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thakuteone
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Date Joined Dec 2002
Total Posts : 10
 
   Posted 10/15/2003 6:10 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
Hey all,
     I just received Finale 2004 over the weekend and have been checking everything out, and have come up with some necessary patches and updates:
 
1) For Two-Staff Analysis of a piece, please let Finale read all layers and incorporate them into the chord symbol.  As of now, it only reads one layer.
 
2) Also involving Two-Staff Analysis, the symbols are not always consistent in flats and sharps.  It seems to have particular problems with diminished chords.  For example, I analyzed a chord containing a D# - A - C# (a D#dim7 chord) and the analysis came back with an Ab5/D# .  Where it got the Ab, I don't know, but this is not the only instance in which it has mixed accidentals when it shouldn't have.  Another example of this is analyzing a A# - E - G# (an A#dim7 chord), which comes back with a Eb5/A#.  Another example is when I had a C#/E# chord.  The chord symbol said C#/F, so I tried to change the definition of the chord, but every time I would click OK it would still say C#/F .  Also, a   C - E - B chord (Cmaj7) comes back G11/C . 
 
3) Also, please have the Two-Staff Analysis take into consideration any pitches being held.  If I have a whole note A being on beat 1 and a D major chord in the right hand play on beat 3, analysis of beat 3 should still give a D/A symbol instead of just D. 
 
4)Allow ties to connect across multiple endings.
 
That's all I can think of for now!
Thanks!
Steve
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Tim Rowland
...Rowland...Rowland, though the streams are...



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Date Joined Dec 1998
Total Posts : 1250
 
   Posted 10/15/2003 9:47 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
thakuteone said...
Hey all,
 
2) Also involving Two-Staff Analysis, the symbols are not always consistent in flats and sharps.  It seems to have particular problems with diminished chords.  For example, I analyzed a chord containing a D# - A - C# (a D#dim7 chord) and the analysis came back with an Ab5/D# .  Where it got the Ab, I don't know, but this is not the only instance in which it has mixed accidentals when it shouldn't have.  Another example of this is analyzing a A# - E - G# (an A#dim7 chord), which comes back with a Eb5/A#.
Steve,
I think you'll find that's A(b5)/D# and E(b5)/A# (that is, that b5 is actually the bass note, and is really #4!). That will be the brackets of invisibility in fine form.
Cheers,
Tim
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