Post Edited (Mike Rosen) : 10/26/2009 5:48:06 PM (GMT-5)

Sorry about the misunderstanding. I gave up using different voices years ago and always use layers. Therefore I know what to expect. I agree having different results the two ways is highly confusing, and would agree that Finale should be able to produce the same result either way, though I would not mind which way they decided on. I think my point will be covered if you stick to one method? If you use 'voices' and are doing a part for 2 flutes can you then separate to give single parts for each player? I agree that for a pianist the flat is essential, but I would still maintain it is 'cautionary'.

I would always supply such accidentals in the same bar, and in nextdoor bars unless very long bars, as sometimes in Bach. I am not happy with the common practice of putting such accidentals in brackets, as many do (not you!) as it simply clutters the page. If they are needed they are needed, so just put them in!   

Michael

1) Better handling of Engraver Slurs. - It has improved but there are still issues with slurs that begin on grace notes and ones that go over system breaks.

2) Engraver hairpins

3) Awareness of one engraver element of another. Like how articulations or slurs can be dynamically moved to avoid each other based on the user's setting in the articulations definition, there should be an equivalent feature for all engraver elements. This way a user can program a tuplet to automatically move out of the way for a slur (or vice versa) or if Engraver hairpins are set to always draw outside of a slur they will move automatically when a slur is inserted.

4) Better handling of expressions for upstem vs downstem notes. I like to have the placement under downstem notes to be a bit closer to the stem than where they're place with upstem notes. I know I can make two different expressions - one for upstems and one for downstems (or use articulations for expressions and sacrifice playback features). I've don e this with metatools for years. In addition to making a clutter expression selection dbx, this technique really shows its failings when copying music to a differently clefed/keyed staff (e.g., bassoon doubles bass clarinet for a ssection) and making parts in different keys/clef (e.g., euphonium T.C.-B.C., trumpet in C/Bb). I'm sure not many users are this picky, though. Maybe someone will write a plugin that can go through a staff and re-assign one expression to another based on the stem direction of the note that falls on the same beat as the expression (since expressions are no longer connected to the note).

Ken