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rpmseattle
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   Posted 11/21/2013 2:00 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
MIDI Thru (still) doesn't play back MIDI input in a transposing staff at concert pitch, e.g. like it does when you play back this instrument in the score.

For instance, entering C-D-E-F in a Horn staff in Finale will, upon entry, sound as C-D-E-F but upon playback will sound as F-G-A-B flat. In Sibelius, you have the option to input either sounding or written pitches, but you will always get consistent aural result upon both entry and playback.


Finale 2012, 2011 | Mac Pro 8 Core Xeon | OSX 10.6.x
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Post Edited (rpmseattle) : 11/22/2013 1:40:26 PM (GMT-6)

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HBegun
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   Posted 11/22/2013 9:56 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
rpmseattle said...
In Sibelius, you have the option to input either sounding or written pitches, but you will always get consistent aural result upon both entry and playback.

Which is why I have such a hard time doing note entry in Sibelius when the source is a transposed part or score. Due to having absolute pitch, my brain cooperates best when the pitch I hear matches the key I'm pressing on my MIDI controller. [I fully realize I'm in the minority on this issue.] I wish both programs gave the full range of options for all entry methods.


Howard Begun
Finale 2014
Windows 7 Home Premium 64-bit

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Fred G. Unn
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   Posted 11/22/2013 9:57 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
This is precisely why I leave MIDI Thru turned off. I have the freestanding version of Aria with a piano sound loaded set to automatically start upon booting the computer. Whenever I hit the keyboard it just sounds like a piano, not for example, a baritone sax way out of range if I'm working in that staff.
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rpmseattle
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   Posted 11/22/2013 12:49 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
HBegun said...
I wish both programs gave the full range of options for all entry methods.


Here is a screen shot of the Sibelius Note Input section of its preferences, which provides both "Input Sounding Pitches" which gives you the notes you play on the keyboard as "absolute"; and "Input Written Pitches", which transposes the notes on input to correspond to the transposition of the staff's instrument, but will always "sound" at concert pitch.


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HBegun
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   Posted 11/24/2013 5:55 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Unfortunately, that doesn't help my situation. Using "Input Sounding Pitches" lets me hear the note corresponding to the key I'm pressing, but transposes it on the score. For example, if I'm entering a B flat clarinet part, I press and hear a C but the note entered is a D. That's not what I want when copying from an existing transposed part or score. I DO want to hear a C when I press a C on my MIDI keyboard and to have a C entered in the staff (which then sounds like a B flat during playback).

As things stand, Finale works the way I prefer but contrary to what most users seem to want. Sibelius works the way you and many others have requested, but in my case, I have to fight the instinct to connect my ears with my fingers. (I can manage that but it's takes a level of concentration similar to transposing on the fly when sight-reading.)

For the rare occasions I use Sibelius for a job, I think Fred's suggestion to turn off MIDI Thru altogether and use a standalone instance of Aria seems like the best solution.


Howard Begun
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Zuill
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   Posted 11/24/2013 11:39 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
If I want to play a written Clarinet part (or any Bb instrument), and hear the transposed note, I:

Am in normal view, not Concert Pitch
Change the transposition on my keyboard to -2 (half steps)
Go to hyperscribe, and choose Tap input.
Choose to listen to the MIDI tap source, and play what I want (I use the low C on my keyboard)
Enter the notes with the tap.

In this way, I hear the sounding pitch as I enter the written pitch. If I am building a score from transposed parts, I can play in using the metronome, and hear all the other parts in concert pitch along with the correct concert pitch of the notes I am entering. But I am reading off the transposed part.

Any transposing instrument can easily be entered from transposed parts this way. It keeps me from going nuts (if that is not too late already).

Zuill


"When all is said and done, more is said than done."
 
Finale 2002b, 2003a, 2004b, 2005b, Win XP SP3, 2011b Win 7 64bit, 2012a Bought and Paid For (Hopefully soon 2012b with some of the MAJOR BUGS fixed--well, now with 2012b and some of the bugs are fixed) 2012c, with some bug fixes. 2014 now.
Favorite Forum quote: "Please, everybody, IGNORE THE TROLL!"

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rpmseattle
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   Posted 11/25/2013 12:11 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
HBegun said...
Unfortunately, that doesn't help my situation. Using "Input Sounding Pitches" lets me hear the note corresponding to the key I'm pressing, but transposes it on the score. For example, if I'm entering a B flat clarinet part, I press and hear a C but the note entered is a D.


