the other file types like PNG.
| | 02:28 | The resolution field becomes open and
then you can change that and you can then
| | 02:32 | go back to EPS and it will actually
export the TIFF preview at that resolution.
| | 02:39 | Now in this case I would say the 600 dpi is too
big, but the default actually is much smaller.
| | 02:46 | In my experience anything that is
about 300 dpi and greater is going to look
| | 02:53 | pretty good at least as a preview.
| | 02:56 | So today I am going to go
ahead and do this as a PNG file.
| | 03:01 | If you're going to drop this into Word
or another program like that, you really
| | 03:05 | have to be concerned about the edges
on things like hairpins and beans and
| | 03:11 | things like that where you have diagonal lines.
| | 03:14 | If you don't choose at least 300 dpi or
greater, the edges on that are not going
| | 03:18 | to be smooth and it's going to look pretty bad.
| | 03:21 | Also, if you're going to be using
this in a presentation program like
| | 03:24 | PowerPoint, there's a balance between
the resolution and having a file too large
| | 03:29 | that it makes the application a little unwieldy.
| | 03:32 | So I would suggest that if you're
just going to be displaying this, the 300
| | 03:35 | dpi is good enough.
| | 03:37 | And if you're going to be using it
for publishing purposes, you're probably
| | 03:39 | going to want to go at least 600 dpi or greater.
| | 03:42 | So let's do 600 dpi, because I am going
to drop this into Word so we can see it.
| | 03:46 | I will click OK and since I didn't
choose to have Finale name the file, this
| | 03:53 | Mac save box comes up where I can
select this, I will the Delete key and I will
| | 03:59 | give it a new name.
| | 03:59 | I just call this Example and I will put
this on the Desktop so I know where it's at.
| | 04:05 | I will go ahead and click Save.
| | 04:08 | And now I'm going to go over to Word and
before I drop in I am actually going to
| | 04:13 | put a couple of returns in.
| | 04:13 | So if you're going to drop this at
the beginning of the page, it can get a
| | 04:17 | little weird to actually get your cursor
above it and be able to move it down the page.
| | 04:20 | So it's a good idea to first put couple
a returns in and then you can drop that
| | 04:24 | in and if you need to get in
front of the graphic, you can.
| | 04:27 | So I will go to the Insert menu,
choose Photo and Picture from File.
| | 04:32 | Then I will click the Desktop and there is our
PNG and I can click Insert and it drops that in.
| | 04:40 | so if you need to change the size,
I would suggest that you not use the
| | 04:43 | handles to start doing that, because you want
to make sure that the aspect ratio is locked.
| | 04:47 | I will right-click on that and I'll
choose Format Picture and then I can come
| | 04:53 | down to things like size and notice it
has got Lock aspect ratio checked and I
| | 04:59 | can just change the size of that.
| | 05:02 | When I click OK, it looks great.
| | 05:06 | So one of the things that I would
tell you that you're going to need to
| | 05:09 | experiment with is whether or not
you actually had text in the graphic or
| | 05:13 | whether you do that in word or the
desktop application you're using.
| | 05:17 | In this case, it's actually in the
graphic and that looks okay, but as you make
| | 05:21 | some of these things larger so that
they look right in the document, sometimes
| | 05:25 | the words can get too big and you
might want to be able to do that in the
| | 05:28 | desktop publishing program
or in the Word processor.
| | 05:32 | Let's go back to Finale and this time I
am going to go up to the graphics menu
| | 05:38 | and I am going to choose Export Pages
and this time we get all of the same file
| | 05:43 | types, but it's much more likely that
when you go into Export Pages you're
| | 05:48 | probably going to do that as either a
PDF because you want to send a score or
| | 05:52 | part to somebody or an EPS, because
you're exporting a whole page of music.
| | 05:57 | So let's do this as a PDF and I'll
click OK and again I am going to call this
| | 06:02 | PDF example and I can save that to the desktop.
| | 06:06 | Let me go to a Finder window here and I will
click the desktop and there is our example.
| | 06:15 | If I double-click that that will open in
preview and you can see that we got the whole page.
| | 06:19 | Alright, let's go back into Finale.
| | 06:22 | So in addition to being able to export
graphics from Finale you can also import
| | 06:27 | graphics and you can drop them on the page.
| | 06:30 | Now that might be because you have
a logo or something similar to that;
| | 06:33 | that you want to put on your music.
| | 06:35 | So let's go to the Graphics menu and
let's choose Place Graphic and now you can
| | 06:40 | go into the folder where the graphics
for this exercise are and you can choose
| | 06:45 | the JPEG that's in there and click
open and then I can click on the page it
| | 06:51 | adds the graphic and now you can click on the
handle and size that however you want to use that.
| | 06:56 | So now that you know how to export and
import graphics in Finale I hope you'll
| | 06:59 | find this function as useful as I have.
| | Collapse this transcript |
| Exporting files| 00:00 | If you're interested in using Finale
it's also possible that you're using
| | 00:03 | other music software.
| | 00:05 | If you want to transfer the music
you are creating in Finale to another
| | 00:08 | application you will want to know about the
various export options and how to use them.
