FINALE GUIDE TO MORE ADVANCED TECHNIQUES

Ok.

I take much pride to my scores.

Thus thought that I could give some insights to more advanced features in Finale, with examples, etc...

IMPORTANT NOTE 1: I use Finale 2000, so some things may be updated, or outdates, but all principals remain the same! I'm sure of that! EDIT: I have downloaded Finale 2007 and everything I do, I also check to finale 2007, so it works to further versions as well...

IMPORTANT NOTE 2: All instructions are aimed at scoring and not playback. I'm pretty sure that most issues mentioned here, won't have any effect on the playback whatsoever.


I've replied plenty of times as, to not cut the flow, but I don't have time right now to continue the thread... Will edit my posts to fill in the said topics.

If anybody feels that he would like to ask something, considerably difficult to do, feel free to PM me, or post here...

Glissando

So, let's get started with something, that I particularly like A glissando... Like the following:

Here it is a harp, but this kind of glissando can work in any kind of instrument really. Strings, a trombone (with limited range), maybe even piano...

Specifically for the harp, I had to notate the first 7 notes (E, F, G, A, Bb, C and D), so that the harpist will know how to tune his insturment. The speed of the first seven notes, doesn't really make any difference, but it is usually 32nds as this always creates the notion of... haste.

On Finale now:

* How to extend the beam lines: Go the speacial tools -> Beam Extention Tool. clicking on the bar of interest will show to handles. Moving the right one will move the beams. But it may move only 1 of the 3. In which case you will need to double click on the grabber and choose all choices up to the 32nd. If you try to choose only the 32nd, it will move the bottom beam, but not the above.

* How to construct this wavy line: That is kinda tricky and takes effort, but I find the result very appealing to the eye, and the performers actually! In finale2000, on the expression tool -> shape (on the expression selection) -> edit No. 1 shape (the legato slur shape). In the shape design window, select the legato slur and the double click on the middle handle. It will reveal 2 new handles, each of which moves half of the legato slur. Thus you can create any corner you want with 1 turn. Combining many of these small legato slurs, creates the above glissando.

In later versions of finale (2006, for example), you do not need to enter the expression tool, but simply enter a legato slur between 2 notes. Then edit it as described above (with the exception that all handles are already visible). Combine more than 2 to create glissandos as shown.

Clusters

There are two main ways to imply a cluster, and are distinguished by the length... A short cluster (quarter, half, whole note maybe) can be shown as thus:

Example 2.1

Or a long cluster which takes a long ammount of time, shown either in bars, or seconds, which can be shown as this:

Example 2.2

So let's go to the meanings of the two examples.

Example 2.1: The said instrument (most probably a piano) will play all pitches from D to B and hold them for the duration of a half note. Note the following things:

• The stem is there, to distinguish between a whole note and a half note.

• the natural and sharp signs, above the note, indicates that both black and white keys are to be played. If only a natural was there, it would be a sign to play only the white keys, and simmilarly if only the sharp was there, it would be a notion to play the black key only (although in this case, it's easier to notate them ordinarily).

• The thick line in the middle, is what indicates that this, actually, is a cluster! Without it, the said chord is just a DB chord and nothing else.

Example 2.2: Here we have a string orchestra, where the higher strings (Violins and violas), play together and are notated at the same staff, while the bass strings are seperated. The image is kinda distorted and small, and it doesn't really show, but the thick line on the first main staff grows thicker, while more instruments enter. This is a technique, first used by Penderevsky in his work "Threnody for the victims of Hiroshima".

If you notice the first staff to be found (the smaller one), it is there that the conductor (as this is the conductors score, you will never see something like this in a part really), sees which pitches enter. This is why it's not a full staff and is empty in between. simmilaraly you may notice that the first and second strings to change their pitch are not playing normal semitones, but quarter tones. Thus the need for a graphic notation is greater than ever!

How to do it in Finale:

Example 2.1:

Write the chord normally as a half note. Then go to special tools -> custom stem tool and then click on the bar of interest. Double click on the handle that will appear on the chord to enter the shape selection. Then click on create new. Drow a vertical line, with .1 width and click ok. Don't worry about not being exactly on the middle (the small circle there). Click select, to select the newly made shape. Then with the mouse move the new stem as needed to start from the top note and upwards a little.

