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esossai
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   Posted 10/30/2016 10:45 PM (GMT -5)    Quote This PostAlert An Admin About This Post.
Hey could you tell me how I can enter a sequence of 1/8 n notes without finale automatically grouping them? I want all the 1/8 and 1/16 notes to be shown individually on my score.
Thanks for any help




Finale 2014.5 on OS X 10.10.5

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Mike Rosen
himself



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   Posted 10/30/2016 11:13 PM (GMT -5)    Quote This PostAlert An Admin About This Post.
If you want them all separate, you would set the Time Signature to reflect that: 16/16, for example. You can choose to have the TS displayed as 4/4, if that's what you want.



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esossai
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   Posted 10/30/2016 11:23 PM (GMT -5)    Quote This PostAlert An Admin About This Post.
Mike so playing on the TS would make the stems on my 1/8 and 1/16 notes not to be connected?




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Zuill
"The Troll"



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   Posted 10/31/2016 12:05 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
If you do it the way Mike suggested.

Zuill


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MikeHalloran
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   Posted 10/31/2016 6:50 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
Through the '80s and still practiced by many, the convention is to leave vocal lines unbeamed. I know many older singers who find beamed scores difficult to read. The advent of notation software and arrangers who never learned how to write vocal music has made beamed vocal scores commonplace and singers have adapted for the most part.

You can set Finale so that it will not beam by default.

/usermanuals.finalemusic.com/FinaleMac/Content/Finale/Beaming.htm#Preventing_Finale_from_beaming_automatically__Speedy_Entry_

I prefer to let Finale beam as normal and then break the beams on the vocal lines—or did. I don't pay attention to this anymore since few complain about unbeamed vocal lines anymore—and no one listens anyway.

I never understood why Finale uses a plugin to accomplish what every other notation app can do in the Notes menu—but it does:

/usermanuals.finalemusic.com/FinaleMac/Content/Finale/Patterson_Beams_Plug_in.htm


Finale 25, 2014.5, SmartScore X Pro II, Encore 5.07, GPO 5
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John Ruggero
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   Posted 10/31/2016 7:34 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
MikeHalloran said...
The advent of notation software and arrangers who never learned how to write vocal music has made beamed vocal scores commonplace and singers have adapted for the most part.


Actually, "beaming" vocal parts goes back earlier than the 80's. I was doing it on orders from major publishers in the early 70's and it wasn't new then. It probably has less to do with ignorance and more to do with the more complex rhythms of 20th century music.


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Dr. Wiggy
Early music: modern methods



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   Posted 10/31/2016 8:09 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
A quick glance through my library of choral scores would suggest that beaming to the rhythm is already prevalent by the early/mid 1960s. Though, of course, some publishers and countries were quicker to embrace the change than others.

I agree with John: as a singer, for more complex, modern music, the beaming is a clear help.


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Vaughan
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   Posted 10/31/2016 9:28 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
MikeHalloran said...
Through the '80s and still practiced by many, the convention is to leave vocal lines unbeamed. I know many older singers who find beamed scores difficult to read. The advent of notation software and arrangers who never learned how to write vocal music has made beamed vocal scores commonplace and singers have adapted for the most part.

When the notation makes it perfectly clear under which notes the syllables fall, why shouldn't singers read rhythmical patterns the way all other musicians do? I can imagine that there are a lot of 'older singers' who don't like being confronted with esoteric matters like relative note lengths, rhythmic subdivisions, etc. What's really difficult to read is a string of equidistant, separately-beamed notes, some of which are 8ths, some of which are 16ths and with the occasional 32nds thrown in. In any case, nowadays many agree (Gould, American Choral Society, etc.) that vocal lines should be beamed to show metric subdivisions.


Vaughan

Finale 3.2 - 25, Sibelius 4 - 7
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David Ward
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   Posted 10/31/2016 11:09 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
Vaughan said...
In any case, nowadays many agree (Gould, American Choral Society, etc.) that vocal lines should be beamed to show metric subdivisions.
I make an exception for unmeasured recitative.

FWIW, an MS score of mine of a piece partly written in 1962 and the rest in 1968 uses the old style. Everything I've written since uses the new (with the recitative exception already mentioned).


David Ward
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MikeHalloran
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   Posted 10/31/2016 12:54 PM (GMT -5)    Quote This PostAlert An Admin About This Post.
Vaughan said...
MikeHalloran said...
Through the '80s and still practiced by many, the convention is to leave vocal lines unbeamed. I know many older singers who find beamed scores difficult to read. The advent of notation software and arrangers who never learned how to write vocal music has made beamed vocal scores commonplace and singers have adapted for the most part.

When the notation makes it perfectly clear under which notes the syllables fall, why shouldn't singers read rhythmical patterns the way all other musicians do? I can imagine that there are a lot of 'older singers' who don't like being confronted with esoteric matters like relative note lengths, rhythmic subdivisions, etc. What's really difficult to read is a string of equidistant, separately-beamed notes, some of which are 8ths, some of which are 16ths and with the occasional 32nds thrown in. In any case, nowadays many agree (Gould, American Choral Society, etc.) that vocal lines should be beamed to show metric subdivisions.
I have no position in this argument and am only the messenger. A few years ago, I decided to go with the new way. I sat in with in a choir just yesterday and heard someone complain.

I can see unbeaming recitative. Now you know how.


Finale 25, 2014.5, SmartScore X Pro II, Encore 5.07, GPO 5
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Vaughan
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   Posted 10/31/2016 2:12 PM (GMT -5)    Quote This PostAlert An Admin About This Post.
I can see recitatives in modern music needing beaming to the syllables, unless some kind of metric pulse is desired. In classical recitatives, reading separate beaming can be very difficult, and it gives many a singer an excuse not to pay any attention to relative note values at all.


Vaughan

Finale 3.2 - 25, Sibelius 4 - 7
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kvehmane
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   Posted 11/1/2016 5:24 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
Already Alban Berg et al. used the "new" beaming in the '30s! In UE Lulu score (acts 1-2) there is a picture from the manuscript score; it is beamed by the beats, as an instrumental line.
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