Yes, in Sibelius, if you want the notes on your keyboard to always correspond to the same pitches in the staff, you can view and enter notes in the score in concert pitch.

For me, in a transposing score, "Written Pitch" (not "Sounding Pitches") is the desired behavior in Sibelius. Perhaps this is because I play transposing instruments... and because I frequently work from existing transposed parts to build new scores. When I press "A" on the keyboard, I want to see "A" in the transposed staff.

I also want the playback during midi thru to be the same pitch sounding as it is when the file is playing back - written pitches sounding at concert pitch - For example, if I'm entering a B flat clarinet part, I press C and the note is entered as C, but the note sounds as Bb (just as it does when the score is played back).

Personally, I never want to hear any staff in a different key from where it actually sounds in concert pitch, either during playback (which would be bizarre and bitonal) or during note entry. If for some reason I might want to enter music up a whole step from the rest of the score, and not only see it in the score this way, but hear it up a whole step, I would set the score to concert pitch before entry to hear this offset.


Finale 2012, 2011 | Mac Pro 8 Core Xeon | OSX 10.6.x
www.musicprep.com/makemusic
www.rpmseattle.com/of_note/category/finale/

Post Edited (rpmseattle) : 11/24/2013 11:21:31 PM (GMT-6)

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HBegun
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   Posted 11/25/2013 2:58 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
rpmseattle said...
Personally, I never want to hear any staff in a different key from where it actually sounds in concert pitch, either during playback (which would be bizarre and bitonal) or during note entry. If for some reason I might want to enter music up a whole step from the rest of the score, and not only see it in the score this way, but hear it up a whole step, I would set the score to concert pitch before entry to hear this offset.

I actually agree with you in principle, but there are two factors that come into play for my specific case: 1) I'm a lifelong pianist and 2) I have absolute pitch (aka "perfect pitch"). Playing a keyboard which generates any sound other than concert pitch throws me off unless I force myself to ignore what I'm hearing and focus only on the keys. This is an extra burden in Sibelius that is not present in Finale.

Also, I'm only talking about situations where I'm copying from a existing source (part or score) that is already transposed for the instrument in question. It's not an issue in either program when the source is in concert pitch.

What we do agree on is that there are a variety of reasons why it would better to hear the proper sounding pitches when entering notes. It's just that with my set of circumstances in this specific situation, the need to maintain the connection between my fingers and ears takes precedence.


Howard Begun
Finale 2014
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Motet
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   Posted 11/25/2013 3:12 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Clearly, it should be an option.


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rpmseattle
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   Posted 11/25/2013 3:19 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
HBegun said...
2) I have absolute pitch (aka "perfect pitch"). Playing a keyboard which generates any sound other than concert pitch throws me off unless I force myself to ignore what I'm hearing and focus only on the keys.


According to the American Psychological Association website, only 1 in 10,000 people have true "absolute" pitch:
www.apa.org/monitor/feb05/absolute.aspx
I have no idea if that statistic is accurate, but I thought it was interesting.

HBegun said...
Also, I'm only talking about situations where I'm copying from a existing source (part or score) that is already transposed for the instrument in question. It's not an issue in either program when the source is in concert pitch.


Yes, that is the same situation I am referring to.

HBegun said...
What we do agree on is that there are a variety of reasons why it would better to hear the proper sounding pitches when entering notes.


Yes. But I think at the end of this, it's about workflow. End users of the program will have different requirements, and there should be choices offered if there are two or more common requirements. As Motet says, clearly it should be an option.


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Zuill
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   Posted 11/25/2013 3:29 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
The workaround I posted earlier is a viable option for those of us who enter via MIDI keyboard. I know it isn't for everyone, as it doesn't work for QWERTY of mouse input.

Years ago, I had a different workaround involving in muting the output for that instrument within Finale, and then setting up my keyboard (with built in sounds) to play transposed pitch while I heard Finale play the concert pitch. It seems to me I tried my present workaround then but don't seem to think it worked. Maybe I just didn't persist. Or, maybe things changed in Finale since then. I believe I was using Finale 97 at the time, or maybe even 3.7.

Zuill


"When all is said and done, more is said than done."
 
Finale 2002b, 2003a, 2004b, 2005b, Win XP SP3, 2011b Win 7 64bit, 2012a Bought and Paid For (Hopefully soon 2012b with some of the MAJOR BUGS fixed--well, now with 2012b and some of the bugs are fixed) 2012c, with some bug fixes. 2014 now.
Favorite Forum quote: "Please, everybody, IGNORE THE TROLL!"