That settled go to the shape tool -> shapes -> create new. Choose any shape and on the shape designer, choose it and delete it. Then go to the line tool and choose a thick line (.2, or .5, although I usually toy around .35 or something), and draw a vertical line of that thickness. Attach it to the cluster and then move it accordingly to have it in the middle. If needed, double clicking, will enable you to change the length of that thick line, and thus put it in perfect shape with the cluster.

Example 2.2:

The first staff, does not appear anywhere in the score apart from that page (and the next, for those who know where this is coming from).

The staves can be shortened (make them smaller) with the resize tool (%). Just click next to the staff and put it to 70-60% or something to fit your needs.

The empty spaces are just rectangulars from the shape tool, which are filled white, and their edges (lines) have 0 thickness. Note that if there are rests, usually they will bypass the "bedsheet", so the best thing to do is have a rest and hide it (o on the speedy entry).

Same to the staff named Vln. I/Vln. II/Vla. Delete all the rests, so as not to be shown and make a lengthy thick line. Attach it to the staff (as if you attach it on a note, or rest that does not show, will cause the shape to dissapear as well), and double click on it to adjust the length to perfection. Then add a second on, and a third one, etc, to create a thicker line towards the end.

Acceleranto

We all know what this means, I reckon. But what about the following example? :


This means that the performer must go faster and also louder (these two almost always go together in these cases).

how to do it in Finale:

First of all go to the special tool ->secondary beam angle tool and click on the bar. Then choose the leftside handles (both) and bring them down to the same level as the bottom most beam. Then choosing the right handles, move them upwards to create this scissor like sign. If needed, you may want to use the special tools -> beam angle tool to change the angle of the beam and make it better for viewing purposes...

Then go, once again to the special tool -> Note position and move all notes, to the required placement, leaving less and less space as you move forward.

The same principal applies to ritardanto(s) as well...

Different Key Signatures/Independent time signatures

This IS playback sensetive!

It's not as simple as it looks...

No it's not! It's so damn, difficult that I have forgotten how to do it. Plus these two are completely different between them DAMN!

Alright...

Take a look at the following example:

Example 4.1

This is the right way to go with it. No matter how complicated it looks. It will weave away all fears from any performer for a possible tpyo (typo)!

This way, it is obvious that the first staff, plays on B minor, the second on D# minor and the third on D minor... Notice that this principal does not apply for orchestral scores, and for transposed instruments! ok? Deal?

This is a piano score! So the one performer might find that tricky!

Now, you may ask yourselfs (or me) why on earth go to such length and not write accidentals all the time? Well. Firstly because I was experimenting with Finale back then in 99, but mainly because if the whole piece goes like this the pianist will kill you with the 100s of accidentals in each stuff (plus all naturals to keep the score... healthy :p).

So. How to do it in Finale:

Bloody HELL! that's taught!

There are MANY steps to take, so I'll number them and hope you (and I along with you, form back in 99... wtf remembers what happened back then?) will understand!

1. first fo all, all 3 staffs must have checked the option for independent key signature, which can be found in the staff attributes on the staff tool!

2. For our purposes we use Maestro font, 18 size. n = natural, b = flat and # = sharp!

3. Go to the key signature tool -> (left click) -> other. Or double click on a bar, depends on the Finale version you're using. Your goal is to go to the key signature window.

4. now for the damn tricky part! On the right side menu, where it says "major key", choose "nonstandard".

(Non relavent step, but very interesting for those with crazy ideas):
4,5. If, on the nonstandard key signature you click on the nonlinear key signatures and then the key map button on the leftmost bottom edge, you will find a keyboard drawn. Blacking all the above boxes, will leave no sharp, blacking none, will leave all 12 sharps (!) Playing around may lead you to the queer key signature of A#, C# and G# (with that series). Have a blust if you will!

5. But back to what we were doing. Choosing nonlinear key signatures and then accidental order and ammount (2nd button from the left towards the bottom) will take you to the window where you can choose where each sharp is placed, and how many semitones up or down you want it to go. (- or +). 1 is 1 sharp, 0 is nothing! (not natural) and -1 is a flat.

