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horphmyre
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Date Joined Apr 2005
Total Posts : 13
  		   Posted 12/10/2015 8:00 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
I am using finale 2014.5 on an HP laptop. I wrote a piece for band, extracted the parts and tried the piece out with my band. Unfortunately, the oboe player could not play the music, so I edited the director's score and assigned certain oboe parts to the 1st clarinets where they had rests. When I attempted to extract the new version of the clarinet part, finale refused to extract the part the way I rewrote it and leaves 11 measures of rest instead. I deleted the extracted part and also went into the finale backups and deleted that as well. Then I rebooted my computer and opened the program hoping that I had cleared any memory issue, but it just keeps extracting the part as I had originally extracted it. What am I missing? There has to be something that tells the program to dump the old part and replace it with the new one.
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Jetcopy
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  		   Posted 12/10/2015 8:20 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
It could be a number of issues, but in document options>multimeasure rests make sure "update automatically" is checked. Also regenerating the clarinet part might help. If you want to post the score, it'll be easier to find the fix you need.

Retina Macbook Pro OSX 10.9.5, 2.5GHz Intel Core i7, 16 GB RAM

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Flint
silly bear



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Date Joined Oct 2006
Total Posts : 3151
  		   Posted 12/10/2015 8:23 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Multiple possible issues... most likely you don't have the multimeasure rests set to automatically update. I guarantee you that it has nothing to do with Finale "not saving over the old part."

Also, it's generally not necessary to extract parts any more, I use linked parts almost exclusively now.

woodwind specialist and doubler - Finale 2014d using Speedy Entry - no capslock, GPO 4 Full, Garritan Jazz & Big Band 3, Garritan Concert and Marching Band 2, Windows 8 64-bit, 12GB RAM

If the composer says in effect to the performer: "I do not care whether you perform my music or not," we cannot argue the matter. But if he indicates: "I want you to perform and respond to this music," then his fundamental duty is to write his music so that it is accessible to interpretation. When the performer cannot approach the composer's meaning because of capriciously obscure notation, he may in effect say to the composer: "Why should I bother to puzzle out your music?" - Gardner Read

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