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Motet
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   Posted 11/25/2013 4:00 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
"True absolute pitch" might mean that one knows a pitch instantaneously without having to think about it. But there are lesser forms of pitch recognition that are much more common.

I'm not bothered one way or the other, hearing it transposed or not. If I'm entering a bunch of different wind instruments in a passage, I can adapt to the wrong keys each time, but the overall sense of harmony is destroyed, so I would definitely want a new feature to hear the true pitches.


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Motet
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   Posted 11/25/2013 4:03 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Zuill, your workaround only applies to Hyperscribe, no? I've thought of somehow capturing Finale's MIDI out and transposing it before routing to SoftSynth, but that would require a cumbersome manual switch each time.


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Zuill
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   Posted 11/25/2013 4:08 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Hyperscribe only. I've thought about the other as well, but hardly worth all the trouble.

Zuill

P.S. There is a way to do it in other entry methods that I posted some time back. it is a bit kludgy. It requires using VST, as it relies on how transposition gets stuck in the on mode, so one can calculate the playback pitch bend amount for various transposition intervals. I is not perfect and requires patience. I have tested it, but don't use it on regular basis. Hyperscribe in click mode while hearing other transposed instruments, and entering from a transposed part, is he only situation that really needs it. That's probably why MakeMusic included that functionality there (or the ability to use it). Maybe it was just a programming accident, but I'll take it as a "feature" for me.


"When all is said and done, more is said than done."
 
Finale 2002b, 2003a, 2004b, 2005b, Win XP SP3, 2011b Win 7 64bit, 2012a Bought and Paid For (Hopefully soon 2012b with some of the MAJOR BUGS fixed--well, now with 2012b and some of the bugs are fixed) 2012c, with some bug fixes. 2014 now.
Favorite Forum quote: "Please, everybody, IGNORE THE TROLL!"

Post Edited (Zuill) : 11/25/2013 3:14:31 PM (GMT-6)

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rpmseattle
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   Posted 11/25/2013 4:10 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Motet said...
If I'm entering a bunch of different wind instruments in a passage, I can adapt to the wrong keys each time, but the overall sense of harmony is destroyed, so I would definitely want a new feature to hear the true pitches.


That's an excellent way to express the caveat with the current implementation. Thank you.


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www.musicprep.com/makemusic
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HBegun
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   Posted 11/25/2013 8:24 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
rpmseattle said...
According to the American Psychological Association website, only 1 in 10,000 people have true "absolute" pitch:
www.apa.org/monitor/feb05/absolute.aspx
I have no idea if that statistic is accurate, but I thought it was interesting.

That could explain why I'm usually the lone voice on this side of the issue!

Over the course of my training and career I've known several other people who possess AP but it makes sense that the occurrence among musicians would be much higher than in the general population. In all our cases, the ability to recognize (or produce) pitches without a reference was always there. We never did anything to develop it. (For this reason, I've never considered it a talent, a skill, or any other kind of achievement. It's just something that I've always been able to do.) My first piano teacher recognized and tested me for it when I was 5 or 6 and for the most part it has come in handy (I can do take-downs very easily). On occasion, it gets in the way of things, transposed entry in Sibelius being a case in point. I have also found that as I get older (I'm in my mid-50's now), the accuracy is diminishing, something I was forewarned about several years ago by someone who was going through the same thing. I sometimes "hear" pitches as being a half step higher than they turn out to be.

Just to be clear, I've never advocated that Finale shouldn't change the way it handles this. Quite the contrary, I think it should be changed since this is such a common request. I just want to make the case that the current method isn't necessarily wrong for everyone and that it be retained as an option.


Howard Begun
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Motet
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   Posted 11/25/2013 11:47 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
I think I read in Oliver Sacks's book that perfect pitch is much more common in China, probably related to the tonal language.

When I was in music school, the teacher made my fellow students with perfect pitch take down dictation in a different key from what was being played.


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Zuill
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   Posted 11/26/2013 12:39 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
I lost the Golden Ear award in school when another student transferred in mid year who had absolute pitch. To that point, I had the highest ear-training score. Then, it was all over.

Zuill


"When all is said and done, more is said than done."
 
Finale 2002b, 2003a, 2004b, 2005b, Win XP SP3, 2011b Win 7 64bit, 2012a Bought and Paid For (Hopefully soon 2012b with some of the MAJOR BUGS fixed--well, now with 2012b and some of the bugs are fixed) 2012c, with some bug fixes. 2014 now.
Favorite Forum quote: "Please, everybody, IGNORE THE TROLL!"

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