| | 00:13 | So please go to the 12_02 folder and
open the example file and let's start by
| | 00:18 | exporting a MIDI file.
| | 00:19 | Now as you might know MIDI has been
around for about 30 years and exchanging
| | 00:24 | MIDI files between programs has been
the main method of exchanging data so that
| | 00:29 | you can use it in a notation program
or you can use it in a music production
| | 00:32 | program like Logic or Pro
Tools or Cubase or Cakewalk.
| | 00:36 | So let's go to the File
menu and let's choose Save As.
| | 00:39 | We give the file a name.
| | 00:42 | let's called this Example.
| | 00:43 | I am going to click the
Desktop here to save it there.
| | 00:46 | I will go down to the Finale
Notation File and choose Standard MIDI File.
| | 00:50 | Now when I click the Save button it's
going to kick us into the Export MIDI File
| | 00:54 | Options dialog, and there are
two basic formats that are in use.
| | 00:58 | So Format 1 is going to be the choice that
you are going to want to make most of the time.
| | 01:02 | This will take each stave in the score
and it will save it as an individual MIDI
| | 01:07 | region within the Standard MIDI file.
| | 01:10 | That way when you get into the music
production program like Logic you'll end up
| | 01:14 | with one MIDI region that you
can place on individual tracks.
| | 01:17 | Otherwise, if you choose a Format 0,
you will end up with a MIDI file that has
| | 01:21 | one MIDI region in it and you will only
be able to use that on a single track.
| | 01:25 | So, all of the notes for all of the
instruments will be kind of glued together
| | 01:29 | in that one MIDI region.
| | 01:30 | So again, I would choose Format 1.
| | 01:34 | Now it's also likely that if you have
got anything like rubato or tempo changes,
| | 01:39 | retards as part of your Finale score
that you are going to want to translate
| | 01:43 | that into the MIDI file.
| | 01:45 | So you would want to click
Tempo Map to include that.
| | 01:48 | So let's do a Format 1 and I'll go
ahead and click OK, and it's very quick.
| | 01:55 | Now if I go out to the Desktop and go
to the Finder window we will see that we
| | 01:59 | have an Example.mid and that's the file type.
| | 02:02 | Now you can also right-click on this
and you can use something like a QuickTime
| | 02:07 | player or Windows Media Player to
actually play these MIDI files as well.
| | 02:11 | So they can be useful as rehearsal files.
| | 02:14 | If you need to send this to somebody
really quickly, these MIDI files are very small.
| | 02:17 | You can see that this one, if we look
at the Properties here, is only 26 KB.
| | 02:21 | So that's tiny and you
can email that very quickly.
| | 02:25 | If there has been an improvement in
recent years we now have XML files and a
| | 02:29 | specific kind called MusicXML.
| | 02:31 | Now if you are going to transfer the
information from a score program like
| | 02:35 | Finale and you want to drop it another
program like Sibelius or vice versa, it's
| | 02:40 | much better to use XML.
| | 02:42 | So if I go the File menu, you will
see we have an actual option here for
| | 02:46 | MusicXML and Import and Export.
| | 02:49 | If I choose Export, we go
back to that same Save As dialog.
| | 02:53 | I can now call that Example.xml.
| | 02:57 | Put that on the desktop again and
under Format you have a couple of options.
| | 03:02 | Now these are text files and one of the
reasons that XML was created was so that
| | 03:07 | you could publish things to the web.
| | 03:09 | So this is a text file
and they get pretty large.
| | 03:12 | So if you are going to be using it with
the web or the Internet I would choose
| | 03:15 | Compressed MusicXML 3.0.
| | 03:18 | Now MusicXML 3.0 just came out in
August of 2011 and it's got enhanced support
| | 03:24 | for virtual instruments and things like that.
| | 03:26 | So you can also send that information along.
| | 03:28 | So I would suggest you use
one of these two at the top.
| | 03:30 | So I will click that and I will click Save.
| | 03:35 | This one takes just a little bit.
| | 03:36 | We get that progress, eighth note
that spinning, back to the Desktop.
| | 03:41 | And if I click on this XML you can see
over here in the Properties that it looks
| | 03:45 | like HTML type text.
| | 03:48 | So the next thing you might want to do
if you are using Finale and this is for
| | 03:52 | users of SmartMusic, and if you are
not aware of what SmartMusic is, it's
| | 03:57 | another program made by the
manufacturers of Finale that's called MakeMusic, and
| | 04:02 | it's a program that you can practice with.
| | 04:05 | It's really an excellent
learning tool in wide use in educational
| | 04:08 | institutions around the country.
| | 04:10 | So if you go to the File menu you will
see Export to SmartMusic as an option,
| | 04:15 | and there is their little logo that pops up.
| | 04:17 | If you click the Next button it
kicks you into this Export SmartMusic
| | 04:22 | Accompaniment dialog, and you can
actually do a couple of different kinds.
| | 04:26 | Now the Assessment and the Solo are
types that allow you to rehearse with this
| | 04:31 | and then it will actually show you what
notes you played rhythmically wrong or
| | 04:35 | the pitch was incorrect if you
are playing along with a microphone.