6. In order to make the key signature as the example on the first staff (2 sharps and 4 naturals, you will have to set the first two (leaving all steps untouched!) at ammount 1, then the next 4 at ammount 2 (!) and the last one at ammount 0. Attempting to put 0 at the third accidental will bypass all further changes...

7. Then go to Attirbute (last button) -> Symbol List ID -> Insert (first button) TWICE. Then click on next and input the following values:
alter: 1
Characters: #
click on next and enter the following values
alter: 2
Characters: n

8. This should do it!

Apply the same ideas for the rest of the staves...

Poof! (I wasted around 1 hour to try and remember this )

Independant time signatures and independant tempos at the same bar

(Imagine an orchestra, where the flute plays at 80, the piano at 60 and the oboe at 75. Different places for each barline and each instrument... That's what I'm talking about)

So let's start with the simple stuff and move towards our goal (as descirbed in the above sentence )


Example 4.1

Here things are completely normal. No problem whatsoever. Both instruments at 60 tempo, and at 4/4. Now, notice that the one has a dashed barline, and the other a normal one. Finale 2007 has a choice to not show the barlines of any staff you require. Just go to [i]staff tool ->staff attributes ->items to display (on the right) -> uncheck barlines[i]. Replace the barlines with the one, given to you on the expression (mf) tool ->shapes.

For our goal, always the Flute staff does not display the barlines. Ok?


Example 4.2

Goint once more to staff tool ->staff attributes ->Independant elements and checking time signature, will enable you to change time signatures at each staff on their own! Pretty useful! But notice what happens? Automatically Finale (any version) will allign the barlines and not the notes. Thus in this instance, in the example 4.2, quarter in the flute lasts longer than the quarter in the oboe.

It is exactly the following example, written more elaborately (but for no reason):

Example 4.3

How could we attempt to have the same tempo, and different time signature then? Like the following example:

Example 4.4

Here both instruments move at the same tempo, but have different time signatures, thus the barlines are in different places!

Now, the problem in Finale, lies that the minute you change the time signature, you effectively change the tempo as well (as shown in example 4.2).

There are 2 ways to counter that!

i. Don't change the time signature. This can be done in two ways:

Go the the [i]time signature tool ->options[i]. On the lower window, which just appeared, check the [i]use a different time signature for display[i]. And choose 3/4, there, while leaving intact the true time signature above.

This will display a 3/4 on the above staff, but in reality it will count 4/4. Just erase the barlines (as mentioned bellow example 4.1) and draw your own.

ii. Change the time signature, but make truplets, or any other combination to reach the needed tempo.

While the first method is tons easier, still this method will come in handy, so I'm mentioning it now.

Go to the [i]time signature tool[i] and click on the bar. Change the time signature from 4/4 to 3/4. That will screw up your notes and length of the notes, so better wait to input the notes, after you've done this change.

Then.

Pick the tuplet tool, or in speedy entry ctrl+1 (which brings the tuplet definition window). Make all notes into 4:3 (or 4/3) ratio. This means that every 4 notes, fit in the space of 3 notes. A normal triplet, is actually 3:2 (3/2), which means that 3 notes fit in the space of 2!

In the example 4.4, the first 4:3 grouping, has on the appearance number: ratio, or X/Y, and on the shape: bracket. Second grouping has on the appearance number: number and on the shape: bracket. Third grouping has on number: nothing, and on shape: bracket. The last grouping has on both choices: nothing!

Draw the barlines, and you're done!

(The sign at the end of the staff, means that the bar continues to the next system, or line. This was done with the legato tool, as described on the glissando part of the tutorial.


Example 4.5

Example 4.5 features the same time signature, but different tempo.

As you can see, the method is not vastly different really...

just notice that 75/60=5/4, which is the ratio used in the tuplet definition.

finally


Example 4.6

Here is the combination of 2 different techniques.

The idea is to find the right ratio!

since the tempo is 75 and 60, the same ratio, should apply 5/4, but in this instance, the time signature, is 3/4 in the above staff, so the ratio needs to be 5/3.

Go figure...

More complicated rhythms and tempos are a big mess really...

But this is the way to go, generally.

notes: Playback is affected, but the accents are not. It takes plenty of tweaking to make it sound right!