| | 04:38 | I am just going to go ahead and choose Ensemble.
| | 04:40 | This is the type of file where you
can mute the different instruments on
| | 04:43 | playback and choose which
instruments that you want to play with.
| | 04:46 | So I will Next and now it shows me all
of the different instruments in the file.
| | 04:51 | So you might want to uncheck your part
so it's not included, and that way you
| | 04:55 | won't hear it as part of playback.
| | 04:57 | But then again, you can also mute it
within SmartMusic so you might check that.
| | 05:00 | So it's there so you can hear how the
part sounds when it's correctly played.
| | 05:04 | So I will click Next.
| | 05:05 | I have got the Title information.
| | 05:08 | I can click Finish, takes me
back to the same dialog box.
| | 05:12 | I can call this Example again, .smp as a
SmartMusic Playback file and I will click Save.
| | 05:20 | That takes a little bit of time and we are done.
| | 05:22 | So next let's take a look at saving as a PDF.
| | 05:26 | Now if you are on a PC this
is just a little bit different.
| | 05:29 | You can go to the File menu and you
actually have a Save as PDF option on the menu.
| | 05:35 | On a Mac, you will go to the
Graphics window and you'll choose Export
| | 05:40 | Pages, Type is PDF.
| | 05:42 | You can either say All pages or you can
say a page range, for instance from 1 to
| | 05:47 | 1, click OK, takes you right
back to the same Save As dialog box.
| | 05:52 | We can call this Example.pdf
and click Save and we are done.
| | 05:58 | Now last let's take a look at how
you can save this as an audio file.
| | 06:03 | You may want to send this to somebody
who wants to rehearse with an audio file
| | 06:06 | or just be able to hear
what the score sounds like.
| | 06:09 | So let's go to the File menu and choose
Export to Audio File and you saw that it
| | 06:16 | was incorporating the Human Playback
features that are currently active in this
| | 06:19 | file and I'll call this Example again,
and on a Mac it's automatically going to
| | 06:25 | be saved as a .AIF file.
| | 06:27 | If you're on a PC the option is going to be WAV.
| | 06:30 | Then in either case you can
choose to compress this as an MP3.
| | 06:34 | Now if you are going to email this, this is
the way you are going to want to save that.
| | 06:37 | So I will do that for this example, and
I am going to save this to the Desktop
| | 06:43 | and click the Save button and
it take just a second to do this.
| | 06:49 | Back to the Finder and now we see the
MP3 and if you want you can right-click on
| | 06:55 | that and you can open that with
something like QuickTime player or if you are on
| | 06:59 | a PC you can play that in
the Windows Media Player.
| | 07:02 | So as you can see there are variety of
ways to export files from Finale so that
| | 07:06 | you can move your scores to other music
programs or so that you can share your
| | 07:09 | work with friends and colleagues.
| | Collapse this transcript |
|
|
GoodbyeWhat's next?| 00:00 | Well, that brings us to the end of the
Finale 2012 Essential Training and I want
| | 00:05 | to thank you for joining me as we
explored the world of computer music notation.
| | 00:09 | You're probably wondering where you
should go next and I have a couple of
| | 00:12 | recommendations for you.
| | 00:13 | If you're new to Finale, I'd suggest
starting with Finale Quick Reference Guide.
| | 00:17 | If you purchased a box version of
2012, it comes with the install disk.
| | 00:22 | If you purchased and downloaded the
program you can download the Quick Reference
| | 00:25 | Guide from the Finale website
under Support > Quick Reference Guide.
| | 00:29 | This guide is a publication that
they started using with Finale 2011 and
| | 00:34 | provides an introduction to
many of the basic functions.
| | 00:36 | It combines instructions and
diagrams in an easy-to-follow format.
| | 00:41 | The user manual for Finale can be accessed
from the Launch Window or from the Help menu.
| | 00:46 | Please note that by default you'll
need an Internet connection and a web
| | 00:50 | browser to view the manual.
| | 00:52 | I'd also suggest that you take a look
at the Finale tutorials, which are also
| | 00:55 | available from the Launch
Window or the Help menu.
| | 00:58 | The tutorials will guide you
step by step through a topic.
| | 01:02 | Next, I'd recommend that you
become a member of the Finale community.
| | 01:05 | In the User Manual click the
Communities button which has links to key Finale
| | 01:09 | user bulletin boards and blogs.
| | 01:11 | You can exchange
information on the Finale forum.
| | 01:14 | If you run into a problem, the
other users probably know the answer.
| | 01:17 | And the Finale blog is a fantastic
resource and includes short articles from
| | 01:21 | expert Finale users and is one of the
first places to look if you're looking for
| | 01:25 | the latest Finale news or
useful tips and techniques.
| | 01:28 | Finally, I'd suggest that you use the
examples found in the exercise files of
| | 01:32 | this course or other music that you have
available and practice entering music into Finale.
| | 01:37 | The more hands-on experience that you
get, the easier it will be to create
| | 01:41 | beautiful scores for the music you love.
| | Collapse this transcript |
|
|