Also keep in mind that Finale does not particularly enjoy ratios of the following sort: 5.6/3.4... Find full numbers to use, no matter how high... The example there would be 28/17...

See it's turning damn difficult again? Not so much from the Finale point of view, but for the maths involved and the brain twist!

Well.

Somebody asked this to me, not so long ago, and it could be tricky to think about it yourself...

Assuming you have a huge orchestra of 23 (for example) staffs. You will probably need to have a page at 50% or around that!

Now, 50% is kinda tiny, so usually, and especially in study scores you may very well go to the page layout tool ->page layout ->optimise all staff systems. This will delete from every system the staffs that contain no note information. Beware as if you have attached lines, or shapes they maybe gone as well.

Good thus far.

so the first page with the orchestral hit (for example), has all 23 staffs. 2nd page has only 17. Now the 50% of the pages is too small! so you go about making it 60%. And it fits.

Movgin to page 3, you have 15 staffs. With the 60%, as perviously entered. And this page holds 10 bars in total. So you go about to make that 60% into a 63%. Bang! The staffs are perfect and fit nicely in the page. but something is wrong: The bars, because of the added size, no longer fit in there! And damnit! Last bar on page 3 is the one that has 2 staffs. If you take this bar out, then if you try to optimise the staff system, you will be left with 13 staffs, again too small for the page.

So what to do in Finale:

When you optimise any staff system you delete, as mentioned previously, all unused staffs. But something else happens as well.

If you go to the staff tool, instead of a handle on every staff, you will see 2!!! The first one from above, moves all the staff universally, in all pages. The bottom one moves only that staff in that page. So in each page, you can actually place your staffs wherever is needed!

It is a big hussle, but sometimes it's just worth it!

Not only for the above reasons, but maybe for 1 page and only 1 page, you could have an extra high register in the Bassoon and extra low register in the clarinet, leaving too little size to place any dynamics! Moving the staff universally would leave too much space in all other pages, while locally would resolve the matter in seconds.

Assuming that you have a long cadenze of 2-3 lines (systems). you want the barlines removed, and the whole thing to count as 1 bar in whole. Like this for example:

Example 6.1, My Fucking Life for violin duet

The wavy lines are explained on the 1st page of this thread. :-)

Now this whole thing takes up 1 system, but only 1 bar. In reality it is actually 3 bars.

In order to simplify the whole thing here is another very simple example which takes up more than one system, with the previous and next system, on the cadenza:

Example 6.2

Cadenze, supposedly, starts at bar 5 and ends at bar 12.

Problems:

1. The barlines
2. The measure numbers

The barlines are really easy to remove. just go to measure tool -> measure attrivutes for measure x (by double clicking on the measure you wish to work on) -> (on the top) barline: Invisible. Job done!

while you're at it, BTW, you can also remove/delete the bar numbers on the top of the staff. So the score now should look like this:

Example 6.3

Notice that bar 8, is with parenthesis, just to show it's there and what bar number it is. You should, of course, delete that as well.

Also take hint that in the end of all system, you always close the bar (end it), and put a barline there. If there is no barline in your music, still you add a barline, or, line in this case, just a dotted one. But don't leave it without, because this means that the last bar in the system carries on to the next system and will be a big mess...

Problems remaining:

2. Measure number.

We want the Cadenza to take up 1 bar alone. But as it is obvious this is impossible in Finale. so we have to trick it into something else.

How to do it in finale

Again with the measure tool highlight the first 4 bars (drag and click). Then go to the measure menu -> measure numbers -> edit region The default region which is mentioned as "Region 1, measure 1-999 -- Display as 1-999", on the boxes bellow, change the number 999, to 4 (thus the Region will only be for bars 1-4). This will make the measure numbers to display from bars 1-4 and not further.

Then click "ADD"

On the include measure from, change 1 to 13. So the new Region (2nd one) should be from bars 13, 'till the end. Also even further down to Measure numbering. First number of Region, where it will display 13, you put 6!

Job done!


Example 6.4

And this concludes my ability to add any more images!

Mano, I will work on what you've asked me with the ossia tool (which is not the OSSIA tool, btw), but I'm running out of time now.

Will post pretty soon.